Our Time / Death of Her Innocence (1974)

Our Time / Death of Her Innocence (1974)

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“Boy, I sure don’t see what all the fuss is about.”

Synopsis:
At a boarding school in the 1950s, two friends — Abby (Pamela Sue Martin) and Muffy (Betsy Slade) — lose their virginity, with unexpected consequences.

Genres, Themes, Actors, and Directors:

  • Boarding School
  • Coming of Age
  • Sexuality
  • Virginity

Review:
While it doesn’t exactly cover new territory, Peter Hyams’ Our Time (which aired on television under the more lurid title Death of Her Innocence) offers a reasonably authentic look at teenage sexuality and its occasionally devastating consequences. The screenplay begins by following the travails of Abby (Martin), who’s genuinely in love with her boyfriend (Parker Stevenson) and trying to decide whether it’s okay to have sex with him before marriage; meanwhile, her friend Muffy (Slade) longs for a relationship with handsome “Buzzy” Knight (Michael Gray) while failing to see the appeal of her loyal longtime admirer, Malcolm (George O’Hanlon, Jr.). Soon the story shifts to Muffy’s life-changing dilemma as she makes an unwise decision during a moment of emotional pain, and ends up paying dearly for it. While her story is compelling, however, Hyams is unable to elicit truly natural performances from his cast of likable actors — even Slade (Brian De Palma’s first choice to play the lead role in Carrie) fails to make the most of her sympathetic character. Ultimately, Our Time will be of most interest to fans of coming-of-age stories, but isn’t must-see viewing for all-purpose film fanatics.

Redeeming Qualities and Moments:

  • A sensitive look at teenage sexuality and its consequences

Must See?
No, but it will likely be of interest to coming-of-age fans.

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Kitten With a Whip (1964)

Kitten With a Whip (1964)

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“You’re going to think I have an awful dirty mind, David — I change it so often.”

Synopsis:
A juvenile delinquent (Ann-Margret) escapes from reform school and takes refuge in the home of aspiring politician David Stratton (John Forsythe). While Stratton wants nothing to do with her, Jody (Ann-Margret) threatens to reveal his involvement in harboring a fugitive, and soon he finds himself battling Jody’s manipulative pals (Peter Brown and James Ward) down in Tijuana.

Genres, Themes, Actors, and Directors:

  • Femmes Fatales
  • Fugitives
  • Hostages
  • Juvenile Delinquents

Review:
This unfairly maligned B-flick — referred to by the TV Guide as a “thoroughly hideous and unpleasant movie” — is actually an enjoyably kitschy drama which offers plenty of lurid, sassy entertainment. From the opening shot of sexy Ann-Margret (Jody) running down the street in a baby doll nightgown:

… we’re taken along for a fast-paced ride as Jody-cum-Goldilocks “accidentally” sleeps in a publicity-conscious senator’s house:

… takes advantage of his compassion, then quickly reveals her true nature as a deeply manipulative — and deeply troubled — juvenile delinquent. Ann-Margret is perfectly cast (and appropriately over-the-top) as Jody, a wild-card teen with vicious claws; and while many have ridiculed John Forsythe’s performance as Jody’s “square” counterpart, he does a believable job reacting the way a compassionate yet publicity-paranoid politician most likely would.

Just when we think the heated story is going to remain centered on Jody’s manipulation of David (will this red-blooded male — separated from his wife, no less — give in to Jody’s tempting sexual advances?), several new characters are introduced:

Peter Brown and James Ward are appropriately creepy and cocky as the hoodlum pals who show up on David’s doorstep, and Diane Sayer (equally good in The Strangler, released the same year) adds just the right touch of guilelessness to her role as “Midge”, a female hanger-on given to saying “Guy!” instead of “God!” By the time the story takes us to Tijuana (ever-reliable as a border-town location of crisis and chaos), we’re anxiously awaiting David’s opportunity to finally break free from the clutches of his juvenile hostage-takers; fortunately, the film’s ending — while improbable — is perhaps the most satisfying of all possible outcomes.

Note: Kitten With a Whip was spoofed by the MST3K crew (and can be viewed in 10-minute installments on You Tube), but remains a rare entry in that series which bears watching on its own as well, without commentary.

Redeeming Qualities and Moments:

  • Ann-Margret as Jody
  • John Forsythe as David
  • Peter Brown and James Ward as Jody’s hoodlum friends
  • Diane Sayer as naive Midge
  • A luridly enjoyable tale of manipulation
  • Atmospheric cinematography
  • Plenty of hilariously sassy lingo (“I feel creamy!”)

Must See?
Yes, for its status as a cult favorite. Listed as a Sleeper in the back of Peary’s book.

Categories

  • Cult Movie

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First Comes Courage (1943)

First Comes Courage (1943)

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“You know what I am to you? An international complication.”

Synopsis:
A WWII resistance fighter (Merle Oberon) has an affair with an unsuspecting German major (Carl Esmond), and is able to pass on vital information to the Norwegian underground. When Esmond’s superior becomes suspicious, however, a British agent (Brian Aherne) — formerly Oberon’s lover — is sent to assassinate Esmond.

Genres, Themes, Actors, and Directors:

  • Brian Aherne Films
  • Dorothy Arzner Films
  • Merle Oberon Films
  • Nazis
  • Resistance Fighters
  • Spies
  • World War II

Review:
This rather pedestrian wartime melodrama is primarily notable as director Dorothy Arzner’s final feature film, yet it offers little that’s new or different to the genre; as noted so succinctly in the New York Times‘ original review, “Although the film does maintain a measure of suspense quite steadily, its authors and director have failed to stamp it with any distinction or depth of conviction to lift it above the level of a dozen similar mediocre war films.” Oberon is generally fine — and appropriately beautiful (if unconvincing as a Norwegian) — in the leading role (though she doesn’t know how to mime piano-playing for the life of her!):

Faring slightly better is Brian Aherne as her British lover, who at least brings some welcome energy to the proceedings.

While one knows that all will (or should) work out in the end, there are at least a few tension-filled moments along the way — ultimately, however, First Comes Courage remains resolutely “ordinary”, and will only be of real interest to die-hard Arzner fans.

Redeeming Qualities and Moments:

  • Brian Aherne as Captain Lowell
  • Fine cinematography

Must See?
No; I suspect the only reason this film is listed in Peary’s book is because it was directed by Arzner.

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NeverEnding Story, The (1984)

NeverEnding Story, The (1984)

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“Don’t you know anything about Fantasia? It’s the world of human fantasy. Every part, every creature of it, is a piece of the dreams and hopes of mankind.”

Synopsis:
When a lonely boy (Barrett Oliver) discovers a fantasy book called The NeverEnding Story, he’s transported to the world of Fantasia, where a young warrior named Atreyu (Noah Hathaway) has been sent on a mission to save the kingdom’s dying empress (Tami Stronach). Soon Bastian (Oliver) learns that his participation as a reader will play an essential part in the story’s outcome, and that he must have faith in the power of his wishes.

Genres, Themes, Actors, and Directors:

  • Fantasy

Response to Peary’s Review:
As Peary notes, this “flawed” adaptation of Michael Ende’s popular young adult novel — which received mixed reviews upon its release — is both “imaginative” and “visually spectacular”, and contains a positive message for kids about the importance of hopes and dreams. Barrett Oliver is sympathetic and believable as a young boy devastated by the recent loss of his mother and bullied mercilessly by his classmates, who finds refuge in books and fantasy; less remarkable is Noah Hathaway as Oliver’s doppelganger warrior, who comes across as appropriately handsome and plucky yet ultimately two-dimensional. More important than the performances, however, are the film’s stunning special effects, which effectively transport viewers into a new and exciting universe: while I’m less than thrilled by the rather insipid, puppet-like dragon Atreyu rides through the skies of Fantasia, other creatures — particularly the massive Rock Biter — are truly breathtaking. The dramatic ending (clearly paving the way for a sequel) is both exciting and heartwarming.

Note: Because the film contains a number of “difficult” scenes — including Atreyu’s beloved horse dying in a Swamp of Sadness, and Atreyu being persistently pursued by a vicious werewolf — The NeverEnding Story seems most appropriate for adolescents and adults rather than young, impressionable children.

Redeeming Qualities and Moments:

  • Barrett Oliver as Bastian
  • Impressive animation — particularly the gigantic “Rock Biter”
  • Many exciting sequences
  • The heartwarming ending

Must See?
No, but it’s recommended.

Links:

Luck of Ginger Coffey, The (1964)

Luck of Ginger Coffey, The (1964)

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“Oh Ginger, face facts… When have you ever lasted in any job? What have you ever done in any job but dream about what you’d do with the next one?”

Synopsis:
An Irish immigrant (Robert Shaw) in Montreal remains hopeful that a “job with possibilities” lies just around the corner — meanwhile, his disillusioned wife (Mary Ure) grows tired of her husband’s lies and instability, and threatens to break up their marriage.

Genres, Themes, Actors, and Directors:

  • Canadian Films
  • Character Studies
  • Immigrants and Immigration
  • Marital Problems
  • Robert Shaw Films
  • Unemployment

Review:
Robert Shaw shines as the title character in this tale of Irish immigrants hoping to create a new life for themselves in Montreal, Canada. While “Ginger” is undeniably self-deluded, unrealistic, and dishonest, the strength of Shaw’s performance lies in the fact that we literally can’t help sympathizing with Ginger from the moment he appears on-screen: his face is full of such genuine good cheer (his eyes are piercingly bright) that one immediately understands why he gets so far on charisma and charm alone. Unfortunately, despite the deceptively cheery soundtrack, circumstances quickly go downhill, as Ginger makes one bad decision after another, and his wife (played with nuance and depth by Shaw’s real-life wife, Mary Ure) suddenly realizes she can no longer count on Ginger as a reliable partner. Given its depressing trajectory, The Luck of Ginger Coffey won’t be for all tastes — but it’s certainly worth a look if you can locate a copy.

Note: Director Irvin Kershner makes excellent use of Montreal locales, seamlessly incorporating several vignettes which reveal the language tensions inherent in mid-century Canadian politics.

Redeeming Qualities and Moments:

  • Robert Shaw as Ginger Coffey
  • Mary Ure as Ginger’s put-upon wife, Vera
  • Libby McClintock as Ginger and Vera’s teenage daughter, Paulie
  • Fine on-location footage in Montreal

Must See?
No, but it’s absolutely worth a look simply for Shaw’s noteworthy performance.

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Greeks Had a Word For Them, The / Three Broadway Girls (1932)

Greeks Had a Word For Them, The / Three Broadway Girls (1932)

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“I’m sure I’ve met you before — I never forget a face, and you are good looking, you know!”

Synopsis:
Three former showgirls — Schatzi (Joan Blondell), Polaire (Madge Evans), and Jean (Ina Claire) — hoping to land sugar daddies find their friendship compromised when Jean repeatedly butts in on the other girls’ conquests.

Genres, Themes, Actors, and Directors:

  • Gold Diggers
  • Joan Blondell Films
  • Play Adaptation
  • Rivalry
  • Romantic Comedy

Review:
This early cinematic adaptation of Zoe Akins’ Broadway play — later remade (and substantially rewritten) as How to Marry a Millionaire (1953) — is a disappointment. The primary problem lies in the way the character of Jean is written: while Ina Claire gives a marvelously over-the-top performance:

… it defies belief that Schatze and Polaire would continue their friendship with her given her history of rampant double-crossing.

Indeed, it’s deeply unpleasant to watch Jean ruthlessly edging in on one relationship after the other while her friends stand by helplessly — by the end of the film, she’s becomes somewhat of a villainess, a development out of keeping for a story presumably about female solidarity. Ultimately, it’s just not very enjoyable to watch these three unlikely friends pursuing their (uninteresting and instantly forgettable) male catches.

Redeeming Qualities and Moments:

  • Ina Claire as Jean

Must See?
No; the remake is infinitely better.

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Roommates (1981)

Roommates (1981)

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Synopsis:
Three single women (Samantha Fox, Kelly Nichols, and Veronica Hart) share an apartment in New York while exploring careers, romance, and sex.

Genres, Themes, Actors, and Directors:

  • Adult Films
  • New York City
  • Sexual Liberation

Response to Peary’s Review:
As Peary notes, this reasonably well-made “adult” film is an “almost successful attempt by [director] Chuck Vincent… to make an XXX-rated film that the general audience would find palatable.” (After two weeks playing in X-rated venues, the film was re-cut and released with an “R” rating). As a female non-fan of such films, I was delighted to find myself actually enjoying this story of three gutsy women attempting to “make it”, both professionally and romantically, in New York. The very natural-looking Veronica Hart — playing a budding actress who is trying to move beyond an unfulfilling affair with a married man — is especially credible. Fans of adult film stars Jamie Gillis and Ron Jeremy will be happy to note that each makes an appearance here (though be forewarned that Gillis plays a surprisingly unappealing, smarmy character.)

Redeeming Qualities and Moments:

  • Decent acting by the three female leads
  • Well-integrated (if “surprisingly raunchy”) sex scenes

Must See?
No — though as one of the few successful “crossover” adult films, it merits a look.

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She Married Her Boss (1935)

She Married Her Boss (1935)

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“That doesn’t sound like a marriage to me — it sounds like an incorporation!”

Synopsis:
An executive secretary (Claudette Colbert) who is secretly in love with her overworked boss (Melvyn Douglas) convinces him to marry her, but soon finds that he’s disappointed by her choice to run his household rather than stay at the office.

Genres, Themes, Actors, and Directors:

  • Career-versus-Marriage
  • Claudette Colbert Films
  • Cross-Class Romance
  • Melvyn Douglas Films
  • Romantic Comedy

Response to Peary’s Review:
It’s unclear why Peary includes this mediocre Gregory La Cava screwball comedy in his book as “must see”, given that it’s clearly one of the famed director’s lesser efforts. The primary problem lies in the film’s implausible, underdeveloped script, which is based on a decidedly weak premise: Douglas and Colbert’s marriage rings false from the start (why is Colbert in love with such a dull, insipid man?), while the convenient “other man” (Michael Bartlett) waiting in the wings to “rescue” Colbert from her loveless marriage never really seems to pose a serious threat. With that said, She Married Her Boss isn’t a chore to sit through — as Peary notes, it possesses at least a few good scenes, and Colbert (despite her poorly written character) sparkles in the lead role. Also enjoyable is young Edith Fellows as Colbert’s bratty new stepdaughter Annabel, whose temerity in the face of authority reaches hilarious heights.

Redeeming Qualities and Moments:

  • Claudette Colbert as Julia Scott
  • Edith Fellows as Annabel — described by the NY Times as “nobody’s lamby pie”
  • Colbert being carried over the threshold of her new home by both her husband and his butler
  • Colbert’s drunken carousing with store mannequins

Must See?
No, but fans of ’30s screwball comedies will likely be curious to seek it out.

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Queen, The (1968)

Queen, The (1968)

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“All drag queens want is love — and they try to get that love by being beautiful and sexy.”

Synopsis:
Drag queens from all over the country compete in 1967’s All American Camp Beauty Pageant in New York.

Genres, Themes, Actors, and Directors:

  • Beauty Contests
  • Documentary
  • Gender Bending

Review:
Made more than two decades before Jennie Livingston’s Paris is Burning (1990), The Queen offers a compelling cinema verite glimpse at the subculture of competitive male cross-dressing. At just a little over an hour long, The Queen stays firmly focused on the task at hand, documenting the participants (all winners in local contests) as they arrive in New York for the ultimate American “camp” beauty pageant, spend days primping and preening, then actually compete against one another for the coveted title of Queen (“There can sadly be only one…”). The most compelling scenes are those in which we get to eavesdrop on the participants chatting in their rooms about topics ranging from sex change operations to homosexuality to the Vietnam War draft; they’re remarkably comfortable with one another, despite their status as rivals. While it’s difficult to imagine some of these men effectively turning themselves into glamorous beauty queens, the results on the Big Night are impressive indeed. Be forewarned that the bitter coda at the end comes as a surprise, yet offers an invaluable glimpse at the underlying politics of any “high stakes” competition.

Redeeming Qualities and Moments:

  • A revealing glimpse of a unique subculture
  • The contestants talking frankly with each other about the draft, sex operations, and homosexuality

Must See?
No, but it’s a worthy time capsule snapshot, and must-see for documentary fans. Listed as a Cult Movie in the back of Peary’s book.

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Blue Angel, The (1930)

Blue Angel, The (1930)

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“There’s a lot I can understand — but to risk one’s entire future for that kind of woman?”

Synopsis:
When high school instructor Professor Rath (Emil Jannings) learns that his students are infatuated with a sexy nightclub singer (Marlene Dietrich), he visits The Blue Angel intending to chastise them — to his surprise, however, he finds himself falling in love with the alluring Lola Lola (Dietrich) himself.

Genres, Themes, Actors, and Directors:

  • Downward Spiral
  • Femmes Fatales
  • German Films
  • Josef Von Sternberg Films
  • Marlene Dietrich Films
  • Nightclubs
  • Singers
  • Teachers

Response to Peary’s Review:
Peary’s review of this early German masterpiece — the film that launched Marlene Dietrich’s career — focuses primarily on his analysis of Lola Lola as an unfairly judged “devious man-killer”. He argues that Lola Lola “doesn’t plan to humiliate the professor”, noting that “she sticks with him long past his degradation,” and pointing out that, much like the sexually liberated Lulu (Louise Brooks) in Pabst’s Pandora’s Box (1929), Lola Lola is vilified for “her willingness to satisfy her own physical needs no matter who gets hurt”, and for being “so casual about sex that she never stops a man from entering a path towards self-destruction.” Indeed, all things considered, Lola Lola (thanks in large part to Dietrich’s impressive performance) is actually a surprisingly sympathetic femme fatale, given that she never intends to trap Professor Rath into marriage; he’s the one who insists on going through with the doomed arrangement.

The Blue Angel is a classic example of moviemaking near the beginning of the sound era which nonetheless maintains allegiance to the values of silent cinema. While sound is used to good effect — particularly during Lola Lola’s nightclub performances — director Josef von Sternberg maintains a firm grip on the film’s visuals, ensuring that the set designs, make-up, costumes, and camera movements are all visually engaging. Though the story itself is slow and a bit static (most of the scenes take place either in the nightclub or Professor Rath’s classroom), we’re never bored, thanks to the bitterly compelling nature of Rath’s downward spiral, which represents not just the archetypal portrayal of “man seduced by woman” but the tenuous grasp we possess on our moral superiority: Professor Rath starts out as the most pompous of moralistic prigs, yet within the space of just two visits to the Blue Angel is inextricably entwined in the “underworld” he once derided so soundly. How short, indeed, is the fall from grace.

Note: The Blue Angel was filmed simultaneously in both German and English, but the former version is generally preferred.

Redeeming Qualities and Moments:

  • Marlene Dietrich as Lola Lola
  • Emil Jannings as Professor Rath
  • Rath and Lola’s sweet, unusual romance
  • Effectively claustrophobic set designs
  • The poignant, perfectly realized moment when Rath’s students realize that he no longer has any moral sway over them
  • A devastating portrait of dignity lost

Must See?
Yes, for its importance as Marlene Dietrich’s breakthrough role, and for its undisputed status as a foreign classic.

Categories

  • Historically Relevant
  • Foreign Gem

(Listed in 1001 Movies You Must See Before You Die)

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