FilmFanatic.org

Synopsis:
A farm girl (Pamela Sue Martin) with dreams of making it big in Hollywood struggles to survive in Chicago, and eventually falls for notorious criminal John Dillinger (Robert Conrad).

Genres, Themes, Actors, and Directors:

• Depression Era
• Dick Miller Films
• Gangsters
• Louise Fletcher Films
• Strong Females

Response to Peary’s Review:
As Peary notes, this entertaining “pay-TV favorite” rises above its “conventional New World-Roger Corman material” through “fast-paced, flavorful direction by Lewis Teague; a snappy script by John Sayles…; and a surprisingly engaging performance by [“Dynasty”‘s] Martin, who exhibits a winning combination of sex and savvy” and appears “remarkably at ease” in her first leading film role. While ostensibly focused on Martin’s role as an unwitting accomplice in Dillinger’s infamous death, Sayles’ heavily fictionalized, socially conscientious script is actually more concerned with presenting Martin’s coming-of-age story, as she transitions from dreamy farm girl (humming “42nd Street” to herself while collecting eggs in her father’s barn) to sweatshop employee to dance hall girl to prostitute to waitress, doing what she can to survive while sticking up for what she knows is right. She’s presented as innocently uninformed about Dillinger’s true identity, so her embroilment in his death comes across as simply one more stroke of bad luck against her — leading to the film’s “final act”, in which she decides not only to get even against the mob, but to “get ahead”. Filled with fine period detail, subtle social commentary, and smart supporting performances, Lady in Red is a worthy entry in the “Depression-era gangster film” genre, and should be seen by all film fanatics.

Redeeming Qualities and Moments:

• Pamela Sue Martin as Polly
  
• Louise Fletcher as Anna Sage
  
• Nancy Parsons as Tiny Alice
  
• Effective period detail
  
• John Sayles’ smart, socially conscious script
  
• James Horner’s score

Must See?
Yes, as an all-around good show.

Categories

• Good Show

Links:

• IMDb entry
• Spinning Image Review
• DVD Savant Review
• Time Out Capsule Review

Synopsis:
A naive young woman (Linda Blair) convicted of manslaughter is sent to prison, where she quickly learns that corruption is rampant, and strategic alliances are everything.

Genres, Themes, Actors, and Directors:

• Corruption
• Prisoners
• Revenge
• Stella Stevens Films

Response to Peary’s Review:
Peary accurately refers to this New World WIP flick as a “ridiculous sexploitation” film which “lacks the fun or political subtext” of earlier entries in the genre, but is nonetheless guaranteed to “make any exploitation fan drool” due to its infamous grindhouse cast (including Sybil Danning, John Vernon, Stella Stevens, and Tamara Dobson, among others).

He misses the boat, however, in his mean-spirited assessment of a scene in which “Danning and Blair take a nude shower together and the tall, statuesque Danning is required… to display a sexual interest in the short, plump star”. Doesn’t Peary know that prison sex is often based on power dynamics rather than lust? And while she’s no Penthouse model, Blair’s actually quite cute here.

At any rate, fans of Women-In-Prison flicks won’t want to miss this badly-acted, ridiculously plotted, cliche-ridden smorgasbord of nudity, violence, sex, drugs, and corruption — complete with Blair’s transformation into a righteous avenger by the end. The rest of us, however, can feel free to skip it.

Redeeming Qualities and Moments:

• Joseph Conlan’s score

Must See?
No. Despite its status as a cult favorite, this one is really only must-see viewing for fans of WIP flicks.

Links:

• IMDb entry
• All Movie Guide Review
• Guns, Girls, and Ghouls Review

Synopsis:
When his new girlfriend (Madonna) is raped by a sleazy stranger (Charles Kurtz), a former college student (Jeremy Pattnosh) and his friends seek revenge.

Genres, Themes, Actors, and Directors:

• Rape
• Revenge

Response to Peary’s Review:
Peary is far too generous in his review of this infamous student film, which he argues is “not the best but certainly not worthless”, and has some “bright ideas and wit floating around”. Made in 1979 (when Madonna was just 20 years old), it was strategically released by director Stephen Jon Lewicki as a quick money-maker six years later, when her fame was beginning to skyrocket. Apparently Madonna insisted on being paid $100 for her work in the film, resulting in a signed contract which later prevented her from legally removing the movie from circulation — but there’s not much here for her to be especially ashamed of, other than some tame nudity and her typically amateurish performance in a crude independent film.

As many have noted, she made so many awful films later in her career that this one doesn’t stand out as particularly egregious — it simply has the lowest production values and makes the least sense.

Indeed, it’s often difficult to tell exactly what’s happening in this pretentious and unbearably artsy movie, which focuses on a college drop-out (Jeremy Pattnosh) who roams the streets of New York and falls for a young girl (Madonna) who’s secretly involved with a “family of lovers”. Meanwhile, Pattnosh encounters a boorish pig (Charles Kurtz, who Peary argues “steals the film” in his role — not much of a stretch) at a coffee shop, then later rapes Madonna simply because she’s Pattnosh’s girl. A final orgy revenge scene caps everything off. The soundtrack, unfortunately, is by Pattnosh rather than Madonna herself. Ultimately, A Certain Sacrifice is the type of movie that was probably must-see during its moment of notoriety (as Peary notes, “initial reports claimed it was an S&M porno film”), but is now required viewing simply for those who are morbidly curious or genuinely hung up on Madonna.

Redeeming Qualities and Moments:
Not much.

Must See?
No; unless you can’t contain your curiosity, feel free to skip this one-hour clunker.

Links:

• IMDb entry
• Spinning Image Review

Synopsis:
A recently fired accountant (Harold Lloyd) goes on a bender for the first time and becomes the owner of a circus, which he must then find a way to unload.

Genres, Themes, Actors, and Directors:

• Carnivals and Circuses
• Comedy
• Harold Lloyd Films
• Preston Sturges Films

Response to Peary’s Review:
Peary labels this creative collaboration of silent comedian Harold Lloyd and writer-director Preston Sturges “disappointing but mildly amusing”. He accurately points out that it contains strong elements of both men’s prior work, given that the film literally opens with an extended clip from Lloyd’s silent classic The Freshman (1925), and is based upon a similar premise as Sturges’ The Miracle of Morgan’s Creek (1944) (with an unseen alcoholic bender producing hilariously challenging consequences). In truth, I think Peary underestimates this controversial film, which was inexplicably pulled from circulation, drastically edited, and renamed Mad Wednesday; it’s actually a most enjoyable slapstick comedy, filled with healthy doses of satirical humor. In his final film, Lloyd (looking MUCH younger than his 54 years) is at the top of his game, and Sturges’ script provides nonstop enjoyment until about 2/3rds of the way through, when Lloyd’s nonsensical plan to try to rid himself of his circus by visiting the offices of prominent bankers in Manhattan temporarily derails the story. Fortunately, things get back on track during the “film’s highlight”, which “finds Lloyd dangling high above [the] city by a rope attached to the neck of a lion”. As Peary notes, the entire cast — most notably Jimmy Conlin as Lloyd’s partner in crime, and Frances Ramsden as his gorgeous workplace crush — is “sterling”. A minor quibble: it’s too bad the title’s first word was changed from “saga” to “sin”, since the latter makes little sense.

Redeeming Qualities and Moments:

• Harold Lloyd as Harold Diddlebock
  
• Fine supporting performances by Jimmy Conlin and others
  
• Sturges’ zany screenplay
  

Must See?
Yes, as Harold Lloyd’s swan song.

Categories

• Important Director

Links:

• IMDb entry
• All Movie Guide Review (spoiler alert)
• Jigsaw Lounge Review
• TCM Review
• Time Out Capsule Review

Synopsis:
Homeless teens survive on the streets of Seattle by panhandling, dumpster diving, selling drugs, and prostituting themselves.

Genres, Themes, Actors, and Directors:

• Documentary
• Homeless
• Survival
• Teenagers

Response to Peary’s Review:
As Peary notes, this Oscar-nominated documentary about “street kids living in Seattle’s tenderloin” — a “world of street brawls, drugs, perverts on the make, filth, hassles with the police, frequent busts” — is “bruising cinema verite“. While the kids may “seem happy to be free of their parents and enjoying life on their own”, this is simply because life at home with their irresponsible and/or abusive parents and stepparents was so much worse. Indeed, some of the film’s most haunting sequences involve the kids visiting their parents, who are astonishingly blase about the fact that their kids are making a living on the street: one (an alcoholic waitress) simply assumes it’s a “phase” her daughter is going through, while another (a father in jail for burglary and arson) appears to want the best for his son but simultaneously ridicules and belittles him. It’s truly impressive how much access filmmakers Martin Bell, Mary Ellen Mark, and Cheryl McCall (whose initial article for Life magazine inspired the documentary) gain into the private lives of the kids and their families, down to hearing young pimps openly soliciting girls to work for them (weren’t they afraid of exposure?). Despite the recent glut of “reality” T.V. and documentaries, this early glimpse into the lives of homeless teens rises a cut above, and is guaranteed to linger in your thoughts long after it’s over.

Note: A 23-minute follow-up film was made about the life of one of the teens showcased in the movie (“Tiny”), but I haven’t yet been able to locate a copy. Any hints are most welcome.

Redeeming Qualities and Moments:

• Countless powerful sequences
  
  
  

Must See?
Yes; this one will haunt you long after it’s over.

Categories

• Historical Relevance
• Oscar Winner or Nominee

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review (SPOILER ALERT!)
• Time Out Capsule Review