Breaking Away (1979)

Breaking Away (1979)

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“He was as normal as pumpkin pie — and now look at him!”

Synopsis:
A small town teenager (Dennis Christopher) obsessed with bicycle racing and Italy hangs out with his buddies — Mike (Dennis Quaid), Cyril (Daniel Stern), and Moocher (Jackie Earle Haley) — while flirting with a beautiful college student (Robyn Douglass) and managing a rocky relationship with his car-salesman dad (Paul Dooley).

Genres, Themes, Actors, and Directors:

  • Class Relations
  • Coming of Age
  • Dennis Christopher Films
  • Dennis Quaid Films
  • Father and Child
  • Noncomformists
  • Peter Yates Films
  • Small Town America
  • Sports

Review:
Peter Yates directed this Oscar-nominated feel-good film (Steve Tesich won for best original screenplay) about class relations, friendship, identity, and father-son dynamics in Bloomington, Indiana. Featuring a memorable lead performance by Christopher as quirky high school grad Dave Stohler:

… whose adventures we get drawn into right away. Dave has huge (if naive) dreams, loyal (if confused) friends, and a frustrated (albeit loving) father who doesn’t hesitate to openly criticize his son.

Although some scenes are played for laughs, everything feels realistic here, from the quarry where the “cutters” (a.k.a. townies) go to swim:

… to the exciting closing bike race at Indiana University.

Barbara Barrie — so memorable many years earlier in One Potato, Two Potato (1964) — earned an Oscar nomination for her performance here as a supportive mother and wife who seems willing to put up with just about anything.

Equally noteworthy are Dennis Quaid, Daniel Stern, and Jackie Earle Haley (each with a highly distinctive personality) as Dave’s close friends; their unwavering support for one another is a refreshing throughline.

Notable Performances, Qualities, and Moments:

  • Dennis Christopher as Dave (nominated by Peary as one of the Best Actors of the Year in Alternate Oscars)
  • Jackie Earle Haley, Dennis Quaid, and Daniel Stern as Dave’s friends
  • Barbara Barrie as Evelyn Stohler
  • Paul Dooley as Ray Stohler
  • Fine location shooting in Bloomington, Indiana

Must See?
Yes, as a unique little film. Listed as a Personal Recommendation in the back of Peary’s book, and nominated as one of the three possible Best Pictures of the Year in Alternate Oscars.

Categories

  • Good Show
  • Oscar Winner or Nominee

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

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Getaway, The (1972)

Getaway, The (1972)

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“We’ve come a lot of miles, but we’re not close to anything.”

Synopsis:
After making a deal with a corrupt parole officer (Ben Johnson) to help release her husband (Steve McQueen) from prison, a woman (Ali MacGraw) joins McQueen in conducting a required payback heist involving a double-crossing felon (Al Lettieri) who is nothing but bad news for all involved.

Genres, Themes, Actors, and Directors:

  • Ali MacGraw Films
  • Criminal Couples on the Run
  • Ex-Cons
  • Fugitives
  • Heists
  • Sam Peckinpah Films
  • Steve McQueen Films

Review:
Just after her star-making turn in Love Story (1970), Ali MacGraw was cast for her bankability as the lead in this heist-adventure flick, directed by Sam Peckinpah and based on a 1958 novel of the same name by Jim Thompson. Thankfully, the role suits her well, and she gives one of her best performances (though she didn’t think so). It’s easy to imagine this woman so in love with McQueen that she will do anything for and with him — and while there are significant plot twists related to what exactly this entails, it feels believable enough to stay engaged.

In addition to following the rocky travails of McQueen and MacGraw’s on-the-lam romance, we’re watching to see what will happen with a rogue henchman (Lettieri) who has captured the attention of a bored doctor’s wife he’s holding hostage (Sally Struthers).

Given that this is a Peckinpah film, viewers can expect plenty of stylized action and violence taking place across a range of settings — including (of course) a bank, a veterinarian’s office, a shady hotel, a train station, an electronics store, and a dump. If it’s hard to believe the characters can escape so many close calls with death, you’ll just have to suspend judgment.

Notable Performances, Qualities, and Moments:

  • Ali MacGraw as Carol McCoy
  • Al Lettieri as Rudy
  • Lucien Ballard’s cinematography
  • Quincy Jones’s score

Must See?
No, but it’s worth a look.

Links:

Barbarosa (1982)

Barbarosa (1982)

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“Find this Barbarosa, and kill him — kill him for me; kill him for yourself; kill him for your family as sworn.”

Synopsis:
After accidentally killing his brother-in-law, a farm boy (Gary Busey) partners with an outlaw named Barbarosa (Willie Nelson) who is living life on the lam from a patriarch (Gilbert Roland) who repeatedly sends out family members to attempt to kill the legendary bandit.

Genres, Themes, Actors, and Directors:

  • Feuds
  • Fred Schepisi Films
  • Friendship
  • Gary Busey Films
  • Outlaws
  • Revenge
  • Westerns
  • Willie Nelson Films

Response to Peary’s Review:
Peary writes that this “fine western has the appropriate feel of a story passed down through many generations so that it has become impossible to distinguish between fact and legend.” He notes that “Australian director Fred Schepisi filmed Texan William D. Witliff’s flavorful script in dusty, rugged land along the Rio Grande”:

… and “it’s in this unfriendly setting that mythical middle-aged outlaw Barbarosa (Willie Nelson) and a common-folk farm boy, Carl (Gary Busey) become dear friends.” It turns out that “Barbarosa has come to be regarded by the Mexican community as a legend, a man who can’t be killed” — and when he’s joined by Busey (who is similarly the target of a family vendetta), these “alienated men become like brothers — or like a wise, teaching father and a learning, respectful son.”

Peary writes that while “the story itself is familiar,” Schepisi manages to make every scene seem offbeat but authentic”:

… and though “the ending is predictable,” it “is still exciting.” He points out that Nelson and Busey are a terrific team: each is funny, full of warmth and honesty, and has a strong screen presence.” I’m essentially in agreement with Peary’s positive review: while this quirky western was a disappointment box office-wise (how could the estimated budget have been $11 million?) it remains worth a look for those interested in the genre.

Notable Performances, Qualities, and Moments:

  • Gary Busey and Willie Nelson as Carl and Barbarosa
  • Fine location shooting (with cinematography by Ian Baker)

Must See?
No, but it’s well worth a one-time viewing.

Links:

Missouri Breaks, The (1976)

Missouri Breaks, The (1976)

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“Why don’t we just take a walk and we’ll just talk about the Wild West and how to get the hell out of it?”

Synopsis:
A rustler (Jack Nicholson) and his men seek revenge against a local rancher (John McLiam) who has hung one of their teammates, but must deal with an eccentric “regulator” (Marlon Brando) sent to take care of them.

Genres, Themes, Actors, and Directors:

  • Arthur Penn Films
  • Frederic Forrest Films
  • Harry Dean Stanton Films
  • Jack Nicholson Films
  • Marlon Brando Films
  • Outlaws
  • Ranchers
  • Randy Quaid Films
  • Westerns

Review:
Titled after “a forlorn and very rugged area of north-central Montana, where over eons, the Missouri River has made countless deep cuts or ‘breaks’ in the land,” this unique western — directed by Arthur Penn — is perhaps best known for Brando’s highly improvised, off-script performance as Robert E. Lee Clayton, a “regulator” (I hadn’t heard that term before) hired to take care of rustlers. Lang Thompson of TCM refers to him as “one of the weirdest characters who ever prowled the Wild West,” noting he “has an Irish brogue, takes baths at the oddest times, recites love poems to his horse, occasionally dresses in drag…, and has a knack for ingenious murders (he commits one with a harpoon in the shape of a crucifix).”



Nicholson is a fine foil for Brando, and is given a lovely, unexpected romance with Braxton’s conflicted daughter (Kathleen Lloyd).

The rest of the supporting cast is excellent as well — including Harry Dean Stanton as Nicholson’s right hand man:

… Katherine Lloyd as Nicholson’s love interest:

… and Frederic Forrest as Cary, who meets an especially undignified death.

While it’s not must-see viewing, it’s well worth a look by western fans or fans of the stars.

Notable Performances, Qualities, and Moments:

  • Strong performances by the cast

  • Many oddly quirky moments
  • Fine period design
  • Michael Butler’s cinematography
  • John Williams’ interesting score

Must See?
No, but it’s definitely worth a look as a unique western. Listed as a Cult Movie in the back of Peary’s book.

Links:

Four Friends (1981)

Four Friends (1981)

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“We’re all gonna do wonderful things — and if anyone disagrees, they can leave.”

Synopsis:
A Yugoslavian-American immigrant (Craig Wasson) berated by his strict father (Miklos Simon) finds solace in lifelong friendship with his high school buddies David (Michael Huddleston), Tom (Jim Metzler), and Georgia (Jodi Thelan).

Genres, Themes, Actors, and Directors:

  • Arthur Penn Films
  • Counterculture
  • Friendship
  • Immigrants and Immigration
  • Lois Smith Films
  • Love Triangle

Response to Peary’s Review:
Peary describes this Arthur Penn-directed flick as a tale of a “young Yugoslavian immigrant” whose “only constants through” the “tumultuous sixties” are “his need for fatherly approval and the mutual love between him and his two high school chums… and the girl all three love.” He notes that “the relationship between the passive guys and the unpredictable girl whom they treat like a queen recalls Jules and Jim:”

… and adds, “In the America we see [here], everyone’s life has epic proportions: hopes and dreams result in bitter disappointment, but sadness and pain are tempered by rewarding friendships; throughout, one’s love for America never dissipates.” (Wasson’s character is obsessed with the national anthem.)

Peary argues that although “Arthur Penn’s film has the makings of a masterpiece” (I disagree), it isn’t: “while it contains many lovely moments and devastating scenes, a few important sequences fail” and “although they are talented, you don’t really care if Wasson and Thelen get together”; he rightfully points out that “Thelen’s characterization is more annoying than captivating.”

Peary ends his review by noting the “excellent” (I disagree) “autobiographical script by Steve Tesich, who won an Oscar for Breaking Away (1979).” He asserts that this flick is “better the second time around” — but I won’t be giving it another whirl.

Unfortunately, this movie is a frustrating disappointment: not only do we not care about the protagonists, but the script is poorly written, inserting new characters and scenarios at random with an assumption we’ll simply understand who they are and how they fit into the arc. We get it that pretty Georgia (whose name we will never, ever forget given that “Georgia On My Mind” is played repeatedly) is bewitching to these three men, who all want a chance to be with her in one way or another — that’s boring, but makes sense as a theme. However, things take a seriously off-kilter turn when Danilo (Wasson) falls in love with the sister (Julia Murray) of his disabled friend Louie (Reed Birney) and visits her palatial home, only to quickly learn that DEEP dysfunction lurks therein.

An ensuing scene of “epic proportions”, featuring Murray and Birney’s father (James Leo Herlihy), seems to belong in another Arthur Penn movie altogether. Poor Lois Smith — in a tiny role as Wasson’s new mother-in-law — has an awkward monologue shortly thereafter:

… at which point we shift to seeing how Wasson, Thelan, Huddleston, and Metzler make their way through the remaining years of counter-cultural unrest (Metzler goes to Vietnam) and experimentation (Thelan becomes a hippie-ish single mom, marrying Huddleston while pregnant with Metzler’s baby, and roaming on her own through some kind of punk concert at one point). Meanwhile, the ongoing topic of Danilo seeking approval from his abusive immigrant father:

… instantly hearkens back to the similar narrative thread in Tesich’s much better Breaking Away, which it seems was his one-hit wonder. While boasting impressive directorial credentials, this one isn’t must-see except for diehard Penn fans.

Notable Performances, Qualities, and Moments:

  • Ghislain Cloquet’s cinematography

Must See?
Nope; you can safely skip this one.

Links:

Coffy (1973)

Coffy (1973)

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“Her whole life is gone. She can never get it back, and you’re living real good; that ain’t right.”

Synopsis:
A Black nurse (Pam Grier) seeks revenge on all the corrupt men whose actions and greed have led to her little sister’s drug addiction.

Genres, Themes, Actors, and Directors:

  • African-Americans
  • Alcoholism and Drug Addiction
  • Doctors and Nurses
  • Drug Dealers
  • Mistaken or Hidden Identities
  • Pam Grier Films
  • Revenge
  • Strong Females
  • Vigilantes

Review:
Jack Hill directed this hugely successful Blaxploitation film which offered Pam Grier her breakthrough role (to be followed by several other titles which I’ll be reviewing soon). As Coffy opens, we think we may simply be watching a straightforward tale of drugs and vice in the hood, as a drug dealer (Morris Buchanan) takes the presumably dope-sick Coffy (Grier) home:

… expecting sex in exchange for drugs, only to be killed off by Coffy in a furious rage.

From there, we see Coffy attempting to do her official work at a hospital, but being too traumatized to focus:

… given she is deeply concerned about her sister, who is in a rehab center for drug use.

Throughout the remainder of the film, we see Greer inhabiting a variety of clever guises to continue her vengeance. She visits a scarred prostitute (Carol Lawson):

… and uses violence to convince her to share details of where notorious pimp King George (Robert DoQui) hides his drug stash, then easily infiltrates George’s stallion as a new hire:

… though she’s instantly disliked by George’s top girl (Linda Haynes). Coffy is soon kidnapped by a sociopathic john (Allan Arbus) who’s taken a liking to her:

… and the jam-packed plot continues to thicken, including more revealed about the aspiring politician (Booker Bradshaw) Coffy is in love with.

In its low-budget, high-sensation way, Coffy effectively conveys the complexities of corrupt systems in which everyone is out for themselves, and innocent participants will most definitely be sacrificed; in a world like this, it’s obvious that we need dedicated, savvy vigilantes just like Coffy.

Notable Performances, Qualities, and Moments:

  • Pam Grier as Coffy

Must See?
Yes, for Grier’s performance and for the film’s historical relevance.

Categories

  • Cult Movie
  • Historically Relevant
  • Noteworthy Performance

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Big Brawl, The / Battle Creek Brawl (1980)

Big Brawl, The / Battle Creek Brawl (1980)

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“That kid don’t fight right. He fights foreign.”

Synopsis:
In 1930 Chicago, the son (Jackie Chan) of a Chinese-American grocer (Chao Li Chi) who is being menaced by thugs promises to fight in a Texas battle on behalf of the local crime lord (Jose Ferrer), in exchange for his family’s lifelong protection from harrassment.

Genres, Themes, Actors, and Directors:

  • Asian-Americans
  • Boxing
  • Historical Drama
  • Jose Ferrer Films
  • Martial Arts

Review:
This film — directed by Robert Crouse, who helmed Enter the Dragon (1973) and Black Belt Jones (1974) — was similarly meant to bring American fame and success to its star, Jackie Chan, who had been acting in his native Hong Kong since the 1960s. Unfortunately, that didn’t happen, and it took 15 more years — when Rumble in the Bronx (1995) was released and became a cult favorite — for American audiences to take to Chan. I haven’t seen Rumble… or any other Jackie Chan movies (yet), but after researching a bit, I discovered that the only movies Peary was likely to have seen for possible inclusion in GFTFF were this and one other title. According to Wikipedia:

By the mid-1990s, [Chan] was the most popular action movie star in Asia and Europe. Up until January 1995, his films had grossed over HK$500 million (US$70 million) in Hong Kong and ¥39 billion (US$415 million) in Japan, while having sold over 33 million box office admissions in France, Germany, Italy and Spain up until then. Despite his international success, he was not very successful in North America, where he had only two wide releases as a leading actor, The Big Brawl and The Protector.

Film fanatics of today — living in the 2020s with access to nearly everything — have so much more to choose from, and clearly, we all should see at least one Jackie Chan movie (though which one, I’m still not positive).

Regarding this earlier film, Chan acquits himself masterfully, and it’s actually a little puzzling as to why it didn’t have more of an impact at the time. The comparisons with Bruce Lee are obvious, but he also possesses a clown-like quality that is quite endearing. It’s also refreshing to see him in an inter-racial relationship with Kristine DeBell, who is his number one fan and supporter:

… in addition to his uncle (Mako), who is his trainer. From Chan’s initial acrobatics high up above the city in some scaffolding:

… to his first fight in an alley outside his father’s shop (when he alternates between offensive moves and pretending to be hurt):

… to seeing him training for ultimate dexterity with his uncle:

… it’s incredibly clear how much talent and stamina this man has. Meanwhile, his participation in a lengthy roller skate obstacle race (which also involves landing on mattresses and being hosed down by fierce water spigots):

… had me wondering anew about the infinite creativity of competitive money-making ventures during the Depression (though who knows how realistic this is). The culminating fight sequence on the streets of Texas is also noteworthy for its carnival-like atmosphere and some genuine tension between Chan and his much bulkier competitors.

Note: The film is clearly set precisely in 1930, given that we see a movie poster for Morocco (1930) on the theater Chan enters into near the end.

Notable Performances, Qualities, and Moments:

  • Jackie Chan’s incredible moves
  • Jose Ferrer as Dominici
  • Lalo Schifrin’s score

Must See?
No, but it’s worth a look for its historical significance as Chan’s first American leading role.

Links:

Black Belt Jones (1974)

Black Belt Jones (1974)

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“Let’s fix his cavities.”

Synopsis:
A Black martial arts expert (Jim Kelly) partners with the daughter (Gloria Hendry) of a slain studio owner (Scatman Crothers) in confronting the Mafia bosses and gangsters who killed him.

Genres, Themes, Actors, and Directors:

  • African-Americans
  • Gangsters
  • Martial Arts

Review:
After directing Jim Kelly in a supporting role for Enter the Dragon (1973), Richard Strouse helmed this combination Blaxploitation-kung fu flick specifically designed to bank on both markets. It’s effectively filmed, and offers up exactly what it promises:

… albeit it with far too many punches to the groin (though I’m guessing audiences were fine with that). The entire affair ends with a massive fight-out in a car wash, leading to very sudsy adversaries.

Gloria Hendry — perhaps best known to film fanatics for her role in Live and Let Die (1973) — is a fine and feisty female companion for Kelly, who doesn’t seem to exude much on-screen charisma other than through his fighting. See below for my favorite scene between the two of them (involving a request to do the dishes).

Notable Performances, Qualities, and Moments:

  • Good use of location shooting in Los Angeles

  • Best response EVER by a woman to a man telling her: “Just do those dishes or something.”

Must See?
No, but it’s worth a one-time look as a solid example of Blaxploitation mixed with “kung fu”.

Links:

Chinese Connection, The / Fist of Fury (1972)

Chinese Connection, The / Fist of Fury (1972)

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“Have you forgotten what Teacher always said? Think of the school, not of yourself.”

Synopsis:
In 1908 Shanghai, a Chinese martial artist (Bruce Lee) takes swift revenge against Japanese imperialists who have killed his instructor.

Genres, Themes, Actors, and Directors:

  • Bruce Lee Films
  • Chinese, Hong Kong, and Taiwanese Films
  • Martial Arts
  • Race Relations and Racism
  • Revenge

Response to Peary’s Review:
Peary writes that “if the Bruce Lee from this film had investigated Lee’s own mysterious death, then we might know how he really died.” (Update: A recent article shares a new hypothesis that Lee died from hyponatraemia through ingesting too much water.) In his brief review, Peary outlines the simple plot of this film — including the fact that in part by “employing a series of disguises, [Lee] is a one-man annihilation squad.”

Peary adds that while the “film has awful dubbing”, “who cares?” given that “there is non-stop action, and watching the remarkable Lee in beautifully choreographed fight sequences (that make intelligent use of close-ups and slow motion) is a unique, exhilarating experience. As always, he is graceful, athletic, charismatic, and in control” while also displaying true “ferocity and anger during his fights” against the “bigoted Japanese.”

In terms of this film’s title, according to Wikipedia:

Fist of Fury was accidentally released in the U.S. under the title The Chinese Connection. That title was a means of tapping the popularity of another film, The French Connection (starring Gene Hackman), released in the U.S. in 1971. That title was intended to be used for the U.S. release of another Bruce Lee film, The Big Boss, which also involved drug smuggling. However, the U.S. titles for Fist of Fury and The Big Boss were accidentally switched, resulting in Fist of Fury being released in the U.S. under the title The Chinese Connection until 2005, while The Big Boss was released as Fists of Fury.

(Whew!)

Thank you, Wikipedia! The titles of these ’70s kung fu flicks is undeniably confusing, but fans always rally to the cause.

Note: The film’s final shot seems unambiguously inspired by the last shot in Butch Cassidy and the Sundance Kid (1969) (though who knows).

Notable Performances, Qualities, and Moments:

  • Excellent fight choreography
  • Awesome use of nunchucks (Lee’s first on film)
  • Lee smashing a racist sign saying “No Dogs No Chinese”

Must See?
No, but it’s recommended if you’re at all interested in Bruce Lee.

Links:

Chase, The (1966)

Chase, The (1966)

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“He’s our son: no matter what happens, he’s our son.”

Synopsis:
A fugitive (Robert Redford) wrongly accused of murder tries to make his way back home to either his parents (Miriam Hopkins and Malcolm Atterbury) or his wife (Jane Fonda), who still loves him but has continued her affair with the married son (James Fox) of the town’s bigwig businessman (E.G. Marshall). The local sheriff (Marlon Brando) — with support from his wife (Angie Dickinson) — tries to find Redford in a lawful manner; but when other townspeople learn about his supposedly murderous act, chaos quickly ensues.

Genres, Themes, Actors, and Directors:

  • Angie Dickinson Films
  • Arthur Penn Films
  • Ensemble Cast
  • Fugitives
  • James Fox Films
  • Jane Fonda Films
  • Janice Rule Films
  • Marlon Brando Films
  • Miriam Hopkins Films
  • Race Relations and Racism
  • Robert Duvall Films
  • Robert Redford Films
  • Sheriffs and Marshals
  • Small Town America
  • Vigilantes

Response to Peary’s Review:
Peary writes that “the decline and fall of American society is the theme of Arthur Penn’s cynical cult film, which is probably why it’s more popular in Europe than in America” (I’m curious if this remains true). Peary points out that this film was “unevenly adapted by Lillian Hellman from Horton Foote’s novel and play,” telling an overly ambitious story “set in a small Texan town” where “characters… are meant to represent every segment of a sick society” — and while “many are believable,” there are also “many caricatures spouting cliches.”

Among the motley cast we see “lawmen, lawbreakers, escaped prisoners; whites and blacks; rich, middle-class, and poor; faithful and unfaithful women; old people and youths (who have learned decadence and violence from the adults in town); [and] the decent and the corrupted.”


Peary points out that the “picture starts out… slowly,” with “three dull parties going on simultaneously, meant to show how the town is divided according to wealth and age.”



(Actually, the first party doesn’t begin until 36 minutes in, and the next two at around 50 minutes.) However, he asserts that the picture “becomes extremely exciting as the violence escalates scene by scene.” He points out as “truly powerful” (not to mention notoriously violent) the “scene in which Brando is beaten up by three ‘citizens’;” his bloodied face reminds one instantly of Terry Malloy in On the Waterfront (1954).

Peary notes that the “picture has strong characters and many interesting relationships, including that between Redford, Fonda, and… Fox”:

… and he points out that among the vast cast are “Angie Dickinson (who’s at her best as Brando’s wife)”:

… “E.G. Marshall (as Fox’s father, the rich man who runs the town)”:

… and “Miriam Hopkins (as Redford’s batty, stingy mother.”

Unfortunately, there is simply too much going on in this overcooked film, which was handled by too many screenwriters (neither Hellman nor Foote were happy), and purportedly didn’t reflect Penn’s vision, either (he wasn’t involved in editing at all, given producer Sal Spiegel’s heavy-handed approach). A subplot about a Black man (Joel Fluellen) being threatened and then imprisoned for his own safety is barely given any attention:

… instead simply adding to the overall tapestry of the town. By the end, when literal flames have erupted (thanks to reckless townsfolk), we appropriately despair for the state of humanity as reflected here.

Note: Interested viewers can read more about this movie in chapter 2 of Fiasco: A History of Hollywood’s Iconic Flops (2006) by James R. Parish, available through the Internet Archive. Yay for open access! For the record, other GFTFF-listed titles discussed in this book (which I have yet to read in full) include Cleopatra (1963), Popeye (1980), and The Cotton Club (1984).

Notable Performances, Qualities, and Moments:

  • Marlon Brando as Sheriff Calder
  • Angie Dickinson as Ruby Calder
  • Robert Duvall as Edwin Stewart
  • Joseph LaShelle’s Panavision cinematography

Must See?
No, but it’s definitely worth a one-time look.

Links: