While the City Sleeps (1956)

While the City Sleeps (1956)

“The man who gets the killer lands the job.”

Synopsis:
When media magnate Amos Kyne (Robert Warwick) dies, his spoiled son and heir (Vincent Price) offers to promote whichever one of three ambitious newspaper men — George Sanders, Thomas Mitchell, or James Craig — can break a story about a recent rash of murders sweeping the city. Meanwhile, tippling journalist Ed Mobley (Dana Andrews) helps his friend Griffith (Mitchell) try to solve the case, while simultaneously trying to convince his no-nonsense girlfriend (Sally Forrest) to marry him; Kritzer (Craig) is having an affair with Price’s leggy wife (Rhonda Fleming); Loving (Sanders) asks his co-worker and paramour Mildred (Ida Lupino) to help him rise to the top; and the psychotic murderer (John Barrymore, Jr.) keeps killing young women in their apartments.

Genres, Themes, Actors, and Directors:

  • Dana Andrews Films
  • Fritz Lang Films
  • George Sanders Films
  • Ida Lupino Films
  • Journalists
  • Murder Mystery
  • Serial Killers
  • Rivalry
  • Thomas Mitchell Films
  • Vincent Price Films

Response to Peary’s Review:
Peary refers to this all-star melodrama — Fritz Lang’s final American film, and purportedly a personal favorite — as “silly but diverting”, which just about sums it up. There isn’t much substance to the tale — essentially a trussed up sex soaper with a serial-killer search as a backdrop (Peary argues “the simple case should take about one minute to solve”) — but it’s enjoyable watching cinematic favorites such as Vincent Price:

Ida Lupino, George Sanders:

… Dana Andrews (constantly drinking, as in real life):

… Thomas Mitchell:

… and others working together in one flick. Also of interest is John Barrymore, Jr. (Drew’s troubled dad) in what was perhaps his best-known minor role, playing a whacked-out Mama’s-boy killer in black leather gloves — he’s no great actor, but very convincing in the part.

Note: Peary adds that this “film has [the] distinction of having [the] most alcohol consumed by characters since The Lost Weekend” — and while I doubt a formal tally has been done, I’ll admit to noticing glasses in hand time and again while perusing the film for stills.

Redeeming Qualities and Moments:

  • The all-star ensemble cast

  • John Barrymore, Jr. (Drew’s father!) as the Lipstick Killer

Must See?
No, but it’s recommended for one-time viewing.

Links:

Trog (1970)

Trog (1970)

[Note: The following review is of a non-Peary title; click here to read more.]

“I have to see it! Malcolm, I must go into that cave before the police!”

Synopsis:
An anthropologist (Joan Crawford) discovers a “missing link” troglodyte (Joe Cornelius) living deep inside a cave, and tries her best to humanize him. Meanwhile, her efforts are sabotaged by an evil land developer (Michael Gough) who wants nothing more than to obliterate Trog.

Genres, Themes, Actors, and Directors:

  • Joan Crawford Films
  • Primates
  • Science Fiction
  • Scientists

Review:
While Peary lists Berserk! (1967) — Joan Crawford’s tepid next-to-last picture — in the back of his book as “must see”, for some reason he fails to include its infinitely more notorious counterpart, Trog: a film so hideous it purportedly sent Joan herself scurrying away from Hollywood for good. (“If I weren’t a Christian Scientist, and I saw Trog advertised on a marquee across the street, I think I’d contemplate suicide”, she declared.) Indeed, Trog is one of the ultimate “bad movies” — a film so bad it’s campily good, with a nonsensical “scientific” basis, awful low-budget effects, and a cliched storyline. It’s Joan’s game participation which makes it worth a look: as always, she’s a consummately earnest and classy actress, voicing her lines like she’s in a high-brow melodrama rather than a Z-grade primate flick. Seeing her interact with Trog is priceless, and makes up for the rest of this truly lousy pic.

Note: Joan’s performance in Trog is so beloved that San Francisco’s LGBT Theatre Rhino produced a theatrical parody of the film back in 2006.

Redeeming Qualities and Moments:

  • It’s all about Joan, giving it her damndest


  • Laughably awful special effects and make-up
  • Hilariously cliched dialogue (especially as voiced by Joan):

    “Malcolm, get me my hypo-gun — quickly!”

Must See?
Yes, simply to see Joan Crawford in her final flick.

Categories

  • Historically Relevant

Links:

Ballad of Cable Hogue, The (1970)

Ballad of Cable Hogue, The (1970)

“In all the long, wrought out, back-breakin’, kidney-shakin’, bladder-bustin’ miles from here to Lizard, there’s not one spot of wet relief for man or beast.”

Synopsis:
When robbed and left to die in the desert, an illiterate wanderer (Jason Robards) stumbles upon a spring which he proceeds to turn into a profitable way-station. Meanwhile, he falls for a feisty prostitute (Stella Stevens), receives assistance from a con-artist “preacher” (David Warner), and hopes to seek revenge on the men who abandoned him.

Genres, Themes, Actors, and Directors:

  • Comedy
  • David Warner Films
  • Deserts
  • Get Rich Quick
  • Jason Robards Films
  • Prostitutes
  • Sam Peckinpah Films
  • Settlers
  • Stella Stevens Films
  • Westerns

Response to Peary’s Review:
Peary argues that this “simple, bawdy, lyrical film is one of [Sam] Peckinpah’s best” — but I disagree. While Robards is indeed “wonderful” (he alone makes the film worth watching), the story itself leaves much to be desired: after an inspired first half-hour or so — in which Hogue stakes his claim in town, and eyes a busty wench (Stevens) with hilariously unmitigated lust — the narrative devolves into slapstick, and it’s all downhill from there. Warner’s participation in Hogue’s venture is never clearly explained (his smooth-talking attempts to bed married women are irritating, not funny), and Stevens — while undeniably sexy (it’s easy to see why men would go gaga over her) — quickly loses sympathy the first time she throws a conniption fit; this is NOT how a slick business woman would react. Peckinpah’s use of both dated cinematic techniques (including sped-up running) and cloying flower-children songs throughout the soundtrack make matters worse. Jason Robards is really the only reason to sit through this disappointing sleeper.

Redeeming Qualities and Moments:

  • Jason Robards as Cable Hogue
  • Lucien Ballard’s fine cinematography

Must See?
No, but it’s worth a look simply for Robards’ winning performance.

Links:

Auntie Mame (1958)

Auntie Mame (1958)

[Note: The following review is of a non-Guide for the Film Fanatic title; click here to read more.]

“Life is a banquet — and most poor suckers are starving to death!”

Synopsis:
When a young orphan named Patrick (Jan Handzlik) goes to live with his eccentric Aunt Mame (Rosalind Russell) in New York, the executor (Fred Clark) of his deceased father’s estate worries that Patrick will be subjected to “unhealthy” influences — but Patrick grows into an upstanding young man (Roger Smith) with a mind of his own, eventually deciding to marry a stuffy socialite (Joanna Barnes) who’s radically different from free-spirited Mame.

Genres, Themes, Actors, and Directors:

  • Character Studies
  • Comedy
  • Non-Conformists
  • Orphans
  • Play Adaptation
  • Raising Children
  • Rosalind Russell Films

Review:
This Oscar-nominated adaptation of Jerome Lawrence’s play (based on Patrick Dennis’ bestselling novel) is conspicuously missing from Peary’s book. Despite its flaws — it was nowhere close to being one of the best films of the year — it nonetheless holds a special place in film fanatic history, given that Rosalind Russell (who originated the title role on Broadway) is the definitive Mame. While Oscar-nominated Peggy Cass as Agnes Gooch is (to me) less impressive, and Yuki Shimoda’s turn as Ito the butler is painful to watch, others — including Coral Browne as Mame’s lifelong acting friend, Jan Handzlik as young Patrick, and Forrest Tucker as a wealthy southerner who falls head over heels for Mame during the Depression — do a fine job bringing the heart-warming story to life. Some portions of the 2-hour-plus episodic narrative are, inevitably, better than others (the entire Deep South sequence, for instance, could easily have been omitted), but the structure is perfectly suited to Mame’s live-each-day-as-it-comes philosophy, and there are countless laugh-out-loud moments. Indeed, it’s hard not to be amused by Mame’s reactions to the inexplicable stuffiness of most folks — we could all use a bit of her world-view.

Redeeming Qualities and Moments:

  • Rosalind Russell as Mame
  • Mame enduring a visit with Patrick’s obnoxious in-laws-to-be
  • The cool kaleidoscopic opening titles

Must See?
Yes, simply for Russell’s noteworthy, historically relevant performance as Mame.

Categories

  • Noteworthy Performance(s)
  • Oscar Winner or Nominee

Links:

Dr. Jekyll and Mr. Hyde (1920)

Dr. Jekyll and Mr. Hyde (1920)

“A man cannot destroy the savage in him by denying it; the only way to get rid of a temptation is to yield to it.”

Synopsis:
In Victorian England, philanthropic Dr. Jekyll (John Barrymore) experiments with a drug which changes him into the vile, hedonistic “Mr. Hyde” — but he soon finds himself unable to control his transformations, thus putting his own life in danger.

Genres:

  • John Barrymore Films
  • Mad Doctors and Scientists
  • Multiple Personalities
  • Silent Films

Review:
This early silent version of Robert Louis Stevenson’s classic novella The Strange Case of Dr. Jekyll and Mr. Hyde is regarded by many as one of the best. Unfortunately, John Barrymore’s flamboyant performance in the title role(s) is overly melodramatic, and his transformation from Dr. Jekyll to Mr. Hyde is more campy than frightening; at least he seems to be having a field day playing the nefarious Mr. Hyde — assisted by creepy make-up and prosthetics, he truly does come across as evil nature incarnate. Also of note is the brief appearance of Nita Naldi — the “female Valentino” — as a dance hall singer who turns on Dr. Jekyll’s lust; her initial outfits are shockingly risque.

Redeeming Qualities and Moments:

  • A well-told, archetypal tale of good versus evil
  • Nita Naldi as the sexy singer who first tempts Dr. Jekyll’s “baser” nature
  • Effectively freaky make-up on “Mr. Hyde”
  • Artistic intertitle cards

Must See?
Yes, simply for its historical significance.

Categories

  • Historically Relevant

Links:

Lodger, The (1927)

Lodger, The (1927)

“He’s killed another fair girl.”

Synopsis:
Whilst a serial killer known as “The Avenger” is murdering blonde women throughout London, a mysterious lodger (Ivor Novello) arrives at the home of landlords Marie Ault and Arthur Chesney and their grown daughter Daisy (June Tripp). Novello falls for Daisy, but her jealous boyfriend (Malcolm Keen) — a police detective — is convinced that Novello may be The Avenger, and begins to investigate the case.

Genres, Themes, Actors, and Directors:

  • Hitchcock Films
  • Jack the Ripper
  • Love Triangle
  • Murder Mystery
  • Serial Killers

Review:
Despite having helmed at least two earlier movies (1925’s The Pleasure Garden and 1926’s now-lost The Mountain Eagle), Alfred Hitchcock considered The Lodger — based on Marie Belloc Lowndes’ Jack the Ripper-inspired novel — to be his “true” directorial debut. While it possesses many elements of Hitch’s soon-to-be-signature style, however, it suffers from overly broad acting (Novello was a matinee idol, not a thespian) and terribly slow pacing. Like John Brahm’s 1944 remake (starring Laird Cregar), it’s both highly atmospheric and visually inspired (see stills below) — but also narratively flawed, given that there aren’t really any other suspects in sight. The Lodger only remains must-see viewing due to its status as an early outing by Hitchcock, and as a precursor to Brahm’s superior version.

Redeeming Qualities and Moments:

  • A reasonably suspenseful tale of murder and romance
  • Some cleverly framed shots
  • Atmospheric cinematography

Must See?
Yes, but only for its significance as one of Hitchcock’s earliest signature works. Listed as a film with historical importance and a Personal Recommendation in the back of Peary’s book.

Categories

  • Historically Relevant
  • Important Director

Links:

Myra Breckinridge (1970)

Myra Breckinridge (1970)

“All men have a lot to learn… I’ve taken it upon myself to teach you.”

Synopsis:
After Myron Breckenridge (Rex Reed) undergoes a sex change operation and becomes Myra (Raquel Welch), she visits an acting school owned by her uncle Buck (John Huston), pretending to be the “deceased” Myron’s widow in order to receive half of his estate. Meanwhile, Myra plots “the destruction of the American male in all its particulars” by blackmailing a studly young acting student (Roger Herren) and sending him into the clutches of aging casting director Leticia Van Allen (Mae West).

Genres, Themes, Actors, and Directors:

  • Actors and Actresses
  • Black Comedy
  • Gender Bending
  • John Carradine Films
  • Mistaken or Hidden Identities
  • Raquel Welch Films
  • Revenge

Review:
A notorious turkey from the moment it went into production, this big-budget adaptation of Gore Vidal’s satirical novel is, as noted in Toxic Universe’s review, both “hypnotically awful” and “audaciously dreadful”. British writer/director/performer Michael Sarne — whose debut film was the quirky Joanna (1968), starring Genevieve Waite — was recruited to helm the pic, but immediately clashed with both producers and stars about how to proceed; the result is a hyper-surreal pastiche which won’t make much sense to those who haven’t first read Vidal’s novel.

With that said — since I have read the novel, fairly recently — I must say I was pleasantly surprised by Breckinridge; it may be over-the-top, but it’s never boring, and Sarne’s post-modern insertion of vintage film clips at key moments (he was sued over several of his selections) is inspired. Welch — dressed in a series of fun 40’s-era outfits, including hats — almost seems to be channeling the spirit of Joan Crawford in her bitchily determined attitude, and John Huston at the very least seems to be having fun. Film critic Rex Reed (a non-actor) is the worst of the bunch, but doesn’t damage the proceedings too badly.

What really elevates this flick to must-see status, however, is the presence of aging diva Mae West as a horny septuagenarian casting director with a foul mouth and a surprising amount of sexual allure — ya’d think she’d come across like simply a parody of herself, but she’s remarkably well-preserved, and so sincere in her efforts to carry the show (complete with a “show-stopping” musical number) that one can’t help enjoying her efforts. See below for just one of her hilarious quips, which had me laughing out loud again and again.

Note: Myra Breckenridge was voted one of the “fifty worst films of all time” by the Medved brothers in their 1978 book.

Redeeming Qualities and Moments:

  • 73-year-old Mae West as Leticia Van Allen
  • Raquel Welch as Myra
  • John Huston as Uncle Buck
  • Leticia singing “Hard to Handle” while surrounded by a bevy of African-American male dancers
  • Theodora Van Runkle’s ’40s-inspired costumes
  • Inspired use of vintage film clips
  • A harsh skewering of gender norms
  • Effectively stylized sets and visuals
  • Mae West drawling countless hilarious lines:

    Leticia Van Allen: How tall are you without your horse?
    Aspiring Male Star: Well, ma’am, I’m six feet seven inches.
    Leticia Van Allen: Well, never mind about the six feet — let’s talk about the seven inches.

Must See?
Yes, for its notoriety as a camp classic.

Categories

  • Cult Movie
  • Historically Relevant

Links:

Boucher, Le / Butcher, The (1970)

Boucher, Le / Butcher, The (1970)

[Note: The following review is of a non-Guide for the Film Fanatic title; click here to read more.]

“I’ve seen a corpse or two — their heads in the wind, cut in half, mouth open.”

Synopsis:
In a small French town, a worldly schoolteacher (Stephane Audran) meets a recently returned veteran (Jean Yanne) at a wedding, and the two quickly become friends. Although Audran resists anything more than platonic love, Yanne longs for romance; meanwhile, mysterious murders shake the town, and Audran starts to suspect her friend.

Genres, Themes, Actors, and Directors:

  • Claude Chabrol Films
  • French Films
  • Serial Killers
  • Teachers
  • Veterans

Review:
Peary is clearly a fan of French director Claude Chabrol, given that he lists most of his titles as “Personal Recommendations”; thus, it’s strange that he neglected to include this well-received pseudo-Hitchcockian murder mystery in his book. The Butcher stars Chabrol’s (then) wife and frequent leading lady, Stephane Audran, in one of her most affecting roles as a love-weary teacher who clearly enjoys the company of her new male friend (her soul mate?), but resists anything more than platonic companionship; Jean Yanne is equally impressive as “the butcher”, a troubled veteran who Audran desperately hopes is not responsible for the recent rash of bloody murders plaguing the town. While I’m not particularly enamored by Chabrol’s sensibility (none of his films are titles I’d return to on a repeat basis), The Butcher is memorable enough to recommend as must-see viewing for any serious film fanatic.

Redeeming Qualities and Moments:

  • Stephane Audran as Mlle. Helene
  • Jean Yanne as Popaul the Butcher
  • Effective use of provincial French locales near the Lascaux Caves
  • The “cherry scene”
  • The creepy “blood sandwich” scene

Must See?
Yes, as one of Chabrol’s signature films.

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

Categories

  • Important Director

Links:

Harriet Craig (1950)

Harriet Craig (1950)

“No man’s born ready for marriage; he has to be trained.”

Synopsis:
Domineering housewife Harriet Craig (Joan Crawford) lies to her unsuspecting husband (Wendell Corey) and treats her faithful cousin Celia (K.T. Stevens) like a personal secretary; but when Harriet interferes with her husband’s chance for promotion — and Celia’s chance for marriage with a well-meaning suitor (William Bishop) — she’s finally called on her lies and manipulating tactics.

Genres, Themes, Actors, and Directors:

  • Character Studies
  • Henpecked Husbands
  • Housewives
  • Joan Crawford Films
  • Play Adaptations
  • Wendell Corey Films

Review:
Harriet Craig is the third cinematic adaptation of George Kelly’s 1925 stage play Craig’s Wife — filmed first in 1928 by William C. de Mille, and then in 1936 by Dorothy Arzner — and is one of many vehicles in which Crawford essentially plays a version of herself. In this case, she’s a neurotic, manipulative woman who uses others for her own needs, and cares more about maintaining a perfect house than promoting the happiness of its inhabitants (anyone who’s read Christina Crawford’s memoir Mommie Dearest, or seen the movie version, will immediately recognize shades of Joan in Harriet). The story itself, unfortunately, is less convincing: while it’s hinted that Harriet’s sway over her husband (Corey is perfectly cast) is primarily sexual, it’s still tough to imagine that he would remain deluded about her pathological tendencies for so many years; and his shift from adoration to contempt is far too sudden. Similarly, Celia’s blind devotion to Harriet — despite whatever favors Harriet did for her years earlier — beggars belief; and Harriet’s desire for status and wealth is at odds with how desperately she tries to prevent her husband’s promotion. Despite its narrative flaws, however, Harriet Craig remains worth a look simply for its status as a prototypical Crawford flick.

Note: A more apt title for the film would perhaps be Harriet’s House — indeed, the house itself is a central character.

Redeeming Qualities and Moments:

  • Joan Crawford as Harriet (check out the flame lapels)
  • Wendell Corey as Walter
  • Allyn Joslyn as Walter’s friend Billy
  • A disturbing portrait of a housewife whose need for control jeopardizes her marriage

Must See?
No, but it’s certainly worth a look.

Links:

Undertaker and His Pals, The (1966)

Undertaker and His Pals, The (1966)

“Remember: we specifically agreed that I could bury doc’s mistakes!”

Synopsis:
Detective Harry Glass (James Westmoreland) investigates a rash of violent murders committed by a trio of motorcycle-riding thugs; soon he learns that a greedy undertaker (Ray Dannis) and his two restaurant-owning friends are behind the gruesome killings — and that the female corpses are being served as Specials of the Day.

Genres, Themes, Actors, and Directors:

  • Black Comedy
  • Cannibalism
  • Horror
  • Mad Doctors and Scientists
  • Serial Killers

Review:
At just a little over an hour, this trashy gore-fest (reminiscent of both Herschell Gordon Lewis and Ted Mikels’ work) is surprisingly easy to handle — which is not to say that it’s very good. No, the acting, special effects, and storyline are just as sub-par as one would expect, and there are far too many awful slapstick sequences inserted for no good reason at all; yet the tongue of director T.L.P. Swicegood (pseudonym, anyone?!) seems firmly in cheek, and each scene — even bloody slaughters of nubile young women — is bathed in a glow of humorous unreality. Perhaps I’m being overly generous, but this one’s not quite as bad as you would think.

Redeeming Qualities and Moments:

  • Colorful low-budget sets
  • The amusing closing sequence, in which every character who’s died comes back to life
  • Plenty of tongue-in-cheek, twisted humor — as when a photo of a sailor keeps changing expressions during his girlfriend’s bloody murder

Must See?
No, but any fans of trash cinema will certainly want to check it out.

Links: