FilmFanatic.org

Synopsis:
Blonde gunslinger Bonnie Parker (Dorothy Provine) goes on a shooting spree across the nation with her boyfriend, Guy Darrow (Jack Hogan).

Genres, Themes, Actors, and Directors:

• Biopics
• Criminal Couples On the Run
• Fugitives
• Heists
• Strong Females

Review:
AIP’s exploitation flick about notorious fugitive Bonnie Parker features one of the strongest females in 1950s cinema. As portrayed by voluptuous Dorothy Provine, Parker is a beautiful woman who, tired of being let down by the men who desire her, discovers the addictive power of guns, and doesn’t stop shooting until her rounds (and her luck) are finally exhausted.

She’s smart, sassy, and single-minded — a “cigar smoking hellcat”, according to the movie’s tagline. While the movie doesn’t strive for authenticity or accuracy — its characters dress in modern garb despite the 1930s setting, for instance — it’s nonetheless a surprisingly fun ride while it lasts.

Redeeming Qualities and Moments:

• Dorothy Provine’s strong, sexy performance as Parker
  
• Plenty of zingy one-liners and retorts, as when Bonnie states drolly:

  “I didn’t lose my nerve; I know right where I left it.”

Must See?
Yes. This little-seen precursor to Arthur Penn’s highly acclaimed Bonnie and Clyde (1969) remains an effective B-budget biopic.

Categories

• Historically Relevant
• Noteworthy Performance(s)

Links:

• IMDb entry
• DVD Reviewer

Synopsis:
The mother (Nancy Kelly) of a psychopathic child (Patty McCormack) is horrified to learn that her daughter feels no remorse about having killed her classmate.

Genres, Themes, Actors, and Directors:

• Evil Kids
• Mervyn LeRoy Films
• Play Adaptations
• Psychological Horror
• Psychopaths

Review:
Although it’s undeniably campy and somewhat dated, The Bad Seed maintains its status as the most notorious movie ever made about “evil children”, and thus holds a special place in cinematic history. Moviegoers may be inured to watching cold-blooded murders committed by hardened criminals, but it’s something different altogether to contemplate them carried out blithely by a young girl (not a teen) in blonde pigtails and a pinafore — someone who is deeply loved by her family, and given every possible privilege. It is this disparity which remains the primary seduction of the controversial story (originally a novel, then a hit Broadway play), about the unpredictably hideous effects of heredity.

When I first watched The Bad Seed years ago, I remember being deeply disturbed by the character of Rhoda, and unable to reconcile her spooky amorality with my rather idealized notion of childhood. Watching it again recently, however, I was primarily affected by the film’s true protagonist: not Rhoda, but her mother, a sympathetic character struggling to come to terms with what is essentially an impossible truth about her child. While many find Nancy Kelly’s performance to be campy and overblown, I was genuinely moved by her dilemma.

It’s impossible to review The Bad Seed without briefly discussing Patty McCormack, who pioneered the title role on Broadway before immortalizing it in celluloid. While her performance is uneven — she uses too many broad facial expressions which are more appropriate for the stage than cinematic close-ups — she nonetheless has a strong presence on-screen, and shows far more talent than we’ve come to expect from most child actors. Her portrayal as Rhoda is not easily forgotten, and will most likely remain this character’s definitive incarnation.

Redeeming Qualities and Moments:

• Patty McCormack’s impressive (albeit unevenly directed) performance as pigtailed Rhoda
  
• Nancy Kelly’s heartbreaking portrayal as Rhoda’s distraught, conflicted mother
  
• Eileen Heckart as an alcoholic mother mourning for her dead son
  
• A marvelous skewering of the “ideal” 1950s family life
  
• Some highly memorable, ultra-campy lines:
  

  “What would you give me for a basket of kisses?” “A basket of hugs!”

Must See?
Yes. This camp classic should be seen at least once by all film fanatics.

Categories

• Cult Movie
• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review
• Reel.com Review

Synopsis:
A group of bumbling thieves unsuccessfully try to kill an elderly woman (Katie Johnson) who has learned about their latest heist.

Genres, Themes, Actors, and Directors:

• Alexander Mackendrick Films
• Black Comedy
• Elderly People
• Heists
• Peter Sellers Films
• Plot to Murder
• Thieves and Criminals

Review:
This classic heist-gone-wrong flick showcases the inimitable Alec Guinness — nearly disguised by a shock wig, false teeth, and sunken-eye makeup — at the height of his comedic powers:

It’s also notable for the presence of a chubby, uncharacteristically subdued Peter Sellers in one of his earliest movie roles.

Most of the film’s humor is derived from the interactions between the befuddled thieves (who find themselves increasingly unable to follow through with their plans) and Mrs. Wilberforce, a true force of nature. As played by Katie Johnson, Mrs. Wilberforce is the epitome of proper British standing: she trusts until she has good reason not to, and maintains firm resolve even in the face of potential danger to her life.

Interestingly, The Ladykillers can be read on another level entirely: as a post-war political commentary about diverse interests (represented by the sundry thugs) struggling to co-exist with older British mores (as epitomized by Mrs. Wilberforce). But I prefer to watch it simply as an engagingly humorous slapstick farce, one in which incompetent thieves get what’s coming to them, and good can’t help but triumph in the end.

Redeeming Qualities and Moments:

• The always delightful Alec Guinness, nearly unrecognizable here as the sly, shaggy-haired, toothy gang leader
  
• Katie Johnson as the unflappable landlady who insists on doing the “right thing”
  
• Many moments of outright hilarity, as the thieves and Mrs. Wilberforce interact at cross-purposes with each other
  

Must See?
Yes. This classic British comedy (recently remade by the Coen Brothers) is must-see viewing for all film fanatics.

Categories

• Genuine Classic
• Noteworthy Performance(s)

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

Links:

• IMDb entry
• Movie Diva Review
• New York Times Original Review

Synopsis:
An alien (Robert Crewdson) places an ad in Bikini Girl magazine in order to lure British girls back to his planet. Meanwhile, scientists Jack Costain (John Saxon) and Ann Barlow (Patricia Haines) assist Detective Hartley (Alfred Burke) in an investigation of the mysterious kidnappings.

Genres, Themes, Actors, and Directors:

• Aliens
• Criminal Investigation
• John Saxon Films
• Scientists
• Thrillers

Review:
This unusual alien invasion flick suffers from a slow start, ridiculous low-budget effects, some incredibly corny lines, and one of the most incongruous title songs ever written. Nonetheless, after the first 15 minutes the film moves along at a fast clip, with the actors turning in surprisingly decent performances, and viewers kept in suspense the entire time. The movie’s black-and-white cinematography is chillingly atmospheric (though the off-kilter camera angles and occasional hand-held shots don’t quite work). Recommended for those who enjoyed The Quatermass Xperiment (1955).

Redeeming Qualities and Moments:

• Patricia Haines’s intelligent performance as a female scientist who risks her life in order to learn more about the alien
  
• John Saxon’s earnest depiction as Haines’s colleague
  
• Some unexpected moments of humor — such as the scene where a middle-aged couple (Marianne Stone and Warren Mitchell) describe the mysterious disappearance of their daughter
  
• Atmospheric black-and-white cinematography
  

Must See?
No, but it’s a surprisingly effective low-budget thriller. Peary lists it in the back of his book as both a Sleeper and a Personal Recommendation.

Links:

• IMDb entry
• British Horror Films Review
• Mondo Digital Review

Synopsis:
In post-WWII Osaka, a young boy (Nobutaka Asahara) befriends the son (Minoru Sakurai) of a riverside prostitute (Mariko Kaga).

Genres, Themes, Actors, and Directors:

• Childhood
• Class Relations
• Coming-of-Age
• Friendship
• Japanese Films
• Prostitutes

Review:
Kohei Oguri’s little-seen debut film (currently unavailable to English-speaking audiences)* remains one of the finest movies ever made about childhood friendship. I rented Muddy River as a region-coded DVD with Chinese subtitles, using a computer-generated translation program to help me decipher what the characters were saying. As a result, I inevitably lost much of the nuance of the dialogue, but fortunately, most of the film’s power lies in wordless interactions, facial expressions, beautiful cinematography, and a haunting film score. Oguri perfectly captures the details of children’s interactions with each other: the excitement over showing off a trick or inviting a new friend to one’s home; the illicit thrill of spying on adults as they watch sumo wrestling on television in a bar. But he also skillfully portrays the harder lessons of childhood, such as witnessing a violent death, or having to stick up for a new friend when everyone else rejects him. Each scene in Muddy River carries weight and meaning, but the movie is never overbearing; instead, Oguri simply allows us to witness a kind young boy as he comes of age, while life — both harsh and exciting — carries on around him.

* Update: This movie now appears to be available on DVD with English subtitles!

Redeeming Qualities and Moments:

• A simple yet powerful evocation of a childhood friendship which transcends class
  
• Excellent use of riverside locales and sets
  
• Round-cheeked Nobutaka Asahara as Nobuo
  
• Takahiro Tamura and Yumiko Fujita as Nobuo’s well-meaning parents (seen below in their attempt to make Kiichi and his sister Ginko feel comfortable during dinner)
  
• Kiichi smiling and doing somersaults to express his delight after Nobuo defends him in front of some neighborhood boys
  
• Stunning black-and-white cinematography by Shohei Ando
  
• A truly heartbreaking ending
  
• An appropriately elegiac film score by Kurodo Mori

Must See?
Yes; it’s a gem.

Categories

• Foreign Gem

Links:

• IMDb entry
• NY Times Original Review
• Time Out Capsule Review

Synopsis:
A documentarian (Ross McElwee) aiming to chronicle the lingering effects of General Sherman’s march on the South instead finds himself filming the various women he gets involved with.

Genres, Themes, Actors, and Directors:

• Deep South
• Documentary
• Looking for Mr./Ms. Right
• Road Trip

Review:
Given the ubiquity of reality television these days — as well as the proliferation of self-made video journals airing on the Independent Film Channel and PBS — it may be difficult to appreciate the novelty of Sherman’s March, made twenty years ago. Working with actual film stock rather than video, McElwee allowed the twists and turns of his life to provide the fuel for a documentary which meanders leisurely rather than hammering in a particular point (though there is one, in the end). While Sherman’s March is over-long and sometimes self-indulgent, McElwee has a gift for capturing some truly quirky moments (and people) on film; this is the kind of gently humorous movie that grows on you if you let it.

Redeeming Qualities and Moments:

• A fascinating yet respectful glimpse at some truly oddball characters engaged in everyday activities
  
• An aspiring actress doing exercises to avoid “cottage cheese” on her thighs
  
• McElwee’s friend Charleen trying to convince him that a devout Mormon girl may very well be his best chance at marriage
  
• McElwee’s unabashed self-reflection on love and loss
  

Must See?
Yes. McElwee’s documentary remains an unusual, groundbreaking gem of independent filmmaking.

Categories

• Historically Relevant

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

Links:

• IMDb entry
• NY Times Original Review
• Washington Post Review

Synopsis:
Frederick Wiseman documents life in a Philadelphia high school, circa 1968.

Genres, Themes, Actors, and Directors:

• Documentary
• High School

Review:
Frederick Wiseman remains one of America’s most provocative yet least seen documentarians. Like his contemporary, Emile de Antonio, Wiseman eschews voice overs, instead relying on judicious editing and extreme close-ups to tell a particular “story” of a time and place. His camera eavesdrops on the most mundane of interactions, shifting from room to room and then back again to continue where things left off. The overall effect is oddly hypnotic, yet sometimes disturbingly voyeuristic, as when he focuses for several minutes on teenage girls’ midriffs and buttocks while they are performing calisthenics, or zooms his camera in so close on a participant’s face that it’s possible to see his skin pores.

High School is full of countless memorable moments, which, taken together, distill the essence of power and gender relations in an institutionalized setting. Wiseman visits nearly every type of classroom at this upper-middle-class high school, affording us a broad range of views: a fashion show (girls are criticized for not appearing pretty enough); a sex ed class; a girls’ calisthenics exercise; boys (but not girls) studying rocket science; and an idealistic English teacher attempting to reach her students through music. We are also privy to disciplinary actions, including one between a girl, her parents, and a (male) authority figure; and one in which a boy is chewed out for insubordination. The power of High School is the way in which each of these scenes allows for multiple, competing interpretations. Interestingly, the participants were initially pleased with the way they were portrayed in the film, and only became disgruntled once they started hearing critical feedback from the general public.

Redeeming Qualities and Moments:

• A subtle yet cynical look at power relations, gender roles, and normalizing curriculum in American high schools
  
• Effective use of extreme close-ups and judicious editing
  
• The disturbing fashion show sequences
  

Must See?
Yes.

Categories

• Historically Relevant

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

Links:

• IMDb entry
• TV Guide Review

Synopsis:
An adventurous seagull is banished from his flock, but returns to dispense newfound philosophical wisdom.

Genres, Themes, Actors, and Directors:

• Folk Heroes
• Mentors
• Misfits
• Talking Animals

Review:
This live-action film version of Richard Bach’s bestselling parable is a curious combination of stunningly photographed nature movie and ridiculously campy new-age psychobabble. While watching shots of seagulls picking through a trash pile:

soaring through the air, or cocking their heads at each other:

it’s impossible not to imagine the MST3K crew adding their own snide commentary to the proceedings (or to provide your own). It’s full of countless quotes which are meant to be dead-serious, but instead will either make you laugh out loud or groan:

“There’s got to be more to life than fighting for some fish-head somewhere!”
“I’ve gone everywhere and everywhen I can think of.”
“I am a perfect expression of freedom, here and now.”
“I only wish to share what I’ve learned — the very simple fact that it is right for a gull to fly!”

But JLS‘s most egregious sin is its length — it runs for two long hours when it could easily have been reduced to one or less. With that said, the movie still has its hardcore devotees (see various posts on IMDb, for instance), and is an invaluable snapshot of 1970s spiritualism — after all, books don’t become major bestsellers unless they strike some kind of a chord with people. In addition, it’s full of gorgeous cinematography, and fans of Neil Diamond will doubtless enjoy hearing his heartfelt ballads.

Redeeming Qualities and Moments:

• Beautiful cinematography — though a little goes a long way–
  
• Some cool, stylized imagery of birds silhouetted against the sky
  
• Neal Diamond’s appropriately majestic score

Must See?
No, though this certifiably “bad” (albeit utterly sincere) movie is worth a look simply for the unique period in American history it represents.

Links:

• IMDb entry
• NY Times Original Review
• Time Out Capsule Review
• Four Word Film Reviews

Synopsis:
When a high school teacher (William Shatner) allows his class to talk openly about sex, his job is jeopardized; but his well-meaning students refuse to let him to be punished for something they initiated.

Genres, Themes, Actors, and Directors:

• Beau Bridges Films
• Collective Action
• Generation Gap
• High School
• Sexuality
• Teachers
• Teenagers

Review:
This unfairly maligned “youth picture” — which could easily have been turned into a trashy exploitation flick — instead deals honestly and respectfully with some surprisingly relevant issues. While it’s purportedly about sex education (and what teachers should or shouldn’t be allowed to discuss with their students), it quickly moves into the fascinating realms of students’ rights, activism, and freedom of speech. These teenagers — each unique and sincere — are willing to stick up for what they believe in, and their actions show the power of tenacity and collective will.

Fortunately, the adults in the film are three-dimensional as well; while McCormack’s mom (Virginia Field) is perhaps a bit too stereotypically uptight about her daughter’s sexuality, other parents are conflicted in their own ways, and even the principal — who could easily have been the heavy here — is played with nuance by Edward Platt. While an essential aspect of the film’s ending is unrealistic and far too pat (a key character suddenly has a radical shift in attitude), overall it provides a satisfying resolution to this enjoyable, provocative film.

Redeeming Qualities and Moments:

• Surprisingly strong performances by many of the teen actors — especially Patty McCormack (evil Rhoda Penmark in The Bad Seed)
  
• William Shatner in a pre-“Star Trek” role
  
• Edward Platt as the well-meaning but pressured principal
  
• A unique depiction of meaningful collective activism by teenagers
  
• Good use of natural locations in Southern California
  
• A realistic — albeit cynical — look at the competing demands of teachers (and principals); as a colleague reminds the idealistic Shatner, “You’re being paid to lead these kiddies down the garden path of readin’, writin’, and retirement…”
  

Must See?
Yes. As one commenter on IMDb put it, this is an “enlightened, sensitive, and even-handed treatment” of sexual education in high school.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
Cynical, controlling millionaire Smith Ohlrig (Robert Ryan) marries a poor model (Barbara Bel Geddes) to spite his psychoanalyst. When Leonora (Bel Geddes) realizes her marriage is a sham, she leaves to go work for a doctor (James Mason), but Ohlrig will stop at nothing to get his “possession” back.

Genres, Themes, Actors, and Directors:

• James Mason Films
• Love Triangle
• Marital Problems
• Max Ophuls Films
• Millionaires
• Robert Ryan Films
• Social Climbers

Review:
Both Bel Geddes and Ryan (whose character is based on Howard Hughes) turn in stellar performances in this melodramatic American noir film by Max Ophuls. Unfortunately, the script isn’t up to their standards, with key dramatic scenes seemingly missing, and certain characters’ motivations not fully fleshed out. Leonora in particular — in spite of Bel Geddes’ best efforts — isn’t consistent: she scrimps and saves to attend “charm school”, yet once she’s achieved a coveted position as a high-end model, inexplicably resists an invitation to a fancy shindig on Ohlrig’s yacht; despite her romantic notions, she marries Ohlrig without a second thought about what kind of person he may be; and she continues to hold on to idealistic notions about marriage (i.e., advising a patient’s daughter on how to snag a wealthy man in order to have a “happy” life) even after learning how empty her own is. Nonetheless, the compelling performances — and Ophuls’ brilliance, which shines through at key moments — make this film worth watching once.

Redeeming Qualities and Moments:

• Bel Geddes’ sympathetic performance as Leonora
  
• Robert Ryan as the ruthless millionaire Ohlrig
  
• James Mason in his American film debut
  
• Winning performances by supporting characters — including Curt Bois as Ohlrig’s effeminate assistant (who calls everyone “darling”) and Frank Ferguson as Mason’s colleague
  
• Atmospheric cinematography and framing
  
  

Must See?
No, though fans of Ophuls and/or Bel Geddes will want to check it out.

Links:

• IMDb entry
• Time Out Capsule Review