FilmFanatic.org

Synopsis:
An aspiring starlet (Candice Rialson) hoping to make it big in Hollywood signs on with a hard-working agent (Dick Miller) and is soon working for a pretentious director (Paul Bartel) whose leading lady (Mary Woronov) detests her competition, and whose other actresses are mysteriously being killed off, one by one.

Genres, Themes, Actors, and Directors:

• Aspiring Stars
• Dick Miller Films
• Hollywood
• Joe Dante Films
• Movie Directors
• Satires and Spoofs
• Serial Killers

Response to Peary’s Review:
Peary writes that the “main claim to fame” of this “self-parody” is “that it was made in record-breaking time on a pocket-change budget” by “Joe Dante and Alan Arkush, New World editors” who “wanted to prove to studio head Roger Corman that they could effectively direct quickie sexploitation films in the Corman mold”. He notes that “Patrick Hobby’s script is inventive and funny”, with “a barrage of surprisingly clever sight gags and references to Corman’s style of filmmaking; and the entire cast hams it up to perfection.” He points out that “Paul Bartel is hilarious as a director who tries to inject ‘art’, ‘meaning’, and character motivation into his trashy films — while maintaining a large quantity of T&A, car crashes, and massacre scenes” — but I’m more fond of Woronov, who has delicious fun skewering her own image as a “big-name” cult star. Peary argues that the “film falters toward [the] end, when it gets a bit too serious and includes a needlessly vicious knife murder”, but writes that “surprisingly, the film” — which incorporates “inserted footage from previous Corman productions” — “looks polished.” I’m essentially in agreement with Peary’s assessment, though I don’t think modern film fanatics need to see this one unless it piques their interest.

Redeeming Qualities and Moments:

• Mary Woronov as Mary McQueen
  
• A shameless skewering of “quickie” exploitation movies
  
• Good use of L.A. locales
  

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

Links:

• IMDb entry
• Spinning Image Review
• Onion A.V. Club Review
• TV Guide Review
• Time Out Capsule Review

Synopsis:
After killing a playwright named Clare Quilty (Peter Sellers), a professor (James Mason) recounts in flashback his saga of marrying a lonely widow (Shelley Winters) in order to gain access to her young daughter, Lolita (Sue Lyon).

Genres, Themes, Actors, and Directors:

• Black Comedy
• Flashback Films
• James Mason Films
• Obsessive Love
• Pedophiles
• Peter Sellers Films
• Shelley Winters Films
• Stanley Kubrick Films

Response to Peary’s Review:
Peary writes that while “Stanley Kubrick’s ambitious black comedy about a high class of degenerates was initially blasted for being inferior to and taking liberties with Vladimir Nabakov’s much loved novel,” it “looks better with every passing year.” He argues that “perhaps we’ve begun to accept Kubrick’s sophisticated cinematic techniques (use of visuals, music) as a storytelling alternative to Nabakov’s celebrated prose (i.e., use of language); we better appreciate the mannered comedy of Peter Sellers (this was before Kubrick’s Dr. Strangelove, What’s New, Pussycat? and The Pink Panther); and we have now seen enough Eric Rohmer films — in which sophisticated ‘gentlemen’ can fall madly in love with bland, beautiful teenagers simply because they have tantalizing, dimpled knees — to understand that [14]-year-old Lolita (Sue Lyon) need do absolutely nothing sexually provocative (other than sit around in a skimpy bikini and heart-shaped glasses) for nymphette-lover Humbert Humbert (James Mason) to be in uncontrolled heat.”

In his description of the film’s narrative, Peary notes that after Winters (giving “a hilarious performance”) is “run over (conveniently), Humbert whisk[s] Lolita out of camp” (Camp Climax!) “and [takes] her on a lengthy trip, from one motel to the next”, becoming increasingly “possessive of Lolita and [forbidding] his young lover to date once they settle down and she [goes] to school.” However, Lolita has been “going out on the sly with the openly perverse Quilty [Sellers], the director of the school play in which she had the lead”, and eventually she runs “off with Quilty, whom she considered a genius.” Peary notes that “to this naive girl Humbert [is] normal” — though “of course, Humbert isn’t normal at all — and much humor comes from his difficult attempts to appear normal/moral to the people he comes across (so they won’t suspect him of improprieties with Lolita) only to discover that those who judge him are as wacko as he is.”

Peary writes that the “picture is at times screamingly funny,” that “the performances by Sellers… and Mason — talking smart yet acting like a five-year-old, displaying a sickly smile — are marvelous,” and that “pretty Sue Lyon, only [14]… but looking sexy and 17, gives a very self-assured, naughty (notice that smile, indicating she knows what Humbert’s up to) Carroll Baker-like portrayal.” Indeed, Lyon’s performance is at the heart of this film’s success — she’s preternaturally able to embody this challenging role and convince us that events are playing out exactly as seen on screen. (It’s too bad Lyon had such a tough time with Hollywood, since her performance here indicates she was a natural.) Mason, of course, is stellar as always, and Sellers shows the genius for characterization he would demonstrate to greatest effect in Dr. Strangelove just two years later. While not for all tastes, Kubrick’s adaptation of Nabakov’s novel remains a provocative, well-made classic, worthy of at least one-time viewing.

Redeeming Qualities and Moments:

• Sue Lyon as Lolita
  
• James Mason as Humbert Humbert (nominated by Peary as one of the Best Actors of the Year in his Alternate Oscars)
  
• Peter Sellers as Quiltey
  
• Shelley Winters as Charlotte
  
• Oswald Morris’s cinematography
  
  

Must See?
Yes, as a cult classic by a master director.

Categories

• Cult Movie
• Important Director

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

Links:

• IMDb entry
• NY Times Original Review
• TCM Articles
• FilmSite Review

Synopsis:
A man (Peter O’Toole) found irresistibly attractive by nearly every woman he meets seeks help from a psychiatrist (Peter Sellers) in order to settle down and marry his girlfriend (Romy Schneider) — but O’Toole quickly finds himself sexually involved with another of Sellers’ patients (Capucine), as well as a suicidal stripper (Paula Prentiss) and eventually a bikini-clad skydiver (Ursula Andress). Meanwhile, O’Toole’s nebbishy friend (Woody Allen) falls for Schneider but is unable to seduce her, and Sellers continues his fractious relationship with his portly wife (Eddra Gale).

Genres, Themes, Actors, and Directors:

• Capucine Films
• Comedy
• Infidelity
• Paula Prentiss Films
• Peter O’Toole Films
• Peter Sellers Films
• Psychotherapy
• Sexuality
• Ursula Andress Films
• Womanizers
• Woody Allen Films

Response to Peary’s Review:
Peary writes that “we can be thankful” screenwriter Woody Allen “changed directions” after writing this “outrageous sex farce”, which remains simply “tiresome, sexist, grating fluff”. He argues that Peter O’Toole “had no comic timing back then”:

and that “no one is funny except Prentiss”.

I’m in agreement with Peary that this is a wearisome and dated film, with few authentic chuckles. Because clueless Schneider should stop hoping for O’Toole to change (he won’t/can’t):

… and simply get far, far away from him, it’s difficult to know who to root for here. Meanwhile, Sellers’ “long-haired and horny Viennese psychiatrist” is truly insufferable:

… and Allen merely enacts the first of many similar roles as an insecure short man hoping to score with beautiful chicks.

You can skip this one.

Redeeming Qualities and Moments:

• Colorful sets and cinematography
  

Must See?
Nope; you can skip this one.

Links:

• IMDb entry
• Spinning Image Review
• DVD Savant Review
• NY Times Original Review

Synopsis:
After being lured out of retirement by his boss “M” (John Huston) — accompanied by a CIA representative (William Holden), a French intelligence agent (Charles Boyer) and a KGB agent (Kurt Kasznar) — James Bond (David Niven) escapes seduction by M’s Scottish widow (Deborah Kerr), then receives assistance from a beautiful agent (Ursula Andress) in hatching a plan to send a renowned baccarat expert (Peter Sellers) undercover as “James Bond” to win a high-stakes game against SMERSH agent Le Chiffre (Orson Welles).

Genres, Themes, Actors, and Directors:

• Charles Boyer Films
• David Niven Films
• Deborah Kerr Films
• George Raft Films
• Jacqueline Bisset Films
• James Bond Films
• Jean-Paul Belmondo Films
• John Huston Films
• Orson Welles Films
• Peter Sellers Films
• Satires and Spoofs
• Spies
• Ursula Andress Films
• William Holden Films
• Woody Allen Films

Response to Peary’s Review:
Peary writes that “it’s hard to believe that in 1967 we actually waited in anticipation for this so-called James Bond spoof” — helmed by no less than six directors — which was a “disappointment then” and remains “a curio today,” though “just as hard to sit through”. He argues that it’s “disjointed and stylistically erratic”, and that despite “featuring an all-star cast… , enormous sets, and some state-of-the-art special effects, it is a testament to wastefulness in the commercial bigger-is-better cinema.” DVD Savant refers to this as “perhaps the most out-of-control production of the Mod Sixties”, costing $11 million despite having no script to start with, and signing “enough big stars to float eight or nine pictures” — none of whom “knew exactly what they were getting into.”

Peary recommends watching perhaps simply those “scenes featuring Peter Sellers and Woody Allen”, but I’ll admit to enjoying Kerr’s hilarious performance in the otherwise completely unrelated first half-hour:

and Joanna Pettet (as Bond’s long-lost daughter, “Mata Bond”) visiting a wildly expressionist spy school:

— both of which would be eliminated if you focused just on Sellers and Allen. Watching for seemingly endless cameos by big-name stars (including “George Raft as Himself”) provides some passing amusement as well. Meanwhile, Burt Bacharach’s score is an instantly hummable ear-bug — be forewarned.

Redeeming Qualities and Moments:

• Creative cinematography
  
  
  
• Far-out sets
  
  
  
• Burt Bacharach’s score

Must See?
No, though it’s certainly worth a one-time look for its historical curiosity value.

Links:

• IMDb entry
• NY Times Original Review
• Spinning Image Review
• Moria Review
• DVD Savant Review

Synopsis:
When James Bond (Roger Moore) is sent to investigate a sociopathic industrialist (Christopher Walken) hoping to gain a monopoly on microchips by destroying Silicon Valley, he encounters both Walken’s powerful henchwoman (Grace Jones) and a blonde geologist (Tanya Roberts) determined not to let Walken’s company to buy the remaining shares in her family’s oil business.

Genres, Themes, Actors, and Directors:

• Christopher Walken Films
• James Bond Films
• Spies

Response to Peary’s Review:
Peary writes that in “Roger Moore’s last portrayal of James Bond” he “looks trimmer and more energetic than in some of the previous efforts”, “despite what reviewers automatically reported.” While Peary admits he wishes “Bond had a few more of his famous gadgets on hand,” he asserts that the “action scenes are exciting and some of the stunt work is spectacular” (there are nifty scenes high up on both the Eiffel Tower and the Golden Gate Bridge). He points out that “Walken’s the first Bond villain who is not so much an evil person as a crazed neurotic” (ummm, he’s a genetically engineered sociopath…) which “makes him more memorable than some of the recent Bond foes.” However, “viewers will be more interested in [Walken’s] lover and righthand woman, Mayday, played by Grace Jones, whose exotic features and lightning-quick karate maneuvers make her an intimidating presence.” Peary concludes his review by noting that while this “picture lacks the flamboyance of other Bond films, and has a terrible slapstick chase sequence in San Francisco (with stupid cops rather than Walken’s henchmen),” it’s “overall a fast-paced, fairly enjoyable, and… worthy entry in the series.” I would agree, though being a “worthy entry in the series” doesn’t make it must-see — and only Bond fanatics are required to check it out.

Note: As fans of the franchise are undoubtedly aware, ten additional Bond flicks (with one more in production) have been released since the publication of Guide for the Film Fanatic, featuring three new actors. Determining which of these might be must-see viewing is a task for another website! One more Bond review from GFTFF — of Casino Royale (1967) — will be forthcoming.

Redeeming Qualities and Moments:

• Christopher Walken as Max Zorin
  
• Fine location shooting
  

Must See?
No; you can skip this one unless you’re an ardent fan of the series.

Links:

• IMDb entry
• FilmSite Review
• Moria Review
• NY Times Original Review

Synopsis:
With support from his top agent Largo (Klaus Maria Brandauer), SPECTRE head Ernst Blofeld (Max von Sydow) puts the world in nuclear jeopardy by replacing two dummy warheads with live ones, and demanding ransom. When aging James Bond (Sean Connery) is sent from a health spa to investigate, he soon encounters and seduces both Largo’s psychopathic assistant (Barbara Carrera) and his mistress (Kim Basinger).

Genres, Themes, Actors, and Directors:

• James Bond Films
• Max von Sydow Films
• Nuclear Threat
• Sean Connery Films
• Spies

Response to Peary’s Review:
Peary writes that “it was great to see Sean Connery return as James Bond after a dozen years, during which time he insisted he’d never play the part again.” Notably, Connery “initiated this project itself” and “it was not part of the ongoing Roger Moore series being produced by Albert Broccoli”; a quick read through any of the reviews linked below — or Wikipedia’s entry on the film — will give a sufficient overview of why this ended up “not [as] new material, but a remake of Connery’s fourth Bond film, Thunderball.” Peary points out that while “Bond’s a bit older,” “every woman he sees is attracted to him and he still can outwit the vilest of villains,” and he notes that Bond’s “pain game ‘Domination’ [with Brandauer] is a highlight.” (I agree, though critical opinions are decidedly mixed on this.) He writes that a “very athletic Barbara Carrera (giving her best performance) as the cheerful assassin Fatima Blush and blonde Kim Basinger as Domino, Largo’s innocent girlfriend, make lasting impressions”:

… and argues that the “film is exotic” (which Bond flick isn’t?), “well acted, and stylishly directed by Irvin Kershner.” He posits that this “would be one of the best Bond films if the finale weren’t disappointing”, and in closing makes the following plea: “When will filmmakers realize that underwater fight scenes don’t work because viewers usually can’t tell the hero and villain apart and they know doubles are being used?” (Excellent points; I agree.)

Redeeming Qualities and Moments:

• Klaus Maria Brandauer as Largo
  
• Barbara Carrera as Fatima
  
• The “World Domination” game
  

Must See?
No, though of course Bond fans (especially “Connery-as-Bond” fans) will want to check it out.

Links:

• IMDb entry
• Q Network Review
• DVD Talk Review
• DVD Savant Review
• Moria Review