FilmFanatic.org

Synopsis:
In primitive times, a cannibal (Pierre Clementi) on the slopes of Etna wanders around killing animals and people; meanwhile, the son (Jean-Pierre Leaud) of a post-WWII German industrialist (Alberto Lionello) neglects his politically radicalized girlfriend (Anne Wiazemsky) to go lie with the pigs.

Genres, Themes, Actors, and Directors:

• Cannibalism
• Italian Films
• Jean-Pierre Leaud Films
• Pier Paolo Pasolini Films

Review:
Pier Paolo Pasolini’s follow-up to Teorema (1968) was this inscrutable mash-up of two different “stories” which only vaguely (possibly) relate to one another. As the movie opens, we see a man (Clementi) in a barren landscape killing a snake to eat:

… and then the scene suddenly shifts to a modern, urban, upper-class setting, as a quibbling young couple deliberates in front of the man’s parents (Alberto Lionello and Margarita Lozano).

The fact that Lionello has a Hitler-esque mustache seems fully intentional; indeed, as he engages in later conversations with the other main player in the film, Mr. Herdhitze (Ugo Tognazzi) (his “mysterious rival”):

… we learn a little more about his political views. The story continues to toggle back and forth between the two settings and sets of characters, with no explicit rhyme or reason — and the opaque dialogue doesn’t help matters whatsoever. Take this interaction between Leaud (Julian) and Wiazemsky (Ida), for instance:

Julian: Even if you were to betray not just those of your generation, but yourself and the truth, you’ll never find out what I’m going to do.
Ida: What right do you have not to tell me?
Julian: It’s just my right, that’s all.
Ida: What good will it do you?
Julian: If anything, to make you cry and suffer. Tra-la-la.
Ida: And without fail I’ll cry and suffer. Tra-la-la.
Julian: Just little things: a wandering leaf, a creaky door, a grunt.
Ida: What do you mean, Julian?

Etc. Oh boy. It really never gets better or clearer. With that said, Time Out’s reviewer refers to this film as “not only an exquisitely revolting satire,” but “also Pasolini’s most fascinating piece of cinema.” — so, to each their own.

In terms of what it’s actually about –well, Wikipedia claims: “The story is about the human capacity of destruction and a rebellion against the social prerequisites implied against it.” OK. Meanwhile, in an essay written for Criterion about Pasolini more broadly, James Quandt notes that enduring themes of his work include “the sacred purity of the dispossessed and the inevitability of their destruction.” My personal take-away is that this film is simply about the awful ways people treat one another, ranging from not-so-subtle critiques to outright cannibalism — be forewarned that it’s ugly stuff.

Notable Performances, Qualities, and Moments:

• Tonino Delli Colli’s cinematography
  

Must See?
Nope.

Links:

• IMDb entry
• Village Voice Review
• Time Out Capsule Review

Synopsis:
In 2069, the director (Patrick Wymark) of the European Space Exploration Council sends two astronauts (Roy Thinnes and Ian Hendry) to explore a mysterious “mirror planet” which is orbiting the sun opposite of the Earth; what will the pair find when — or if — they land?

Genres, Themes, Actors, and Directors:

• Astronauts
• Science Fiction
• Space Exploration

Review:
Husband-wife team Gerry and Sylvia Anderson — best known for their marionette-based television shows such as Thunderbirds (1965-66) — were the creative forces behind this odd flop of a science fiction film, released just after Stanley Kubrick’s groundbreaking 2001: A Space Odyssey (1968). The story’s premise of a mirror-image planet is intriguing but barely explored; the main gist we get is that people-in-charge are hiding things, and we can’t really trust anything we’re seeing.

I’ll quote at length from DVD Savant’s review, given that he effectively nails this film’s many frustrations.

“[The film] has unfortunately [been] designed almost identically to one of [the Andersons’] marionette shows. People stand and talk a lot… The Anderson’s script is at least 60% hardware-talk and exposition, some of it handled well, but little of it advancing the story. The characters are never really established… The film’s ‘character’ dead ends are matched by a tendency to stop dead in its tracks for frequent hardware scenes — the bread and butter of the Anderson TV shows. We see a long sequence of the landing of a jet, and then sit back for the thuddingly generic, drama-challenged main rocket launch. … The designs on view are neither attractive nor convincing… The lighting overall is garish and high key… ”

Etc. Indeed, I was curious enough the Andersons’ work (which I hadn’t heard of) that I checked out The Thunderbirds and noted that this film does indeed seem to be simply a life-action analog to that.

Oh well.

Notable Performances, Qualities, and Moments:

• Earnest performances by Thille and Wymark
  

Must See?
No.

Links:

• IMDb entry
• DVD Savant Review
• Moria Review

Synopsis:
During the Battle of the Bulge, Major Falconer (Burt Lancaster) and his platoon pass by a local religious zealot (Bruce Dern) leading a small group of conscientious objectors as they head to a castle near the Ardennes owned by a count (Jean-Pierre Aumont) and his beautiful wife Therese (Astrid Heeren). As the men prepare for onslaught from Germans, Pvt. Benjamin (Al Freeman, Jr.) reflects on the novel he’ll write from his experiences; Captain Beckman (Patrick O’Neal) admires the castle’s art collection and is jealous of Lancaster’s affair with Heeren; a baker (Peter Falk) finds the local baker’s widow (Olga Bisera) and lives with her; Corporal Clearboy (Scott Wilson) falls in love with a rusty Volkswagen; and many of the men seek pleasure at a local brothel run by the Red Queen (Caterina Boratto).

Genres, Themes, Actors, and Directors:

• Bruce Dern Films
• Burt Lancaster Films
• Historical Drama
• Patrick O’Neal Films
• Peter Falk Films
• Royalty and Nobility
• Soldiers
• Sydney Pollack Films
• World War II

Review:
Sydney Pollack’s follow-up to The Swimmer (1968) was this semi-surreal adaptation of a novel by William Eastlake, about a somewhat anachronistic encounter between nobility and military forces at a 10th century castle. As in Lancaster’s earlier The Train (1964), there is a bit of a focus on the preservation of precious art during a time of war — in this case embodied by O’Neal’s art-loving captain:

… who relates to the count’s desire to preserve his domain at all costs.

Lancaster’s primary interest (at least at first) is pairing up with Heeren:

… which Aumont is eerily accepting of (we later learn why). Meanwhile, as Lancaster’s men roam into town and encounter the beautiful women of the Red Queen brothel, we wonder if this is all a dream, or if these men are even actually alive.

It’s hard to tell, because the film mixes realism with satire pretty liberally — as in the subplot of Falk settling down with the baker’s wife and resuming his old craft.

While the film doesn’t really “work” overall, Pollack keeps things moving nicely, and the cinematography (by Henri Decae) is luminous throughout.

Notable Performances, Qualities, and Moments:

• Peter Falk as Sergeant Rossi
  
• Henri Decaë’s cinematography
  
  
• Michel Legrand’s score

Must See?
No, though it’s worth a one time look, and of course must-see for Pollack fans.

Links:

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

Synopsis:
A young man (Kyle Johnson) coming of age in a racist 1920s Kansas town witnesses a robbery leading to the death of a white man; will he tell what he saw?

Genres, Themes, Actors, and Directors:

• Coming of Age
• Historical Drama
• Race Relations and Racism

Review:
Acclaimed photojournalist Gordon Parks became the first Black person to direct a major studio picture with this adaptation of his own semi-autobiographical novel about experiencing life, love, and racism in 1920s Kansas. The drama-filled storyline opens with a tornado, as Newt (Johnson) finds himself holed up in a shelter with the town prostitute (Carol Lamond):

… but emerges ready for church, where he meets a beautiful young teenager (Mira Waters) who has just moved to town with her family.

A gentle romance ensues, though it’s interrupted by racial- and gender-based violence (discreetly shown off-screen). Meanwhile, the crux of the narrative centers on Johnson’s friendship with other local boys — including the troubled son (Alex Clarke) of a local drunk (Richard Ward) — and their interactions with a white farmer (George Mitchell) whose apples they steal, as well as the town’s racist sheriff (Dana Elcar).

Johnson’s homelife with his mother (Estelle Evans):

… father (Felix Nelson), and sister provides him with plenty of solace in the midst of increasingly challenging situations, culminating in a dramatic court case.

Given this film’s historical precedence, it seems worth citing at length from TCM’s article:

Although he came to the project with a considerable reputation as an accomplished artist, Parks had to deal with the expected resistance to a black director helming a studio-financed film. One producer offered him major funding if he would change all the black characters to white, and another suggested silent film diva Gloria Swanson for the part of Newt’s mother. But Parks had a great ally in director-actor John Cassavetes, who introduced him to gutsy Warner Brothers producer Kenny Hyman. Not only did Hyman agree to let him direct, in quick succession Parks found himself assigned to writing the screenplay, producing the film and — after Hyman heard him play a song he had written on the piano — composing the score. Only a handful of filmmakers had been given such sweeping control; Chaplin and Welles are among the few that come to mind.

It’s too bad that the movie itself isn’t more compelling: the performances are stiff at best, and everything seems filmed with an eye towards dignity rather than raw emotion. To his credit, however, Parks doesn’t shy away from depicting racism in all its forms across this supposedly desegregated community, ranging from lowered expectations from Johnson’s teacher (Peggy Rea):

… to mob vitriol. This film is worth a look for its historical significance, but ultimately not must-see viewing.

Notable Performances, Qualities, and Moments:

• Burnett Guffey’s cinematography
  

Must See?
No, though it’s recommended to watch once given its historical status as one of the first 25 films selected in 1989 by the Library of Congress for preservation in the National Film Registry.

Links:

• IMDb entry
• Trailers From Hell Review
• TCM Articles
• NY Times Original Review

Synopsis:
During a time when the Earth is ruled by benevolent aliens known as the Monitors — who suppress all negative impulses and force humans to reflect on how great their new lives are — an actress (Susan Oliver), a bi-plane pilot (Guy Stockwell), and the pilot’s brother (Avery Schreiber) join forces with an undercover operative (Larry Storch) and a Monitors-trainee (Sherry Jackson) in a group known as SCRAG (the Secret Counter Retaliatory Group).

Genres, Themes, Actors, and Directors:

• Aliens
• Black Comedy
• Ed Begley Sr. Films
• Keenan Wynn Films
• Revolutionaries
• Science Fiction

Review:
This satirical sci-fi flick was made with cast members from Chicago’s Second City comedy troupe (their first feature together), and was explicitly designed to encourage more people to come and film in Chicago — which didn’t happen. The film itself starts off with a promising opening sequence and song, as synthesized voices intone: “We are here to serve humanity — here to reaffirm gentility, light the way from fear to sanity, carefully promote tranquility” while various silhouetted shots (we presume from the film itself) are circulated through in various colors.

As soon as we “land” on Earth, we see men in black coats and bowler hats walking around monitoring people and situations, with their oath and guidelines repeated ad nauseum, Big Brother-style.

Interspersed throughout the film are commercial-like snippets of citizens sharing why they believe life is better with the Monitors in control. (Below is Alan Arkin playing a sanitation worker with a heavy accent.)

The storyline itself loosely follows Oliver, Stockwell, Schreiber, Storch, and Jackson as they navigate romance with one another alongside learning more about the Monitors — including meeting the head operational manager (Shepperd Strudwick):

… and/or revealing themselves to hold different identities and allegiances; unfortunately, little of this coheres or is very funny.

Howard Thompson of the New York Times referred to the film as “a one-joke warning that states its case and asks where we go from here,” which just about sums up my impression as well. In his review for Moria, Richard Scheib elaborates a bit more on what doesn’t work:

Much of the film feels like it is trying to be hip and improvisational. It has no real plot, just lots of scenes with the characters running around. It seems to be trying to tap an anti-establishment vibe without actually finding it has anything to say. There is no clear idea in the script what the characters are trying to achieve, what they are running from or even the sense you get in comedies of characters stumbling/bumbling from scene to scene in a haphazard way.

It’s too bad, because the premise is quite intriguing: if well-meaning forces offered to oversee our planet and ensure peace and goodwill, but at the loss of our freedoms and more complex emotions, would we take it? It seems pretty clear that the answer is “no” — but a different film would need to take this up to sufficiently explore it. Watch for bit cameos by Keenan Wynn as The General:

… and Ed Begley as The President (without nearly enough to do in such a peaceful and boring world).

Notable Performances, Qualities, and Moments:

• The opening sequence
  
• Some creative imagery
  

Must See?
No; you can skip this one unless you’re curious.

Links:

• IMDb entry
• NY Times Original Review
• TV Guide Review (spoiler alert)
• Spinning Image Review
• Moria Review

Synopsis:
In early 20th century California, a sheriff (Robert Redford) searches for a young Pauite man (Robert Blake) who has killed the father of his girlfriend (Katharine Ross) in self-defense after returning to be with her.

Genres, Themes, Actors, and Directors:

• Fugitives
• Katharine Ross Films
• Native Americans
• Race Relations and Racism
• Robert Blake Films
• Robert Redford Films
• Sheriffs and Marshals
• Susan Clark Films
• Westerns

Review:
Black-listed writer-director Abraham Polonsky finally returned (legally and formally) to his craft with this adaptation of Harry Lawton’s novel — based on a real-life event — about a “Native American named Willie Boy and his run-in with the [white man’s] law in 1909 in Banning, California, United States.”

The fact that neither New Jersey-born Blake (nee Michael Gubitosi) nor Katharine Ross are Native actors is clearly problematic; within those constraints, however, Polonsky and his team do a reasonably good job presenting ongoing power tensions between Indians and white people, including white saviorism as embodied by Susan Clark’s do-gooding “reservation superintendent”.

Unfortunately, Redford apparently did not have a good experience on set; according to TCM’s article:

He had issues with both the direction and the script, which he felt portrayed Indians unrealistically. “Polonsky had Indians talking like characters out of some of his thirties films,” Redford said. “Some of it really made me cringe when I read it.” Polonsky counter-attacked by claiming Redford’s emerging star ego made him take unfair swipes at the picture. “Redford was a big supporter of my movie until everyone started saying how wonderful Robert Blake was,” the director said, ignoring the fact that Redford had fought for Blake to play the part when it became obvious that the studio would not hire a real Native American. “He was jealous of the Indian, so now he hates the movie.”

Ah, Hollywood drama. The resulting film is nonetheless a compelling story attempting to show “The West’s Last Famous Manhunt” — and while the factual outcomes are contested (this video provides an alternative, Native-centered account of how things actually transpired), Blake’s performance is top notch and well worth a look.

Notable Performances, Qualities, and Moments:

• Robert Blake as Willie
  
• Conrad Hall’s cinematography
  
  
• Dave Grusin’s score

Must See?
Yes, for Blake’s performance and as one of far-too-few films by Polonsky.

Categories

• Important Director
• Noteworthy Performance(s)

Links:

• IMDb entry
• TCM Article
• Time Out Capsule Review

Synopsis:
When a marshal (Richard Widmark) kills a drunken civilian (Jimmy Lydon) in self-defense, the entire town decides to fire him from his job — but Widmark isn’t interested in leaving town.

Genres, Themes, Actors, and Directors:

• Don Siegel Films
• John Saxon Films
• Lena Horne Films
• Richard Widmark Films
• Sheriffs and Marshals
• Westerns

Review:
This decent if uneven western is primarily notable for what it prompted: the creation of “Alan Smithee” as a pseudonym for a director whose actual director (or some other key player) doesn’t want to be associated with the film. In this case, Widmark didn’t get along with the original director, Robert Totten (who primarily worked in television), so Don Siegel was brought in to finish up the job — but he didn’t want to take credit for work mostly completed by someone else, so “Alan Smithee” (a creative variation on the too-simple first pass try of “Al Smith”) was the result.

(I find it interesting that this film is about attempting to fire someone perceived as incompetent in his job given what it became known for.)

Perhaps I was unduly biased, but as soon as I saw Smithee’s name flashing across the screen, I started noticing the film’s clunkiness; indeed, many wonder what this film could have been like with Siegel at the helm the entire way.

The storyline — hinging on an entire town feeling resentment for Widmark’s character, for no clear reason — doesn’t quite hold its weight; though Kent Smith, who film fanatics should fairly quickly recognize from Cat People (1942), plays the role of a desperately ashamed lawyer quite well.

The film is also notable for featuring Lena Horne in a supporting role as Widmark’s girlfriend, without any comment on her race.

Watch for Royal Dano hovering menacingly (what else?) around the periphery:

… and John Saxon as a county sheriff brought in to help mediate the situation.

Note: Subtle yet overt antisemitism is briefly shown through the treatment of the town’s “peddler,” Mr. Rosenbloom (David Opatoshu) — though it’s simply included without any explanation or resolution.

Notable Performances, Qualities, and Moments:

• Richard Widmark as the Marshal
  
• Kent Smith as Andrew Oxley
  
• Fine Technicolor cinematography
  
  

Must See?
No, though it’s worth a look for curiosity’s sake (and of course Siegel completists will want to check it out).

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
A self-absorbed, soon-to-be-divorced psychotherapist (Rip Torn) on the verge of a mental breakdown places a video camera in his office and secretly records his interactions (primarily sexual) with a variety of neurotic women.

Genres, Themes, Actors, and Directors:

• Mental Breakdown
• Peeping Toms
• Psychotherapy
• Rip Torn Films
• Womanizers

Review:
Made in a similar vein as Jim McBride’s David Holzman’s Diary (1968), this faux documentary by writer-director Milton Moses Ginsberg was filmed in one room at Kips Bay Towers in New York City, and seems explicitly designed to exploit both a narcissist’s interest in chronicling their every move — welcome to the 21st century! — and the depravity of non-consenting voyeurism. It’s a laborious affair to sit through, for all sorts of reasons — primarily Torn’s character (Joe) being such an ass, but also because so much of what we see and hear is either boring and/or demeaning — and only rarely mildly amusing.

Writing about this film for the SF Gate in 1999, Edward Guthmann noted:

Time capsules can be embarrassing things. What once seemed hip and cutting-edge can reveal, after 30 years, a naivete and smug narcissism that wasn’t apparent at the time. That’s certainly the case with “Coming Apart,” an underground film that broke new ground with nudity and raw language and attempted to say something about the fallout of the sexual revolution. Starring Rip Torn and Sally Kirkland, “Coming Apart” opened in 1969 — the same year as “Easy Rider,” “Medium Cool” and “Midnight Cowboy” — but disappeared after the critics ground it up into pieces.

Rightfully so; check out Andrew Harris’s review in The Village Voice for a particularly lambasting take. For the record, notable supporting actors in this film include Viveca Lindfors as Joe’s former lover (trying to remind him about the “former” part):

…. and Sally Kirkland as an unhinged and exhibitionist former patient.

Note: Ginsberg’s only other film was The Werewolf of Washington (1973).

Notable Performances, Qualities, and Moments:

• Occasionally creative cinematic moves
  

Must See?
Nope; skip this one unless you’re curious. Listed as a Cult Movie in the back of Peary’s book.

Links:

• IMDb entry
• SF Gate Review
• SF Gate Revival Review (Edward Guthmann)
• AV Club Review
• Village Voice Review

Synopsis:
When a wealthy spinster (Sandy Dennis) invites a shivering young man (Michael Burns) she sees in the park over to her apartment, a bizarre relationship quickly ensues.

Genres, Themes, Actors, and Directors:

• Michael Murphy Films
• Obsessive Love
• Psychological Horror Films
• Robert Altman Films
• Sandy Dennis Films

Review:
Robert Altman’s final early feature before his breakthrough success with M*A*S*H (1970) — after helming The James Dean Story (1957), The Delinquents (1957), Countdown (1968), and quite a few TV episodes and industrial flicks — was this adaptation of an unpublished novel by Peter Miles, about a lonely woman whose concern for a bedraggled young man she sees outside her apartment window:

… turns into a most unusual series of events and circumstances. To the immense credit of the screenplay, we are kept on our toes throughout, sincerely wondering where in the world things will lead — and it’s most often not where we expected.

Dennis seems perfectly content simply caring for Burns, not minding too much that he is completely mute; indeed, this provides the perfect opportunity to bare her soul.

Horror-like elements are introduced from fairly early on (about 25 minutes in), when Dennis first locks Burns into his room:

… though as soon as he easily slips outside the window, we breathe a sigh of relief for him. We quickly realize, however, that he is not at all what he seems — or what Dennis believes him to be.

The mystery continues, as we’re introduced to Burns’s sister (Susanne Benton) and her boyfriend (John Garfield, Jr.), and learn why he was out there on that bench during that rainy, cold day.

Suspense continues, and Altman’s confident hand with his camera and actors ensures we are kept engaged — up until the disappointing final five minutes or so. Watch for Michael Murphy in a bit part as a man who helps Dennis procure services in a seedy area of town:

… and Luana Anders — from Dementia 13 (1963) — as a prostitute.

Notable Performances, Qualities, and Moments:

• Sandy Dennis as Frances
  
• Laszlo Kovacs’ cinematography
  

Must See?
No, but it’s strongly recommended for one-time viewing. Listed as a Cult Movie in the back of Peary’s book.

Links:

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

Synopsis:
A drug-addicted woman (Danièle Gaubert) financially supported by a count (Roberto Bisacco) must confront her priorities when she falls in love with a man (Nino Castelnuovo) who wants to be with her exclusively.

Genres, Themes, Actors, and Directors:

• Love Triangle
• Radley Metzger Films
• Romance

Review:
Radley Metzger’s follow-up to Therese and Isabelle (1968) was this updated adaptation of Alexandre Dumas fils‘ 1848 novel — a convenient opportunity to wrap a softcore story around an established set of characters and circumstances. Changes include Marguerite (Gaubert) suffering from drug addiction rather than TB, and the entire affair taking place in 1960s swinging Rome:

… but otherwise the inherent melodrama is all there (alongside plenty of explicit sexual encounters). The characters are shallow and the acting is poor, but the sets and costumes are pretty groovy:

… and as always, Metzger uses creative camerawork.

Notable Performances, Qualities, and Moments:

• Ennio Guarnieri’s cinematography
  
• Good use of location shooting in Rome
  

Must See?
No; you can definitely skip this one.

Links:

• IMDb entry
• Combustible Celluloid Review