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Synopsis:
When a New York socialite (James Caan) and his wife (Katharine Ross) allow a middle-aged saleswoman (Simone Signoret) to stay with them, she’s quickly treated to their favorite pastime of elaborate pranks — but when a delivery boy (Don Stroud) is accidentally murdered, the stakes suddenly become deadly serious.

Genres, Themes, Actors, and Directors:

• James Caan Films
• Katharine Ross Films
• Mental Breakdown
• Simone Signoret Films

Review:
Before her breakthrough role in The Graduate (1967), Katharine Ross starred in this psychological thriller as a wealthy young woman who appears to be driven slowly crazy — but why, and by who? There aren’t too many options, though one is left guessing on certain details until the (twist) ending.

Unfortunately, Ross and Caan are a pretty uninteresting couple to be following; their love of trippy mind games seems like merely a childish way to pass their overly ample free time.

The sets and cinematography add plenty of visual flair to the proceedings, and Signoret is always interesting to watch:

… but the screenplay is ultimately not compelling enough to sustain the conceit here as a feature-length film. Games was helmed and co-written by B-director Curtis Harrington, whose other GFTFF-listed titles include the frustratingly dull Night Tide (1961); the slow but intriguing Queen of Blood (1966); and the disappointing Grand Guignol horror flicks What’s the Matter With Helen? (1971) and Who Slew Auntie Roo? (1972).

Notable Performances, Qualities, and Moments:

• Colorful and eclectic sets
  
• Atmospheric cinematography
  

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

Links:

• IMDb entry
• NY Times Original Review
• TCM Article
• Spinning Image Review

Synopsis:
When a steelworker (Gene Hackman) falls for a widowed barmaid (Ann-Margret) and leaves his wife (Ellen Burstyn), his best friend (Brian Dennehy) is befuddled, his married daughter (Amy Madigan) is furious, his son (Stephen Lang) is understanding, and his younger daughter (Ally Sheedy) is unsure what this means for her own future.

Genres, Themes, Actors, and Directors:

• Ann-Margret Films
• Ellen Burstyn Films
• Gene Hackman Films
• Infidelity
• Marital Problems
• Midlife Crisis

Review:
Bud Yorkin directed and Colin Welland wrote the screenplay for this adaptation of his own 1973 British TV play (called “Kisses at 50”), about the impact of a midlife crisis on a blue collar worker’s longtime marriage. (Welland had previously won an Oscar for Best Original Screenplay for Chariots of Fire.) Although Welland moved to Pittsburgh and did research in order to shift the story over to America, Yorkin ended up filming in Seattle and the nearby town of Snohomish, filling the storyline with numerous authentically place-based sequences (and as someone who lives here, I can attest to them doing a good job showcasing the beauty and natural landscapes of the area).

In terms of the storyline, it’s certainly plausible that a couple living the way Hackman and Burstyn are (working different shifts, a little too comfortable with one another, kids grown, not sharing the same preferences for socializing) would grow apart:

… and that Hackman might be flattered and intrigued by someone as openly interested in him as Ann-Margret is.

What’s less convincing is how openly Hackman would begin his new affair, not realizing what an impact it will have within his close-knit community, or the fact that he won’t simply be able to “keep the two relationships separate”.

I’m also not a fan of Oscar-nominated Madigan’s overly abrasive — and frankly intrusive — opinions about her parents’ marital choices; while critics were taken with her no-holds-barred performance, I found her hard to take, especially when she’s openly mistreating her child in a grocery store. (I have a particular issue with parents who take their anger out on innocent kids, who then become collateral damage.)

Sheedy — young, fresh, and beautiful — unfortunately doesn’t have much to do other than show up near the end as a daughter getting married (will Hackman come to her wedding? should he come to her wedding?).

Lang as her brother has even less screentime, and primarily seems to serve the role of the Understanding Male. With those complaints aside, the film possesses many moments of at least attempting to get at something more real than most Hollywood flicks about romance and marriage, and should be commended for that.

Notable Performances, Qualities, and Moments:

• Nice incorporation of numerous Seattle area locales and authentic blue collar joints
  
  

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

Links:

• IMDb entry
• NY Times Original Review
• Chicago Reader Capsule Review
• Time Out Capsule Review
• TCM Article

Synopsis:
In 18th century England, a young bastard raised by the owner (George Devine) of the house where he was born grows into a ribald young man (Albert Finney) who enjoys casual sex with the gamekeeper’s daughter (Diane Cilento) but falls for the gentle daughter (Susannah York) of his neighbor, Squire Western (Hugh Griffith), who tries to get York to marry Devine’s more “proper” nephew (David Warner).

Genres, Themes, Actors, and Directors:

• Albert Finney Films
• Comedy
• David Warner Films
• Historical Drama
• Hugh Griffith Films
• Joan Greenwood Films
• Susannah York Films
• Tony Richardson Films
• Womanizers

Review:
Peary doesn’t review this Oscar-winning historical flick in GFTFF, but he does mention it briefly in his Alternate Oscars, where he argues that while “British director Tony Richardson’s adaptation of Henry Fielding’s bawdy Restoration comedy” was “extremely popular” — and was “certainly more enjoyable than the other sorry films nominated for Best Picture” that year — he believes that “Richardson’s directorial impositions no longer seem fresh, Albert Finney has been much more impressive in other roles, and the tone of the film now comes across as smug rather than cheery.” I agree that this fast-paced adventure comedy doesn’t seem “Best Picture” worthy, though it’s easy to see how audiences at the time would be taken with its cinematic innovations, colorful historical sets, and overall bawdy tone.

Finney’s character is surprisingly likeable: he manages to infuse rascally Jones with a sense of boyish charm and humanity, such that we’re rooting for him as an underdog throughout.

Meanwhile, those who appreciated husky-voiced Joan Greenwood in her earlier film roles will be especially pleased to see her allowed to be an aggressive pursuer here:

… and there are plenty of other strong women to pay attention to as well, including three Oscar-nominated performances — by Diane Cilento as Molly Seagram:

… Dame Edith Evans as Miss Western:

… and Joyce Redman as Jenny Jones.

Oscar-nominated Griffith (perpetually sloshed) steals the show whenever he’s on screen:

… and York is luminous in one of her earliest roles.

The opening sequence (shot like a silent film) and final “big reveal” moments give viewers a whirlwind opening and closing to this unconventional historical drama, which is worth a one-time look.

Notable Performances, Qualities, and Moments:

• Albert Finney as Tom Jones
  
• A fine supporting cast
  
  
• The hunting sequence
  
• The “lusty dining” sequence
  
• Walter Lassaly’s cinematography
  

Must See?
Yes, once, for Finney’s performance and its historical relevance. Listed as a film with Historical Importance in the back of Peary’s book.

Categories

• Noteworthy Performance(s)
• Oscar Winner or Nominee

Links:

• IMDb entry
• NY Times Original Review
• TV Guide Review
• TCM Articles
• The Anglophile Channel Review

Synopsis:
A Jewish dairy farmer (Topol) married to a demanding wife (Norma Crane) is shocked to learn that his oldest daughter Tzeitel (Rosalind Harris) won’t marry a local butcher (Paul Mann) given that she’s already made a commitment to a young tailor (Leonard Frey) — but Tevye (Topol) soon learns that his other two older daughters, Hodel (Michele Marsh) and Chava (Neva Small), are also interested in their own suitors, rather than a man provided by the local matchmaker (Molly Picon).

Genres, Themes, Actors, and Directors:

• Feminism and Women’s Issues
• Grown Children
• Historical Drama
• Jews
• Musicals
• Norman Jewison Films
• Play Adaptations

Review:
Norman Jewison directed this big budget adaptation of the 1964 Broadway hit of the same name, itself based on stories by Sholom Alecheim about Tevye the Dairyman. There was much controversy around Jewison’s decision not to cast the original Broadway star, Zero Mostel, in the lead, instead choosing 35-year-old Israeli actor Topol to bring more of a “natural” feel to the film. While many disagree, I find Topol both well-suited to the role, and highly relatable: he’s someone we connect with and care about during his travails.

Also noteworthy is Leonard Frey as the timid tailor Motel, who eventually comes into his own and stands up to Tevye so he can marry his sweetheart. (Frey’s other well-known role was as Harold in The Boys in the Band [1970].)

There’s fine use of location shooting (in Yugoslavia), and a slew of instantly hummable songs — including “Tradition”:

… “Matchmaker”:

… “If I Were a Rich Man”:

… “Sabbath Prayer”:

… “To Life”:

… “Miracle of Miracles”:

… “Sunrise, Sunset”:

… “Do You Love Me?”

… and “Far From the Home I Love”.

Okay, here is where I should interject my personal history with this play: I was the pianist for a local community theater kids’ production of “Fiddler on the Roof” back in 1999, and thus got to know each and every one of the songs (and most of the dialogue) quite intimately. It’s possible my familiarity with the music is influencing my appreciation for so many of the songs — but they do truly seem memorable to me. Be sure to check out the 2019 documentary Fiddler: A Miracle of Miracles if you’re interested in learning more about the history and reach of this surprisingly boundary-crossing play.

Notable Performances, Qualities, and Moments:

• Topol as Tevye
  
• Leonard Frey as Motel
  
• Ossie Morris’s cinematography
  

Must See?
Yes, as a fine late-genre musical. Listed as a Personal Recommendation in the back of Peary’s book.

Categories

• Good Show
• Oscar Winner or Nominee

Links:

• IMDb entry
• DVD Talk Review
• NY Times Original Review
• TCM Article

Synopsis:
When a waitress (Lucinda Dickey) and her friend (Phineas Newborn III) from dance class meet up with a pair of break dancers (Adolfo “Shabba-Doo” Quinones and Michael “Boogaloo Shrimp” Chambers) in Venice, they try to convince Dickey’s new agent (Christopher McDonald) to give their troupe a chance at fame — but will Dickey’s slimy dance teacher (Ben Lokey) attempt to interfere?

Genres, Themes, Actors, and Directors:

• Dancers

Review:
This quickie pop flick was made expressly by Cannon Films to bank on the success of a 1983 documentary entitled Breakin’ and Enterin’, about the new(ish) phenomenon of break dancing. The serviceable script consists of lines like the following:

“She ain’t no street dancer; she knows nothin’ about what we do.”
“Street dancing belongs on the street; it won’t get you to Broadway.”

… etc. And while the characters are two-dimensional, Dickey (a talented dancer) at least has nice screen presence.

Thankfully, there are plenty of impressive dance sequences taking place on the streets, in clubs, and in studios — which is what we’re really watching for anyway.

While interracial harmony abounds, class differences are highlighted to a ludicrous degree:

… though it’s all in service of miraculously bridging divides by the end. And yes, that is Ice T. in his screen debut as a DJ.

Notable Performances, Qualities, and Moments:

• Plenty of fun dancing sequences
  
• Good use of L.A. location shooting
  

Must See?
No, but it’s worth a look for its cult status. Listed as a Cult Movie in the back of Peary’s book.

Links:

• IMDb entry
• Bad Movies Review
• TCM Article
• TCM Article 2

Synopsis:
A man (Jack Weston) hides away in a gay bath house when his mafia-involved brother-in-law (Jerry Stiller) puts a hit out on him.

Genres, Themes, Actors, and Directors:

• Comedy
• Homosexuality
• Mafia
• Mistaken or Hidden Identities
• Play Adaptation
• Richard Lester Films
• Rita Moreno Films
• Treat Williams Films

Response to Peary’s Review:
Peary writes that while “this adaptation of Terrence McNally’s broad bath-house farce runs out of steam near the end, the frenetic performances and direction by Richard Lester make it a delight,” and he refers to it as a “much underrated comedy.” The storyline focuses on Weston meeting “a wild assortment of gays on the sexual prowl” at a New York bath house — including a diminutive “chubby chaser” (Paul B. Price) determined to pounce on Weston:

… and F. Murray Abraham (giving the film’s most memorable performance) as a man mostly hoping to get lucky but also happy to lend Weston a hand once he learns what’s going on.

Peary points out that “in a rare lead, Weston is splendid, especially in his scenes with marvelous Rita Moreno, whose talentless Googie Gomez performs in the bath’s nightclub.” (Moreno won a Tony for her performance of the role on Broadway, which she says was written for her after she played the character at a party thrown by James Coco.)

Peary asserts that while “Moreno steals the film,” he finds “it impossible not to laugh every time detective Treat Williams uses a ridiculous, high-pitched voice. (I disagree, and find this unfunny character trait simply distracting.) Overall, this is a rare film where I caught myself wondering exactly how much I “could” or should laugh; knowing it was written by a gay man helps, though Weston’s transphobia (he’s been misinformed that Moreno’s character is a man) is uncomfortable. Ultimately, as with all comedies, viewers will have to decide for themselves whether this is their cup of tea or not.

Notable Performances, Qualities, and Moments:

• Jack Weston as Gaetano Proclo
  
• F. Murray Abraham as Chris
  

Must See?
No, but it’s worth a look.

Links:

• IMDb entry
• TCM Article
• TV Guide Review

Synopsis:
When a dance hall hostess (Shirley MacLaine) meets and falls in love with a nervous man (John McMartin) stuck in an elevator, it seems she may finally have a chance at romantic happiness — but will McMartin be able to overlook MacLaine’s colorful work history?

Genres, Themes, Actors, and Directors:

• Morality Police
• Musicals
• Prostitutes and Gigolos
• Ricardo Montalban Films
• Romantic Comedy
• Shirley MacLaine Films

Review:
Bob Fosse’s cinematic directorial debut was this adaptation of the Broadway play he’d also directed, itself directly inspired by Federico Fellini’s Nights of Cabiria (1957). While it didn’t do well at the box office (audiences were beginning to lose interest in such big-budget musicals), it remains a colorful, vibrantly filmed outing that does Fellini’s work justice. MacLaine is perfectly cast in the title role — originally played by Fosse’s wife Gwen Verdon on Broadway — as a “dance hall girl” who’s first seen (as was Giuletta Masina’s Cabiria) being grotesquely shoved into the water by her brute of a “boyfriend”.

Also as in Nights of Cabiria, Charity heads out and then home with a famous movie star (Ricardo Montalban) who’s just had a fight with his glamorous girlfriend (Barbara Bouchet). She ends up having the night of her life with him:

… before falling asleep in his closet and sneaking out the next morning. When she accidentally cute-meets a claustrophobic man (McMartin) on her way out of a disastrous meeting with a job recruiter, we can understand her hesitation at letting him pursue her:

… but are also totally rooting for the couple. Meanwhile, the entire storyline is filled from beginning to end with colorful musical numbers — including top hits “Big Spender” and “If My Friends Could See Me Now” — creatively staged by Fosse:

… who also has fun with freeze frames and other cinematic trickery. Even when the songs don’t directly move the storyline forward, they’re engaging to watch — as with the somewhat random inclusion of Sammy Davis, Jr. and troupe performing “The Rhythm of Life” simply because McMartin decides to take MacLaine to his “church of the month”.

While this film has more than enough heartache to go around:

…. it’s leavened by color, pathos, and humor, and remains worthy viewing. Watch for Bud Cort in a tiny role near the end as a “flower power” hippie who approaches Charity in a park.

Notable Performances, Qualities, and Moments:

• Shirley MacLaine as Charity
  
• Several rousing musical numbers with fine choreography
  
  
  

Must See?
Yes, for MacLaine’s performance, Fosse’s directing, and several enjoyable musical numbers. Listed as a Personal Recommendation in the back of Peary’s book.

Categories

• Important Director
• Noteworthy Performance(s)

Links:

• IMDb entry
• TCM Article
• TV Guide Review

Synopsis:
A bumbling musicologist (Ryan O’Neal) competing with an obnoxious Croatian (Kenneth Mars) for a grant from a wealthy donor (Austin Pendleton) gets into trouble with his whiny fiancee (Madeline Kahn) when a wacky college dropout (Barbra Streisand) decides she likes him and aggressively pursues him.

Genres, Themes, Actors, and Directors:

• Barbra Streisand Films
• Madeline Kahn Films
• Michael Murphy Films
• Mistaken or Hidden Identities
• Peter Bogdanovich Films
• Professors
• Randy Quaid Films
• Romantic Comedy
• Ryan O’Neal Films

Review:
Peter Bogdanovich’s remake of — or affectionate homage to — Howard Hawks’ Bringing Up Baby (1938) was co-scripted by Buck Henry, David Newman, and Robert Benton and featured perhaps the only person wacky enough to compete with Katharine Hepburn in the original: Barba Streisand (in her fifth starring role).

Unfortunately, O’Neal is no Cary Grant, and the film is a mixed comedic bag which tries to cover way too much territory in its 94-minute non-stop running time (though audiences at the time loved it, and it made a boatload of money).

The opening sequences — in which we first meet Streisand’s Judy and she finds all sorts of creative methods for weaseling her way into the life of staid Howard Bannister (O’Neal) — are the best, particularly as we see her ably charming Pendleton’s toothy philanthropist:

… and infuriating O’Neal’s insufferably stuffy fiancee (Kahn, in her film debut).

A central running gag about four matching plaid bags — which each contain something incredibly valuable to its owner, and get instantly mixed up — manages to incorporate a slew of supporting characters who will stop at nothing to get the bag they believe they’re looking for or own.

Among the film’s many comedic “situations” are Streisand dangling outside of a hotel balcony (it should be noted that this was the “first American film to credit the stunt people in the credits”):

… an elaborate (and destructive) car/bicycle chase through the streets, stairs, and wharfs of San Francisco:

… an interrupted reception in a fancy gallery space:

… and a court case with a pill-popping judge.

It’s easy to see why audiences had so much fun with this madcap comedy, but it’s not must-see viewing other than for Streisand fans.

Notable Performances, Qualities, and Moments:

• Barbra Streisand as Judy Maxwell
  
• Madeline Kahn as Eunice
  
• Austin Pendleton as Frederick Larrabee
  
• Colorful sets and cinematography
  
• Fun use of San Francisco location shooting
  

Must See?
No, though it’s worth a look simply for Streisand’s performance.

Links:

• IMDb entry
• DVD Savant Review
• TCM Article

Synopsis:
When evil Iago (Frank Finlay) finds out Cassio (Derek Jacobi) has been promoted ahead of him, he seeks revenge on his Moorish military commander, Othello (Laurence Olivier), by convincing him his wife Desdemona (Maggie Smith) has been having an affair with Cassio.

Genres, Themes, Actors, and Directors:

• Cross-Cultural Romance
• Homicidal Spouses
• Jealousy
• Laurence Olivier Films
• Maggie Smith Films
• Play Adaptation
• Race Relations and Racism
• Shakespeare

Review:
Stuart Burges’ faithful screen adaptation of the British National Theatre Company’s staging of Othello was the first cinematic version of this play to be filmed in color, and remains notable for featuring Olivier in a disturbing form of blackface.

Indeed, Olivier’s choice of characterization (he also lowered his voice, developed an accent, and shifted his walking gait) caused controversy that persists today; see here to read about a music professor who was censured for showing this film at the University of Michigan. Olivier’s appearance is shocking at first — but the larger problem is that his critically lauded performance (Peary nominates him as one of the Best Actors of the Year in Alternate Oscars) is far too overbearing. While Finlay nicely underplays, Olivier comes across as positively apoplectic and childish.

Faring much better is Smith as Desdemona, projecting just the right amount of love and loyalty injected with righteous confusion and fear.

Overall, the film suffers from being too much of a filmed play; regardless of what one thinks of the performances, the storyline remains as stagy as it was designed to be. In contrast, Orson Welles’ low-budget adaptation is a revelation of cinematic possibilities.

Watch for Derek Jacobi in his screen debut as Cassio.

Notable Performances, Qualities, and Moments:

• Maggie Smith as Desdemona
  
• Frank Finlay as Iago
  
• Geoffrey Unsworth’s cinematography
  

Must See?
No; this one is only must-see for Olivier fans or Shakespeare-on-film aficionados. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• TCM Article
• Combustible Celluloid Review
• TV Guide Review

Synopsis:
Broadway phenomenon Fanny Brice (Barbra Streisand) reflects back on her legendary rise to fame work for Flo Ziegfeld (Walter Pidgeon) while engaging in a troubled romance with her gambling husband (Omar Sharif).

Genres, Themes, Actors, and Directors:

• Anne Francis Films
• Barbra Streisand Films
• Biopics
• Gambling
• Marital Problems
• Musicals
• Omar Sharif Films
• Romance
• Singers
• Strong Females
• Walter Pidgeon Films
• William Wyler Films

Review:
Barbra Streisand tied with Katharine Hepburn and earned an Academy Award in her cinematic debut as Fanny Brice, a role she had inhabited previously on Broadway. While she was purportedly a challenge to deal with on set, Streisand’s performance throughout is top-notch, and she clearly knew how to portray herself in the best light (literally).

Sharif (despite much controversy over being Egyptian during a tense time in world politics with this nation) is nicely cast as her handsome husband, who appreciates her talents while understandably wanting to make his own way in life.

Their scenes together are never uncomfortable, despite knowing the ultimate trajectory of their marriage. Pidgeon is appropriately old-school as Ziegfeld (thank goodness Fanny stands up to him in a pivotal early scene):

… and Oscar-nominated Kay Medford is fine if underused as Fanny’s Jewish Mama.

More egregious is the severely truncated presence of Anne Francis as Fanny’s friend Georgia James (seen below on the left) — though at 2.5+ hours long, the film does already feel lengthy enough.

Film fanatics will surely want to check out this beautifully produced musical (directed by William Wyler) for its historical relevance, and to see Streisand in the role that defined but never constrained her.

Notable Performances, Qualities, and Moments:

• Barbra Streisand as Fanny Brice
  
• Fine musical numbers
  
• Harry Stradling’s cinematography
  

Must See?
Yes, for Streisand’s breakthrough cinematic performance.

Categories

• Noteworthy Performance(s)
• Oscar Winner or Nominee

Links:

• IMDb entry
• DVD Savant Review
• Salon Review
• TCM Articles