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Twinkle, Twinkle, Killer Kane / Ninth Configuration, The (1980)

October 5, 2021 admin Comments 1 comment

“I don’t think evil grows out of madness; I think madness grows out of evil.”

Synopsis:
Shortly after the end of the Vietnam War, Colonel Kane (Stacy Keach) arrives at a castle housing mentally distressed veterans, including a former astronaut (Scott Wilson) who has lost his faith in humanity, and a lieutenant (Jason Miller) attempting to mount a Shakespearean production with dogs. Kane works closely with a colonel (Ed Flanders) to craft activities that will support the men in healing; but is shell-shocked Colonel Kane in need of support and healing himself?

Genres, Themes, Actors, and Directors:

Mental Illness
Mistaken or Hidden Identities
Neville Brand Films
Stacy Keach Films
Veterans
Vietnam War

Review:
William Peter Blatty — best known as the author of The Exorcist (1971) and its Oscar-winning screenplay adaptation — made his directorial debut with this adaptation of his own novel, first published as Twinkle, Twinkle, ‘Killer’ Kane! (1966) and later reworked as a new novel entitled The Ninth Configuration (1978). His film remains a beloved cult favorite, with English critic Mark Kermode referring to it as an “extraordinary theological thriller” in which Blatty offers “scabrous satire with sanguine spirituality in one of the most genuinely bizarre offerings of modern US cinema.”

Kermode goes on to describe the film as “a breathtaking cocktail of philosophy, eye-popping visuals, jaw-dropping pretentiousness, rib-tickling humour and heart-stopping action.” With that said, he concedes it’s “a work of matchless madness which [nonetheless] divides audiences as spectacularly as the waves of the Red Sea, a cult classic that continues to provoke either apostolic devotion or baffled dismissal 20 years on.”

Unfortunately, I happen to fall in the latter camp. I’m not a personal fan of movies exploring “who’s really insane” — i.e., King of Hearts (1966), One Flew Over the Cuckoo’s Nest (1975), etc. — and this outing is no exception. It’s filled with countless lines of dialogue intended to highlight the patients’ wacky yet cultured personas:

“I am punishing the atoms. I am making an example of them.”
“This man treats crocodiles for acne!”
“The man in the moon tried to f**k my sister!”
“You wouldn’t know Kafka from Bette Davis.”
“Quit drinking buttermilk daiquiris in the closet.”
“Read the classics; it improves the whole respiratory system.”
“There’s nothing less attractive than a psychiatrist who pouts.”
“Listen, I know my rights: I want to see my urologist.”

Meanwhile, I don’t understand the humor in — or purpose behind — Miller attempting to stage Shakespearean works with dogs (and why does his own dog look like it’s covered in shaggy carpet?):

I’m equally uncertain why the film intentionally includes cinematic references (such as an inexplicable poster of Bela Lugosi’s Dracula on the wall).

The film’s “big reveal” about Keach midway through didn’t come as much of a surprise to me:

… and while I can imagine audiences at the time being appreciative of such a frank look at the life-altering PTSD experienced by so many Vietnam vets, I find it all overly calculated and heavy-handed. Watch for Neville Brand in an underdeveloped role as a military assistant:

… and other recognizable names and faces (Moses Gunn, Robert Loggia, Joe Spinell) in bit parts throughout.

Note: I fact-checked a distressing claim made by one character about the high suicide rates of psychiatrists, and sadly, it turns out to be true.

Notable Performances, Qualities, and Moments:

Fine sets and cinematography

Must See?
No, though of course it’s worth a look if you’re curious, given its enthusiastic fan base. Listed as a Cult Movie in the back of Peary’s book.

Links:

1776 (1972)

October 1, 2021 admin Comments 1 comment

“I have come to the conclusion that one useless man is called a disgrace; that two are called a law firm; and that three or more become a Congress!”

Synopsis:
At the Second Continental Congress in Philadelphia, John Adams (William Daniels) pushes for independence from Britain, and is given leave — along with Benjamin Franklin (Howard Da Silva), Thomas Jefferson (Ken Howard), and others — to draft the Declaration of Independence.

Genres, Themes, Actors, and Directors:

American Revolutionary War
Blythe Danner Films
Historical Drama
Musicals
Play Adaptation

Review:
This adaptation of Sherman Edwards and Peter Stone’s 1969 Tony-winning Broadway musical offers an intriguing counterpoint to Lin Manuel Miranda’s Hamilton, with both historicizing (and musicalizing) key moments from the earliest years of the United States. As with most historical dramatizations, 1776 is filled with inaccuracies (see Wikipedia’s entry for specifics), but it seems to get the overall gist of the moment “right” — meaning, we strongly sense how confoundingly hot it was in the closed-window rooms:

… how dull and trite most of the Congress’s work generally felt:

… and how contentious key issues (i.e., slavery) were to moving forward as a collective:

Because we already know the eventual outcome of this momentous event, the storyline necessarily focuses on the personalities behind the scenes, highlighting (indeed, over-emphasizing) their key qualities for dramatic impact — so, we see Adams berating himself time and again for being so “obnoxious and disliked” (not actually true in real life):

… Jefferson’s driving lust for his wife (Blythe Danner):

… and Ben Franklin’s irrepressibly scampish nature (Da Silva is a highlight of the movie):

Unfortunately, the songs aren’t all that thrilling, though a few will stick in your head (for better or for worse) long after they’re done.

Notable Performances, Qualities, and Moments:

Howard Da Silva as Ben Franklin
Fine historical sets and cinematography

Must See?
No, but it’s definitely must-see for American history buffs.

Links:

I Am a Camera (1955)

September 26, 2021 admin Comments 1 comment

“I’ve been most divinely chaste!”

Synopsis:
In 1931 Berlin, hedonistic, penniless nightclub singer Sally Bowles (Julie Harris) — living with aspiring young writer Chris Isherwood (Laurence Harvey) — wracks up terrible debt during a night on the town, and allows a wealthy American (Ron Randell) to wine and dine her. Meanwhile, a poor friend (Anton Diffring) hoping to marry into money woos one of Harvey’s students (Shelley Winters), but soon finds himself falling authentically in love with her.

Genres, Themes, Actors, and Directors:

Flashback Films
Gold Diggers
Julie Harris Films
Laurence Harvey Films
Shelley Winters Films
Writers

Review:
South African-born Henry Cornelius — director of Passport to Pimlico (1949) and Genevieve (1953) — helmed this adaptation of John Van Druten’s 1951 play, best known as one of the sources for Bob Fosse’s Cabaret (1972). Given the time of its release, it covers some rather scandalous material — including pre-marital sex, promiscuity, and abortion — thus leading America’s Production Code Administration to deny its approval of the finished film. Those familiar with Liza Minnelli’s iconic, Oscar-winning portrayal of Sally Bowles in Cabaret will likely find it jarring to see Harris (so different looking!) in the role, but she’s ultimately convincing here and helps anchor the film in wackiness.

Indeed, the entire affair has an air of comedy to it that underplays (while not entirely ignoring) the risk of rising Nazism:

What’s primarily missing from this iteration of the story is any hint of Isherwood’s sexuality or intimate involvement with either Sally or the character played by Randell. Meanwhile, Diffring and Winters’ romance is simply glossed over quickly, and not given much weight or significance.

While this film remains notable for taking risks most others at the time wouldn’t dare consider, it’s only must-see viewing for those interested in Isherwood’s stories.

Notable Performances, Qualities, and Moments:

Julie Harris as Sally Bowles

Must See?
No; this one isn’t must see. Listed as a film with Historical Importance in the back of Peary’s book.

Links:

Cabaret (1972)

September 26, 2021 admin Comments 1 comment

“That’s me, darling: unusual places, unusual love affairs. I am a most strange and extraordinary person.”

Synopsis:
In early 1930s Berlin, aspiring movie star and cabaret singer Sally Bowles (Liza Minnelli) begins an affair with her new housemate Brian, a bisexual British academic (Michael York) who earns money by tutoring a Jewish heiress (Marisa Berenson) and a gigolo (Fritz Wepper) seeking her attention. Meanwhile, both Sally and Brian become involved with a wealthy baron (Helmut Griem) while Nazism rises insidiously all around them.

Genres, Themes, Actors, and Directors:

Aspiring Stars
Bob Fosse Films
Expatriates
Historical Dramas
Liza Minnelli Films
Love Triangle
Michael York Films
Nazis
Nightclubs
Play Adaptations

Response to Peary’s Review:
Peary writes that “Bob Fosse’s stylish political musical” — “adapted by Jay Presson Allen (and Hugh Wheeler) from John van Druten’s play I Am a Camera, which had been based on Christopher Isherwood’s autobiographical Goodbye to Berlin stories, and the Broadway musical” — “looks better all the time.” He notes that “what the film shows us is that decadence of the type that distinguishes Berlin in 1931 (as seen in the cabaret acts, as seen in Sally’s experiences)”:

… “has a seductive power, that violence is a natural [?] outgrowth of perversion:” [?!?!?!?!]

… and “that Nazism was nurtured by moral decay.” (Perhaps so, given society’s broader reactionary response to it; but he neglects to add the important caveat that this supposed ‘moral decay’ — actually LGBTQ+ sex-positivity — was far from innately harmful.) He adds that the “film went back to old-style musicals in that all the songs (Fred Ebb and John Kander won an Oscar) are performed on the cabaret stage, except ‘Tomorrow Belongs to Me,’ which is eerily sung in an open-air cafe by young Nazis and exuberant Germans who join in.”

Peary points out that the songs — including “Cabaret,” “Money,” and “Two Ladies” — are “unforgettably performed by Minnelli and cabaret emcee Joel Grey (who won a Best Supporting Actor Oscar) and a group of gyrating chorus girls,” with “these stunningly choreographed numbers… photographed (by Geoffrey Unsworth, who won an Oscar) in a stylized manner that emphasizes the performers’ sexuality and lewdness.”

In Alternate Oscars, Peary agrees with the actual Academy in awarding Minnelli the Best Actress of the Year award, noting that while “it’s possible she would have won with just a mediocre performance because the Academy wanted to make up for its slight of her mother [Judy Garland],” “Minnelli gave such a dynamic performance that no one questioned her victory over a weak field of nominees.” He writes that “with those big, soulful eyes that flood her face with tears without need of a cue, a stunned, open-mouthed, little-girl pout, and a tries-too-hard-and-makes-a-fool-of-herself manner, Liza Minnelli was peerless at seducing audience pity for her characters,” as she had in The Sterile Cuckoo and would again in New York, New York. He adds that “it is during Fosse’s stylized musical numbers that Minnelli completely amazes us, whether singing marvelous solos, or duets with Joel Grey… We are jolted by these performances, suddenly remembering that her acting, as fine as it is, is only her second-best talent.”

While I’m not particularly enamored by the sub-plots involving more peripheral players (i.e., Berenson and Wepper’s romance):

… the songs and visuals keep one consistently engaged, and better able to stomach the film’s sobering historical context.

Notable Performances, Qualities, and Moments:

Liza Minnelli as Sally Bowles
Michael York as Brian
Joel Grey as the Kit Kat’s M.C.
Enjoyable musical numbers
Fine direction, cinematography, sets, and costumes

Must See?
Yes, as an Oscar-winning classic.

Categories

Noteworthy Performance(s)
Oscar Winner or Nominee

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

Links:

Modesty Blaise (1966)

September 22, 2021 admin Comments 2 comments

“We’ve no alternative; we must have Modesty Blaise.”

Synopsis:
World-class jewel thief Modesty Blaise (Monica Vitti) is hired by a pair of British officials (Harry Andrews and Alexander Knox) to send a bribe of diamonds to a sheik (Clive Revill), knowing that a rival thief (Dirk Bogarde) will attempt to snatch them as well. Modesty teams up with her long-time partner (Terence Stamp) to complete her mission, which includes facing villainous Bogarde and his wife (Rossella Falk) on their isolated Mediterranean island.

Genres, Themes, Actors, and Directors:

Dirk Bogarde Films
Harry Andrews Films
Joseph Losey Films
Monica Vitti Films
Satires and Spoofs
Spies
Terence Stamp Films
Thieves and Criminals

Review:
This notorious misfire by director Joseph Losey — based on a novel featuring the titular comic strip character — is a colorful bomb of a satire attempt. The introduction to DVD Savant’s review sums the movie up well:

Modesty Blaise can best be described as an interesting mess. One of director Joseph Losey’s most expensive and atypical films, it’s a complicated, confusing, and sometimes tiresome collection of SuperSpy situations and characters that never finds a satisfying tone, although some aspects of its production are superb.

Later, DVD Savant describes it as “a comedy without laughs, that has no control over its tone” — a movie that “starts like a James Bond film and crumbles into rather boring scenes punctuated by pitiful jokes and impenetrable in-jokes.” Italian actress Vitti — best known for her starring roles in Michelangelo Antonioni’s L’Avventura (1960), La Notte (1961), L’Eclisse (1962), and Red Desert (1964) — is appropriately quirky and beautiful yet somehow not quite believable as an agile super-spy:

Much more intriguing (though under-developed) is Bogarde’s fussy super-criminal Gabriel, wearing dapper clothes and a silver wig and caring far too much about details of the food he eats:

… while allowing torture and killings to occur around him.

This movie has color and style to spare, but it’s frustrating to be tossed from set to set — with Vitti rapidly changing outfits and hair colors as well:

— for no real purpose other than whimsy. Given its budget, Modesty Blaise had the potential to be a clever, female-centric send-up of James Bond flicks, but it falls far short of this goal.

Notable Performances, Qualities, and Moments:

Dirk Bogarde as Gabriel
Jack Hildyard’s cinematography
Stylish sets and outfits

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

Links:

Accident (1967)

September 21, 2021 admin Comments 3 comments

“All aristocrats were made to be… killed.”

Synopsis:
An Oxford tutor (Dirk Bogarde) whose wealthy student (Michael York) is interested in a beautiful Austrian exchange student (Jacqueline Sassard) invites the two of them and his colleague (Stanley Baker) for a visit at his country home, where his pregnant wife (Vivien Merchant) is getting ready to give birth — but soon other romantic entanglements emerge, leading to tragedy.

Genres, Themes, Actors, and Directors:

Delphine Seyrig Films
Dirk Bogarde Films
Flashback Films
Infidelity
Joseph Losey Films
Michael York Films
Professors

Review:
Along with uncredited work on Modesty Blaise (1966), playwright/author Harold Pinter collaborated with director Joseph Losey on three films: The Servant (1963), The Go-Between (1971), and this award-winning adaptation of a novel by Nicholas Mosley. Unfortunately, Accident is a disappointing film that doesn’t seem to have aged well: we’re never given a reason to care about these self-absorbed, privileged characters, who lack depth and aren’t interesting. The most sympathetic character is played by Merchant:

… though her role is peripheral and she has little agency over matters given her advanced pregnancy. Mostly we’re forced to watch insecure middle-aged men lounging around, drinking too much, and treating infidelity as casually as stopping to fill up a tank of gas:

Sassard, meanwhile, is merely a vapid beauty with no defining characteristics — or interests! or thoughts! — at all.

Delphine Seyrig shows up at one point for a small role, but we don’t like her character either, so…

At least the sets and cinematography are beautiful to look at.

Notable Performances, Qualities, and Moments:

Gerry Fisher’s cinematography

Must See?
No; you can skip this one.

Links:

Servant, The (1963)

September 20, 2021 admin Comments 1 comment

“What do you want from this house?”

Synopsis:
When a manservant (Dirk Bogarde) arrives to help care for an alcoholic young investor named Tony (James Fox), Tony’s entire life — including his relationship with his fiancee Susan (Wendy Craig) — is soon turned upside down, with events taking an even darker turn when Barrett (Bogarde) brings his sister Vera (Sarah Miles) into the house to work as a maid.

Genres, Themes, Actors, and Directors:

Class Relations
Dirk Bogarde Films
James Fox Films
Joseph Losey Films
Living Nightmare
Servants, Maids, and Housekeepers

Review:
Joseph Losey directed and Harold Pinter scripted this highly unique psychological drama about class relations and power dynamics in mid-20th-century England; as DVD Savant writes, this “impeccable, incisive, observant and richly appointed” film “is a fascinating and rather creepy little gem.” After his breakthrough “arthouse” role in Victim (1961), Bogarde gives yet another layered performance as the title character — a calculating and unflappable servant-for-hire who knows exactly the right moves to make at each moment as he pursues his self-serving, often inscrutable goals.

Equally compelling is Craig in a role which could easily be tossed off as peripheral or shrewish, but instead posits her as an uneasy bridge between Fox’s two worlds.

Fox, meanwhile, brings just the right blend of arrogance and insecurity required by his role, wherein we easily vaccilate between generalized contempt and authentic pity for his situation.

Viewers should be prepared for an unlikely turn of events midway through, and then another — until one finally realizes this film has become a dark and surreal nightmare. Douglas Slocombe’s shadowy cinematography heightens this sensation:

… and Losey’s direction emphasizes power relations and domination at every turn:

While some have complained that the very odd ending — specifically the unexpected behavior of a particular character — throws one off, I would argue that it’s all of a piece with the film’s vision of Tony’s existence (and by extension, all of upper-class Britain) having become topsy-turvy and unnerved.

Notable Performances, Qualities, and Moments:

Dirk Bogarde as Hugo Barrett
James Fox as Tony
Wendy Craig as Susan
Sarah Miles as Vera
Douglas Slocombe’s cinematography

Must See?
Yes, as a unique psychological thriller. Listed as a film with Historical Importance, a Cult Movie, and a Personal Recommendation in the back of Peary’s book.

Categories

Good Show

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

Links:

Mothra (1961)

September 17, 2021 admin Comments 1 comment

“Mothra doesn’t understand right and wrong. She has only the instinct to take us back to the island.”

Synopsis:
A scientist (Hiroshi Koizumi) investigating an irradiated island discovers a pair of tiny singing fairies (Yumi and Emi Ito) who communicate telepathically with a gigantic, protective, caterpillar-like creature named Mothra. When the fairies are kidnapped by a mercenary gangster (Jerry Ito) who puts them on display as performers, a plucky reporter (Frankie Sakai) and his camerawoman (Kyoko Kagawa) try to help them make it safely back to their island before Mothra destroys civilization.

Genres, Themes, Actors, and Directors:

Folk Tales, Fairy Tales, and Mythology
Insects
Japanese Films
Kidnapping

Review:
This Japanese kaiju film — a follow-up to Godzilla, King of the Monsters! (1956) with clear inspiration also derived from King Kong (1933) — featured Toho Studios’ second most popular movie monster, albeit a less insidious beast who only causes destruction when she’s on a rampage to protect “her people”.

Mothra — so named, one presumes, because she eventually emerges as a moth-like creature from a cocoon:

— was featured in quite a few other films in the franchise (including a trilogy focused specifically on her rebirth), and is beloved by fans — though it’s a hard not to chuckle at the obvious models and puppets being used throughout. Kaiju fans obviously won’t want to miss this flick, but other film fanatics should consider it optional.

Notable Performances, Qualities, and Moments:

Colorful cinematography

Must See?
No, though of course fans of Japanese monster flicks will want to check it out (and probably already have).

Links:

Nell Gwyn (1934)

September 13, 2021 admin Comments 1 comment

“How should I know what… pleases your majesty?”

Synopsis:
In 17th century England, dance hall performer Nell Gwyn (Anna Neagle) becomes a beloved confidante and lover of King Charles II, quickly butting heads with his arrogant French mistress (Jeanne De Casalis).

Genres, Themes, Actors, and Directors:

Actors and Actresses
Biopics
Cross-Class Romance
Historical Drama
Royalty and Nobility

Review:
Anna Neagle shines in the title role of this historical biopic-comedy which tells the satisfying (albeit bittersweet) tale of a bawdy performer who authentically won the heart of the king while showing up the shallowness of her snooty formal rival, the Duchess of Portsmouth (De Casalis):

It’s easy to see why the king would fall for Nell, with her infectious laugh:

… and ability to effectively skewer all pretentions — as in the amusing scene where she appears on stage dressed in an outlandish version of an outfit the Duchess had been so excited to show off to society:

Freddie Young’s cinematography and fine sets make the entire affair a pleasing one to sit through. While it’s not must-see viewing, it’s recommended.

Note: This film is listed on IMDb and Wikipedia as 85 minutes long, but the version I saw was only 71 minutes; I wonder if I missed some of the censored scenes?

Notable Performances, Qualities, and Moments:

Anna Neagle as Nell
Cedric Hardwicke as King Charles II
Fine cinematography and sets

Must See?
No, though it’s recommended. Listed as a film with Historical Importance in the back of Peary’s book.

Links:

Farewell to Arms, A (1932)

September 13, 2021 admin Comments 3 comments

“I’ll come back to Catherine — I’ll always come back.”

Synopsis:
During World War I, an ambulance driver (Gary Cooper) falls in love with a nurse (Helen Hayes) but his jealous friend (Adolphe Menjou) prevents them from staying in touch with one another.

Genres, Themes, Actors, and Directors:

Adolphe Menjou Films
Doctors and Nurses
Frank Borzage Films
Gary Cooper Films
Helen Hayes Films
Romance
Star-Crossed Lovers
World War I

Review:
Ernest Hemingway wasn’t happy with this Hollywood-ized rendering of his autobiographically inspired best-selling novel — though he eventually became lifelong friends with Cooper (whose performance he admired). Indeed, Cooper and Hayes are fine as the star-crossed lovers whose happiness is repeatedly doomed by the pesky realities of war:

However, their story is essentially a soaper, so your enjoyment of the tale (directed with atmospheric style by Frank Borzage) will depend entirely on how much you appreciate this type of fare. The film is also notable for being made as a PreCode title, and thus filled with plenty of scenes and insinuations that wouldn’t pass muster just a few years later.

Notable Performances, Qualities, and Moments: