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Synopsis:
A handsome young drifter (Peter McEnery) is invited to live with a middle-aged nymphomaniac (Beryl Reid), her misogynist brother (Harry Andrews), and their aging “Dadda” (Alan Webb). Soon, however, Mr. Sloane (McEnery) is identified by “Dadda” as a murderer, and finds himself caught in a sticky situation.

Genres, Themes, Actors, and Directors:

• Black Comedy
• Harry Andrews Films
• Love Triangle
• Play Adaptation
• Siblings

Review:
Based on a play by British writer Joe Orton — whose tragic death was portrayed in Stephen Frears’ Prick Up Your Ears (1987) — this devilishly irreverent black comedy is remarkably risque. It’s fun to see Beryl Reid (star of the lesbian-themed Killing of Sister George) camping it up as an aging nympho (check out her see-through dress in the first part of the film — she’s fearless!), and Harry Andrews is a suitable foil as her closeted-gay brother, who seems to express his sexual preferences primarily through overt woman-hating. In the title role, Peter McEnery is yummy eye candy — his sculpted body is almost a parody of carnal desire. The story itself goes in all sorts of unexpected directions, and you’ll likely find your mouth agape by the truly surreal ending.

Redeeming Qualities and Moments:

• Beryl Reid’s delightfully wacky performance as Kath
  
• Harry Andrews as Ed
  
• Peter McEnery as “Mr. Sloane”
  
• Joe Orton’s clever, hugely irreverent script

Must See?
Yes. As the most successful cinematic adaptation of Joe Orton’s work, this should be of interest to all film fanatics.

Categories

• Historical Relevance

Links:

• IMDb entry
• NY Times Original Review (spoilers alert!)

Synopsis:
Four Jewish intellectuals (George Segal, Jack Warden, Joseph Wiseman, and Sorrell Booke) drive across New York City searching for the funeral of their friend, Leslie Braverman.

Genres, Themes, Actors, and Directors:

• Black Comedy
• Death and Dying
• George Segal Films
• Jessica Walter Films
• Jews
• New York City
• Sidney Lumet Films

Review:
Peary gives a reasonably positive review of this Sidney Lumet film, praising its “comic tone”, occasional “hilarious moments”, and “witty performances”. At the same time, he concedes that “you may tune out on these men” — and, indeed, I found it difficult to care about any of the insufferable characters here (men or women), who screech and kvetch ad infinitum. The most irritating character is Booke’s Holly Levine (a procrastinating writer who is pathologically attached to his new red VW bug):

but the other actors — while turning in decent performances, especially Segal — don’t fare much better.

Though it’s beloved by a handful of fans who are clamoring for its release onto DVD, this film is clearly not for all tastes, and wasn’t for mine.

Redeeming Qualities and Moments:

• Some interesting cinema verite shots of New York streets
  

Must See?
No.

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
U.S. Treasury agents Dennis O’Brien (Dennis O’Keefe) and Tony Genaro (Alfred Ryder) go undercover to try to infiltrate a counterfeiting ring.

Genres, Themes, Actors, and Directors:

• Anthony Mann Films
• Counterfeiting
• Undercover Cops and Agents

Review:
T-Men was one of director Anthony Mann’s earliest collaborations with gifted cinematographer John Alton, who also worked with Mann on Raw Deal (1948) and Reign of Terror (1949). The result is an atmospheric, stylish thriller with strong performances and many moments of genuine tension. Unfortunately, the script is flawed by a pedantic narration (see the quote above), which — while ostensibly meant to impart a “documentary feel” to the film — simply interferes with the flow of the story. Nonetheless, T-Men remains worthy viewing at least once, especially for noir fans.

Redeeming Qualities and Moments:

• Dennis O’Keefe, perfectly cast in the lead role
  
• Wallace Ford as “the Schemer”
  
• John Alton’s stunning noir cinematography
  

Must See?
No, but it’s recommended.

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
In the 1930s, a millionaire (Burt Reynolds) falls for a singer named Kitty (Madeline Kahn), but is snatched away by Kitty’s indigent-heiress friend, Brooke (Cybill Shepherd). Meanwhile, a suave Italian gambler named Johnny Spanish (Duilio Del Prete) is in love with Brooke, Kitty is in love with Johnny, and Reynolds longs for his original love, Kitty.

Genres, Themes, Actors, and Directors:

• Burt Reynolds Films
• Cybill Shepherd Films
• Depression Era
• Love Triangle
• Madeline Kahn Films
• Musicals
• Peter Bogdanovich Films
• Romantic Comedy

Review:
Peter Bogdanovich’s much-maligned Cole Porter musical — infamously shot with his actors singing live rather than lip-syncing — is a surprisingly enjoyable, albeit innocuous, treat. Most of the critical complaints come from those who argue that Cybill Shepherd and Burt Reynolds are woefully miscast, and can’t carry a tune in a bucket — but this isn’t quite true. While Shepherd is no Marnie Nixon (and it IS hard to believe she actually released an album of Porter songs the year before), she has a sweet, warbling voice which only occasionally lacks the necessary punch. Reynolds, for his part, is never asked to do any major singing, and manages to pull off his role with characteristic macho flare. (If we really want to start nitpicking actors in musicals who couldn’t sing, why isn’t Rex Harrison in My Fair Lady torn to shreds?). Ironically, while Madeline Kahn is a marvelous comedic actress, her unusual voice seems least suited for this type of musical. It’s relative-unknown Duilio Del Prete who most evokes what we think of when we remember 1930s musicals — he’s perfectly cast here, and sings very nicely.

Music aside, the plot of At Long Last Love is a clever, suitably frothy romantic comedy, one which impressively integrates the lyrics from many of Porter’s best songs into a seamless narrative. Apart from its oddly inconclusive ending, there’s not much to complain about story-wise here. And visually, the film is quite a treat, with sumptuous art deco sets and beautiful gowns. Perhaps I’m missing something — or perhaps time has been incredibly kind to Bogdanovich’s vision — but I don’t get this film’s negative rap.

Redeeming Qualities and Moments:

• Eileen Brennan and John Hillerman singing “But In the Morning, No”
  
• Gorgeous art deco set designs
  
• Reynolds, Shepherd, Kahn, and Del Prete interrupting a ball by singing “Well, Did You Evah!”
  
• Clever integration of Porter’s songs into a romantic comedy narrative

Must See?
Yes, simply for its notoriety — but chances are you’ll enjoy it a lot more than you think. Listed as a camp classic in the back of Peary’s book.

Categories

• Controversial Film

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• Four Word Film Review
• Time Out Capsule Review

Synopsis:
A new inmate (Wendell Burton) quickly learns the hierarchy of prison life from his cellmates: flamboyant Queenie (Michael Greer), dominant Rocky (Zooey Hall), and timid Mona (Danny Freedman).

Genres:

• Canadian Films
• Character Arc
• Homosexuality
• Play Adaptations
• Prisoners

Review:
Fortune and Men’s Eyes (the odd title is taken from a Shakespeare sonnet) is a brave yet ultimately flawed depiction of male prison life. More a theatrical fable than a realistic expose, Fortune… depicts a nightmarish milieu where sex is the primary currency, guards uniformly turn a blind eye to egregious sexual abuse, and inmates are forced to choose their sexual “position” in a rigid hierarchy. In one particularly disturbing scene (which predates Deliverance), Mona (Freedman) is gang-raped during a meal — and while everyone in the room is aware of what’s happening, absolutely nothing is done to stop the situation. Instead, Rocky (Hall) turns the event into a chaotic free-for-all, pouring buckets of water gleefully from the balcony while incongruously cheerful music starts to play on the soundtrack; again, the guards do nothing. It’s a baffling scene to be sure.*

Equally frustrating is the characterization of Rocky, who plays a pivotal role in the film: while Hall gives a decent performance, his character is so poorly written that it’s hard to understand his motivations. He could perhaps be seen as psychopathic in his vacillation between friendship with Burton and bullying domination, but this is never made clear. On the other hand, while some have argued that a character like Queenie (Greer gives a wonderfully vibrant performance) would never be able to hold such a high position in a male-dominated prison, I disagree: in an isolated world where sex is everything, a brash, self-confident man who willingly takes on the role of a woman (and flaunts his sexuality) may very well be able to thrive.

* Update 2/1/21: Having spent the past few years volunteering in a local men’s prison (and learning more about what daily life is like for them), everything about this movie now rings true — including this terrible but no longer incomprehensible scene.

Redeeming Qualities and Moments:

• Michael Greer’s stand-out performance as Queenie
  
• A painfully raw depiction of sexual dominance in prison
  

Must See?
No, but it’s recommended for those who enjoy prison flicks. Listed as a film with historical importance and a personal recommendation in the back of Peary’s book.

Links:

• IMDb entry
• MRQE (Movie Review Query Engine)
• NY Times Original Review
• Cleveland Press Review
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
A naive cop (Al Pacino) goes undercover in New York’s gay S&M scene in order to help capture a serial killer.

Genres, Themes, Actors, and Directors:

• Al Pacino Films
• Homosexuality
• Karen Allen Films
• Murder Mystery
• S&M
• Serial Killers
• Undercover Cops and Agents
• William Friedkin Films

Review:
This notorious thriller — lambasted upon its release by many gay rights groups and critics — is ultimately more of a voyeuristic mood piece than an effective murder-mystery. While director Friedkin does a good job establishing the racy milieu of underground S&M clubs (his attention to detail is almost that of an anthropologist), his plot falters when it comes to characterization and consistency. We never learn enough about Pacino’s character to understand — or care about — the transformation he undergoes:

… and Karen Allen as his girlfriend (a potential protagonist for audiences to relate to) is wasted in a bit role.

In addition, the killer’s motivations are never satisfactorily explored, and the film’s resolution — when a likable character is inexplicably killed off — is confusing. With that said, Cruising remains must-see viewing simply for its erstwhile notoriety, and for Friedkin’s attempt at depicting one man’s “descent” into an uncomfortably foreign world.

Redeeming Qualities and Moments:

• Effective use of NY’s underground S&M scene as a setting
  
• Fine cinematography
  

Must See?
Yes, simply for its historical notoriety.

Categories

• Controversial Film

Links:

• IMDb entry
• SF Chronicle Review
• SF Gate Review
• Q Network Review (spoilers alert)
• Time Out Capsule Review

Synopsis:
When a small-time stockholder (Judy Holliday) of a large corporation starts asking too many questions, she’s given a meaningless job by the board of directors (including Fred Clark and John Williams) to keep her quiet. Soon, however, she discovers hidden layers of corruption in the corporation, and is determined to brings its honest CEO (Paul Douglas) back into a position of power.

Genres, Themes, Actors, and Directors:

• Big Business
• Collective Action
• Corruption
• Judy Holliday Films
• Paul Douglas Films
• Play Adaptations
• Romantic Comedy

Review:
The Solid Gold Cadillac — based on a hit Broadway play — offered comedic actress Judy Holliday yet another chance to perfect her series of iconic performances as not-so-dumb blondes. Here, she’s perfectly cast as a naive yet persistent woman who dares to take on the corrupt behemoth of International Corporation (how’s that for a blandly descriptive name?), and finds herself falling in love (with Douglas) as a bonus. It’s not Holliday’s best film, but, as all fans of the ill-fated actress (who died far too early at the age of 44) will agree, it’s a treat to see her in nearly anything.

Redeeming Qualities and Moments:

• Judy Holliday as Laura Partridge
  
• Paul Douglas as Ed McKeever, Holliday’s love interest
  
• A clever, often amusing tale of collective action
  

Must See?
No, but it’s recommended, and definitely must-see viewing for any fans of Judy Holliday.

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review
• TCM Article
• Time Out Capsule Review

Synopsis:
When a mute woman (Salome Jens) believes she’s been healed by a revivalist (George Hamilton), her faith in God is renewed, and she starts preaching. Soon she’s taken in by a crooked promoter (Roger Clark), who hopes to convince the public that “Angel Baby” can heal.

Genres, Themes, Actors, and Directors:

• Burt Reynolds Films
• Corruption
• Deep South
• George Hamilton Films
• Love Triangle
• Mercedes McCambridge Films
• Missionaries and Revivalists

Review:
This B-level Elmer Gantry remains an enjoyable look at backwoods evangelism and the power of faith to shape lives. Salome Jens is convincing in the lead role as a troubled woman who naively believes that God (working through handsome George Hamilton) has performed a miracle; equally compelling is Mercedes Cambridge as Hamilton’s devout older wife, who uses her faith as a sincere excuse to manipulate those around her. Indeed, it’s the role of faith as a manipulative ploy which drives the film’s narrative; then — as now — faith healers continue to dupe willing audiences, simply because of their desire to believe.

P.S. Angel Baby is also notable as Burt Reynolds’ screen debut.

Redeeming Qualities and Moments:

• Salome Jens as Angel Baby
  
• Mercedes McCambridge as “Sister Sarah”
  
• An effective portrayal of belief in faith healing
  

Must See?
No, but it’s recommended.

Links:

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

Synopsis:
In his debut film, Frederick Wiseman documents the lives of criminally insane inmates at the Massachusetts Correctional Institution.

Genres, Themes, Actors, and Directors:

• Documentaries
• Mental Illness
• Prisoners

Review:
Frederick Wiseman’s first documentary showcases his signature “cinema verite” style: hand-held cameras, extreme close-ups, fly-on-the-wall observations, lengthy shots, and judicious back-and-forth editing. As in his next film, High School (1968) , Wiseman takes a no-holds-barred approach to his sticky subject matter, never flinching from even the most uncomfortable interactions. In one particularly memorable scene, a starving man is force-fed through his nose; in another, a paranoid schizophrenic pleads to be sent back to a “regular” prison, but — stuck in a Kafka-esque nightmare — nothing he says to his jailers makes any difference. On a broader level, inmates in the film routinely walk around without any clothes on (there’s plenty of full frontal nudity), and are frequently patronized by both guards and doctors. It’s easy to see why the Commonwealth of Massachusetts was upset enough with the film to sue Wiseman and his cohorts; Massachusetts won, and the film was immediately removed from circulation.

Redeeming Qualities and Moments:

• A no-holds-barred look at daily life for criminally insane inmates
  
• Effective use of close-ups and hand-held camerawork
  

Must See?
Yes. This controversial documentary holds a unique place in history, and should be seen by all film fanatics.

Categories

• Controversial Film
• Historically Relevant

Links:

• IMDb entry
• NY Times Original Review
• TV Guide Review
• Roger Ebert’s Review
• Time Out Capsule Review