Angel Heart (1987)

Angel Heart (1987)

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“I’ve got a thing about chickens.”

Synopsis:
In 1950s New York, private eye Harry Angel (Mickey Rourke) is hired by a lawyer (Dann Florek) to help his client Louis Cyphre (Robert De Niro) track down a missing crooner named Johnny Favorite; soon Angel finds himself involved in more mystery, murder, and darkness than he could possibly have imagined.

Genres, Themes, Actors, and Directors:

  • Alan Parker Films
  • Charlotte Rampling Films
  • Detectives and Private Eyes
  • Historical Drama
  • Horror Films
  • Mickey Rourke Films
  • Mistaken and Hidden Identities
  • Robert De Niro Films

Review:
Alan Parker directed this adaptation of William Hjortsberg’s 1978 novel Falling Angel — a spiritual noir combining a private eye flick (disheveled O’Rourke is well-cast):

… with mystical forces which become ever-darker as the storyline proceeds. Central to the film’s positing of the world as filled with danger and menace is the oh-so-perfect casting of De Niro as the Devil (while his identity isn’t stated outright until later on, it’s obvious enough that it can’t really be considered an early spoiler).

We know — even if O’Rourke doesn’t — that he’s being sent on a mission to find someone who has reneged on a soul-swapping bargain. The details become much more complex, but we’re able to follow along well enough to make emergent sense of both what happened in the past — there is liberal use of cryptic flashbacks — and what’s currently unfolding. (Click here for an intriguing 25-minute video analysis.)

Along his travails, O’Rourke first visits an asylum, where he sweet-talks a nurse (Kathleen Wilhoite):

… into divulging information that allows him to track down a heroin-addicted doctor (Michael Higgins) in New York.

He takes a trip to Coney Island:

… before travelling down to New Orleans, where he encounters a beautiful young mother (Lisa Bonet):

… witnesses all kinds of voodoo magic:

… is trailed by a couple of cops (Eliott Keener and Pruitt Taylor Vince):

… books an appointment with a beautiful middle-aged tarot reader (Charlotte Rampling):

… meets a blues singer called Toots Sweet (real-life musician Brownie McGhee):

… and falls for Bonet. (This film was notorious for earning an X rating due to a sexually explicit scene between O’Rourke and Bonet, forcing Parker to remove 10 seconds of footage in exchange for an R.) Be forewarned that there’s plenty of increasingly dark imagery throughout this film, but O’Rourke is appropriately repulsed by it all, and it builds to a satisfying denouement. This one remains worth a look.

Notable Performances, Qualities, and Moments:

  • Mickey Rourke as Harry Angel
  • Robert De Niro as Louis Cyphre
  • Fine historical production design
  • Michael Seresin’s cinematography
  • Trevor Jones’ score

Must See?
Yes, as a controversial cult favorite.

Categories

  • Controversial Film
  • Cult Movie

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Blue Sunshine (1977)

Blue Sunshine (1977)

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“How do you stop a madman without killing him?”

Synopsis:
After being falsely accused of murder, a man (Zalman King) on the lam seeks help from his girlfriend (Deborah Winters) and a doctor-friend (Robert Walden) in trying to discover why certain people around him — all associated with aspiring-politician Edward Flemming (Mark Goddard) — are suddenly becoming bald and psychotic.

Genres, Themes, Actors, and Directors:

  • Amateur Sleuths
  • Falsely Accused
  • Horror Films

Review:
Writer-director Jeff Lieberman’s follow-up to Squirm (1976) was this equally low-budget horror flick capitalizing on post-counterculture paranoia. At the crux of the story’s mystery is whether a strand of LSD known as “Blue Sunshine” — dealt years earlier by Goddard — might be having a long-delayed impact. While it’s easy to understand how such a scenario might resonate with now-straight young Baby Boomers, and King comes across as appropriately earnest:

… the actual chaos we see unfolding is, frankly, laughably low-budget.

Sure, there’s a bit of tension in terms of wondering who might be afflicted (or not), but — do we care? Well, apparently many do, since this film became a cult favorite (and is listed as such in the back of Peary’s book); however, it’s not worth seeking out unless you happen to be a fan of the director. Watch for Alice Ghostley in a bit role as a helpful neighbor.

Notable Performances, Qualities, and Moments:

  • A quirky sense of horror-humor

Must See?
No; you can skip this one unless you’re curious and/or it sounds like your cup of tea. Listed as a Cult Movie in the back of Peary’s book.

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Street Fighter, The (1974)

Street Fighter, The (1974)

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“Listen, my son — trust no one!”

Synopsis:
A mercenary martial artist (Shin’ichi “Sonny” Chiba) violently kills or harms nearly everyone who enters into his path of destruction.

Genres, Themes, Actors, and Directors:

  • Japanese Films
  • Kidnapping
  • Martial Arts

Review:
Perhaps best known by modern film fanatics as the swordsmith Hattori Hanzō in Quentin Tarantino’s Kill Bill Volume 1 (2003), Shin’ichi “Sonny” Chiba had his breakthrough role in this ultra-violent martial arts film — the first to receive an X for this designation — produced by Japan’s Toei Studios and released by New Line Cinema in the United States. It’s challenging and perhaps pointless to follow the storyline, which involves Yakuza gangsters, the kidnapping of a business magnate’s daughter, and numerous highly unrealistic sudden deaths by karate blows. (The stats below are from Grindhouse Review’s laudatory video overview.)

This film is primarily worth a cursory look simply to see Chiba (considered the “anti-hero” Bruce Lee) hamming it up on screen.

Notable Performances, Qualities, and Moments:

  • Shin’ichi Chiba as Terry

Must See?
No; this one is only must-see for martial arts fans.

Links:

Lord Jim (1965)

Lord Jim (1965)

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“No white man hides himself in the wilderness without a reason.”

Synopsis:
After a young merchant seaman (Peter O’Toole) abandons his ship during a storm, he tries to rectify his shame by drifting around the South Seas, soon befriending the owner (Paul Lukas) of a cargo ship and agreeing to help a local town leader in an uprising against a warlord known as The General (Eli Wallach). Eventually he falls in love with a native girl (Daliah Lavi) and attempts to live a happy life with her — but the arrival of a ruthless pirate (James Mason) forces him to make difficult choices.

Genres, Themes, Actors, and Directors:

  • Akim Tamaroff Films
  • At Sea
  • Curt Jurgens Films
  • Eli Wallach Films
  • Historical Drama
  • Jack Hawkins Films
  • James Mason Films
  • Paul Lukas Films
  • Peter O’Toole Films
  • Richard Brooks Films

Review:
Richard Brooks wrote and directed this adaptation of Joseph Conrad’s 1900 novel of the same name, based on a real-life incident involving Muslim Indonesians on a seabound pilgrimage to Mecca. It received some negative reviews upon release, and unfortunately, I can see why. Though Freddie Young’s cinematography is as beautiful as always:

… and O’Toole is effectively earnest as a young man wracked with guilt for his decision during a time of crisis:

… the rest of the plot simply plays like a standard tale of a White man attempting to lose himself in foreign lands with a beautiful native girl (while getting inextricably caught up in local politics). The eventual appearance of James Mason’s “Gentleman Brown” is a welcome plot turn, but the storyline as a whole fails to compel.

Notable Performances, Qualities, and Moments:

  • Paul Lukas as Stein
  • James Mason as Gentleman Brown
  • Freddie Young’s cinematography

Must See?
No, though fans of the stars and/or Richard Brooks will likely be curious to check it out.

Links:

Spy Who Came In From the Cold, The (1965)

Spy Who Came In From the Cold, The (1965)

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“We have to live without sympathy, don’t we?”

Synopsis:
During the Cold War, a British spy (Richard Burton) dating a librarian’s aide (Claire Bloom) is ordered by his superior (Cyril Cusack) to pretend to be willing to defect — but will their elaborate ruse lead to the arrest of evil Comrade Mundt (Peter van Eyck)?

Genres, Themes, Actors, and Directors:

  • Claire Bloom Films
  • Cold War
  • Martin Ritt Films
  • Mistaken and Hidden Identities
  • Niall MacGinnis Films
  • Richard Burton Films
  • Spies

Review:
Martin Ritt’s adaptation of John Le Carre’s best-selling novel is both reasonably faithful to its source material, and an atmospherically shot spy noir in its own right. The necessarily complex storyline starts with the shooting of one of Burton’s compatriots as he’s crossing the Berlin Wall:

… and quickly shows us Burton’s descent into alcoholism, despair:

… and eventually violence, though he finds some respite and solace from a preternaturally kind librarian’s aide who stands by his side through thick and thin.

When Burton “defects”, he becomes friendly with a reasonably sympathetic interrogator (Oskar Werner), and cross-political allegiances become ever more entangled.

Who, exactly, is working for who (and why)? While it’s clear that Mundt (a Nazi) is a “baddie”:

… of course, it’s not quite that simple. To its credit, the film retains all the suspense of the book while both simplifying key plot points and visually opening up certain scenes. Oswald Morris’s atmospheric cinematography is top-rate, and the performances are fine across the board. This remains worth a look as a powerful realist antidote to escapist Bond fare of the time.

Notable Performances, Qualities, and Moments:

  • Richard Burton as Alec Leamas
  • Oskar Werner as Fiedler
  • Oswald Morris’s cinematography

Must See?
Yes, as a powerful spy thriller.

Categories

  • Good Show

Links:

King Rat (1965)

King Rat (1965)

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“I judge a man by the company he keeps.”

Synopsis:
Near the end of World War II, a savvy American (George Segal) in a Japanese POW camp rules the roost with his ability to secure much-needed supplies, and convinces a Malay-speaking Brit (James Fox) to collaborate with him on key deals, much to the dismay of rule-following Lieutenant Gray (Tom Courtenay).

Genres, Themes, Actors, and Directors:

  • Bryan Forbes Films
  • Cat and Mouse
  • Denholm Elliott
  • George Segal Films
  • James Fox Films
  • John Mills Films
  • Patrick O’Neal Films
  • Prisoners of War
  • Survival
  • Tom Courtenay Films
  • World War II

Review:
Bryan Forbes scripted and directed this adaptation of James Clavell’s 1962 novel, based in part on his own experiences in a POW camp. Perhaps more so than any other such film, King Rat is unrelenting in its graphic depiction of the heat, starvation, despair, craziness, lethargy, boredom, and overall sense of hopelessness pervasive in these camps:

… with Segal’s preternaturally cheerful “Corporal King” a notable exception. His hustle is so successful that he’s living a relatively easy life, able to procure fresh shirts, food, and cigarettes while his compatriots wither away in misery and/or grovel at his feet. His nemesis is Courtenay’s Lieutenant Gray, with the two caught in a cat-and-mouse tussle between pragmatism and protocol.

Front and center in the screenplay, however, is the emergent friendship between Segal and Fox, who refuses to accept bribes or “gifts” from Segal and thus quickly earns his respect.

In addition to admirably capturing the overall oppressive atmosphere of the camp, the film includes numerous memorable sequences — such as Segal slyly convincing the starving men that it’s okay to eat a beloved pet:

… Segal using Fox’s translating support to trade a watch for money:

… and Segal arranging for a medic to help Fox with a seemingly incurable medical tragedy.


Burnett Guffey’s cinematography is effectively atmospheric throughout, and the supporting performances are all top-notch. This one remains well worth a look.

Notable Performances, Qualities, and Moments:

  • George Segal as Corporal King
  • James Fox as Pete Marlowe
  • Tom Courtenay as Lieutenant Gray
  • Strong performances by the supporting cast

  • Burnett Guffey’s cinematography
  • Fine sets and overall production design
  • John Barry’s score

Must See?
Yes, as a powerful WWII-era drama.

Categories

  • Good Show

Links:

For a Few Dollars More (1965)

For a Few Dollars More (1965)

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“When two hunters go after the same prey, they usually end up shooting each other in the back.”

Synopsis:
When a nameless bounty hunter (Clint Eastwood) meets vengeful Colonel Mortimer (Lee Van Cleef), the pair unexpectedly team up to hunt down the leader (Gian Maria Volontè) of a vicious outlaw gang.

Genres, Themes, Actors, and Directors:

  • Bounty Hunters
  • Clint Eastwood Films
  • Lee Van Cleef Films
  • Revenge
  • Sergio Leone Films
  • Westerns

Response to Peary’s Review:
In his review of “Sergio Leone’s follow-up to A Fistful of Dollars,” Peary notes that this film “moves from a mythical age to a time when civilization (symbolized by the coming of the railroad to the West) and recorded history emerge.” He argues that the sequel is “more elaborate, more imaginatively plotted, better photographed, funnier, more brutal (the violence becomes more realistic), and more overtly adult and political than the original,” and points out that “Eastwood and Van Cleef form the first of Leone’s unholy alliances”: “whereas Eastwood’s mysterious gunfighters kill to make money rather than to achieve revenge (he has no past)”:

… Van Cleef has a very specific reason for hunting down Volontè, which we don’t learn about until the tension-filled final shoot-out.

Eastwood’s once-again-nameless, cheroot-chewing gunslinger doesn’t have much to do throughout this film other than squint and participate in cleverly choreographed gun fights:




… but of course he’s an essential component of the film’s iconography. Van Cleef (in a role which revived his later-life career) also acquits himself well — though it’s Italian actor Volontè who pulls out the most dramatic acting chops:

… and it’s Ennio Morricone’s incomparable score — filled with “twangy jew’s-harps, insanely catchy guitar riffs, iconic whistling, bell tolls, church organs” and a musical pocket watch — which ultimately steals the show.

Note: Watch for Klaus Kinski in a memorable supporting role as an outlaw enraged by being used as a human match-striking surface.

His interactions with Van Cleef lead to my favorite random exchange of the film.

Van Cleef: It’s a small world.
Kinski: Yes — and very, very bad.

Notable Performances, Qualities, and Moments:

  • Lee Van Cleef as Colonel Mortimer
  • Gian Maria Volontè as El Indio
  • Massimo Dallamano’s cinematography

  • Notable editing
  • Ennio Morricone’s score

Must See?
Yes, as part of an essential western trilogy.

Categories

  • Genuine Classic

Links:

Fifth Horseman is Fear, The (1965)

Fifth Horseman is Fear, The (1965)

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“A man is as he thinks; you can’t change that.”

Synopsis:
In Nazi-occupied Czechoslovakia, a Jewish doctor (Miroslav Machacek) is pressured into providing care for a wounded resistance fighter, and soon finds himself searching for morphine across the city while under intense scrutiny.

Genres, Themes, Actors, and Directors:

  • Doctors and Nurses
  • Eastern European Films
  • Jews
  • Resistance Fighters

Review:
Czech director Zbynek Brynych helmed this vaguely allegorical tale of defiance during oppression — nominally about a Jewish doctor daring to treat a wounded Resistance fighter during wartime occupation:

… but perhaps really (also) about resisting repression and surveillance in a Soviet-occupied country. Meanwhile, Eddie Muller has argued on behalf of this film as a noir, given that it takes place during “one dark night of the soul” and tells the tale of difficult choices made by an individual who is tempted by fate and other forces.

While visually rich, the storyline is fairly straightforward, as described in Wikipedia’s overview:

Set in Prague during the German occupation of Czechoslovakia, the film follows Dr. Braun, a Jewish doctor forbidden to practice medicine. He instead works for German officials, cataloging confiscated Jewish property.


All Braun wants to do is survive, but his pragmatic mentality is challenged when an injured resistance fighter stumbles into his apartment building. A quest for morphine leads Dr. Braun through his tortured city, where fear eats away at the social structure.

Superficially, the city might appear to be normal, but hallucinations, awkward outbursts, and nervous, self-conscious behavior make it clear that society is falling apart.

It’s all very atmospherically filmed, and well worth a look as an incisive glimpse at a particular time and place (or perhaps two) in history.

Notable Performances, Qualities, and Moments:

  • Fine direction and cinematography

Must See?
Yes, for its historical relevance within international cinema. Listed as a film with Historical Relevance and a Personal Recommendation in the back of Peary’s book.

Categories

  • Foreign Gem

Links:

Reflections on Must-See Films From 1964

Reflections on Must-See Films From 1964

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It’s time for another reflection on a particular year in cinema! So far I’ve shared my thoughts on must-see titles from 1960, 1961, 1962, and 1963 — and now I’m (nearly) done reviewing all titles from 1964. While there were certainly some cheery escapist flicks released that year — Mary Poppins, anyone? — darkness pervaded in powerful cinematic depictions of politics, war, plague, racism, romantic loss, and more.

“If a god of love and life ever did exist… he is long since dead.”
  • Out of 82 total titles from 1964, I voted 36 – or 44% – as must see. Not many are foreign (non-American) titles; I count only ten, with one French (The Umbrellas of Cherbourg), one Armenian (Shadows of Our Forgotten Ancestors), five British, one Italian, and two Japanese.
  • Of the latter, Hiroshi Teshigahara’s Woman in the Dunes — about a man and woman who “form an unexpectedly sweet bond of captivity, supporting one another through work, companionship, and sensual connection” — remains “a one-of-a-kind masterpiece from mid-20th century Japanese cinema,” and is well worth a look if you haven’t yet seen it.
  • Of the five British titles, two are of special note — starting with Kevin Brownlow and Andrew Mollo’s It Happened Here, a frighteningly realistic “alternative history” of a Nazi-controlled post-WWII England. Made over eight years and with the collaborative support of countless volunteers, the directors show us an every-woman nurse who agrees to be employed by her nation’s quasi-paramilitary organization — “figuring it’s better to work towards social stability of some kind (any kind) than to be part of continued violent resistance” — and whose passive acceptance of an openly Fascist government gives us a “frightening reminder of how easy it is for humans to simply accept the reality around them as normal.”
  • On a much lighter note, Richard Lester’s A Hard Day’s Night remains a cult favorite which hasn’t dated in the slightest. While “the young Beatles’ infectious enthusiasm for life and music… is the biggest draw by far,” “I also love the sly supporting performances…; the ‘mod’ sets; the consistently creative camera moves and angles; and the wonderful subplot provided to ‘poor Ringo’.”
  • Speaking of cult titles, I revisited and wrote my review of Roger Corman’s The Masque of the Red Death in March of 2020, pointing out at the time that this “film about an evil nobleman and his willing compatriots denying refuge to plaintive villagers provides a potent cautionary tale about the need to continuously support one another through the hardest of times, across all boundaries: social, economic, racial, and religious.”
  • Political thrillers were dominant in 1964 cinema. John Frankenheimer’s Seven Days in May — with a script by Ray Sterling — remains freakily relevant to current politics, reminding us that “when a group of individuals is convinced they’re right and the well-being of their nation is at risk, we know they will stop at nothing.”
  • Meanwhile, Stanley Kubrick’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb deserves its continued status as a classic favorite, with tour-de-force performances by Peter Sellers (as Group Captain Lionel Mandrake, President Merkin Muffley, and Dr. Strangelove) and memorable turns by both Sterling Hayden and George C. Scott in key supporting roles.
  • As a more serious counterpart to Dr. Strangelove, Sidney Lumet’s nuclear thriller Fail Safe — featuring stand-out performances by Henry Fonda and Larry Hagman — creates and maintains “tension across the various inter-connected spheres of the storyline (primarily the president’s office, the War Room, and the pilots’ cockpit),” and “is a literal nailbiter in terms of what will come next, with nothing less than the fate of our planet in the balance.”
  • Emile De Antonio’s political documentary Point of Order rounds things out politically by “taking more than 180 hours of television footage from the 1954 Army-McCarthy hearings” and providing a “fascinating glimpse at the crash and burn of America’s most infamous ‘Commie witch hunter,'” Senator Joe McCarthy.
  • In addition to Seven Days in May, John Frankenheimer and Burt Lancaster teamed up that year for The Train. True to its title, it’s “set almost entirely in, on, or around trains” and tells a gripping cat-and-mouse tale involving priceless art being shipped away for safety during World War II. As I note in my review, “With no models used (all action was real), the film possesses a consistently heady air of real-life danger, with one expertly filmed action sequence after the other.”
  • Nothing But a Man was the best of the race-related films to emerge in 1964. As I note in my review, “By telling the story of ‘everyman’ Duff Anderson (Ivan Dixon), we see what occurs when a person is unable to secure reasonably paid work that allows them to maintain dignity and self-respect.” While it’s “undeniably rough to watch,” this docudrama “remains a powerful neo-realist depiction of Black Southern communities in the 1960s.”
  • Sergio Leone’s seminal “spaghetti western” A Fistful of Dollars brought us Clint Eastwood with a cheroot and poncho, a “highly distinctive score” by Ennio Morricone, and an odd sense of déjà vu for anyone who’s seen Kurosawa’s Yojimbo (which it copied from heavily while building up a strong mythos of its own).
  • I have a couple of personal cult favorites from this year. One is George Roy Hill’s The World of Henry Orient, a delightful dark comedy featuring “a marvelously droll turn by Peter Sellers” (it was a good year for him!) and “sparkling performances by its two unknown leads (Merrie Spaeth and Tippy Walker),” who perfectly capture “the hyper compulsion of teenage female friendship.”

    The other is Viva Las Vegas (Elvis Presley finally met his on-screen match in Ann-Margret!), which is “directed with flair by George Sidney and featur[es] vivid sets and costumes, rousing song-and-dance numbers, nice use of Vegas locales, and a super-fun romantic rivalry (with plenty of genuine sparks flying).”
  • Speaking of personal favorites, I was very pleasantly surprised to revisit Cary Grant and Leslie Caron in Father Goose, an enjoyable romantic comedy which “goes in surprisingly delightful and quirky directions.” Watch for “numerous memorable moments, both humorous and frightening,” with interplay between the two providing “much authentic tension.”
  • John Huston’s The Night of the Iguana — based on a Tennessee Williams play — features a storyline that “merits nearly endless discussion and debate,” “crisp and gorgeous” cinematography by Gabriel Figueroa, inspired location sets (in Mexico), and “top-notch” performances across the board” — including from Richard Burton, Ava Gardner, Deborah Kerr, Grayson Hall, and Sue Lyons.
  • Speaking of such luminaries, there were numerous standout female performances in 1964 — including from Ann-Margret as Jodi in a Kitten With a Whip; Joan Crawford in William Castle’s Strait-Jacket; and Tippi Hedren in Hitchcock’s Marnie.


As always, happy viewing!

Woman in the Dunes (1964)

Woman in the Dunes (1964)

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“That sand just ruins everything, doesn’t it?”

Synopsis:
When an amateur etymologist (Eiji Okada) searching for rare bugs on the beach misses his train home, he stays overnight in the shack of a widow (Kyoko Kishida) eager for companionship, and soon realizes he’s trapped down in the dunes with her.

Genres, Themes, Actors, and Directors:

  • Japanese Films
  • Living Nightmare
  • Psychological Horror
  • Widows and Widowers

Review:
This collaboration by director Hiroshi Teshigahara, writer Kobo Abe (basing the screenplay on his novel), and composer Toru Takemitsu remains a one-of-a-kind masterpiece from mid-20th century Japanese cinema. We are quickly immersed in the living nightmare of protagonist Okada’s dilemma — stuck at the bottom of a sand dune with no way to scramble up and out; thus, the man who came in search of bugs to probe and examine:

… is soon trapped under the gaze of those (the villagers) who watch and taunt him for their own amusement.

Okada — likely best known to film fanatics from co-starring in Hiroshima Mon Amour (1959) — is entirely believable as a man convinced he can find a way out of his dilemma, only to eventually be beaten down by forces beyond his control.

Kishida is equally effective as a young widow who seems slightly delusional (and is most certainly manipulative), but is simply responding to her own dire circumstances.

The pair form an unexpectedly sweet bond of captivity, supporting one another through work, companionship, and sensual connection.


In some ways, the less said about this movie the better, given that it unfolds in an eerily suspenseful way — and we’re not sure until the very end what will happen to the protagonists. It’s possible to enjoy this film either on its surface (albeit surreal) narrative level, or by probing into its thematic layers: Is the omnipresent gritty sand a stand-in for nuclear fallout dust? Are we all trapped in a menial existence filled with hard labor under the scrutiny of others? Regardless of how you choose to approach the story, the visceral impact of living with these individuals in their gritty, nightmarish existence is unlike what I’ve experienced with any other movie.

Note: This film made Teshigahara the first Japanese director to be nominated for an Oscar for directing.

Notable Performances, Qualities, and Moments:

  • Eiji Okada as the Entomologist
  • Kyoko Kishida as the Woman
  • Hiroshi Segawa’s cinematography
  • Fine use of location shooting
  • Many memorable moments and sequences
  • Toru Takemitsu’s haunting soundscape

Must See?
Yes, as a truly unique and absorbing foreign film. Listed as a film with Historical Relevance and a Personal Recommendation in the back of Peary’s book.

Categories

  • Foreign Gem

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

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