FilmFanatic.org

Synopsis:
Drugged-out Susan Superstar (Edie Sedgwick) tells a young drifter (Wesley Ames) about her life as a famous model in New York.

Genres, Themes, Actors, and Directors:

• Alcoholism and Drug Addiction
• Flashback Films
• Models

Response to Peary’s Review:
As Peary notes, this “famous underground film” — originally intended “to be a $50,000 black-and-white documentary about a day in the life of Edie Sedgwick” — is almost creepy to watch, knowing that “former Warhol factory girl and model” Sedgwick died before its release, and that she “is not putting on an act”. It’s difficult to tell whether the “pathetic, unhealthy, mixed-up” Sedgwick is aware she’s being exploited, and/or if she even cares. Regardless, this “interesting, though not always coherent” film paints a frightening portrait of a young life quickly destroyed by drugs.

Redeeming Qualities:

• A fascinating look at a ’60’s superstar who burned out early and died at the age of 28
  
• Creative mix of documentary footage with a fictionalized script
  

Must See?
No. This one is only mandatory viewing for fans of the Andy Warhol scene.

Links:

• IMDb entry

Synopsis:
Four male astronauts (Eric Fleming, Paul Birch, Patrick Waltz, and Dave Wilcox) land on Venus, where they discover that disfigured, man-hating Queen Yllana (Laurie Mitchell) has exiled all the planet’s men, and plans to destroy the Earth. The astronauts enlist the help of the Venetian underground movement — led by scientist Zsa Zsa Gabor — to fight back against Yllana.

Genres, Themes, Actors, and Directors:

• Astronauts
• Disfigured Faces
• Revenge
• Science Fiction
• Strong Females

Response to Peary’s Review:
As Peary points out, it’s hard to resist doing an armchair analysis of the gender politics in this “ludicrous camp classic” starring Zsa Zsa Gabor in her only notable film role (she’s prominent on the poster, yet doesn’t even play the title character). The film is pure male fantasy all the way, with the “reasonable” women — no matter how strong they purport to be — ultimately desiring a man by their side and validation of their beauty. As Peary puts it, they’re “straight-off-a-casting-couch beautiful … sexually aggressive … and carry guns” !! Meanwhile, “those we despise… are ugly (some wear masks), hysterical, and domineering, and though they hate and threaten men, are secretly desiring their sexual attention.” The film’s “cheap special effects” are downright ridiculous, the direction is “awful”, the acting is stilted, and the “science” is corrupt; this one is strictly for fans of bad movies.

Redeeming Qualities:

• Cult star Zsa Zsa Gabor in what was (surprisingly) her only significant film role
  
• The disturbing masks worn by Queen Yllana and her ladies-in-waiting (reminiscent of the creepy French horror flick Eyes Without a Face, 1959)
  

Must See?
Yes, for its status as a cult favorite.

Categories

• Cult Movie

Links:

• IMDb entry
• TCM Article

Synopsis:
A group of gay men get together to celebrate a mutual friend’s birthday, and learn about themselves and each other in the process.

• Get Togethers and Reunions
• Homosexuality
• Play Adaptations
• William Friedkin Films

Response to Peary’s Review:
In his review of this groundbreaking Hollywood film — the first to deal explicitly with homosexuality — Peary argues that it represents a “negative, [stereotyped] image of gays”; I disagree. While these characters are certainly bitter in many ways, there are plenty of other movies which paint an equally depressing picture of humanity, and this one doesn’t stand out as particularly pernicious; instead, it simply reveals what can happen when people of any sexual orientation are forced to confront the most personal, uncomfortable parts of themselves. The more recent film Love! Valour! Compassion! (1997) — also about a group of gay men who come together for a short period of time — appears to owe much to Boys in the Band, though with the added spectre of AIDS hovering over its characters.

Redeeming Qualities:

• The first Hollywood film explicitly about homosexuals.
  
• Fine acting by Leonard Frey and Cliff Gorman, among others
  
  

Must See?
Yes, simply for its place in the history of gay cinema.

Categories

• Historically Relevant

Links:

• IMDb entry
• NY Times Original Review
• SF Gate Review

Synopsis:
Three overlapping vignettes, adapted from short stories by Grace Paley, tell of motherhood, love, and disappointment in New York City.

Genres, Themes, Actors, and Directors:

• Episodic Films
• Feminism and Women’s Issues
• May-December Romance
• New York City
• Single Mothers

Response to Peary’s Review:
While one must ultimately read Grace Paley’s writing to get a true sense of her brilliance, this “often humorous, often touching, always authentic” movie — based on three selections from Paley’s Collected Stories — stands just fine on its own. As Peary notes, the film’s female protagonists “aren’t heroic figures”, but they nonetheless “withstand the constant demands by manipulative men [or] parents” in their lives, and “hold out until they can make rational decisions about their own futures.” The first and third segments — starring Ellen Barkin and Kevin Bacon respectively — are the best, and well worth watching; unfortunately, as Peary notes, the second segment is “uninvolving and horribly directed”.

Redeeming Qualities:

• Ellen Barkin in a sexy, early role
  
• Kevin Bacon as a sincere young cab driver in love with an older woman
  

Must See?
No, but it’s a good little movie worth seeking out. Just fast forward through the second segment and you’ll be glad you rented this one.

Links:

• IMDb entry
• NY Times Review

Synopsis:
When British agent Charles Dobbs (James Mason) and Inspector Mendel (Harry Andrews) investigate the murder of an ex-Communist government official, they suspect that the victim’s wife (Simone Signoret) may know more than she’s revealing. Meanwhile, Dobbs has troubles of his own at home, when he discovers that his nymphomaniac wife (Harriet Andersson) has had an affair with a colleague (Maximilian Schell).

Genres, Themes, Actors, and Directors:

• Cold War
• Detectives and Private Eyes
• Harry Andrews Films
• James Mason Films
• Lynn Redgrave Films
• Marital Problems
• Maximilian Schell Films
• Murder Mystery
• Sidney Lumet Films
• Simone Signoret Films
• Spies

Response to Peary’s Review:
The performances by Mason, Andrews, and Signoret are wonderful in this otherwise dreary, character-driven spy flick, based on the novel by John le Carre. Peary lauds the film as “gripping” and “expertly directed”, but I find it unduly depressing — primarily due to the distracting subplot about Mason’s marital difficulties.

On the other hand, Mason’s interactions with Andersson posit him as more complex and human, thus allowing him to display a wider range of emotions — indeed, as Peary notes, the film is notable for presenting a realistic contrast to the suave, romantic existence of James Bond; being a spy doesn’t come across as particularly appealing, glamorous, or romantically satisfying.

Redeeming Qualities:

• James Mason as Dobbs (Peary nominates Mason’s performance as one of the best of the year in his Alternate Oscars)
  
• Harry Andrews as Inspector Mendel
  
• Simone Signoret as the murdered official’s wife
  
• Effective use of gloomy London locales
  
  

Must See?
Yes, for the fine performances.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
A trio of cowboys (Lee Marvin, Jack Palance, and Mitch Ryan) try to find work during increasingly difficult times.

• Cowboys
• Jack Palance Films
• Jeanne Moreau Films
• Lee Marvin Films
• Unemployment
• Westerns

Response to Peary’s Review:
As Peary notes, this wonderful, unusual western is basically a “death song to the American cowboy”. There are many moments of genuine humor, pathos, and realism; the dirt on these cowboys’ faces and gloves isn’t wiped off. There are many memorable scenes: the cowhands bonding together to get their beloved (but stinky) cook clean, and his gleeful retaliation afterwards; a grizzled cowboy carefully removing his dentures before participating in a bar room brawl; the wordless interaction between Marvin and Jeanne Moreau as she successfully distracts him from smoking the cigarette he’s just rolled. You’re guaranteed to get caught up in the lives of these men as they negotiate a new existence in the midst of rapid economic and social change.

Redeeming Qualities:

• Jeanne Moreau as Marvin’s hopeful prostitute-girlfriend
  
• Lee Marvin’s subtle performance
  
• Jack Palance as a smiling cowboy
  
• A gritty look at life for cowboys in the late 1800s
  

Must See?
No, but it’s recommended.

Links:

• IMDb entry
• DVD Savant Review
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
Fred Hampton, 21-year-old chairman of the Illinois Black Panther Party, is murdered in cold blood by Chicago policemen.

Genres, Themes, Actors, and Directors:

• African-Americans
• Assassination
• Documentary
• Murder Mystery

Response to Peary’s Review:
As Peary notes, this film is “crudely made but powerful and important”. Amazingly enough, the filmmakers set out simply to show the hardships of being a black, openly political activist in 1960s Chicago, but instead found themselves documenting the controversy surrounding Hampton’s death (purportedly done by police in self-defense). The most compelling scenes show various Black Panthers giving stirring speeches and organizing community projects to combat poverty. The least successful are those attempting to understand what exactly went on in the apartment where Hampton was killed — it’s hard to keep track of the evidence.

Redeeming Qualities:

• Powerful footage of Black Panther speeches and projects in action
  

Must See?
Yes, as an important historical document.

Categories

• Historically Relevant

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
Judy (Maureen O’Hara) wants nothing more than to become a “serious” ballerina, but finds herself hustling a living in burlesques alongside her outrageous, money-grubbing friend Bubbles (Lucille Ball).

Genres, Themes, Actors, and Directors:

• Aspiring Stars
• Dancers
• Dorothy Arzner Films
• Feminism and Women’s Issues
• Louis Hayward Films
• Lucille Ball Films
• Maureen O’Hara Films
• Musicals
• Ralph Bellamy Films
• Romance

Response to Peary’s Review:
As Peary notes, this “fascinating” early feminist film — in addition to being an enjoyable “backstage musical” — is noteworthy for being helmed by Dorothy Arzner, virtually the only female director in Hollywood during the thirties and forties. The story remains true to Arzner’s feminist loyalties: while men are clearly the ones with the most power here, the females in the film do what they can to look out for each other and follow their dreams. They are “intelligent, witty, courageous, resilient, self-motivated, self-reliant, honorable, and ambitious” — and, most unusually for the time, are willing to put career first, over romance. Dance, Girl, Dance is also notable for giving Lucille Ball one of her best early roles.

Redeeming Qualities:

• Lucille Ball as Bubbles
  
• Maria Ouspenskaya as Madame Basilova
  
• O’Hara’s fiery speech to the men in the burlesque audience
  

Must See?
Yes, as Arzner’s best film, and for the memorable performances by both O’Hara and Ball. Discussed at length in Peary’s Cult Movies (1981).

Categories

• Important Director
• Noteworthy Performance(s)

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

Links:

• IMDb entry
• NY Times Original Review
• TCM Article

Synopsis:
Private detective Jake Masters (Allen Garfield) has sex with nearly every woman he meets while on the trail of a blackmailing murderer.

Genres, Themes, Actors, and Directors:

• Allen Garfield Films
• Black Comedy
• Criminal Investigation
• Detectives and Private Eyes

Response to Peary’s Review:
This sexist private eye spoof has few redeeming qualities, and is especially disappointing considering that it was director Joe Avildsen’s follow-up to his noteworthy, daring debut film, Joe (1970).

Masters is unappealing in every way, and it’s no fun to watch him having sex with woman after woman — including one who’s already dead. Skip this one.

Redeeming Qualities:

• Not much at all.

Must See?
No. While this movie was renowned at the time for mixing soft-core porn into a “straight” detective flick, it’s ultimately neither funny nor particularly enjoyable.

Links:

• IMDb entry
• Four Word Film Review
• Time Out Capsule Review

Synopsis:
Vietnam vet John Eastland (Robert Ginty) seeks revenge for the brutal beating of his best friend (Steve James), and eventually becomes an all-purpose vigilante in New York City.

Genres, Themes, Actors, and Directors:

• New York City
• Revenge
• Samantha Eggar Films
• Veterans
• Vigilantes

Response to Peary’s Review:
This “ugly urban melodrama” is a clear rip-off of Charles Bronson’s Death Wish (1974) — and, despite its erstwhile popularity (according to Peary, “audiences cheered when [Ginty] tortured the bad guys”), it’s certainly not must-see viewing. The screenplay lacks any nuance at all, with director James Glickenhaus portraying his villains as “the dirtiest, hairiest, most disgusting youth gang imaginable”. Perhaps most interesting is the film’s status as part of the subgenre of “Vietnam vets gone wild”; along with Shoot (1976), Deathdream (1974), Joe (1970) and others, The Exterminator capitalizes on the titillating trope of trigger-happy vets.

Redeeming Qualities:

• A mildly interesting premise
  

Must See?
No, unless you’re a fan of vigilante films.

Links:

• IMDb entry
• Light Views Review