FilmFanatic.org

Synopsis:
In the 1930s, the burgeoning American labor movement is under threat from large corporations, which will stop at nothing to prevent unionism and collective bargaining.

Genres, Themes, Actors, and Directors:

• Documentary
• Episodic Films
• Labor Movement
• Paul Robeson Films

Response to Peary’s Review:
This “legendary political film” — a series of historical reenactments based on reports from the La Follette Senate Civil Liberties Committee, and narrated by Paul Robeson — posits that “major U.S. corporations were involved in a large-scale conspiracy to undermine unionism through the systematic use of terrorism, labor spies, police, and blacklisting.” While the documentary now comes across as “a bit disappointing considering its reputation”, it nonetheless remains a salient example of progressive filmmaking in early 20th century. My favorite vignette shows a flirtatious young cleaning lady whose pastoral working existence is shattered when she discovers one of her clients lying murdered on the floor of his apartment. Indeed, the entire film is framed as a series of contrasts between the “natural” joy people experience in communal existence, versus the corruption, greed, and disloyalty of Big Business.

Redeeming Qualities:

• Beautiful cinematography and powerful editing — especially in the Russian-inspired “Michigan sequence”
  
• The natural, unglamourized actors who portray the workers — what a contrast their faces are with those of Hollywood stars at the time!
  

Must See?
Yes. While naturally one-sided and overly simplistic, this film holds a special place in documentary history.

Categories

• Historically Relevant

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
Eight vignettes — based on stories from Boccaccio’s Decameron — poke fun at love, sex, and Catholicism in 14th century Italy.

Genres, Themes, Actors, and Directors:

• Episodic Films
• Historical Drama
• Italian Films
• Pier Paolo Pasolini Films

Response to Peary’s Review:
Pier Pasolini’s loose adaptation of Boccaccio’s naughty medieval folk tale collection is humorous, irreverent, and eminently watchable. As with any episodic film, some vignettes are inevitably more successful than others; among my favorites are the convent of lusty nuns who try to use a studly deaf worker for their own lascivious purposes; an unwitting young man who finds himself trapped in a coffin while trying to steal some jewels; and a father who catches his daughter having sex with her wealthy lover, then happily insists that they marry. As Peary points out, director Pasolini seems to revel in his characters’ debauchery, and this joy is evident in nearly every scene.

Redeeming Qualities:

• An energetic, colorful evocation of “subversive” behavior in medieval times
  
• A no-holds-barred portrayal of men and women who are, as Peary puts it, “in need of a shave, a bath, a dentist, or a good diet plan”
  

Must See?
Yes. This remains one of Pier Pasolini’s most enjoyable films, and is well-worth seeing.

Categories

• Foreign Gem
• Important Director

Links:

• IMDb entry
• DVD Savant Review
• TV Guide Review

Synopsis:
A rash of violent murders at a local drive-in spurs an investigation by detectives Larry (Bruce Kimball) and Mike (Adam Lawrence).

Genres, Themes, Actors, and Directors:

• Horror
• Serial Killers

Response to Peary’s Review:
As Peary points out, the title of this “cheap horror film” is the best thing about it by far. It starts off with an interesting premise, and has a few scenes of genuine shock and gore (i.e., the first couple getting murdered in their car); after this, however, it’s slow-going, poorly acted, and utterly lacking in suspense.

Redeeming Qualities:

• Douglas Gudbye’s performance as Germy, the mentally disabled janitor
  

Must See?
No; despite its minor cult following, this one is for hard core slasher fans only.

Links:

• IMDb entry

Synopsis:
A successful middle-aged architect (John Cassavetes) breaks up with his actress wife (Gena Rowlands) and travels to Greece with his 13-year-old daughter Miranda (Molly Ringwald). When Rowlands and her gangster boyfriend (Vittorio Gassman) come after Miranda, Cassavettes flees to a remote Greek island with his daughter and his free-spirited new girlfriend, Aretha (Susan Sarandon).

Genres, Themes, Actors, and Directors:

• Coming-of-Age
• Deserted Island
• Greece
• Mid-Life Crisis
• Paul Mazursky Films
• Paul Stewart Films
• Shakespeare
• Susan Sarandon Films

Response to Peary’s Review:
As Peary points out, Paul Mazursky’s unusual adaptation of Shakespeare’s The Tempest (or, more accurately, its prequel) has “sophisticated dialogue”, “terrific ensemble” acting, and “some genuinely poignant two- and three-character scenes”. While Cassavetes’ character is irredeemably annoying, Sarandon is as winsome as always, and Ringwald is highly believable as young Miranda. Unfortunately, the story — which shifts back-and-forth both chronologically and geographically — is hard to follow, and there are far too many “long, self-conscious stretches”. It’s an interesting experiment, but ultimately not an entirely successful one.

Redeeming Qualities:

• Susan Sarandon, eminently watchable as always
  
• Molly Ringwald in a self-possessed film debut
  
• Gorgeous scenery of Greece
  

Must See?
No. This is an interesting modern interpretation of Shakespeare, but not essential viewing.

Links:

• IMDb entry
• Moria Review
• DVD Talk Review

Synopsis:
A recently widowed farm owner (Maren Jensen) is considered an “incubus” by the local Hittite religious community, which resents her for having married one of their own. When her city friends (Sharon Stone and Susan Buckner) come to console her, they are all at risk of being murdered.

Genres, Themes, Actors, and Directors:

• Christianity
• Ernest Borgnine Films
• Horror
• Murder Mystery
• Wes Craven Films

Response to Peary’s Review:
This “odd little horror film” by Wes Craven — in which “the peaceful setting belies the fact that someone or something is murdering people” — neatly exploits the placement of a sympathetic protagonist in a hostile, alien environment. There are many moments of genuine terror and suspense (Stone in the barn, Jensen in the bathtub), and it’s never clear who will be targeted next by the mysterious murderer. Unfortunately, this otherwise entertaining thriller is ruined by a tacked-on supernatural ending, which effectively discounts the psychological horror that has buoyed the rest of the film.

Redeeming Qualities:

• Ernest Borgnine, cast against type as Martha’s stern Hittite father-in-law
  
• A beautiful, deceptively “peaceful” setting
  

Must See?
No, but it’s recommended up until its incongruous final scene.

Links:

• IMDb entry
• CampBlood.org Review

Synopsis:
A female vampire (Celeste Yarnell) invites a young couple (Michael Blodgett and Sherry Miles) to her home in the desert, then attempts to seduce them both.

Genres, Themes, Actors, and Directors:

• Horror
• Love Triangle
• Stephanie Rothman Films
• Vampires

Response to Peary’s Review:
As Peary writes, this comedic “offbeat” comedic vampire movie (written and directed by Stephanie Rothman) is “basically about an unconventional love triangle in which one of the two women just happens to be a vampire.” Many critics have argued that the film has undercurrents of latent lesbianism, but I have to say I don’t agree. Unlike other female vampires on film — such as Carmilla in Vampire Lovers (1970) or “Countess Bathory” in Daughters of Darkness (1971) — Yarnell doesn’t seem to particularly prefer either men or women; she’s just out for blood, pure and simple.

Redeeming Qualities:

• Colorful cinematography and “stylish set design”
  
• A haunting, if repetitive, film score which will stick in your mind for a long time afterwards

Must See?
No. This one will only of be interest for true vampire fans.

Links:

• IMDb entry
• Communist Vampires Review

Synopsis:
After remaining loyal to his emperor during an unsuccessful uprising, Samurai Moritoh (Kazuo Hasegawa) is offered his choice of rewards. He asks for the beautiful but already-married Lady Kesa (Machiko Kyo), and will stop at nothing to win her love.

Genres, Themes, Actors, and Directors:

• Japanese Films
• Obsessive Love

Response to Peary’s Review:
As Peary notes, this “simple story” of obsession and loyalty in 12th century Japan would probably “work better as a play”, but the “acting and characters are so interesting and the color photography is so gorgeous… that one can have no complaints.” You’ll be frustrated by Moritoh’s stubborn obsession (he “doesn’t understand the workings of [his wife’s] heart”), impressed by Lady Kesa’s fierce dedication to her kind husband, and curious to see how the story resolves. Gate of Hell holds a unique claim-to-fame as the first Best Foreign Film Oscar winner.

Redeeming Qualities:

• Beautiful cinematography and sets
  
• Interesting characters who make unusual choices
  

Must See?
Yes. It holds a special place in movie history, and should be seen by all film fanatics.

Categories

• Foreign Gem
• Oscar Winner or Nominee

Links:

• IMDb entry
• Midnight Eye Review

Synopsis:
A pair of necktie salesmen (Bud Abbott and Lou Costello) accidentally join the Army.

Genres, Themes, Actors, and Directors:

• Abbott and Costello Films
• Comedy
• Military
• World War II

Response to Peary’s Review:
As Peary notes, this popular wartime amusement — the biggest box office draw of 1941 — “holds up nicely” and still delivers lots of laughs. Abbott and Costello are at their comedic best, and the Andrews Sisters are simply delightful as they sing their way through several rousing songs, including “Boogie Woogie Bugle Boy of Company B” and “You’re a Lucky Fellow, Mr. Smith”. Highlights include Costello playing craps for the “first” time”:

… Abbott asking Costello for a $10 “loan”:

… Costello fumbling his way through drill exercises (this scene was used as propaganda by the Japanese to showcase America’s military incompetence!):

… and Costello in the boxing ring:

Redeeming Qualities and Moments:

• The Andrews Sisters’ “classic hip-shaking performance of ‘Boogie Woogie Bugle Boy of Company B'”
  

Must See?
Yes. Along with The Naughty Nineties (1945), this is one of Abbott and Costello’s best vehicles, and worth watching.

Categories

• Genuine Classic

Links:

• IMDb entry
• TV Guide Review

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