FilmFanatic.org

Synopsis:
A horny Jewish-Italian cartoonist (Joseph Kaufmann) has a series of adventures with lowlifes in New York, and tries to get laid by a busty black woman.

Genres, Themes, Actors, and Directors:

• Animated Features
• New York City
• Sexuality

Response to Peary’s Review:
As Peary notes, this “semi-autobiographical”, “X-rated animation feature by Ralph Bakshi” possesses some “well-drawn” characters, impressive backgrounds, bizarre humor, and a creative mix of live action and “superb” animation. With that said, your enjoyment of the movie will ultimately hinge upon your tolerance for its litany of hyper-sexual “grotesque characters”. While Peary argues that this flick “is much more palatable than Fritz the Cat,” I actually believe the latter should be considered must-see for its historical relevance, while this one can be skipped.

Redeeming Qualities:

• Some truly far-out animation
  

Must See?
No. While Bakshi’s films are worth a one-time watch for their unique place in animation history, Fritz the Cat (1972) is a better candidate as “must see” given its status as the first ever X-rated animated film.

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
A shipwrecked sailor (Richard Arlen) tries to escape from the clutches of mad Dr. Moreau (Charles Laughton), who has created a race of pseudo-humans from animals.

Genres, Themes, Actors, and Directors:

• Bela Lugosi Films
• Charles Laughton Films
• H.G. Wells Films
• Mad Doctors and Scientists
• Rebellion
• Science Fiction
• Slavery

Response to Peary’s Review:
Based on H.G. Wells’s 1896 sci-fi novel The Island of Dr. Moreau, this atmospheric adventure film is surprisingly “shocking, gruesome, [and] fascinating.” As indicated by the movie’s slightly altered title, director Eric Kenton seems primarily interested in exploring the potential humanity of these half-beasts: if they’re human enough to have “souls”, then surely they merit a better existence than the slavish one they’re subjected to on Dr. Moreau’s island. Indeed, it’s difficult not to cheer for these pathetically odd-looking creatures once they finally gather the courage to rebel. An intriguing subplot in the film focuses on the doomed attraction that the sexy “Panther Woman”, Lota (Kathleen Burke), feels for Arlen — who, after kissing her on the lips, “does quite a double-take and looks ill.” Burke does a remarkably effective job portraying a feline sensibility in a female body, but Laughton (nominated by Peary as one of the Best Actors of the Year in his Alternate Oscars) steals the show in the lead role; according to Peary, he based his sadistic characterization of Dr. Moreau on his dentist (!).

Note: Although the title has been changed, this early film ironically remains the most faithful version made so far of Wells’s novel.

Redeeming Qualities:

• Charles Laughton’s stand-out performance as Dr. Moreau
  
• Kathleen Burke as the Panther Woman
  
• The wonderfully convincing, “hideous-looking” half-beasts
  
• Atmospheric cinematography
  
  

Must See?
Yes. As Peary points out, this movie’s daringly “offensive” storyline makes it an unusual, must-see part of early film history.

Categories

• Controversial Film
• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review
• Moria Review

Synopsis:
A fugitive revolutionary (Mark Frechette) flees to the desert, where he meets up with a beautiful young woman (Daria Halprin).

Genres, Themes, Actors, and Directors:

• Counterculture
• Deserts
• Michaelangelo Antonioni Films
• Revolutionaries
• Road Trip
• Rod Taylor Films

Response to Peary’s Review:
As Peary notes, Michaelangelo Antonioni’s confusing, “politically ambiguous”, pro-revolutionary box-office failure features a “myopic vision of [consumerist] America, full of piggy cops:

… flabby tourists, hungry workers, and fat cats.” It’s clear why black and white youths of the day would want to join together to combat this logy society:

Unfortunately, it’s much less clear exactly how the film’s protagonists (Frechette and Halprin, terrible non-actors) plan on achieving this.

The bizarre magical realism of the desert orgy scene (the exact meaning of which is unclear) shifts the story into over-drive, leading to the film’s “stunning” yet ultimately unsatisfactory “explosion-filled finale”.

Redeeming Qualities and Moments:

• Breath-taking cinematography of Monument Valley
  
  
• A good rock score

Must See?
No, though it’s worth a look simply for its notoriety.

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

Links:

• IMDb entry
• Roger Ebert’s Review
• DVD Savant Review

Synopsis:
A psychologist (Lew Ayres) tries to determine which of a pair of identical twins (both played by Olivia de Havilland) has committed a murder.

Genres, Themes, Actors, and Directors:

• Jealousy
• Mistaken or Hidden Identities
• Murder Mystery
• Olivia de Havilland Films
• Psychopaths
• Psychotherapy
• Robert Siodmak Films
• Thomas Mitchell Films
• Twins

Response to Peary’s Review:
As Peary notes, this “creepy, extremely well-made psychological melodrama” features “moody, extremely controlled direction by Robert Siodmak, who smartly builds tension rather than relying on histrionics.” Siodmak effectively exploits the cinematic trope of jealous identical twins — and while the analysis may be “of the dimestore variety”, the story remains enjoyable, primarily because “we can participate in solving the mystery.” Indeed, I’m amazed at how long I was kept in the dark about who the murderer was, and whether she would turn out to be the crazy twin as well. As Peary points out, de Havilland’s choice to not play the twins as “complete opposites” works well, and adds to the dramatic tension; her performance is indeed “superlative, especially playing the nutty one”.

Redeeming Qualities:

• De Havilland’s “superb” performance as identical twins
  
• Creative camerawork, which convincingly shows de Havilland as both twins at once
  

Must See?
Yes. This is an excellent noir drama, and well worth seeking out.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
Retired rodeo star Jeff McCloud (Robert Mitchum) helps train his ranch-hand co-worker, Wes (Arthur Kennedy), to compete for big money. Meanwhile, Wes’s wife (Susan Hayward) tries to prevent her husband from getting hurt and ending up a “rodeo bum” like McCloud.

Genres, Themes, Actors, and Directors:

• Arthur Kennedy Films
• Has-Beens
• Marital Problems
• Masculinity
• Nicholas Ray Films
• Robert Mitchum Films
• Rodeo
• Susan Hayward Films

Response to Peary’s Review:
Peary writes that “if you never liked films about the race-car circuit, you probably won’t think much of Nicholas Ray’s vision of the rodeo circuit because it, too, is populated by men who want to prove they are MEN”. However, as Peary notes, the storyline is equally concerned with the riders’ “wives who silently suffer while their men are corrupted by money, alcohol, and wild women.” The film is most effective at portraying the inevitable tensions which can emerge in a marriage when personal dreams clash with mutual goals; Peary points out that “as in many Ray films, tension continually builds without a release, until the time is right for a violent outburst.” While “predictable” at times, The Lusty Men benefits from a “strong cast, good rodeo atmosphere, an excellent script, and strong direction.”

Redeeming Qualities and Moments:

• Arthur Kennedy as Wes Merritt
  
• Robert Mitchum as Jeff McCloud
  
• Susan Hayward as Louise Merritt
  
• Lee Garmes’ cinematography
  
• An almost documentary-like look at rodeo life
  

Must See?
No, but it’s recommended for fans of Nicholas Ray and/or Robert Mitchum.

Links:

• IMDb entry
• MovieMartyr.com Review
• Raging Bull Movie Reviews
• NY Times Original Review

Synopsis:
When Dori (Tuesday Weld) needs money to buy a dress for the prom, she decides to start her own business — but jealous Gloria (Jacqueline Kerr) covets Dori’s boyfriend Tommy (Teddy Randazzo), and does everything she can to sabotage Dori’s efforts.

Genres, Themes, Actors, and Directors:

• Love Triangle
• Musicals
• Rock ‘n Roll
• Teenagers
• Tuesday Weld Films

Response to Peary’s Review:
As Peary notes, director Will Price makes few attempts to integrate the musical acts into the storyline of this “lightweight high-school comedy-rock-n-roll showcase”, starring young Tuesday Weld in her film debut. Weld may be (as Peary notes) “cute as a button”, but her acting is stiff (she hadn’t yet found her groove).

Other lowlights include the musical sequence by “Baby”:

and the dismal acting of Jacqueline Kerr as Dori’s nemesis Gloria (according to IMDb, this is the only film to Kerr’s name, and it’s clear why).

With that said, this innocuous outing possesses a number of enjoyable (and historically important) songs, which make it worth checking out once — but certainly not must-see viewing.

Redeeming Qualities:

• Some toe-tapping vintage rock acts
  
• Chuck Berry’s solo. What a way to duck walk!
  
• Dori’s economic analysis in the dress shop (now that’s creative accounting!)
  
• The awesome teen swing dancing at the prom (watch for the girl who literally kicks off her shoes)
  

Must See?
No. While it holds some historical significance, this one is ultimately not must-see viewing.

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
Silent film comedian Billy Bright (Dick Van Dyke) rises to the top of his field, then loses it all.

Genres, Themes, Actors, and Directors:

• Biopics
• Carl Reiner Films
• Cornel Wilde Films
• Flashback Films
• Has-Beens
• Mickey Rooney Films
• Rise-and-Fall

Response to Peary’s Review:
As Peary notes, Dick Van Dyke may very well have had “his best movie role” as silent comedian Billy Bright in this “offbeat” pseudo-biopic (loosely based on the life of Buster Keaton). Ironically, the film itself is far from comedic — indeed, it’s actually difficult to watch at times, as the philandering, ill-tempered, criminally self-absorbed Bright seemingly does everything in his power to ruin his chances for personal happiness. The scene in which Bright drives up to his house and mistakes the neighbor kid for his own is absolutely tragic:

It reminded me of the scene in Payday (1971) where Maury Dann arrives “either four months too early or eight months too late” for his child’s birthday. Nonetheless, if you can find a copy of it, The Comic is worth watching at least once, due primarily to its “fine performances, impressive comical sequences, and sharp satire.”

Note: While this film isn’t technically a “biopic”, I’m classifying it as such simply because it follows the same basic structure.

Redeeming Qualities:

• Van Dyke’s stand-out performances in the sepia-toned silent film sequence (had he been born during the silent comedy era, he would undoubtedly have been a big name)
  
• Michele Lee’s sympathetic performance as Bright’s long-suffering wife
  
• Mickey Rooney playing second-bill comedian as “Cockeye”
  

Must See?
No, but it’s worth watching, especially if you’re a fan of silent comedy and/or Dick Van Dyke.

Links:

• IMDb entry

Synopsis:
Respected professor Viktor Roth (Frank Morgan) lives happily in Germany, until Hitler comes to power and his family is torn apart by ideological differences.

Genres, Themes, Actors, and Directors:

• Bonita Granville Films
• Dan Dailey Films
• Family Problems
• Frank Borzage Films
• Frank Morgan Films
• Jimmy Stewart Films
• Margaret Sullavan Films
• Nazis
• Professors
• Racism
• Robert Stack Films
• Robert Young Films
• Ward Bond Films
• World War Two

Response to Peary’s Review:
As Peary notes, this classic anti-Nazi film (made before America entered the war) features sensitive direction by Frank Borzage and insightful performances by its stars (Jimmy Stewart, Margaret Sullavan, and Frank Morgan). Borzage wisely spends ample time showing us Professor Roth’s idyllic existence before Nazism pervades the minds of his impressionable young students; the contrast is all the more striking for it. While it’s true, as Peary notes, that you never quite forget this is a Hollywood movie, I’m not sure why he singles out Jimmy Stewart’s performance as especially hard-to-swallow, given that none of the Hollywood actors make any attempt at German accents. Note that the word “Jew” is never used in the film; instead, Professor Roth is repeatedly referred to as “non-Aryan”.

Redeeming Qualities:

• Jimmy Stewart as Martin Breitner
  
• Margaret Sullavan as Freya Roth
  
• Frank Morgan as Viktor Roth
  
• A poignant look at a family torn apart by war
  

Must See?
Yes. As one of the first anti-Nazi Hollywood films made before America entered the war, it’s worth seeing for historical purposes alone.

Categories

• Historically Relevant

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

• IMDb entry
• NY Times Original Review
• TV Guide Review

Synopsis:
Frank Zappa channels the experiences of his band, The Mothers of Invention, as they tour the country, experiment with drugs, and do anything they can to get both laid and paid.

Genres, Themes, Actors, and Directors:

• Musicians
• Ringo Starr Films
• Rock ‘n Roll

Response to Peary’s Review:
While this psychedelic film — “meant to be a visualization of a Mothers tour seen through the eyes of someone (presumably Zappa) who has gone crazy from being on tour with the Mothers” — should be lauded for its no-holds-barred experimental approach (Tony Palmer’s “wild and weird” visuals… make Ken Russell seem conservative”), it’s “never as witty as one would like… and it becomes tiresome”. Peary laments the irreverent lyrics and “occasionally imaginative but mostly annoying” visuals:

… and ultimately argues that it “should have been erased” rather than transferred from its original video format to film. 200 Motels is undoubtedly included as a “must see” in his book due to its cult status, but it’s not essential viewing for all film fanatics.

Redeeming Qualities:

• Ringo Starr as Zappa’s avatar
  

Must See?
No; despite its popularity as a cult film, this one is really only must-see viewing for true Zappa fans.

Links:

• IMDb entry
• Roger Ebert’s Review

Synopsis:
During WWII, young Noelle (Marie-France Pisier) falls in love with pilot Larry (John Beck), who promises to return and marry her. When he fails to show up for their rendezvous, Noelle spends the next eight years plotting to get him back — a plan which gets more complicated when she learns that Larry has married an American woman (Susan Sarandon).

Genres, Themes, Actors, and Directors:

• Flashback Films
• Love Triangle
• Revenge
• Romance
• Susan Sarandon Films
• World War Two

Response to Peary’s Review:
This melodramatic adaptation of Sidney Sheldon’s novel — a “kitsch prototype” — is notorious as Andy Warhol’s favorite film. Peary refers to it as “embarrassingly bad”, and many reviewers concur, but I think it’s actually a reasonably enjoyable saga; other than a couple of slow patches here and there, it doesn’t feel long even at 165 minutes. However, its lead performers leave much to be desired. Beck is utterly unappealing:

… and while Pisier is a fine actress in her native language, she’s not up to the leading role here.

Not surprisingly, Sarandon steals the show; fortunately, her supporting role is fairly substantial.

Note: Apparently expectations were initially much higher for this film than for Star Wars (1977), which was released at the same time, so studio execs pressured theater owners into booking both simultaneously. The rest is history.

Redeeming Qualities:

• Susan Sarandon in yet another early, star-making role
  
• Fine cinematography
  

Must See?
No. Though it holds some notoriety as Andy Warhol’s favorite film, it’s no longer essential viewing.

Links:

• IMDb entry
• Movie House Review
• Four Word Film Reviews