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Synopsis:
The lower-class wife (Lana Turner) of a wealthy socialite (John Forsythe) is caught in a compromising situation with a male companion (Ricardo Montalban), and forced by her brutal mother-in-law (Constance Bennett) to “die” and live under an assumed name in Europe. Out of guilt and loyalty, she forgoes a renewed chance at romance with a concert pianist (John Van Dreelen), and descends into a life of alcoholism and despair. When a seedy acquaintance (Burgess Meredith) finds out who her husband (now governor of New York) and son are, he tries to blackmail her; she kills him, and stands on trial for her life as “Madame X” — not realizing that her lawyer (Keir Dullea) is actually her grown son.

Genres, Themes, Actors, and Directors:

• Blackmail
• Burgess Meredith Films
• Constance Bennett Films
• Courtroom Drama
• Downward Spiral
• Keir Dullea Films
• Lana Turner Films
• Mistaken or Hidden Identities
• Ricardo Montalban Films
• Suffering Mothers

Review:
As indicated in my lengthy synopsis of this big-budget soaper, the eponymous protagonist (played by 45-year-old Lana Turner) endures one unfortunate blow after another in her unjustly difficult life. After marrying into wealth, Holly Anderson finds that her loving yet ambitious husband is barely around:

… and when she allows herself to seek temporary solace in companionship with a male friend, her downfall is guaranteed. Unfortunately, however, because Holly is portrayed so sympathetically (she never stops loving her husband, and we understand that she never considered her friendship with Montalban to be anything more than just this), viewers aren’t given much to feel other than pity. And when, as a “free woman”, she turns down a chance for love and happiness with a wealthy European pianist, we realize that our tragic heroine is basically biding her time until her death.

Ironically, it’s only once Holly’s life goes completely downhill that Turner — never the greatest of actresses — begins showing some true chops. Her performance comes alive in the second half of the film, but the earlier scenes are less than convincing (particularly since Turner was much too old to be playing a newlywed socialite). Unfortunately, other performances in the film are equally problematic. John Forsythe (Turner’s husband) is so bland as to be practically non-existent; Keir Dullea as Turner’s grown son acts as woodenly as ever:

… and while Constance Bennett is effectively cruel (in what was to become her final screen role), she’s not on-screen nearly enough: once Holly is banished to Europe, we don’t see Bennett again until the final courtroom scenes, when she inexplicably appears to have tears in her eyes at the sight of her daughter-in-law.

Indeed, the entire denouement of the film — while exciting in some ways, given that we really don’t know how things will turn out — is ultimately unsatisfying, primarily due to an egregious error in logic: in a convenient yet highly unlikely twist of fate, Holly doesn’t learn that her lawyer is her son until the final tear-jerking day of the trial. However, one watches a melodrama like this simply for the emotions and colorful set designs, which Madame X has in spades. If you enjoy your dramas bordering on camp (typical dialogue: “I don’t give a damn about the past; the world begins with you and me!”), and consider gaping plot holes to be a necessary sacrifice for high melodrama, then perhaps this film was made just for you.

Redeeming Qualities and Moments:

• Lana Turner’s performance — but only in the second half of the movie, when she’s a down-and-out alcoholic mess
  
• Ricardo Montalban (in a Latin-lover role seemingly tailor-made for him)
• Lavish set designs
  

Must See?
No. While this film is representative of producer Ross Hunter’s signature “high melodrama” style, he made plenty of other, worthier movies which film fanatics should spend their viewing time on instead. Only recommended for die-hard Lana Turner fans.

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
Former minor-league pitcher Morris Buttermaker (Walter Matthau) becomes the reluctant coach for a team of Little League misfits — including the 12-year-old daughter (Tatum O’Neal) of his ex-girlfriend.

Genres, Themes, Actors, and Directors:

• Baseball
• Comedy
• Has-Been
• Michael Ritchie Films
• Misfits
• Walter Matthau Films

Review:
Walther Matthau is at his surly best in this classic “misfit kids make good” flick (which was followed by two sequels, turned into a T.V. series, and recently remade by Richard Linklater). Since I’m not a big fan of sports movies (or organized sports, for that matter), I put off watching this film for years; but I’ll admit that once I finally gave it a chance, I was pleasantly surprised. In between many lengthy ball game sequences (hardcore fans won’t be disappointed), there’s plenty of zingy dialogue and countless hilarious moments amongst the motley crew of characters.

Most refreshing of all is watching how un-politically correct Matthau is with his young charges — he drinks in front of them, tosses them beer cans to celebrate a good game (!), and calls them every foul name under the planet. Also notable: his relationship with 12-year-old O’Neal never smacks of anything unsavory, even when he’s talking openly with her about her budding breasts; their friendship is allowed to develop without digressing into any unnecessary subplots about pedophilia. The fact that watching The Bad News Bears evokes such nostalgia says a lot about the degradation of children’s movies these days (most of which are sickly sweet in their attempt to shield kid-viewers from anything smacking of real-life). Morris Buttermaker may be a foul-mouthed, obnoxious “alky”, but there are plenty of people like him in the world — and kids know it.

Redeeming Qualities and Moments:

• Walter Matthau as the grizzled, has-been, alcoholic coach
  
• Tatum O’Neal in a worthy follow-up role to her award-winning performance in Paper Moon
  
• Some incredible scenes of no-holds-barred parental pushiness
  
• Countless obnoxiously humorous quotes by Buttermaker:
  

  “Now get back to the stands before I shave off half your mustache and shove it up your left nostril!”

Must See?
Yes. As the forerunner to all films good and bad (mostly bad) about misfit kids on sports teams, this remains must-see viewing.

Categories

• Historically Relevant

Links:

• IMDb entry

Synopsis:
In a totalitarian future, government employee Winston Smith (Edmond O’Brien) challenges “Big Brother” by taking on a secret lover (Jan Sterling).

Genres, Themes, Actors, and Directors:

• Donald Pleasence Films
• Dystopia
• Edmond O’Brien Films
• Jan Sterling Films
• Michael Redgrave Films
• Political Corruption
• Propaganda
• Resistance Fighters
• Science Fiction

Review:
This unfairly maligned early cinematic version of George Orwell’s classic novel has much to offer — including atmospheric black-and-white cinematography, effectively oppressive set designs, and an overall tone of gloom and despair which aptly suits Orwell’s intent. It’s difficult not to get caught up in Smith’s paranoia as he struggles to maintain a modicum of independence and authenticity under the watchful gaze of Big Brother — and by the final scenes, we find ourselves despairing on behalf of his seemingly hopeless situation. Unfortunately, as noted by many, both O’Brien and Sterling seem a bit “long in the tooth” for their roles, playing characters who most readers imagine as much younger; their clandestine romance is the weakest part of the film, and is portrayed much more effectively in the 1984 version (starring John Hurt and Suzanna Hamilton).

Redeeming Qualities and Moments:

• Effectively “Big Brother”-ish set designs
  
• Atmospheric black-and-white cinematography
  
• Donald Pleasence as O’Brien’s pro – “Big Brother” neighbor
  

Must See?
Yes. While die-hard fans of the book will inevitably be disappointed by minor discrepancies, this film remains a powerful first-stab at adapting the most famous dystopic novel ever written.

Categories

• Historically Relevant

Links:

• IMDB entry
• Movie Magazine International Review
• TV Guide Review

Synopsis:
Early 20th century inventors show off their wild and wacky creations in original archival footage.

Genres, Themes, Actors, and Directors:

• Documentary
• Inventors

Review:
If you’re hoping to see footage of the best unsung inventions of the last century, then this isn’t the movie you’ve been waiting for. If, however, you’re interested in watching oddballs with seemingly indomitable spirits who aren’t afraid to make utter fools of themselves on film, this little-seen documentary may be right up your alley.

You’ll witness more variations on primitive (and physically impossible) “flying machines” than you ever thought existed:

as well as demonstrations of some truly strange skills — which technically shouldn’t count as inventions, but are included here anyway, presumably for their wackiness factor. The documentary is comprised exclusively of archival footage (with voices dubbed in the silent clips), possesses no voice-over narration, and is accompanied by a surprisingly rocking soundtrack.

Redeeming Qualities and Moments:

• A woman swinging through New York while gripping a rope with her teeth
  
• An excellent soundtrack

Must See?
No, but this precursor to “America’s Funniest Home Videos” is worth watching at least once.

Links:

• IMDb entry

Synopsis:
Two privately owned ambulance companies in Los Angeles compete for clients.

Genres, Themes, Actors, and Directors:

• Allen Garfield Films
• Bill Cosby Films
• Car Chase
• Comedy
• Feminism and Feminist Issues
• Harvey Keitel Films
• Peter Yates Films
• Raquel Welch Films
• Rivalry

Review:
This strangely titled slapstick comedy revolves around an equally oddball premise: ambulance drivers who sit around hoping for catastrophe to occur so that they have some work. In the meantime, the movie’s ensemble cast (including Bill Cosby as “Mother”, Raquel Welch as “Jugs”, and Harvey Keitel as “Speed”) deal with various personal issues — including, naturally, romance, sex, and drugs. The most interesting aspect of the plot concerns big-chested Welch, who resents being called “Jugs” (can you blame her?), and must deal with obnoxious sexual harassment and blatant gender discrimination on the job.

Then again, one watches a film like this for the laughs, not the social commentary — and unfortunately, there are far too few to recommend it.

Redeeming Qualities and Moments:

• Bill Cosby as the wisecracking “Mother” of the crew
  

Must See?
No. Peary lists it in the back of his book as a Sleeper — and it may be of minimal interest to fans of Welch or Cosby — but it’s certainly not must-see viewing.

Links:

• IMDB entry
• Roger Ebert’s Review
• Time Out Capsule Review

Synopsis:
During the prehistoric era, an outcast member of the brutal Rock Tribe (Victor Mature) falls in love with a woman from the gentler Shell Tribe (Carole Landis).

Genres, Themes, Actors, and Directors:

• Carole Landis Films
• Cross-Cultural Romance
• Historical Drama
• Lon Chaney, Jr. Films
• Prehistoric Times
• Victor Mature Films

Review:
This “historical epic” by producer/director Hal Roach — infamously remade in 1966 with Raquel Welch — was the top-grossing film of 1940, and marked the debut of big-chested Victor Mature as a leading man. It received good reviews upon its release (with the New York Times referring to it as a “masterpiece of imaginative fiction”), and still has a devoted set of fans. For my part, however, I don’t understand what all the fuss is about, given that this “Land of the Lost” precursor is utterly lacking in historical veracity — dinosaurs and humans co-exist, to name just the most egregious error — and possesses an insipid storyline. At least it’s partially redeemed by some impressive action sequences and special effects.

Redeeming Qualities and Moments:

• Some exciting, well-done action sequences — particularly the erupting volcano
  

Must See?
No. While it holds historical interest as the most profitable film of 1940, this movie is really only a “must-see” for fans of cavemen flicks.

Links:

• IMDb entry
• NY Times Original Review
• SciFilm Review

Synopsis:
Three oddball prisoners (Tom Waits, John Lurie, and Roberto Benigni) escape through the Louisiana bayou.

Genres, Themes, Actors, and Directors:

• Black Comedy
• Deep South
• Escape
• Framed
• Jim Jarmusch Films
• Misfits
• Prisoners

Review:
Jim Jarmusch’s character-driven prison-break film — a follow-up to his groundbreaking debut, Stranger Than Paradise (1984) — has many fans, but I’m not one of them. None of the three lead characters is especially appealing, and since we never get a chance to know any of them particularly well, we don’t really care what happens to them. Most annoying of all is Benigni’s chirpy immigrant “Roberto”; while many find his riffs in this film (i.e., the “I scream for ice cream” chant) hilarious, I found them insufferable.

Down By Law clearly bows towards surrealistic impulses, with several moments in the film conveniently defying reality: the three prisoners easily escape from their cell (we’re never shown how); they conveniently happen upon an Italian restaurant — with a friendly, beautiful, single owner — in the middle of nowhere; etc.

These leaps of logic are mildly amusing, and Robby Muller’s gorgeous black-and-white cinematography is a wonder to behold; but ultimately, these elements weren’t enough to keep my interest.

Redeeming Qualities and Moments:

• Beautiful black-and-white cinematography of the Louisiana bayou
  
• The opening tracking shot, accompanied by Tom Waits singing an infectious blues ballad

Must See?
No, though it’s of interest for its cult status, and as one of this maverick indie filmmaker’s best-known early films.

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

Links:

• IMDb entry
• NY Times Original Review
• Digitally Obsessed Review
• Time Out Capsule Review
• Washington Post Review

Synopsis:
After his face is badly scarred in a fire, a young immigrant watchmaker (Peter Lorre) resorts to a life of crime in order to pay for plastic surgery.

Genres, Themes, Actors, and Directors:

• Character Arc
• Disfigured Faces
• Evelyn Keyes Films
• Gangsters
• Immigrants and Immigration
• Peter Lorre Films

Review:
The best scenes in this little-seen Peter Lorre vehicle occur in the first 15 minutes, when Lorre’s immigrant Janos — acting like he belongs in a Frank Capra film — wanders the streets of New York with an enormous grin on his face, happily believing that success is just around the corner. This sunny exposition makes it especially difficult to watch our likable protagonist experiencing such relentless suffering: first from hideous scarring, then from an inability to get any kind of work at all, due simply to prejudice against his shocking appearance. (One can’t help feeling immense gratitude for our current workplace anti-discrimination laws…) Unfortunately, Lorre’s romance with a cloyingly sweet blind girl (Evelyn Keyes) — as well as his interactions with a bevy of stereotypical gangsters — drag down the second half of the film, with many scenes descending into unnecessary cliches. Whenever Lorre’s on the screen, however, we can’t help but be mesmerized by this tragic figure — a man who’s never desired anything other than the American Dream, but who finds himself foiled at every possible turn. Directed by the prolific Robert Florey, who made another film with Lorre a few years later: The Beast With Five Fingers (1946).

Redeeming Qualities and Moments:

• Peter Lorre’s sympathetic performance as Janos, a.k.a. “Johnny”
  
  
• George E. Stone as “Dinky”, Johnny’s first true friend in New York
  
• The opening scenes of the movie, in which the young and idealistic Janos falls in love with America
  
• Atmospheric cinematography
  
  

Must See?
No, though fans of Peter Lorre will undoubtedly want to check it out.

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
A free-spirited parking lot attendant (Seymour Cassel) falls in love with a beautiful museum curator (Gena Rowlands) who resists his advances.

Genres, Themes, Actors, and Directors:

• Cross-Class Romance
• Gena Rowlands Films
• John Cassavetes Films
• Misfits
• Obsessive Love
• Romantic Comedy
• Seymour Cassel Films

Review:
Cassavetes’ contribution to the ubiquitous “misfits in love” genre isn’t particularly original, but features all the best elements of this iconoclastic director’s signature style: powerhouse performances by believably natural actors, excellent use of local settings, and plenty of unexpectedly zany moments. It’s lighter in tone than his heavier works (i.e., A Woman Under the Influence, also starring Rowlands), and is probably one of his most accessible films. Unfortunately, however, Minnie and Moskowitz suffers from an irredeemably schizophrenic attitude towards its characters: as soon as we start to like someone, he or she acts horribly and loses our sympathy. Seymour’s obsessive love for Minnie, for instance, is cute at first, but quickly becomes discomfiting as he stalks her and literally forces her into his car. This is someone we’re supposed to root for? And while Seymour’s mother (played with appropriately batty energy by Cassavetes’ real-life mother, Katherine) comes across as a harmlessly doting Jewish mother in her brief debut towards the beginning of the film, she unaccountably turns against her own son during a later dinner scene. Plus, these folks yell and beat up on each other like there’s no tomorrow — then quickly (and inexplicably) forgive each other. Ultimately, Minnie and Moskowitz makes for uneven viewing: you want to care about these characters (and in a way, you do), but at the same time you’re shaking your head in concern and disbelief, and feeling grateful that they’re not part of your immediate circle of friends.

Redeeming Qualities and Moments:

• Seymour Cassel’s no-holds-barred performance as the love-struck “Seymour”
  
• Gena Rowlands as the confused yet lovely Minnie
  
• Good use of Los Angeles locales and streets
  

Must See?
No, but fans of Cassavetes’ work will certainly want to check it out.

Links:

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