Crack in the Mirror (1960)

Crack in the Mirror (1960)

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“Sure, sure, kill me… Just be quick about it, or I’ll kill you first!”

Synopsis:
An ambitious young lawyer (Bradford Dillman) in love with the wife (Juliette Greco) of his renowned mentor (Orson Welles) defends a lower-class woman (also Greco) accused of killing the father (also Welles) of her children in order to marry her younger lover (also Dillman).

Genres, Themes, Actors, and Directors:

  • Courtroom Drama
  • Infidelity
  • Lawyers
  • Love Triangle
  • Murder Mystery
  • Richard Fleischer Films

Review:
This melodramatic courtroom thriller is primarily notable for its gimmicky use of lead actors in dual roles. Director Richard Fleischer tries hard to make an overt comparison between the two parallel love triangles, ostensibly to demonstrate that class is irrelevant (who knew?!) when it comes to deception and matters of the heart. But ultimately this cinematic device is more distracting than revealing; when listening to Dillman’s lawyer commenting glibly to his lover that her lower-class counterpoint “isn’t pretty”, or upper-class Greco reacting with horror upon hearing that her lower-class doppelganger has carved up Welles’ body, one simply wants to groan. Crack in the Mirror is partially redeemed by its performances — Juliette Greco in particular is a joy to watch, and Welles’ final courtroom speech is stunning — but the clunky script makes it more frustrating than thrilling.

Redeeming Qualities and Moments:

  • Juliette Greco as Eponine
  • Orson Welles as Lamerciere

Must See?
No. This melodramatic murder mystery is a minor disappointment.

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Sleeping Car Murders, The (1965)

Sleeping Car Murders, The (1965)

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“We may be fairly sure this job is not the work of a professional.”

Synopsis:
A detective (Yves Montand) in Paris investigates the murder of a beautiful young woman (Pascale Roberts) on a train.

Genres, Themes, Actors, and Directors:

  • Costa-Gavras Films
  • Detectives and Private Eyes
  • Murder Mystery
  • Simone Signoret Films

Review:
This fast-paced murder mystery was Greek director Costa-Gavras’ only stab at “pure entertainment” films before turning to political thrillers such as Z (1969), State of Siege (1973), and Missing (1982). While Murders garnered raves from critics upon its release, but it hasn’t aged well. The film’s two ostensible leads — Catherine Allegret (Simone Signoret’s real-life daughter) and Jacques Perrin as young lovers who meet on the train — are annoying:

… and while Signoret provides some moments of campy enjoyment as a self-absorbed actress, she (along with nearly everyone else) is too quickly killed off. To its credit, The Sleeping Car Murders does keep one continually guessing as to the identity of the killer — but the ultimate resolution of this mystery is unsatisfactory, and the plot has become so convoluted by this point that it’s hard to care.

Redeeming Qualities and Moments:

  • Simone Signoret as an aging actress

Must See?
No. Though it holds some historical interest as Costa-Gavras’ directorial debut, this is not “must see” viewing.

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Devil’s Playground, The (1976)

Devil’s Playground, The (1976)

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“An undisciplined mind is the devil’s playground.”

Synopsis:
An Australian boy (Simon Burke) comes of age at a Catholic boarding school in the 1950s.

Genres, Themes, Actors, and Directors:

  • Australian Films
  • Boarding School
  • Coming-of-Age
  • Fred Schepisi Films
  • Priests and Ministers
  • Sexuality

Review:
This episodic coming-of-age tale by Australian director Fred Schepisi is inaccurately marketed as a sensationalized tale of sexuality — indeed, one DVD cover features a strategically-chosen, non-representative still which immediately evokes the threat of pedophilia.

In actuality, this subject is never dealt with; instead, the priests in Devil’s Playground are portrayed as well-meaning, eminently human, and (for the most part) kind. (One particularly surprising scene shows two priests out on the town, tempted to pick up women they meet at a bar).

While the narrative in The Devil’s Playground is concerned with sexuality — as is nearly every movie about adolescence — its portrayal is honest and multi-faceted rather than prurient. This remains a worthy entry in the vast coming-of-age genre.

Redeeming Qualities and Moments:

  • Simon Burke’s appealing, natural performance
  • A refreshingly humanizing look at priests
  • A sensitive portrayal of male adolescence and sexuality
  • Fine period detail

Must See?
No, but it’s recommended.

Links:

Pajama Game, The (1957)

Pajama Game, The (1957)

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“No matter what’s with us, Sid, I’m going to be fighting for my side, and fighting hard.”

Synopsis:
A union representative (Doris Day) at a pajama factory falls in love with its new superintendent (John Raitt), but clashes with him over an imminent strike.

Genres, Themes, Actors, and Directors:

  • Corruption
  • Doris Day Films
  • Labor Movements
  • Musicals
  • Romance
  • Stanley Donen Films
  • Workplace Drama

Review:
This technicolor Doris Day musical is most notable as one of choreographer Bob Fosse’s earliest cinematic efforts, and the dancing is indeed distinctive. Unfortunately, however, the story itself — about romance amidst labor negotiations at a pajama factory — is a frustratingly glib treatment of a complex issue. Indeed, it’s somewhat disturbing to see downtrodden workers depicted as such a cheery, colorfully dressed clan; they’re reminiscent of characters in Soviet-era propaganda musicals.

In addition, though the songs in The Pajama Game are fun while they last, none of them are particularly memorable; and the performances by romantic leads Day (who, as amusingly noted in Slant Magazine’s review, sports a “fetching [?] bull-dyke pompadour”) and Raitt are serviceable at best.

The Pajama Game will likely remain one-time viewing for most film fanatics.

Redeeming Qualities and Moments:

  • Many cleverly executed musical tunes and choreography (by Bob Fosse)

  • Colorful costumes and sets
  • Carol Haney’s whacked-out performance as Day’s colleague

Must See?
Yes, simply to see Fosse’s early work.

Categories

  • Historically Relevant

Links:

Unman, Wittering, and Zigo (1971)

Unman, Wittering, and Zigo (1971)

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“My form — lower 5B — say they murdered Mr. Pelham.”

Synopsis:
When a new teacher (David Hemmings) at a British public school is told by his students that they killed his predecessor, he cannot get his headmaster (Douglas Wilmer) to take him seriously; soon he is intimidated into letting the boys run his classroom.

Genres, Themes, Actors, and Directors:

  • Boarding School
  • Bullies
  • “No One Believes Me!”
  • Play Adaptation
  • Psychological Horror
  • Teachers

Review:
This quietly frightening tale of mass intimidation represents every instructor’s worst nightmare: although the idealistic Hemmings wants nothing more than to be a teacher, he quickly finds himself bullied by his own students, who possess an eerie sense of entitlement. Perhaps most disturbing is the fact that the boys — who, for the most part, are presented en masse rather than as individuals — remain deferential on the surface (they never neglect to call Hemmings “sir”), yet confidently maintain the upper hand, never doubting that they will get their way. While some have argued that the story — based on Giles Cooper’s radio play-turned-television drama — is unsatisfying due to its lack of definitive resolution, I think it holds interest throughout, and remains intriguing viewing.

Redeeming Qualities and Moments:

  • David Hemmings as the tormented new teacher
  • A creepy tale of psychological intimidation
  • The frightening scene in which Hemmings’ wife (nicely played by Carolyn Seymour) is nearly gang-raped by the boys

Must See?
No, but it’s recommended.

Links:

Face of Fire (1959)

Face of Fire (1959)

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“It’s Monk, all right — but he looks like a devil!”

Synopsis:
When beloved handyman Monk Johnson (James Whitmore) is hideously scarred in a fire, nearly all the town’s citizens turn against him in fright and disgust.

Genres, Themes, Actors, and Directors:

  • Cameron Mitchell Films
  • Disfigured Faces
  • James Whitmore Films
  • Small Town America

Review:
Based on Stephen Crane’s short story “The Monster”, Face of Fire is a reasonably effective fable about human fickleness and small-town mob mentality. B-director Albert Band does a nice job establishing Monk’s status as a handsome, admired citizen who women drool over and children want to spend time with:

It’s all the more tragic, then, when nearly everyone turns against him after he has heroically rescued the son (Miko Oscard) of a doctor (Cameron Mitchell) from a burning house. Unfortunately, this collective change of heart is much too drastic to seem authentic: while Peter Lorre’s disfigured watchmaker in The Face Behind the Mask (1941) somewhat realistically scares those he meets for the first time, it’s much more difficult to believe that an entire town would suddenly be frightened of — and disgusted by — someone they’ve known for years. Nonetheless, Face of Fire‘s uneven screenplay (perhaps a function of its source material, though I haven’t read the original story) is redeemed by Band’s creative direction, effective cinematography (shot in Sweden!), and a handful of excellent performances.

Redeeming Qualities and Moments:

  • Cameron Mitchell as the guilt-ridden doctor
  • Wiry character actor Royal Dano as a henpecked villager
  • Creative direction
  • Atmospheric cinematography
  • Eric Nordgren’s score — particularly in the opening scenes

Must See?
No, but it’s worth seeking out.

Links:

My Little Chickadee (1940)

My Little Chickadee (1940)

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“Flower Belle: what a euphonious appellation. Easy on the ears and a banquet for the eyes.”

Synopsis:
On her way to Greasewood City, Flower Belle Lee (Mae West) meets a lustful traveling salesman (W.C. Fields) and pretends to marry him in order to gain respectability. Meanwhile, she carries on affairs with a shady saloon owner (Joseph Calleia), a newspaper man (Dick Foran), and a mysterious masked bandit, yet refuses to let the frustrated Fields — who has been named sheriff of Greasewood City — near her.

Genres, Themes, Actors, and Directors:

  • Comedy
  • Con-Artists
  • Mae West Films
  • Morality Police
  • Sheriffs
  • W.C. Fields Films
  • Westerns

Response to Peary’s Review:
My Little Chickadee is notorious as the only pairing of screen icons W.C. Fields and Mae West. Though it’s considered by many to be a sub-par comedic outing (see the review links below), I have to say I disagree: it’s full of countless hilarious moments, and — as with many Fields vehicles — the rather silly plot matters far less than the constant innuendos and gags. West — delightfully described by Time Out as “the first female female impersonator” — is as self-confident and curvaceous as ever, flirting shamelessly while she rolls her eyes upwards with a smirk.

But as Peary notes, it’s Fields who really shines here, as we see him “chatting incessantly, bragging, lying, telling weird anecdotes, [and] using a weird language all his own.” Also of note is Margaret Hamilton, playing heavily on her Wizard of Oz characterization as a shrewish witch, but given much more comedic range. Best of all, however, are the few scenes in which West and Fields play off of each other — it’s a shame this was their only joint venture.

Redeeming Qualities and Moments:

  • W.C. Fields at his lying, conniving, cowardly best
  • Margaret Hamilton as a meddling bluenose
  • Many humorously racy lines:

    “I have some very definite pear-shaped ideas that I’d like to discuss with you.”

    (!!!)

Must See?
Yes. While maligned by many modern critics, My Little Chickadee remains a delightful, historically relevant comedy.

Categories

  • Historically Relevant

Links:

Jack the Giant Killer (1962)

Jack the Giant Killer (1962)

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“I’m going to entrust you with the most important mission ever given to a Cornish knight: to protect the life of the princess until she’s safe.”

Synopsis:
When a brave young farmboy (Kerwin Mathews) saves Princess Elaine (Judi Meredith) from the clutches of a giant, he is made a knight and charged with the task of protecting her. Soon he finds himself battling other monsters conjured by the evil wizard Pendragon (Torin Thatcher).

Genres, Themes, Actors, and Directors:

  • Anna Lee Films
  • Fantasy
  • Folk Tales, Fairy Tales, and Mythology
  • Kidnapping
  • Witches, Wizards, and Magicians

Review:
It’s easy to see why Peary lists this much-maligned fantasy flick in the back of his book as a Sleeper — it’s been so roundly dissed as simply an inferior imitation of Ray Harryhausen’s stop-motion adventures that it never stood a chance on its own. While it’s true that the animation can’t hold a candle to Harryhausen’s creations, it’s exciting to see Jack battling various monsters, the story moves along at a fast pace, and the romantic leads are appealing. Jack the Giant Killer may not be must-see viewing, but it’s not awful, either.

Redeeming Qualities and Moments:

  • Kerwin Mathews as the plucky hero
  • Judi Meredith as the bewitched princess
  • Lots of fast-paced action, colorful costumes, and creative make-up


Must See?
No, but it’s recommended for fans of fantasy flicks.

Links:

Mephisto Waltz, The (1971)

Mephisto Waltz, The (1971)

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“I happen to be the greatest pianist alive, and I’ll tell you this, Mr. Myles Clarkson: hands like yours are one in a hundred thousand.”

Synopsis:
Dying concert pianist Duncan Ely (Curt Jurgens) and his daughter (Barbara Parkins) use satanic powers to transfer Ely’s soul into the body of music journalist Myles Clarkson (Alan Alda). Clarkson’s wife (Jacqueline Bisset) becomes disturbed by her husband’s change of character, and when their daughter Abby (Pamelyn Ferdin) dies suddenly, she begins to suspect witchcraft.

Genres, Themes, Actors, and Directors:

  • Curt Jurgens Films
  • Demonic Possession
  • Horror
  • Jacqueline Bisset Films
  • Musicians
  • Pact With the Devil
  • Satanists

Review:
Based on a novel by Fred Mustard Stewart, this demonic thriller is regarded by many as simply a second-rate imitation of Rosemary’s Baby (1968); indeed, many elements of the story — as well as director Paul Wendkos’ choice of cinematic devices — echo its famous precursor. On its own terms, Mephisto Waltz remains a visually sumptuous yet not entirely satisfying tale of demonic possession. I enjoyed seeing Alan Alda with an evil glint in his eye, and Curt Jurgens (who makes a brief appearance in the beginning of the film) is perfectly cast as the egotistical pianist intent on maintaining his talent beyond death. Less noteworthy are the performances by the female leads: while Bisset does a decent job as Alda’s jealous wife, we never really care for her, and Parkins is similarly icy and reserved. The best aspect of the film remains the titular musical piece; Franz Liszt’s meaty, dissonant composition may be the best evocation ever of a pact with the devil.

Redeeming Qualities and Moments:

  • Curt Jurgens as Duncan Ely
  • Alan Alda as Myles Clarkson
  • A haunting, appropriately satanic score
  • The convoluted, yet satisfying, twist ending

Must See?
No. This one is only must-see viewing for fans of films on witchcraft.

Links:

Stop Making Sense (1984)

Stop Making Sense (1984)

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“I’ve got a tape I want to play.”

Synopsis:
The Talking Heads perform at the Pantages Theater in Hollywood.

Genres, Themes, Actors, and Directors:

  • Concert Film
  • Jonathan Demme Films

Response to Peary’s Review:
Peary is lavish in his praise of this “riveting concert film”, directed by Jonathan Demme and featuring the Talking Heads on their final tour together as a band. He argues that “what takes place on stage will make even [the] most skeptical into Talking Heads converts”, and labels the performances as “invariably exciting”. While I don’t disagree with Peary that this is an enjoyable, masterfully directed concert film — perhaps, as many argue, one of the best ever made — I still question whether film fanatics must see it. As with all concert films, Stop Making Sense will ultimately be of most interest to pre-existing fans of the band, and/or those wishing to get a visual sense of what the Talking Heads were all about.

Redeeming Qualities and Moments:

  • David Byrne’s wildly energetic performance
  • The creative opening sequences, in which band members appear one at a time
  • The Talking Heads performing “Once in a Lifetime”
  • Jordan Cronenweth’s cinematography

Must See?
No, but it’s certainly must-see viewing for any fans of the Talking Heads.

Links: