“I didn’t know then — he hates everybody, mostly himself.”
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Review: Note: Reading a bit more about Borzage’s background, I found myself wondering if Carrillo’s accent was an homage of some kind to Borzage’s Italian-speaking stonemason dad? I was also glad to finally be informed that his name is pronounced “bor-ZAY-gee” rather than rhyming with “corsage”. Redeeming Qualities and Moments:
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“If there’s one surefire rule that I have learned in this business it’s that I don’t know anything about human nature.”
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Response to Peary’s Review: While Peary claims that “Coppola’s pacing is a bit too methodical”, I find the entire narrative gripping from beginning to end — including the intriguing mid-script scenes in which Hackman attends a surveillance expo, reconnects with a sleazy rival (Allen Garfield), and is bedded by one of Garfield’s acquaintances, a frantically seductive middle-aged call girl (Elizabeth MacRae). Peary complains that this seduction turns Harry into a “foolish amateur”, given that his tapes disappear while he’s sleeping with her, but he concedes that “in Coppola’s defense, he may have been showing Harry’s slip-ups as being symptomatic of his deteriorating mental condition” — an assertion I fully support. To that end, The Conversation bears close thematic resemblance to several other paranoia-themed films of the (Watergate) era — including Roman Polanski’s Rosemary’s Baby (1968) and The Tenant (1976), as well as Allan J. Pakula’s The Parallax View (1974). The Conversation remains a powerful, masterfully crafted tale — one well worth repeated viewings. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
“You forget about everything out on that field, don’t you?”
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Review: While he’s best known for his stellar work as a running back and receiver for the L.A. Rams and Chicago Rockets, Hirsch was also the only University of Wisconsin student to win a Varsity letter in 4 major sports in one year. To that end, the thesis of the film seems to be summed up in the following quote:
It’s unfortunate that such an intriguing life perspective — ripe for dramatic exploration — is handled so dully. Don’t bother seeking this one out unless you’re a true football fan (in which case you’ll likely appreciate all the vintage footage of actual games). Redeeming Qualities and Moments:
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“All matter is really cosmic substance in vibration.”
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“We’re three strangers — that’s the point.”
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Review: Note: Warner Brothers teamed Lorre and Greenstreet in one other title — 1944’s The Mask of Dimitrios, also directed by Negulesco and listed in Peary’s GFTFF. Redeeming Qualities and Moments:
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“An angel does not make love; an angel is love.”
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Response to Peary’s Review: In Cult Movies 2 (where he analyzes the film in more detail), Peary notes that Fonda herself has claimed Barbarella isn’t one of her “many mistakes” (“I like it — it’s fun”, she’s insisted, without elaboration). Actually, the erstwhile brouhaha over Barbarella‘s role in Fonda’s otherwise (mostly) esteemed acting career feels entirely irrelevant these days, given that she’s no longer so actively in the limelight, and her recent attempts at an acting comeback have been less-than-memorable. Ultimately, I agree with Peary that the film — while undeniably visually provocative — is essentially an “innocuous” and dull piece of ’60s soft-core fantasy erotica. For instance, where’s the humor in exchanges like the following (taken from IMDb’s Quotes page)?:
I’ve seen Barbarella twice, and read about it plenty — but the point of its needlessly convoluted storyline continues to elude me, and I can only understand its cult appeal on an intellectual level. Note: The best-known piece of trivia associated with Barbarella is the fact that the ’80s English rock band Duran Duran named itself after the central villain, “Durand-Durand” (O’Shea). Redeeming Qualities and Moments:
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“Would you like to talk about the meaning of life, dear?”
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Review: Sketches in Part I (The Miracle of Birth) and Part II (Growth and Learning) are the most memorable and inspired, and could easily be considered must-see viewing in their own right — indeed, all film fanatics should likely be familiar with the magical “machine that goes ping”, with what happens when one believes that “every sperm is sacred”, and with the fact that a classroom setting can turn even a live sex act into a humdrum, yawn-inducing mundanity. Unfortunately, most of the later vignettes are decidedly less amusing, though the infamous “Mr. Creosote” sketch — in which a morbidly obese man is enjoined to eat one more “wafer thin” treat before literally exploding — should likely be endured once, simply for its cultural relevance. (Quentin Tarantino apparently admitted to finding it beyond his own considerable gruesome-tolerance level — no small admission.) Ultimately, however, film fanatics unfamiliar with Monty Python’s cinematic genius should start with their cult masterpiece, Monty Python and the Holy Grail (1975) — and decide from there whether they’re interested in exploring more. Redeeming Qualities and Moments:
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“Vinnie, we have four children — if we’re not married now, we never will be!”
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While dosing his anecdotal storyline with plenty of humor and nostalgia, Day makes it clear that one of his primary goals is to reveal the inanity (and futility) of his father’s dated patriarchal beliefs:
The fact that Day manages to salvage his father’s character while simultaneously skewering such nonsensical drivel reveals the secret to the film’s blockbuster success. Meanwhile, Michael Curtiz’s solid direction helps move the proceedings along smoothly. With that said, Life With Father will likely only hold minimal appeal for modern film fanatics, and remains of interest primarily to see Dunne and Powell’s typically solid lead performances. Fans of Elizabeth Taylor will also, of course, want to watch it for her:
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“The day wouldn’t come when I wouldn’t want to know everything about our town.”
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a very young William Holden:
and stalwart character actors Fay Bainter, Beulah Bondi, Guy Kibbee, and Thomas Mitchell as Emily and George’s parents.
Note: Film fanatics may be curious to watch this title on a “double bill” with Wood’s 1942 melodrama Kings Row, which offers a less nostalgic, more cynical glimpse into small town life in early-20th-century America. Redeeming Qualities and Moments:
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”Let’s face it – we’re in a trap.”
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Review: I’m in complete agreement with Peary’s assessment of this enjoyable, surprisingly light-hearted “Old Dark House” mystery — based on the best-selling mystery novel of all time (though its ending was changed to that of Christie’s stage play of the same name). The characters are all smartly cast and play nicely against one another; this is truly a seamless ensemble piece, with no one performance standing out above the other (though the interactions between Walter Huston as Dr. Armstrong and Barry Fitzgerald as Judge Quinncannon are especially fun). Clair’s creative direction — beginning with the cleverly shot silent opening sequence on the boat, and extending through the exposure of each murder — is seamlessly fluid, keeping us consistently visually engaged, and on the edge of our seats in nervous anticipation. Note: Film fanatics will likely recognize that this movie serves as a forerunner — both thematically and tonally — for the cult satire Murder By Death (1976); they would make a fun double-bill. Redeeming Qualities and Moments:
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