Tuesday, June 27, 2017

#2,373. Saturn 3 (1980)

Directed By: Stanley Donen

Starring: Farrah Fawcett, Kirk Douglas, Harvey Keitel

Tagline: "The Ultimate Space Adventure"

Trivia: The robot Hector stood over eight feet tall and cost a little over a million dollars to make

The critics were especially harsh on Saturn 3, a 1980 sci-fi / horror film directed by Stanley Donen. Roger Ebert called the movie “dumb, dumb, dumb”, while TV Guide declared it “dreadful”. Time Out went so far as to say “there’s more fun to be had cleaning out your cat litter tray” than watching this film. Saturn 3 was even nominated for three 1981 Golden Raspberry Awards, for Worst Actor, Worst Actress, and the biggie, Worst Picture (which it lost to Can’t Stop the Music).

But is Saturn 3 really as bad as all that?

Well, it’s no sci-fi classic, but it’s certainly better than its reviews would lead you to believe.

The Earth is overpopulated, and to generate enough food for its inhabitants, research stations have been established on planets and moons all across the solar system. The Saturn 3 food research facility (named as such because it’s situated on Saturn’s third moon) is manned by a two-person crew: Major Adam (Kirk Douglas) and his gorgeous assistant Alex (Farrah Fawcett). They have spent years living in isolation, all alone on this vast outpost (in fact, Alex, who was born in space, has never once visited earth). 

In an effort to speed up their production, mission control decides to send a scientist to Saturn 3, where he will construct a high-tech robot designed to increase the station’s output. But the person they’ve chosen for the job is murdered just before take-off, and his killer, Captain Benson (Harvey Keitel), disguises himself as the dead man and takes his place. Labeled unfit for duty by his superiors, the mentally disturbed Benson nonetheless makes his way to Saturn 3, where, upon his arrival, he falls instantly in love with Alex (who is already romantically involved with Adam). Benson does eventually complete his task, building an 8-foot-tall automaton named Hector that’s equipped with actual human brain tissue (to help it perform more efficiently).

But Hector was programmed by reading Benson’s thoughts, which means this incredibly powerful robot now has the mind of a killer. To make matters worse, Hector also inherited Benson’s feelings for Alex, resulting in a showdown between man and machine that threatens to tear Saturn 3 apart.

Perhaps the biggest injustice done to Saturn 3 was Kirk Douglas’s Razzie nomination as the year’s worst actor; his performance as Adam may not be as strong as his work in The Bad and the Beautiful or Paths of Glory, but he’s good enough, and for a man of 62 he was in damn fine shape (he even has a nude scene, displaying his bare ass during a skirmish with Benson). I also liked Harvey Keitel’s Benson, a cold, calculating scientist who is the polar opposite of the friendly, outgoing Adam (unfortunately, due to his Brooklyn accent, Keitel’s entire performance was dubbed by actor Roy Dotrice, and to see Harvey Keitel but not hear his voice was a distraction). Also, considering the era in which Saturn 3 was produced, the special effects are good, and the set pieces that make up the space station (designed by John Barry, the original director, who was replaced when he and star Kirk Douglas experienced “creative differences”) are better; the facility looks great, and is even quite menacing at times (not as claustrophobic or intimidating as the Nostromo in Alien, but close). 

Alas, the film has its issues as well, starting with Farrah Fawcett, who, though beautiful, delivers a sub-par performance as Alex. In addition, the movie could have benefitted from a bit more backstory (we learn very little about the main characters, and even less about their motivations). Worst of all is the cat-and-mouse game that develops between the human characters and Hector the robot, which isn’t nearly as engaging as it should have been (and seeing as it takes up the final third of Saturn 3, this is a pretty big problem).

So, while its detractors may have gone a bit overboard in damning Saturn 3, it is far from perfect. Still, I’m glad I saw it, and, at some point in the future, I could actually see myself watching it again.

Monday, June 26, 2017

#2,372. The Bling Ring (2013)

Directed By: Sofia Coppola

Starring: Katie Chang, Israel Broussard, Emma Watson

Tagline: "Living the Dream, One Heist at a Time"

Trivia: Kirsten Dunst's cameo, as herself, was not part of the original script. Instead, it was incorporated into the film, after Dunst visited Sofia Coppola on set

It was between the months of October 2008 and August 2009 that a group of southern California teenagers broke into the homes of several celebrities, making off with about $3 million in cash and property. Among the houses targeted were those belonging to Paris Hilton, Lindsey Lohan, Orlando Bloom, and Rachel Bilson. In fact, according to reports, the teens entered Paris Hilton’s home on eight different occasions, and Rachel Bilson’s somewhere between three to six times, taking just enough to satisfy their greed, but not nearly enough to alert either of the big-time celebs that someone had been in their abode. Often, the thieves would use the money the stole to hang out at the very nightclubs their victims frequented, and what’s truly ironic is that, once the youths were arrested and put on trial, they themselves became as famous as the personalities they ripped off.

The media dubbed the teenage crooks the “Bling Ring”, which is also the title of the 2013 Sofia Coppola film that chronicles this bizarre crime spree.

During his first day at a new high school (for teens that had been kicked out of their previous school), Marc (Israel Broussard), the fashion-conscious yet lonely son of a Los Angeles film distributor, meets Rebecca (Katie Chang), an outgoing young woman with dreams of becoming a fashion designer. Before long, the two are inseparable, and while hosting a party one night, Rebecca introduces Marc to her favorite pastime: stealing wallets from unlocked cars. Soon after, the best pals up the ante by breaking into a house belonging to friend of Marc’s, who was out of town at the time. This particular robbery nets them several thousand dollars in cash, which they use to go on a shopping spree.

While perusing the internet one afternoon, Marc stumbles upon a news article saying Paris Hilton is scheduled to attend a party later that evening. Rebecca asks Marc to find out where Ms. Hilton lived, and that very night, the two are hanging out in her home (thanks to a key left under the doormat), stealing a handful of her belongings and admiring Paris’s “Club Room” before a nervous Marc convinces Rebecca that they should leave. The duo then tell their inner circle of friends, including hip-hop bad girl Chloe (Claire Julien), supermodel wannabe Nicki (Emma Watson), and Nicki’s adopted sister Sam (Taissa Farmiga), about their misdeed. Soon, the three are begging Marc and Rebecca to take them to Paris Hilton’s house. It was the first of many celebrity homes this group would break into, and before the law finally caught up with them, they had swiped millions from some of Hollywood’s biggest stars.

The Bling Ring works as a crime thriller; we tag along with the teenage thieves on their various excursions, and watch as they turn Paris Hilton’s home into their own private retreat (dancing in her club room, trying on her shoes, and stealing bits and pieces from her large jewelry collection). Many of these scenes were shot in Paris Hilton’s actual house, in the very rooms that the real Bling Ring had invaded, and the only thing more shocking than the lead character’s behavior is the decadent lifestyles of their victims (along with her Club Room, Paris Hilton has an entire wall filled with framed copies of the magazine covers that featured her, as well as a shoe closet that’s bigger than a studio apartment).

But, even more than the money, it was these very lifestyles that attracted the members of the Bling Ring in the first place. Most criminals would lay low after committing a high-profile robbery, but not the kids in this film. Instead, they use the stolen cash to gain access to L.A.’s best hotspots, where they often wear the designer clothes they recently swiped! As we see time and again throughout The Bling Ring, the high they get fraternizing with the rich and famous is what drives these teens to steal even more, and it isn’t long before they themselves are as out-of-control as Lindsey Lohan and some of the other celebs they’re burgling.

Coppola assembled an excellent cast for The Bling Ring, especially Katie Chang and Israel Broussard, who portray the ringleaders of the whole sorry affair. Topping them all, however, is Emma Watson as Nicki, the most clueless of the bunch (when arrested, she tells the press she’s viewing this entire ordeal as a “learning experience”, and is more than happy to talk whenever a camera is pointed in her direction). These young actors do more than bring their characters to life; they actually make us understand their motivations (the desire to stand out in a town jam-packed with celebrities), and for a film of this nature, that’s no small feat.

The Bling Ring is yet another feather in Sofia Coppola’s cap, a motion picture every bit as stylish as it is disturbing. Yet for me, the film’s biggest accomplishment is that it shines a light not only on the crimes of its main subjects, but also the media in general, whose obsession with the rich and famous is as warped as the ideals of the real-life figures that inspired this movie. With news outlets that now focus on celebs and Hollywood gossip 24 hours a day, seven days a week, there’s even a chance that the events depicted in The Bling Ring will happen again, and that is ultimately more troubling than the theft of a few million dollars from people so obscenely wealthy that, for a time, some of them didn’t even realize they were being robbed!

Sunday, June 25, 2017

#2,371. Personal Best (1982)

Directed By: Robert Towne

Starring: Mariel Hemingway, Scott Glenn, Patrice Donnelly

Tagline: "How do you compete with a body you've already surrenered to your opponent?"

Trivia: Actress Mariel Hemingway trained for more than a year in preparation for her role

Writer / director Robert Towne’s Personal Best is, in many ways, a sports movie; two Olympic hopefuls train for the 1980 games in Moscow, participating in a number of minor events along the way and pushing themselves as hard as they can to stay in tip-top physical shape. But more than anything, this 1982 film is a love story about two women who, though competitors, cannot shake the feelings they have for one another.

The year is 1976. Tory Skinner (Patrice Donnelly) is a champion Pentathlete, and during the Olympic trials she spots a teenage runner named Chris Cahill (Mariel Hemingway) who, despite losing her event, has great potential. The two strike up a friendship, and Tory convinces Chris to enroll at Cal-Poly, where, along with becoming her teammate (and roommate), she’ll be coached by Terry Tingloff (Scott Glenn), considered one of the best in Ladies Track and Field. But as Coach Tingloff will discover, Tory and Chris are more than good friends; they’re lovers, and their deep feelings for one another occasionally get in the way of their training. Personal Best follows the two women over the course of several years, detailing their personal struggles as they prepare for the Olympic Games, where (should they make the team) they will be competing against each other in the same events.

Though primarily a love story, Personal Best does, on occasion, put the focus squarely on Chris’s and Tory’s competitive nature; in an early scene, Tory tells Chris she lacks a “killer instinct”, at which point Chris, to prove her wrong, challenges Tory to an arm wrestling match. Using a series of close-ups, director Towne shows, quite effectively, the determination in each woman’s face as they strive to win, and takes what could have been a simple (perhaps even a humorous) contest and transforms it into something very revealing. There are many other sports-related scenes scattered throughout Personal Best that accomplish this same thing (with plenty of slow-motion to build the drama of each one).

But it’s the affair between Chris and Tory that takes center stage, and how their love for one another sometimes dulls their competitive edge. Realizing this is the case, Tingloff tries to drive a wedge between the two women (when Tory gets involved in Chris’s training, Tingloff drops some not-too-subtle hints that she’s actually offering bad advice, and trying to sabotage Chris’s performance). Yet his attempts usually end in failure. Chris and Tory also struggle with the effect their relationship is having on their training. Their minds and bodies are telling them to win at all costs, but they cannot ignore their hearts (after a lifetime of pushing themselves to achieve their dreams, they are suddenly in a position of caring more about someone else’s well-being than their own, and they don’t know how to handle it).

Hemingway and Donnelly are outstanding as the lovers trying to cope with a difficult situation, and Scott Glenn is also strong as Tingloff, a hard-nosed coach who cannot understand why two world-class athletes would allow their personal feelings to interfere with their Olympic dreams (in what may be Glenn’s best scene, Tingloff laments the fact he turned down a chance to be a men’s football coach for the less-rewarding job of ladies track and field. “I was coach of the year last year”, he says. “You know what that means when you're a women’s coach? Jack shit”). Also, kudos to writer / director Towne for taking what in the 1980’s was a taboo subject (lesbianism) and handling it with care; aside from a few crude remarks made by Tingloff (done primarily to ignite either Chris’s or Tory’s competitive fire), Personal Best does not draw attention to its same-sex relationship. It is a love story, plain and simple; the fact that the lovers are both women doesn’t matter one bit.

And it’s in exploring this love that the movie truly distinguishes itself; Personal Best is, without a doubt, a good sports film, but it’s an even better romance.

Saturday, June 24, 2017

#2,370. Thor the Conqueror (1983)

Directed By: Tonino Ricci

Starring: Bruno Minniti, Maria Romano, Malisa Longo

Tagline: "He Was The Ultimate Warrior"

Trivia: In the Philippines this movie was released as Beastmaster 2

“It was written in the stars, and in the dust of the dead, that from the seed of Ganz the Annihilator would come the greatest of all chieftains, Thor the Conqueror” 

As if on cue, the above bit of narration leads directly into a scene where we witness the birth of the individual who will become this movie’s main character. In it, Thor’s father, Ganz (Angelo Ragusa), and his wizard sidekick Etna (Luigi Mezzanotte) march through a field, while the woman pregnant with Ganz’s child (her name is never revealed) waddles behind, in labor and in extreme pain. After reaching a “sacred spot” (marked by a stone that represents one of the Gods), Ganz and Etna perform a brief ceremony, after which Ganz’s wife staggers into the woods to give birth. A few minutes later, a baby’s cry is heard, and a proud Ganz hoists the infant high into the air, as if to alert the heavens that his successor, Thor, has been born.

But the scene doesn’t end there. Several well-placed arrows interrupt this touching father / son moment, and Ganz is soon after attacked by the army of his arch-enemy, Gnut the Archer (Raf Baldassorre). Etna uses his magical powers to save himself and the infant, leaving Ganz (and, of course, Thor’s mother, who never really does much other than give birth) to fend for themselves.

Thus begins 1983’s Thor the Conqueror, a movie that desperately wants to be Conan the Barbarian, but in the end doesn’t even measure up to Ator, the Fighting Eagle

Watched over by Etna, Thor (Bruno Minniti) grows to manhood, and before long sets out on his own, intent on tracking down the sacred sword that belonged to his father (a weapon that, once he possesses it, will make him the supreme ruler of the land). But the journey won’t be easy: Thor battles many foes during his travels, one of which, a warrior virgin named Ina (Maria Romano), eventually becomes his bride. When his quest is near its end, Thor encounters his father’s old nemesis, Gnut, who uses every ounce of his evil power to ensure that Thor will never claim the throne that’s rightfully his.

So, where does Thor the Conqueror go wrong? For starters, its story is as trite as it is perplexing; Thor’s mission is a simple one (find the sword and become king), but the enemy tribes he encounters along the way will nonetheless have you scratching your head, wondering what the hell is happening (each new tribe looks exactly like the previous one, and often attack Thor without provocation or reason). What’s more, the film is incredibly misogynistic; Etna flat-out tells Thor that women are “stupid”, and good only for sex and bearing children. Thor takes his guardian’s advice to heart: after defeating Ina in battle, he rapes her, then immediately makes her his slave (she seems to like it, however, and at one point even saves Thor’s life). Also, much of the dialogue in Thor the Conqueror is ridiculous (“Many moons times ten have passed”, Etna says in his dual role as narrator, though we’re never sure if he’s actually narrating Thor’s tale or just talking to himself) and it looks as if the entire movie was shot in the same forest (practically every scene is set in the great outdoors).

More than anything, though, Thor the Conqueror is… well, weird! During a dream sequence, Thor is haunted by (among other things) a ghostly, floating chicken head and a giggling skeleton; and in an early scene, Etna helps Thor defeat some of his foes by magically launching a rock into the air (an effect so clunky that it made me laugh out loud).

One thing this movie is not, however, is dull; there is always something happening, whether it’s a battle or an unusual bit of magic. You may not have a clue what’s going on, and some scenes are so ludicrous that the guys from MST3K would have a field day lampooning them, but from start to finish, Thor the Conqueror is non-stop action. I’m not recommending you check it out (it is a very bad film), but if you do, I promise you won’t be bored for a minute.

You’ll be confused, and maybe even a little angry, but never bored.

Sunday, June 18, 2017

#2,369. Intermission (2003)

Directed By: John Crowley

Starring: Cillian Murphy, Kelly Macdonald, Colin Farrell

Tag line: "Small town delinquents. Shady cops. Pretty good girls. And very, very, bad boys"

Trivia: Co-star Colin Farrell performs the song "I Fought The Law" that plays over the end credits

It starts innocently enough: Lehiff (Colin Farrell) is in a small café, situated smack-dab in the middle of a busy shopping center. He’s chatting to the pretty waitress (Kerry Condon) that works there, and based on their conversation, we get the distinct feeling that Lehiff fancies her. “Who knows where the sparks will lead?” he says to her, “And a fella like myself, a stranger, could just be a bit of fun in the sack, no more than that. Or… and it's not that crazy… your soul mate”. The waitress smiles; clearly, she’s as smitten with Lehiff as he seems to be with her.

But this exchange is not what it appears to be. Moments later, something quite unexpected happens, and things quickly spiral out of control.

With that, Intermission, a flashy, stylish film by first-time director John Crowley, is off and running.

Lehiff is but one of this crime / comedy’s many characters. We also meet John (Cillian Murphy), a clerk at the local grocery store who recently broke up with his longtime girlfriend Diedre (Kelly MacDonald). John felt they needed a break from each other, but after talking things over with his co-worker and best pal Oscar (David Wilmot), a guy who hasn’t had a date in months, John thinks he may have made a mistake.

But it’s too late; Diedre has already hooked up with Sam (Michael McElhatton), a bank manager considerably older than she is. Sam is so in love with Diedre, in fact, that he’s left Noeleen (Diedre O’Kane), his wife of 16 years, to move in with her. Diedre’s sister, Sally (Shirley Henderson), is still reeling from a disastrous relationship of her own, and is none too pleased that Diedre is committing “adultery” with a married man.

And then there’s Mick (Brian F. O’Byrne), a bus driver whose recent accident has cost him his job. Mick told his superiors what happened; that he lost control of the bus when an adolescent punk (Taylor Molloy) threw a rock through the windshield. Alas, nobody believes him.

Fortunately, not everyone in this Dublin neighborhood is having a bad day. Jerry Lynch (Colm Meaney), a gung-ho police inspector, has been approached by TV producer Ben (Tomás Ó Súilleabháin), who wants to make a hard-hitting documentary about the fight against crime, with Jerry as its star. The egotistical Jerry, whose no-nonsense attitude has pissed off a few small-time thugs (Lehiff included), is only too happy to oblige. In addition, Diedre’s mom, Maura (Ger Ryan), is now a local celebrity, praised by the media for her role in rescuing people from the wreckage of an overturned bus (the very crash that put poor Mick on the unemployment line).

Over the course of several days, the lives of all these individuals will intersect, culminating in an attempted robbery that’s sure to land a few of them in hot water!

With so many characters, you’d think the movie might get a bit confusing after a while. But thanks to Mark O’Rowe’s smart, profanity-laced script and the excellent performances of its cast, Intermission is anything but muddled. On the contrary: the characters are so well-realized that every single one of the film’s subplots or individual tales, regardless of how much time is dedicated to them, is thoroughly engaging. Add to this director John Crowley’s cinema-verite approach to the material (there’s plenty of handheld camerawork), some very explosive scenes, and heaps of witty dialogue, and you have a movie brimming with energy.

Yet what’s truly amazing is that, through all of the craziness that plays out on-screen, all the swearing and the sudden violence that hits us from out of the blue, Intermission is, at its heart, a love story (or should I say stories), with men and women looking for that special someone (and occasionally finding them). That, in my opinion, is the most endearing aspect of this underrated 2003 gem.

Thursday, June 15, 2017

#2,368. Hope and Glory (1987)

Directed By: John Boorman

Starring: Sarah Miles, David Hayman, Sebastian Rice-Edwards

Tag line: "The epic story of a world at war. And a boy at play"

Trivia: A 650 feet long suburban street set with seventeen semi-detached houses was constructed for this movie

John Boorman’s Hope and Glory, a 1987 film about a small family coping with the difficulties of living in London during World War II, played regularly on cable TV in the late ‘80s, and even though I never sat down and watched it from start to finish back then, there’s one moment from its trailer that always made me chuckle. 

Billy Rohan, a 10-year-old boy (and the movie’s central character), is on his way to school. When he arrives there, he finds the schoolhouse in ruins. Elated, Billy joins the other children, all of whom are shouting and celebrating. As the teachers try desperately to gain control of the situation, one of Billy’s friends runs up to him and shouts “Rohan! It was a stray bomb!” Then, looking up to the sky, his arms outstretched, the friend adds, “Thank you, Adolf!

It’s one of several funny moments to be found in Hope and Glory, a film that is also, at times, quite sad, and even a little romantic.

A semi-autobiographical account of director John Boorman’s own childhood, Hope and Glory opens in 1939, just as England has declared war on Nazi Germany. Young Billy Rohan (Sebastian Rice-Edwards) lives with his family in the suburbs of London. Billy’s father, Clive (David Hayman), promptly enlists in the army, and his mother, Grace (Sarah Miles), wants to send Billy and his younger sister Sue (Geraldine Muir) to live with relatives in Australia, where they’ll be safe from Nazi air raids. But Billy refuses to go; he’s excited by the prospect of a war being fought in his own backyard, and over the next few years he experiences quite a bit of what 20th century warfare has to offer. German bombs destroy several neighborhood houses, and planes battle in the skies above. In addition, Billy’s teenage sister, Dawn (Sammi Davis), falls in love with a Canadian soldier (played by Jean-Marc Barr) who is stationed nearby. 

But as Billy will eventually discover, war isn’t all fun and games. In fact, there are times when it can be downright heartbreaking.

The magic of Hope and Glory lies in how it views war through the eyes of a child, who thinks it’s kinda neat when his classes are interrupted by air raid sirens, or he finds a few shards of shrapnel lying in the road. At one point, Billy joins a gang of kids who spend their days in bombed-out houses, breaking anything that’s left standing. Billy isn’t alone in his fascination with World War II; one afternoon, a German plane is shot down, and the entire neighborhood gathers to gawk at the pilot (played by Boorman’s son, Charley), who parachuted into a nearby field.

Of course, war can also be tragic, and Hope and Glory doesn’t shy away from the chaos of late night air raid sirens or explosions that shatter glass and reduce dwellings to rubble. In conditions such as these, children are forced to face some harsh realities (one of Billy’s friends is orphaned when her mother is killed by a bomb), and even adults occasionally ponder the paths that their lives have taken. With Clive off fighting the war, Grace finds herself growing closer to Mac (Derrick O’Connor), Clive’s best friend (and the guy she once had a crush on). War undoubtedly leaves a lasting impression on the soldiers who serve on the front lines, but as Hope and Glory demonstrates, it can be just as tough on those they’ve left behind.

Well-acted from top to bottom (Sebastian Rice-Edwards is especially fantastic in what is essentially the lead role), Hope and Glory is a funny, poignant, and often moving portrait of a family doing their best to deal with a difficult situation, and learning a bit about themselves in the process.

Sunday, June 11, 2017

#2,367. A Night to Remember (1958)

Directed By: Roy Ward Baker

Starring: Kenneth More, Ronald Allen, Robert Ayres

Tag line: "TITANIC... The greatest sea drama in living memory told as it really happened!"

Trivia: This is regarded as the largest British production of the 1950s. It was also the most expensive film made by the Rank Organization

With a budget of $200 million, James Cameron’s 1997 award-winning film Titanic recreated the sinking of the RMS Titanic, the British luxury liner that struck an iceberg in April of 1912 and carried some 1,500 souls down with it to its watery grave. It is a tragedy that continues to fascinate: a mammoth ship, the RMS Titanic was labeled “unsinkable” by its manufacturer, the White Star line, yet it never even completed its maiden voyage, and sits, to this day, at the bottom of the North Atlantic. Packed with drama, romance, and plenty of thrills, Cameron’s Titanic took in over a billion dollars worldwide, making it one of the biggest box-office successes in cinematic history.

Directed by Roy Ward Baker, 1958’s A Night to Remember is another account of the Titanic tragedy. It was produced on a more modest budget (estimated to be around half a million British pounds) than the 1997 film, yet in the end is every bit as realistic, every bit as intense, and every bit as moving as Cameron’s epic undertaking.

While traveling from London to New York, the RMS Titanic, the largest liner ever constructed, sideswipes an iceberg in the North Atlantic. What seemed like a near-miss soon proves catastrophic, however, when the ship’s designer Thomas Andrews (Michael Goodliffe) informs the crew that a gash in its side is flooding Titanic’s lower decks, and, in a few hours, the great vessel will sink to the bottom of the ocean. Knowing full well there aren’t enough life boats to save everyone on board, Captain Smith (Laurence Naismith) and his subordinates, including First officer Murdoch (Richard leech) and Second Officer Lightoller (Kenneth More), do what they can to get the women and children to safety, all the time hoping that a nearby ship will come to their rescue. Unfortunately, the only vessel to answer Titanic’s distress call is the RMS Carpathia, whose Captain, Arthur Rostron (Anthony Bushell), orders his crew to take whatever steps are necessary to get them to Titanic’s position as quickly as possible. But even at full-speed, the Carpathia is 4 hours away, which means a good many people will already be dead before help arrives.

Based on Walter Lord’s non-fiction book of the same name, A Night to Remember does take some time at the beginning to introduce its various characters, most notably Second Officer Lightoller, played quite well by top-billed star Kenneth More, who spends a few days with his wife (Jane Downs) before Titanic’s maiden voyage. That said, the majority of the movie is dedicated to what transpired after the ship hit the iceberg, with events playing out as quickly as they must have that fateful night in April of 1912. Upper-class passengers, most of whom have no idea of the danger they’re in, complain about the “inconvenience” of having to put on life jackets and gather on the frigid deck. A nearby ship, the Californian (no more than 10 miles away) is oblivious to Titanic’s situation, and ignores the ship’s various SOS signals (including the distress rockets sent up every five minutes). And then there’s the passengers on Titanic's lower decks, who are locked in until the first and second classes are safely aboard the lifeboats. After seeing A Night to Remember, those who survived the disaster praised the movie’s realism, and it’s to the filmmaker’s credit that they went to such lengths to depict that terrible night as accurately as they possibly could.

But A Night to Remember is far from a straightforward documentary; there’s plenty of drama as well. After a brief conversation with Thomas Andrews, first-class passenger Robbie Lucas (John Merivale), realizing how dire the situation is, calmly convinces his wife (Honor Blackman) to board one of the life boats with their three children, reassuring his family that he would follow on another boat but knowing that, in all likelihood, he would not survive. This is the first of several emotional scenes in which passengers must make that all-important decision: board the lifeboat, or stay behind (and, in all probability, die) with their loved ones.

In addition, A Night to remember shows us the individual acts of bravery performed by the ship’s crew. Wireless operator Jack Phillips (Kenneth Griffith) remained at his post as long as he could to send the distress signal; and the band continued to play right up to the end, doing their damnedest to bring an air of calm to the growing panic all around them. And then there are the ship’s final moments, and the screams that those on the lifeboats could hear in the darkness. Some, including the boat with American millionaire Molly Brown (Tucker McQuire) on-board, returned to pick up the survivors floating in the water. Alas, many did not return.

Though not as visually impressive as what Cameron and his team accomplished with 1997’s Titanic (the miniature shots in A Night to Remember of the ship at sea were lifted from a 1943 Nazi propaganda film produced by Joseph Goebbels), the story as depicted in A Night to Remember is just as powerful, and just as likely move you to tears.

Monday, June 5, 2017

#2,366. Electra Glide in Blue (1973)

Directed By: James William Guercio

Starring: Robert Blake, Billy Green Bush, Mitchell Ryan

Tag line: "He's A Good Cop. On A Big Bike. On A Bad Road"

Trivia: The rough cut of this picture ran for around three and a half hours

During his introduction for the Electra Glide in Blue DVD, James William Guercio, the director of this 1973 film, tells of how he spent his childhood in a movie theater that employed several members of his family. Apparently, the owner of this particular theater was a John Ford fan, and as a result, Guercio said he saw films like The Quiet Man and The Searchersabout 200 times”.

This left a lasting impression on the first-time director, and sure enough, Ford’s influence is evident early on in Electra Glide in Blue; a camera, perched in the middle of a desert road in Monument Valley, stares off into the distance. The picture is in black and white to start, then slowly changes to sepia-toned, and eventually full-blown color just as a minivan speeds past. It’s a gorgeous shot, and the picturesque panorama was captured brilliantly by the great Conrad Hall (who served as the director of photography). Along with establishing the central location, this brief scene lets us know that Electra Glide in Blue, like She Wore a Yellow Ribbon and The Searchers before it, is going to play out like a western.

But while the movie’s look and feel may owe a lot to John Ford, its story has more in common with Easy Rider and Vanishing Point, both released a few years earlier (1969 and 1971, respectively). In the west that John Ford explored in films such as Wagon Master and The Man Who Shot Liberty Valance, America was still growing, and those who dared the westward expansion had a fighting chance to make a better life for themselves. In Easy Rider, Vanishing Point, and Electra Glide In Blue, however, (a trio of movies that, for want of a stronger term, I refer to as the “Motorized West Trilogy”), the main characters went looking for the American dream, only to discover it wasn’t all they imagined it would be.

Motorcycle cop (and Vietnam Veteran) John Wintergreen (Robert Blake) roams the long stretches of highway that cut through the Arizona desert, dreaming of the day when he’ll be promoted to Detective. He finally gets a chance to prove himself during the investigation of an apparent suicide. The coroner (Royal Dano) insists the deceased man, a longtime resident of the area, took his own life, but Wintergreen believes he was the victim of foul play. Harve Poole (Mitchell Ryan), the detective assigned to the case, admires Wintergreen’s “go-getter” attitude, and orders an autopsy. Sure enough, the suicide was staged to cover up a murder, and all at once, Wintergreen is promoted. But as the ambitious lawman will soon learn, the life of a homicide detective isn’t as glamorous as he hoped.

Robert Blake delivers an excellent performance as the proud yet naïve Wintergreen; during the opening credits, we see how seriously the character takes his job just by the way he puts his uniform on in the morning (making sure everything is just right before he walks out the door). Later, we tag along with Wintergreen as he flags down a couple of vehicles and writes them a ticket (the first is driven by an LA cop on vacation, who can’t believe a fellow officer won’t give him a break). Wintergreen’s partner in these early scenes is Zipper (Billy Green Bush), who is his opposite in every way. Zipper spends most of the day resting in the shade, and plants drugs on a young hippie they pull over (played by David J. Wolinski) simply because he didn’t like the way he looked. When he’s promoted to detective, Wintergreen is elated, in part because he can finally leave Zipper and his corrupt conduct behind him.

Unfortunately, his new colleague, Harve Poole, isn’t as honest and upright as Wintergreen initially thought. Sure, Harve talks a big game, bragging about his exploits and pausing occasionally to offer Wintergreen some advice. But Wintergreen’s eyes are opened during the murder investigation when the duo, looking for a possible suspect, drive to an abandoned farm that doubles as a biker’s hangout. The bikers are less than helpful, which causes an impatient Harve to turn violent (in an attempt to show he means business, Harve beats several bikers into submission). The two detectives do obtain the desired information, but Wintergreen does not approve of Harve’s tactics, and his disappointment with his new partner grows even stronger when he and Harve have a falling out over a waitress (Jeannine Riley) that they’ve both been dating.

Blake is, indeed, the star of Electra Glide in Blue, and as such he does a great job conveying his character’s early enthusiasm and eventual disenchantment. The second star, however, is undoubtedly Conrad Hall, whose camerawork, at times, gives Electra Glide in Blue an almost fantasy-like feel. While the outdoor scenes are clearly an homage to John Ford (who shot a good many films in Monument Valley), the indoor sequences are every bit as stylish, thanks in large part to the manner in which Hall utilizes shadows and back-lighting (the opening segment, a series of close-ups in which the murder/suicide plays itself out, is especially intriguing).

As with Electra Glide in Blue, the remaining two movies that make up the “Motorized West Trilogy” feature the work of top-notch cinematographers; Easy Rider was shot by László Kovács (Five Easy Pieces, Paper Moon), while John A. Alonzo (Sounder, Chinatown) handled the camerawork for Vanishing Point. As a result, all three have their share of amazing imagery. And while the protagonists themselves may be different (Easy Rider’s Wyatt and Billy are drug dealers; Kowalski in Vanishing Point is a former cop turned lawbreaker; and Electra Glide in Blue’s Wintergreen is a by-the-books policeman), the central theme explored by all three, namely their character’s disillusionment with the America they encounter on their journeys, is just as powerful today as it was during the Vietnam War era, and this particular aspect of their stories is what will stay with you long after the movies have ended.

Sunday, June 4, 2017

#2,365. Django, Prepare a Coffin (1968)

Directed By: Ferdinando Baldi

Starring: Terence Hill, Horst Frank, George Eastman

Tagline: "Wanderer. Gunslinger. Executioner"

Trivia: The band Gnarls Barkley sampled the soundtrack from this film for their hit song "Crazy".

Sergio Corbucci’s 1966 western Django was a box-office sensation, and for years afterwards a slew of films tried to capitalize on its success by putting “Django” in their title. Most (including Quentin Tarantino’s excellent 2012 film Django Unchained) had no connection whatsoever to the original movie. One notable exception is 1968’s Django, Prepare a Coffin, a prequel of sorts to Django that was co-written by Franco Rossetti (who also penned the original). Unfortunately, Franco Nero wasn’t available (he was busy making Camelot in America), so this time out, the lead was played by Terence Hill, a charismatic actor who would shoot to superstardom a few years later as the title character in 1970’s They Call Me Trinity.

This, plus the return of cinematographer Enzo Barboni (who did a masterful job shooting Django), was enough to ensure that Django, Prepare a Coffin would, at the very least, be a solid follow-up to Corbucci’s 1966 classic.

While guarding a shipment of gold, Django (Hill) and his men are attacked by a group of bandits, and during the melee Django’s wife (Angela Minervini), who was accompanying him on the journey, is shot and killed. As he crawls to safety, a wounded Django notices that the leader of the bandits is Lucas (George Eastman), the right-hand man of newly-elected senator David Barry (Horst Frank), a good friend of Django’s who, a day earlier, invited him to join his organization.

Five years later, Lucas and Barry are still stealing gold from passing wagons, each time pinning the crime on an innocent man who, before he knows what’s hit him, is sentenced to hang. What the two thieves don’t realize is that Django himself is the local hangman! By attaching a harness to the back of each condemned prisoner, Django manages to save their lives (while, at the same time, convincing all onlookers that the accused is dead). It’s Django’s hope that those he’s rescued from the gallows, including Garcia (José Torrès) and Johnathan Abbott (Guido Lollobrigida) will help him take his revenge on Lucas and Barry. But as Django will soon discover, not even saving a man’s life is enough to guarantee his loyalty.

As with 1966’s Django, Django, Prepare a Coffin boasts a handful of great scenes, chief among them the saloon stand-off where Django battles it out with Lucas; and the finale, which (like a similar sequence in Corbucci’s film) takes place in a cemetery. In addition, Django, Prepare a Coffin has quite a bit in common with the original; aside from the lead’s outfit (it is identical in both movies), this 1068 prequel features the murder of Django’s wife, which is alluded to in Django (though the man responsible for her death is different this time around). As for the title song, “You’d Better Smile”, performed by Nicola De Bari for Django, Prepare a Coffin, isn’t as good as Rocky Roberts’ main theme for Django, but it is kinda catchy.

And then there’s Terence Hill, who, along with his striking resemblance to Franco Nero, does a fine job stepping into the iconic role. He may not bring the same intensity to the part that Nero did, but Hill’s Django is nonetheless a far cry from the comedic characters he would play later in his career.

In the final scheme of things, Django, Prepare a Coffin isn’t the masterpiece that Django is, but if you’re a fan of Corbucci’s original, then odds are you’ll get a kick out this movie as well.

Saturday, June 3, 2017

#2,364. Eagles Over London (1969)

Directed By: Enzo G. Castellari

Starring: Frederick Stafford, Van Johnson, Francisco Rabal

Tag line: "A true story written in flame and fury"

Trivia: When getting the directing job, Enzo and a writing partner took a week to rewrite the overlong script to make it more action orientated and less of a "soap opera"

As I was perusing my DVD collection, trying to find a movie to watch, I came across Eagles Over London, a 1969 World War II film, and two things about it caught my attention.

First, it was directed by Enzo Castellari, the man behind The Heroin Busters, 1990: The Bronx Warriors and the original Inglorious Bastards, all of which I enjoyed (he also helmed the excellent Keoma, my 2nd favorite Franco Nero spaghetti western after Django).

The second tidbit that piqued my interest was this quote on the back cover:

A terrific film with one of my favorite storylines ever. You’re in for a real treat!Quentin Tarantino

I know Tarantino is a fan of Castellari’s work (his own 2009 war movie is also titled Inglourious Basterds), but to see a quote like that from a cinephile of his caliber was enough for me.

I immediately popped the DVD into the player.

Eagles Over London begins with the mass evacuation at Dunkirk, which the British High Command ordered soon after the Nazis gained control of France. Capt. Stevens (Frederick Stafford) and Sgt. Mulligan (Renzo Palmer) are among the thousands of troops waiting at Dunkirk for the ships that will carry them home. But what they and the rest of the army don’t know is that a team of German spies, disguised as English soldiers, has infiltrated their ranks. Led by a man named Martin (Francisco Rabel), these spies have orders to destroy the British military’s new radar system, which will clear the way for Germany to launch a surprise attack from the air (history will call it the Battle of Britain).

Once in London, Capt. Stevens uncovers a series of clues that suggest there are Nazi agents operating in England, and he meets with Air Marshall George Taylor (Van Johnson) to warn him of the danger. Unfortunately, Stevens has no idea who the spies are, or what their ultimate target might be. Realizing that time is of the essence, he and his team work quickly to identify and capture the enemy agents, knowing full well that failure to do so could affect the outcome of the war.

Eagles Over London is a non-stop thrill show, with plenty of gunfights, explosions, and even some fisticuffs to keep you entertained. Hands-down, the best sequence is the evacuation at Dunkirk, which Castellari recreates on a grand scale, but there’s also a battle scene late in the film, when the German agents attack a radar outpost, that impressed the hell out of me. As for the movie’s depiction of the Battle of Britain, Castellari got a bit creative, relying more on studio-bound shots (of pilots in the cockpits of their planes) and stock footage to bring this famous skirmish to life (despite this economically-minded approach, it’s still damned exciting).

Castellari does manage to throw a romantic entanglement into the mix (both Stevens and Air Marshall Taylor have the hots for Meg, played by Ida Galli, herself a soldier stationed at command headquarters), and there’s even a little comedy relief courtesy of Renzo Palmer’s hard-drinking, no-nonsense Sgt. Mulligan. But these elements are never more than a brief distraction, a momentary diversion to allow the audience to catch its breath. If you’re a fan of action-packed war films, then Eagles Over London should be the very next movie you watch.

Tuesday, May 30, 2017

#2,363. Anne of the Thousand Days (1969)

Directed By: Charles Jarrott

Starring: Richard Burton, Geneviève Bujold, Irene Papas

Tagline: "He was King. She was barely 18. And in their thousand days they played out the most passionate and shocking love story in history!"

Trivia: At one point, producer Hal B. Wallis wanted Peter O'Toole and Geraldine Chaplin to star

British Monarchs have been portrayed on film numerous times, and some of the finest actors and actresses have taken a turn playing them. A few performances have been so good, in fact, that it’s difficult to separate the historical king or queen from the performer. Thanks to both Becket and The Lion in Winter, Henry II will, in my mind, always be Peter O’Toole. Likewise, Elizabeth I will forever bear a strong resemblance to Cate Blanchett (1998’s Elizabeth and 2007’s Elizabeth: The Golden Age). The list goes on and on; George III? That’s Nigel Hawthorne (The Madness of King George), and his descendant George VI was the spitting image of Colin Firth (The King’s Speech).

Over the years, a number of thespians have played Henry VIII, one of the most influential monarchs in British history. And who better to portray a bigger-than-life individual such as this than Richard Burton?

Directed by Charles Jarrott and based on Maxwell Anderson’s stage play of the same name, 1969’s Anne of the Thousand Days follows the torrid and ultimately tragic romance between Britain’s King Henry VIII (Burton) and Anne Boleyn (Genevieve Bujold), a beautiful maiden who shocked the world by becoming a queen. 

Unhappy that his current Queen, Katherine (Irene Papas), hasn’t given him a male heir, Henry turns his attentions elsewhere, and before long is pursuing the lovely Anne, daughter of Thomas Boleyn (Michael Hordern). Yet despite Henry’s best efforts, Anne refuses to sleep with the King until he agrees to make her his queen. So, with the help of chief advisor Cardinal Wolsey (Anthony Quayle), Henry petitions the Vatican for an annulment, saying his union with Katherine is cursed because she was once married to his older brother (who died before their marriage was consummated). To Henry’s annoyance, the Pope, pressured by Katherine’s relatives, denies his request. Ignoring the pleas of his own religious community, Henry then breaks away from the Vatican and, as Protector of the newly-formed Church of England, divorces Katherine and marries Anne.

But the wedded bliss would not last; Henry’s and Anne’s first child is a girl, Elizabeth, and the second a stillborn son. Without the male heir he so desires, Henry’s eye once again wanders, and in time he seduces one of Anne’s consorts, Jane Seymour (Lesley Paterson). When Anne protests, Henry, aided by his new advisor Thomas Cromwell (John Colicos), has Anne arrested on trumped-up charges of adultery and treason. Found guilty by the court, Anne is sentenced to death, yet to her final hour she pleads not for her life, but for Henry to recognize Elizabeth as his true heir, telling her husband that their daughter will make “a greater queen than any king of yours”.

Richard Burton bellows and charms his way through Anne of the Thousand Days, giving us a Henry VIII we simultaneously admire and fear. He occasionally displays humor and warmth (during the scenes in which he’s trying to bed Anne, Henry is almost embarrassingly desperate, yet also seems to develop genuine feelings for the young maiden who, unlike others, temporarily withholds her sexual favors), and when he’s angry, Burton’s Henry is a force to be reckoned with (many of his subordinates, including Sir Thomas More, played by William Squire, experience his wrath first-hand, and pay with their lives). In every scene, Burton has the bearing and charisma of a king, and his passionate portrayal is what keeps the movie flowing (especially during the film’s midsection, which is chock full of political wranglings that some viewers might find dull).

Genevieve Bujold is equally excellent as the proud and occasionally spiteful Anne, while Anthony Quayle’s Cardinal Wolsey proves to be the film’s most tragic character (I went from despising his arrogance to truly pitying him as events unfolded). Yet as good as these two (and the rest of the cast) are, nobody can wrestle the spotlight away from Richard Burton (at least not for very long).

Others have portrayed Henry VIII with similar gusto: Charles Laughton was brilliant in The Private Life of Henry VIII, as was Robert Shaw in A Man for All Seasons. But as far as I’m concerned, this particular king will always look like Richard Burton, and Anne of the Thousand Days is the reason why.

Monday, May 29, 2017

#2,362. The Swinging Cheerleaders (1974)

Directed By: Jack Hill

Starring: Jo Johnston, Cheryl Smith, Colleen Camp

Tagline: "They live their fantasies on and off the field!"

Trivia: Selected by Quentin Tarantino for the First Quentin Tarantino Film Fest in Austin, Texas, 1996

With The Swinging Cheerleaders, writer/director Jack Hill has crafted a unique motion picture, one that delivers enough nudity and sexcapades to keep its target audience happy while at the same time weaving a story that aptly reflects the socio-political climate of the era in which it was made.

Mesa State University needs a new cheerleader. So, Mary Ann (Colleen Camp), the captain of the squad, and Co-captains Andrea (Cheryl Smith) and Lisa (Rosanne Keaton) hold tryouts one afternoon. After sitting through a number of pathetic auditions, they’re wowed by Kate (Jo Johnson), a journalism major who displays the spirit they’re looking for. Despite the objections of Mary Ann, who noticed her boyfriend, star quarterback Buck Larsen (Ron Hajek) ogling the new recruit during her tryout, Kate is welcomed to the squad, and with the last piece of the puzzle now in place, the cheerleaders are ready to spur their football team on to an undefeated season.

But the truth of the matter is that Kate has no interest in football; she’s joined the squad to research a paper she’s writing, one that will condemn the entire sport of cheerleading (which Kate considers sexist and demeaning). To her surprise, however, Kate finds that she actually likes her fellow cheerleaders, and even falls for Buck, something that doesn’t sit well with either Mary Ann or Kate’s current boyfriend, hippie/activist Ron (Ian Sander).

Besides, if it wasn’t for the cheerleaders, Kate wouldn’t have stumbled upon an even bigger story: a betting scandal involving football coach Turner (Jack Denton), Alumni head (and Mary Ann’s father) Mr. Putnam (George Wallace), and physics professor Frank Thorpe (Jason Sommers). To fix the games in their favor, Putnam convinces Coach Turner to bench his best players late in the game, so that Mesa doesn’t win by a large margin (and the trio can make a small fortune playing the point spread).

Will Lisa blow the whistle on these three powerful men in time to save Mesa State’s season, or will the team be forced to throw their big game?

As with most cheerleader films produced in the ‘70s, The Swinging Cheerleaders doesn’t shy away from nudity; most of the main cast appears, at one point or another, in various stages of undress. There’s even a subplot about Andrea’s quest to lose her virginity; when she’s too uptight to go all the way with her football star boyfriend Ross (Ric Carrott), Angela follows the advice given to her by Kate and Lisa, who tell her to sleep with the first stranger she meets (she does so, with decidedly mixed results). The movie also has its share of comedy, culminating in a slapstick-fueled final showdown between the good guys and the villains (though it doesn’t fully work as intended, this sequence manages to lighten the mood a bit).

Yet what impressed me most about The Swinging Cheerleaders was how well it merged the comedy and sex with more serious-minded elements, chief among them the gambling scandal that threatens the team’s chances at an undefeated season. With Watergate still fresh on people’s minds, these scenes likely struck a chord with audiences in 1974 (who knew all too well what can happen when a few bigwigs conspire to commit a crime for their own personal gain). Even some of the film’s subplots, such as Lisa’s affair with the married Frank Thorpe, yield their share of thought-provoking drama (the scene in which Lisa is confronted by Thorpe’s wife, played to perfection by Mae Mercer, reminds us, quite effectively, that there are two sides to every story).

It isn’t often that a successful sex comedy works just as well on a dramatic level, but as Jack Hill and company prove time and again over the course of the movie, The Swinging Cheerleaders is not your average exploitation fare.

Sunday, May 28, 2017

#2,361. Darling (1965)

Directed By: John Schlesinger

Starring: Julie Christie, Dirk Bogarde, Laurence Harvey

Tag line: "Shame, shame, everybody knows your name!"

Trivia: Shirley MacLaine was originally cast as Diana, but dropped out

Julie Christie is one of my all-time favorite actresses. Her “hooker with a heart of gold” was the only character worth a damn in Robert Altman’s brilliant McCabe & Mrs. Miller; and in Dr. Zhivago, despite being surrounded by such legendary actors as Omar Sharif and Rod Steiger, she managed to shine brightly. With her excellent performances in these movies, as well as Shampoo, Don’t Look Now, Fahrenheit 451, and Away From Her, you'd think that Ms. Christie has already amassed a slew of Oscar statuettes. But the sad reality is that she only took home that coveted award once, for her portrayal of Diana Scott in 1965’s Darling.

Truth be told, not many actresses could take a character as morally bankrupt as Diana and make her seem fascinating, but Christie does just that in John Schlesinger’s award-winning, though ultimately flawed motion picture.

Darling follows Diana’s meteoric rise to the top of the fashion industry in 1960’s London, beginning with her days as a young housewife (married to her childhood sweetheart, Tony, played by Trevor Bower) through to the time she met and fell in love with writer / television personality Robert Gold (Dirk Bogarde), who eventually abandoned his wife and two kids to be with Diana (she, in turn, left Tony and moved in with Robert). 

Yet despite her feelings for Robert, Diana grew bored of her humdrum life, and while helping out at a charity event one evening she was introduced to Miles Brand (Laurence Harvey), a powerful advertising executive, who swept her off her feet. It was Miles who helped Diana break into modeling, and her ambition soon got the better of her. Shortly after her love affairs with Robert and Miles ended, Diana, while vacationing in Capri, met Italian Prince Cesare della Romita (José Luis de Villalonga), who was so smitten with her that he asked Diana to be his wife. For a girl like Diana, becoming a Princess was a dream come true, but was she ready to throw away her career and settle down?

Whatever affection we feel for Diana early on, when she falls madly in love with Robert, slowly slips away over the course of Darling. By the time she becomes a fixture in the glamorous yet empty world of ‘60s fashion and begins sleeping with Laurence Harvey’s Miles (an affair that, the moment it begins, we know won’t last), I found myself hoping that Robert would discover her tryst and give Diana her walking papers. From her phony demeanor while chatting with the so-called “elite” of London society to the manner in which she leads on the Prince late in the film, Diana grows increasingly more loathsome as the movie progresses.

In the hands of any other actress, Diana’s antics might become tiresome, but Christie keeps us engaged by allowing a glimmer of humanity to occasionally peek its way through her character’s façade. More often than not, this “glimmer” is so slight that it’s barely perceivable. But it’s there, and usually sticks around just long enough to remind us that Diana is, in reality, a lost soul, following her ambitions down whatever path they may lead her. It’s a journey she takes often enough throughout Darling, yet rarely does it produce the result she desires. Diana Scott does some awful things throughout Darling, but Christie somehow fools us, however briefly, into believing there’s more to this young woman than meets the eye, and that alone is enough to keep us watching… and hoping. 

Still, even with Christie’s tour-de-force performance, the excellent supporting work turned in by both Bogarde and Harvey, and the film’s progressive attitude towards such previously taboo subjects as abortion, promiscuity, and homosexuality (some of the movie’s best sequences involve Diana’s holiday in Capri, which she spends in the company of gay photographer Malcolm, portrayed by Roland Currem), Darling is a tough movie to recommend. It’s played far too straight to be a satire (which makes it all the more depressing), and the period it recreates (the swinging ‘60s) may be a bit too archaic for modern audiences.

In fact, I can’t imagine a time when I myself will want to sit through Darling again. Julie Christine has turned in numerous Oscar-worthy performances over the course of her career, and I’d probably choose any one of them over the role that actually netted her the award!

Saturday, May 27, 2017

#2,360. SS Hell Camp (1977)

Directed By: Luigi Batzella

Starring: Macha Magall, Gino Turini, Edilio Kim

Tag line: "Horrifying experiences in the last days of the S.S."

Trivia: The film was listed as one of the DPP's 72 video nasties in the UK and even made the final list of 39 official titles for prosecution

Noted for their scenes of sadistic torture and unspeakable violence, the Nazisploitation films of the ‘70s always found new and exciting ways to shock their audience. Yet as vile and bloody as these movies could sometimes be, 1977’s SS Hell Camp pushed the envelope even further, and ranks as one of the most disturbing Nazisploitation flicks that I’ve ever seen.

SS Officer/scientist Dr. Ellen Kratsch (Macha Magall) has created what she believes to be the perfect man: a dwarf-sized Neanderthal (played by Salvatore Baccaro) whose voracious appetite for sex is never satisfied. To keep him happy, Dr. Kratsch regularly selects one of the Gestapo’s prettiest female prisoners, strips her naked, then has her tossed into the creature’s cage, where the poor girl is violently raped, then beaten to within an inch of her life.

At the same time this is going on, a group of Italian partisans is taking the fight to the Nazis, sabotaging their supply chain and killing every German soldier they come across. In an effort to crush this rebellion, Nazi Capt. Hardinghauser (Edilio Kim) teams up with Dr. Kratsch, whose “interrogation methods” have been known to get results. But while Kratsch and Hardinghauser are busy brutalizing one prisoner after another to obtain information, the remaining Partisans are planning an all-out attack that, if successful, will drive the Germans from their territory once and for all.

SS Hell Camp (also released as The Beast in Heat) is, in essence, two movies in one; a large portion of the film is dedicated to the Partisan army and their battles, and while some of these scenes are, indeed, exciting (especially an early sequence in which the group sabotages a railroad track), this entire section features far too many characters, and the footage lifted from another (bigger) movie to flesh out the fight scenes feels out of place.

In addition to this, we’re treated to what goes on inside Dr. Kratsch’s laboratory and, for better or worse, this is where SS Hell Camp truly distinguishes itself. In the opening minutes, we witness the rape and murder of a beautiful young woman, who is thrown, kicking and screaming, into the creature’s cage. Both she and the monster are naked (unlike most movies of this ilk, SS Hell Camp contains equal amounts of male and female nudity), and by the time it’s over, the girl is dead.

Yet as troubling as this opening is, it’s nowhere near the film’s most outrageous sequence. Later on, there’s a scene where the good doctor interrogates three nude male prisoners (she swats two on the genitals with her riding crop, then takes off her top and rubs her breasts up against the third man, hoping to make him talk). From there, things get downright disgusting: one unfortunate girl has electrodes attached to her vagina, while, just next to her, a naked man is tied upside-down and occasionally dunked into a large tub of water. Yet, for me, the most shocking scene in SS Hell Camp comes when Dr. Kratsch’s creature, after raping yet another woman, tears out his victim’s pubic hairs with his bare hands, then pops them into his mouth!

Macha Magall is both sinister and sexy as Dr. Kratsch, and does a decent enough job in the lead role, but in the end, SS Hell Camp fails to deliver the goods, giving us a war story that isn’t all that interesting and a series of gross-out sequences that falter under the weight of their own excesses.

Friday, May 26, 2017

#2,359. This Sporting Life (1963)

Directed By: Lindsay Anderson

Starring: Richard Harris, Rachel Roberts, Alan Badel

Line from the film: "Eh love, show us your personality!"

Trivia: Richard Harris was a serious rugby player in real life

This Sporting Life marked the first time that Richard Harris played the lead in a motion picture, but based on his performance you would never know he was a novice at it. Harris looms heavy over each and every scene in this film, portraying a brute of a man who, despite his harsh exterior, falls deeply in love with a woman, yet has no idea how to properly express his feelings for her.

Coal miner Frank Machin (Harris) is convinced he has the makings of a star rugby player. To prove it, he picks a fight with several guys on the local club, and his tenacity so impresses the team’s co-owner Gerald Weaver (Alan Badel) that Frank is given a chance to prove himself on the playing field. To everyone’s surprise (but his own), Frank wows the crowd, and his performance even earns him a brief mention in the newspaper. His rugged persona is such a perfect fit for the sport that Weaver and his partner, Charles Slomer (Arthur Lowe) agree to Frank’s outrageous terms (he demands a thousand pounds as a signing bonus). Game after game, Frank continues to shine, and before long he’s one of the most popular personalities in the entire city.

Unfortunately, the only person not impressed by his on-field antics is the one he cares most about: his widowed landlady Margaret Hammond (Rachel Roberts). Still recovering from the untimely death of her husband a few years earlier, Margaret resists Frank’s advances, and refuses to accept the expensive gifts he buys her. Over time, Frank manages to wear Margaret down, and she finds that she, too, cares deeply for him. But can a guy like Frank hold onto a woman as delicate as Margaret, or will his rough demeanor push her away for good?

As with Tony Richardson’s The Loneliness of the Long Distance Runner, much of the story that makes up This Sporting Life is told via flashbacks, with Frank recounting the recent past as he undergoes dental surgery to remove six broken teeth (an injury received when an opposing player elbowed him in the mouth). Harris is a veritable dynamo in the movie’s early scenes, doing whatever it takes to show the top brass of the town’s rugby team that they would be fools not to sign him. Even when the action shifts to the field of play, Harris’s Frank is as ornery as can be; when a teammate named Gower (Tom Glegg) refuses to pass him the ball, Frank punches him in the face, breaking his nose.

Yet as exciting as these scenes are, the film’s most powerful sequences involve Frank’s attempts to first connect with Margaret, and then maintain his relationship with her. The problem is that Frank, as portrayed by Harris, is a blunt instrument; one day, while she’s changing the bed sheets in his room, Frank grabs Margaret from behind and kisses her; and later, when the two are a couple, she expresses her distaste for his extravagant spending, which makes her feel like a “kept” woman. How does Frank respond to this? He slaps Margaret across the face, then immediately tries to apologize.

Roberts, who was so good as the married woman dating Albert Finney’s character in Saturday Night and Sunday Morning, here delivers yet another strong performance, and this movie also marked the directorial debut of Lindsey Anderson, one of the formidable forces of the British New Wave movement. But from start to finish, This Sporting Life belongs to Richard Harris, whose searing portrayal of Frank Machin is as noteworthy as it is disturbing. In fact, I would rank Frank Machin right up there with such other cinematic brutes as Brando’s Stanley Kowalski (A Streetcar Named Desire) and DeNiro’s Jake LaMotta (Raging Bull).

Yes, Harris is that good.