When a Stranger Calls

Tags

1970's, Carol Kane, Charles Durning, Colleen Dewhurst, Fred Walton, Horror, Tony Beckley, When a Stranger Calls

A rightfully iconic horror, especially for its opening 20 minutes of mounting terror, When a Stranger Calls is often just lumbered with that description. But the middle section is quite fascinating, even if it doesn’t match the opening or the final reel. It’s the atmosphere, creepy music and acting that truly makes When a Stranger Calls a very good exercise in terror. It’s not a masterpiece, but it’s influence is hard to dispute.

Jill Johnson( Carol Kane) is a teenager who is babysitting the children of a local doctor, while he and his wife attend a swanky dinner. What seems to be a quiet evening soon turns into something terrifying when Jill begins receiving constant phone calls. Some are silent, but eventually the caller keeps asking her whether she has checked the children. The calls become more frequent and even though she thought they were a harmless prank at first, Jill becomes increasingly frightened. Eventually contacting the police, they trace the call to inside the house. Jill exits in terror and it’s here we learn that the caller and now killed had been in the house the whole time and had brutally murdered the children hours prior. We flash forward seven years and the detective who was on the case, the determined and upstanding John Clifford( Charles Durning), is summoned by the doctor after word gets to him that the killer, whose name is Curt Duncan( Tony Beckley) has escaped from his stay in a psychiatric hospital. Now a private investigator, Clifford is asked to find Duncan.  It seems Duncan himself is struggling to adapt to life in the inner city, constantly at odds with his grim surroundings. He becomes enamoured with Tracy (Colleen Dewhurst) a lonely woman who drinks frequently, though she is skeptical of him at first due to his awkwardness. Once she shows him kindness, he becomes obsessed with her which alarms her deeply. Meanwhile, Clifford is on his track and his anger has boiled into thoughts of killing the murderer he is searching for as he feels justice wasn’t properly served. Later Duncan discovers a now older and more prepared Jill through a newspaper article. He decides to repeat what he started but can he be stopped before he kills again?

Fred Walton excellently ratchets up suspense and horror right from the get go, before settling into a strangely deep and reflective middle half. Though the first half is justifiably celebrated, the middle area is as well directed just in a different way. Walton had a hand in writing the script and he knows how to scare without being bloody. In fact, there’s nary a drop of blood shown, which makes events even more terrifying as your mind fills in the blanks. That opening 20 minutes is seriously some of the most tense and frightening as ever you’re likely to see, as the house that Jill is in becomes even more confined and the phone takes on a haunting life of its own. The whole lighting scheme is haunting too; as blue covers a lot of it, making the most out of illuminating the leading lady and highlighting her ordeal at hands of a mad man. I can’t praise this opening highly enough with its wide array of angles, spooky atmosphere and palpable feeling of unease. I could speak about the opening part for days, but sadly I have to concentrate on the rest of the film.

As aforementioned, When a Stranger Calls is regularly given the description of the opening and last parts are the best, while the middle section drags. While some of that is true( I mean the opening is simply stated a hair raising workout in mounting suspense that is still tense), I think the middle section has its moments, despite it not living up to the expectations set by that opening. It morphs from horror into a cat and mouse thriller with the private detective searching for the killer. While there are spots that feel too stretched and out of place, the middle of When a Stranger Calls provides an unusual insight into a killer and his situation. We almost feel pangs of sympathy for him as we glimpse his lonely existence, then we are reminded of his horrendous crimes and we snap back to reason. One part of When a Stranger Calls that is in need of deep appreciation is the sensationally spooky score from Dana Kaproff. He has supreme command over rising strings, sinister bass and odd percussion that just fits this movie like a glove. I can’t give it any more praise than just saying, it’s splendidly atmospheric and just adds so much to the creep factor in innumerable ways.

The acting is also pretty great in this film. Carol Kane, with her alert, large eyes and whispery, quivering voice, is an ideal bit of casting for the main lady in the horror of everything. She’s got the vulnerability down and terrified to a T, but when we later see her(after a break from the mid section), she’s definitely changed quite a bit in the long run and grown up. She’s still terrified by what happened but is more resilient and resourceful than before, almost as if her past experience has rightly made her more wary of danger and anything alarming . All in all, Carol Kane is pretty great as the central girl who bookends this chiller with quiet force and conviction. The always entertaining Charles Durning is on hand as the detective who takes up the bulk of middle section. He has a certain affable way about him but a grave and solemn loyalty to the law that’s in evidence. That’s why it is intriguing to watch him think of murdering for what he has done; you wouldn’t expect it from him but you can certainly grasp some of his reasoning. Durning got turns in quality work that stands up. And speaking of standing up and standing out, the late Tony Beckley is the glue that holds the mid section together with his portrayal of a killer. Considering he was very ill and died just months after the premiere, put a lot of hard work into the part that you’d never know he was tragically sick behind the scenes. his weary, almost pathetic character is at first glance someone you wouldn’t think capable of murder, but his intense eyes say so much of the brutal inside of him. Colleen Dewhurst rounds out the cast as the boozy woman who doesn’t quite realise the repercussions of befriending Duncan. She’s pretty excellent here I must say.

Well directed and acted, along with being pretty creepy in the long run, When a Stranger Calls may show its age but while overall not the best horror movie ever, it’s still very influential and very suspenseful. Don’t watch it alone!

Pete’s Dragon

Tags

1970's, Adventure, Disney, Don Chaffey, Fantasy, Helen Reddy, Jim Dale, Mickey Rooney, Musical, Pete's Dragon, Red Buttons, Sean Marshall, Shelley Winters

My second entry into the Shelley Winters blogathon is with the Disney fantasy adventure Pete’s Dragon, in which she plays a wicked supporting role. I must say thanks to both Erica and Gill for inviting me to take part

Charming and both bittersweet and funny in parts, Pete’s Dragon is undervalued as a film in my eyes. I think it should be reassessed and while some of it won’t hold up, you’ll definitely get some joy from it.

It’s the turn of the century and in Maine, young orphan Pete(Sean Marshall) runs away from his adoptive guardians. They are the vile Gogan’s, a hillbilly clan headed by the nasty Lena(Shelley Winters). They’ve treated him unfairly and made him a slave, prompting his escape. Aiding him is Elliott; a large, green dragon who can turn invisible and often is only seen by Pete. They venture into the town of Passamaquoddy hoping to start a new life. With Elliott being a clumsy creature, a string of mishaps occur. Eventually, Pete finds shelter with the kind-hearted Nora(Helen Reddy), who lives in a lighthouse with her often well meaning but drunk father Lampie(Mickey Rooney). This bliss is changed by the arrival of showy quack Dr. Terminus( Jim Dale) and his sidekick Hoagy(Red Buttons). Always on the lookout for money, when he gets wind of a dragon, he schemes to capture it. Though while both Pete and Elliott are wanted by nefarious forces, it seems that Nora and Lampie are there for them to face the evil that covers them.

Don Chaffey keeps events ticking over with humour and heart. You’re guaranteed to have a smile when watching a lot of this movie as Pete and experience thrills, adventure and danger. While Pete’s Dragon isn’t held in as high a rank as other Disney films, I think it’s unfairly overlooked. Sure it’s far from faultless and there are various issues with it, such as the length of the film, but the infectious energy and spirited heart can’t be ignored or resisted. Plus, it’s surprising how dark some parts of Pete’s Dragon are, like the singing of ‘The Happiest Home in these Hills”, in which the Gogan’s detail the horrible fate that Pete will meet if they get their hands on him. Though the overall tone is hopeful and cheery, the darkness and occasional bittersweet pang underneath in areas is a welcome addition as it doesn’t allow the film to overdose on sugary sentiment. Speaking of music, Pete’s Dragon has some lovely songs, with ‘Candle on the Water’ sung by Helen Reddy a great highlight and the sweet Boo Bop Bop Bop Bop a real gem. I’ve always liked this movie and may be a tad biased when reviewing it, but it really holds a certain place of nostalgia for me. I adore the blending of animation and live action, with Elliott being a wonderfully funny and endearing vision. Yes it’s not as slick as today’s effects, but damn if it isn’t darn effective at bringing to vivid life. The theme of wanting to belong resonates deeply with the viewer as it’s explored in numerous ways, not of least the eponymous orphan who is on his way to luck, if nothing bad befalls him first.

Sean Marshall takes the role of Pete and gives us a protagonist to root for, due to his honest face and general decency. He could have become annoying, but thankfully, Sean Marshall is a good child actor who doesn’t grate on the nerves. Helen Reddy is winsome and feisty when called for, plus using her gorgeous singing voice wonderfully. Mickey Rooney, all bluster and expressive eyes, is great as the initially terrified Lampie, who eventually comes around and takes Pete under his wing. Jim Dale is a hoot as the nasty but often hilarious showman Dr. Terminus, while Red Buttons is effective as his not above goodness sidekick. And now we come to the woman of the hour and her name is Shelley Winters. Dirtied up, spouting nastiness and generally being one evil villain, Winters is obviously having a blast playing such a vile character. Villains are in good order with the Gogan’s, but it’s Winters who stands out the most as the queen of mean. The villains are over the top and yet that’s what makes them good. They are just so nasty and often cartoonish that we want their plans to fail.

While flawed and a bit over long , Pete’s Dragon is very underrated and deserves a bit more love from people for its magic, music and story.

What’s the Matter with Helen?

Tags

1970's, Agnes Moorehead, Curtis Harrington, Debbie Reynolds, Dennis Weaver, Micheál Mac Liammóir, Shelley Winters, Thriller, What’s the Matter with Helen?

I was invited to take part in a blogathon to pay tribute to the great Shelley Winters by Gill and Erica . My first entry will be of the Grand Guignol thriller What’s the Matter with Helen? I’m doing this review early as I’m very busy and away on holiday next week.

A campy, enjoyable and creepy thriller that is not afraid to be over the top, What’s the Matter with Helen? finds the pairing of Debbie Reynolds and Shelley Winters. It’s not a perfect movie and hardly vintage, bu t it has its moments and the performances, particularly from Winters, are where it’s at.

Its the 1930’s and two boys commit a horrible murder. The boys are the sons of good friends Helen Hill( Shelley Winters) and Adelle Bruckner(Debbie Reynolds). After the boys are convicted, the two mothers are hounded ferociously and someone even starts stalking them. Terrified and wanting to start over, Adelle and Helen move to Hollywood and change both their looks and last names. This is all an attempt to escape their collective past and hopefully start afresh by opening a dance school for promising young girls wanting to be the next Shirley Temple. Adelle is the stronger of the two though she’s clearly on the make for money and success why she’s at it, while Helen is fragile and prone to aspects of paranoia. Having assumed different identities, things seem on the up for Adelle and Helen as no one knows them and life looks brighter. Adelle finds herself attracted to Lincoln Palmer( Dennis Weaver), the wealthy father of one of her students. He sweeps her off her feet and Adelle is soon seeing herself in line to success and money. Things are harder on Helen who really struggles with letting go of the past and finds herself growing ever more disturbed by life, specifically the relationship with Lincoln that Adelle finds herself in. She believes that someone is still stalking her and Adelle and begins to emotionally evaporate. Trying to cling to her religion helps stifle some of it but soon things spin wildly out of control for everyone surrounding and including Helen.

Curtis Harrington is in the director’s chair and does a serviceable job combining thriller with old school melodrama. It’s not award winning direction, but it has a sense of place and feeling which stand it in good stead and once he hits the creepy areas, he shines.  What’s the Matter with Helen? is trying to emulate the enormous success of What Ever Happened to Baby Jane? and Hush Hush, Sweet Charlotte and it has atmosphere going for it . While it never quite reaches the levels of the previous films mentioned( sometimes the narrative throws too much too quickly at us, not knowing when to stop and the pacing is left a bit wonky), What’s the Matter with Helen? still has its virtues. This starts with atmosphere which is a strong suit of this film and something that undoubtedly leaves you more than a little tense. It really hits the best moments near the 45 minute mark and from then on, everything begins to escalate and build towards a startling finish. The setting of the 30’s is rendered with a good amount of detail that shows it as a glamorous yet often sinister place, backed up by the darkness in the story that befalls both leading ladies. The settings reflect this with darkness pervading many of them but the sheen of starry gold of bright lights remains. We even get old newsreels to begin the film which is a nice touch that thrusts us into the story. Props to the visual department and set designs for bringing the 30’s to life as a backdrop to something much darker. The tone features the off the wall and melodrama of films like it in the past and that’s what makes it watchable. The fact it can be seriously creepy then campy is pretty nifty, even if not intentional. And things are really turned up to the max as the film progresses, with over the top antics and strange happenings taking full stage and unashamedly so. It won’t be to all tastes, but these kinds of movies usually are ones people either love or don’t. The score is wonderfully eerie at not being overly intrusive  but when called for, ringing through with a sense of terror and irony.

Its the acting that is one of the strong suits in the uneven but watchable narrative. Shelley Winters is the clear standout with a performance that builds little by little towards cracking. You can gather that Helen is unstable but it’s the portrayal from the professional that is Miss Winters that truly gives it its magic. Her dour, melancholy demeanour is adept at charting the mental disintegration of a haunted woman and with a raised voice here and a questionable antic there, Winters knows how to invoke both sympathy and chills. Debbie Reynolds is no slouch either as the dramatic, self-obsessed Adelle, who truly dreams of making it big. We are so used to seeing Reynolds as a sweet faced and innocent lady that it’s a kick to see her portray someone who isn’t exactly the nicest of people. Plus she gets to show off her considerable singing and dancing skills which can’t be denied. Dennis Weaver is appropriately smooth and suave as the businessman wooing Adelle, but not realising its beginning to drive a wedge between the two old friends. Micheál Mac Liammóir is wonderfully imposing as an elocution teacher who always seems to turn up at the wrong time and creep everyone out.

Agnes Moorehead, in a mainly one scene performance, is sensational as an evangelist who Helen follows to the letter of the law. I love her scene as she gives it all forgiveness and being generous, when she’s really just avaricious.

A finely acted that isn’t going to pass as high art but is an enjoyably creepy and gleefully dramatic slice of psycho biddy thriller with Debbie Reynolds and the wonderful Shelley Winters going all out.

The Black Stallion

Tags

1970's, Adventure, Carroll Ballard, Hoyt Axton, Kelly Reno, Mickey Rooney, Teri Garr, The Black Stallion

A captivating story of a boy and his horse, The Black Stallion is a delight for the whole family. Blessed with a sublime cinematography, love for nature and understated performance, it’s simply irresistible to all the family.

It’s 1946 and young Alec Ramsey(Kelly Reno) is sailing with his father on a boat off the East Coast of Africa. While onboard, Alec discovers an black Arabian Stallion that he becomes intrigued by. Though warned to stay away by the fearsome owner, Alec refuses to. Later that night, a violent storm hits the ship, throwing Alec and the horse overboard. They are the only survivors from the storm as Alec manages to pull on the ropes around the horse. When he awakens, he is on a deserted island. Armed with the penknife his later father gave him and resourcefulness, he learns to survive. The horse also made it to the island at first, both keep a distance from each other. Over time, however Alec wins the horse over gives the horse the name The Black. They become inseparable from that moment on as a bond is solidified. Eventually, Alec is rescued and makes sure The Black comes with him. Back home, Alec’s mother( Teri Garr) is overjoyed to see him but doesn’t quite understand the bond between her son and his horse. Alec comes across old horse trainer Henry Dailey( Mickey Rooney) accidentally when The Black runs away. Henry hasn’t raced in years but you can sense he feels a bit of regret and nostalgia creeping his way once he finds The Black. Following a bit of hostility between them, Alec and Henry become friends and Henry rekindles his love of horses with a dream of racing The Black. After a few mishaps and hurdles,  Alec and Henry enter to the horse into the race and hope for success with what they truly believe is not just a horse, but a supremely special one.

Director Carroll Ballard is the perfect choice to direct this heartwarming adventure. His love for nature and the relationships humans share with the animal kingdom are splendidly evoked. Some could write the movie off as as sickly as too much sugar, yet Ballard knows how to keep us invested without resorting to overt sentimentality. Aided by the arresting cinematography of Caleb Deschanel and vivid camerawork, the friendship at the core of The Black Stallion comes to life. The main sections on the island are largely wordless and though that might sound boring to some viewers, it certainly isn’t the case. The unspoken bond between Alec and the horse is observed with nuance and eventual trust; much like a friendship between humans. We watch as Alec wins the horse over and the horse comes to respect him and it’s very beautifully portrayed. The childlike sense of wonder and excitement is imbued within the DNA of The Black Stallion and it definitely pleases the crowd with this touch. And though many may see where the story is heading when he returns to land, they will no doubt be impressed by the eventual outcome and how things play out to a rousing and joyous finale. It’s a movie with a heart that’s sole goal is to be inspiring and for the whole family, and on that score alone it’s a winner. Carmine Coppola contributes an eclectic score that mixes Middle Eastern percussion and a soaring orchestral feel that is truly a thing of beauty. It imprints itself on your mind and is just beautifully orchestrated with obvious craftsmanship and phenomenal skill at arousing emotion.

Young Kelly Reno is full of life and wonder as the freckle-faced Alec. He’s ideal casting for the role and a genuinely convincing child actor that isn’t cloying or prone to overly annoying child acting. Mickey Rooney has fun as the slightly grouchy but brought back to life horse trainer, discovering what he’s missed for so long. Rooney is subtle yet sparkling with revived energy; both are exactly the notes he needs to star here. Just like the horse, he splendidly compliments Reno as the two things that mean the most to him. Teri Garr makes the most of her small part as Alec’s mother who doesn’t quite understand his link to the horse but comes around to the idea in a way only a mother could. Hoyt Axton is here in a brief role of father and given that he’s not on screen for long, he nails the part of adventurous dad that we miss when he’s gone. The two biggest stars however are Kelly Reno and the horse; they form the beating heart of The Black Stallion.

An outstanding, life-affirming and gentle film that knows how to touch the heart with its story, acting and cinematography, The Black Stallion is a champion.

Watership Down

Tags

1970's, Adventure, Animated, Denholm Elliott, Drama, Harry Andrews, John Hurt, Martin Rosen, Michael Graham Cox, Richard Briers, Watership Down, Zero Mostel

Director

Martin Rosen

Voice Cast

• John Hurt
• Richard Briers
• Michael Graham Cox
• Harry Andrews
• Denholm Elliott
• Zero Mostel

An animated tale of survival in nature that is surprisingly mature( and many would say traumatising), Watership Down is often referred to as a film that terrified a generation of kids who thought they were seeing a film about cute bunnies. Yet while brutality is certainly not shied away from here, it’s the soul and message of Watership Down that shines the brightest.

In a warren in the English countryside, a group of rabbits live with their own beliefs on creation and how life is supposed to be. It seems so peaceful, but it is about to be shaken to the core. One rabbit by the name of Fiver has a strange vision of the destruction of their warren and warns everyone to get out. His brother Hazel believes him but they are shunned by the chief rabbit. Along with a small band of other rabbits, they stealthily leave the warren at night, joined by one of the Owsla( or in human terms, person of authority and order) Bigwig, who was originally skeptical of Fiver’s vision. They encounter all manner of danger in their search for a new home, including vicious predators, the human world and the only doe being picked off by a bird. Now without a woman among their number, they have to find some in order to continue their species. Aided by a crazed but helpful gull named Kehaar, they may just find it. It’s when the group encounters the tyrannical General Woundwort , who rules over his warren of rabbits with supreme brutality, that things turn very dark and tense for everyone. For Woundwort is a brute who will kill anything as soon as look at them, if they disobey his regime. With Hazel at the helm, he mounts an attempt to free the does from the harsh control of Woundwort. But it definitely isn’t going to be easy to create this dream paradise for them all to live in once everything is over.

Martin Rosen beautifully captures the poignant emotion and red and tooth in claw depiction of nature in the Richard Adams’s novel. Though a bit more on the running time might have been in order, Watership Down is really hard to find fault with. The animation, which boasts the feeling of landscape, watercolour painting and a naturalistic colour palette, is second to none and partnered with some unusual dreamlike sequences that stand out for their terror and vision. I mean, when we see what became of the original warren it is some skin crawling stuff. The claustrophobia of rabbits squashed on top of each other, their red eyes glowing as they are gassed is freaky and nightmare inducing. And people thought this was a movie simply for young kids? Now sometimes it is hard to tell the difference between certain rabbits, but this is a minor hitch in what is otherwise an immensely moving and startlingly honest look at how nature works. The morals of sticking together and the dangers of oppressive tyranny are well observed, with obvious parallels to the Second World War. The thematic value of Watership Down is what has made it endure for so long. It doesn’t pander to the audience or patronise, and while there are those who criticise the violence and horror, they should remember that the overall message of the film is one of finding peace, even though life is a hard journey. But as violence and shock are big parts of the movie, they can’t be ignored. I must admit to still being surprised how visceral many of the scenes are that are featured here, they still hold up on gruesome and unflinching score. The fighting, blood and bleakly brutal vision of nature is never far from view and many scenes have a lot of palpable tension. But in a way, featuring genuine violence( albeit involving anthropomorphic bunnies), it presents something different in an animated movie. Many times we go in expecting something squarely aimed at children, but I’m certain many were surprised when they discovered the bleak overtones and poignancy of Watership Down. I have massive amounts of respect for Watership Down in retaining the novel’s unflinching examination of survival and not dumbing it Down one ounce for audience satisfaction. Sometimes films try to be just a little bit too kid friendly, to the point that the film is ridiculously cheery. Believe me when I say, that is most definitely not the case when it comes to Watership Down. And I can’t review this movie without mentioning the haunting addition of ‘Bright Eyes’ sung with conviction by Art Garfunkel. It’s bound to bring a tear to the eyes.

The talented voice cast, featuring John Hurt, Richard Briers and Michael Graham Cox are exemplary at giving life to their characters and finding heart there. With such a wide breadth of voice work( also including Harry Andrews as the terrifying Woundwort, Denholm Elliott as a rabbit whose as enigmatic as he is creepy and the comedy stylings of Zero Mostel as a bird that helps the main rabbits out), it’s hard to not appreciate the ability and skill that each of them brings to the table.

Visceral yet beautifully rendered and vividly thematic, Watership Down is a film to treasure, no matter how graphic some of it is. After all, you’ll probably never forget this movie once you’ve viewed it.

The Day of the Jackal

Tags

1970's, Alan Badel, Cyril Cusack, Delphine Seyrig, Derek Jacobi, Edward Fox, Fred Zinnemann, Michael Lonsdale, Political Thriller, Ronald Pickup, The Day of the Jackal, Thriller

Director

Fred Zinnemann

Starring

• Edward Fox as The Jackal
• Michael Lonsdale as Claude Lebel
• Cyril Cusack as Gunsmith
• Ronald Pickup as the Forger
• Derek Jacobi as Caron
• Delphine Seyrig as Colette

A superbly crafted and tense political thriller based on the renowned novel by Frederick Forsyth , The Day of the Jackal has fine precision and the ability to make you sit up and concentrate.

It is 1963.  An underground group known as OAS in France is outraged by President Charles de Gaulle’s decision to award independence to Algeria. Various attempts are made on his life, yet none are fruitful or successful. After one such attempt, many members of the group are apprehended, arrested and the leader is executed via firing squad. In anger, the remaining members of OAS enlist the services of The Jackal. He is a mysterious assassin with no background but immense skill at his job. Around the time of hiring him to kill de Gaulle, the police learn after some interrogation of a OAS member of The Jackal and an assassination, but nothing further. The Jackal meticulously plans the assassination, getting what he needs from a number of people and often killing them when they cross him. Meanwhile, Deputy Commissioner Claude Lebel is brought in to head the investigation by the Interior Minister. He is to uncover when the assassination will take place and hopefully prevent it. Lebel is a fastidious man who doubts he is cut out for this enormous job at first, but shows his worth and sharp mind in searching for the assassin. And so begins a cat and mouse game as both head towards their goals, each with the idea for a different outcome.

Fred Zinnemann is the shining star of The Day of the Jackal; his understanding of pace  and how to sustain a high level of unease is admirable and dexterous. The film may run for two and a half hours, but it sure doesn’t feel like it due to his handsome and taut handling of the material. Which isn’t to say that the film is rushed, instead its methodical and enthralling with how painstakingly it documents The Jackal’s planning of his job and Lebel’s analytical mind. You see it’s not about the main action of the piece; it’s all about the planning of it all. By cutting between the Jackal and Lebel, immediacy is created and used to spellbinding effect . You see how carefully and fastidiously both parties go about their business and objective. There’s real efficiency and uncertainty created in the viewers mind as Lebel closes in on the Jackal, but finds him most elusive at nearly every step. The editing is the second star of Jackal for how it combines the two characters in their fields of work and the inevitable confrontation between them. Add to that voice overs that carry over to other scenes and it’s a seamless way of telling a story  This is a thriller that is about intellect and plotting rather than over the top violence and blood. Granted, there is violence but most of it is hinted at rather than show, giving it a more chilling quality. The murders committed by The Jackal are skilled and briefly brutal, much like the man doing them. He is a man who is coldly ruthless and immensely determined, which is a deadly combination.  much like Jackal is a movie that demands your undivided attention as so much goes on. It’s largely compelling and there are only a few things that may have benefited from more explanation. But the vast majority of things are coolly and compulsively rendered for us to view and appreciate. Any little languors can be ignored because of how skilfully The Day of the Jackal tell it’s story and patiently but rewardingly pulls you in.

This movie features a wide cast, but there are those who really stand out. Heading things is Edward Fox as the eponymous killer. His boyish looks are employed with ruthless charm here, making him a charismatic but very dangerous fellow. This coupled with an icy stare and cool efficiency is perfect for the part. Seriously, I can’t imagine anyone bringing the menace and suaveness to the role that Fox does. Michael Lonsdale plays his part of detective with a sense of savvy and intellect. There’s a doubting quality there, but an immense dignity and steadfastness too. All of that compliments things greatly. In support there is Alan Badel as the hassled Interior Minister and look out for Cyril Cusack and Ronald Pickup as two men who aid The Jackal. Also a young Derek Jacobi makes an appearance as Lebel’s assistant and a tragic Delphine Seyrig as a woman romanced by the Jackal are worth praising.

A skillfully executed thriller with immense suspense and a keen eye for showing how the legwork of investigation can be, The Day of the Jackal is rightfully held in high regard.

The Stud

Tags

1970's, Erotic Drama, Joan Collins, Oliver Tobias, Quentin Masters, Sue Lloyd, The Stud

For my second entry into the blogathon after Sea Wife, I took it upon myself to review the movie known as The Stud.

Film Title

The Stud

Director

Quentin Masters

Starring

• Joan Collins as Fontaine Khaled
• Oliver Tobias as Tony Blake
• Sue Lloyd as Vanessa Grant

The Stud is basically a soft core fantasy from a book by Jackie Collins, with no basis in reality and a let down in case of what it promises, Joan Collins at least provides some respite with a role similar to what we generally think of when her name is mentioned.

Fontaine Khaled is the beautiful wife of a wealthy businessman, who enjoys sex a lot and frequently with the manager of her nightclub. This man is Tony Blake, the eponymous stud, who can’t resist her and keeps coming back to satisfy. Fontaine knows how to play Tony like a fiddle and enjoys toying with him for her own delight. Tony also wants to start his own club, but never seems to succeed with it. While sleeping with other women, he is mostly on hand to supply the pleasure for his boss. However, Tony has grown tired of Fontaine and turns his attentions to her stepdaughter Vanessa, who resents her stepmother. Yet Fontaine is crafty and is perfectly adept at turning Tony’s life upside down when needed. Things obviously don’t turn out in a tidy fashion for Tony.

Quentin Masters contributes a muddled direction that does nothing to help the already labored movie. He can’t decide whether he wants the film to be sleazy or make a point about the lifestyles of the jet set crowd. Masters could have done better, especially as the story(what there is of it) is largely about the sex and not much else. The confusion also abounds in the visual style that is at times high key and then too dimly lit. It might have been better to just stick to one thing and not try to be something that it isn’t. The Stud is pretty laughable if it is attempting to say something, as the dialogue is stilted and unconvincingly clunky. While scenes of naughtiness are featured, but you expect more from an erotic movie than what’s presented. Yes the orgy scene is completely crazy and the lift sex is hot, but it can all feel frightfully dull. And that is one thing you don’t want with an erotic movie. The disco/funk score is pretty cool however and the various club scenes have a lot of energy and groove to them. It may smell of kitsch, but the music will get your foot tapping if nothing else.

What brings The Stud to some level of guilty pleasure is Joan Collins. This revitalised her career and established her as the go to lady for sassy and sexy vamps. Collins has this wicked gleam in her eyes and sexual energy that transcends the trite story here. Plus, she is completely comfortable with being revealing and not hiding her body, looking effortlessly fabulous and seductive throughout. Without Joan Collins, The Stud would simply be unwatchable. Oliver Tobias, while possessing a handsome face, is pretty flat and wooden as the supposed charmer. It’s pretty hard to believe that so many women fall at his feet, especially when his work is so lifeless and lacking any vigorous sexuality. Sue Lloyd is also beautiful to look at, but pretty bland in the scale of things. The main feature and the best one is Joan Collins.

No one will think of The Stud as something deep or at all plausible( it’s hardly even a good movie), but the presence of Joan Collins at her sexy, devious best is what makes it at least bearable.

Suspiria

Tags

1970's, Alida Valli, Dario Argento, Horror, Jessica Harper, Joan Bennett, Stefania Casini, Suspiria

Film Title

Suspiria

Director

Dario Argento

Starring

• Jessica Harper as Suzy Bannion
• Joan Bennett as Madame Blanc
• Alida Valli as Miss Tanner
• Stefania Casini as Sara

An overwhelmingly visual and sinister horror movie from Italian maestro Dario Argento, Suspiria is rightfully regarded as a work of arresting quality and bold aesthetic. If there’s a horror movie that can hold the distinction of being beautiful, Suspiria is the victorious champion.

From the moment American dancer Suzy Bannion arrives in Germany to attend a prestigious ballet academy, there is something not quite right. Firstly, she encounters a panicked student, who later turns up murdered. Then the whole atmosphere of the place is laced with a certain menace, not helped by the domineering and eerie presence of vice director Madame Blanc and teacher Miss Tanner. Suzy struggles to fit into her new surroundings, but this is nothing compared to the spine tingling things that will soon take shape. A series of creepy occurrences take place; maggots rain from the roof, there are strange footsteps at night and it would appear that the teachers are guarding something frighteningly shocking. Aided by a fellow student Sara, who is the first to think something strange is happening, Suzy sets out to uncover what is really going on at the academy. As more unusual events(complete with more murder and sickly ailments inhabited by Suzy) take place with many suggesting something supernatural at work, Suzy is thrown into the pit of horror as she strives to piece together the meaning of the school and the designs of its inhabitants.

Dario Argento is the showman, richly displaying his craft in full glory. His flair for the theatrical and stunning is left on every frame of this strangely beguiling horror fantasy. It’s clear from Suspiria that Argento is an artist of the highest order and a horror icon to treasure for his baroque attitude. Plot and character development are not what this movie is about; tension and spooky atmosphere are the main components and things it accomplishes with ease. Argento grabs you from the opening frames and pulse you into this ghoulish world he has created, where uneasy and weird things build to a crescendo of high art and horror. Most worthy of praise is the bold use of colour, in particular red, blue and green. Red is the most employed; saturating the screen in a haze of nightmarish fantasy that is as spellbinding as it is creepy. One can’t help but wax lyrical about the eye-popping and sensory areas of Suspiria, that stick with you long after the film’s finish. A certain fairy tale quality, albeit one of the unnerving and eerie variety, is ever-present here in a lot of shots, specifically the gripping opening. We witness arrival as a storm hits and she briefly sees a fellow student run away from the school. Later, the incoherent girl who fled the academy is traumatised by strange sights and then brutally murdered by a largely unseen assailant. Her lifeless body crashes through a stained glass ceiling, her neck in a noose and the glass causing the death of a friend. It’s a successful opening that clearly establishes the strange tone and often horrifying but stylish visions that Suspiria will bring in abundance. Gory violence is startlingly seen, but rendered mesmerize through the lens of artistry that colours everything here. It seems strange to describe a horror movie as lush and beautiful, but Suspiria is both of those things and more. While a lot of horror favours darkness , Suspiria is strikingly colourful and filled with a prowling eye from adventurous camerawork. This distinction makes it stand out in horror for all the right reasons. As a relentless exercise is stupendous visual splendour and growing tension, Suspiria is compelling and filled with imagination. And no talk of Suspiria would be complete without mentioning the thundering music score, provided by Goblin. An intense roller coaster of twinkling percussion, loud drums and snatches of scratchy whispers, it’s another element that sucks you into the vivid world brought to life in pulsing form.

Although plotting and characters aren’t the important parts of Suspiria, the cast is still pretty serviceable. Jessica Harper is appropriately beautiful, waif-like and innocent as the heroine and while not the best actress, she still presents an air of spirited nature as Suzy heads into the disturbing machinations at work. Joan Bennett and Alida Valli successfully transfer something sinister and unusual as two of the academy’s staff, who immediately set your nerves and mind on edge from the first moment they are glimpsed. Stefania Casini is also pretty good as a student, very suspicious of what’s going on. There are various other characters in the film, but the biggest star is Argento himself.

Gorgeously shot, hauntingly creepy and artistic to within am inch of its life, Suspiria is simply put an experience for and grandiose assault on the senses.

Alice Doesn’t Live Here Anymore

Tags

1970's, Alfred Lutter, Alice Doesn't Live Here Anymore, Diane Ladd, Drama, Ellen Burstyn, Harvey Keitel, Jodie Foster, Kris Kristofferson, Martin Scorsese

Film Title

Alice Doesn’t Live Here Anymore

Director

Martin Scorsese

Starring

• Ellen Burstyn as Alice Hyatt
• Alfred Lutter as Tommy Hyatt
• Kris Kristofferson as David
• Diane Ladd as Flo
• Harvey Keitel as Ben
• Jodie Foster as Audrey

A change of pace for Martin Scorsese, Alice Doesn’t Live Here Anymore provides great evidence of his directorial skill and versatility. Focusing on the odyssey of a woman attempting to discover herself and hoping to fulfill long forgotten dreams, it’s a moving, at times funny and heartfelt film, beautifully lead by an Oscar-winning Ellen Burstyn.

Alice Hyatt is a downtrodden housewife, living in Socorro, New Mexico, with her inattentive husband Donald and precocious 12-year-old son Tommy. She once had some success as a singer, but after marrying gave it up for her husband. Desperately unhappy with a man who she is always trying to please, Alice is starting to come apart. Then Donald is killed in a car accident and Alice is left with barely anything. Packing up Tommy with what little she has, she starts out on a journey back to her childhood home. Alice hopes she can rekindle her old singing job again, especially as it will probably be her only source of income. Because of a money shortage, the two have to stop off every now and then. The first stop is in Phoenix, Arizona, where Alice finds some work as a lounge act. While singing is her passion, her wages are menial and it is becoming a struggle to keep Tommy in line. Add to this volatile Ben, who quickly becomes violent towards her and Alice must leave and attempt to get by once more. Fleeing from Phoenix, Alice, along with spoiled Tommy, stop in Tuscon. It is here that Alice gets a job as a waitress, something she hates at first. But as she manages to get through her days and becomes friends with loud, sassy Flo, life looks like it could be going up. She also meets rancher David, who is a kind but firm man taking an interest in her. Alice, obviously considering her history with men, is apprehensive about pursuing any kind of relationship. Eventually, she lets some of the walls down and opens up to the idea of romance. Yet will Alice’s blooming attraction to make her reconsider her pursuit of her dreams?

While a very different sort of movie than one would expect from Martin Scorsese, his style and command over the camera ensure Alice Doesn’t Live Here Anymore is a fine movie. Scorsese really gets the tone of the movie right; with melancholy moments being followed by laughter, much in the way that life can get and best exemplified by the almost always moving camerawork. Some of the film’s passages get uneven, but Scorsese allows the acting and story to play out with a naturalness and warmth that can’t be mistaken. The feminist streak throughout the story was well attuned to the 70’s, yet still bears semblance today as it examines the growing independence and struggles of a woman trying to cope on her own. The character of Alice is wonderfully written and her situation is a universal one that strikes a chord with any viewer. The relatable nature comes through in the first frames of a dream-like memory that resembles an old musical; which is bluntly counteracted by the reveal of Alice’s miserable home life years later. That scene really plays into much of what unfolds, as Alice journeys to discover herself and what she should do, even if its elusive at first. Now as I mentioned earlier, the pacing of the film can sometimes get a little off. I did find that some areas could have been expanded on and a few moments get superfluous, but these quibbles don’t distract from a moving story, undercut by both a bittersweetness and hopefulness. The film really picks up once Alice begins working as a waitress; the gentle humour and drama are wonderfully brought to life through the supporting characters and situations. The almost improvisational approach to the dialogue is another high point, letting everyone have a good rapport with both each other and the audience. A wide collection of songs are featured on the soundtrack, which fit in pretty splendidly with the constant ups and downs of Alice’s life.

Ellen Burstyn is the biggest shining light of the film, winning a much deserved Oscar for her sensitive work as the title character. Blessed with a genuinely sympathetic and expressive face, Burstyn covers the whole gamut of her character’s journey. From despair and uncertainty to growing in confidence, Burstyn’s work is authentic and beautifully done. You feel warmth when she smiles and want to cradle her when the hardships get too much. The biggest compliment I can give her is that she truly makes the part of Alice seem like a real human being, and I think that’s a testament to her talents as an actress. Alfred Lutter is appropriately questioning and pestering as the spoiled Tommy, who drives his mother up the wall. While it is easy to say he’s annoying, the part calls for that the mother and son don’t share the smoothest dynamic with one another, but there is a genuine love that is always present even when they are at loggerheads. Props to both for really forging a believable bond that runs throughout the movie. In what could have been just a role that took advantage of his handsomeness, Kris Kristofferson brings a lot more verve and soul to his part of rancher, smitten by the eponymous Alice. Stealing any scene in which she appears in is Diane Ladd, bringing forth a big personality and brassy mouth to the proceedings. Ladd is fabulous as the tough-talking waitress at first distant from and later close to Alice. The scenes between Ladd and Burstyn are a real delight too. A brief but memorable appearance by Harvey Keitel as a possessive and violent man who becomes involved with Alice, makes the drama really hit hard in his segment. A young Jodie Foster has the spirited attitude and rebelliousness as the girl who befriends Tommy and while it is a pretty small role, its noticeable.

Directed by Martin Scorsese and illuminated by Ellen Burstyn, Alice Doesn’t Live Here Anymore may not be his finest film, but it’s a dramatic triumph of care and heart that retains an impact through its story and mix of drama and comedy.

The Sentinel

Tags

1970's, Arthur Kennedy, Ava Gardner, Beverly D'Angelo, Burgess Meredith, Chris Sarandon, Christopher Walken, Cristina Raines, Deborah Raffin, Eli Wallach, Horror, Jeff Goldblum, Jerry Orbach, John Carradine, José Ferrer, Martin Balsam, Michael Winner, Sylvia Miles, The Sentinel

Film Title

The Sentinel

Director

Michael Winner

Starring

• Cristina Raines as Alison Parker
• Chris Sarandon as Michael Lerman
• John Carradine as Father Halliran
• Burgess Meredith as Charles Chazen
• Ava Gardner as Miss Logan
• Deborah Raffin as Jennifer
• Arthur Kennedy as Monsignor
• Eli Wallach as Detective Gatz
• Christopher Walken as Detective Rizzo
• Martin Balsam as Professor Ruzinsky
• José Ferrer as Robed Figure
• Sylvia Miles as Gerde
• Beverly D’Angelo as Sandra
• Jeff Goldblum as Fashion Photographer
• Jerry Orbach as Director

A 70’s horror with an all-star cast, I was expecting The Sentinel to be a treat. Alas, it was a shoddy mess that descended into ludicrous and incomprehensible places. There are nary any positives in this film, which could have been something special, fur floundered into the abyss of rubbish.

Alison is a young, pretty model living in New York. Though in a relationship with slick lawyer Michael Lerman, she is reluctant to move in with him or consider engagement. She decides to find her own place to live. While seemingly living the high life, Alison has baggage in her memories that still haunt her and refuse to let go. Continuing looking for a place, she is recommended by realtor Miss Logan, a beautiful Brooklyn Heights apartment. She notices a man in the top apartment window. Miss Logan informs her that it is Father Halliran, a blind priest who seems to sit there without ever really moving. Thrilled at the scope of the place and the reasonable amount being asked for, Alison moves in. Shortly after arrival, Alison encounters some of the strange tenants of the building, starting with the peculiar and intrusive Charles Chazen. Gradually, Alison’s nights are disturbed by horrific visions of her troubled past that involved an attempted suicide and is plagued by unnerving noises from another apartment. Frightened yet very curious, Alison is then shocked to learn that only she and Father Halliran reside in the complex, with no one having previously occupied it for three years. Becoming more alarmed by events that may or may not be real, Alison crumbles completely. Somehow, she is linked to a centuries old pattern that the apartment block has which poses a deadly and potentially otherworldly trouble. Can Alison really figure out why these visions appear and what sinister designs are being made for her?

Michael Winner gets some atmosphere going at the start, but his lack of taste and frankly trying direction makes The Sentinel really drag and go into a place of boredom. He plays up the overt sensationalism and outrageous moments to an extent that they aren’t frightening or remotely chilling. The visual style is one positive point( even though it’s sadly only one such instance) finding a certain gloss and at least setting some spooky aura. This however is drowned out by the sheer implausibility and inanity  of it all, that causes The Sentinel to be a major let down. The Sentinel film that could have been something if thought had actually gone into. What we are left with is a confused and histrionic film, that doesn’t generate hardly any terror or resonance. There is one scene that is rightly celebrated for its scare factor, but apart from that, The Sentinel is laughable and deplorable. I mean, I’m game for some campy and melodramatic moments in horror, often they can be quite fun. But the overload, coupled with a dragging, not to mention hard to follow story, was too much for me to take. And there is one thing in The Sentinel that really left a bad taste in my mouth. When all hell breaks loose and the supposed fright of the movie is in swing, one manifestation of evil is depicted as people with prominent deformities. The main thing I took issue with was that the people used were actually deformed themselves. When you put a physical defect or disability on screen, it should be done with respect. Here, it equates the deformities with evil, which really didn’t lie well with me. It felt exploitative and mean-spirited, especially as the implication it made was in very poor taste. The music score is passable with some unusual passages, yet like the rest of The Sentinel, over cooks events to a laughable degree.

As aforementioned, The Sentinel has an unbelievable cast. The sad news is, hardly any of them are given anything to work with and show off their skills. Cristina Raines, in the lead of tormented model, is basically required to look frightened and pretty. She does both things well enough, but there’s nothing really meaty for her else to do. Chris Sarandon at least tries his best with putting some cocky attitude into the role of the lawyer boyfriend. John Carradine, heavily made up to look older, is pretty effective as the largely silent priest whose eerie presence hangs over the building. Burgess Meredith rocks creepy to the hilt as a pesky and very unusual neighbour, who becomes more than just a common nuisance. Ava Gardner is completely wasted as the realtor of the place, only appearing a handful of times and not equipped with much in the way of action to play. Deborah Raffin is pretty bland as Alison’s best friend, while experienced veteran actor Arthur Kennedy at least contributes some mystery as an enigmatic priest. Eli Wallach and a young Christopher Walken are seen in a thread of the story that makes no sense and wastes the obvious talents of two reliable stars. Martin Balsam and José Ferrer, two fine actors, both appear in blink and you’ll miss it roles which is extremely unfortunate. Sylvia Miles and Beverly D’Angelo certainly have the strangeness down in their parts, but not much else because the script restricts them. Bit parts are also handed to Jeff Goldblum and Jerry Orbach. The mix of old and new stars was supposed to be amazing, but they are never given any time to shine or strut their stuff.

A big mess of a movie that showed potential but quickly became farce, The Sentinel is one to avoid in the horror genre.