Murder by Death

Tags

1970's, Alec Guinness, Comedy, David Niven, Eileen Brennan, Elsa Lanchester, Estelle Winwood, James Coco, James Cromwell, Maggie Smith, Murder by Death, Murder Mystery, Mystery, Nancy Walker, Neil Simon, Peter Falk, Peter Sellers, Richard Narita, Robert Moore, Truman Capote

A hilarious spoof of the murder mystery genre that lampoons nearly every cliche there is, Murder by Death benefits from a sensational ensemble cast and a real feeling of delightful mischief shot through its veins. 

The eccentric millionaire Lionel Twain( Truman Capote) is hosting a weekend at his secluded house. Assembled are Chinese Inspector Sidney Wang( Peter Sellers) accompanied by his adopted son Willie(Richard Narita), who he always informs people is Japanese. High society detective duo and husband and wife Dick(David Niven) and Dora(Maggie Smith) Charleston are there, as is prancing Belgian detective Milo Perrier(James Coco)and his much abused chauffeur Marcel(James Cromwell). Also in attendance is hard boiled gumshoe Sam Diamond(Peter Falk) and his loyal but overlooked secretary Tess Skeffington( Eileen Brennan), followed lastly by jolly English sleuth Jessica Marbles(Elsa Lanchester)and her Nurse(Estelle Winwood), who ironically is in need of more care than her patient. After the guests have gathered and met dry-witted blind butler Bensonmum(Alec Guinness) and deaf-mute cook Yetta(Nancy Walker) , the events begin to take form. Twain believes he is the best on the subject of solving crimes and has gathered this group to pose a challenge. He informs his guests that at midnight a murder will occur. Whoever solves this crime will receive $1 million dollars, if no one does their reputations will be in tatters and Twain will have his vain satisfaction. To ensure no one leaves, Twain seals the house off  Sure enough, a murder occurs and thinks get more complex as the hours continue. A discovery that the house has revolving rooms and that the servants are far from what they seem to be adds another layer of mystery. The worried yet mightily curious group resolve to get to the bottom of this. But the case proves to be very twisty for these detectives in their search for the answer, complete with a house that is most unusual and plenty of clues hanging in the air.

Murder by Death has Robert Moore in the directors seat and his  direction is unobtrusive yet very satisfying, allowing the funny moments to really flow and be seen. Penned by the talented Neil Simon, Murder by Death hits the right spot of spoofing the mystery genre and having a ball in revelling in the many cliches that abound. The main group of characters are all fashioned after famous literary and cinematic detectives of whom humour is derived from spoofing their well known personalities. I had a ball seeing the similarities and allusions to the great detective characters of fiction infused with comedic overtones.  The film is undoubtedly silly and yet that is partly the point and Simon definitely seems to enjoy this fact, while layering on red herrings and confounding suspense as to what is transpiring and what is truly real. The dialogue comes quick and fast, like delightful bullets of energy and tongue in cheek humour in the best way that Simon can. Plus you’ll be laughing so much at the film you can overlook parts that are dated and wouldn’t be acceptable now( most prominently the use of yellow face for Mr. Wang.) There’s an argument  that the character is actually supposed to subvert the trope but it’s still problematic in my eyes and will no doubt be a bone of contention for many. Set design is in need of much praise; showing the big country house as akin to a funhouse with rooms that move on their own accord and things ready to jump out. The music score as provided by Dave Grusin has an unending sense of fun too it as if topping its musical hat in a jaunty manner that suits the film down to the ground. 

A star-studded cast is the cherry on top of an already impressive cake. It’s a thrill when an ensemble cast is used and nearly everyone is given something to do. Front and centre, and giving one heck of a performance is Peter Falk. Channeling Humphrey Bogart, Falk plays the tough-talking, rough and tumble detective who says it like it is and doesn’t give a damn what you think. The part is injected with wise-cracking humour at which Peter Falk is mightily skilled at. If you can overlook the problematic yellow face make up sported by Peter Sellers , his performance is quite good and he comes out with some comic one liners of the highest order. As aforementioned some think his portrayal is in fact lampooning the ridiculous cliched nature of the character, but its still something that is up for the viewer to decide. Truman Capote, best known for his writing, is well employed as the mastermind behind the most unusual events going on. With his slightly sneering and camp mannerisms, he is certainly memorable as the instigator of mystery. David Niven and Maggie Smith play off each other wonderfully as the high society couple with exquisite, upper crust manners and dry, cynical humour. Both professionals are a joy in this film and I very much enjoyed whenever they were on screen as they are such a hoot. Eileen Brennan, of raspy voice and good comic yet sympathetic timing, is well cast as the downtrodden, overlooked secretary who clearly has the hots for Diamond but can never seem to catch a break with him, despite her many attempts to instigate something. James Coco has a ball as the arrogant, know it all who is vain beyond belief and argumentative to the last, while Alec Guinness contributes a deep vein of droll humour as the blind butler who might be more than he seems. Nancy Walker does what she can with a small role, she definitely gets a big laugh once murder is committed. Elsa Lanchester and Estelle Winwood are an inspired and ironic duo, with the former summoning up all her gusto and the latter slowly revealing a witty side, despite everyone thinking her character is simply senile. Keep an eye out for a very young James Cromwell as the put upon chauffeur of Perrier, he really shows comedic chops in this movie. Richard Narita is sadly left to flounder with not much in the way of a part, though he manages some moments of humour. 

So if you’re in the mood for a good comedy spoof of the mystery genre, Murder by Death is a glorious and hilarious place to start because of its rapid fire wit and quality laden cast of great stars. 

Black Christmas

Tags

1970's, Andrea Martin, Black Christmas, Bob Clark, Doug McGrath, Horror, John Saxon, Keir Dullea, Lynne Griffin, Margot Kidder, Marian Waldman, Olivia Hussey

A Yuletide chiller that is generally seem as one of the first slashers ( predating Halloween by a few years), Black Christmas has become a cult classic thanks to its setting up of genre trademarks( plus some breaking too), supreme atmosphere aptly set during a holiday known for cheer and general feeling of patient but unnerving terror.

Its Christmas time and the girls of a sorority house are getting ready to either visit family or stay for the holiday season. At the house there is the rational Jess(Olivia Hussey), extrovert Barb( Margot Kidder), cheerful Phyllis( Andrea Martin) and the timid Clare(Lynne Griffin) . They are watched over by the elderly head of the sorority, a woman with a fondness for booze called Mrs. Mac( Marian Waldman). The main party is winding down when a phone call interrupts things. It’s not the first of these calls, but it is the most alarming. A crazed man on the other end uses a variety of strange voices, yells obscenities and does his damn best to unnerve them all. The girls try to brush it off but are understandably freaked out. What they don’t realise is that the man on the phone is actually in their attic, watching them and waiting to strike. The innocent Clare is the first to meet death by his hand, though the sisters think she has simply gone missing when she doesn’t meet her father for her travels. News spreads of another girl being murdered and the police finally take notice, headed by the dedicated Ltd Fuller(John Saxon). Meanwhile, Jess is grappling with the fact that she’s pregnant with the child of her intense pianist boyfriend Peter( Keir Dullea) . He wants to keep the baby and marry, but she wants an abortion which puts them at odds. But as the uneasiness rises and bodies turn up, it falls to Jess to survive as the killer closes in on her at the most festive time of year. 

Bob Clark, who would later direct a very different holiday movie in A Christmas Story, directs with finesse by cranking the ambience and terror up gradually and letting us get to know the principal characters. Clark just ups the  This makes for very unnerving viewing as there are things the audience are aware of that the characters aren’t and then things we are purposefully kept in the dark about. Now while being termed a slasher, Black Christmas only has bits of blood in it. Not to say that the deaths in Black Christmas aren’t chilling( the first victim who is suffocated with a plastic dress bag then placed on a rocking chair in the attic will freeze your blood), but the fact that we only see parts of the acts makes the imagination run wild. I’m of the view that often what we don’t see can be more scary than actually viewing it. But it definitely qualifies as a slasher in many ways, most of which are very successful and indeed influential on the genre that followed in the ensuing years. The use of POV is inspired as it isn’t always clear cut; we see things from the perspective of the killer which is often at an angle or obscured by something. We sort of see events with the twisted way he does and the fact we aren’t really told what his motives are makes it all the more frightening for the audience.

There is also a welcome dose of humour in between the scares, which are mostly provided by either the naughty antics of Barb or the dumbfounded idiocy of the first cop in the case who really has no clue. Some may take Black Christmas for granted given the amount of films it has inspired with the genre tropes we know very well of, but that shouldn’t be held against the film. If anything, it is fascinating to glimpse these well known ideas and how they are used, which in the case of Black Christmas, is supremely well. Plus, it doesn’t always go by the formula either, slotting in neat diversions from the rules. For instance, in a lot of slashers, it’s the virgin who survives but here she is killed first. And it’s refreshing that the main characters actually have scope to them, rather than just cardboard cut out roles with no room for development. There is mystery to be found, stemming from the fact we never get a good look at the killer, who is mainly referred to as Billy. I enjoy slashers with mystery and Black Christmas ranks among them. A low key, ambient score is the cherry on top of an impressive cake; cloaking events when it appears in an ominous light.

The cast is largely impressive too. Olivia Hussey greatly heads things as the terrified but level headed girl grappling with her own turmoil while trying to stay alive. Although she’s frightened, Hussey projects a certain relatability and serenity to the role of Jess that is most refreshing. I liked her as a final girl it must be said as she seems like a proper person with a sense of resourcefulness and tenacity. A pre-Superman Margot Kidder excels as the foul mouthed sister who has an attitude and isn’t afraid to flaunt it. She’s very charming and often abrasively witty within minutes and her energy is hard to resist. Keir Dullea is effectively mysterious and unpredictable portraying the boyfriend of Jess, who may or may not have evil intentions. John Saxon is superbly stalwart representing the main cop on the case who takes his job seriously and isn’t messing around. Doug McGrath provides some comic relief among the horror as the dim-witted policeman, who is woefully bad at his job and constantly told it. He doesn’t take anything seriously which in turn angers his superior to no end. Marian Waldman gives other bits of humour as the often drunk house mother who isn’t as classy and respectable as she likes to think she is. Andrea Martin is suitably fine as another sorority sister feeling the stress under the horror. Lynne Griffin, though only seen alive for a short duration, takes the honour of having the most memorable image in Black Christmas. Her face locked in a stunned state of fright, wrapped with plastic on a rocking chair is the stuff of nightmares and will burn itself into your brain.

So if it is seasonal horror you are after, the chilling Black Christmas should be high on that list. Prepare for terror when you see this cult classic.

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.