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.

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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.

Burnt Offerings

Tags

1970's, Bette Davis, Burgess Meredith, Burnt Offerings, Dan Curtis, Eileen Heckart, Horror, Karen Black, Lee H. Montgomery, Mystery, Oliver Reed

Film Title

Burnt Offerings

Director

Dan Curtis

Starring

• Oliver Reed as Ben Rolf
• Karen Black as Marian Rolf
• Bette Davis as Aunt Elizabeth
• Lee H. Montgomery as Davey Rolf
• Burgess Meredith as Arnold Allardyce
• Eileen Heckart as Roz Allardyce

A haunted house horror/mystery that uses suggestion and enigmas to raise tension and atmosphere, Burnt Offerings is a seriously underrated chiller. Unease and the raising of hairs on the back of the neck are guaranteed in this effective movie.

The Rolf family; husband and wife Ben and Marian, their 12-year-old son Davey and elderly but sprightly Aunt Elizabeth, decide to take a summer vacation. They find a large house that is asking for tenants in California’s countryside. The house is marvellous, big in size and area, but a little dilapidated. Still, the reasonably cheap price to stay for the summer is very tempting. After meeting the slightly unusual brother and sister Arnold and Roz Allardyce, who own the house,  Marian becomes insistent on staying there. Ben is not so sure, especially as they ask them to take care of their elderly mother. She never comes out of her living quarters, so they are just required to bring meals to her door. Ben eventually agrees after seeing how much Marian would love it. Upon arrival, have left for some vague reason. Making the place their own for the time that they have, the family settle in nicely . But the house soon reveals that it’s not the most hospitable place for guests and seems to have something evil inside it. Marian is the main person who is influenced in a malevolent manner by the old house, becoming obsessed with it, rejuvenating the old place and behaving alarmingly alienated towards her family. Other strange events unfold like a seemingly possessed Ben nearly drowning Davey in the pool, the greenhouse of dead flowers slowly coming back to life and Marian’s insistence that the house needs her. Everything seems to link to the very house itself, which appears to wield a strange power over all that enter. But just what can it want with the family and in particular Will any of the family truly discover the sinister secrets and shocks of the house? Or will the house itself get them before it is too late?

The creeping thrills and strange mystery are kept to a good level of skill by director Dan Curtis. The set up boats all the usual hallmarks of a haunted house movie, bit the mysterious approach and the fact that we aren’t hit over the head with overt explanations, makes Burnt Offerings a good and under appreciated entry into the genre. Just how and why the house is tormenting them is the main mysterious crux of Burnt Offerings. It is only gradually that the real intentions of the house come into the light. The photography is one if the highlights of Burnt Offerings; enveloping events in a dream like haze that starts out quite nicely and joyfully, then little by little gets to an ominous level of chilling intensity. I also liked how it was different from some haunting movies. In a lot of them,  the haunting is designed to scare the people out, the malevolence actually wants to trap them for its own insidious purpose. To spoil the intention and designs of the house would be a major disservice to the creepy tone and uncomfortable events of Burnt Offerings. I will say that it is something very alarming and disturbing, yet done with degrees of exceptional subtlety and bubbling menace that make it pretty satisfying. The house is pretty much a character itself, though one that you really are t sure of. You know it’s evil because we’re in a horror movie, but the ways that it influences all, particularly Marian, is still pretty unsettling and spooky stuff. The slow burning pace is largely excellent in developing the evil of the house and building up numerous enigmatic angles. One little problem I had was that Burnt Offerings gets a bit leisurely in the middle half of the picture, when it should have some oomph in its engine. Saying that, it is redeemed quickly by what follows and the sensational climax of what is a really compelling horror mystery. Up and down strings and the old classic music box sound are in abundance, making Burnt Offerings suspenseful even when nothing unusual is happening. It’s that hint that something sinister will transpire that the score really works on.

Oliver Reed is his usual intense self as the husband under siege from the house, his dramatic approach lending itself well to the character’s eventual descent into tormented horror. Karen Black makes for a marvellously and genuinely creepy leading lady. Playing Marian, who becomes almost immediately entranced with the house, her unusual tics and mannerisms slowly emerge into something very alarming. It’s a credit to Black’s talent that you buy into how unusually obsessed and spine chilling Marian becomes, as her once genial persona starts to get more peculiar, mercurial and generally unstable as time passes. The great Bette Davis brings her professionalism and grand standing to the part of energetic Aunt Elizabeth, who is really the first to suspect something amiss in the house. It’s a supporting role, but when you have Davis, even in smaller roles she displays her immense talent and steals the scenes she is in. Lee H. Montgomery does the frightened child act well, while the brief but very memorable appearances of Burgess Meredith and Eileen Heckart as the unusual siblings who own the house, makes a deep impression and spooky one at that.

Spooky entertainment and creepy thrills abound in this slow-burning but extremely eerie horror film. If you like some haunted house horror, with mysterious overtones and good cast, Burnt Offerings is probably the flick for you.

The Poseidon Adventure

Tags

1970's, Carol Lynley, Disaster Film, Eric Shea, Ernest Borgnine, Gene Hackman, Irwin Allen, Jack Albertson, Leslie Nielsen, Pamela Sue Martin, Red Buttons, Roddy McDowall, Ronald Neame, Shelley Winters, Stella Stevens, The Poseidon Adventure

Film Title

The Poseidon Adventure

Director

Ronald Neame

Starring

• Gene Hackman as Reverend Frank Scott
• Ernest Borgnine as Mike Rogo
• Red Buttons as James
• Stella Stevens as Linda Rogo
• Shelley Winters as Belle Rosen
• Jack Albertson as Manny Rosen
• Roddy McDowall as Acres
• Eric Shea as Robin Shelby
• Pamela Sue Martin as Susan Shelby
• Carol Lynley as Nonnie
• Leslie Nielsen as The Captain

A memorable example of the 70’s disaster movie, The Poseidon Adventure retains its suspense and danger with an all-star cast as the survivors of an overturned ocean liner   attempt to reach safety.

The S.S. Poseidon is a large ship that is making its way from New York to Athens, on what is believed to be its final voyage. The Captain of the ship is concerned about the fact that it’s carrying to heavy a load and knows that if anything where to go wrong while at sea, the ship would turn into a disaster. The new owners however don’t want to hear this and through blackmail forces the ship onward, heading towards a damaging fate. We are then introduced to the principal characters of the piece. Impassioned but unorthodox Reverend Frank Scott is being sent to a different parish for his views, which are mainly that he believes actions are how best to serve God, as opposed to prayer. Growling Detective Mike Rogo and his younger wife Linda, who he rescued from a life of prostitution. Lonely bachelor James Martin, who needs someone to take care of and fill the void of solitude. Middle aged Jewish and long married couple Belle and Manny Rosen, who are travelling to see their young Grandson for the first time. The observant waiter Acres who frequents the resident dining room. Teenager Susan Shelby and her younger, inquisitive brother Robin are travelling back to see their parents. And rounding out things is vulnerable lounge singer Nonnie. The spirit of New Year is in full swing for everyone, in an ironic twist of fate, disaster will soon be at hand. Just as everyone is welcoming in the New Year, a massive tidal wave strikes the ship causing it to capsize. With the Captain and main crew dead, panic sets in as the ship is now upside down. Scott has the right idea and persuades the aforementioned main characters to follow him to what he hopes is safety. Others stay behind believing they will be rescued in time, but Scott is not one to sit around and takes it upon himself to be leader of this band that agree to follow him. The mismatched group of survivors, lead by firebrand Reverend Scott, must now navigate their way through a labyrinth of hazardous corridors, flooded compartments and dangerous events if they are to have any hope of making it out of there alive.

Ronald Neame is in the director’s chair and his flair for drama is evident by how he gets some emotional chapters in among the action, with the characters you sympathise with more than others. Neame is the director and a very astute choice, but the biggest vision comes from the ambitious Irwin Allen, who became something of a pioneering producer with the cycle of well designed obstacle course that is as unpredictable as it is dangerous. The sets, specifically considering that everything is turned on its head, are crafted with immense skill and passion. And if you’re talking about set pieces that stuck in the memory, The Poseidon Adventure is fit to bursting. The first is when the tidal wave hits, which definitely sets the ball rolling and is followed by the survivors using a large Christmas tree on the first step to hopeful safety. Another memorable set piece is when the group must swim for a long period of time through a multitude of chambers to reach the next destination, which involves each holding their breath for longer than expected. There is genuine tension here and seeing when Scott becomes stuck and tenacious(despite her advancing years) swims to rescue him is pretty exhilarating to watch. While some of it creaks in the beginning, the main thing you go into movies like this for is the effects and excitement of it all. And while yes some of the characters aren’t that interesting, there are some parts and various characters that give off a real poignancy. There are some lulls in the action and the opening is a little slow, but once that wave hits, it’s a thrill a minute spectacle. With the production design, the direction of and the grandeur vision of producer Irwin Allen, The Poseidon Adventure definitely delivers on its title in terms of what it presents and the often tense but always engaging struggle for survival from the ragtag group. And as it isn’t an overly CGI fest, because that kind of technology wasn’t even around much at the time, the dangers and perils of the journey are rendered with a bit more grit than the average disaster epic. You can feel the arduous task that lies ahead of them as they attempted to reach the bottom of the hip, which is now ironically the top. Visual effects like explosions and if course the destructive tidal wave are used, but it’s the way that they are employed that ensure it doesn’t feel fake or patchy in the long run. Instead, full on adventure and excitement are the name of the game here and the effects that are used seamlessly give life to the perilous fight for survival. John Williams, one of my favourite film composers, gives a stirring sweep to the adventure at hand, while also pausing for some very moving moments.

A pretty talented ensemble cast play the remaining survivors of the disaster, with many game for the adventure and drama. Heading the cast is the ever excellent Gene Hackman as the passionate Reverend Scott; all unorthodox and unbridled determination and sense of leadership once the tragedy occurs. His ideas are dangerous but necessary as a man of action, as he figures out getting out alive is not going to be a piece of cake. Yet at the same time, Hackman imbues Scott with a potent care for the other survivors and how he really does think with faith, they can pull through instead of sitting around to die. It’s safe to say Hackman gives it his all as a religious man with different ideas, who keeps pushing on for the sake of others, even when faced with a seemingly impossible task. Ernest Borgnine is on typically imposing and bull-dog like form as the oppositional police detective, with a sense of authority that he feels threatened by Scott. A bruised sense of optimism comes courtesy of the delightful Red Buttons, who somehow tries to make the best of this dire situations with his sympathetic care. Stella Stevens has a lot of brassy and brash behaviour on show, playing the former good time girl making her way in a new lifestyle. Shelley Winters nicely plays the older Belle, whose gutsy gumption, sense of humour in crisis and selfless personality are balanced beautifully. The part requires Winters to show off considerable endurance, especially during the famous swimming rescue scene, a challenge the veteran actress rises to admirably as well as emotionally. Jack Albertson plays classily off Winters as her husband; there’s a simplicity and quiet certainty shared between them that is very special and sensitively handled. Roddy McDowall lends his talents to the proceedings well, while young Eric Shea is clearly having fun as the little boy whose interest in ships comes to be invaluable in the situations everyone is caught up in. The only two flaws in the cast are Pamela Sue Martin and Carol Lynley, who both come off as irritatingly whiny in the long run. There is a good cameo from Leslie Nielsen as the ill-fated captain of the vessel.

Thrilling and exciting, and not forgetting huge in terms of sheer spectacle, The Poseidon Adventure is the go to movie for an exhilarating example of a disaster flick that helped kick-start the boom in the genre.

The Beguiled

Tags

1970's, Clint Eastwood, Don Siegel, Elizabeth Hartman, Geraldine Page, Jo Ann Harris, Mae Mercer, Pamelyn Ferdin, Psychological Drama, The Beguiled

Film Title

The Beguiled

Director

Don Siegel

Starring

• Clint Eastwood as John McBurney
• Geraldine Page as Martha Farnsworth
• Elizabeth Hartman as Edwina
• Jo Ann Harris as Carol
• Mae Mercer as Hallie
• Pamelyn Ferdin as Amy

A most unusual and unsettling tale of sexual repression, desire and revenge, The Beguiled represents something different from Don Siegel and his go to star Clint Eastwood. And that’s precisely what makes it so unique; it’s an unpredictable film that goes into some really dark areas and knows how to craft something shocking in the long run.

It is the Civil War and Corporal John McBurney is discovered wounded one morning in the South, by a young girl named Amy. She brings him to the all girls school she attends for help to his injuries . The stern headmistress Martha Farnsworth reluctantly takes McBurney in, despite her protestations of him being a Yankee which are discovered early on. The school also houses timid but well-meaning teacher Edwina, a group of young girls including temptress Carol and slave Hallie. These ladies haven’t been in the company of a man for a while, save for the occasional visit from the patrol with news of the war. Gradually, John is nursed into help but watched over due to him bring considered an enemy. But his very arrival signals something very dark that will shake the foundations of everyone to the core. The rigid status quo soon begins to crack as each of the women begin developing romantic longings for John. He leads them all on with his advances and manipulations, his conceit for others slowly emerging as he plays with their romantic feelings for his own pleasure. Even the rigid headmistress Martha starts to get hot under the collar and crumble as the facade of her righteousness stumbles, along with the easily influenced Edwina’s belief that John really loves her. Everything boils over eventually into shocking consequences in the school for everyone there . John is left to fend off the wrath of the scorned women that has been unleashed by his toying with their affections and is now coming back to viciously bite.

This refreshingly unusual and heated film provides Don Siegel with a really experimental film that takes a number of unexpected and shocking turns. It feels very much ahead of its time with some of the content it displays, marking it as different and pretty unsettling at the same time in a pretty psychological way. Don Siegel pitches the mood just right, suggesting the onslaught of dark content that transpires in the latter half, in the slow burn of things that allows The Beguiled to take on a measured but rewarding path to chilling finale. The mood is where The Beguiled is it; creeping away even when nothing startling is happening and throwing in little snippets of potential danger for the fun of it. The Beguiled is at its best as a Southern Gothic drama, that rises to fever pitch as sexual thoughts and betrayal tear the relative calm of the school to pieces. Super imposed frames, spinning camera to signify the unrest he will bring and Sepia toned frames are impressive tools in the arsenal of this strange film. In fact, The Beguiled feels very hallucinatory and disorientating in its construction, captured by the effectiveness of Don Siegel and his off-kilter direction. While the Civil War serves as a backdrop, another war between the sexes rages on in The Beguiled with sheer force and horrifying anguish within the confines of the school. At its core, it’s the male dominance slowly being subverted and oppressed by the female alternative that becomes the real backbone of this claustrophobic story. Stifled and feverish are words that come to mind when viewing the switch of the women in the story, slowly bubbling away until spilling over with John facing the full force of the wronged ladies. Some of it feels too over the top, but the percolating hysteria set off by the sly John is best observed in such an intense way that you can overlook these tiny flawed moments. The culmination of perverse sexuality and dark areas of the mind are evinced best in a hallucinatory dream sequence. In it John is with both Martha and Edwina, the three almost intertwined sexually in disturbing fashion through peculiar angles and overlapping images. An insidiously chilling score allows the unusual nature of this story to reveal itself slowly but surely.

Kudos must be given to Clint Eastwood for playing such an unsympathetic and nasty character. Successfully starting out quietly in his smooth manipulation of the women, his base instincts reveals themselves and his machismo emerges shockingly, resulting in all manner of hysteria among the women. Everything John experiences is by his own hand and it’s a credit to Eastwood’s abilities at capturing his moral ambivalence and greediness of his actions that makes the part an interesting one. Geraldine Page splendidly radiates buttoned-up authority under siege as the headmistress Martha, while laying bare that the morally respectable image she projects is covering something darker. Elizabeth Hartman delicately plays the meekness and abused kindness of Edwina, who falls hardest for John and completely under his spell because of her fragile disposition. Out of all the characters, she’s probably the most inherently decent throughout and the one hurt the most. Jo Ann Harris is good in the role of sultry temptress student, while Mae Mercer is wise as the slave who knows the impact John will have and resists his advances. Pamelyn Ferdin shines as the little girl who rescues him and develops a hopeless crush, only to see it dashed and shattered along with her innocence.

A film not easily forgotten is the best way to describe The Beguiled. With its lurid and unusual story, enlivened by the atmosphere and acting, it stands as a hauntingly intense psychological drama.

Sisters

Tags

1970's, Brian De Palma, Charles Durning, Jennifer Salt, Lisle Wilson, Margot Kidder, Psychological Horror, Sisters, Thriller, William Finley

Film Title

Sisters

Director

Brian De Palma

Starring

• Margot Kidder as Danielle/ Dominique Breton
• Jennifer Salt as Grace Collier
• William Finley as Emil Breton
• Charles Durning as Joseph Larch
• Lisle Wilson as Phillip

Brian De Palma’s first foray into thriller-horror in Hitchcockian style, Sisters is an unpredictable and unnerving movie that shows off what we’d all come to see as staples of his work and how successfully and creepily he’d craft them.

Danielle Breton is a French-Canadian model living in Staten Island and occasionally using her talents for an acting job. She has just appeared on a certain game show and has just been asked out by one of the contestants Phillip. The two hit it off over dinner where Danielle briefly mentions her twin sister Dominique, and how she hasn’t seen her for a while. Once at her apartment, the two share a passionate evening, but nothing can prepare anyone for the events the following morning. He is brutally stabbed by what appears to be a crazed Danielle( or is it the previously unseen Dominique?). Fatally wounded, he makes it to the window and using his own blood, spells out help. In the apartment opposite, industrious journalist Grace Collier witnesses the incident. She reports it to the police, but due to her history of exposing corruption in the ranks she is laughed off. Even when she takes detectives to Danielle’s apartment, there is no sign of a body and she is dismissed. But Grace knows what she saw and thanks to curiosity, she begins digging into the case. Grace also employs an old-fashioned private investigator Joseph Larch; who may be out of the game currently but still has a nose for this sort of mystery. Getting to the bottom of all of this is what Grace plans to do, though she doesn’t realise she’s opening a particularly twisted can of worms that includes Danielle’s former husband who is always sneaking around and much more.

Sisters was the first film from De Palma to be what many would cite as an inception of his trademark direction and themes. You’ve got the nods to Hitchcock, through stalking camerawork that recalls Rear Window and duality that points to Psycho. Split screens are employed in spectacular fashion, lasting for minutes while twinning together things that gain more impact as the film continues. In fact, doubles and duality are displayed in a very unusual and off kilter way that has you uneasy, and allows De Palma to fiendishly pull the wool over our eyes and then surprise is. Throughout the often crazed and baffling story, De Palma’s sure hand and control over what he is directing is in full effect, announcing the many more thrilling movies that would follow this peculiar yet riveting thriller. There is something quite surreal about Sisters, typified in a couple of menacing yet beautiful dream sequences, filmed in black and white and filled with an arch toying with perception( very befitting of the psychological horror we are presented with). Danielle and Dominique are both purposefully mysterious, leading us to not quite know which is which and just what the true agenda may be.  By the end certain things are revealed, just not in the way you’d expect them to be which allows Sisters to be something that won’t leave your memory quickly and puts the mind into overdrive. As creepy and chilling as the film is, De Palma laces a lot of moments with a sort of gallows humour that catches you off-balance, but does a lot to keep the story and our watching of it something unexpected and not at all typical. Added to this is an underlying examination of the way that women can be patronised and used by men; both Danielle and Grace experience many things at the hands of men, in particular Grace whose job as a reporter combined with her gender suffers stigma regarding her talent and choice of lifestyle. This little bit of commentary is yet another string to the movie’s impressive bow. Now some logic is a bit lacking in Sisters, but you’re that engrossed that the tiny flaw can be swept away and forgiven, especially for how minuscule it is. A screaming and alternating score comes courtesy of Bernard Herrmann. The score triumphs with sudden switches in sound and tempo that infuse necessary jolts of terror and spooky mystery.

Margot Kidder pulls double duty as the twins that give the film its title. Displaying very different personas that may actually be false or at the very least mendacious, Kidder blend them together with a jagged result of questions and uncertainty that is a plus for the gripping movie. Kidder plays the varying characteristics of both twins with a deliberately ambiguous approach, lending to the fact that we can never be sure whether it is Danielle or Dominique we are witnessing at any given time. Margot Kidder is very impressive, but it was Jennifer Salt that really caught my attention. Filled with a deep enthusiasm and courage of her own convictions, Salt naturally plays the crusading Grace, who gets more than she bargained for. There is a tenacity within the diminutive Jennifer Salt that suits the role nicely and although her insistence is often the thing that gets the better of her, we want her to succeed and unravel what she can. William Finley is menace personified as the creepy ex-husband skulking around, particularly in the way he uses his intense eyes that never seem to blink and appear to follow you. Charles Durning is wise ass and witty as the private investigator roped into the proceedings while Lisle Wilson has a small but unforgettable part of the unfortunate man who ends up butchered

An eerie and suspenseful movie of stylistic approach and creeping kookiness, Sisters represents the auspicious first entry into the art of scaring and spooking audience that De Palma clearly enjoys.

Obsession

Tags

1970's, Brian De Palma, Cliff Robertson, Geneviève Bujold, John Lithgow, Mystery, Obsession, Thriller

Film Title

Obsession

Director

Brian De Palma

Starring

• Cliff Robertson as Michael Courtland
• Geneviève Bujold as Elizabeth Courtland/Sandra Portinari
• John Lithgow as Robert Lasalle

An unearthly and mysterious homage to Alfred Hitchcock’s Vertigo, Obsession comes courtesy of Brian De Palma and displays him at some of his most overwrought and haunting. Complete with a spellbinding score and slowly more twisted story, Obsession has a lot in it that won’t leave your mind in a hurry.

Michael Courtland is a wealthy real estate developer in New Orleans with a great business, along with a beautiful wife Elizabeth and daughter Amy. Then out of nowhere to destroy this idyllic life, Elizabeth and Amy are kidnapped by criminals, who demand a very high ransom for their release. Going to the police and desperately trying to get his family back, Michael agrees to a rescue mission that looks like it could be successful. The plan is to take a briefcase to the drop point with fake money and a tracking device implanted, thereby leading the police and Michael to the whereabouts of his captured family. Unfortunately, the attempt to retrieve Elizabeth and Amy goes horribly wrong and after a lengthy chase, the kidnappers along with Elizabeth and her daughter die after their car crashes into the river. Over a decade later, Michael is still haunted by the loss of his family and totally obsessed with the memory of them. On a business trip to Florence with colleague and best friend Robert Lasalle, Michael visits an old church where he and Elizabeth first met. To his surprise he comes across Sandra Portinari, an art historian who is the mirror image of Elizabeth. Although completely at a loss as to why Sandra looks so much like his late wife but seeing that this could be a second chance, Michael gets completely infatuated by Sandra. The sprightly and effervescent Sandra returns the favour and the two fall quickly in love, though it is very obvious that Michael wants to recapture something that he had with Elizabeth through Sandra. Though Robert is concerned for his friend as he finds the whole thing very uncanny and worrying, Michael goes ahead and brings Sandra over to New Orleans with plans to marry her. But Sandra quickly grows fascinated by Elizabeth and begins acting odd, as if something about her predecessor is behind it. It looks as though history may well repeat itself with more fatal incidents, just as Michael believes he’s been given another shot at life. What follows is something that you will most definitely not be expecting.

Brian De Palma revels in channeling Hitchcock for this film, and does a pretty commendable job at emulating him. The devil is in the detail and the archness of De Palma’s approach, which genuinely makes for good viewing in this most twisted mystery. It can be said that Obsession gets a bit overly clever at times and has maybe one twist too many in its bag of tricks, but regardless of that it is a very compelling mystery thriller. The sprinkling of an atypical romance that eventually becomes disturbing allows the film to be one that is sure to reap benefits of repeat viewing. The screenplay from Paul Schrader is purposefully mysterious and knows exactly when to keep its cards close its chest.  And even when it goes overboard, the largely visual story is there to bolster things in an exquisite way. Almost everything in Obsession is shot through a shimmering filter that renders events in a fantasy and otherworldly aura from the very start, for a mystical experience that is not what it always seems. The employing of this form in the cinematography and direction of De Palma is sumptuous and extremely captivating, with nary a frame wasted to paint its unnatural and spooky on a large canvas. Many scenes are free of dialogue which gorgeously lets us fill the blanks in and allows the visuals that abound to weave this particularly dark story, which has a romance in it that takes on another connotation as the rug is pulled from under you. The use of Bernard Herrmann to score the film further evokes Hitchcock, as Hermann scored some of the Master’s best films. Here he imbues things with a deep choral angle that sounds like a returning vessel to the world of reality, while accentuating the hypnotic impact Sandra takes over Michael and later the presence of Elizabeth on Sandra herself. The score is ever-present in the film and it would simply bot have half the impact it does without the mournful yet eerily romantic music from Hermann.

Cliff Robertson is credible in the lead role of a man whose life is shattered, then is given what he believes is another shot through whatever intervention it is. Robertson may be a tad too subdued at times, but his stoic face and gradual shifts in temperament within the chilling story, fill in any gaps and still make it a very good performance. Geneviève Bujold is stunning in the dual role that merges as one on more than a few occasions. Bujold is beautifully ethereal and almost angelic in the best possible way, lending well to the haunting vibe of the overall story and the possibility of a spirit, at least in Michael’s mind, returning once more. You can’t take your eyes off her when you see her on screen as either Elizabeth or Sandra. It is Bujold that sticks most in the memory once Obsession has finished for her transfixing work. Stealing the scenes whenever his presence is required is the versatile John Lithgow, seen here as a disreputable businessman with the gift of the gab. An extrovert with a suspicious mustache, reptilian smile and slightly unusual glint in his eye, he’s a man you can’t help but find funny but also quite hard to read, which is where the excellence of Lithgow’s work lies.

So if you can handle the often overwrought story and sleight of hand tricks and unusual twists are your sort of thing, Obsession should work for you as a sinister yet beautifully filmed mystery, from the skillful hands of Brian De Palma. It definitely deserves notice at least from where I’m standing.

Klute

Tags

1970's, Alan J. Pakula, Charles Cioffi, Donald Sutherland, Jane Fonda, Klute, Roy Scheider, Thriller

Film Title

Klute

Director

Alan J. Pakula

Starring

• Jane Fonda as Bree Daniels
• Donald Sutherland as John Klute
• Charles Cioffi as Peter Cable
• Roy Scheider as Frank

An atmospheric thriller built on prowling paranoia through the direction of Alan J. Pakula, Klute also succeeds at being an unconventional urban drama with two fascinating characters, embodied spectacularly by Donald Sutherland and an Oscar-winning Jane Fonda.

Tom Gruneman; a family man mysteriously goes missing for no apparent reason. After the police have searched and turned up nothing, friend and private eye John Klute steps in and takes the investigation. He is a small town detective with not much experience in big cities, but he still dutifully takes on this case. The only clue as to what might have happened to Gruneman comes courtesy of an obscene letter he sent to a New York call girl. The girl in question is Bree Daniels, who seems to be not bothered about her lifestyle, but inwardly wants to break out from being a hooker and become an actress. In the area she lives in though, this dream is pretty slim which accounts for why she would need to turn tricks. The dependable and committed Klute travels to New York to see what he can uncover with regards to his friend’s disappearance. For a while, he watches Bree before making his presence known and questioning her of what she may know. Naturally defensive, Bree still manages to tell him about a client a few years back who brutally beat her up, but she can’t remember his name. Add to this the fact that she’s been getting cold calls frequently and Klute suspicions are raised. As he investigates and attempts to decipher what may have happened to Gruneman, he starts developing feelings for Bree, who has trouble reciprocating because of how distrustful and complex she is. Yet when a nearby prostitute is murdered and Bree begins to feel isolated, it appears that the crazed psycho may well have her in his sights. Bree is forced to trust Klute, which is something usually out of her remit as the steadfast Klute closes in on the stalker.

Alan J Pakula’s probing direction is a perfect match for the unconventional film that while ostensibly a thriller, reveals a personal drama in a place of seeming hopelessness. He is most adept at constructing paranoia in the viewer, achieved by placing the camera behind an assortment of obscuring surfaces. Surveillance is almost ever-present in Klute; which brings out a voyeuristic deconstruction of a seedy underbelly that the characters here occupy. The way that the camera stalks and tails Bree is both compelling and alarming, as it places us in the position of the crazed former client stalking the slowly more desperate Bree. While the spine tingling thriller aspects are plentiful and impressively drawn, the real crux and unique point of Klute comes in the characters and the attention it makes for them. The exploration of John and Bree are impeccably rendered and allow them to be characters that fascinate as well as challenge us. This is mostly seen in Bree, who is the focal point and key to the story. What is most enthralling about Bree is that she isn’t really like either of type of prostitute that is often seen in film; neither the hooker with the heart of gold or an emotionless broad. Instead, she occupies the middle ground and that , coupled with her complex relationship with Klute, is the lifeblood of this movie. John is also intriguing for how he manages to stay above corruption with his smarts and common sense, while still attempting to connect with Bree and solve the case. Special mention must go to the cinematography from the masterful Gordon Willis. He already stands as one of my favourite cinematographers and Klute displays his sublime gift for crafting darkness and shadowy intent. Combined with the piercing and perceptive direction of Pakula, the visual elements place is right in the middle of the strange and ever so unnerving story. Even when there is a spot of brightness in the film, something usually shocking or dark is occurring to offset any relief. A tremulous and minimal score that often echoes with eerie intent is employed to supply sufficient atmospheric impact, which it does it droves.

Klute may be the title of the film, but the main story belongs to Bree and how stunningly Jane Fonda essays the role. She garnered a well-deserved Oscar for playing the brittle prostitute and it’s not hard to see why. The character is one of so many angles and contradictions; tough and hard-edged yet achingly vulnerable, openly sexual and yet never really knowing the pleasure of love and seemingly fulfilled but crushed by failed opportunities. For any actress this role would be a high wire act that could have gone wrong, but Jane Fonda’s simply astonishing depth and ability to exhibit all of these traits is really something to behold. I can’t wax lyrical enough about how exceptional her work is here, she just never misses a beat and inhabits the role with a whole bunch of committed emotions, sometimes within a matter of seconds. Donald Sutherland’s wisely understated and stolid playing of the titular private eye is an exemplary counterbalance to Fonda, as he is the one who is doing the digging and managing to somehow remain from getting his hands dirty. In supporting parts, Charles Cioffi as the man Klute reports back to and Roy Scheider as a vicious pimp, do commendable work.

Filled with a piercing and voyeuristic insight into a place of urban and moral decay and exuding some nail-biting suspense, Klute makes a big impact and striking effect as we are invited into this world and behold the fantastic work from the two main actors, particularly a knockout Jane Fonda.