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.

Sea Wife

Tags

1950's, Adventure, Basil Sydney, Bob McNaught, Cy Grant, Drama, Joan Collins, Richard Burton, Sea Wife

The wonderful Gill and Cat invited me to take part in their Then and Now blogathon. I decided to review two movies, twenty years a part to fit in with the theme. As Joan Collins featured on one of the banners, it seemed only right to review two movies starring the great lady. The first up is Sea Wife.

Film Title

Sea Wife

Director

Bob McNaught

Starring

• Joan Collins as Sea Wife
• Richard Burton as Biscuit
• Basil Sydney as Bulldog
• Cy Grant as Number Four

An adventure drama from the 50’s that may not be high art and a tad disjointed, Sea Wife is nonetheless a worthwhile enough movie that holds the attention for its relatively short running time.

In 1942, a cargo ship in Singapore is boarding people before the Japanese Army arrives. They are however soon under attack, causing everyone to evacuate the boat. One a lifeboat, four disparate people end up escaping and separated from everyone else. None of them are really referred to by their real names, instead we get to know them through the nicknames they assign each other. There is military Officer Biscuit, beautiful Sea Wife( who is secretly a nun), bigoted businessman Bulldog and black purser Number Four. Frictions and tensions quickly rise as Bulldog and his prejudiced views belittle Number Four. Also, Biscuit begins to fall in love with Sea Wife, unaware that she is really a nun and is bound by her vows to God. Following being nearly thrown overboard in a storm, near starvation and desperation, they eventually end up washed onto an island. And while they all attempt to think of ways to make it back to civilisation, events take a tragic turn.

Bob McNaught and his direction are passable and do the job, yet can feel rather labored and in need of a fixer upper. The opening stretches of Sea Wife are the best areas of the film, with the attack of the ship and the subsequent introductions to the characters ending up quite fascinating. Sea Wife, while dated, is quite surprising since good doesn’t always triumph over bad here. In most old movies, good often prevails but in Sea Wife there is a definite melancholy to it that marks it out as something different. Plus, the topic of racism is approached with depth and a sensitivity rarely seen in a 50’s movie. Yet there are definitely some parts of the overall product that could have been improved. The sentimental nature is laid on a bit too thick in stretches and I think my biggest gripe was that events, especially when concerning the latter stages, feel rushed in comparison with the parts where we get to know the characters. A tad more expansion and some more back story for all of them would have been a blessing to this film. The flashback device is pretty nifty and well employed, while lending a bit more depth than what the script often gives us. Focusing on the attempts of Biscuit to find Sea Wife after the tumultuous events on the island, it gives more nuance to the film than it really should have. The music score for the film has a real sweeping quality to it, that I really enjoyed and found beautiful to listen to.

As the eponymous character, Joan Collins is the main focal point of the film. Although known primarily for playing super bitches and glamour goddesses, it’s somewhat refreshing to see a very young Joan Collins in a serene and sincere role. There’s a real sweetness to her here and her beautiful face often speaks volumes in terms of feeling. If you’ve only ever thought of Joan Collins as the aforementioned diva, please check out Sea Wife to see another side to her. You may be surprised to see her play a nun, but it actually works. The ever intense Richard Burton is on hand too, with his customary seriousness and brooding, ideal for his part of the pining man. Basil Sydney really gets into character as the horrible racist, whose prejudices and nastiness, are rendered in full villainous form. Finally, we have Cy Grant as the abused yet useful man, who suffers at the hands of Bulldog simply because of his skin colour. It is with the cast that Sea Wife rises above its many flaws. And while their roles are not what you’d call the best written, they all make them work.

No classic of adventure by means, but still owning enough moments and good acting to tide us over, Sea Wife is an interesting movie to be sure.

Turn the Key Softly

Tags

1950's, Drama, Jack Lee, Joan Collins, Kathleen Harrison, Terence Morgan, Turn the Key Softly, Yvonne Mitchell

Film Title

Turn the Key Softly

Director

Jack Lee

Starring

• Yvonne Mitchell as Monica Marsden
• Joan Collins as Stella Jarvis
• Kathleen Harrison as Mrs. Quilliam
• Terence Morgan as David

The first twenty-four hours of release from prison of three different women are dramatised in Turn the Key Softly. Although some of the social drama it strives for can get forced, it is largely an honest and sympathetic examination of the paths we may or may not take in life. Strong performances from the female leads help it be watchable.

On one morning, three women are released from Holloway Prison, London. Each woman is somewhat different from the other and slowly we piece together why each was imprisoned. Monica Marsden is a middle class lady who was seduced by crook David and coerced into helping him with his thieving activities. She was caught and David got away, leaving her to take the blame. Stella Jarvis is a pretty young thing who we are lead to believe fell into prostitution so she could afford the material things in life, despite having found seeming happiness with a kindly bus conductor. And lonely Mrs. Quilliam is very poor and has multiple offences of stealing food to provide for herself. Their returns back to society take different turns as they are forced to confront life once more and decide what is to be done, regarding personal feelings, circumstances and the nature of choice. Monica has to contend with oily David entering her life again, Stella must make a choice of whether material wealth outweighs potential happiness with her forgiving boyfriend and Mrs. Quilliam has to deal with being neglected by her daughter and only having her pet dog Johnny for support and companionship. The question is, just which path will each lady take now that they are back out in the world again?

Director Jack Lee does a commendable enough job at bringing out dramatic and emotional impact, though it can be said that some of the film and story is basic and could have done with more extension. After all, Turn the Key Softly only runs for under 80 minutes, which both has a weakness and goodness to it. I think the positive parts manage to raise the film up a lot, and while still flawed, when it hits the dramatic mark it is damn effective. Some of it comes off as more than a little superficial, in particular the rather sketchy way that Stella’s story is written. Her arc has watchable and sports interesting areas, but it doesn’t quite have the gripping power of the other two women’s experiences. Monica and Mrs. Quilliam have the more compelling stories; facing the grim realities of their situations, consisting of trying to not be drawn to a bad influence and crushing loneliness. When the focus is on these characters and their struggles, Turn the Key Softly gains points and a sense of drama. The use of black and white highlights the challenges ahead for the ladies and London in bustling but unforgiving fashion. The film was made in the 50’s and England was still suffering post war austerity, which is subtly referenced by the fact that there is no flash of razzmatazz to the editing of cinematography. It’s largely observant and the unvarnished style suits what Turn the Key Softly strives for. A jolt of tension and suspense keeps Turn the Key Softly good in the last half as Monica’s former flame puts in motion a job, which he drags her into under extreme duress. One of the best things Turn the Key Softly does is not sugarcoat the three main characters or condone what they have done. It presents them as humans, who have made mistakes and are attempting to get back on track once more. The music score is suitable enough when being understated, but there are times when it takes away from the story by going overboard with flourishes.

If there is anything that makes up for the occasionally flawed execution in the film, it’s the acting. Yvonne Mitchell brings dignity, demure grace and indecision to her part of the middle class Monica, who wrestles with her feelings for her slimy former boyfriend and tries to make a life for herself. She’s an intelligent woman but like all of us, not immune to the complex feelings of the heart. This is what Mitchell plays ideally; the desire to move on, but the constant lingering of the past that won’t loosen its grip. Joan Collins, although having the most limited role, is still very charming and brassy as the often vain Stella. She’s got an impudence, dreamy eyes and sassiness to her, tempered with a feeling of uncertainty over her future. The beautiful Joan Collins makes the part very watchable, owing to her naturalness and personality. The trio is rounded out by the weariness and sadness of Kathleen Harrison as the lonely old Mrs. Quilliam, who’s only company is her beloved dog Johnny. Here is a woman of desperation and desolation, who still attempts to keep a smile on her face despite her increasing adversity. You want to give this woman a hug and tell her that things are going to be OK, that’s how emotionally convincing and sympathetic Harrison is. Terence Morgan is the definition of a louse, and a nasty one at that when playing Monica’s crooked lover. Although he’s slick and smooth, you know exactly what he’s up to and really do want him to get what’s coming to him in be way or another.

So while it sometimes doesn’t get beneath the surface of stat it’s intending to display, Turn the Key Softly is still on the whole, a well acted and interesting film that paints a pointed and frequently realistic picture of three women experiencing life and it’s difficulties again after their release from prison.

Fear in the Night

Tags

1970's, Fear in the Night, Jimmy Sangster, Joan Collins, Judy Geeson, Peter Cushing, Psychological Horror, Ralph Bates

Film Title

Fear in the Night

Director

Jimmy Sangster

Starring

• Judy Geeson as Peggy Heller
• Ralph Bates as Robert Heller
• Joan Collins as Molly Carmichael
• Peter Cushing as Michael Carmichael

A creepy psychological entry into the realms of Hammer Horror comes Fear in the Night, a neatly constructed and suspenseful piece of sinister horror and rising menace. It may not rank as high as other movies from the studio, but it certainly gives off a creepy atmosphere and good performances that are hard to shake off.

Peggy Heller is a young woman who has recently married her teacher husband Robert after a short courtship. A few months prior to the marriage, Peggy suffered a nervous breakdown of which she is now recovering from. Her recovery is disturbed after she is attacked by an unknown assailant with a prosthetic arm. Although Peggy believes the attack on her was real, everyone around her believes her fragile mental state is to blame for it. Robert invites Peggy to stay in a cottage on the grounds of the school he works for. The old building is empty as the children have gone home for half term. After meeting the mysterious headmaster Michael Carmichael, who has a habit of appearing out of nowhere and his vindictively bitchy wife Molly, Peggy is again attacked by the unknown assailant. This plunges Peggy into a terrifying search for the truth in the ominous building and suspect individuals that occupy it as more creepy events begin to occur. Is all of this in Peggy’s mind? Or does she really need to be worried about her safety in the school? As the tension rises, will Peggy be able to figure out the mysterious events before it’s too late?

One thing to praise in Fear in the Night is the way it keeps you guessing for a long time. We are made to doubt our suspicions of characters because of conflicting stories and this quality makes the film very creepy indeed. One minute we’re suspecting one character, the next it’s completely turned on its head. Jimmy Sangster adds the spooky atmosphere to the film and the constant shift in suspicions by cutting scenes very close together, so it appears that they are all linked in the most sinister way. Sometimes this style may over complicated things, but he admirably keeps it in line for the majority of the picture and keeps us guessing what strange events are occurring around the terrified Peggy. Relying on sound and atmosphere, Sangster makes sure Fear in the Night is psychological if nothing else. The music for the film is an eerie mix of creeping rhythms and sudden jolts of terror that really envelop the film in a twisted glee.

Judy Geeson makes an impact as the vulnerable and childlike Peggy, capturing how her already precarious hold on events begins to crumble as she becomes more terrified by her surroundings and the repeated attacks on her by someone who no one has seen. Ralph Bates is suitably enigmatic as Robert, we are never sure whether he knows more than he is letting on or not. The sultry Joan Collins is feisty and devilishly bitchy as the headmaster’s wife, whose cutting remarks and seductive appearance begin to threaten Peggy. Although only playing a brief part, Peter Cushing cuts an imposing figure as the headmaster who seems to be around when creepy events happen.

It may not be up there with the greats of Hammer Horror, but Fear in the Night is a neat little horror flick with just enough atmosphere to keep you interested for an hour or so. Plus, it makes for creepy viewing with Halloween just around the corner.

 

 

The Bravados

Tags

1950's, Gregory Peck, Henry King, Joan Collins, Stephen Boyd, The Bravados, Western

Film Title

The Bravados

Director

Henry King

Cast

• Gregory Peck as Jim Douglas
• Joan Collins as Josefa Velarde
• Stephen Boyd as Bill Zachary
• Albert Salmi as Ed Taylor
• Henry Silva as Lujan
• Lee Van Cleef as Alfonso Parral
• Herbert Rudley as Sheriff Eloy Sanchez
• Joe DeRita as Simms

A powerful and brooding western about revenge and redemption, The Bravados boasts an impeccable central performance from Gregory Peck. Thrillingly scored and impressively shot, the film is a grim parable of a man driven to the extremes by the need for vengeance against those he holds responsible for the shattering of his world.

The Bravados begins with Jim Douglas, a rancher who has been hunting a quartet of outlaws for over a period of six months, arrives in the quiet town of Rio Arriba. His journey is for revenge against the four men he believes raped and murdered his wife. The four men are due to hang the next day for other crimes they have committed. After talking with the sheriff, he is allowed to see the four criminals, who are led by the crafty Bill . He observes them but none of them seem to recall his face. The arrival of Jim coincides with the other arrival of Simms, the man charged with carrying out the hanging. Jim also meets Josefa, an old flame who has wondered about Jim since she last saw him five years ago. Later that night, whilst the townspeople are at mass, Simms who it is revealed is in league with the criminals helps them escape. The quartet quickly steal a few horses and take a local man’s daughter captive as they ride away to escape justice. Jim, with the help of a few local men, shortly follows them through various gorges and mountains, all in a single-minded quest to eliminate the men he believes have caused him so much pain.

Visually, Henry King’s revenge-riddled film is a marvel containing gorges soaked in gold and dust that juxtapose with images of Jim relentlessly and violently pursuing the outlaws. Also, the scenes at night bathed in blue hues as we watch a man get in touch with his darker impulses and wrestle with his morality. The score is adventurous and contributes to the danger of the journey ahead for the characters, especially Jim. Gregory Peck turns in a powerful performance of bitterness, vengeance and determination that pushes him to the brink of madness. As we watch him hunt down the men, we are left to wonder whether they have really committed the crime he accuses them of. Peck embodies these conflicted emotions excellently and conveys a deep pain within his character as his relentless quest continues to its end and his morals are called into question. Joan Collins stars as his former love interest who still carries a torch for him, but her part is underwritten and she is miscast. Despite this, she does manage some effective moments, mainly when she gets Peck’s character to confront his loss of faith after his wife’s death. Out of the gang of outlaws, Stephen Boyd makes the biggest impression as the de facto leader Bill. He possesses a sinister smile and unnerving demeanor that come into play when he toys with the emotions of the girl they have taken captive. The many shoot outs and chases on horseback are entertaining, but what gives the film a uniqueness is the dedication to the characters as they emotionally unravel through revenge and remorse.

In my opinion, The Bravados is an underrated film that deserves more notice. It may not be up there with the best westerns, but it certainly burns itself deep into the mind after viewing it.