Category Archives: 70’s Movies

Blume in Love (1973)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Cheating husband seeks reconciliation.

Stephen Blume (George Segal) is a successful divorce lawyer who suddenly finds himself stuck in a break-up of his own when his wife (Susan Anspach) catches him cheating with his secretary and then leaves him. Now Blume becomes obsessed with winning her back and even starts up a friendship with her new live-in lover (Kris Kristofferson), but as his frustrations boil over he begins to react in violent ways when he can’t get what he wants.

Director Paul Mazursky delivers another insightful look at love and marriage and how the two aren’t always compatible. The narrative works in a fragmented style where clips of the different stages of the relationship are shown at various times and allows the viewer to see the many changes the two go through particularly with our protagonist whose internal flaws are ingloriously displayed for all to see. Normally this could prove a turn-off, but Segal manages to keep the character painfully human enough to be engaging most of the way even though he eventually overstays his welcome.

Mazursky gives the proceedings an artsy, cinema vertite flair especially with the way he captures St. Mark’s Square in Venice and by creating an offbeat romance that is filled with caustic humor. I also enjoyed the supporting cast including Marsha Mason as Blume’s new girlfriend who has a strong bit when she tearfully admits that she will ashamedly remain with Blume even after he acknowledges to her that he thinks only about his wife when the two make love.

Donald F. Muhich is fun as the psychiatrist. He was Mazursky’s real-life analyst and got paid back by being cast in four of his movies. His facial expressions and responses to his patients are so spot-on that it makes you feel like you’re attending an actual patient-doctor session.

Even Kristofferson does well in a part that takes advantage of his laid-back acting style though his character’s friendship with Blume gets overplayed. I felt even the most easy going of people would’ve drawn some boundaries and never have tolerated an ex-husband being around as much as he was. The scene where he finally does punch Blume, which should’ve come a lot sooner, gets totally botched because it has Kristofferson breaking down into a teary-eyed wail right afterwards for no apparent reason.

The film’s biggest flaw though is its manufactured happy ending that makes no sense. Blume was clearly too selfish and immature to have a healthy relationship with anyone and the fact that Anspach decides to accept him back even after he forcibly rapes her is absurd. Both characters were in need of some major psychological counseling and not each other. The fact that the film for the majority of its runtime plays like an anti-love story only to end up throwing in a clichéd wrap-up like all the other formulaic romances makes it a sell-out and a waste of time for the viewer looking for something intelligent and different only to find out that it really isn’t.

My Rating: 4 out of 10

Released: June 17, 1973

Runtime: 1 Hour 55 Minutes

Rated R

Director: Paul Mazursky

Studio: Warner Brothers

Available: DVD, Amazon Video

Murder on the Orient Express (1974)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: They all did it.

The time is December, 1935 and world-renown detective Hercule Poirot (Albert Finney) boards the Orient Express as an unexpected guest who’s able to find a spare compartment due to his friendship with the train’s owner (Martin Balsam). During the night one of the other passengers (Richard Widmark) is found dead and it is up to Poirot to solve the crime while the train remains stalled by a large snow bank.

This production is considered by many to be the best film version of any of Agatha Christie’s novel-to-screen attempts and in fact the author herself said as much when she attended a showing of the movie on the night of its premiere. Director Sidney Lumet’s ingenious touch is on-target the whole way as he creates a nice blend of kitsch and camp until the over-the-top costumes, playfully sharp dialogue, and glossy camerawork become more of the fun than the mystery itself.

In fact it’s Lumet’s ability to capitalize on the little things and control every minute detail that makes it so captivating even on repeat viewings. Their ability to turn an abandoned warehouse into a bustling train station is just one example. I also enjoyed the moment when the train leaves the station that gets done to the sound of a waltz composed specifically for the film by Richard Rodney Bennett. Originally they were going to have train sounds edited in and had hired a sound engineer who had spent his whole life recording these noises for specifically this purpose only to get the disappointment of his life when he was told that they had decided to go with the music alone, which crushed him so much that his eyes welled up with tears and he never returned.

Finney’s performance is outstanding. He was not someone you’d have in mind initially for this type of part, but through his brilliant acting and effective make-up he disappears into the role and immerses the viewer in the presence of this highly eccentric character and his unusual habits including the way he puts both his hair and moustache into a hair net before going to bed and reads a newspaper while wearing gloves.

The star studded supporting players are perfectly cast for their parts too. Anthony Perkins nicely plays-up his nervous man routine while Wendy Hiller is enjoyable as the caustic aging Princess who wears a constant frown because her doctor advised her that smiling ‘was not good for her health’. Widmark has an amusing conversation with Poirot particularly with his inability to correctly pronounce the detective’s last name and Ingrid Bergman shines in a small bit as a poor, but devoutly religious woman, which was enough to net her the Oscar for best supporting actress.

Spoiler Alert!

The murder scene in which all the passengers file into Widmark’s cabin and systematically take turns stabbing him is, like with everything else, astutely captured particularly with the way it’s shot by using only a blue tinged light as its sole light source. Lumet craftily uses a two-camera set-up here in which one camera captures the characters and the other focuses on Lauren Bacall’s character’s reactions to it as she stands at the doorway as a lookout. Bacall was never known as an actress to show much vulnerable emotion, but here, at least through her facial expressions, she does quite well. However, this segment also reveals a fatal flaw as Poriot’s cabin was right next to Widmarks’s and earlier in the film he was able to hear the conversations going on in the cabin next him almost perfectly, but then as each participant takes turns stabbing Widmark they say something out loud and yet for whatever reason Poirot never hears this, which makes you wonder why.

End of Spoiler Alert!

The script, by Paul Dehn, gets talky but is saved by its amusing verbal exchanges and Lumet’s use of different lenses to capture it, so I didn’t find it a problem in a movie that deserves its classic status both a mystery and cinematic achievement. The remake directed by Kenneth Branagh is set to be released in November.

My Rating: 8 out of 10

Released: November 24, 1974

Runtime: 2 Hours 8 Minutes

Rated PG

Director: Sidney Lumet

Studio: Paramount

Available: DVD, Blu-ray (Region B/2, A/1)

The Driver (1978)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: A professional getaway driver.

Ryan O’Neal plays a man who makes a living as a getaway driver for crooks leaving the scene of a crime. His driving skills are superior and in the criminal underworld his services are in high demand. Bruce Dern plays a police detective obsessed with catching this elusive driver. He makes a deal with a couple of bad guys (Joseph Walsh, Rudy Ramos) to hire this driver for their next robbery and then set him up for a police trap. The Driver is initially reluctant to work with the two, but eventually joins them only to ultimately look for help from a beautiful French woman known as the Player (Isabelle Adjani) to get him out of his jam.

I’ve never been much of an O’Neal fan, but here his lack of acting depth makes the movie more intriguing. The part was originally intended for Steve McQueen who would’ve given the role the stereotypically gritty treatment, but O’Neal has more of a boyish male model demeanor which makes you question whether he is tough enough, or brazen enough to handle the driving demands, so seeing him flourish when you’re not quite expecting it gives the character an interesting edge. I also liked the fact that at times even he conveys nervous facial expressions as he takes the vehicle through dangerous turns, which helps show even the ‘cool guys’ are human.

Dern easily steals the picture as he continues to find entertaining ways to give unique and memorable touches to all the characters that he plays. The dialogue that his character utters conforms yet again to his patented delivery. For instance he accuses his partner (Matt Clark) of possibly being a ‘fruitter’. In the past men of the gay persuasion were sometimes called ‘fruits’, but never a ‘fruitter’ which is a word he totally makes-up and would be considered inane and silly if said by anyone else, but when said with Dern’s patented delivery it makes the character seem even more unhinged and threatening instead. In fact Dern’s conversations with Clark are some of the movie’s best moments.

Although Adjani’s screen time is limited and I still enjoyed her presence and the fact that she doesn’t show any of the typical female vulnerability, but instead seems more stoic than any of the men makes her stand out from other female characters of that era. It’s also fun seeing her facial expression turned to an almost catatonic state during the film’s high octane final chase sequence.  Ronee Blakely doesn’t fare quite as well as she says her lines in too much of a monotone fashion though the ironic way that her character meets her demise does deserves a few points.

The chases are exciting particularly the opening one, which is done at night and the one done inside a car garage in which O’Neal intentionally destroys the car that he is driving in an attempt to teach the two other occupants that he is with a lesson. The cat-and-mouse scenario inside an abandoned warehouse that makes up the bulk of the film’s final chase is slick as well, but I felt there needed to be at least one more chase added as the film gets talky in-between and away from the action, which is what people that come to these type of films genres expect especially with the title that it has.

Writer/director Walter Hill shows a keen eye for detail and manages to capture everything, even an abandoned parking garage with a stylish allure. The script is smart and sophisticated with the character’s expressing themselves by using only the most minimum of words possible. The plot has a unique quality, but still manages to stay believable and why this thing failed at the box office and was chastised by the critics at the time is hard to understand, but it’s gained a strong cult following since and deserves more attention for being years ahead-of-its-time.

My Rating: 8 out of 10

Released: July 28, 1978

Runtime: 1Hour 31Minutes

Rated R

Director: Walter Hill

Studio: 20th Century Fox

Available: DVD, Blu-ray (Region B/2)

Amateur Night at the Dixie Bar and Grill (1979)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Five minutes of fame.

A bar on the outskirts of a nameless small town becomes the social setting for a group of everyday people who flock to it one night in hopes of winning an amateur act contest. Every one of the contestants is fighting some inner demon or insecurity and critiqued by a judge (Henry Gibson) that is being bribed by different parties to choose their candidate over the others. There’s also a dangerous serial killer lurking about known as the Disco Killer, who has shot up several other venues in the area and may be eyeing the Dixie bar as his next target.

This TV-movie, which was written and directed by Joel Schumacher, seems way too similar to Robert Altman’s Nashville to be considered original. Clearly that film was this movie’s inspiration and this one does not go far enough with the concept and would’ve been better had its runtime been extended and the characters more fleshed out. Certain actors, such as Don Johnson and Candy Clark, are underused and there’s not enough of an understanding of the town that the bar was in. Some shots of rundown buildings in an isolated area would’ve helped give the viewer a better feel for how bored these people were and why they would be motivated to go on stage and essentially make fools of themselves just for the lofty chance at somehow escaping their otherwise hopeless existence with a small shot at fame.

What I did like is that the entire story takes place in one setting. The only time the camera ventures outside of the cramped place is when it goes into its parking lot for brief periods, but otherwise this bar is the center of the universe for these characters, which for many small town people, especially before the advent of the internet, is what bars such as these represented.

The stage acts themselves were a bit disappointing and could’ve been played-up more as I was expecting something a little more along the lines of stuff seen on the old Gong Show or stupid human tricks from David Letterman. The scene where a big fight breaks out in a dressing room that is far more exciting than anything occurring on stage does allow for some irony and the part where actor Rick Hurst attempts to crack open a coconut by using nothing more than his bare teeth is engaging, but more acts in this vein was needed.

Having Tanya Tucker appear as this shy woman who lacks confidence despite possessing the talent and walks off the stage in humiliation at the start only to redeem herself later, is too manufactured. I much preferred Pat Ast as this homely, overweight woman who unexpectedly wows everyone with some rousing showstopping numbers that should’ve made her the winner instead. I also felt that the so-called prize, which was simply the privilege to appear on stage at that same bar for two straight weeks, was too skimpy. People have bigger dreams than that even in a dusty small town and want more of a reward like  a trip to Hollywood, New York or a contract with an agent in order for them to be excited enough to go through what they do.

There is also no payoff to the Disco Killer storyline. He gets discussed quite a bit and there are even TV news reports about him, but then he never appears, which feels like a letdown. I’m not saying there needed to be a bloody sequence where a killer shoots people dead, but maybe a scenario where the contestants, who are quite competitive with one another otherwise, manage to come together enough to subdue the bad guy, or some other lighthearted element that would’ve at least brought a conclusion to the subplot instead of just letting it hang.

Sheree North as an embittered alcoholic easily steals it and has some of the best lines. There is also a long tracking shot in which the camera starts out at the back of the bar and then slowly weaves its way up onto the stage that is great too. The film certainly has its share of moments and as a TV-Movie it’s impressive, but lacks finesse for the big screen.

My Rating: 6 out of 10

Released: January 8, 1979

Runtime: 1Hour 36Minutes

Director: Joel Schumacher

Studio: Universal

Available: None at this time.

Hot Stuff (1979)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: A phony pawn shop.

Tired of seeing the criminals they apprehend getting off on legal technicalities three cops (Dom DeLuise, Jerry Reed, Suzanne Pleshette) decide to turn-the-tables by opening up their own pawn shop, which will work as a front to reel in the crooks that try to resell stolen items. They use the magic of a hidden camera and video tape, which was a new thing at the time, to record the criminals as they bring in the stolen loot and therefore leave no question as to their guilt, but their plan gets off to a rocky start and only gets more convoluted as they proceed with it.

The film, which was directed by DeLuise, starts out fast and includes a car chase before the opening credits even occur, but once the premise is established it bogs down. Supposedly much of what occurs is based on real-life accounts taken from various police cases, but it lacks cohesion. There are gun battles and a wide array of criminal characters that pop up out of nowhere with the pawn shop setting being the only thing that loosely ties it together. Any element of reality gets lost during its farcical ending, which involves all the criminals attending a party that quickly turns into a long drawn slapstick-like battle that resembles something found in a cartoon and is really inane particularly the pathetic ‘fights’ that occur between the various characters where it is clear the actors are pulling their punches and not doing a very good job of disguising it.

The film does make an effort, at least at the beginning, to show the private side of a cop’s life and many of the frustrations that go along with doing the job, but by the end the characters seem too comically inept to be believable. I also found it amusing that DeLuise uses his own children to play the kids of his character even though with their blonde hair they looked more like they should be Reed’s offspring instead.

The one funny moment comes when DeLuise smokes some weed and goes off on a long laughing binge that is genuinely memorable, but otherwise this thing, which was shockingly co-written by the normally reliable Donald E. Westlake, suffers from an uneven focus that is more content at showing slapdash comedy than conveying something that is original, interesting or multi-dimensional.

My Rating: 3 out of 10

Released: August 10, 1979

Runtime: 1Hour 31Minutes

Rated PG

Director: Dom DeLuise

Studio: Columbia Pictures

Available: DVD

Aloha, Bobby and Rose (1975)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: They dream about Hawaii.

Bobby (Paul Le Mat) enjoys racing cars and shooting pool, but resists being tied down with a steady job. Rose (Dianne Hull) is a young single woman trying to raise a small child on her own while still living with her mother (Martine Bartlett). By chance the two meet one day and instantly hit-it-off. They decide they want to run away together to the exotic locale of Hawaii, but lack the funds. Bobby tries to hold up a liquor store by using a fake gun, but the shop’s owner comes out of a back room and threatens to kill him, so Rose hits the man over his head with a bottle and the gun accidently discharges and kills the young clerk. Now the two must go on the run and evade the police who are after them.

Unfortunately the basic premise here is highly flawed making it hard if not impossible to get into it. For one thing there was no one else in the liquor store to ID the young couple, so the police would not necessarily be looking for them. Secondly the clerk was shot by the store owner, not by Bobby or Rose and the gun is clearly in the man’s hands when he falls to the ground. A simply residue test would prove that he was the one who fired the weapon and it wasn’t just planted on him afterwards. Since there was no one else in the store Bobby and Rose could simply say that the owner and clerk got into an argument and the owner threatened to kill the young man, so in an effort to save him Rose hit the owner with a bottle, but the gun went off anyways. There would be no else to refute this barring that the owner did indeed die and even if he had survived it would simply be his word against there’s and ultimately he would still be the one caught holding the gun, so in essence these kids seem to be running for no real reason.

There is another scene later on where the two crash the car they are driving and conveniently find another one sitting in a dark alleyway. The movie doesn’t even bother to show Bobby hotwiring it, which is how they usually steal cars in the movies, but later on we see him turning the ignition to the car in an effort to start the vehicle. This then signals that the keys were left in the ignition when they found it and the windows rolled down, but how many cars does one find out on the street, or anywhere for that matter, that are like that?

I did appreciate that the film shows in slow motion their heads hitting and cracking the windshield during the accident as this is what will occur especially when the occupants are not wearing their seatbelts. Yet later on they go into a washroom and wipe the blood away with a wet cloth and it’s all gone, but bleeding from the head most likely means that the skull was cracked and would require stitches, which means continual bleeding even if the dried blood gets erased.

The location is wrong as well. The setting is Los Angeles, but several characters speak with southern tinged accents and just about all of them convey small town sentiments. Very little footage is shown of the two actually out on the open road and the music that gets played is a scattershot mix of ‘70s tunes that runs the gamut of musical genres and never gives the film any unifying sound or mood.

The supporting cast helps a bit. I enjoyed seeing Robert Carradine looking like he was still in high school. Tim McIntire adds some verve as an outspoken Texan who has no qualms mixing-it-up with anyone that he comes into contact with and Bartlett is engaging as the flaky mother, but the story meanders too much and goes nowhere. There were many road movies that came out during the 70’s and many of them were well done, but this isn’t one of them.

My Rating: 2 out of 10

Released: April 29, 1975

Runtime: 1Hour 28Minutes

Rated PG

Director: Floyd Mutrux

Studio: Columbia Pictures

Available: DVD

The Ritz (1976)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Hiding out in bathhouse.

On the run from is homicidal brother-in-law (Jerry Stiller) heterosexual businessman Gaetano (Jack Weston) decides to hide out inside a Manhattan bathhouse unaware that it’s for gay men only until he’s already stuck inside. While there the overweight Gaetano gets harassed by an amorous chubby-chaser (Paul B. Price) as well as an aging starlet named Googie (Rita Moreno) who thinks Gaetano is a Broadway producer who can finally give her the long-waited break that she feels she deserves. Things get even worse when his brother-in-law finds out where Gaetano is hiding and proceeds to shoot up the place until he is finally able to weed him out.

For a farce, which is based on the hit Broadway play by Terence McNally and has much of the same cast recreating their roles for the movie, this thing is pretty much dead-on-arrival. The plot is thin and predictable and not enough happens to justify sitting through it. There are a few snappy lines here-and-there, but overall it’s effect is flat while filled with a lot of mindless running around that eventually grows quite tiring. Director Richard Lester has had success with this genre before, but the material here is unimaginative and second-rate and having everything confined to one setting gives it a claustrophobic feel.

The supporting cast gives the proceedings a boost and to some extent saves it from being a complete misfire. F. Murray Abraham nails it as a flaming queen and manages to elicit laughs with every scene he is in. Treat Williams is quite good as an undercover detective who’s a very well built man, but stuck with the voice of a 5-year-old. Jerry Stiller is surprisingly effective as the gun-toting bad guy and this also marks the film debut of John Ratzenberger.

Kudos must also go out to Moreno whose hilariously bad rendition of ‘Everything’s Coming up Roses’ is a film highlight. I also liked the precarious way that she puts on her eyelashes and the fact that her so-called dressing room is inside the building’s boiler room. The only performance that doesn’t work is Weston’s as his character is too naïve and his over-reactions to everything that occurs around him quickly becomes one-dimensional.

There may have been a time when this type of storyline would’ve been considered ‘fresh’ over even ‘daring’, but that time is long gone. In fact I couldn’t believe how tame and shallow it was. Whatever passed for farce back-in-the-day is no longer tangible, which makes this one relic that deserves its place on the back shelf of obscurity.

My Rating: 3 out of 10

Released: August 12, 1976

Runtime: 1Hour 31Minutes

Rated R

Director: Richard Lester

Studio: Warner Brothers

Available: DVD (Warner Archive), Amazon Video, YouTube

Death on the Nile (1978)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Murder on the river.

Based on the 1937 Agatha Christie novel of the same name the story centers around everyone’s favorite Belgium sleuth Hercule Poirot (Peter Ustinov) as he tries solve a murder that occurs while he is traveling on a steamer going down the famous Nile River.

The on-location shooting in Egypt is the film’s chief asset. The scene where actors Simon MacCorkindale and Lois Chiles climb to the outer top of a pyramid is impressive as in the extended scene inside the Karnak Temple Complex. However, outside of this the visuals are blah and this entry fails to show the same cinematic flair done 4 years earlier of another Christie novel that was brought to the big screen Murder on the Orient Express.

I was also not too impressed with the steamer that was used to cart the characters down the river as it appeared to be too small and not at all luxurious. The fact that the production crew took a real steamer that they had found and then painstakingly recreated it to a minute detail inside the Pinewood studios in London is certainly commendable, but I felt the insides of the cabins were too big and too fancy and not in proportion to the actual boat that we see from the exterior, which looked like nothing more than a cheap, mid-sized thing that could be rented by a small family at a modest price for an afternoon on the lake.

The story itself takes too long to get going and in fact the murder and actual mystery doesn’t occur until 1 hour and 10 minutes in. Mia Farrow gives a provocative performance and it’s interesting seeing how things were before there were anti-stalking laws and people could simply follow around those that they hated, which is what the Farrow character does here, and harass the hell out of them without any fear of breaking any penalty, but the set-up gets too played out. The supporting cardboard characters are dull and put in simply to heighten the mystery with their own motives for wanting to kill the victim, which comes off as formulaic.

The ultimate denouncement isn’t too great either. I never read the book, so I don’t know how closely this follows it, but the explanation for how the killing is done hinged too much on careful split-second timing that I don’t think anyone would’ve been able to actually accomplish nor even want to risk trying. Also, the evidence that Poirot uses to solve the crime is threadbare and circumstantial to the extreme and if the killer’s hadn’t ultimately cracked under pressure I’m not so sure they would’ve been convicted.

The cast of big name stars is wasted and only Angela Lansbury is entertaining as the alcoholic erotic novelist, but even here her drunken condition gets overplayed as we never ever see her sober making it seem almost like she suffers from a degenerative disease like cerebral palsy. Ustinov is no fun as Poirot and Albert Finney was far better as he played the same character in a more lovable and amusingly eccentric way. He was asked to reprise the role, which he played in Murder on the Orient Express, but due to the unpleasant grind of having to wear a lot of makeup for the part he ended up declining.

If you’re a fan of Agatha Christie or enjoy mysteries then you may take to this a bit more. It’s still watchable and even marginally engrossing; however despite the excellent cast and splashy production values the ultimate effect is flat.

My Rating: 5 out of 10

Released: September 29, 1978

Runtime: 2Hours 20Minutes

Rated PG

Director: John Guillermin

Studio: Paramount

Available: DVD

Chapter Two (1979)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Trying to start over.

George (James Caan) is a famous author who has just lost his first wife. His brother Leo (Joseph Bologna) gives him the phone number to Jennie (Marsha Mason) who has recently gone through a divorce. After an initially awkward first encounter the two form an attachment and quickly decide to get married. Then on their honeymoon the memories of George’s recently deceased wife comes back to haunt him, which jeopardizes his new marriage.

The film, which is based on the hit Broadway play that ran for 857 performances and was written by Neil Simon, is largely inspired by the events of his own life as he lost his first wife, Joan Baim, on July 17, 1973 and then quickly married actress Marsha Mason on October 25th of that same year. Mason is essentially playing herself and her performance here is one of the movie’s stronger points.

An aspect of the film though that I found even more interesting is the fact that it reteams Mason and Caan just 6 years after they had starred in Cinderella Liberty. The romantic angle here though is much more realistic as both people are on a more equal footing as a relationship cannot work if one person is too severely dependent on the other. I also enjoyed seeing how Mason, a highly underrated actress, could effectively play both an emotionally weak person as she did in the 1973 film and a very strong one as she does here. My only quibble is that her character is again portrayed as being an actress just like she was in The Goodbye Girl, but there she was wracked with anxiety and struggling financially as most artists do while here she seemed too financially secure and more like a woman working in the corporate business world.

The film has a nice breezy pace and the romance is allowed to blossom naturally without ever feeling forced, which along with the excellent on-location shooting I really liked. The problem though comes with the fact that the leads are quite bland when compared to their supporting counterparts, which are played by Bologna and Valerie Harper. Bologna seems to steal any film he is in and he really should be given more starring vehicles. Harper is equally strong and nothing like her more famous Rhoda Morgenstern persona. Their characters have engaging flaws and the banter between them is far more comical. The film shifts uneasily between scenes featuring Caan/Mason to those with Bologna/Harper until it seems like two completely different movies going in opposite directions.

Having Caan’s character go from being really crazy about Mason to suddenly and quite literally overnight becoming aloof towards her is too severe and comes off like he is afflicted with a Jekyll and Hyde disorder. Likewise Mason is too forgiving with it when most people would simply get a quickie divorce since they had known each other for only 10 days. Yet even with all of these weaknesses I still found it a soothing and easy-to-take movie that should please romance aficionados everywhere.

My Rating: 7 out of 10

Released: December 14, 1979

Runtime: 2Hours 4Minutes

Rated PG

Director: Robert Moore

Studio: Columbia Pictures

Available: DVD (Sony Choice Collection)

The Hindenburg (1975)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Blow up the zeppelin.

Based on the 1972 novel by Michael M. Mooney the story centers on Colonel Franz Ritter (George C. Scott) who was a part of Luftwaffe, which was the aerial warfare branch of the Nazi government and was employed to protect the Hindenburg zeppelin on its voyage across the Atlantic. Rumors had swirled that hostilities towards the Nazi party could cause a terrorist attack on anything connected to them and since the airship is German made it made it a prime target. Martin Vogel (Roy Thinnes) assists Ritter in his investigation, but the two find themselves at constant odds as they must sort through a wide array of suspicious passengers all of whom have the motivation and ability to cause harm to them and everyone else.

The film of course is based on the actual explosion of The Hindenburg zeppelin that occurred on May 6, 1937 in Lakehurst, New Jersey. Although there had been bomb threats made against The Hindenburg before its flight and the theory was investigated there has never been any hard proof that is what caused its destruction. The story is completely speculative, which is primarily the reason why the film is so weak and uninvolving. Conspiracy theories can be interesting if there is some hard evidence to back it up, but this thing makes it all up as it goes along. The fact that it occurred so long ago only heightens how pointless it is. Everyone that was involved is now dead, so even if there is some truth to what it is propagating what difference could it possibly make now?

Richard Levinson and William Link who wrote the script where known for their love of mysteries and helped to create both the ‘Columbo’ and ‘Murder She Wrote’ franchises, but their character development was not one of their stronger suits. The cast of characters here are bland and cardboard with nothing interesting to say. I’m surprised that they managed to corral a decent list of big name stars to appear as they have little to do and for many of them are seen only briefly. William Atherton gives the film’s only interesting performance and I did like Charles Durning as the ship’s captain as well, but that is about it.

The recreation of the airship, which was painstakingly done by a group of 80 artists and technicians who worked around-the-clock for 4 straight months on it is impressive and resulted in a highly detailed 25-foot-long model. Watching it glide through the clouds are the film’s best moments as is the scene where Atherton’s character tries to repair a hole in the outer fabric and almost slips to his death.

(Below is a pic of the actual Hindenburg along with the model used in the film.)

The climactic explosion, which should’ve been the film’s most exciting moment, comes off instead, like everything else in the movie, as protracted and boring. Director Robert Wise decided not to recreate the ship’s fiery end through special effects, but instead spliced in scenes of the character’s trying to escape the burning wreck with black-and-white newsreel footage from the era. This results in distracting the viewer and emotionally taking them out of the movie at its most crucial point because up until then everything had been in color and then suddenly it shifts to black-and-white making it seem like we are no longer following the same movie. The actual explosion and subsequent fire happened very quickly, in less than 2 minutes, but here it gets stretched to almost 8, which makes it seem too ‘Hollywoodnized’ and not authentic or compelling.

(Below is a pic of the Hindenburg explosion along with the burned out skeleton of the ship as captured the day after the incident.)

My Rating: 3 out of 10

Released: December 25, 1975

Runtime: 2Hours 5Minutes

Rated PG

Director: Robert Wise

Studio: Universal

Available: DVD, Amazon Video, YouTube