Category Archives: Drama

Corky (1972)

Posted on May 29, 2023 | Leave a comment

corky

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Race driver self destructs.

Corky (Robert Blake) works as a car mechanic during the day, but on weekends he drives in some of the local races. He’s aggressive nature though causes many accidents and damages in the race, so his boss Randy (Patrick O’Neal) decides to replace him with another driver named Steve (John Gruber). Corky resents being replaced and thus enters the next race anyways and rigs the front hood of his car, so it will pop-up at a strategic time, so that he can crash into Steve’s car while feigning that it was an ‘accident’ because he couldn’t see where he was going due to the hood. The crash though puts Steve in the hospital and it’s enoough for Randy to fire Corky from his job. Now, with no money left, he goes traveling to Georgia with his buddy Billy (Christopher Connelly). They enter a few races there, but Corky parties away all the winnings and eventually come back to Texas penniless. He tries to get back with his wife Peggy Jo (Charlotte Rampling), but finds that Randy has been helping her out and giving her enough money, so that she can go back to school to get a diploma and eventually be able to earn a living without Corky. This causes him to seethe with rage and he goes back to Randy’s place of work in order to exact a violent revenge.

The film was directed by Leonard Horn, who shot to fame for having directed some of the highest rated episodes of the ‘Mission Impossible’ TV-series, which garnard him enough attention to get him a contract to helm two cinematic features. His first one was The Magic Garden of Stanley Sweatheart, which starred Don Johnson and while it wasn’t completely successful, and very little seen, it did have an interesting cinema verité style. This works the same way with a strong emphasis on atmosphere that gets small town living in rural Texas just right. Even the little moments like when Corky turns on his friend Billy in the middle of a desolate road during an impending rain storm leaves a memorable impression as does the envelope-pushing moment where Corky decides to strip down and go skinny dipping with two young boys (Matt Nelson Karstetter, Richard McGough) at a country watering hole.

Robert Blake is excellent. Sometimes it’s hard to imagine him as a leading man due to him at one time being a part of the ‘Little Rascals’ ensemble, and then rising to becoming a TV-star before falling into infamy at being accused of killing his child’s mother. However, with all that being said he was still a great actor who probably didn’t get as much starring roles as he deserved, but he plays the angry loner role to a perfect-T. Rampling as his wife, who was born in England, masks her British accent quite well and creates an odd, but interesting sounding Texas one in the process. I also liked that she sports blonde hair. O’Neal is good in support and there’s an fun collage of actual race driving champions like Richard Petty and Cale Yarborough who appear briefly as themselves though I was upset to read that Roddy McDowell’s scenes, where he plays a salesmen, got cut out completely as his appearance could’ve added an intriguing element.

Spoiler Alert!

The story itself is rather tepid at first. There were many films from the 70’s dealing with rugged individualists and hard drinking, womanizing rebels who couldn’t, or didn’t want to conform to societal rules and thus hit the road looking for adventure and to ‘find themselves’. This though, at least during the first two acts, adds nothing to the equation, or give us any new insights and in fact seems more like the same old, same old generic character study, but all that changes in the third act when Corky unravels completely and goes on a shooting spree. The films from that era always had the non-conformist getting ‘reeled-in’ at some point usually through the love of a romantic partner, or some familial obligation, but here it’s a meltdown to the extreme and it’s a movie way ahead of its time as it deals with what’s commonly known as a mass shooter these days. At that time this concept was rarely seen and for that it deserves definite kudos as does the message that being too irresponsible will catch-up with you and one can’t just live the outlaw image and not eventually have to pay the price.

My Rating: 7 out of 10

Released: March 15, 1972

Runtime: 1 Hour 28 Minutes

Rated PG

Director: Leonard Horn

Studio: MGM

Available: DVD-R (Warner Archive)

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Posted in 70's Movies, Drama, Movies that take place in Texas, Movies with Nudity, Obscure Movies, Road Movies, Sports Movies

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The Champ (1978)

Posted on May 22, 2023 | 2 comments

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Idolized by his son.

Billy (Jon Voight) is a former boxer whose been out of the ring for 7 years. Now at age 37 he works as a horse trainer. His 8-year-old son T.J. (Ricky Schroder) idolizes him and refers to his as ‘The Champ’ instead of dad. Billy though suffers from many inner demons including his perpetual drinking and gambling as well as not making enough money to sufficiently support either himself, or his son. Nonetheless he continues to go out gambling whenever given the chance and he manages to win enough money to buy his son a horse, which they name She’s a Lady. They enter Lady into a race where T.J. meets Annie (Faye Dunaway). Unbeknownst to T.J. Annie is his mother whom she gave up at birth, but now that she’s married to a wealthy man (Arthur Hill) she wants to have custody. Billy refuses to allow it, but when he loses the horse because of a gambling debt and Annie gives him the money to pay it off he eventually relents and has T.J. go live with her while he’s in jail for assault. Once he’s released the father and son reunite, but Billy realizes he must make more money in order to keep him and thus decides to go back into the ring one last time despite warnings from Jackie (Jack Warden), his former manager, that to do so could be life threatening.

The film is remake of the 1931 classic with Wallace Beery playing the part of the father and Jackie Cooper as the son. Director Franco Zeffirelli remembered watching it as a child and it having a profound effect on him. Then years later while he was in his hotel room while on-location filming another feature he saw it come on television and the film again moved him in such a way that he decided he wanted to do a remake. This though wasn’t the first remake as it had already been done in 1953 as The Clown starring Red Skelton though the story had been revised without the boxing theme and the climactic event at the end doesn’t take place at a sporting event, but instead a dangerous stunt that the lead character must do during a live broadcast of a TV special.

While this one stays more faithful to the original concept it was still panned by many critics as being overly sentimental and soap opera-like. Many who were fans of the original felt this one fell far short and complained about the long running time, this one runs of full 2-hours while the older one was only 83 minutes, with the feeling that it stretched the plot out too much and at spots was too slow. Though I’ve never seen the 30’s version I found myself genuinely wrapped up in the drama and the characters.

Many at the time complained that Voight was going back to the same type of Joe Buck character that he played in Midnight Cowboy, but I disagreed. That character was genuinely stupid, but Billy isn’t he’s just down-on-his-luck and suffering from basic human frailties, which made his situation far more compelling.

Schroder is an absolute jewel. He got the part after beating out over 2,000 others and it’s easy to see why. His ability to cry on demand with real tears streaming down his face is amazing and not something other actors are able to do. He’s cute and engaging without it ever getting forced, or overdone. His presence gives the film its energy and virtually the sole reason for why it works as well as it does.

The main complaint that I did have was with Annie. She’s marvelously played by Dunaway, who’s always been one of my favorite actresses and it’s a good role for her acting style as she’s excellent at playing characters that have a bit of a cold and aloof manner while not easily able to show their soft side, but with that said I still couldn’t understand what made the character tick, or her motivations. For one thing she seemed to have nothing in common with Billy, so what brought them together in the first place was a mystery and then having her abandon the kid while she went off living her life seemed pretty extreme. In most cases it’s the father that shirks the responsibility of raising the child, but here it’s reverse, but with no clear explanation as to why. There’s a vague excuse later on that it was so she could ‘pursue her career’, but then this doesn’t explain why she now wants to get close to her son. If she was selfish back then what made her change to suddenly want to be loving and caring? She went 7 years without ever seeing the kid, and did pretty well without him, so why now must she have him? I felt there needed to be some extra context added like she had been addicted to drugs when she had TJ, which then made her deemed unfit to raise him, but now that she had kicked the habit she wanted him back, or maybe she had suffered a miscarriage with her second husband and this made her feel guilty about the child she had let get away and this motivated her to want to seek out TJ, but without any of this added information the character comes-off as transparent, unrealistic, and unrelatable.

I will agree with Leonard Maltin in his review where he states that it looks like Faye wants to go to bed with her own kid. This occurs during the scene where Ricky is on her yacht and looking off in the distance while Faye comes up behind him and begins sniffing his hair like she’s getting turned-on by him. To call this a cringey, awkward moment is an understatement and it’s unintentionally laughable. Why it was left in, or why Zeffirelli thought it would be a good idea to put in I don’t know. The movie manages to recover, but it’s a segment that is indeed ridiculous.

The boxing element is another problem as it gets introduced way too late. It gets briefly mentioned throughout the first 2 acts and there’s even a quick scene where Billy shows up at a gym, but overall it gets played-out as a side-story only to suddenly, 90-minutes in, becomes the main focus, which gives the film a very disjointed feel. Jack Warden’s character doesn’t appear at all until near the end almost like it’s a tacked-on bit that doesn’t really flow with everything else that came before. The boxing scenes are impressive and helps to effectively expose the brutality of the sport, but I felt Billy’s training and decision to enter the ring should’ve been made sooner and the boxing scenes mixed-in throughout, but either way it’s still an competent tearjerker that shouldn’t leave a dry eye in the house.

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My Rating: 7 out of 10

Release: March 20, 1979

Runtime: 2 Hours 3 Minutes

Rated PG

Director: Franco Zeffirelli

Studio: MGM

Available: DVD, Amazon Video, YouTube

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Posted in 70's Movies, Drama, Movies that take place in Florida, Remakes, Sports Movies

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The All-American Boy (1973)

Posted on April 18, 2023 | Leave a comment

american

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Amateur boxer seeks fame.

While Jon Voight is best known in the world of boxing movies for having done The Champ in 1979, which some consider infamous, his first go-around was actually this one though it remained stuck on the studio shelf long after it was filmed only to be released after his success in Midnight Cowboy. He plays the character of Vic (Jon Voight) a talented, good-looking man whose shown ability in the amateur ring and now is ambitious about making the Olympic team. Arty (Ned Glass) takes him under-his-wing, even lets him stay at his place, while he trains him, but then all of sudden Vic decides he doesn’t want to be a boxer anymore, to the shock of everyone, and never bothers to give anyone any explanation as to why.

The script was written by Charles Eastman, who also directed, and who was the brother of Carole Eastman, who wrote the script for Five Easy Pieces under the pseudonym of Adrien Joyce. Like with his sister’s script it works as a character study and the story is broken up in sections, in this case ‘The Manly Art in Six Rounds’. At various times, usually every 10-minutes, a title will appear on screen such as ‘Round 1’, or ‘Round 2’, but honestly I didn’t see the point  and it doesn’t really make it more interesting and could’ve easily be discarded and probably should’ve been.

On the writing end, particularly the dialogue, it works. Eastman creates a conversational quality where what the characters say is never ‘too on the nose’ (screenwriter’s lingo for being too specific) and the viewer must read into it in order to understand what they mean. In that area the film works, but it’s also highly talky and begins to have a stagnant feel. There’s also very little about the actual sport of boxing. If you’re expecting something like Rocky where there were long segments dealing with the his preparation you’ll be out of luck here. I got particularly frustrated with the scene dealing with Vic getting ready for a contest where he’s seen standing around while other participants and fans enter into the arena, which gets drawn-out, and then just as the fight is supposed to begin it cuts away showing Vic on the phone describing what happened, but to have to sit through a long build-up just to see no action is a letdown.

There finally is some boxing about 50-minutes in and the choreography in the ring, with each participant getting some hits on the other, appears realistic though there’s no blood, or bruising. What makes this segment unusual is more what occurs amongst the audience where one of the spectators, played by Noble ‘Kid’ Chissell, a former professional boxer from 1924 to 1934, begins to masturbate underneath his raincoat, which he has over his lap, which becomes painfully obvious to the other people around him.  Why this was put-in I don’t know. It’s not clear either whether he’s getting-off on the two boxes, or his attraction is to one of the pretty ladies in the audience (I’d presume it was the boxers), but such a bizarre character doing such a strange thing in public needed better fleshing-out and quite frankly more screentime as cringe or not I found his appearance to be one of the few diversions and far more intriguing than the main star.

Seeing a young Anne Archer, who looks almost like an adolescent here, this counts as her film debut since it was filmed before either The Honkers or Cancel My Reservation, which were both released earlier, is a pleasure though her character doesn’t have a lot to do. E.J. Peaker is quite good as Vic’s on-again, off-again girlfriend, who has a memorable bit inside a recording studio as she attempts to boost her singing career. Jeanne Cooper, better known for her work on ‘The Young and Restless’, which lasted for 5-decades, is quite striking. The best acting though goes to Ned Glass, who is engaging as the foul-mouth manager who spews the F-word seemingly non-stop.

The ending in which Vic gets on a helicopter and is cheered on by his fans and supporters who gather to see him off is the film’s best moment. It’s not like anything super exciting happens, but the location, filmed in the hills just outside of Vacaville, California, where the grass is dark brown, but the trees that dot the landscape remain green gives-off a surreal effect. It goes on for a full 20-minutes all in this vast brown countryside with characters running around in it and at certain points even sliding down the hillsides. The unusual topography leaves a lasting impression and I’ll give props to the filmmakers for taking full-advantaged of it and the one element that allows this otherwise sterile production to stand-out.

My Rating: 4 out of 10

Released: October 24, 1973 (Filmed in 1970)

Runtime: 1 Hour 58 Minutes

Rated R

Director: Charles Eastman

Studio: Warner Brothers

Available: DVD-R (Warner Archive), Amazon Video

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The Baby Maker (1970)

Posted on April 13, 2023 | Leave a comment

babymaker1

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Paid to give birth.

Tish (Barbara Hershey) is a young, free-spirited women who’s a part of the hippie movement and looking for alternative ways to make money without having to do the usual 9-to-5 job. She becomes aware of the idea of being a surrogate mother hired to give birth to a baby from a couple who cannot have one themselves. The couple in this case are Jay (Sam Groom) and Suzanne (Collin Wilcox Paxton) who are middle-aged and due to a medical complication the wife is unable to have children. They agree to pay Tish an upfront allotment of money as well as covering the rent for the apartment that Tish shares with her boyfriend Tad (Scott Glenn). Things start smoothly enough, but ultimately underlying tensions soon surface like Suzanne’s concern that Tish is getting involved in too much physical activity and with her husband’s seemingly infatuation with the young woman. Tish’s boyfriend also begins to have problems with the agreement especially since Tish has stated she’ll not have sex with him during the course of the 9-month pregnancy.

This was the first film directed by James Bridges, who got his start writing teleplays for the ‘Alfred Hitchcock Presents’ TV-show before blossoming into a career helming such critically acclaimed efforts as The Paper Chase and Urban Cowboy. While the film is not perfect I did feel on the technical end it was well done with vivid cinematography that makes the viewer feel quite intimate to both the characters and their setting as well as a good time capsule to how things looked back in that era. The subject matter was quite unique for the period that even had some film critics labeling it as a ‘travesty’ while another called it ‘insufferable’. While I didn’t find it to be either it does show how provocative the issue was and thus overall making it a groundbreaking movie.

More than anything I really enjoyed the performance by Hershey who seems born to play this role and like she’s hardly even acting and instead just being herself. The carefreeness of her character really comes through especially when she decides to impulsively take-off her clothes while in front of the couple whom she’s just met, and jump into their backyard pool. You feel like she’s a perfect composite of most of the flower children back then and highly revealing to what made them tick. What I didn’t like though was how we never learn what gave her the idea to be a surrogate mother and I felt the film should’ve started from this point instead of having her already done it one time before without any backstory to what first gave her the motivation to even consider what at the time was not a typical thing that most people even the young hippies were doing.

I found the supporting characters to less interesting. Glenn, in his film debut, was the most baffling as he plays this overly selfless boyfriend who goes along too graciously with Tish’s idea of having someone else’s baby. Most guys would not be cool with this, or need more time to warm-up to it especially since it would require her sleeping with a married man. Having her then refuse to have sex with him while the pregnancy went on would be way too much for most men to handle, so the fact that he stays with her even after being told this made him seem unrealistic. Had he gotten into the relationship knowing upfront this is what she did for a living then maybe, but she just springs it on him after she’s agreed to the contract, which would’ve made anyone in that same situation quite upset, and justifiably so. I felt too that him ending up sleeping with one of her friends (Helena Kallianiotes) should’ve been understandable given the circumstances and Tish, being the supposedly open-minded, unconventional person that she is, should’ve allowed for it and possibly even invited it instead of growing jealous and throwing blue paint on them like she does.

I had the same issues with the couple. Collin Wilcox Paxton is excellent and light years away from her most famous role of Mayella Violet Ewell, the backwoods southern white woman who falsely accuses a black man of rape in To Kill a Mockingbird, but there’s just not enough tension between her and Tish, or in the scenes with her husband, which is the film’s biggest failing. It seems more concerned with tackling a novel concept in as genteel a way as possible, but in the process forgets that this is a drama and there needs to be conflict going on in order to keep it riveting. Certain potentially explosive problems are brought-up, but then quickly downplayed. There’s no surprise twist or altercation. It leisurely limps itself along to a hum-drum finish that has no impact at all and unfortunately ruins an intriguing concept that could’ve gone in many different, interesting directions, but ultimately doesn’t.

My Rating: 4 out of 10

Released: October 1, 1970

Runtime: 1 Hour 49 Minutes

Rated R

Director: James Bridges

Studio: National General Pictures

Available: DVD-R (Warner Archive), Amazon Video

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September (1987)

Posted on March 21, 2023 | Leave a comment

september1

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Drama at summer home.

Layne (Mia Farrow) has decided to spend the summer at the country home of her mother’s (Elaine Stritch) in order to recuperate after a suicide attempt. With her during her stay is her best friend Stephanie (Dianne Wiest). Layne is also madly in-love with her neighbor Peter (Sam Waterston) who is a struggling author who wants to write a book about Layne’s mother’s life, who was at one time a well-known actress, but who also shot her late husband in self-defense though it was reportedly Layne who pulled the trigger. Howard (Denholm Elliott) is Layne’s other neighbor who is smitten with her though she has no feelings for him as all of her emotions are tucked away towards Peter, who is more into Stephanie, a married woman with children. During the course of one night while an electrical storm occurs and the power goes out everyone makes their true feelings for the other known, but not everyone responds to the revelations the way they’d like.

This movie is unusual, or at least the behind-the-scenes production, in that two to three versions of every scene was shot and then writer/director Woody Allen took all the footage and edited it together only to be dissatisfied with the final result and decided to shoot it again, but with different actors. In the original production Charles Durning played Layne’s stepfather, but in the second version he is replaced by Jack Warden, and Maureen O’Sullivan played Layne’s mother. Since Maureen was Mia’s real-life mother it’s ashame she wasn’t kept on for the second version. Granted Elaine is excellent, but seeing a mother and daughter acting together would’ve given an interested added nuance that unfortunately gets lost with the redo.

The scenario has its share of intriguing elements, but Allen’s concept of trying to create a filmed stageplay was a mistake as the whole thing has a very static feel right from the start. The internal conflicts are not apparent right away and the first act comes-off like nothing more than lingering conversations with no idea what connects them until the second act kicks, but by that time some viewers may have already gotten bored with it. In Interiors, which was Allen’s first drama, the story clicked quickly because there was a main nemesis, which helped create the tension that’s lacking here. Having a few more characters including a couple that was invited over, but calls-in when their house gets flooded, could’ve helped enliven things.

The acting is uniformly excellent especially Farrow, who’s always had a gift for playing vulnerable characters though with this one she’s more assertive. Wiest is fabulous too though with her super short brunette haircut she looks too similar to Farrow in Rosemary’s Baby and for that reason she should’ve been given a different hairstyle. The short cut also makes Wiest’s squinty look where she constantly appears like someone who’s just walked into bright sunlight, more apparent. The male cast is overall wasted. Warden gets one poignant moment where he describes the cold, lonely universe, but otherwise doesn’t have much else to say, or do and overall gets dominated and upstaged by the caustic and brassy Stritch as his wife. Elliot has one good line early on, but then disappears for a good chunk of it only to get a walk-on towards the end, but by that point I had quite literally forgotten all about him.

The film would’ve worked better had it had stronger character arcs, but overall not much really happens. There’s brief moments of confrontations, particularly Layne’s arguments with her mother, where things appear to be getting juicy only to have them pull back and become civil again. Same thing happens when Layne catches Stephanie with Peter, a slight blow-up and then back to mundane. The characters don’t really grow, or change and everything gets treated like a minor, little tiff that quickly blows-over making the viewer feel at the end that there wasn’t much point in watching it.

On a side note I was also disappointed to learn that the whole thing was shot on an indoor sound stage. With the title of September and the location being Vermont I was fully expecting sights of beautiful fall foliage as the northeast can be one of the best areas for that during the autumn. Since Allen’s dramas can get quite talky I thought the scenic locale could help at least visually fill-in the slow spots, but we ultimately get none of that. The intention was to shoot it at Farrow’s Connecticut country house, the house had inspired Allen to write the screenplay in the first place, but by the time he was finished with the script it was already winter and thus the autumn look and feel would’ve been lost. Credit though should go to the lighting and set design as you still get a feel of Vermont during the night time scenes where you hear realistic sounds of crickets and night bugs outside. The light coming through the windows certainly looks like actual sunlight, but why would people keep their blinds closed when most anyone would have them open to take in the majestic countryside. Why bother even having a home in the country if the idea is to close the windows off from it? It’s also not logical for the sunlight to be shining through all the windows from any direction in the house as the sun can only be in one place in the sky, so some of the windows should not have had sunlight coming through though here all of them do.

My Rating: 7 out of 10

Released: December 18, 1987

Runtime: 1 Hour 22 Minutes

Rated PG

Director: Woody Allen

Studio: Orion Pictures

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

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Posted in 80's Movies, Drama, Movies with a rural setting

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Pieces of Dreams (1970)

Posted on March 17, 2023 | Leave a comment

pieces1

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Priest breaks his celibacy.

Father Gregory (Robert Forster) is a priest working outside of Albuquerque, New Mexico with a mainly Hispanic church membership. He had been dealing with a 15-year-old boy who was in-trouble with the law only to be called into the hospital late one night to learn that he’d been killed while trying to steal a car. It’s there that he meets Pamela (Lauren Hutton) a social worker from the local community center. The two share widely different viewpoints particularly on the topic of abortion, but despite their differences the two eventually fall in love and their relationship turns intimate. Gregory feels guilty about this due to his vow of celibacy and tries to hide the affair from Paul (Ivor Francis) an older priest whom he lives with and is known to have a prying eye. Gregory decides to ask for a leave in order to get his thoughts together, but learns that trying to find a job on the outside with little work experience can be a difficult task. While he avoids Pamela in order to figure out what direction he wants to take his life the other priests put pressure on her to break it off permanently while trying to guilt-ridden her that she’s destroying a ‘good man’s career’.

This was an unusual career move for Forster who had just completed his signature role in Medium Cool where he was seen running around naked with a nude woman inside his apartment during a provocative moment, so I guess he wanted to tackle a completely different type of character for his next project in an effort to avoid being typecast, but it doesn’t really work. He’s a fine actor, but his streetwise personality trickles through and he never really comes-off as being all that devout and thus making the career arch very expected and no surprise at all. The voice-over narration that he has during the first act, in an attempt to convey to the viewer his inner thoughts, was not needed and off-putting.

Hutton is quite beautiful. She hit her career peak with her work in American Gigolo when she was already middle-aged, so seeing her still quite youthful looking is a treat, at least to the heterosexual male viewer, and you could easily see why she was a former model. Ivor Francis, not necessarily a household name, but competent character actor during the 60’s and 70’s, is quite good as the domineering senior Priest who has his own character flaws that he tries to cover-up even though he’s more than happy to readily expose the ones he sees in others. Will Geer also shines, but isn’t seen until the tail end playing a clergyman who has an amusing line when he tells Gregory that the celibacy demand for Priests ‘will soon be going away’ even though 50 years after this was filmed nothing has changed.

The theme dealing with how religion in theory is meant to be comforting, but in practice can become something that torments people by making them feel guilty and fearing the wrath for what could be considered to others as being minor infractions, like having sexual thoughts, is on-target though not necessarily ground-breaking. Some of the other issues will seem quite dated like the married woman who fears using the pill, or any other type of contraception, as it goes against the teachings of the catholic church, though through the decades this is no longer considered as much of a ‘sin’. There’s also the scene where Gregory lectures a youth who’s in jail for smoking cannabis about how he’s ‘thrown his life away’ while pot is now legal in many states.

The real problem, or when the film ultimately ‘jumps-the-shark’, is when Gregory goes to bed with Pamela, which came off as way too seamless and rushed. Up until then the couple really hadn’t had much in common and were usually arguing over political issues and weren’t for that matter even officially dating. It seemed to me that if someone like Gregory is made to feel extremely guilty for even thinking about sex that is ability to actually perform it would be questionable. Having him run away from her when he started feeling the urge and then avoiding her due to the temptations that she gave him would’ve made more sense then just having him casually hop in the sack without a second thought like he’s just a regular guy on the make and wearing the priest collar is some sort of performance art.

What the filmmakers apparently thought would be a compelling question of would he, or wouldn’t he stay in the church is ultimately given the placid treatment. The romance angle isn’t convincing and despite some good conversational dialogue, and nice on-location shooting of New Mexico in the autumn, the story fails to resonate making the movie woefully trite by the time it finally ends.

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My Rating: 2 out of 10

Released: September 23, 1970

Runtime: 1 Hour 39 Minutes

Rated GP

Director: Daniel Haller

Studio: United Artists

Available: DVD-R (MGM Limited Edition Collection), Amazon Video

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Posted in 70's Movies, Cold Climate/Wintertime Movies, Drama, Movies Based on Novels, Obscure Movies, Romance, Spiritual Movies

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Coming Home (1978)

Posted on March 12, 2023 | 1 comment

coming

By Richard Winters

My Rating: 10 out of 10

4-Word Review: Falling for injured vet.

Sally (Jane Fonda) is the military wife to Bob (Bruce Dern) who’s been deployed to Vietnam. Since she now has more free time she decides to volunteer at her local VA Hospital. It is there that she meets Luke (Jon Voight) a former classmate from high school who has now come back from the war a paraplegic. Luke is very embittered about his condition and he’s initially angry and confrontational with Sally. Eventually he softens and Sally invites him to her house for dinner. It’s there that their romance begins to bloom and eventually they become intimate. Bob though, having suffered a leg injury, returns to the states and while Sally and Luke agree to keep their affair a secret Bob soon finds out, which leads to an ugly confrontation between the three.

The idea for the film was inspired by Fonda’s meeting with Ron Kovic, an injured vet who had written his autobiography Born on the Fourth of July that later, in the 80’s, became a movie starring Tom Cruise. Fonda though wanted to make a film with a character that was similar to him and got together with screenwriter Nancy Dowd in 1972 to write a script, which initially focused completely on the hospital setting without the affair, or B-story dealing with the conservative military husband. After many rewrites and bringing in Oscar winner Waldo Scott to help bolster the story the script finally managed to gain interest amongst the studios though many were still cautious about producing a movie dealing with the after-effects of the war, which at that time had never been done before, up until then only films dealing with the war, or those coming back with psychological issues, but not actual physical impairments and thus making this a first in that category.

Since Fonda was instrumental in getting the project produced she was the only choice to play Sally. I think she’s a fine actress who deservedly won the Supporting Oscar for her work here, but since she was on the front lines of the war protest and in many ways even became the face of it, the transition of her character isn’t as profound. Having an actress whose name wasn’t so aligned with left politics and who could better fit-into the part of a conservative housewife would’ve then made the character’s arch more dramatic. I felt too that Sally is too understanding of Luke right-off, the history of them going to high school together should’ve been excised, and instead she should’ve feared Luke when she first encounters him as he does act out-of-control and the romance between them happens too quickly.

Also, once her character changes her hairstyle from the old-fashioned straight to curly it should’ve remained as this visually establishes her character’s changing perspective and not go back to the straight look when she visits Bob in Hong Kong. To remedy this she should’ve decided to keep the curly look even if she feared Bob might not approve, she was technically becoming more empowered with him away anyways, and this would’ve signaled to Bob that she wasn’t the same person he knew when he left, or had the hair change occur after the Hong Kong visit, but having the hair style flip-flop works against the arch, which should be linear and not zig-zagging.

Voight, who won the Best Actor Oscar, and who had to lobby hard for the role as the producers originally wanted Jack Nicholson, is outstanding and there’s not a flaw in his performance with his best moment coming at the very end when he gives a lecture to a room full of high school students about his war experiences. My only complaint, which has nothing to do with his acting and more with the script, is when he bluntly tells Sally, when he goes to her place for dinner, that he dreams of making love to her, which seemed too forward especially since they end up having an impromptu kiss later. Since movies are a visual medium it should’ve settled with the kiss exposing the underlying brewing romance without his character having to explicitly state it. I also found it interesting that the DVD features a commentary track with Voight, Dern, and cinematographer Haskell Wexler, but Fonda is conspicuously not present and I wondered if this may have been due to Voight becoming a hardened conservative as he’s aged and because of their political differences Fonda not wanting to be in the same room with him.

Dern, like the other two, is excellent. His improvisational Dernisms as I like to call them come into play particularly when he gets intense I even learned what the slang term Jody meant, which is what he calls Voight at one point. You also, at the end, get a full view of his bare ass. Now, on the celebrity male naked ass scale I still say it’s a distant third to Dabney Coleman’s in Modern Problems  and Tim Matheson’s in Impulse, but it’s not bad.

Accolades must also go to director Hal Ashby, who was not the first choice as the studio initially wanted John Schlesinger. While Schlesinger could’ve been great I felt Ashby’s use of all natural lighting is what really makes the difference and becomes the over-riding look of the film. He displays keen use of the music too at the end when the song ‘Time Has Come Today’ by the Chamber Brothers is played and the lyrics are used to expose the underlying ticking time bomb of the situation that the three characters are veering speedily into.

My Rating: 10 out of 10

Released: February 15, 1978

Runtime: 2 Hours 7 Minutes

Rated R

Director: Hal Ashby

Studio: United Artists

Available: DVD, Blu-ray

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Posted in 70's Movies, Academy Award Winners for Best Actor, Academy Award Winners for Best Screenplay, Academy Award Winners for Best Supporting Actress, Drama, Movies with a Hospital setting, Movies with Nudity, Romance

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X Y & Zee (1972)

Posted on February 10, 2023 | Leave a comment

x

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Wife sabotages husband’s affair.

Zee (Elizabeth Taylor) is the middle-aged wife of Robert (Michael Caine) and the two have been in a tumultuous marriage for many years. Then at a party Robert spots Stella (Susannah York) who is a single mother with two boys. Robert enjoys her much calmer less confrontational demeanor, which is the exact opposite of Zee’s and the two quickly fall into an affair. Zee though becomes aware of what’s going on and becomes determined to put a stop to it one way or the other. At first she is meddlesome by constantly calling-up Stella and warning her about Robert and even going to her place of business to harass her. When that doesn’t work she tries playing into Robert’s sympathy and at one point even attempting suicide, but when all that fails and the affair continues she uses her gay friend Gordon (John Standing) to dig-up some dirt on her and when she finds out the secret that Stella has she uses it to exact her revenge.

Taylor and her over-the-top shrewish performance is the whole reason the movie works and if you watch it for that purpose you won’t be disappointed. Sure she’s played this role a bit too often to the point that it was becoming more of a caricature for her and ultimately what I feel killed her career as by the 80’s she was no longer making films for the big screen, but still when she’s as entertaining doing it as she is here it’s still a joy to watch. Unfortunately she dominates every scene that she’s in that it leaves very little room for her co-stars particularly York who’s completely dull by comparison. York certainly was an accomplished actress, but in this movie she’s unable to go toe-to-toe with her superior co-star and the film suffers for it. A strong actress with a definite presence was needed instead York just quietly sits there looking overwhelmed as Taylor’s character continuously berates her. If anything Mary Larkin, who plays Caine’s nerdy secretary, should’ve been the love interest, Caine ultimately sleeps with her anyways, as she’s so meek that you would feel sorry for her when Taylor got snarky with her, but with York you feel nothing and it’s almost like she’s transparent.

Caine on the other-hand is able to hold his own, but his frothy retorts at Taylor’s abuse is never quite as clever, or entertaining as hers. My biggest issue with his character is why doesn’t he just divorce her as he’s quite wealthy and could easily do it and yet avoids it. He mentions at one point wanting to kill her, but never just divorcing her. Since the couple never had any kids it would be less messy, so why not just take that route and then he could see York, or any other woman for that matter without worrying about Taylor getting in the way. I realize some marriages are held together for weird reasons, even those when it becomes achingly clear that it should end, but for whatever reason it doesn’t. However, after 2-hours of watching this those reasons should eventually become clear, but they never do.

Spoiler Alert!

I sat through almost the entire movie just waiting to find out what the ‘dark secret’ was that York’s character held, as described by Leonard Maltin in his review, only to finally realize it was nothing more than her being a closet lesbian. What’s worse is that nothing much happens once the secret is exposed. Maltin also describes Taylor/York’s lovemaking scene as ‘ranking high in the annals of poor taste’ though this sentence has been removed from his review in the later editions of his book presumably to avoid making him look homophobic, but whatever lovemaking he may of seen I didn’t and I watched the full 1 Hour 49 Minute newly remastered version from Columbia Pictures (same version streaming on Amazon Video), so either a minute of it got snipped on this cut, or Maltin was offended at seeing the two women hug, which is all there is.

Admittedly I was disappointed as I was hoping to see them kiss, or in bed together, which would’ve livened it up a bit and made it worth sitting through, which otherwise is a strain. The lesbian angle should’ve been introduced much earlier and showing Taylor and York not only getting-it-on and enjoying it, but inviting the reluctant Caine in as a threesome. That would’ve made the movie truly sophisticated and ahead-of-its-time, but having it end the way it does with York seeming very ashamed and defeated about her homosexuality makes it dated and out-of-touch with modern-day sentiments. A misguided relic of its period that really doesn’t have much to say and nowhere near as ‘daring’ as the filmmakers thought it was.

My Rating: 4 out of 10

Released: January 21, 1972

Runtime: 1 Hour 49 Minutes

Rated R

Director: Brian G. Hutton

Studio: Columbia Pictures

Available: DVD-R, Amazon Video, Tubi

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Posted in 70's Movies, British Movies, Drama, Foreign Films, Gay/Lesbian, Movies with Nudity

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Hide in Plain Sight (1980)

Posted on February 5, 2023 | Leave a comment

hide

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Searching for his children.

Thomas Hacklin (James Caan) is a divorced father of two children who has visiting rights to see his kids every weekend. One day when he arrives at his ex-wife Ruthie’s (Barbra Rae) residence he finds the home abandoned and no one around. He eventually learns that her and the kids have been put into the Witness Protection Program due to her remarriage to Jack (Robert Viharo) a gangster who qualified for the program when he became a state’s witness against the mob. Thomas’ efforts to find his kids prove futile and the authorities are no help, but he becomes relentless and hires a lawyer (Danny Aiello) to represent him in court, but even then the odds remain seemingly insurmountable.

The film is based on the novel of the same name by Leslie Waller, which in-turn was based on the actual experiences of Thomas Leonhard who one day in 1967 when he went to pick-up his kids for his weekly visitation found them gone and the house that they had been living in with his ex-wife Rochelle to have been abandoned. This then precipitated an 8-year crusade by Thomas to get them back, which proved to be a landmark legal battle, but on July 4, 1975 he was eventually reunited. The film though changed several things from the true story including adding in a subplot where Thomas gets followed by the mob and eventually leads to a violent confrontation. It also compresses the time span from 8 years to 18 months.

While I enjoyed the movie more than when I first saw it over 10 years ago the issues that I had with it during the first viewing remained the same. Most of it had to do with Caan’s, in this the only film that he directed, non-use of close-ups, which the studio heads complained about during the production. A good example of this is when Thomas and ex-wife are arguing on a public sidewalk the camera does not move-in, like in most movies, to allow us to hear what they’re saying, but instead pulls back, so they go further away, but what’s the point of seeing characters on the screen argue if we can’t hear what it’s about? Another scene has Thomas arriving at his ex-wife’s abandoned home, but instead of having the camera go inside with him as he enters it, it remains outside and then tracks around the home to the back door, which Thomas is seen leaving. This though lessens the impact as having the viewer visually witness the suddenly empty house would’ve been far more dramatic.

I did though like that many of the scenes were shot in Buffalo at the exact locations where the real-life incidents happened. The film reconstructs the look and feel of the 60’s quite nicely and many of the participants from the actual events coached the actors on how to perform their roles accurately. The acting is impressive especially by Viharo who’s mafia mobster caricature is right on-target. Kenneth McMillan is quite entertaining as a police detective who initially impedes Thomas’ efforts, but eventually has a change-of-heart. As with any great character actor, which McMillan clearly is, it’s what they add to the part that makes it interesting and here it’s his excessive eating with virtually each scene he’s in has him stuffing his face though I wondered how many takes were required to do each scene and if he ultimately overate and got himself sick while performing the role.

Spoiler Alert!

I was annoyed though with how certain fictional things that got added-in like Thomas’ dealings with the mob got played-down instead of up. The original script by Spencer Eastman called for a lengthy car chase and violent fist-fight, but Caan chose to take the subtle route making these moments less tension filled and possibly too slow and uneventful for some people to sit through. I was also amused how the actual reunion between the father and kids was different from the one in the movie where it’s portrayed as being a happy one. In real-life the kids disliked their father’s rules and ended up moving back with their mother showing how ironic life can be where you fight hard for something and then when you finally get it it ends up not being as great as you thought it would be.

My Rating: 5 out of 10

Released: March 21, 1980

Runtime: 1 Hour 32 Minutes

Rated PG

Director: James Caan

Studio: MGM

Available: DVD-R (Warner Archive Collection), Amazon Video

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Posted in 80's Movies, Drama, Gangster Movies, Movies Based on Actual Events, Movies Based on Novels, Movies with Nudity

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Bum Rap (1988)

Posted on November 23, 2022 | Leave a comment

bum1

By Richard Winters

My Rating: 3 out of 10

4-Word Review: 72 hours to live.

Paul Colson (Craig Wasson) seems to have very little luck. While he works during the day as a New York cab driver he longs to be an actor and he practices his craft while alone in his cab as he waits for a customer. During his free time he attends auditions, but routinely finds himself being turned down for the part. His love life isn’t much better as he’s constantly getting stuck in the ‘friend zone’ with all the eligible women that he meets. Now things have turned even more sour when he goes to a Dr. about a ringing in his ear only to diagnosed with a rare blood disorder that will kill him in only 72 hours. Will Paul find any meaning and happiness with the time he has left? He isn’t sure, but becomes determined to find out by getting together with his friends and parents (Barton Heyman, Augusta Dabney) for one last goodbye while doing so with the company of Lisa (Blanche Baker) a street prostitute he has picked-up and agrees to go along with him for his last hurrah while also harboring the same ambitions of becoming an actor.

The film seems to want to tap into the indie vibe of Stranger Than Paradise, a quirky independent, cult hit that sent it’s writer/director Jim Jarmush into stardom. It even starts out in black-and-white like that one and there are a few keen moments here. When I was younger and just out of college I attended a few acting auditions like this character and found the same thankless experiences as he did; getting turned down not so much for a lack of talent, but more because he auditioned with someone who was sexier and better looking, so naturally they get all the attention and he doesn’t. His dating quandary where he treats the women real nice, and they get along well, but in the end they still chase after a married a man who treats them poorly can be a testament to what happens to a lot of single nice guys and in this area, examining the basic struggles of an ordinary life, it hits the bullseye.

Unfortunately the film fails to gain any momentum, or move along with an intriguing pace. The scenes lack energy and in certain instances, like when he invites his friends over for a game of cards, get bogged down with archaic chatter that does not propel the plot, or reveal anything about the characters. The disease, where the doctors can pinpoint exactly what hour the person will die and in what way, comes-off like something out of a sci-fi movie and hard to take seriously. I didn’t get why it shifts from black-and-white to suddenly color after he gets the grim diagnoses. You’d think it should work in reverse, be colorful when he still thinks he’s got his future ahead of him, only to turn black-and-white when he realizes his time is very limited, or at the very least don’t have it turn color until the very end when he’s learned to accept his condition and die gracefully, or leaves to enter some sort of afterlife

Wasson, who hasn’t appeared in a movie since 2006 and now makes a living as a audio book narrator, has stated that this was his most favorite movie that he was in and it’s easy to see why as he basically propels it along particularly with his impressions of famous actors, but his character’s transition through the 5-stages of grief is much too quick. It’s odd too that he chooses not to tell any of his friends or family that he’s dying as I’d think most other people in the same situation would want to say what’s going to happen to them if for anything to look for some comfort as they grieve.

Blanche Baker, the daughter of legendary actress Carroll Baker, is a good actor, but her character is cliched. As a street prostitute she lets down her guard too easily and quickly. For all she knows this guy could be lying to her about having a terminal illness in order to gain some cheap sympathy and since she’s been a hooker for awhile and spent time with other guys of a dubious quality, I’d think her opinion of men would be pretty low and she’d not be so trusting of Wasson when he tells her his situation and instead be cynical. This idea that all prostitutes have a ‘heart-of-gold’ if you just get past their rough exterior is a stereotype as some of them due to the harsh life on the streets can be genuinely embittered. Having Wasson deal with a more hardened one would’ve not only made it more realistic, but given the scenes some pizzazz as they could bicker and argue, versus having it get so sappy that it becomes cringe-worthy.

I suppose if you give it enough time it does have a way of growing on you emotionally, but the overly choreographed ending takes away all realism. Ultimately it’s a potentially interesting idea that thinks it has a deeper message and statement than it really does.

My Rating: 3 out of 10

Released: September 26, 1988

Runtime: 1 Hour 58 Minutes

Rated R

Director: Danny Irom

Studio: Light Age Filmworks ltd.

Available: None

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Posted in 80's Movies, Black & White, Drama, Movies that take place in the Big Apple, Obscure Movies

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