Category Archives: Foreign Films

Exotica (1994)

exotica

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Obsessed with a stripper.

This is a fascinating and engrossing character study interweaving different characters and stories together until they become one. Bruce Greenwood plays Francis an accountant who frequents a strip bar and becomes fixated on a particular dancer named Christina (Mia Kirshner). Elias Koteas is the club D.J. who notices this obsession and becomes jealous since he at one time had a relationship with her. Thomas (Don Mckellar) is the nebbish pet shop owner who has a secret as well as a key between the three.

This is thoroughly compelling stuff that’s impossible to predict. The characters are believable, exposing traits you just don’t see in them at the start. Much like people you’d meet and get to know in real life each scene becomes like a piece to the puzzle.

Director Atom Egoyan may be a little too obsessed with tying everything together taking the final scene one step too far. Yet he still creates an interesting subtext. He seems to show how interconnected we all are to one another and how we can relate on different levels. The simple fact that we are human connects us no matter how ‘disconnected’ we may feel or be.

The sex club atmosphere is also taken from a different angle. He shows a much more complex and psychological motive behind it and how sex is only one element in it.

Like with Egoyan’s other films this thing is filled with a lot of philosophical banter and is quite humorless with a tendency to be a bit ‘heavy’. However, unlike The Sweet Hereafter it keeps moving and doesn’t get completely bogged down in it.

On the technical end the lighting is too washed out. The music selection is good, but oppressive. Overall though the film achieves what it wants too. It keeps your attention and remains thought provoking throughout.

My Rating: 8 out of 10

Released: May 16, 1994

Runtime: 1Hour 43Minutes

Rated R

Director: Atom Egoyan

Studio: Miramax

Available: VHS, DVD, Blu-ray

Visiting Hours (1982)

visiting hours 2

By Richard Winters

My Rating: 3 out of 10

4-Word Review: He doesn’t like women.

Deborah Ballin (Lee Grant) is an outspoken reporter who does a news segment dealing with domestic violence that angers misogynist Colt (Michael Ironside). For revenge he attacks her inside her home, but she manages to escape and gets treated at the local hospital. Unfortunately the psychotic Colt continues to stalk her inside the hospital, which causes her, other patients and the hospital staff to fear for their lives.

The script is predictable and unimaginative. It sticks to the tired 80’s slasher formula like it is a religion. The set-up is awkward and rushed while the rest of the film dealing with Colt’s perpetual stalking becomes prolonged and redundant. The scares lack excitement and the frights are non-existent. The only potentially interesting part that could’ve allowed this film to really stand out is when Deborah is taken into the operating room and put under anesthesia and thinks that the surgeon arriving to do the operation is Colt in disguise. The film teases the viewer with this possibility, but then chickens out.

The only novelty is having a 55-year-old actress as the heroine as opposed to the youthful, virginal looking types that get cast in these things in-part because of their screaming abilities. Having Grant playing a self-assured, confident character is refreshing change of pace for the genre, but then the film compromises even this by having Deborah’s young nurse played by Linda Purl become the target of Colt’s evil rage and by the end it’s Purl who has the most screen time.

Ironside is a competent actor and it is no surprise that he would be cast in the role of a killer due to his menacing facial features. He is talented enough to make the scenes he is in interesting despite the fact that he says less than 15 words during the whole film. Still the cutaways showing the reason for his mental illness being due to him witnessing as a child his mother throwing boiling water on his father is hooky. Also having him wear a small bell around his neck that rings every time he moves if awfully stupid for a person with a habit of stalking people.

The film has a similar concept to Halloween II that also dealt with a killer stalking a victim while inside a hospital, but here at least they use an actual hospital that is lighted the way a real hospital should be. The foot chase between Grant and Ironside that has them going to all areas of the building reminded me a little of the chase between Genvieve Bujold and Lance LeGault in the film Coma although that one is still far superior to the one here.

There are few mildly intense moments at the end that helps save this from being a complete boring waste, but still does little to make up for the rest of it that falls flat. Oh yeah, William Shatner also appears here in a pointless and dull role as Deborah’s boss.

My Rating: 3 out of 10

Released: May 21, 1982

Runtime: 1Hour 43Minutes

Rated R

Director: Jean-Claude Lord

Studio: 20th Century Fox

Available: DVD

Frantic (1988)

frantic

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Where is his wife?

Dr. Richard Walker (Harrison Ford) and his wife Sondra (Betty Buckley) travel to Paris where he is to take part in a medical conference. They find when they get to the hotel room that they have a suitcase that looks like theirs, but is the wrong one. They call the mistake into baggage claims, but think nothing more of it. As Richard takes a shower his wife gets a call and then disappears. When Richard gets out of the shower he can’t find her anywhere. Asking around he finds some clues that leads him to believe that she was kidnapped and that it may have something to do with the mysterious suitcase.

The film starts out well with an interesting premise and some good Hitchcockian touches, but eventually it becomes just another conventional thriller that gets overblown and is full of loopholes. One that really annoyed me the first time I saw it has to do with Richard going to a local bar to ask if anyone has any information. He does this twice and both times a bar patron that is sitting next to him overhears the conversation and comes up with a crucial bit of information. If this were to happen once it would be considered a really lucky break, but to happen twice makes it seem too convenient and coincidental. However, the biggest plot hole is when the bad guys come to the hotel to kidnap the wife and hold her for ransom until they get their suitcase when instead they should have just taken the suitcase since it was RIGHT THERE to begin with.

Ford’s brash demeanor doesn’t seem particularly right for the part. Normally he can get away with it and even make it charming in a caustic sort of way, but here it doesn’t work. I did like that everything is seen from his point of view and the viewer is as perplexed as he is about the circumstances. One part has him crumpling up a piece of paper and eating it and I kept wondering how many takes they made him go through on that one before they got it right.

Emmanuelle Seigner, who at the time was director Roman Polanski’s girlfriend, comes off best. The two married about a year after the film was released and now 23 years and 2 kids later they are still a couple. She plays Michelle who Richard meets along the way and helps him find the bad guys with her inside information. I liked her youthful appeal and the contrasting ages and perspectives between her and Ford’s character make their scenes together interesting. However, the punk outfit she wears does nothing for her and looks tacky and at this point woefully out of style.

The on-location shooting in Paris helps give the film an extra appeal. I realize this is mainly because of Polanski’s exile there, but it is to the film’s benefit. I liked how the viewer mainly just sees the street scenes and local pubs and roadways giving the whole thing a sort of tourist perspective.

There is one exciting and very well filmed sequence showing Richard walking on a narrow and steep rooftop in order to get into Michelle’s apartment that proves to be the film’s most intense moment. Otherwise this thing never clicks and tends to get less suspenseful as it goes on. For basic entertainment it is okay, but there is little if any payoff. This pales badly alongside Michelangelo Antonioni’s L’avventura, which is another film with pretty much the same premise, but instead that one takes things in a much more offbeat, fascinating, and mind-expanding direction.

My Rating: 6 out of 10

Released: February 26, 1988

Runtime: 1Hour 59Minutes

Rated R

Director: Roman Polanski

Studio: Warner Brothers

Available: DVD, Blu-ray, Amazon Instant Video

The Family (1970)

the family

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Hit man wants revenge.

Jeff (Charles Bronson) is a retired hit man who finds himself set-up and nearly killed by girlfriend Vanessa (Jill Ireland). When he unexpectedly survives the ambush he plots his revenge by planning on killing her as well as her secret lover who put her up to it, but along the way he becomes harassed by Al (Telly Savalas) who wants to bring Jeff into their crime organization any way they can.

The movie features a great acid rock-like soundtrack that pumps the adrenaline and gives the proceedings a nice edgy feel. The scene where Jeff shoots a man from a distance while the victim is participating in a car race and blowing out his tire, which sends him crashing through a brick wall, is creative. However, the best part of the whole movie, which comes at the end and almost makes sitting through it worth it, is watching two people getting shot as they ride up a glass elevator by a gunman sitting on top of a roof of a building from across the street.

On the whole though the film, which credits six writers to the screenplay and includes the legendary Lina Wertmuller is rather standard. Somehow it always seems the more people that work on the screenplay the less creative it becomes and this proves no exception. The characters are one-dimensional and the twists aren’t all that clever. Outside of the action sequences the story plods at too slow of a pace and you feel the whole time you are watching it that you’ve seen it all before.

For a savvy hit-man Jeff seems to be too much of a pushover. I can understand getting double-crossed once, but then he keeps going back to Vanessa and she does it to him again and again making him seem like a schmuck. The Vanessa character is equally annoying.  She is too wishy-washy and would have gotten a better emotional response from the viewer had she been better defined, or written as being a complete and total bitch.

Bronson is okay in the lead although he doesn’t have too much to say, which is good. His best moments come when he is silent particularly the scene inside the prison cell when he allows a giant tarantula spider to crawl all over him while he serenely sits smiling and the other prisoners look on with shock and awe.

Ireland looks great as always and shows a lot of skin. There is a scene where there is a close-up of her breasts as well as her backside while she is lying in bed. There is a moment of frontal nudity when she gets out of shower and she can be seen through the slightly fogged glass of the shower door. However, her face is always conveniently hidden during all of these shots making me believe that a body double was used although none is credited.

Savalas, who is the only one that gives the film any real energy, is wasted and doesn’t appear until the second half.

The complete and uncut version of the film done on the recent Blue Underground DVD release features scenes that were omitted from earlier English language prints. Unfortunately because these scenes where never dubbed into English they are shown in their original Italian language format. This becomes quite distracting as characters will be speaking in English and then during the same scene start talking in Italian and then back to English. The DVD features subtitles during these moments, but the version on Amazon Instant Video, which is what I saw, doesn’t. What is worse is the fact that these added scenes really don’t add much and they could have just been left on the cutting room floor. Fans will many times flock to purchase the ‘complete and uncut’ versions of films while failing to realize that there was probably a reason this extra footage was cut in the first place, which is namely that they were perceived as being boring or pointless and usually are.

If you are looking for non-think formula action that has just enough style to make it passable then this film should fit the bill, but it is no classic.

My Rating: 5 out of 10

Alternate Title: Violent City

Released: September 17, 1970

Runtime: 1Hour 49Minutes

Rated R

Director: Sergio Sollima

Studio: Universal Film

Available: DVD, Amazon Instant Video (as ‘Violent City’)

Chino (1973)

chino 2

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Chuck and the kid.

Jamie (Vincent Van Patten) is a teen runaway in the old west that comes upon an isolated horse ranch run by Chino (Charles Bronson) who is ostracized by the locals for being a ‘half-breed’.  Chino reluctantly takes the boy under his wings and teaches him about how to take care of horses, but neither of them can completely escape the racism and hatred around them.

Filmed in Spain the rustic countryside has a certain visual appeal and the low-key music is a perfect score for this type of western. There is a barroom brawl and a shootout at the end, but overall this is standard stuff with little to help make it stand out. Everything this movie has to offer you’ve seen before and in most cases done better. That is not to say it is a bad movie, but it is lacking in imagination and seems content to simply borrow from an already overused formula. While the pacing isn’t exactly slow it isn’t compelling either. The characterizations, plot, and dialogue are held at the most simplistic level and if it weren’t for a brief bit of nudity by an attractive native woman I would almost say this thing was aimed solely for kids.

Bronson doesn’t show much range of emotion here and comes off in the wooden way his critics have always accused him of although he is still good in the action sequences. Jill Ireland’s appearance helps add a bit of life to the proceedings and the antagonistic banter that the two share while he tries to train her to ride a horse is fun to a minor extent as it the part where she walks in on him as he is standing buck-naked in a bathtub. However, having them fall in love so quickly and then want to get married is rushed and forced.

It is fun seeing Vincent Van Patten as a young teen, but his interaction with Bronson is dull. Their eventual ‘bonding’ is formulaic and clichéd and only helps in cementing this as a forgettable, pointless, low-budget foray.

The real stars of the picture are the horses that show much more of a screen presence than their human counterparts. In fact during the first half you see more of them than the people, which is just as well. There is even a shot showing two of them mating, which is the film’s sole unique moment and for some possibly even the highpoint.

My Rating: 3 out of 10

Released: September 14, 1973

Runtime: 1Hour 37Minutes

Rated PG

Director: John Sturges

Studio: Intercontinental Releasing Corporation

Available: DVD, Amazon Instant Video

Cul-De-Sac (1966)

cul de sac 2

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Bubbling beneath the surface.

Albie and Richard (Jack MacGowran, Lionel Stander) are two gangsters on the run. Albie is injured with a gunshot wound and their getaway car has broken down. They come upon an isolated castle owned by George (Donald Pleasance) who lives there with his new wife Teresa (Francoise Dorleac, who tragically died in a car accident just one year after this film was released). George is very passive and timid and pretty much allows Richard to have his way as he takes over the place and his wife and yet as the situation progresses different shades of the character’s personalities begin to come to light.

Roman Polanski leaves his strong directorial touch from the exquisite opening shot, which shows an old car being pushed along on a desolate road amidst a very flat landscape until the end. In the hands of any other director this otherwise odd story probably would not have worked. Like with A Knife in Water Polanski makes great use of the quiet and serene atmosphere and as a viewer you feel like you are right there with the characters.  Filmed on-location at the Lindisfarne Castle on Holy Island in Northumberland, England the movie makes great use of the tranquil setting. I found it almost hard to believe that there was a film crew there as the isolation really grabs you and sucks you in. The quiet moments are the film’s strongest and I just loved the hooting owl heard in the background. The idea of filming it in black and white nicely compliments the film’s dark psychological undertones.

The film’s novelty is watching how the characters evolve and interact with one another. Donald Pleasance gives one of his best performances as the cowardly George. There have been many weak and frighten characters in cinema history, but Pleasance makes the character here quite interesting and the way he finally shows some bravado at the least likely moment is fascinating. Stander also excels with a character that initially comes off as a brute, but at strange times reveals a trusting and even child-like manner.

The movie can be viewed in different ways and doesn’t fit distinctly into any type of genre. To a degree it can work as a dark psychological character study, a mystery, film noir, a thriller, or macabre comedy. Approaching it as a comedy works best Polanski has not always had great success in that area and some of his comedies in particular the ill-advised Pirates have been complete disasters, but this one works. The best scene is when some of George’s old friends come to visit and bring along their bratty son who becomes an absolute terror to everyone.

The odd ending is open to interpretation and leaves a lasting impression. This is also a great chance to see Jacqueline Bisset in her film debut. She appears during the second half wearing glasses and saying little, but is as beautiful and alluring as ever.

cul de sac 1

My Rating: 8 out of 10

Released: November 7, 1966

Runtime: 1Hour 57Minutes

Not Rated

Director: Roman Polanski

Studio: Tekli British Productions

Available: DVD (The Criterion Collection) Blu-ray, Amazon Instant Video, Netflix streaming

The Valachi Papers (1972)

the valachi papers 1

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Testifying against the mob.

Based on the bestselling novel by Peter Maas this film chronicles the life of Joseph Valachi (Charles Bronson) who became the very first informant for the Mafia in their history. The story chronicles his life from a young man getting involved in the mafia culture to his eventual imprisonment and testifying in front of congress.

At the time of release this was compared closely to The Godfather with some critics outrageously saying it was better, but clearly it doesn’t come close. This film lacks the in-depth characterizations, lyrical quality, and an overall slick design. This film is also rather sloppily produced including one scene involving an exciting car chase taking place in the 1930’s. When the two cars go crashing through the wall of a warehouse and into the East river one can clearly see the Twin Towers of the World Trade Center, which weren’t built until 1970. There is also the Lucky Luciano character played by actor Angelo Infanti who wears a type of glasses that did not come into style until well into the 1970’s. However, as a whole the film is still amazingly compelling flick that ends up being both entertaining and somewhat informative. The music score has a terrific ominous tone to it and the prison scenes have a nice starkness.

The film was known at the time for its violence, which by today’s standards may not seem quite as startling or as excessive although the blood and bullets do come at regular intervals. My favorite was the shooting of an old crime boss inside a barbershop although the castration of a victim on top of a table inside a restaurant is pretty wild. However, for all of its violence the film does manage to have a sense of humor as well including a very amusing scene where one of Joe’s mob bosses sits in the living room of the mother of Joe’s girlfriend and asks the mother for her permission to allow Joe to marry her daughter while Joe sits nervously behind and tries to look proper.

Lino Ventura has the perfect face of a mob boss and was ideally cast. The scene of him inside the prison where he has stays in a well-furnished cell and even seems to have his own barber is funny. Joseph Wiseman displays great zest as the opposing crime boss Salvatore Maranzano and his agonizing yells of pain as he lies dying are effective.

Bronson seems perfectly cast as an uneducated simple man who is a follower and has his own quiky code of morality, which makes him strangely endearing. His wife Jill Ireland does not fare as well. She ports a brunette wig and her Italian accent borders on being horrendous to non-existent. Fortunately she is not given very many speaking lines as her British accent is constantly seeping through.

In many ways this film could best be described as an ugly cousin to Goodfellas. While this film lacks that film’s fluid directorial flair it still manages to be an engrossing true-life gangster soap opera like that one.

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My Rating: 7 out of 10

Runtime: 2Hours 5Minutes

Released: November 3, 1972

Rated R

Director: Terence Young

Studio: Columbia Pictures

Available: VHS, DVD

Rider on the Rain (1970)

rider on the rain

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Chuck is in control. 

Supposedly the inspiration of The Doors song ‘Riders on the Storm’ this stylish mystery deals with Mela (Marlene Jobert) a beautiful young woman who finds herself being stalked by a strange bald headed man carrying a mysterious red bag. He follows her to her home where he then rapes her. She manages to get her hands on one of her husband’s rifles and shoots the man dead. She throws his dead body over a cliff and into the sea where she thinks that will be the end of it, but then an American by the name of Harry Dobbs (Charles Bronson) shows up who seems to know all about it and will not leave Mela alone until she confesses to the whole thing.

Director Rene Clement is a master at his craft. Every shot and scene has an evocatively stylish flair particularly at the beginning. The lighting, camera work, editing, and moody score by Francis Lai are first rate and help grab the viewer in right away and keep them hooked. There are strong shades of Hitchcock, but like with Hitch the performers become nothing more than pawns to the director’s vision. The actors seem a bit stifled and unable to create any nuance to their characters. Everything is done to propel the story, which is fine, but sometimes expanding the scenes to allow the actor’s to expound more gives a film a fresh and natural flow, which is lacking here. The rape sequence relies almost completely on the breathing sounds of Mela and some interesting edits, which I felt was good, but it could have been even more provocative and cutting edge had this part been extended and a little more graphic.

While the script by Sebastien Japrisot is full of intriguing twists and nicely complex the middle part dealing with Harry’s seemingly unending interrogation of Mela goes on much too long and bogs things down. I would have liked to have seen a little more variation of their roles where at times Mela would get the upper-hand, but for the most part Harry remains in complete control and Mela is dominated and confused throughout, which isn’t as interesting.

rider on the rain 2

Jobert is sexy and adds a definite sparkle to the film. Normally I prefer women with long hair, but her short cut gives her a youthful appeal. Her blue emerald-like eyes make a great contrast to her reddish hair and her freckles helps accentuate the youthful and naïve quality of the character. Her husband Tony played by Gabriele Tinti, has the chiseled boyish looks of a male model with a pair of baby blue eyes that is almost as stunning as Marlene’s making this couple enjoyable to watch for their looks alone for both male and female viewers.

Bronson is at his tough guy best. He takes on seven men in a room and kicks their ass without breaking a sweat. Unfortunately that is all the action that there is and there needed to be more of it. Jill Ireland appears briefly as a character that has little to do with the plot, but looks gorgeous nonetheless.

The film’s final plot twist is rather boring and the conclusion is weak and non-eventful. Mystery fans may enjoy the film’s winding story, but Bronson enthusiasts will be disappointed at the film’s lack of action.

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My Rating: 5 out of 10

Released: January 21, 1970

Runtime: 1Hour 55Minutes

Rated R

Director: Rene Clement

Studio: AVCO Embassy Pictures

Available: VHS, DVD

Cold Sweat (1970)

cold sweat

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Chuck won’t be intimidated.

Joe Martin (Charles Bronson) is a man living with a past. Ten years earlier he was part of a prison break led by corrupt Captain Ross (James Mason). Joe was selected as the getaway driver, but after he witnesses one of them kill a police man he decides to drive off with the car and strand the others. Now he is living the quiet life in the south of France with his new wife Fabienne (Liv Ullmann) and her daughter Michele (Yannick Delulle), but as he starts to settle into his new lifestyle he finds that the old gang has tracked him down. They want him to be the boat driver in a drug deal they have planned and they won’t take ‘no’ for an answer. Fabienne and her daughter Michele are brought along for collateral, but Joe has a trick up his sleeve and instead kidnaps Ross’s girlfriend Moira (Jill Ireland) and puts her in an isolated cabin and when all parties converge onto the place is when the tensions and action boils over.

This is a simple film with the most basic of storylines. The characterizations are standard with no gray areas in-between. The good guys are really good and the bad guys really bad and nothing is ever nebulous as the tried and true formula gets followed from beginning to end. However, I liked it. Sometimes it is nice to have a film that isn’t trying to reinvent the genre and does things in a compact, crackling non-think style where the viewer can sit back and enjoy an old fashioned white knuckler without having to be challenged. After a slightly awkward start the film begins to roll and then never lets up. Chuck puts his gruff, stoic caricature to the hilt here helping propel the viewer emotionally into the action as he finds increasingly novel ways to overpower the baddies just as the odds look stacked against him.

Having him married to Ullmann was offbeat casting, but it works. Ullmann who has quite possibly one of the most expressive faces in all of cinema seems game for the proceedings. It was nice seeing her in something different than a brooding Ingmar Bergman drama. She gets right into the fray and becomes an integral part of the story and succeeds quite well.

The always reliable and many times brilliant Mason sports an American accent and its fun. He also takes part in a great death scene that gets amazingly prolonged until his increasingly pale complexion becomes genuinely disturbing.

Ireland shows flair as a jaded hippie type. Her and Chuck’s sparring clicks and casting the real-life couple as characters with animosity for the other is cute. I just wished that director Terence Young had played it up more and given Ireland more screen time.

Having the second half of the film take place almost exclusively at an isolated locale gives the picture added personality, but what impressed me the most was the action. In particular was a car chase along the long, winding French roads. I know the car chases in Bullitt and The French Connection get the honors for having the best and most famous chase sequences, but the one here comes amazingly close. I found myself turning uncomfortably in my seat as Chuck’s car travels each curve at high speeds and when he takes the auto off the road and onto the rugged terrain I was out of breath. The foot chase between Fabienne and her daughter and one of the lone gunmen along the ragged, rocky landscape is equally exciting and well captured at different angles.

This one is sure to please Bronson fans as it has all the ingredients his films are known for. My only complaint is with the DVD transfer available on Amazon Instant. Normally I love the way Amazon has made available films that are hard or even impossible to find and most of the time picture quality is decent to good, but here it looks like someone’s old home movie with a color that is faded and at certain spots completely washed out. It also very grainy and looks like it was taken from an old film stock, or lost VHS tape. The less than ideal presentation unfairly taints what is otherwise a solid production that deserves a much better looking reissue.

My Rating: 7 out of 10

Released: December 18, 1970

Runtime: 1Hour 34Minutes

Rated PG

Director: Terence Young

Studio: Fair Film

Available: DVD, Amazon Instant Video

The Birthday Party (1968)

the birthday party 3

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Tear up the newspaper.

Since tomorrow will be my birthday I wanted to come up with a film that had birthdays as its theme and found this bizarre but fascinating obscurity. It is the story based on the play by Harold Pinter of Stanley Webber (Robert Shaw) a mysterious and private man who takes up lodging in a rundown British seaside house. He rents an upstairs room from Mr. and Mrs. Bowles (Moultrie Kelsall, Dandy Nichols) who are quite odd themselves. One day two men dressed in black suits (Patrick Magee, Sydney Tafler) come to pay Stanley a visit. They know something about Stanley’s past and their presence frightens him to the extent that it causes him to have a nervous breakdown.

On the surface this film shouldn’t work. There is an excessive amount of talking with dialogue that doesn’t say much and at times seems absurd. The set is drab and dirty with the camera seemingly locked down inside of it. There is never any explanation about Stanley’s past or what he is running from nor who the men are or what they know about him. The ending is elusive and the viewer will go away feeling more confused than they did at the start.

However, it is these ingredients that make the film so thoroughly intriguing. The seemingly banal dialogue is simply a façade for underlying thoughts and feelings. What Stanley is trying to run from is unimportant because it is really not about him at all and is instead more about ourselves, human nature and the quandary of our existence. It’s an examination of people’s futile attempts at trying to escape from who they are only to have society and life catch up with them. The set could be a metaphor for the inside of Stanley’s head. The grimy and decayed place symbolizes his decayed soul and the men in black suits are his conscience coming to haunt him.

Once you adjust to the eccentric narrative it then becomes a fantastic film for observing subtitles and nuance. Director William Friedkin shows a keenness for detail not only visually, but with the sound as well. The way the Magee character tears up a newspaper and the sound used for it could actually unnerve some viewers. Stanley’s meltdown scene is very unique and overall the direction is superb for such difficult material.

This movie was years ahead of its time, but for some it may be off-putting. However, it should be enjoyed by those who crave the avant-garde. It is also a rare chance to the see the normally strong-willed Shaw playing a very weak and vulnerable character. Nichols is also a stand-out playing an Edith Bunker type with a perverse streak lying just beneath the surface.

the birthday party 1

My Rating: 8 out of 10

Released: December 9, 1968

Runtime: 2Hours 3Minutes

Rated G

Director: William Friedkin

Studio: Palomar Pictures International

Available: VHS, DVD (Region 2)