Category Archives: Movies Based on Novels

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

Blade Runner (1982)

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Where are the replicants?

The movie, based on the novel ‘Do Androids Dream of Electric Sheep?’ by Phillip K. Dick, takes place in the year 2019 where human clones called replicants have been created and used basically as slave labor in off-world colonies. However, they create a mutiny and become a danger to the human race on Earth and are therefore banned from returning. If they do come back they are hunted down and killed by a special police force called Blade Runners. Rick Dekard (Harrison Ford) is one of those blade runners and is considered to be the best, but is burned out with his job. He is coaxed out of retirement when an especially dangerous group of replicants led by Roy Batty (Rutger Hauer) escape and return to the planet.

On a visual level this film scores a bulls-eye and is nothing short of awe inspiring. You truly get the feeling that you have traveled to a whole different world. It’s a very complete and intricate vision that can make this movie enjoyable to watch in that area alone. Having it perpetually raining and gloomy helps add to the decayed nihilistic tone of the story. Although it takes place in futuristic city of Los Angeles one might actually think it is China due to the large number of Chinese ads on billboards and oriental people seen in the backdrop of scenes. I can only presume this was a Chinese neighborhood of the city, but I wasn’t sure why the action was placed there. Personally, I have no problem with it and it does help add an extra flavor to the proceedings, but I still felt it needed more of an explanation, which never came. Quite possibly this is something that is explained in the Dick novel, but for those that haven’t read it and are coming in brand new to it all it could prove just a bit confusing.

I really liked the story idea, but felt, like a lot of the critics did at the time, that the pacing is off. There is so much emphasis put on the style and atmosphere that at times it seems like the plot is almost forgotten. The scenes are stretched out much longer than in a typical action/sci-fi picture, which in some ways makes it interesting, but in another way it seems unnecessary. There really isn’t any action or excitement until almost an hour in and even then it goes by too quickly. Too much emphasis is put into Deckard’s relationship with Rachael (Sean Young) a replicant that doesn’t even know that she is one. There is no real chemistry between the two actors and the whole romantic angle came off as forced and contrived and bogged the whole thing down.

Ford is at his crusty best. Few people can play a sarcastic character like he does and still come off as engaging. I liked the ‘been there, done that’ attitude of the character, but found that his ability to handle the replicants seemed woefully lacking. They seem to be constantly taking him by surprise and then throwing him around like he is a ragdoll. Without the defense of his gun, which in one scene gets slapped out of his hand like it is nothing, he seems utterly even hopelessly ineffectual. There are several moments when he is about to be killed by them and is only saved when someone else comes to his rescue. You would think that if someone is as savvy and cocky as this character is portrayed and considered ‘the best’ by his superiors that he would have acquired some sort of fighting technique or better skill at handling them. Instead he looks like he is completely in over his head.

Having a typical gun as the only weapon seems pretty conventional and unimaginative. I would have thought in the future the technology in the weaponry department would be more advanced. A little more James Bond-like gadgetry would have made the fight scenes more interesting. Also, the technique at telling whether the person is human or a replicant is awfully archaic.

Hauer as the leader of the bad guys was a terrific casting choice. I can’t think of any other actor living or dead who was better suited for the part, but unfortunately he gets terribly underused in the process. He is seen only sporadically in the first hour and is not as menacing and terrifying as he should be. The final showdown between the two is good and makes great use of the moody lighting and Victorian-like background set, but ends up fizzling at the end.

I came away with mixed feelings on this one. On a technical end it verges on being brilliant, but in other areas it is lacking. The tension needed to be played up more, the confrontations needed more sizzle, and the hero needed to be more in control of the situation.

However, I really liked Daryl Hannah who has just the right blend of sexiness and evilness in her part. Brion James is good simply because he appears very benign, but then surprises the viewer with an unexpected and unannounced viciousness. You also got to love Joe Turkel and his very funky glasses.

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My Rating: 7 out of 10

Released: June 25, 1982

Runtime: 1Hour 57Minutes

Rated R

Director: Ridley Scott

Studio: Warner Brothers

Available: VHS, DVD, HDDVD, Blu-ray, Amazon Instant Video

Tall Story (1960)

tall story

By Richard Winters

My Rating: 6 out of 10

4-Word Review: The game is rigged.

June Ryder (Jane Fonda) is a boy-crazy college coed who has her sights set on Ray Blent (Anthony Perkins) the star of the school’s basketball team. Ray ends up being as infatuated with June as she is with him and the two decide to get married, but before they do they purchase a motor home from Ray’s friend Fred (Tom Laughlin). Unfortunately they don’t have enough of the required money until a mysterious stranger gives Ray $2,500 to blow the upcoming game his team has with the Russians, which puts Ray in a difficult quandary.

The film has a nice fluffy appeal and was based on the hit stage play, which in turn was based on the novel ‘The Homecoming Game’ by Howard Nemerov. The college campus atmosphere for its time period seems realistic. It is refreshing to have the adult faculty portrayed as normal human beings relating to the students on a relatively equal level and vice versa as opposed to the trend that started in the 70’s and went full-throttle in the 80’s where adults in these types of films were written as preachy, oppressive, out-of-touch, authoritative humorless pricks. In fact Marc Connelly as Professor Osman was my favorite character as he looked and spoke like a true professor and helped balance the silliness by being the most normal of the bunch. Anne Jackson as the wife of Professor Sullivan (Ray Walston) comes in a close second and has some amusing moments and a few good comeback lines particularly near the end.

Fonda is perfect as a character lost in her own little world and enthusiastically going by the beat of her own drummer while oblivious to the consternation she causes to those around her. Initially the character is written a little too aggressively making her too deluded and like a stalker, but fortunately that gets toned down and she becomes likable enough. Perkins is great as her boyish counterpart and the two even sing a duet together.

The pacing is a bit poor. Initially it is very zany and fast paced making the thing seem almost like a live action cartoon, which doesn’t work at all. The film then slows down and becomes a draggy only to rectify things with a funny conclusion. If you like things that are cute and undemanding then this should work although the sequence in which Ray comes into the game and singlehandedly wins the game after the team is far behind is just too contrived and over-blown for even Hollywood standards. The humor is light and comes in spurts with some of it managing to elicit a few chuckles. One of the few interchanges that I liked consisted of:

June: “Did you know that elephants only mate once every seven years?”

Ray: “There are some that do it every six years.”

June: “They’re nymphomaniacs”

Spoiler Alert!

One of the biggest problems with the film is the ending as Ray decides to play in the game and win it for his team despite keeping the money that he was paid in order to throw it. However, there is just no way a criminal organization would let anyone keep that money especially when the other party did not uphold their end of the bargain. Most likely they would track down Ray and June and exact a very unpleasant revenge. However, the film never even touches on this and instead shows Ray and June buying the motorhome and riding happily off into the sunset while leaving open a major loophole in the process.

My Rating: 6 out of 10

Released: April 6, 1960

Runtime: 1Hour 31Minutes

Not Rated

Director: Joshua Logan

Studio: Warner Brothers

Available: VHS, DVD (Warner Archive), Amazon Instant Video

Breakout (1975)

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Escape from Mexican jail.

Loosely based on the actual 1971 incident involving Joel David Kaplan, who after being framed for murder and stuck inside a Mexican prison for 9 years, was able to escape when his sister hired a pilot to fly a helicopter into the prison yard and allow Kaplan to jump into it and flee. In this movie Jay Wagner (Robert Duvall) is the Kaplan character and Nick Colton (Charles Bronson) is the goofy, but lovable pilot.

Veteran director Tom Gries delivers a compact action pic that has a good mix of humor and excitement. The comedy is not forced and genuinely engaging, but once the action gets going it is entertaining as well. When the helicopter starts flying into the prison with 30 minutes left in the movie I found myself completely riveted. Gries photographs the action in a way that makes the viewer feel like they are inside the helicopter alongside Bronson. The stunts are authentic and done on-location, which is a big plus. One scene involving a man getting sliced up by an airplane propeller is surprisingly explicit and should make anyone wince when they see it.

My only quibble in the direction department is the opening where a man is shown being shot to death while Gries freezes the frame every few seconds as the victim falls down, which came off as being disjointed and distracting. There is also a shot of the dead body lying on the ground with blood stains on his white shirt. However, there are no bullet holes in his shirt and you really can’t have blood coming out of someone’s body unless you have bullet holes and if you have them piercing the skin you most likely would have them piercing the shirt, but none were found in the shot I saw.

Bronson is highly engaging and steals every scene that he is in. I was surprised how comfortable he was in a comedic role and it made me wish he had taken more stabs at comedy in his career. My favorite moment with him is his nervous, anxiety-ridden expression on his face when he tries to pilot a helicopter and finds that it is much more complicated than he realized. The running gag of him trying to pass off a bad check is also good.

Jill Ireland who plays the wife of the Duvall character and is the one who hires Nick for the job is also enjoyable. She is almost as amusing as Bronson especially with the way she becomes increasingly exasperated by the situation. The two seem to work better when they are adversarial and you could never tell that in real life they were husband and wife.

Sheree North is also great in a small supporting role. Although she was already in her 40’s when she did the part she still looks sexy in a full body shot of her in some really, really short shorts. Her very politically incorrect rape conversation that she has with Nick is good.

Duvall is wasted in a part that doesn’t allow for much range and limited screen time. I’m actually surprised that he even took the part. However, his hair style, and I’m not sure if it was a wig, or just a really good comb-over, but it completely covers up his normally bald head and makes him look twenty years younger.

Randy Quaid seems equally underused, but having the chance at seeing him in drag may make his appearance here worth it to some.

I didn’t like the part where Duvall gets buried alive while inside a coffin in his attempt to escape as it is too reminiscent of a classic Alfred Hitchcock episode entitled ‘Final Escape’, which is better and shouldn’t be touched. However, as a whole, this is a good 95 minutes of enjoyable non-think entertainment.

My Rating: 7 out of 10

Released: May 22, 1975

Runtime: 1Hour 35Minutes

Rated PG

Director: Tom Gries

Studio: Columbia Pictures

Available: DVD, Amazon Instant Video

Gaily, Gaily (1969)

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By Richard Winters

My Rating: 5 out of 10

4-Word Review: Naive fellow becomes wise.

Ben Harvey (Beau Bridges) is a sheltered young man who decides to leave the safe confines of his humble little town and make a go of it in the big city of Chicago in 1910. However, soon after arriving he is robbed of all of his money and then taken in by Lil (Melina Mercouri) a Madame at the local brothel. Ben then gets a job at the city newspaper, but finds corruption at every turn and when he tries to stop it he ends up falling victim to its allure like everyone else.

The first hour is engaging. It features just the right mix of Americana and whimsy. The pace is quick with a wonderfully quirky sense of humor that comes flying fast and furiously. Opening the film by having Ben dreaming of topless women and featuring some very old turn-of-the-century black and white porno pics is funky. I also liked the scene where Ben manages to make all the prostitutes at the bordello he is staying at teary-eyed after reading them a sad story that he had written. The look at Lil’s face when he tells her that his life’s ambition is to ‘change the world’ is a hoot.

Unfortunately the second half deteriorates badly. The scenes become stretched out too long and the attempts are farcical humor lack any cleverness. The side-story about the attempts of a mad scientist Dr. (Charles Tyner) at using a serum he has invented to revive the dead is stupid. The slapstick like chase sequence gets overblown and the whole thing ends on a flat and boring note, which is a shame. The sets and costumes recreating the period atmosphere are wonderful, but put to waste by the silly script. I felt the film could have been more interesting had it taken a more realistic and dramatic route.

Bridges is actually pretty good. He has played the wide-eyed idealist so many times that it becomes a bit annoying, but here he seems to be making fun of it and it works to an extent. However, his extreme naivety at not catching on that the women he is living with are prostitutes is just too over-the-top and makes you almost want to hit him on his head in order to drive some sense into it.

Brian Keith does well playing the type of gruff, brash character that he excels at. George Kennedy though seems stiff and out of place in the setting and does not appear to be particularly adept at comedy.

Mercouri looks to be having a lot of fun here and her singing isn’t bad either. Margot Kidder is fantastic in her film debut and one of the best things about the film. She plays one of Lil’s prostitutes who takes a liking to Ben and I enjoyed how her character goes from being jaded to idealistic and rather naïve. Melodie Johnson is great simply because she is gorgeous to look at. She is now a successful novelist and judging from the pictures on her website is still looking quite attractive.

My Rating: 5 out of 10

Released: December 16, 1969

Runtime: 1Hour 47Minutes

Rated R

Director: Norman Jewison

Studio: United Artists

Available: Amazon Instant Video, Netflix streaming

Before and After (1996)

before and after

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Son is a murderer.

This is a solid drama based on the novel by Rosellen Brown detailing how a family copes after their teenage son Jacob (Edward Furlong) is accused of killing his girlfriend.

Thoroughly engrossing and believable from beginning to end and full of intriguing plot twists. It is fascinating how it examines things from a completely unique perspective namely the family members of the perpetrator, which is rarely ever done. The story is also interesting in that it gets the viewer too become quite attached to Furlong who plays the accused. The film forces the viewer to face and question their own moral judgments, which is good since many films these days seem timid at digging too deeply into anything of a serious nature or forcing the viewer to confront any of their own preconceived notions.

On the negative end the film lacks cinematic style and at times almost looks like it is a TV-movie. Meryl Streep is okay as Jacob’s mother, but this is definitely not one of her better performances. There is a love making scene between her and Liam Neeson that looks mechanical and is completely unnecessary. Viewers who have had family members or friends that have been victims of crimes may find themselves upset with some of the moral conclusions.

Overall this is a strong drama that presents a lot of issues that are timely and haven’t been done anywhere else. Despite a lack of flair or visual style it is still an excellent piece of storytelling with an outstanding performance by Furlong.

My Rating: 8 out of 10

Released: February 23, 1996

Runtime: 1Hour 48Minutes

Rated PG-13

Director: Barbet Schroeder

Studio: Caravan Pictures

Available: DVD, Blu-ray, Amazon Instant Video 

Cold Sweat (1970)

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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 Oscar (1966)

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By Richard Winters

My Rating: 2 out of 10

4-Word Review: Actor’s career on decline.

Frank Fane (Stephen Boyd) is a flippant, self-centered, and arrogant man who makes a living by setting up gigs for his stripper girlfriend Laurel (Jill St John) at local strip joints. By pure chance he watches the rehearsal of a play and in a fit of frustration jumps onto the stage to show the actors how to perform a knife fight when he doesn’t think they are doing it right. This impresses Sophie (Eleanor Parker) who uses her influence to get him signed to a contract at a big movie studio that makes Frank a star almost overnight, but as the years pass the quality and quantity of his roles diminish.  His overspending begins to catch up with him and just when he thinks his career may have faded he gets nominated for the Oscar. He feels a win will revive his career and will stop at nothing and use every dirty trick he can in order to influence the vote.

Adapted from the Richard Sale novel this is high drama at its worst. The scenarios are over-the-top and soap opera-like while bearing little relation to reality. The characterizations are on a kindergarten level and a composite of every Hollywood cliché and stereotype rolled together. The dialogue sounds like it was taken from a 50’s B-movie and comes off more like rants and speeches than anything any real person would actually say. Any attempt at gaining any insight into the behind-the-scenes world of Hollywood is lost with a script that becomes wildly off-center until it becomes absurd and ludicrous. Famed science fiction writer Harlan Ellison who scripted this mess was completely out of his realm here and the film is so botched, over-long, and redundant that it isn’t even good for laughs.

If the film had a glossy visual quality to it then it could at least be entertaining on that level, but director Russell Rouse shows no visual flair, or imagination. The scenes are lighted too brightly, which washes out the color and makes the sets look flat and one-dimensional. The music is too loud and used in a heavy-handed way similar to the canned laughter on some sitcoms. Every time there is some dramatic revelation, or shift the music comes booming out in order to alert the viewer who apparently was perceived by the filmmakers to be too dumb to pick up on it otherwise.

I did like Boyd in the lead. He has good looking chiseled features and parlays the necessary arrogance of the part, but the character is wholly dislikable and only gets worse as the film progresses and having to spend two hours watching a jerk be nothing but a jerk is too much.

The only time he shows any slight compassion is when he finds a fellow actor (Peter Lawford) down on his luck, but it is too extreme to believe that a one-time headlining movie star could one day fall to the point that he would have to wait tables to make a living and thus makes this moment as ridiculous and everything else in the movie. An ‘A’ list actor may fall down to becoming a ‘B’ list actor, or having to go from movies to guest spots on TV-shows, or even doing commercials, or infomercials, but having to become a waiter at a restaurant just isn’t plausible.

Elke Sommar gives a sincere performance and her German accent is sexy, but her character becomes too much of an emotional yo-yo. One minute she loves Frank then the next minute she hates him, only to quickly fall in-love with him again and then hate him shortly after that. Parker, as Frank’s mistress on the side, is good, but wasted despite looking as elegant as ever.

Tony Bennett is badly miscast as Frank’s best friend Hymie. This was to date his one and only film role and he may be a great crooner, but as an actor he is uncharismatic. Milton Berle fares almost as poorly playing Frank’s agent. Initially it was interesting seeing him take a dramatic turn instead of being the perennial comic ham, but his acting skills appear limited and his drama becomes as hammy as his comedy.

Ernest Borgnine gives the film’s only real solid performance as a shady and conniving private detective. The scene where Frank slugs him and it sends him flying backwards and toppling over his desk before crashing against the back wall is the film’s only good moment unless you count St John’s opening striptease.

Lots of cameos by famous stars and celebrities including famed costume designer Edith Head in a non-speaking part and gossip columnist Hedda Hopper in a part she did just before her death.

A good movie can inspire the viewer and expand their thinking and imagination, but this film had the absolute opposite effect. It made me feel like my mind had been sucked away by a giant vacuum. I felt depressed after watching it and continued to feel depressed the next day when I woke up.

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My Rating: 2 out of 10

Released: March 4, 1966

Runtime: 1Hour 59Minutes

Not Rated

Director: Russell Rouse

Studio: Embassy Pictures Corporation

Available: VHS, YouTube

The Caretakers (1963)

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By Richard Winters

My Rating: 6 out of 10

4-Word Review: Doctors with opposing viewpoints.

Two doctors working at a psychiatric hospital come at odds with each other over how to treat their patients. Dr. Donovan MacLeod (Robert Stack) believes in a more humanistic approach in treating mental illness including group therapy and more patient freedoms. Dr. Lucretia Terry (Joan Crawford) is hard-lined and exacts rules on her patients that have severe penalties if broken. The film examines their infighting and how it affects their patients.

Director Hall Bartlett has a nice cinema-verte style to the material that manages to avoid being ‘Hollywoodnized’ or overtly sanitized. The subject is approached in a matter of fact way and the patients are not portrayed as ‘crazy’ or ‘scary’, but instead as sick people looking to get well and learning how to do it. The opening sequence done over the credits and featuring all sorts of moody artsy drawings have an excellent avant-garde flair.

Polly Bergen is effective as Lorna a middle-aged mother and housewife who suffers a nervous breakdown and begrudgingly becomes a member of Dr. MacLeod’s therapy group. Some of her acting particularly when she is having her breakdown is theatrical and over-the-top, but I did like the way Bartlett shows things from her perspective allowing the viewer in a visual sense to feel what she is going through and makes one compassionate and sensitive to her condition.

It is great to see Crawford as always and the scene showing her in a leotard and teaching the other nurses judo lessons is a gem and much too brief. I was hoping to have her play up the part of the heavy more making her almost like a Nurse Ratched, which she could have easily done to perfection, but unfortunately the script doesn’t take advantage of it. I was also disappointed that we never see Crawford ever dealing directly with her patients, which seemed to me should have been necessary.

Stack in the lead is terrible and completely wrong for the part. The role required a man with a more youthful appeal instead of the middle-aged Stack who never displays the kind of sensitivity and compassion that his character supposedly has. Instead he delivers his lines in a stiff and monotone fashion and comes off like he came from the old school of acting.

The scene where his character allows the patients to go to an outdoor park for a picnic and mingle with the staff unsupervised seemed to be pushing the plausibility meter to the extreme. It also makes him look like a complete schmuck who should have known better especially when one of his patients leaves the picnic and runs away while he chases after her in a panic.

The supporting cast is outstanding showcasing many up and coming stars and is one of the major highlights for watching the film. Barbara Barrie is great as the silent and troubled Edna. Janis Paige is excellent as the brassy prostitute Marion. Susan Oliver gives one of her best performances as a young nurse who is just learning how to deal with those with mental illness and Robert Vaughn is also effective as Lorna’s long suffering and confused husband. This is also a great chance to see a young Van Williams before he starred as the Green Hornet as well as the beautiful Sharon Hugueny whose promising acting career was cut short when she was hit years later by a speeding police car.

If you come to this film looking for genuine insight into the illness you will be disappointed as it goes only to the most elementary level into the area of psychiatry. MacLeod’s speeches about how his group therapy can be a ‘cure’ to mental illness are shallow and almost laughable. However, for the era the film manages to be gritty and slick enough to pass as entertainment.

My Rating: 6 out of 10

Released: August 21, 1963

Runtime: 1Hour 37Minutes

Not Rated

Director: Hal Bartlett

Studio: United Artists

Available: VHS, DVD, Amazon Instant Video, Netflix streaming

Wake in Fright (1971)

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By Richard Winters

My Rating: 8 out of 10

4-Word Review: The middle of nowhere.

To an extent this is a one of kind film that is handled in such a raw and unpretentious way that it is like no other film you have ever seen before. The opening shot alone is amazing. You see a birdseye view of an isolated schoolhouse in the outback where our main character teaches. The camera then turns at a full circle and you see that there is absolutely nothing for miles in any direction. The desolation is mind boggling and it’s isolation at its purest.

Not only does this very inspired shot get its point across, but it also becomes the essence of what the film is about by trying to get you to understand the ruggedness of its characters by immersing you into their environment. It’s an uncompromising film full of startling images.

The story deals with a British schoolteacher John Grant (Gary Bond) who, through a loss in gambling, becomes trapped in the isolated outback town of Bundanyabba. He is cultured and educated and his sensibilities can’t mesh with the raw simplistic elements of the people in it.

It’s a highly intriguing viewpoint that not only captures man’s ever daunting task at dealing with nature, but also the overall reality of his existence and even himself. It makes you feel you are right there experiencing the same onslaught with him. There are also some interesting low key scenes proving that one of the biggest hurdles one must fight when in these places is actually just the boredom.

I do have to warn readers that the film has a very prolonged brutally explicit kangaroo hunting scene that features the actual killing of the animals. It even shows the men physically beating up on some wounded kangaroo’s and then viciously slashing their throats in a mocking fashion. Although I do feel that these scenes leave the viewer with the intended strong, raw impact and I like the lighting during the nighttime hunt that allows for a surreal element I still admit this may be a very difficult watch for some and may turn them off from viewing the film altogether. Apparently there were quite a few people that walked out of the film during this scene when it was shown at the Cannes, so be prepared.

Star Bond is excellent. You can relate to his anger and defiance at being somewhere he doesn’t want to be as well as feeling his desperation, exhaustion, and eventual surrender.

For many years this film sat in almost virtual obscurity, but after an exhaustive worldwide search a print of the film was finally found in the back of a Pittsburgh warehouse in a canister with a ‘to be destroyed’ label on it. Fortunately the print was saved and the restoration process is fantastic with colors that are bright and vivid. Director Ted Kotcheff captures the region in all of its rustic, desolate glory including the incredible crystal blue sky.

Reportedly many Aussies dislike the film as they feel it creates a negative stereotype. However, I don’t see it that way. I love the county and people and consider this more of a portrait of what happens when people are stuck in an isolated environment, which technically could be anywhere.

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My Rating: 8 out of 10

Alternate Title: Outback

Released: October 13, 1971

Runtime: 1Hour 49Minutes

Rated R

Director: Ted Kotcheff

Studio: United Artists

Available: DVD (Region 1 & 2) Blu-ray, Amazon Instant Video