Category Archives: Movies with Nudity

Fore Play (1975)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: This sex goes limp.

This is a boring, flat, and completely disastrous attempt at sex comedy. This is the type of teaser T & A picture that gives all other T & A pictures a bad name. Out of the entire running time there is less than a minute of any actual nudity. The sex jokes are stupid and a child could watch this and not be overly shocked. It also looks like it was meshed together on the smallest of budgets.

The film is structured much like a horror anthology with three different stories all based on the same theme in this case sex. The first one features comedian Pat Paulsen as a lonely man who buys a realistic looking sex doll (Deborah Loomis). The doll is supposed to be Polish, but her accent sound more like it is Swedish. This segment is somewhat interesting because Paulsen plays against type here. He is much more emotional and hostile. He even ends up swearing at his own mother (Sudie Bond). There is also an amusing bit of seeing him trying to get the doll, with her stiff arms and legs, into a taxi cab. However the segment goes by too fast and the ending is really stupid. Paulsen also sings here and it sounds as bad as you might expect.

The second segment features Jerry Orbach as a writer going through writer’s block. Here you see the film’s one and only offensive sight, which is having to witness George S Irving in a bikini bottom. He plays Orbach’s muse and takes him back into time to reverse certain sexual conquests that he initially bombed at. One amusing bit has him in a game where he must undress a beautiful lady in sixty seconds in order to have sex with her. He does only to find that she is frigid. Like with the first segment this one also has a really stupid ending.

The third and final story sounds like a winner, but fails terribly. It consists of Zero Mostel as the President whose daughter is kidnapped. As ransom he is forced to have sex with his wife (Estelle Parsons) on national television, which ends up being incredibly dull and unsexy. The only amusing bit, and it is a very brief one, is when one of the secret service agents has to frisk the first lady before she is allowed to hug her husband. Both Parsons and Mostel play dual roles neither of which is funny.

The film is sleep inducing. Although many sources list it with a very brief running time it ran a full 90 minutes on the print I saw, which of course only means more minutes of boredom.

My Rating: 1 out of 10

Released: March 24, 1975

Runtime: 1Hour 30Minutes

Rated R

Directors: John G. Avildsen, Bruce Malmuth, Robert McCarty

Studio: Cinema National

Available: DVD (Troma)

Mackenna’s Gold (1969)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: They all want gold.

This is a sterile western with some irrelevant offbeat elements thrown in for good measure. The story consists of Mackenna (Gregory Peck) coming upon an old Indian man with a map showing the whereabouts to some gold. Feeling that the map is meaningless he burns it and tries to move on. He becomes entangled with outlaw Colorado (Omar Sharif) who feels that the map was legit, and since Mackenna was the last one to see it, forces him to come along with him and use his memory to show him the location. Ultimately they meet a wide assortment of other characters all searching for the same thing.

The cheap special effects are one of the main drawbacks. They are awful and help bring down the whole movie. The scene involving Peck being tied to the back of a horse and then lead across an old rickety bridge has to rate as the worst as the wide shots clearly shows a miniature bridge with a toy man and toy horse. The climactic sequence involving the cataclysmic destruction of an entire valley is so tacky that it is almost painful to watch. There are also other shots spliced in throughout that were done on a different film stock and this difference in grain is obvious and distracting. Even simple shots of Peck riding his horse are laughable as it becomes obvious that he is not on a real horse, but instead one of those mechanical ones that bop him up and down in perfect rhythm.

Only when the film features its stellar supporting cast does it get interesting. Unfortunately this legendary line up was only given about ten minutes of screen time a piece and then very quickly killed off one by one in ways that are particularly gruesome and demeaning.

Peck is okay in the lead and acts as a sort of stabilizer. This was the film where he starts to look elderly with some gray hair showing and a handle bar stomach. He was also not as agile as his younger costar Sharif.

Julie Newmar as Indian lady Hesh-ke is a stand out and even sexier than she was as Catwoman on the TV-show ‘Batman’. She also displays a real vicious side and this probably rates as her best performance despite the fact that she never says a single word. Camilla Sparv as Inga is almost as sexy and the two share a fun ongoing rivalry.

The film is watchable and has some nice, even exciting, aerial shots. However as a whole it is pretty ordinary. Things added to make it seem unique really end up hurting it. Jose Feliciano’s singing is out of place and the music score overall is bad. Victory Jory’s narrative is unnecessary and a feeble attempt to make the production seem like an epic, which it definitely isn’t and the mystical ending just doesn’t work.

My Rating: 4 out of 10

Released: May 10, 1969

Runtime: 2Hours 8Minutes

Rated M (Brief Nudity)

Director: J. Lee Thompson

Studio: Columbia Pictures

Available: VHS, DVD, Amazon Instant Video

Altered States (1980)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Blair Brown’s hairy armpits.

            This film, which is loosely based on the experiences of dolphin researcher John Lily the inventor of the isolation tank, and from the Paddy Chayefsky novel comes this bizarre concoction that is half sci-fi and half surreal fantasy.  The story pertains to Eddie Jessup (William Hurt in his film debut) who spends time in his isolation tank at his Harvard research lab while taking hallucinatory drugs that send him into different states of consciousness that become increasingly more frightening and vivid until they begin to externalize in his everyday life.

It was directed by Ken Russell and if you are familiar with his work you realize that means the presence of lots and lots and lots of strange visuals that come at you in quick and unannounced ways. They are confusing, cluttered, and often times make no sense. However, since the story is pretty wide-open these trippy segments work to the film’s benefit, unlike other Russell productions where I felt they became off-putting.  They also give the movie distinction and momentum. I’ve never done LSD, acid, or meth, but these segments probably come as close to the experience of a drug trip as you will find.  It is best not to demand any logic and instead sit back and allow it to become an assault on the senses, which on that level works to excellent effect. I came away wishing these scenes had been more extended and frequent as they are the best part of the movie. Of course the state-of-art special effects are no longer as impressive and look like images put on a mat screen, but some of the other stuff is cool. My favorite part is where a naked Blair Brown and Hurt are lying on the ground and a strong wind completely covers their bodies with sand and then they slowly evaporate into the air.

Hurt does a competent job and the character isn’t the clichéd kind of sensitive modern man like most Hollywood protagonists. He is emotionally ambivalent and self-centered.  His unromantic marriage proposal to Emily (Blair Brown) is one for the books, but I liked it. Most research scientists probably aren’t a socially skilled, people person to begin with otherwise they wouldn’t be shutting themselves inside a lonely, dingy research lab all day, so in that regards I felt the script hit the target and gave the film a little more of an edge.

Blair does fine in her role as the long suffering wife and it is nice seeing her looking so young and even briefly smoking a joint. She looks great naked, but her armpits where much too hairy during the love-making scene and she should have shaved them. I also found it amusing that during the time the two were separated Eddie started to have relations with a younger student of his who continued to refer to him as ‘Dr. Jessup’ even when they were in bed together.

Charles Haid plays Mason Parrish a friend of Eddie’s who helps him out with his experiments despite strong misgivings. His rants and tirades are well-played and give the film energy when it is not in fantasy mode.

To me the movie became boring and contrived when Eddie started to mutate into that of an ape man and runs around the campus and city terrorizing everyone. It seemed too reminiscent to An American Werewolf in London, which came out around the same time as well as countless other wolf man movies. The part is also not played by Hurt, but instead Miguel Godreau, who was an excellent dancer. I was impressed with his limber body and the way he could climb things, which gave him an animalistic quality, but felt that if it represented the Hurt character then Hurt should have been performing it even if it meant allowing for certain concessions.

The opening sequence showing Hurt locked in a thin, rusty tank in an empty room is terrific. There is a certain starkness and foreboding quality, especially with the eerie music, that makes this one of the better openings to a horror movie. The use of the credit titles is creative and reminded me a bit of The Shining. However, the film’s ending is horrid and one of the worst I have seen. It reeks of being a forced ‘happy’ Hollywood ending that practically ruins the entire picture as a whole. Because of this and the fact that the script seems to only skim the surface of this potentially fascinating subject matter forced me to give it only a 5 rating.

My Rating: 5 out of 10

Released: December 25, 1980

Runtime: 1Hour 42Minutes

Rated R (Language, Brief Nudity, Adult Theme, Intense Visuals)

Director: Ken Russell

Studio: Warner Brothers

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

How to Beat the High Co$t of Living (1980)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Ball full of money.

            Jane, Elaine, and Louise (Susan Saint James, Jane Curtain, Jessica Lange) are three women who find themselves in financial straits. They become aware of a contest going on at their local mall that features a giant plastic ball filled with money. The idea is to guess how much money is inside the ball, but the women decide to tunnel underneath the building and suck the money out with a vacuum.

The movie falls flat from the beginning. There is no action, hijinks, jokes, or pratfalls. Everything relies on the dialogue that is boring and conventional. The small attempts at humor including some Abraham Lincoln jokes are stale and unimaginative. It takes a plodding 35 minutes just to detail all of their financial difficulties and then another 40 minutes of going through their planning phase before we ever get to the actual heist, which proves not to be worth the wait.

Having a giant ball in the middle of the mall makes for an interesting visual and the concept of trying to get money out of it managed to hold my interest somewhat in what is otherwise a highly uninspired movie. However, I found it hard to believe that these women, as financially desperate as they were, would decide to pull off such a dangerous and complex heist when they had no experience in robbing anything before. Having them rob a bank, although more standard, would have made more sense and with a little imagination could have been even funnier and more interesting. The actual execution of the crime is dull and I thought it was really reckless and stupid that they chose to do it while security guards where standing around it and tons of people present watching a nearby play instead of waiting until the place closed. Also, it was ridiculous during the planning stage when they decided to force Jane to rob a grocery store in order to get her ‘psychologically ready’ and prove that she had the ‘guts’ to pull off the big heist, but this seemed stupid because if she got caught, which could easily happen, then all their plans would have been ruined.

The only thing that half-way saves it are the female leads and I liked all three of them. Saint James is a very attractive woman and normally I don’t particularly like ladies with husky voices, but with her it is sexy. I also enjoyed the naïve quality of her character. Lange is young and beautiful here and looking light years removed from the southern accented old crone that she has been playing in ‘An American Horror Story’. Her vivaciousness helps propel every scene that she is in. Curtain is a blast as well. She has impeccable comic timing and I always felt her presence on ‘Saturday Night Live’ was one of the main reasons that show was so successful and ground-breaking during its first five seasons. The only problem I had with the character is that she performs a striptease near the end, which isn’t funny or sexy and comes off as stupid and degrading instead. It is also quite clearly a body double and not Curtain herself that you end up seeing topless, so for any voyeurs out there who might think of buying this just for that reason, don’t bother.

The male leads are essentially wasted. Eddie Albert has a meaningless role as Jane’s father and I could see no other reason for why he took the part except that he wanted to stay busy in his old age. Richard Benjamin can be great at times, but here his character is vapid. I also thought it was a bit strange that he was cast as Lange’s husband since in real-life he was eleven years older and given her very youthful appearance here almost made it look like a middle-aged guy bedding a minor. Dabney Coleman is cast against type playing a nice guy for a change instead of a conniving jerk that he usually does. Since he plays conniving jerks so well I have always enjoyed him and the change of pace is interesting for a few seconds before it becomes boring like everything else.

The on-location shooting in Eugene, Oregon does not help. The music score comes about as close to ‘elevator music’ as you can get. The opening animation sequence is lame. Outside of a slightly amusing cameo by Garret Morris this thing never gels and it is one film you can afford to miss.

My Rating: 2 out of 10

Released: July 11, 1980

Runtime: 1Hour 44Minutes

Rated PG (Brief Nudity)

Director: Robert Sheerer

Studio: American International

Available: VHS, DVD, Netflix streaming

Maniac (1980)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: He wants their hair.

A loner (Joe Spinell) terrorizes New York City by killing young women and scalping them. He then takes their hair, brings it home, and places it (actually he nails it) onto the heads of some mannequins that he has.

In a lot of ways this is the same old mechanical slasher flick as it has all the predictable characteristics of the others that dominated the early 80’s. The story is simple and strung along by long, drawn-out murder sequences. There is some suspense, but it is minimal since we know exactly what is going to happen. The victims are young, good looking women, who are clueless to the dangers that are lurking until it is too late. One segment in particular features a nurse getting off of work late at night, who mentions her fear of the killer and yet for some reason she still foolishly refuses a ride home from her friend and instead walks down a dark, lonely street and into, of course, eventual carnage.

There are also some rather glaring technical errors. One features a woman (the same one who refused a ride) running from the killer by going into an empty subway. Although isolation is the whole factor here there is one shot, taken from inside a departing subway car that clearly shows a whole bunch of people standing just across from her on the other side of the tracks. There is also a segment where Spinell takes his girlfriend to his mother’s grave. When the car pulls up to the cemetery it is a nice, bright afternoon, but when they reach the actual grave it has become pitch black with a strange unexplained fog that has rolled in. Lastly there is the ending. This is a man that has terrorized a whole city and yet only two policemen in an unmarked squad car come to his residence and when they do they don’t even bother to secure the site.

Despite the low-budget problems there are a few things that raise this slightly above the rest. One is the fact that it actually manages to get inside the killer’s head. You hear the inner conversations between his ‘good’ side and his ‘bad’ side. Of course this only touches the surface of a true schizoid personality, but it does offer a little more depth than most. It also helps create a good portrait of a tormented soul and you end up feeling more sadness than fear for the man. The film also consistently has a dark, grainy look, which helps accentuate the ugly theme. Having it take place in New York City gives it a little more distinction and atmosphere.

The special effects are good. The part where he blows a man’s head off, through a car windshield, looks very realistic and has become the film’s most famous scene. The surreal ending, where the mannequins all come to life and exact a sort of revenge, is also well-handled and imaginative. Makeup artist Tom Savini, who also appears as the character of ‘Disco Boy’, has had a lot of success, but the stuff here may be his best.

Director William Lustig shows some panache and Spinell, who also co-wrote the screenplay, gives a surprisingly strong performance, but their attempts at creating a better understanding of a crazed killer prove placid and simply done for shock value.

My Rating: 5 out of 10

Released: December 26, 1980

Runtime: 1Hour 27Minutes

Not Rated (Graphic Violence, Brief Nudity, Language, Adult Theme)

Director: William Lustig

Studio: Magnum Pictures

Available: DVD, Blu-ray (30th Anniversary Edition)

The Gong Show Movie (1980)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Jaye P. Morgan topless.

A very fractured, offbeat look at game show host Chuck Barris and his trials and tribulations as producer and host of the hit 70’s game show ‘The Gong Show’. In between there are some very short snippets of acts that never made it past the network censor. If you are unfamiliar with the show it featured three B-celebrities, usually Jamie Farr, Artie Johnson, and Jaye P. Morgan, who would watch talent acts performed by amateurs. The acts were usually done in the comic and absurd vein and could include anything from singing, dancing, or stand-up comedy. If they were really bad the celebrities would get out of their seats and bang a big gong that was behind them, which would have the performer thrown off. If the participant avoided being gonged they would then have the potential of winning a monetary prize at the end.

If you were not a fan of the show then you probably won’t be a fan of this movie either. If you were a fan you still might not like it because Barris acts consistently embarrassed by his creation and seems to want to disown it.

The film lacks cohesion. It mixes absurdity with surrealism and even trashy segments thrown in for good measure. The quirky bits are forced and the ‘hilarious’ dialogue is just plain stupid. There is also too many scenes involving a stuffy, uptight network boss who is so over- the-top clichéd that he becomes annoying.

Barris never seemed completely cut out for a game show host and even less as a leading man. He has no charisma and  spends the whole time moping around. He comes off as very burdened making you wonder if his stories about being a part-time CIA hit man were true. Either way he is not an engaging centerpiece for a movie. It would have been better had it broadened out and shown more of “The Gong Show” cast especially Jaye P. Morgan who is as raunchy as ever in the few scenes that she is in including her topless part!

The show always had a unique and perverse brilliance, which comes out every time it features one of the acts from the show making me feel that using this simply as a highlight reel of all of the best and most outrageous acts would have been a better idea. The ones that they show aren’t bad, but they are cut pretty short. A few of the ones that I liked featured two teenaged girls performing fellatio with their popsicles. Another one has three men standing at a urinal and making music with their zippers until one of their zippers gets caught! There is also two obese Siamese twins singing the Captain and Tennille hit ‘Love Will Keep Us Together’.

My Rating: 5 out of 10

Released: May 23, 1980

Runtime: 1Hour 29Minutes

Rated R (Language, Brief Nudity, Raunchy Humor)

Director: Chuck Barris

Studio: Universal

Available: None

The Little Girl Who Lives Down the Lane (1976)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: She is all alone.

Rynn (Jodie Foster) is a 13-year-old girl living alone in a big house in the countryside. Her father has leased the place for three years from nosy landlady Mrs. Hallet (Alexis Smith) and her adult son Frank (Martin Sheen) who continually makes lecherous advances towards Rynn. No one has seen her father and when anyone asks for him she comes up with excuses, which starts to make everyone in town suspicious. She meets fellow teen Mario (Scott Jacoby) who she lets in on her secret and the two devise a plan that will rid them of the meddlesome Hallets.

Although she has stated in interviews that this is the least favorite out of all the movies that she has done I can’t think of anyone more perfect for the part of an independent headstrong young woman than Foster, who has always carried that persona. Despite the vast age difference she easily carries the picture from her older co-stars. There is even a nude scene involving her character although it was done by her older sister Connie working as a body double. This was done despite her adamant protests as was a scene where she goes to bed with Jacoby, which she has said made her extremely uncomfortable and probably explains her dislike for the film.

Sheen is menacing as the perverted Frank, who enjoys ‘younger girls’ and his ongoing banter and advances with Rynn is consistently creepy and tense. Alexis Smith is excellent as the mother and her worn face and attitude gives her a witchy presence and it is too bad she couldn’t have remained for the entire movie. I also found Jacoby engaging and amiable and I really enjoyed his character, which I found a bit surprising since he is best known for playing dark, sinister characters in Rivals and the TV-movie Bad Ronald.

The on-location shooting, which was done in both the Canadian province of Quebec and in Maine, is excellent and gives one a nice taste of small town life on the east coast. There is some nice synthesized music that gives the film a dark tone. The premise is offbeat and to some extent, at least during the first half, it is enough to keep you intrigued.

My main issue with the film is the fact that not enough happens. Almost all the action takes place in the main room of the house, which eventually becomes dull, especially visually. There are no scares, or shocks and the twists aren’t all that clever, or surprising. In fact the final twist I saw coming long before it happens. There are times when cutaways would have been helpful and spiced things up particularly when Rynn talks about a visit from her mother and her ‘long red finger nails’, which we never see and is just described. The conclusion leaves A LOT of unanswered questions making this thing empty and incomplete. The final shot is one very long take of a close-up of Foster staring at a subject while the credits role by, which eventually becomes annoying and it would have been better had they done a freeze-frame instead of forcing her to sit and stare at something way longer than humanely possible. Also, composer Mort Shulman is badly miscast as the policeman. His acting abilities are clearly limited and he shows no presence or authority and makes the scenes he is in weak.

It is hard to know what genre to put this in. It is really not scary and the mystery angle has too many loopholes to being taken seriously. The story, based on a novel by Laird Koenig, seems rather tame despite some dark elements and geared more for teens, or young adults.

My Rating: 3 out of 10

Released: December 25, 1976

Runtime: 1Hour 40Minutes

Rated PG (Brief Nudity, Mild Cursing)

Director: Nicholas Gessner

Studio: American International

Available:  VHS, DVD, Netflix Streaming

Harry and Tonto (1974)

harry1

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Old man and cat.

Harry Combes (Art Carney) is a 72 year old retiree living in a small New York apartment with his pet cat Tonto and finds out that the complex is about to be torn down and he must leave. At first he moves in with his son (Phil Bruns) and his family, but it does not work out. He decides to take a cross-country odyssey with his cat where he meets a variety of interesting people in this senior citizen variation of Easy Rider.

One of the great things that sets this film apart from others that deal with aging is that there is no death, dying, illness, or senility here. Instead of learning to adjust to the ending of one’s life, our character instead realizes that old-age is just another stage in a person’s existence and full of new experiences and possibilities. I thought it was cool and interesting how he meets a 15 year old teen girl runaway (Melanie Mayron in her film debut) named Ginger and the two set out to try and find themselves as well as search for life’s answers. They share a lot more in common than one might expect and only prove that life is a continual exploration no matter what stage you are in.

The Harry character is refreshingly laid-back and easy going unlike most elderly characters who tend to be betrayed as stuck in a bygone era. Although he does reminisce about the ‘old days’ with his friends, he does not expound on boring stories of yesteryear with young people, nor act like he has all the answers simply because he is older. He approaches everyone in a non-judgmental way that allows each person he meets to be themselves. He proves to be a lot more flexible and open-minded than the other, younger adults in the film including his own children.

There were only a few scenes involving the Harry character that I didn’t like. One is when he refuses to leave his apartment even as the wrecking ball crew stands outside. The police end up having to be carry him out while he still seats in his favorite chair, which seemed forced and unrealistic. There is another scene where he is at the airport ready to board a plane, but he refuses to allow, for no particular reason, the security to search the cage that has his cat in it even though it is accepted procedure.  This may have been writer-director Paul Mazursky’s way of showing that Harry could at times be set in his ways, but to me it went beyond being simply stubborn and more into the irrational and was not consistent with his behavior in the rest of the film.

The script has a lot of amusing and even touching slice-of-life vignettes as well as characters that are quirky, but not absurd.  The scene with Harry meeting an old Indian medicine man named Sam Two Feathers that is played by elderly Indian actor Chief Dan George is well handled. George had no formal acting training, but his raw delivery is an inviting change of pace.  I also enjoyed at the very end when he meets a woman with a bounty of pet cats that his played by comedian Lenny Bruce’s mother. Again, she had no acting training, but the scene captures her natural out-going personality and it is fun.

I felt Phil Bruns gave an outstanding and overlooked performance as Harry’s older son Burt.  The constant nervous and stressed-out expression on his face seemed to be a perfect composite of the middle-aged suburban male that is overrun with job demands and family responsibilities.  Larry Hagman is good as well in a brief, but memorable appearance as Harry’s other son Eddie. He spends the first part of his visit with Harry trying to impress him with how ‘good’ things are going only to end up breaking down when it becomes painfully obvious that he is desperate and broke.  Even director Mazursky gives himself a cameo as a gay prostitute who makes a pass at Harry.

If the film has any faults it is the fact that it is too amiable. I would have liked to have seen a little bit more action and comic misadventure. I thought it could have been funny and intriguing to see Harry inside a hippie commune, which is where he takes his two teen passengers. Instead he lets them off without going himself, which seemed like a missed opportunity.  There is another part where he inadvertently hitches a ride with a high-priced hooker (Barbra Rhoades) who immediately starts to get ‘horny’ when he Harry gets in. She drives the car off the road and parks it in the middle of the dessert and then the film cuts away. I think this could have been hilarious had this scene been extended. I was also disappointed that the very talented Ellen Burstyn is seen only briefly playing Harry’s daughter Shirley. This was even more of a shame because Burstyn gets cast against type here playing a character that is rather edgy and opinionated and there was strong potential for some good drama.

There are a few extended conversations where Harry discusses with some of his old friends their inability to perform sexually and how they hadn’t had sex for well over twenty years.  With the advent of Viagra, a product that was invented and manufactured right here in good old Indianapolis, these types of topics are no longer as relevant and make the film seem dated.

Of course the one thing that holds it all together and propels the movie from beginning to end is the outstanding Oscar winning performance of Carney, who until then was best known as the comic side-kick Ed Norton from the classic series The Honeymooners. Although he seemed perfect for the part he was not the Producers first choice and had to lobby hard to the get the role.  He was actually only 55 years old when the film was made and to help compensate he openly wore his hearing aid, which gets shown a lot, as well as dying his hair gray.

His win on Oscar night in 1974 became an historic upset. He was going up against very stiff competition that night including Dustin Hoffman for Lenny, Jack Nicholson for Chinatown, and Al Pacino for The Godfather Part 2. When Carney’s name gets called the look of shock on his face is very apparent as even he was not expecting it.  The moment is worth a look and can be seen on YouTube for those who are interested.

My Rating: 6 out of 10

Released: August 12, 1974

Runtime: 1Hour 55Minutes

Rated R

Director: Paul Mazursky

Studio: 20th Century Fox

Available: VHS, DVD

Dona Flor and Her Two Husbands (1976)

dona1

By Richard Winters

My Rating: 6 out of 10

4-Word Review: One is not enough.

This is an oddly structured Brazilian film that became a world-wide hit due to its explicit, edgy storyline.  It details the account of a woman named Dona Flor (Sonia Braga) whose first husband Valdomiro (Jose Wilker), was a bit on the wild side. After gambling away all of their money he dies. She becomes determined not to make the same mistake twice, so she remarries another man who is a doctor (Mauro Mendonca) and a much more responsible mate, but also stiff and boring. Problems ensue when the first husband, who she misses because he was more erotic and exciting in bed, comes back in the form of a ghost who only she can see.

The movie on a whole is well made. The characters are all likable and the theme music, which is played throughout the film, is appealing. The on location shooting is also quite distinctive. It really gives you a genuine, rare flavor of a small Brazil village and the people who inhabit them.

My main complaint with the film is that it takes the entire first hour just too illustrate her marriage with her first husband and the second hour to show her mourning and eventual remarriage. It’s not until the FINAL FIFTEEN MINUTES that the scenario the whole film is based on actually happens. When it does it is lively and funny, but the majority of the movie is surprisingly low key and melodramatic. The highly touted sex scenes are overrated. They are too brief and spread out very thinly.

Braga does well in her star making vehicle. She is able to convey both a simple, sweet nature as well as a sultry, sensual one. She has a pretty face and really does look great naked.

My Rating: 6 out of 10

Released: November 22, 1976

Runtime: 1Hour 50Minutes

Rated R

Director: Bruno Barreto

Studio: Embrafilme

Available: VHS, DVD (Director’s Cut)

Bye Bye Brazil (1980)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Entertainers traveling throughout Brazil.

This movie is a slightly surreal comedy-drama detailing a caravan of five entertainers who travel the Brazilian countryside putting on vaudeville like shows underneath a makeshift tent.  The film works in a vignette style as it analyzes the many scenarios and difficulties that the group encounters as well as making a very strong statement to the poverty and hardships befallen on the townspeople that they meet. In fact if there is one lasting image that the film gives it is that one.

The story is pretty much character driven and the characters are all by and large highly amoral. They reflect the desperation of their audiences, which they quietly hope someday to rise above, but never do.  There are a few fleeting moments where they amazingly and surprisingly decide ‘to do the right thing’, which ends up being the film’s most memorable scenes, but most of the time they are ‘rough around the edges’ and the viewer is forced to appreciate them with all their frailties brightly exposed.

Jose Wilker plays Lorde Cigano who is the leader of the group and a lifelong con-man. He closely resembles character actor Stuart Margolin, who was famous for playing the character of Angel on the classic 70’s series The Rockford Files where he was always trying one amusing scheme after another and the character here works in much the same way. He has a few good lines as well as a funny running gag where he displays obscene toys to attractive woman he meets in order to ‘turn them on’.

Betty Faria plays Salome who does erotic dances during their performances.  She lies and cheats as much as Lorde and is more than willing to fall back to being a prostitute whenever the group is in need of money. Although she does have a few nude scenes she is really not all that attractive, or young, as she was already hitting 40 at the time that the film was made.  However, her worn looking face does help accentuate the hardened lifestyle of the character. Her best scene is when she is ‘servicing’ one of her clients who is a fat, balding middle-aged man who expounds the entire time they are having sex about the many virtues of his wife.

Fabio Junior plays Cico the young man who joins the group because he feels it is a chance to escape the sad existence of a peasant farmer only to find that life on the road can be in many ways just as grueling and thankless. Junior is a famous singer in Brazil and his chiseled, boyish good looks didn’t seem to be a realistic fit for the impoverished farm family that his character came from in the movie.  He shows no concern for his pregnant wife and spends the entire time trying to seduce Salome, which makes him irritating and unlikable.  I did though like the fact that he was the one character who evolved and became introspective at the end.

The character of Daso, which is played by actress Zaira Zambelli and is Fabio’s wife, was a bit frustrating. The film makes it clear that she is aware that Fabio is fooling around with Salome and she doesn’t seem to care. She also excitedly jumps into becoming a prostitute at her husband’s insisting when the group falls on hard times. However, I wanted more explanation, or history given to the character to help understand this, but the story does not supply any.

I was also disappointed with the handling of the Swallow character who performs feats of strength during their productions as well as acting as the group’s driver. Swallow is mute, but easily is the most likable and durable, but he runs away half-way through the picture and never returns. I would have liked the character to have stayed during the entire duration as he helped give balance to the others, or at the very least some detail to his eventual fate.

The film becomes almost a like a Brazilian travelogue as the viewer encounters everything from the small dessert towns, to the exotic rain forests. However, the budget was clearly low and I didn’t feel the cinematography captured the majestic essence of the landscape as much as it could’ve, or as I had expected. The story and situations are not all that unique, or creative, but it stays nicely amiable throughout.  The funniest part of the whole film may actually be the lyrics of the song that is sung at the very end during the closing credits. This is not a great movie, but not a bad one either.

My Rating: 6 out of 10

Released: February 9, 1980

Runtime: 1Hour 40Minutes

Rated R

Director: Carlos Diegues

Studio: Carnaval Unifilm

Available: VHS, DVD