Category Archives: Obscure Movies

One is a Lonely Number (1972)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Adjusting to being single.

Amy (Trish Van Devere) is shocked to learn that her husband (Paul Jenkins) of 10 years wants to move out and get a divorce. She thought they had a happy marriage, but apparently he was seeing another woman on the side. Now she must learn to survive on her own and get a job despite not having any work experience.  She must also get back into the dating scene but finding quality men is tough as most are only interested in having sex while others pretend to be single when they’re really not.

David Seltzer’s script, which is based on the short story ‘The Good Humor Man’ by Rebecca Morris, is full of interesting insight on just how tough divorce can be on women particularly from that era where wives much more dependent on their husbands financially and not expected to venture into the work world as much as they are now. Mel Stuart, best known for directing documentaries as well as the original Willy Wonka and the Chocolate Factory,  proves quite adept with the material making it seem almost like a documentary and I especially liked his use of the hand-held camera and the way it would glide through the different settings that Amy was in and making the viewer feel like they were right there with the characters.

Although her name has come back into the headlines in 2017 when she and her adult son were accused of imprisoning a teenage girl in their Malibu home against her will, Van Devere has otherwise fallen into complete obscurity having not appeared in anything since 1993. I have often wondered if her career would’ve achieved more prominence had she not gotten married to George C. Scott when she did, which obligated her during the 70’s to star with him in many of his film’s which were box office bombs and critically panned and tarnished her star power. Here though she’s excellent playing an even keeled woman who isn’t sterotypically emotional. Her only gaffe comes when she breaks down crying while inside a clothing store, which didn’t come off as genuine and should’ve been taken out especially since she ends crying later on in two other scenes.

Janet Leigh is equally good as Amy’s snarky, man-hating friend. I was also impressed with Jonathan Goldsmith, who goes by the last name of Lippe here, who is better known by today’s audiences as the ‘Most Interesting Man in the World’ from the Dos Equis beer commercials. Here he plays a creep who doesn’t look or act anything like his TV- counterpart, as a job coordinator who expects to be ‘rewarded’ by Amy for finding her a job.

The film’s only drawback is that it doesn’t analyze the marriage enough as we’re never given any understanding for why Amy misses her husband, or why she would’ve fallen in love with him in the first place since he pretty much comes off as a selfish, indifferent jerk every time he is shown. Having some flashbacks to when she was married might’ve helped flesh out the character’s personality by showing her at different stage in her life instead of just focusing on the one. Otherwise this is a solid sleeper that hasn’t dated too badly and is waiting to be discovered by a new audience.

My Rating: 7 out of 10

Released: June 19, 1972

Runtime: 1 Hour 37 Minutes

Rated PG

Director: Mel Stuart

Studio: MGM

Available: YouTube

Sunday in the Country (1974)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Farmer holds robbers hostage.

Adam Smith (Ernest Borgnine) is a Canadian farmer living in a rural home who becomes aware via the radio of reports of three bank robbers (Cec Linder, Louis Zorich, Michael J. Pollard) on the run in the area who’ve just killed a young man and his girlfriend who were his friends. He prepares for their arrival and when they come he shoots and kills one of them while taking the other two into his cellar where he hangs them on meat hooks. Smith’s granddaughter Lucy (Hollis McLaren) finds this treatment inhumane and wants to call the police, but Adam won’t let her and the two quarrel until he locks her in her room, but she escapes and runs for help, which enrages Adam even more.

The film almost gets ruined by an obnoxious musical score that is so heavily tinged with country twang that it seems almost like a parody of itself and makes the entire production come off as cheesy and amateurish. It would’ve been better without any music at all as it ends up taking you out of the action like having someone sitting beside you and rudely talking and not letting you concentrate on what’s happening on the screen.

As for the story it makes some good observations about just how thin the line can sometimes be between the good guy, or those that feel they’re morally justified to inflict whatever style justice they deem necessary, and the so-called bad guy. Unfortunately the character arch of the protagonist happens too quickly without much of a back story explaining why this otherwise law abiding farmer would deviate so quickly into an abuser. What makes him different from others who would’ve called the police? Just saying that he’s ‘old fashioned’ and ‘from a different era’ I didn’t feel was enough of an explanation.

With the exception of Pollard the robbers aren’t intimidating enough and it some ways came off as pathetic and not like professional crooks at all. This might’ve been intentional on the filmmaker’s part in an effort to make the viewer more sympathetic to their quandary once they are held hostage, but in the process it lessens the tension and makes them seem not as threatening.

Borgnine does a terrific job through his facial expressions of showing the character’s inner turmoil as well as constantly exposing his human side even as he forges ahead to doing some not-so-nice things. McLaren is also superb and her interactions with Borgnine are the most compelling aspect of the film.

Pollard is great here too and I was surprised as he’s not always able to find roles that match his unique talents and sometimes has been relegated to thankless and forgettable supporting parts, but here he’s viscous with a most creepy sounding laugh.

Unfortunately the eye-for-an-eye concept doesn’t get examined enough and the film could’ve gone a lot farther with it than it does. It still manages to bring out many interesting issues but the story should be remade and without the corny soundtrack.

Alternate Titles: Vengeance is Mine, Blood for Blood

My Rating: 4 out of 10

Released: November 22, 1974

Runtime: 1 Hour 33 Minutes

Rated R

Director: John Trent

Studio: Impact Films

Available: Amazon Video

UFOria (1985)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: She dreams about spaceships.

Arlene (Cindy Williams) is a lonely woman living in a small town and working at a local supermarket. One night she starts having dreams about a spaceship landing in town and taking her away. Her new boyfriend Sheldon (Fred Ward), who is a shady drifter always looking to make a quick buck, works with his brother Bud (Harry Dean Stanton), much to her consternation, to use her ‘visions’ to make money off of it by portraying her as communicating with some outer worldly messenger that’s connected to God.

This film was made in 1980, but sat on the shelf for 5 years and it’s easy to see why as it’s difficult to put it into any predefined genre. It’s certainly isn’t a sci-fi flick and in a lot of ways it really isn’t a comedy either. There are a few funny bits, but they get lost inside scenes that go on far longer than they should, which never allows the film to gain any traction or momentum.

Williams is not right for her part and fails to convey the downtrodden look of a lonely woman in a role that would’ve been better served had it been played by an actress with a more plainish, dumpy features like Kathy Bates. It’s also annoying that she has these vivid dreams, but the viewer never gets to see them. Movies are a visual medium and should take advantage of that element as much as possible by showing what’s happening instead of just having a character describe it.

Stanton isn’t right for his part either. In certain films his low-key style is perfect, but here he fails to effectively convey the animated, fiery delivery of a TV evangelist, which is a part that needed to be comically played-up much more.

Ward was the only one that I liked and he really comes into his own with a character that isn’t particularly likable, but has an interesting arch where he goes from being a cynical non-believer to eventually defending Arlene from those who mock her. He also drives his car in the most bizarre way that I’ve ever seen with his feet up on the dashboard and not on the pedals.

Spoiler Alert!

I was hoping that the ending would be a payoff for having to sit through such a slow, poorly paced film, but ultimately it falls flat just like everything else. I liked the idea of a spaceship suddenly appearing, but then the film cuts to the closing credits without examining what happened to the people, how they reacted to it, or what the aftermath was, which I found frustrating.

End of Spoiler Alert!

The small town setting filmed in Palmdale and Lancaster, California gives off just the right rustic look and prime stomping ground for fringey, eccentric people like the characters here.  While the film does have a definite cult appeal the offbeat elements get stymied inside a lethargic pace that never allows it to gel, or become captivating.

My Rating: 4 out of 10

Released: October 1, 1985

Runtime: 1 Hour 35 Minutes

Rated PG

Director: John Binder

Studio: Universal

Available: VHS

To Kill a Clown (1972)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Couple harassed by veteran.

Timothy (Heath Lamberts) and Lily (Blythe Danner) are a couple suffering through a rocky marriage. In an attempt to try and save it they decide to rent a beach house for a summer where they hope the quiet seaside scenery can help mend the friction. Their landlord is Evelyn (Alan Alda) a crippled war veteran with two dobermans who resides in a large house next to theirs. Evelyn considers Timothy to be effeminate and ‘unfocused’ and decides to challenge him to a psychological game where he will put Timothy through the rigors of army training. Initially Timothy finds this challenge amusing, but the game becomes much harsher than he expected and when he tries to get out of it Evelyn won’t let him, which eventually leads to Timothy and Lily becoming hostages inside their own home where Evelyn’s two ferocious dogs guard them.

The film is based on the short story ‘The Master of the Hounds’ by Algis Budrys that appeared in the August 1966 edition of the Saturday Evening Post. The plot certainly has some intriguing qualities, but the pace is too laid-back and I spent much of the time rather bored with it. The tension comes in spurts and when it does get going it cuts away just as it gets interesting. The Timothy character is overly smug and to some extent I actually enjoyed some of the harassment that Evelyn gives him, which ultimately minimizes the ‘horror’ that the viewer is supposed to be feeling.

In the story the setting was supposed to be the Jersey shore and in the film it’s somewhere off the New England coast, but in actuality it was filmed in the Bahamas and in an attempt to mask the tropical surroundings they found one of the blandest looking beaches to film it on. The lack of scenery gives the film no visual flair and it ultimately comes off like something done on the cheap end by a director lacking talent of vision.

The only interesting aspect is seeing Alda, who was known throughout the 70’s and 80’s as being a very liberal, ‘sensitive’ male, playing someone who is the exact opposite and to a degree he does it well, but it could’ve and should’ve been played-up much more. Lamberts is good too, but it would’ve been better had the character been an actual army deserter, which would’ve then made the men’s contrasting personalities even more vivid.

Danner though, in her film debut,  comes off best by acting as a buffer between the two men. The dobermans though are the real stars and I wouldn’t have minded seeing more of them. In fact the film’s best moment involves one of them standing guard as it holds the frightened couple hostage in their living room and growling threateningly if one of them even moves their head in he slightest.

Unfortunately the action takes too long to get going and the whole thing gets misguidedly underplayed. I found the freeze-frame shots, which the film uses to transition from one scene to the next, distracting and overly artsy especially for a movie that is supposedly trying to be reality based.

My Rating: 3 out of 10

Released: August 23, 1972

Runtime: 1 Hour 44 Minutes (Reissued at 1 Hour 26 Minutes)

Rated R

Director: George Bloomfield

Studio: 20th Century Fox

Available: VHS

American Hot Wax (1978)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: DJ plays the hits.

The film centers on real-life disc jockey (Alan Freed) who was instrumental in bringing rock ‘n’ roll music to the airwaves during the late 50’s and even credited with coining the phrase. Unfortunately he also got wrapped up in a payola scandal in which record companies paid him under-the-table to play their records on the air, which destroyed his career and left him in virtual poverty before dying in 1965 at the young age of 43 from cirrhosis of the liver.

I’ll admit I never longed for the nostalgia of the late 50’s or early 60’s.  Everything from that period seemed silly and antiquated to me and yet this film nicely brings out the excitement that people living then had. There clearly was a feeling of change on the horizon particularly in the music scene and it’s fun seeing all the young people jumping in and trying to become a part of it. The recreation of that energy is great and the one thing that this movie does well. Unfortunately it quickly becomes one-note with an unending procession of different music groups clamoring to become the next big act. Watching people stop Freed on the street and giving him a impromptu audition is at first fun, but seeing that scenario get repeated continuously is tedious.

There are some famous fresh young faces in the cast including Jay Leno, Fran Drescher, and Laraine Newman, but their parts are small and their appearances erratic. The story desperately needed a central character for the viewer to latch onto and none gets forthcoming. The barrage of people that get thrown in and then just as quickly forgotten makes the film unfocused and lacking any type of real plot.

McIntire is excellent, but his character badly undernourished. There’s a hackneyed dramatic segment where we see him conversing with his father on the phone and are given the idea that he is on rough terms with him, but it never gets explored further and for the most part we learn nothing at all about his personal life including the fact that he was married three times and had four kids, which never even gets mentioned while the payola scandal is only briefly touched on. The film would’ve had more substance had they explored the man’s personality and life more, but instead he remains as a frustratingly distant figure.

Clearly the filmmakers were looking to cash-in on the success of American Graffiti and hence the similar title, but just recreating the look and music of a bygone era isn’t enough. Even the appearances of Chuck Berry and Jerry Lee Lewis fail to save a superficial effort that justifiably bombed badly at the box office.

My Rating: 3 out of 10

Released: March 17, 1978

Runtime: 1 Hour 31 Minutes

Rated PG

Director: Floyd Mutrux

Studio: Paramount

Available: None at the time.

Fortune and Men’s Eyes (1971)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: His life in prison.

Smitty (Wendell Burton) is a young first-time offender who’s sent away to the Canadian penitentiary for six months. He gets assigned to a cell with three other men: Rocky (Zooey Hall), Mona (Danny Freedman), and Queenie (Michael Greer). Queenie is an openly gay drag queen while Mona is a soft-spoken young man who likes to write poetry. Rocky is the tough guy who offers Smitty ‘protection’ if Smitty agrees to become his subordinate and do anything he asks including sexual favors. To avoid the harassment that he sees others getting that don’t have the same ‘protection’ he agrees, but eventually he grows tired of Rocky’s dominance and decides to challenge it.

The film is based on  a play written by John Herbert who also wrote the screenplay. It is based on actual experiences that he received when he was arrested for dressing in drag in 1947 and taken to a reformatory at the age of 20. The play, which was written in 1967 initially had a hard time getting produced due to the subject matter, but was eventually put on the stage by Sal Mineo who directed and also played Rocky while Don Johnson played Smitty and Greer, like in the film, played Queenie.

The film version though makes many changes to the story some of which I’m not sure I liked. The one thing though that I thought was excellent is that it was shot inside an actual prison, which helps add authenticity. As opposed to most movies which shoots things from outside the cell looking in this one captures everything from inside the cell, which makes the viewer feel like they’re locked in the jail with the rest of the men and gives one a true feeling of the claustrophobic prison experience.

The shock element may not be as strong as it once was. The scene where Rocky rapes Smitty in the shower as the camera fixates on the running faucets and we hear only Smitty’s cries may be a bit too stylized and even kind of hokey by today’s standards. The segment though where Mona is grabbed from behind by a brute and taken into a dingy cell where he’s gang raped while the guards look away was to me far more potent. A later scene dealing with a prisoner being taken to a back room and beaten by the guards could’ve been stronger had it been extended.

For me personally the most shocking element is seeing Smitty’s transformation from naive man who we the viewer can mostly relate too, to someone who becomes almost as bad as Rocky. However, I found it annoying that it’s never made clear what he did that got him into prison in the first place and his character arch would’ve been stronger had the film started with him in the outside world committing the crime and subsequently getting arrested.

Burton’s acting abilities don’t seem quite on par with the demands of the role. His blank-eyed stare and monotone delivery make him seem like a one-dimensional actor and he was most likely given the role simply because of his babyface. Greer though in many ways steals it as the flamboyant drag queen and the outrageous performance that he puts on during the Christmas show at the prison is quite memorable.

Spoiler Alert!

The film remains compelling, but is hampered visually by being done almost entirely in one setting. The ending though leaves open too many questions. Does Smitty ever get out? How does he behave once he does and how has his experiences in prison changed him? None of these things get answered, which to me made the film incomplete and despite some good dramatic efforts here and there unsatisfying.

My Rating: 6 out of 10

Released: June 15, 1971

Runtime: 1 Hour 42 Minutes

Rated R

Director: Harvey Hart, Jules Schwerin (uncredited)

Studio: MGM

Available: VHS

Utilities (1983)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Social worker battles bureaucracy.

Bob (Robert Hays) is a social worker who’s fed up with the utility companies who shut the heat off to a group of senior citizens when they can’t pay their bill, which almost causes them to freeze to death. He decides to get revenge by having his techno wiz friend Eddie (Benjamin Gordan) rig the companies computers so that the customers get paid directly by the same utility companies that have been screwing them over. Unfortunately Bob’s new girlfriend (Brooke Adams) who is also a cop won’t hesitate to turn him in if she finds out that he’s the one behind the scheme.

This was filmed in 1980, but sat on the shelf for 3 years and it’s easy to see why as the humor is quite flat.  For some reason it was produced by a Canadian company and filmed in Toronto, which they then try to mask as being Chicago and I’m not sure why. Can’t these types of scenarios happen in Canada or is the US the only one with greedy corporations? The effort to try and seem like an American film doesn’t work as Canadians have a much different sense of humor and the whole thing comes off, much like Fear is the Key another film produced by our friends to the north, but filmed here, very off-kilter right from the start.  It’s like the film’s director Harvey Hart doesn’t really understand American culture as the characters behave in ways unlike anyone that I know.

It’s also against the law to turn off the heat or gas  on someone between the months of November and March, or if the temperature dips below 32 even if it’s because they cannot pay their bill or are struggling with financial hardship. I’m not sure if the filmmakers knew this being from Canada, or if they thought the viewers would be unaware so it didn’t matter, but in either case it shoots the entire scenario down dead on arrival.

It’s fun watching Hays who’s best known for his starring role in the cult hit Airplane as he portrays a much different character here. Instead of just being this dull dimwit like in that film he’s much more emotional here and even aggressively opinionated, which is fine. The only problem I had is I couldn’t understand why he would want to date Adams who had him arrested when he tried to stop the gas company from turning off the heat as the two just didn’t seem to have much in common and if anything it would’ve been more fun had they remained adversarial throughout only to finally soften on each other at the very end.

I happen to be a big fan of satire, but it has to have an edge to it. Trying to lampoon greedy corporations is not at all interesting and too easy of a target. The company’s CEO, which is played by James Blendick, is portrayed too broadly and is nothing more than a boring caricature as are the elderly tenants who battle him. Potentially serious issues get lost in a script that wants to pad everything over in a cutesy way that ultimately proves to be both mindless and forgettable.

Alternative Titles: Getting Even, Up Your Gas Company

My Rating: 2 out of 10

Release: June 13, 1983

Runtime: 1 Hour 28 Minutes

Rated PG

Director: Harvey Hart

Studio: Astral Films

Available: VHS (Vestron Video)

The Caretaker (1963)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Homeless man moves in.

Based on the Harold Pinter play the story centers around Aston (Robert Shaw) who suffers from an undisclosed mental illness and lives alone in a cramped, cluttered room of an abandoned home that his brother Mick (Alan Bates) is trying to renovate. Mac Davies (Donald Pleasence) is a homeless man that Aston invites to stay with him, but Mac proves to be a difficult roommate and when Aston asks him to leave Mac refuses and instead tries connive with Mick to have Aston thrown out instead.

From a purely technical standpoint this is a brilliant film as Clive Donner’s direction perfectly captures the claustrophobic setting. It can be hard to recreate a truly cluttered interior, but this room really comes off looking like a storage closet with so many items crowded into it that you wonder how the performers were even able to move around or how the camera crew could fit in to film it. You eventually lose touch with this being a movie at all, but instead start to feel like you’re right in there with the characters as the camera creates an incredible intimacy with the people on the screen until it’s like they’re breathing right on you.

The performances are impressive and the one thing that keeps the viewer captivated as there is very little action otherwise. All three starred in the stage production and basically did this for free as the budget was so low that they couldn’t be paid upfront and were promised a percentage of the profits if the film went into the black. Shaw is particularly interesting as he has played so many dominating characters in the past that watching him portray someone who is shy and unassuming and still do it with equal effectiveness is a testament to his talents while Pleasence, who wears heavy make-up to make him look much older than he really was, is almost unrecognizable.

My only complaint is that not enough happens. I’ve seen and enjoyed many of Pinter’s other plays that were turned into films and although this one is well crafted it still lacks the necessary payoff. I kept waiting for that great dramatic moment that seems from the very beginning to be just bubbling underneath the surface, but it never materializes. I wanted more of an arch that the characters and material seemed ripe for and to have it just end the way it began with not much occurring in between is a real disappointment. Again, the performance and camerawork keep you captivated, but it all adds up to being much ado about nothing and the story’s ultimate message/point being quite murky.

Alternate Title: The Guest

My Rating: 6 out of 10

Released: July 2, 1963

Runtime: 1 Hour 45 Minutes

Not Rated

Director: Clive Donner

Studio: Janus Films

Available: DVD (Region 2)

Fear is the Key (1972)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: He has secret motives.

Based on the 1961 novel by Alistair MacLean the story centers around John Talbot (Barry Newman) who finds himself inside a small town courtroom standing trial for the murder of a policeman that he did not commit. He manages to escape while kidnapping a woman named Sarah (Suzy Kendall) who he takes as his hostage. He evades the authorities only to ultimately end up inside the home of Sarah’s father (Ray McAnally) where another man named Vyland (John Vernon) hires him to operate a submarine that will salvage a cargo of diamonds housed inside an underwater plane wreck.

I never read the novel, but to me the whole thing comes off in a haphazard style where the twists aren’t interesting at all and only help to make the plot even more confusing and unfocused. The car chase sequence is genuinely well done to the point that it had me riveted and quite impressed with how it was shot and looking like one of the more realistic chases I’ve seen amongst the many that are already out there. Unfortunately to go from what initially seems to be a fugitive-on-the-run-flick to an underwater espionage, sci-fi thriller is not intriguing, but jarring instead and comes off like two entirely different movies crammed together with only the thinnest of plot threads to hold it together.

Spoiler Alert!

The biggest disappointment though is when at the film’s midway point John confides to Sarah that everything that we’ve seen before has been staged and none of it was real. For that to happen though would’ve taken many different people working together to pull it off and it’s never explained how he was able to do that. For instance who gave John the blank bullets to shoot at the police officer to escape from the courtroom and why did the policeman agree to pretend he was shot if he really wasn’t and what was in it for him to get in on John’s elaborate scheme? None of this gets explained and only helps to make it even more absurd and ludicrous until you can’t take any of it seriously.

End of Spoiler Alert!

Newman is not strong enough actor for the part and conveys a rather transparent presence when he should’ve had the exact opposite effect. His appearance here is too similar to the one he just gotten done doing in Vanishing Point including driving around in a similar type of car making this film seem like an extension of that one. It also comes-off like typecasting and makes viewers think this is the only type of role he can play, which could explain why his leading man career pretty much tanked after this.

The film’s only interesting aspect is the appearance of Ben Kingsley in his film debut, which was his only movie role during the 70’s as he didn’t appear in another one until 10 years later when he starred in Gandhi. Here he plays one of Vyland’s henchmen who figures prominently in the climactic finish where they must fight for air after the oxygen in the sub gets turned off, which isn’t bad.

This is also a rare production that was financed by a British studio, but filmed on-location in the US. The result captures America through a European perspective, which makes the entire thing a bit off-kilter from the very beginning.

My Rating: 4 out of 10

Released: December 26, 1972

Runtime: 1 Hour 43 Minutes

Rated PG

Director: Michael Tuchner

Studio: Anglo-EMI

Available: DVD (Region 2), Amazon Video, YouTube

Redneck (1973)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Robbers accidentally kidnap kid.

Memphis (Telly Savalas) and Mosquito (Franco Nero) are two crooks who try to pull off a jewelry store heist, but end up nabbing much less than they wanted. During their getaway attempt the car being driven by their driver Maria (Ely Galleani) crashes forcing them to stop another car and physically removing its driver (Beatrice Clary) out of the vehicle. Yet as they drive off inside the stolen car they are unaware of a 12-year-old child (Mark Lester) hidden in the backseat who ends up stymieing all of their plans.

This was yet another ill-fated film project that Lester took on after the tremendous success of Oliver! that was supposedly done to help make him a solid big-screen star, but instead turned his career to literal ashes by 1977, which pushed him out of the acting altogether and into a career in sports medicine. The film starts out okay with some excellent action that’s vividly done and had it kept up its fast-pace throughout it might’ve done better.

Unfortunately whenever the story slows done it gets boring real fast. Part of the problem is there is no backstory given to any of its characters. Everything starts out very abruptly going right into the robbery and subsequent getaway, which is fine, but at some point we need to learn more about these people; what makes them tick and gives them distinction, which never happens. It’s hard to get caught up in the action or tension when everyone, including Lester, comes off as blah and transparent. The film’s original Italian title was Senza Ragione, which translates into ‘with no reason’ and that’s exactly what you get here: sadistic, mindless calamity that serves no purpose.

Lester’s presence isn’t interesting and he barely even has much dialogue. He’s too much of a passive victim that doesn’t fight back enough while his bonding with Nero happens too quickly. His  eventual downward spiral, where he goes from innocent child to a nutcase that craves violence is also too quick and does not seem genuine. The part where he tries to escape from the crooks and is chased through an empty field is jarring because playful, cartoon-like music gets played over it making it seem almost like a slapstick comedy even though the rest of the film is approached like a thriller with a pounding soundtrack, which makes the production come-off like it has a split-personality.

The film is also somewhat controversial because Lester, who was only 13 at the time of filming,  for no apparent reason strips naked although the viewer only sees him from behind, but it’s still a bizarre moment nonetheless. However, to me what was more shocking was having him watch an adult couple making love in the backseat of a car.

Savalas is certainly a lot of fun and can make the most of any low grade picture, but even here his campiness gets a bit overdone including his incessant whistling. The ending, in which the characters go from a summer climate to a winter one in seemingly a matter of a day is quite confusing. To some extent I liked the snowy landscape and howling wind, which created a surreal effect, but having a movie change seasons so drastically and without any explanation is a true sign of really bad filmmaking.

Alternate Title: Senza Ragione

My Rating: 3 out of 10

Released: January 26, 1973

Runtime: 1 Hour 29 Minutes

Rated R

Director: Silvio Narizzano

Studio: Crawford Productions

Available: VHS