Tag Archives: Harlan Ellison

A Boy and His Dog (1975)

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Surviving after nuclear holocaust.

The year is 2024 and the landscape of the U.S. has been turned into a wasteland due the after effects of a nuclear war that occurred in 2007. Vic (Don Johnson) is an 18-year-old that wanders around with his telepathic dog named Blood (voice of Tim McIntire). Blood helps Vic find women to rape while Vic scavenges for food for their survival. One night while watching an X-rated movie at a makeshift theater Blood is able to gain the scent of a woman nearby named Quilla (Susanne Benton). Quilla and Vic eventually have sex, but then she disappears to the underground society that survives inside a biosphere. Vic decides to follow her there while Blood remains above ground waiting for Vic’s return. Once Vic arrives he finds everyone there to be in whiteface and dressed like people living on the farm during the turn-of-the-century. He meets Lou (Jason Robards) along with Dr. Moore (Alvy Moore) and Mez (Helene Winstone) who all three run things. They convince Vic to stay there as he has a ‘purpose’ of becoming a stud and impregnating the young women since the men there can no longer do so. At first Vic is excited about his newfound ‘job’ as he is always quite horny, but after he finds out the details of what he must do he relinquishes his duty, but realizes it may be too late.

The story is based on the novella of the same name by Harlan Ellison who wrote the original screenplay that was later finished by director L.Q. Jones who used his own money to help get the film financed. While the movie does have some intriguing and memorable visuals, logic-wise there are some holes. One of the biggest ones is that, at least hypothetically, there would most likely have been a nuclear winter, which is what would be created after a nuclear war due to so much soot being blown into the atmosphere that it would block out most of the sunlight for several decades and create a night time effect and for this reason the outdoor scenes should’ve been filmed at night in order to replicate the ongoing darkness.

Vic’s conversations with his dog, which all gets done telepathically, is odd too and never sufficiently explained. How does this dog attain this ‘gift’ and why is it only him and not other mutts that can do it too? It would’ve been better had it been explained that some modern invention had been created that would allow communication between owners and their pets, but even this fails to explain how the dog manages to be so incredibly smart. Don’t get me wrong the voice-over work by McIntire is delightful, but how did the animal get so well-read that he even knows the Latin origin of words? Is there a dog college that teaches them this?

Vic’s extreme urges to have sex all the time seemed out-of-place too. Granted he’s a young guy with raging hormones, but psychologically when a person is in a desperate situation, in this case simply trying to survive in a hostile environment with very little food, then a person’s most basic needs come first and it’s all they’ll think about. Finding something to eat, they’re forced to go out each day and hunt for something, and acquiring shelter for sleep, would be their pressing needs and what would occupy their minds most day-in and day-out while the sex need would become secondary and only have his focus once the other needs were met, but in this story the sex urges seem to take precedent, which doesn’t make sense from a human behavioral perspective, nor where he’d get the energy to do it since he’s pretty malnourished to begin with.

The X-rated movie that they watch at a ‘theater’ is goofy too as it amounts to nothing more than a grainy black-and-white stag film from the 50’s even though technically by 2007, which is when the bombs dropped, there was porn on the internet and explicit DVD’s some of which would’ve probably survived the blast and thus they’d be watching those instead of something found in grandpa’s ancient collection. Though this is what makes the movie entertaining not so much for what it gets accurate in their predictions, which isn’t much, but more what it gets wrong.

The one thing though that really stands-out, at least for me, and makes the movie memorable, though this apparently wasn’t the case with the film’s initial test audience who called these scenes ‘slow’ and ‘boring’, are the moments that take place in the underground society. The look of everyone walking around like robots and resembling farmers from a bygone era has a kitschy flair like something out of a Federico Fellini movie. Hal Baylor, as one of the main menacing robots that can’t seem to ever go down even when being directly shot at, steals every scene he is in and helps create some definite tension. I also got a kick out of everyone wearing white face, which I thought was to explain their pale complexions due to not be out in the sun, but it seems to be instead obviously painted on, so I’m not sure what that was meant to represent.

The twist ending is terrific and the film’s final line, which Ellison detested and tried having taken out, is a keeper. While its attained a cult following there are still the detractors who feel its ‘misogynistic’ though I don’t really see it.  Sure Vic sees women as sex objects and ‘conquests’, but there’s guys out there that are like that. Quilla is conniving and duplicitous, but some women are like that too. The movie isn’t saying that all men and women are like this, but in environments that are as desperate as this one it will tend to bring out the worst in human nature, which was all the film was trying to convey from my standpoint.

My Rating: 7 out of 10

Released: May 15, 1975

Runtime: 1 Hour 31 Minutes

Rated R

Director: L.Q. Jones

Studio: LQ/Jaf Productions

Available: DVD, Blu-ray, Amazon Video, Pluto, Roku, Tubi, YouTube

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