Tag Archives: Robert Aldrich

The Frisco Kid (1979)

friscokid

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Rabbi travels across America.

Avram (Gene Wilder) is a Polish rabbi traveling across the U.S. from Philadelphia to the west coast where he plans to head a congregation in San Francisco. He has all of his money taken from him by three unscrupulous men (George Di Cenzo, William Smith, Ramon Bieri) who initially befriend him only to eventually leave him stranded in the middle of nowhere. Avram is then offered some help by a local Amish community and even gets a job for awhile as part of a crew laying down train tracks. He’s eventually earns enough to buy himself a horse, so he can continue his travels. It is then that he meets up with Tommy (Harrison Ford), who unbeknownst to Avram is a robber. When Tommy steals money from one of the banks in a town that they pass through both he and Avram must go on-the-run in an effort to avoid getting caught.

The script was originally written in 1971 under the title ‘No Knife’ in reference to Avram who traveled with no weapon of any kind for protection. Originally John Wayne was considered for the role of Tommy, who was interested, but the studio could not meet his fee requirements so along with his declining health, he bowed-out. Dick Richards, who won praise for helming another western The Culpepper Cattle Companywas originally tabbed to direct this one, but during the pre-production phase he left the project, so it was given to Robert Aldrich, who, as Roger Ebert explained in his review, treated it like a routine assignment and didn’t put in a lot of heart into it.

The  shoddy effects are noticeable and really hurts the production. The interiors have a stage play quality and all of the outdoor scenes look like they were shot on a studio backlot. Certain long shots show steel silos in the background, which wouldn’t have existed during the turn-of-the-century time period that the story takes place while other shots are clearly just a matted photograph edited in. For a western to be fully effective it has to have some grit and atmosphere and this film unfortunately has neither. The first hour works more like darkly humored comical vignettes and while they succeed at being slightly amusing aren’t really all that captivating.

Wilder is excellent and probably the sole reason to see it, but I was more surprised by the presence of Ford who had just came-off starring in the landmark Star Wars, but here accepts second billing and isn’t even seen until 22-minutes in. I was more baffled by the motivations of his character and didn’t understand why he’d take-on the mission of helping Avram, a virtual stranger, through the perilous journey. This was a man who was quite self-sufficient and excellent with a gun and easily getting away with robbing people, so befriending a rabbi was just going to hold him back. A backstory was needed showing why he might seek-out a partner, even an awkward one like Avram. Possible  showing Tommy being a part of a larger gang who kick him out of the group and thus in a desperate need for companionship he befriends Avram, or maybe Avram gets Tommy out of some sort of jam and thus Tommy decides to help the rabbi on his travels in an effort to show his gratitude, but just having Tommy show up out of nowhere and become Avram’s instant buddy doesn’t really work. I would’ve liked to have seen a wider relationship arch too where Tommy would take much longer to warm-up to and understand Avram’s unique personality than he does.

Spoiler Alert!

The scene where Avram befriends an Indian Chief, played by Val Bisoglio, and teaches the Indian tribe how to do a Jewish dance is fun and the climactic duel between Wilder and Smith merits a few point as well. The scene though where Avram shoots a man gets botched. He had never used a gun before, so I would’ve expected him to miss his target especially since he was nervous and his hands shaking. The fact that he’s able to shoot the guy right through his heart the very first time he’s ever pulled a trigger is beating astronomical odds and not the least bit believable.

My Rating: 4 out of 10

Released: July 13, 1979

Runtime: 1 Hour 59 Minutes

Rated PG

Director: Robert Aldrich

Studio: Warner Brothers

Available: DVD, Blu-ray, Amazon Video, YouTube

Hustle (1975)

hustle2

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Father searches for killer.

Phil (Burt Reynolds) is a police lieutenant who’s in love with a beautiful French prostitute named Nicole (Catherine Deneuve) and the two live together in Phil’s swanky hilltop Malibu home. Unfortunately Phil can’t handle that Nicole continues her business practice even as the two are in a relationship and this threatens their love affair. As this goes on Phil also gets embroiled in a police investigation when a group of school children find a dead body of a 20-year-old woman washed up on the beach. The victim’s father (Ben Johnson) insists it was murder even after the autopsy says it’s a suicide. Phil and his partner Louis (Paul Winfield) are ready to close the case, but when the father starts his own investigation the two  decide to pursue it further, which leads them to many unsettling conclusions including that the daughter starred in several porno films financed by the sleazy Leo Sellers (Eddie Albert) a rich older man who also happens to be a client of Nicole’s.

This film was the second collaboration between Reynolds and director Robert Aldrich as the two had just completed the highly successful The Longest Yard a year earlier. While that film met with critical acclaim this one received only a so-so reception. There were certain elements that I liked, but I did find Reynolds’ presence to be a detriment. His boyish looks where he doesn’t have the mustache or the wavy hair, which always made him look like he was wearing a wig, is a plus, but his character is too detached. It’s only after repeated cajoling by the father that he even agrees to look into the case more and the movie would’ve been more compelling had it revolved around the father from the very beginning.

Reynolds’ relationship with Deneuve is boring and the scenes between them aren’t sexy or provocative as intended. We should’ve seen how they became a couple from the start as their attachment brings out all sorts of questions that never get answered. For instance, where did they first meet? Was it during a sexual rendezvous where Burt paid for her services, or possibly a cop raid? Why did she fall for Burt as this woman had been with a lot of men, so what made him special over the others and why would a cop think getting serious with a woman who routinely sleeps with other men be a good idea, or even work?

The movie tries to be chic by creating a character who’s initially ‘open-minded’ about prostitution, but then contradicts itself by having him turn around and demand she must give it up. If this were truly a modern thinking guy he would’ve liked the fact that she was financially independent and slept with other men because she gave herself for free to him while she made the others pay. He might even get-off watching her having sex with others, as there are some husbands/boyfriends who do, and the fact that the film doesn’t think to go into this area makes it far less ‘hip’ than it thinks it is.

There’s also a very violent moment where Reynolds refuses to let her leave, physically slaps her, and even refers to her as a ‘bitch’ several times. He then pins her to the bed and forces himself onto her. While she initially resists he continues to do it until she finally gives-in and acts like she’s enjoying it. Today’s audiences will be rightly turned-off by this and it will make Reynolds, the intended ‘good guy’, look much more like an abuser. It also might allow some men to think that being violent with women is ‘okay’ as they’ll ultimately give in and ‘learn to enjoy it’, which is the wrong message to be sending.

As mentioned earlier Ben Johnson’s character is the only thing that keeps it interesting. The scene where his eyes tear-up after watching his daughter, played by real-life adult film actress Colleen Brennan, perform in a porn film is similar to the one in Hardcorebut far more impactful here. I was amused why he even took the part as he had complained about being in The Last Picture Show, which is the film he won the Oscar for as Best Supporting Actor, because of the ‘foul language’, but then he ends up swearing quite a bit in this one. In either case I’m glad he took it as his presence raises the storyline above its otherwise seedy level and even helps give it a few memorable bits.

My Rating: 6 out of 10

Released: December 25, 1975

Runtime: 2 Hours

Rated R

Director: Robert Aldrich

Studio: Paramount

Available: DVD, Amazon Video, YouTube

What Ever Happened to Aunt Alice? (1969)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Old lady kills housekeepers.

After the death of her husband, Claire (Geraldine Page) is shocked to learn that there is no money in his will. Fearing a life of destitution she plots to hire old lady housekeepers who she’ll manipulate to give her their life savings in which she’ll invest into stocks through her broker (Peter Brandon). Once these stocks start making money she’ll murder the housekeeper and keep all the profits for herself. After killing off her fourth housekeeper, Miss Tinsley (Mildred Dunnock) and burying her dead body in her backyard, she hires Alice (Ruth Gordon). Alice though has a secret, she was at one time the former employer for Miss Tinsley, who wants to investigate what happened to her and is suspicious that Claire may hold the secret. Claire though becomes aware of Alice’s scheme and decides to try and make Alice her fifth victim.

This marked the third of Robert Altman’s trilogy featuring old lady killers with the first two being What Ever Happened to Baby Jane? and Hush…Hush, Sweet Charlotte. This was the first one to be filmed in color and the harsh dry desert landscape setting works as a great metaphor to Claire’s barren, evil soul. I also enjoyed the winding plot, which is based on the 1961 novel ‘The Forbidden Garden’ by Ursula Curtiss that has many offbeat twists including a memorable scene featuring the two old ladies rolling around on the floor during a furious fight that you’ll most likely never see in any other movie.

Page’s performance is the main reason why the film is so entertaining. Watching all the various characteristics that she gives to her haughty character is fascinating and she helps make Claire, as nasty as she is, quite memorable. I especially liked the part where after she kills one of her victims she displays for a split second a shocked expression like even she can’t believe what she has just done and this helps to make her character multi-dimensional, like there’s still some semblance of a tortured conscious somewhere within her and she isn’t just a robotic, evil person.

Gordon is okay in support, but I felt her character should’ve had some backup plan that she would use in defense when things got ugly. She keeps assuring her nephew (Robert Fuller) that she can handle things, but when Claire turns on her she becomes almost like a deer-in-headlights. I also didn’t like the wig that she wears and have to agree with one critic who said it makes her look like a giant, walking-talking peanut. I realize that the wig does eventually come into play as part of the plot, but I felt in the brief segments where she’s shown not wearing it she could’ve been seen with her real hair and not just in another wig, which looked just as dumb.

Honorable mention should also go to Spike who plays a stray dog named Chloe. Spike was a well trained animal who was in many films and TV-shows between 1956 and 1971 and the parts where he bares his teeth and growls at Claire every time he sees her, as she attempts to harm him, are amusing.

Spoiler Alert!

The script by Theodore Apstein, fortunately avoids a lot of loopholes, but I did feel at the end they should’ve shown or explained how the characters played by Rosemary Forsythe and Micheal Barbera were able to escape from their burning house. I also found it hard to fathom why Robert Fuller’s character, upon learning that his Aunt had been killed in a suspicious car accident didn’t immediately accuse Claire of doing it. He had pretended not to have any connection to Alice during the majority of the story as that was part of their scheme, but once she was dead I didn’t see why he still needed to pretend. I would think he’d be so emotionally distraught at that point that he would let out his true emotions without even thinking and possibly even tried to attack Claire while having to be restrained by the others.

End of Spoiler Alert!

The film’s promotional poster, as seen above, is a bit problematic as it features a young model looking like she’s been buried, but in the movie it was only old ladies that were killed and buried. Showing a beautiful lady may have been more visually appealing, but it’s not authentic to the film that it’s trying to promote.

My Rating: 8 out of 10

Released: July 23, 1969

Runtime: 1 Hour 41 Minutes

Rated M

Director: Lee H. Katzin (Bernard Girard for the first 4-weeks of filming)

Studio: Cinerama Releasing Corporation

Available: DVD, Blu-ray

Twilight’s Last Gleaming (1977)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Nuclear silo under siege.

Loosely based on the novel ‘Viper Three’ by Walter Wager the story centers on Lawrence Dell (Burt Lancaster) a former military general who was sent to prison on trumped on murder charges, but manages to escape and is now out for revenge. With the help of three accomplices (Paul Winfield, William Smith, Burt Young) he breaks into a nuclear silo and threatens to launch it unless the President (Charles Durning) agrees to come clean on the government’s secret agenda in regards to the Vietnam War.

I’ve never read the film’s source novel, but have been told that this takes many liberties with it. The biggest problem is that it jumps ahead too quickly showing the four men right away breaking into the silo when it should’ve started back further to when they escaped from the prison and how they were able to get the access codes in order to break into the silo system to begin with. Winfield has a few great lines and Smith’s hair-trigger personality allows for interesting conflict, so these characters should’ve remained, but instead they are unwisely killed off leaving only Lancaster to pace around nervously, which quickly becomes boring.

Whenever someone escapes from prison the nearby area gets warned usually through the media. Certainly military personnel would’ve been put on high alert and thus making Dell’s ability to break into the silo, which was too easy to begin with, much less likely. The fact that a crazed general could break into a silo system and threaten to start WW III and have it never leaked to the media is highly unlikely as well, which along with various other loopholes makes this thing hard to fully get into.

Charles Durning is a great supporting actor, but here is badly miscast as the President. His facial expressions during his phone calls with the other Generals warning him of what is going on are unintentionally comical and too much time gets spent focusing on him contemplating on whether he’ll given into Dell’s demands until it seems like he is the star and Lancaster only a secondary player. Having him described as being an ‘honest politician’ and ‘a President who would never lie’ seems like an oxymoron as I don’t think a politician could even survive in Washington if they weren’t able to spin the truth sometimes and only helps to make the character seem too idealized.

Spoiler Alert!

This thing though really ‘jumps-the-shark’ at the end as I cannot imagine any circumstance where the secret service would allow the President of the United States to enter into a nuclear silo all alone and be used as a hostage. If they were real desperate they might try to pawn off an imposter in an attempt to fool them, but never the actual President as it would put him into too vulnerable a position. Also, the ‘shocking secret’ about why the U.S. got involved in the Vietnam War really isn’t all that earth shattering and certainly not worth sitting through simply to find out.

End of Spoiler Alert!

Director Robert Aldrich’s prolific use of the split screen is the one entertaining aspect and almost enough to overlook its other many faults, but at best it’s only a mindless programmer that manages to elicit minor tension only if you don’t think about it too hard.

My Rating: 6 out of 10

Released: February 9, 1977

Runtime: 2 Hours 26 Minutes

Rated R

Director: Robert Aldrich

Studio: Allied Artists

Available: DVD, Blu-ray

The Flight of the Phoenix (1965)

flight of the phoenix 1

By Richard Winters

My Rating: 8 out of 10

4-Word Review:  Fighting the desert elements.

A cargo plane flying to Benghazi and piloted by Frank Towns (James Stewart) is forced to make a crash landing in the middle of the Sahara desert when a freak sand storm shuts down the plane’s engines. Of the 14 men on board two are killed instantly when several oil drums break loose during the crash which also injures a third. The rest of the men find themselves stranded in the searing heat with only dates as their food and a 2 week supply of water. The radio communication was destroyed during the crash and they are too far off their main route for anyone to find them. One of the passengers, Heinrich Dorfmann (Hardy Kruger) who works as a plane designer believes he has a way to take what’s left of the wreckage and build it into a new plane, which will then be able to fly the men out of there. Initially everyone else is skeptical, but eventually they begin working during the night to put it together while continuing to fight the elements and themselves in the process.

What makes this film stand out from the rest of the epic adventures is the fact that there is no good guy versus bad guy here. Every one of the individuals has their own unique character flaws and must learn to overcome them and their egos in order to work together as a team. The characterizations are realistic and multi-faceted making their conflicts believable from start to finish and helping to create a story that is gripping on both an adventure level and a psychological one.

Stewart is outstanding in the lead and I enjoyed seeing him play a part that is cynical and savvy and with less of the humble, country boy charm that he is known for. Kruger is solid in support and watching his confrontations with Stewart and then their eventual respect for each is the film’s main highlight. Richard Attenborough is also good as the sort-of moderator between the two and I also enjoyed Peter Finch as the brave and honorable Captain as well as Ronald Fraser as his sergeant who doesn’t quite share his same courage or sense of duty.

I was disappointed to some extent that it wasn’t filmed on-location in the Sahara and instead in Arizona and California although the desert locales look authentic enough even though eventually after two hours it becomes monotonous visually. Director Robert Aldrich keeps things believable including having the men visibly slow down physically as the days wear on as well as growing beards, which is something that sometimes gets overlooked in other stranded dramas although I was still confused why the Finch character formed a goatee instead of a full beard.

The climactic sequence is both nerve-wracking and exhilarating particularly the scene where Stewart tries to start the plane with only 7 cartridges remaining and with each one failing. Whether the logistics of this could actually occur is a big question, but it still remains grand entertainment.

flight of the phoenix 2

My Rating: 8 out of 10

Released: December 15, 1965

Runtime: 2Hours 22Minutes

Not Rated

Director: Robert Aldrich

Studio: 20th Century Fox

Available: VHS, DVD

The Killing of Sister George (1968)

killing of sister george

By Richard Winters

My Rating: 6 out of 10

4-Word Review: TV character gets axed.

June Buckridge (Beryl Reid) is an aging actress playing the character of Sister George a scooter riding nun in a long running British TV soap opera. Her character no longer has the popularity that it once had and the producers have decided to kill her off by having her die in an ugly road crash with a truck. June is upset with this news as at her age parts are hard to come by and she takes her frustrations out on Childie (Susannah York) her much younger live-in lesbian lover, but she may lose her as well as one of the show’s producers Mercy (Coral Browne) has inklings to lure Childie away from June so she can have her all to herself.

After the immense box office success of The Dirty Dozen writer/director Robert Aldrich was given free rein to start up his own production company and he choose this as his first project. In many ways it is quite similar to his earlier and more well-known film What Ever Happened to Baby Jane?, but with sexual undertones. The film is based on the Frank Marcus play of the same name that ran for 205 performances and was nominated for the 1967 Tony Award. For its time this was considered quite controversial and groundbreaking especially the final scene that features a highly explicit sex scene between two women. It also is the first film to have a character utter the word ‘bullshit’ and one of the first to say the word ‘fuck’. Although the word itself gets drowned out by a car horn you can still clearly tell by reading Reid’s lips what she is saying.

The three female leads and their snarky exchanges with each other are the film’s chief asset especially Reid who recreates the same character that she played in the stage version that netted her a Tony. Her emotional, angry outbursts are entertaining and the scene where she forces Childie to eat and swallow the butt of her cigarette as ‘punishment’ is still quite edgy. Browne is equally good specifically during her provocative love scene with York, which was made all the more daring since she was 30 years older than York at the time.

The film’s overall staginess is a drawback. Many scenes are too talky and should’ve been trimmed while York and Reid’s Laurel and Hardy routine could’ve been cut out completely. Flashbacks showing how they first met would’ve helped and there needed to be an explanation to the weird child-like manner of York’s character, which quite possibly was based on an age-old gay stereotype. I also didn’t like the foreboding quality of the music that gets played just before Browne and York have their lesbian love scene, which seemed to suggest that something ‘creepy’ and ‘unnatural’ was about to take place and convinced me that despite the daring and ahead-of-its-time nature of the subject that the filmmakers themselves still had some very dated ideas about gays much like the majority of people from that era.

My Rating: 6 out of 10

Released: December 12, 1968

Runtime: 2Hours 18Minutes

Rated X (Reissued as R)

Director: Robert Aldrich

Studio: Cinerama Releasing Corporation

Available: DVD