Tag Archives: San Francisco

Criminally Insane (1975)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: She has to eat.

Ethel (Priscilla Alden) suffers from a eating disorder that has caused her to gain a massive amount of weight. After being sent to a mental hospital she is eventually released into the care of her grandmother (Jane Lambert) with strict orders to keep Ethel away from food. However, her grandmother’s attempts to lock-up the food only gets Ethel hungrier to the point that she goes on the attack and kills her grandma with a knife and then hides her body in an upstairs room. Rosalie (Lisa Farros), Ethel’s sister, shows up and brings along her boyfriend (Michael Flood), but they start to smell the body decay and threaten to investigate what is causing it, so Ethel continues her murder spree in order to hide her secret and have the ability to eat as much as she wants.

These days if even just one person gets offended by something that they see in a movie the filmmakers are obligated to go down on their knees and beg forgiveness while in the 70’s director’s were scurrying to find the next taboo that they could topple. Not only were they unconcerned if they offended anyone, but actually relished the prospect and this movie in many ways goes even further with the shocks than the others. The result, despite the vulgarities, is quite funny and I found myself laughing-out-loud at more than a few places.

The gore is effective too. This was filmed in the Spring of 1973 long before the slasher genre was a thing making this into what’s called a prototype slasher, but the results are the same. In fact I’d say this thing is even gorier than the horror films that play-it straight and I liked the special effects showing the bodies decaying. The second-half also gets rather disturbing including scenes of one victim with a crushed skull still alive enough to try and crawl away while Ethel stands over him and laughs. She even sleeps with her victims, eats in front of them and ultimately does even worse. If you watch this thing for the sick, twisted content you should not be disappointed.

The extremely low budget does create issues though including way too much choppy editing that mainly occurs at the beginning as well as moments where the actors voice is not in sync with their lips. However, Alden’s excellent performance helps and I liked how everything gets filmed in this snazzy house in a nice, sunny neighborhood of San Francisco showing how behind-closed-doors bad things can happen anywhere even in the nice neighborhoods.

In 1987 writer/director Nick Millard and star Alden reteamed for a sequel titled Criminally Insane 2, but this reused a great deal of footage from the first film and was universally panned. Then in 2013 a new director did a remake of this film, titled Crazy Fat Ethel, with a new actress playing the part of Ethel since Alden had already died by that time. That film got shelved for many years when the producer inexplicably died during the production, but eventually it got released in 2016 to genuinely favorable reviews.

My Rating: 6 out of 10

Released: July 12, 1975

Runtime: 1 Hour 1 Minute

Rated R

Director: Nick Millard

Studio: I.R.M.I. Films

Available: DVD, Amazon Video

Butterflies are Free (1972)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Blind man digs blonde.

Don (Edward Albert) lives alone in a studio apartment as a blind composer trying desperately to break into the music scene while his mother (Eileen Heckart) wants him to move back home with her, but he resists. In comes free-spirited new neighbor Jill (Goldie Hawn) who has a hard time remaining in long-term relationships. The two quickly hit-if-off, but when Don pushes for a commitment she begins to back away.

The film manages to retain the charm of the hit Broadway play that it is based on and this is mainly due to the fact that that Leonard Gershe, who wrote the play also did the screenplay and Milton Katelas, who directed the Broadway version also does the film, but the claustrophobic setting becomes a detriment. To some degree I liked the apartment’s layout, which was shot on-location in an actual apartment building that still stands today at 1355 Grant Avenue in San Francisco, but the gray decaying walls and overall grimy interiors become depressing to look at and having almost all the action take place in it makes the film visually boring.

Changing the story’s setting from New York to San Francisco though is a major plus. The bit done over the opening credits showing the hippie subculture of the area gives off a great vibe and helps to explain Jill’s very free-spirited ways that may not make much sense to viewers living in today’s world. Seeing a man staring at her from the neighboring apartment may scare most women today and have the guy considered a ‘creep’, but Jill instead sees it as a ‘turn-on’ and even playfully flashes him, which is something that back then, in a more trusting, experimental, and ‘anything goes’ culture might have been even predicted and this goes along with her hopping into bed with Don on the first day she’s met him without even a second thought.

The scenes showing the couple walking down the city sidewalks has an eclectic energy because regular people were used in the background instead of paid extras, which helps to create an  authentic feel. All shapes and sizes of the subculture folks that made up the city’s neighborhoods get captured including one guy seen walking around with what looks to be a headcast. More scenes should’ve been done outdoors as it’s the one thing that gives the film an added ambiance and the fact that there aren’t enough of them causes an unintended static quality.

Albert, who is the son of actor Eddie Albert, is pretty good, but I was surprised why the introducing label gets listed next to his name in the opening credits as if this were his first film when just 7 years earlier he appeared prominently in The Fool Killer with Anthony Perkins. Hawn is solid too in a part tailored made for her persona and she also looks great running around in her skimpy underwear, but Blythe Danner who played the role in the stage version, might’ve given the character a more earthy quality.

My favorite person though was Heckart who adds some much needed drama with her presence and the film drags when she’s not in it. She is portrayed as being a heavy, but instead I found her to be completely relateable with her worries about her handicapped son living alone and something I would think most any other parent would also have. The fact that she starts out as controlling only to eventually let go and allow her son to finally spread-his-wings at a most critical time is the film’s best moment and deservedly helped her net an Oscar.

Unfortunately there are some dumb parts to the story as well. The first is the fact that it all takes place over a two day period, which makes Don’s emotional devastation at finding out that Jill plans to move in with some other guy seem too severe since he didn’t even know she existed just 48 hours earlier. Jill’s willingness to get involved in the personal affairs of Don and his mother and at one point even lectures the mother on her parental failings seem almost over-the-top since she technically barely even knows the woman. All this would’ve made more sense had the  relationship been going on for several months before either the mother or rival boyfriend arrived.

The segment where Jill tells Don that she’s moving in with her newfound boyfriend, which she knows will hurt him, and then goes back to her apartment to pack while Don has it out with his mother is problematic too since it was made clear earlier that the walls between the two apartments were paper thin. Therefore you’d expect that Jill would’ve overheard the conversation between the two and yet the film makes it seem like she hadn’t.

Spoiler Alert!

Having Jill reject her boyfriend and comeback to Don was a bit hard-to-swallow as most people don’t change their lifelong behaviors so quickly especially for someone they’ve just met, but fortunately the film doesn’t overdo it by having her rush back into his arms, but instead just shows them sitting down on the floor and talking. To me this signified a long lasting friendship as opposed to a romance, which in these types of circumstances is better and ultimately helps to make the movie, despite some of the grievances described above, a winner.

My Rating: 7 out of 10

Released: July 6, 1972

Runtime: 1 Hour 49 Minutes

Rated PG

Director: Milton Katselas

Studio: Columbia Pictures

Available: DVD, Amazon Video, YouTube

Mr. Ricco (1975)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Lawyer’s client turns homicidal.

Joe Ricco (Dean Martin) is an aging attorney living in San Francisco who represents Frankie Steele (Thalmus Rasulala) a black militant accused of murder. Ricco manages to get the charge overturned and Steele walks away a free man, but soon violent murders begin occurring with witnesses pointing to Steele as the culprit. Then Ricco himself becomes a target of Steele’s murderous rage, but no one can seem to figure out why.

This would become Martin’s last starring vehicle and putting the old Rat-Pack star in a genre that completely belies his image was not a bad idea. The story itself is solid with lots of interesting twists that remains both gritty and believable while also allowing for a few humorous sidelights to trickle in. The action is well staged and director Paul Bogart captures the Bay City ambience with a vivid and engaging style.

Martin’s presence is both good and bad. Initially he comes off as tired and out-of-place with a speaking style that makes him seem eternally inebriated, but he manages to pick-up some energy as it goes along. The way he uses his dog to help him cheat at golf and his desperate attempts at getting the last ounce of toothpaste out of its tube are all quite amusing. However, there is no way that this aging, out-of-shape white dude, who was 58 at the time, but looking more like 70, would be able to beat up a well-built black streetfighter like Steele. It is also quite nebulous that this ‘I don’t like guns and I don’t like carrying them around’ guy would be able to be such a good shot when he’s finally forced to use one.

The ultimate identity of the killer is a surprise and I don’t think anyone will be able to guess who it is, so in that regard it remains relatively intriguing, but for whatever reason I still found my attention waning. I’m not sure why as the editing is crisp and the narrative keeps revealing new plot points at a good pace. The direction is also sufficiently lively and yet when it’s all over it still ends up being just a competently done, but ordinary police thriller.

My Rating: 6 out of 10

Released: January 28, 1975

Runtime: 1 Hour 38 Minutes

Rated PG

Director: Paul Bogart

Studio: MGM

Available: DVD (Warner Archive), Amazon Video