Tag Archives: Sue Lyon

Crash! (1976)

crash

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Wife has occult powers.

Kim (Sue Lyon) and Marc (Jose Ferrer) are a married couple with a 30-year age difference between them. Initially they were a happy twosome, but then Marc got into a car accident that left him bound to a wheelchair and the passion between them lessened. Now Marc resents the fact that Kim no longer seems to love him and worries that his attractive and much younger wife will go off and find another suitor. He plots to have her killed by having his trained doberman jump into her car as she’s driving and attack her. While the dog does injure her it’s not enough to kill her. As she lies in her hospital bed Marc sneaks in and disconnects her from her intravenous tube, which he hopes will be enough to end her life, but he fails to notice that she’s clutching in her hand an artifact that she had bought earlier at a flea market, which gives her special psychic abilities. These powers allow her to terrorize Marc even when she’s not there by making inanimate objects, including both her car and his wheelchair, come to life and begin attacking him. 

This was the first feature length film directed by Charles Band, who has gone on to have a long career both producing and directing B-horror films some of which have been successful. This one reveals his producer mentality by keeping the flimsy plot moving by adding in a lot of action, in this case tons of car stunt footage, to the mask the fact that the story itself doesn’t have much going for it. To a degree the car crashes are well choreographed, but there’s too many shots of police cars getting destroyed, which is reminiscent of the car chase action comedies making this seem more like a silly comedy than a would-be horror film.

The most impressive thing is the driver-less car. This is similar to the concept used in cult flick The Car, but that automobile had a roof over it and darkened windows, so you presumed that a stunt driver was inside controlling it, but here this vehicle is a convertible and there’s no one sitting in it even as it careens down the road. How they were able to pull this off I don’t know, but this fact alone makes it far more interesting to see than the other one even though that one, for whatever reason, received more attention and fanfare despite both coming-out at around the same time.

I was willing to give this 6-points, but then Band makes the misguided mistake of repeating near the end the car crash explosions we’ve seen before making it seem like a ‘highlight reel’. I’m not sure for the reason other than alluding to the mysterious occult power communicating to  Kim about what has gone on while she was in the hospital bed, but it was unnecessary and comes-off like amateurish film-making to the extreme.

The eclectic cast of familiar faces who were once A-list stars, but now forced to accept B-grade material in order to stay busy, is interesting and helps save it a little. I was particularly impressed with Ferrer who gives a convincing performance and doesn’t just ‘phone-it-in’ despite the otherwise subpar quality of the script.

Lyon’s appearance here is intriguing as well as she shot to fame back in 1964 as the beautiful teen Lolita in the Stanley Kubrick film of the same name and was considered one of the most stunning stars of the decade, but here she plays a part that ends-up making her look quite ugly. Not only is her face bandaged up through most of it, but when they do finally come-off she is shown to be full of garish scars. There’s also scenes where her eyes are blazing red and resembling that of a demon. I’m not sure if she took this role to play against her beauty stereotype, which she reportedly was not a fan of anyways, or she just accepted the offer because she needed the work, but the things she does here is about as far removed from Lolita as one could possibly get, so watching this simply for that reason may make it worth it to some.

My Rating: 4 out of 10

Released: December 24, 1976

Runtime: 1 Hour 28 Minutes

Rated PG

Director: Charles Band

Studio: Group 1 International Distribution

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

Alligator (1980)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Reptile in the sewer.

In 1968 a young girl (Leslie Brown) brings home a baby alligator, which she stores in her small aquarium, but her father decides to flush the thing down the toilet where in the sewer it feeds off the carcasses of dead animals which were given an experimental growth formula from a nearby clinic. 12 years later the alligator having ingested this formula for years has grown to massive lengths and escapes from the sewer where he now terrorizes the citizens of the city.

The screenplay was written by John Sayles and has a nice blend of comedy and scares. In most other horror films there are usually some long boring segments in between the shocks that get filled with awkward drama or banal dialogue, but here these same segments convey a playful sense of the absurd and are some of the best moments in the movie including showing all the street vendors who come out and try to cash in on the alligator scare by selling alligator related merchandise at the river where the police are searching for the beast. I also enjoyed the ad-libbed lines by the supporting characters mentioning Robert Forster’s receding hairline, which become the movie’s running joke.

The scares are still present and for the most part effective although the scenes inside the sewer work best. I liked the way the beams from the flashlights reflected off of the tunnel walls and created a surreal look as well as how quiet it would get when the police and S.W.A.T. went into the underground caverns, which helped accentuate the tension.

When the gator breaks out of the sewer is when the thing starts to go south especially when it attacks guests at a dinner party, which is too graphic and ghoulish and destroys the film’s otherwise playful tone. I also didn’t like when the alligator breaks through sidewalk having the camera shake, which is something directors would do in old movies to create an earthquake-like visual effect, but comes-off as quite tacky looking. Having the gator roam the city for as long as it does and not get caught seemed implausible as something that big would attract lots of attention no matter where it went and most likely would get cornered by the authorities a hell of a lot sooner than it does.

The film also suffers by not effectively conveying the size of the beast visually. We see a lot of quick shots involving its open mouth, but not much else. An animatronic one was built, but it malfunctioned and was little used and then later donated to the Florida Gators as their mascot. An actual gator got used in some shots, which they superimposed onto a miniature set to make it look bigger, but the final result of this looks awkward.

The truth is alligators are by nature very timid towards humans and will usually swim away if approached by one and only attack if they feel threatened. They prefer much smaller prey that they can eat with one gulp and thus avoid people altogether. It’s actually the crocodile that  is much more dangerous and in fact the saltwater and nile crocodile kills hundreds of people each year, which for the sake of accuracy should’ve been the species that got used.

I also thought it was a bit bizarre that someone could keep an alligator as a pet like the young girl does at the beginning. Now don’t get me wrong watching them flush the baby gator down a toilet is one of the best parts of the movie, but what would’ve happened had the gator been allowed to grow into an adult? How would they be able to house or control him, which only makes the father, who gets portrayed here as being obnoxious, look smart by getting rid of it when it was small and he still could.

The cast though still makes it worth watching. Forster is great in the lead as he plays against his stoic tough guy image by conveying vulnerabilities with his finest moment being the horrified expression on his face when his partner gets attacked and he’s unable to save him. I also liked Jack Carter as the corrupt Mayor and Dean Jagger, in his last film role, as the nefarious animal clinic owner. Angel Tompkins can be seen briefly as a news reporter as well as Sue Lyon in her last film appearance to date.

My Rating: 6 out of 10

Released: November 14, 1980

Runtime: 1 Hour 31 Minutes

Rated R

Director: Lewis Teague

Studio: Group 1 International

Available: DVD

The Night of the Iguana (1964)

night of the iguana 2

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Flawed clergyman loves women.

Lawrence Shannon (Richard Burton) loses his job as a clergyman when rumors surface of indiscretions he had with a young female parishioner, which pushes him to preach a ranting sermon at the pulpit that eventually drives all the members of the congregation out of the building. He then gets a job as a tour guide in Mexico and has the chore of leading a bus load of middle-aged women around the country. Charlotte (Sue Lyon) is a young nymph who takes a liking to Lawrence much to the chagrin of her over-protective chaperon Judith Fellowes (Grayson Hall). When Charlotte is caught in Lawrence’s bedroom late at night Ms. Fellowes promises that she will have it reported and get him fired. Unable to handle a another potential job loss Lawrence takes the bus load of women to an isolated seaside hotel run by Maxine (Ava Gardner) an old friend of his. He hopes that by somehow trapping them there he will be able to convince Ms. Fellowes to drop the charges, but along the way he meets Hannah (Deborah Kerr) who he starts to fall in-love with.

Unlike most of Tennesse William’s other plays this one, at least the first half, is full of energy and comical nuance. I found the group of ladies and Lawrence’s exasperated dealings with them to be quite amusing and the film moves along at an engaging pace. The second half though bogs down with more of William’s signature brooding drama that ends up hurting the flow. In many ways this film seems like two movies in one and the difference in tone and pace never gels. Despite a good nighttime conversation between Kerr and Burton I kept hoping the ladies and Ms. Fellowes would come back and felt the film was weaker without them.

Legendary director John Huston hits most of the right buttons here although it is not his best work. I was surprised and impressed to learn that Maxine’s hotel was built specifically for the production in an otherwise deserted region of the country. The building had an authentic old look and helped give the film added style and personality. I had mixed feelings with the black and white photography. On one had it helps bring out the dark recesses of its flawed characters and accentuate the moodiness of William’s script, but it also takes away from the exotic beauty of the locale.

Burton is good as usual and playing the part of an emotionally fractured, alcoholic character seems right up his alley. Gardner is great as the brassy Maxine and the scene of her making out with her two young, shirtless, maraca playing male assistants along the beach late at night is genuinely steamy. Kerr is in fine form as well and her more restrained demeanor makes a nice contrast to Gardner’s.

Lyon’s acting isn’t quite up to her costars and she seems particularly out of her league during her scene with Burton, but in the looks department she is unmatched. She is more filled-out and mature than in Lolita and in many ways even hotter. The scene of close-up shots of her moving her hips to a tune at a Mexican bar may excite some of the male viewers.

The under-rated Hall is excellent in her role as the heavy. Her craggy face and personality are perfect for the part and it rightly got her a supporting actress nomination.

In the final analysis this is not a bad version of Tennessee William’s material, but not a great one either.

night of the iguana 1

My Rating: 6 out of 10

Released: August 6, 1964

Runtime: 1Hour 58Minutes

Not Rated

Director: John Huston

Studio: MGM

Available: VHS, DVD, Amazon Instant Video