Tag Archives: Susan Tyrrell

Andy Warhol’s Bad (1977)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Paying women to kill.

Hazel (Carroll Baker) runs a beauty parlor out of her home that specializes in unwanted hair removal, but secretly on the side she hires beautiful women to carry out contract killings of which she gets a part of the take. L.T. (Perry King) is a vagabond in desperate need of money who’s looking to get into the business, but Hazel prefers her killers to be women and is reluctant to take him, but eventually decides to hire him on a trial basis, but then everything starts to go wrong.

One of the best things about this movie is how truly dark it gets. Too many movies that proclaim to be dark comedies always pull back and never get as deliriously twisted as they initially convince you they will, but this film proudly takes things to the darkest extremes becoming a measurement to what true underground filmmaking once was where pushing the envelope was the only goal.

For the most part, depending on one’s sense of humor, it’s outrageously funny. Some of the more wicked moments feature twin sisters (Geraldine and Maria Smith) setting a movie theater on fire and then going home to watch the coverage of it on the TV. There’s also Warhol alum Brigid Berlin as an overweight woman with flatulence issues who’s obsessed at getting brutal revenge on anyone that she perceives as making fun of her weight.

The film also takes satirical jabs at the American obsession of making money and how one’s social standing hinges on how much they have without any concern with what exactly they had to do to get it. This come to a perfect hilt when Hazel throws L.T. out of the house when he refuses to go through with a hit but still somehow feels she’s the morally superior one by taunting him with “At least I pay my own way”.

Due to this being the biggest budgeted film that Andy Warhol produced they  were able to hire some well-known faces into the roles. Baker though was not their first choice as they originally wanted Vivian Vance, whose presence would’ve made this even more of a gem than it already is, but she turned it down fearing it would ruin her reputation with her fans. Shelley Winters, who was their second choice, also rejected the offer, which was rare as she usually accepted anything that came along and she would’ve been brilliant, but I’ll give props to Baker, who took the role simply in an attempt to resuscitate her career, for not holding anything back here and giving it her all.

King is also superb and I enjoyed seeing his character arch as he’s the only in the film that has one, but was disappointed that there was never a final, fiery confrontation between him and Hazel as the film spends the whole time priming you into believing that there will be. Tyrrell is also memorable in a rare sympathetic part where she becomes the only one with a conscious although I have no idea where they got the baby that she is seen constantly carrying around as he’s one of the stranger looking tykes I’ve ever seen.

The cinematic quality though is lacking with almost all of the action taking place inside the drab house. The basic concept isn’t completely well thought out either. While I appreciated the bad cop character, played by Charles McGregor, who gets paid to look the other way, which helps to explain how Hazel is able to get away with these killings for as long as she does, I was still confused with how she was able to bully people. Everyone adheres to her authority, which is never challenged, but you’d think someone running a dicey operation would have some sort of backup plan and weapon on hand should someone get out-of-line, which she doesn’t and for me this seemed questionable.

The film is notorious as well for a scene showing a young mother throwing her baby out of a high story building and watching it go splat on the ground. Supposedly Baker, King, and Tyrrell refused to do the film unless they were promised that this scene be taken out of the script and director Jed Johnson complied only to end up filming it once the rest of the production had wrapped. Years ago when  I first saw this I thought it was pretty funny especially as another mother walks by and says to her young child “that’s what’s going to happen to you if you don’t behave”. It’s clearly a doll anyways and no real baby was harmed, but when I viewed it this time around I found it unsettling, so like with a lot of things in this movie, it’s up to a person’s age and perspective on how much of it they may or may not enjoy.

My Rating: 7 out of 10

Release: May 4, 1977

Runtime: 1 Hour 45 Minutes

Rated X

Director: Jed Johnson

Studio: New World Pictures

Available: DVD

Liar’s Moon (1980)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Couple harbors dark secret.

During the summer of 1949 in a small Texas town Jack (Matt Dillon), who has just turned 18, falls for Ginny (Cindy Fisher) who is 17. Jack is from the poor side of town and helps out his father (Hoyt Axton) on a family run farm while Ginny lives a more privileged life as the daughter of the town’s banker (Christopher Connelly) As Jack and Ginny’s relationship progresses they find stiff resistance to it from their mutual parents particularly Ginny’s father, but they don’t know why. In order to get married they go to Louisiana to elope, but Ginny’s father hires a detective (Richard Moll) to track them down and bring his daughter back no matter what the cost.

The one aspect about the movie that I did like is that it paints its small town characters in a generally positive light. Too many times movies that deal with stories that took place in a bygone era always seem to portray the characters as being more dopey than people of today, or more racist and meaner especially if it takes place in the south, but fortunately that doesn’t occur here. Instead we get shown regular, everyday people that you could easily meet today that just so happen to have lived a long time ago.

The film also has a nice leisurely pace to it and the romantic angle doesn’t seem quite as rushed, which is good, but the film also lacks finesse. The only part of the movie that has any atmosphere or cinematic flair is the opening flashback sequence, which gets done in black and white, while the rest of it pretty much flat lines. The scene where three men get royally drunk on some strong whiskey and another one where the town’s young men try to tackle a baby hog at the fair are the only times when there’s spontaneity or verve.

The story itself is too obvious and too many clues are given away, so by the time the ‘shocking’ secret get revealed you pretty much had guessed it way earlier. A few extra twists are thrown in during the final 15 minutes, but overall it becomes soap opera laden and too similar to the tragedy tinged teen romances of the 70’s that gives the whole thing a formulaic feel.

The eclectic cast is really the only interesting aspect about the film with Dillon giving a solid performance and Fisher looking quite beautiful even when she is constantly crying, which is pretty much all she does during the final third. Academy Award winning actor Broderick Crawford, whose last film this was, gets completed wasted in a pointless role that has very little screen time and the same goes for Yvonne De Carlo who speaks here in what sounds to be an Irish accent. Susan Tyrrell though is strong playing another one of her fringe characters, this time in the form of a prostitute, who comes off as cold and snarky at first, but eventually becomes surprisingly sympathetic.

Spoiler Alert!

Two different endings were filmed and distributed and which ending you saw depended on which theater you attended. One has the main character dying while the other one doesn’t, but both come-off as rather cheesy and make you feel like sitting through this thing really wasn’t worth it.

My Rating: 3 out of 10

Released: September 2, 1982

Runtime: 1 Hour 46 Minutes

Rated PG

Director: David Fisher

Studio: Crown International Pictures

Available: DVD, Amazon Video.

I Never Promised You a Rose Garden (1977)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: She suffers from schizophrenia.

Based on the semi-autobiographical novel by Joanne Greenberg, which was written under the pen name of Hannah Green, the story focuses on Deborah (Kathleen Quinlan) a 16 year-old who is put into a mental institution during the 1950’s by her parents (Ben Piazza, Lorraine Gary). A pretend secret kingdom that used to be a childhood fantasy has now completely taken over her life and she is unable to deal with reality. At the institution she works with a sympathetic therapist named Dr. Fried (Bibi Andersson) who tries to get Deborah out of her fantasy world an back into the real one.

The film was produced by Roger Corman better known for his cheap, sleazy drive-in fare, so seeing him try to take the helm by producing a serious picture is a concern since exploitation always seemed to be his foray, but with the then recent success of One Flew Over the Cuckoo’s Nest he felt stories with a mental institution theme was a potential money-maker. The production values though right from the start look pretty cheap especially when compared to the Milos Foreman film making this a very weak cousin to the 1975 classic.

The producers made many changes from its source novel much to the consternation of the book’s author who was never consulted during the making of it and who ended up disliking this film version immensely. One of the biggest difference is that the film completely omits the antisemitism, which the filmmakers felt was too much of a ‘hot button topic’, that the main character in the book had to deal with and instead blames her mental health problems solely on her bout with cancer.

For me though the biggest issue centers more on the recreation of Deborah’s make-believe, mystical world which she calls The Kingdom of Yr. In the book the kingdom starts out as a beautiful magical place that slowly turns ugly and threatening while in the movie it’s portrayed as scary from the very beginning, which is confusing as there’s no explanation for how the whole thing started. The sound of the whispering voices going on inside Deborah’s head is creepy, but sight of the characters inside the kingdom, which was played by members of Oingo Boingo looks cheesy and like the singers from the Village People, which gives the film an unintended camp feeling. Instead the characters should’ve been captured from a distance where they were seen as ominous shadowy figures whose faces were never shown.

Despite these drawbacks I still found myself caught-up in much of the drama especially the cruelty that Deborah and her fellow patients received at the hands of an abusive orderly played by Reni Santoni. Unfortunately some of the scenes showing Deborah interacting with the other mentally-ill people in the hospital gets watered-down by having a lighthearted melody played during it, which gives off the idea that this is ‘lightly comical’ instead of the gritty no-holds-barred drama that it should be.

Quinlan gives a great performance, possibly the best of her career and I particularly enjoyed the way she uses her expressive blue eyes to convey her inner madness and turmoil. You also see her as a relatable human being who you want to see get well as opposed to being some sort of ‘freak’. Susan Tyrrell is great in support as one of the patients as well as Martine Bartlett who plays another troubled patient and who starred just a year earlier as the cruel mother in Sybil, which was a TV-movie with a similar theme. Casting Bibi Andersson though as the psychiatrist was for me a distraction since she also played one in Persona, which was her signature role and therefore I couldn’t separate her from that one.

In 2004 the novel was turned into a play under the full cooperation of Greenberg who acted as a consultant. The antisemitism from the book was incorporated into the play as well as several other things that had been omitted making me believe that a remake based on the play should be given a much needed green-light as this film unfortunately is adequate, but not great.

My Rating: 7 out of 10

Released: July 14, 1977

Runtime: 1 Hour 36 Minutes

Rated R

Director: Anthony Page

Studio: New World Pictures

Available: DVD, Amazon Video

Night Warning (1982)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: His aunt is crazy.

Billy (Jimmy McNichol) has been orphaned since age 3 ever since his parents died in a tragic car accident. For the past 14 years he’s been living with his neurotic aunt Cheryl (Susan Tyrrell), but now that he’s turning 17 he’s ready to move-out. Cheryl though doesn’t want Billy to leave her as she harbors dark incestuous feelings for him and will do anything, even kill in order to keep him with her.

The film was directed by William Asher, who mainly worked on family oriented material like the TV-show ‘Bewitched’ and the beach party movies from the 60’s, so doing this was a stretch for him, but results aren’t bad. Although there’s little gore the well-shot opening sequence in which the father gets decapitated by driving into a truck hauling wooden logs is impressive and more than makes up for it and it even gets shown twice.

The big payoff though is Susan Tyrrell’s performance, which gets completely off-the-charts. She had a love-hate relationship with her real-life mother and the two spent many years not talking to each other and I think this as well as some of the treatment that she received in Hollywood particularly with her working relationship with director John Huston while doing Fat City she used to channel the anger and rejection of her character and it really works. Watching her become more and more unhinged as the film progresses and her increasingly odd facial expressions and voice tones is a treat onto itself and makes catching this otherwise hard-to-find flick worth it.

McNichol’s acting unfortunately cannot match hers and I was shocked to see that he got top billing over her as his talent level, pedigree isn’t even close. His character though is even more annoying as I found it hard to believe that he wouldn’t have seen red flags to his aunt’s mental illness far sooner. The film makes it seem that he had no concerns about his aunt until he turned 17, but I would think living with her for 14 years there would be signs of it earlier. It’s also hard to feel for someone who is so painfully naïve and walks into his aunt’s devious traps when anyone else would’ve know better. It’s dubious too that the aunt would wait until the kid was 17 before making sexual overtures, but I suppose that’s a whole other issue.

Bo Svenson’s as a brash, unethical cop who is profoundly racist and homophobic becomes a strain too. I’m sure at the time this was considered simply ‘soft satire’ that lightly pokes fun at the bad cop stigma, but now it comes off as dated and unpleasant and probably the whole reason why the film hasn’t received a DVD/Blu-ray release.

Julia Duffy, best known for playing Stephanie on the TV-show ‘Newhart’ is on hand in support and although she was already 30 at the time plays Billy’s teen girlfriend and even appears topless, which may interest the voyeurs. However, any story that hinges on one of the characters being put on trial and then found not guilty by a jury due to temporary insanity I just can’t buy into and I don’t think has ever happened at least not in this country. There’s also too much ‘scary music’ that gets played particularly during scenes inside the house that just isn’t needed and almost becomes a distraction and I wish directors and producers would realize that the quiet/natural ambience can be far creepier than any soundtrack.

 

My Rating: 6 out of 10

Alternate Title: Butcher, Baker, Nightmare Maker

Released: January 1, 1982

Runtime: 1Hour 36Minutes

Rated R

Director: William Asher

Studio: Royal American Pictures

Available: VHS

Racquet (1979)

racquet-1

By Richard Winters

My Rating: 0 out of 10

4-Word Review: Tennis champ gets old.

Tommy Everett (Bert Convy) is an aging tennis star who is learning to accept that he no longer has the skill that he once did. His life though is not in order and he needs money so that he can purchase his own tennis court and use it to give lessons to the rich clientele of Beverly Hills. Since he doesn’t have the capital for a down payment he sleeps with Leslie (Edie Adams) who is the wife of Arthur (Phil Silvers) a rich financier. During their lovemaking he asks her for the cash and she initially agrees even though she doesn’t intend to come through with it. In one last attempt to prove his virility he decides to take on tennis great Bjorn Bjorg in a televised match that he hopes will prove that he still has what it takes.

This so-called comedy is so frighteningly unfunny that you have to wonder why anyone would’ve been paid to write-it as its desperate attempts at humor are downright embarrassing. The script went through many rewrites and it shows as there is no cohesion and the action meanders badly until it all becomes quite pointless.

Supposedly this was an attempt to cash-in on the success of Shampoo, which was far better and so superior to this one it’s isn’t worth trying to compare except to say that was a classic and this isn’t. The jokes here are too strained and the innuendoes so juvenile that it makes sitting through not worth it on any level. The movie would’ve been improved had it stayed focused on the tennis angle, but instead it goes off on Convy’s romances and sexual conquests until you completely forget about the tennis part until it finally goes back to it at the very end.

Convy’s presence, especially in the lead, makes things even worse. He was a great game show host, but in the acting realm he was a hack to the point that he comes off looking like he never had even a day of acting training.

The supporting cast if filled with an array of familiar faces, but due to the script’s limitations end up being badly underused. Susan Tyrrell’s take of a snobby real estate agent should’ve been great, but isn’t. Tennis legend Bobby Riggs is fun, but not funny and Dorothy Konrad gets a few laughs, but it all comes at the expense of her obesity, which is tacky.

Phil Silvers is the only good thing in the movie and he even manages to elicit a few chuckles especially the part where he dresses and acts like a giant turkey. Yet even this, like with everything else in the film, is pretty sad and only proves to what pathetic extent it was willing to go to just to get a cheap laugh.

My Rating: 0 out of 10

Released: June 7, 1979

Runtime: 1Hour 29Minutes

Rated R

Director: David Winters

Studio: Cal-Am Productions

Available: None at this time