It took Sean Connery years to successfully cast aside the shadow of James Bond and establish himself as a diverse actor. Connery had made some fine non-Bond films even during the peak of 007 mania - The Hill, Woman of Straw, A Fine Madness and Marnie. Each of these worthy efforts afforded Connery a role that was significantly different than that of Bond but, much to his frustration, all of them were box-office disappointments, although he did have the satisfaction of seeing The Hill win international acclaim. When Connery left the Bond series in 1968, he made some more fine films. The Western Shalako was an international box-office success, as was The Anderson Tapes, which cast him as a charismatic crook. Yet, Martin Ritt's The Molly Maguires, an ambitious film about exploited coal miners, failed to click with audiences, as did The Red Tent, which afforded Connery top-billing even though he only had a supporting role. Connery returned to the Bond fold in 1971 for Diamonds Are Forever and then quit the part once again. He gave one of the finest performances of his career in Sidney Lumet's micro-budget drama The Offence, but it played in only a few art houses before slipping into oblivion. John Boorman's Zardoz, which has attracted a cult following today, was a critical and box-office flop at the time of its release, as was a minor Connery thriller The Terrorists (aka Ransom). But Connery was not about to be counted out. He scored with Murder on the Orient Express, The Wind and the Lion, Robin and Marian, The Great Train Robbery and, most significantly, The Man Who Would Be King. All were critical successes even if they were not blockbusters. Connery also played a key role in the WWII epic A Bridge Too Far, a fine and underrated film. Soon thereafter, however, his choice of film projects became erratic. Although the films Cuba, Wrong is Right and Outland all under-performed at the box-office, they at least afforded him the opportunity to work with acclaimed directors Richard Lester, Richard Brooks and Peter Hyams, respectively. But the cheesy disaster flick Meteor could only be attributed to the desire to make a fast buck.
As Connery matured as a man and actor he still would take on films with limited commercial appeal if he felt the project was artistically rewarding. This was the case with the 1982 film Five Days One Summer which proved to be the final cinematic work of Oscar-winning director Fred Zinnemann, who had made such classics as High Noon and From Here to Eternity. Zinnemann had scored a late career triumph in 1977 with Julia but hadn't made a film since. The movie was an odd choice for both men since the story was small in scale and seemed to have no hope of attracting mainstream audiences. Five Days is very much an art house movie that was nevertheless given wide release based solely on Connery's presence as the leading man. Predictably, it had a quick playoff to largely empty theaters but perhaps more surprisingly, the critics who had lauded Zinnemann with praise for Julia now accused him of making a film that was too small in scope for a collaborative project with Sean Connery. Zinnemann was seventy-four years old when he made the movie and perhaps he felt he had paid his dues to the big studios over the decades. Now in the twilight of his years he might have simply wanted to make a very personal film that appealed to him, if not everyone else. The script is based on a 1929 short story, Maiden Maiden by Kay Boyle. The film was shot under this title before the decision was made to change it to the equally ambiguous Five Days One Summer. In fact, Maiden Maiden was a more intriguing title because it has a dual reference. The first is the the female protagonist of the story and the second is to The Maiden, an imposing mountain in the Swiss Alps where some dramatic events occur. The story concerns the taboo relationship between Kate (Betsy Brantley), an attractive young woman in her mid-twenties and her uncle Douglas (Sean Connery), a successful doctor in his fifties. Since she was a little girl Kate has had an uncontrollable crush on Douglas and as she grew older, came to resent his wife Sarah (Jennifer Hilary). Director Zinnemann zig-zags back and forth in time to show how a schoolgirl crush developed into a forbidden sexual relationship that finds Kate excluding any other potential lover in favor of Douglas. She alternates between joy and depression, the latter mood hitting her whenever she dwells on the fact that she can never be in anything but a secret relationship with the man she loves. Even if Douglas were to get a divorce, the incestuous love affair could never be made public.
The main part of the film concerns Douglas and Kate pulling off a risky holiday trip that will allow them to spend time together in a remote lodge in the Swiss Alps where they can indulge in their mutual passion for hiking and climbing. To avoid any suspicions, she poses as Douglas's wife in a May/December romance. At first she is as giddy as a schoolgirl because she can finally share a bed with Douglas and they can openly express affection for each other. Things get complicated, however, when their hiking guide turns out to be Johann (Lambert Wilson), a handsome young man who is Kate's age. From minute one he awakens long suppressed sexual desires in her for someone other than Douglas, who immediately perceives the unspoken attraction between the two. The trio enjoy a cordial and professional relationship as the hike and take in the scenic wonders around them. However, Johann becomes more forthright when he learns that Kate isn't married to Douglas (though she does not confide he is her uncle). Johann is outraged and tries to convince her to leave him, telling her that she is in a dead-end love affair with a married man that can't end well. Meanwhile, on a dangerous hike with Douglas, Johann also confronts him while they are atop the summit of the Maiden (not the most opportune place to have an argument with each other.) Douglas maintains that he is not using Kate and really loves her. Meanwhile, she has made up her mind to leave Douglas and marry Johann. Before she can give Douglas a "Dear John" letter, word comes that there has been a disaster on the mountain and that one of the men in her life has been killed in an avalanche. In the final scene, she sees a distant figure emerging from the snowy mountain landscape, staggering towards her and a group of rescuers. Is it her lover or her would-be lover? Either way, the result will affect her life in a dramatic way forever.
"Five Days One Summer" has been likened to the German "mountain romances" that were enormously popular in pre-WWII Germany. These films were known to have skimpy plots but magnificent scenery. If critics were kind to any aspect of the movie, it was Giussepe Rotunno's impressive cinematographer. Most reviewers wondered what it was about this modest story that appealed to Fred Zinnemann, who worked infrequently but generally made "important" movies. Despite the low-key nature of the scenario that unfolds on-screen, there is much to like about the film. The performances are first-rate with newcomers Brantley and Wilson making both faring well in their first major roles in a feature film. (Ironically, Wilson screen-tested for the role of James Bond in "Octopussy" when it seemed doubtful that Roger Moore would return to the 007 franchise.) Connery dominates the film, however, with an excellent performance playing a complex character who at times is sympathetic and at other times somewhat of a villain. He's all superficial charm but he cruelly risks destroying his niece's own life by using her as a bed mate. There's no doubt he loves her, but it's clear he isn't about to endanger his marriage to be closer to her. When she finally expresses her frustration and threatens to leave him for Johann, he reacts violently and slaps her. Equally complex is the character of Kate. We're left to speculate as to just why her obsession with Douglas has presumably led to the exclusion of any other men in her life. In this respect, the script is either lacking or intriguing, depending upon the views of individuals in the audience. The only easily definable character is that of Johann. He's a young man of simple means who has no interest in the world outside of the immediate domain in which he was raised. When he is smitten by Kate, his goal isn't to share her life experiences but rather, to incorporate her into his own world. In this respect, Kate's choices of lovers have one thing in common: they both want her to submit to their ideas about what is in her best interests. Douglas has clearly deluded himself into believing that his relationship with Kate is not harmful to her. Johann offers her a more independent, traditional life but still makes it clear that if she marries him, she would have to be content to live in a beautiful but remote mountain region. The end of the tale finds Kate finally exerting her own will and finding a determination to pursue her own destiny.
"Five Days One Summer" is barely remembered, let alone discussed, in evaluations of Sean Connery and Fred Zinnemann's careers. However that shouldn't negate its many merits. I liked the film far more today than I did upon its initial release. The Warner Archive has released the film on DVD. The transfer is a bit problematic. Some of the sequences in the lush mountain areas do justice to the magnificent cinematography but certain other scenes have excessive grain. Additionally, interiors are over-saturated to the point that characters who are seen in dimly lit rooms are sometimes reduced to shadowy blobs. The film is a prime candidate for a Blu-ray, remastered edition. The only bonus extra is the original trailer. It is a region-free release.
CLICK HERE TO ORDER FROM THE THE CINEMA RETRO MOVIE STORE
A controversy over the style of drapes for a mansion's library would not seem to be the fodder for a sizzling screen drama but it is the catalyst for the events that unwind in The Cobweb, a 1955 soap opera that involves the talents of some very impressive actors and filmmakers. The film was directed by Vincente Minnelli and produced by John Houseman, based on the bestselling novel by William Gibson. The cast features an impressive array of seasoned veterans as well as up-and-comers. Among them: Richard Widmark, Lauren, Bacall, Charles Boyer, Gloria Grahame, Lillian Gish, Oscar Levant, Susan Strasberg and John Kerr. The action all takes place in a psychiatric institute called "The Castle". It's actually a mansion house and the patients are seemingly there voluntarily. They are an assortment of eclectic types ranging from elderly eccentrics to young people with severe problems interacting with others. The nominal head of the institute is Dr. Devenal (Charles Boyer), an erudite, once-respected professional who long ago ceded actual power to his second-in-command, Dr. Stewart MacIver (Richard Widmark), who has implemented very progressive and controversial theories about patient treatment that involve giving those afflicted with psychiatric disorders a voice in the policies and events pertaining to the institute. He's routinely criticized for going too far in trying to build patient self-esteem but MacIver is convinced that such programs are the only way to ensure that those in his care can become self-sustaining members of society. The Castle is hardly the kind of loony bin depicted in most Hollywood films of the era. In fact, it looks more like an upscale bed and breakfast. Everyone is nattily dressed, exceedingly polite and indulges in social activities. MacIver is the one who seems closest to a complete breakdown. His marriage to his sultry young wife Karen (Gloria Grahame) is on the skids. She accuses him of being a workaholic who puts his career before the needs of his wife and young son (Tommy Rettig). On a more personal level, she makes it clear that she is sexually frustrated, as MacIver has moved into a separate bedroom, telling Karen that she is a self-obsessed party girl. There is truth in both accusations. The chain smoking MacIver does seem to be married to his job. Predictably, things get more complicated when MacIver has an affair with a co-worker at the institute (Lauren Bacall) and Karen's ill-conceived flirtations with the perpetually horny Dr. Devenal backfire and cause distress for both of them. The fragile tranquility among the patients also becomes strained when a controversy erupts over MacIver's plan to allow them to design and create new draperies for the library. This inspires the most problematic inmate, a young man named Steve Holte (John Kerr) who is traditionally anti-social but who comes alive by using his creative talents for the project. However, the institute's busy-body secretary, Victoria Inch (Lillian Gish) has already ordered expensive draperies from a company and she objects to using the patients' creations. This sets in motion a series of dramatic circumstances that has major consequences for all the main characters.
The premise of the screenplay reads like something out of a Monty Python sketch and critics at the time of the film's release pointed out the absurdity of having draperies serve as the catalyst for such dark goings-on. The film was considered a major disappointment and has largely been forgotten. However, looking at the movie today, one is impressed with the sheer amount of talent involved in the production. It should also be pointed out that saying the movie is about curtains is as inaccurate as saying The Titanic is a movie about icebergs. In fact, The Cobweb is a reasonably compelling drama that sustains interest despite an "everything but the kitchen" sink formula for introducing crisis after crisis for the main characters and a tacked on happy ending that deviated from the book. Widmark is a commanding screen presence and Gloria Grahame excels as his sex-starved wife. Grahame completely overshadows the presence of Lauren Bacall, who underplays to the point of invisibility. There is also a scene-stealing performance by Lillian Gish as an insecure administrator with no life outside of her office duties and who is immediately threatened by any incursion into her spheres of influence. Charles Boyer is an odd but inspired choice as the institute's director, a man who has sold out in terms of his professional ethics simply to enjoy a cozy life and a fat pay check. John Kerr and Susan Strasberg also impress as anti-social young people who predictably become attracted to each other.
The Cobweb is a potboiler, pure and simple. While it's not a "lost classic" by any means, it seems the film does deserve to be re-evaluated for its many merits.
The movie is available on DVD through the Warner Archive and is region-free. The transfer is very good and includes the original theatrical trailer.
CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE
"The Shakiest Gun in the West" was one of the feature film Don Knotts starred in for Universal after leaving his role as Deputy Barney Fife on "The Andy Griffith Show"- a role that saw him win multiple Emmy awards. Released in 1968, the comedy is as plain vanilla as all of Knotts's Universal flicks, as it's family friendly throughout. There is one unusual aspect to this production, however, in that it is a remake of the 1948 Bob Hope comedy hit "The Paleface". Directed by Alan Rafkin, who helmed Knotts's first film for Universal, "The Ghost and Mr. Chicken", "Shakiest" follows the formula that Knotts knew his fans wanted to see. He always played essentially the same character- a likable nerd with a lack of self-esteem who blunders into becoming a local hero only to be discredited and shamed. The conclusion of every Knotts film finds him performing some act of extraordinary courage that results in him becoming a legitimate hero and winning the girl, as well. Oh, yes, there's usually a scene in which Knotts's character ends up getting very drunk, thus allowing Knotts to slip and slobber, much to the delight of his audience. Although the original film was written for Bob Hope, a few tweaks by long-time "Andy Griffith Show" screenwriters Jim Fritzell and Everett Greenbaum easily convert the story into a suitable vehicle for Knott's signature nervous guy persona. Both Hope and Knotts excelled at playing cowards. Hope would respond to dangerous situations with a string of quips delivered with the rapidity of a machine gun. Knotts, however, would fall physically and mentally into a virtual nervous breakdown. The result was always amusing and Knotts lived by the adage "If it ain't broke, don't fix it". Audiences- especially in rural areas- made his modestly-budgeted feature films very profitable.
"Shakiest" opens in Philadelphia in 1870. Knotts plays Jesse Heywood, a dental student who must complete an examination on a patient in order to get his degree in dentistry. Unfortunately, the patient is a woman who refuses to open her mouth. Jesse tries to cajole her with childlike sweet talk but when she still refuses, the situation turns into a physical battle royal with both of them engaging in a knock-down wrestling match that starts the film off on a very funny note. Jesse then decides to follow the advice of Horace Greeley and "Go West, young man." Presuming there is a dearth of available dentists in the newly-settled territories, the meek city slicker joins a wagon train (after being bilked by used-wagon salesman Carl Ballantine). A simultaneous plot line revolves around Penelope Cushings (Barbara Rhoades), a vivacious redhead who also happens to be a notorious bandit. When federal agents catch up to her, she is offered a deal: she can avoid a jail sentence if she acts as an undercover agent for the government and joins the wagon train to find out who among the passengers are intending to smuggle a cache of rifles to the Indians. At the last minute, the agent who was to pose as her husband is shot dead, leaving her with a dilemma: no single woman can be unaccompanied on the wagon train. Desperate, she uses Jesse as a pawn, fawning over the incredulous newly-minted dentist who can hardly believe his good fortune. Within hours they end up getting married but the minute the ink is dry on the license, Penelope gives a cold shoulder to her new husband. (The only sexually suggestive aspect to the film revolves around a running gag of Jesse being increasingly frustrated by his wife's stalling techniques when it comes to consummating their marriage.)
Once the wagon train is on the move, Penelope snoops around for the gun smugglers, who turn out to be a phony preacher (Donald Barry) and his partner (Jackie Coogan) who are secreting the weapons inside cases marked as containing bibles. Along the way, Jesse allows his wagon to fall behind the others and it is attacked by Indians. In mounting a seemingly futile defense, he is shocked to find that he has killed a dozen of his attackers, not realizing that the deadly shots were actually fired by Penelope. When word gets out of his achievement, Jesse is hailed and feted as a hero. The legend is reinforced when he is challenged by a notorious outlaw, Arnold the Kid (Robert Yuro), who is also slain in a gundown with Penelope secretly firing the fatal shot. (Shades of "The Man Who Shot Liberty Valance"!) Ultimately, Jesse learns the truth and courageously admits to his fellow travelers that he really isn't a hero. He is rewarded for his honesty by being shunned and mocked. His misfortune continues with the admission by Penelope that she was only using him as part of her cover operation. The dejected Jesse is at a low point in his life when Penelope is kidnapped by the gun smugglers and brought to the Indian camp. Determined to save her, Jesse manages to locate the camp and infiltrate it while dressed as an Indian maiden(!). Needless to say, he finds his inner strength and in acts of courage saves the day and redeems his reputation.
Sam Peckinpah’s “The Ballad of Cable Hogue,†(1970)
recently released on Blu-ray by the Warner Archive Collection, is a movie that
doesn’t fit neatly into any specific category. Peckinpah, more notable for his
violent action pictures about outlaws who’ve run out their string and go down
in a blaze of glory, maintained that “Hogue†is a comedy. But co-star Stella
Stevens, in an interview included on this Blu-Ray release, disagrees. She claims
it’s a love story—a tragic love story. The answer, in my opinion, is that it probably
falls somewhere in between.It’s both a
comedy and a love story, and as such, is probably the most honest film about
the human condition the hard-nosed Peckinpah ever made.
The story is a simple one. Jason Robards plays the
titular character, a man left to die in the Arizona desert by two disreputable
partners, Taggert (L. Q. Jones) and Bowen (Strother Martin). Hogue swears he’ll
survive somehow and someday get vengeance on the double crossers. He wanders in
the desert for 4 days without water, occasionally raising his eyes heavenward, to
address the Almighty.“Ain’t had no
water since yesterday, Lord,†he says at one point. “Gettin’ a little thirsty. Just thought I’d mention it. Amen†Just when
he’s about finished he discovers a spring, the only water for 50 miles either
way along a stagecoach road. He builds a house there and calls the place Cable
Springs.
A wandering preacher by the name of the Rev. Joshua
Duncan Sloan (David Warner) rides in. The Reverend claims to be the head of a
church of his own revelation. As dubious as he appears he reminds Cable that he
had better file a claim on the land he’s on if he wants to keep it. Cable takes
the preacher’s horse and rides into the town of Dead Dog. One of the first
things he catches sight of is Hildy (Stella Stevens), the town prostitute.
After he files his claim and secures a loan from a bank, he pays a visit to
Hildy, who lives in a room on the second floor of the town saloon. He’s
immediately smitten with her but when he tries making love to her, the sound of
a preacher holding a Bible meeting next door reminds him of Rev. Sloan, who at
this very moment might be trying to jump his claim. He runs out on Hildy, promising
he’ll be back soon as he can.
The rest of the film is about the Cable/Hildy
relationship in which Peckinpah presents about as honest a portrayal of human
beings and their struggle to survive and find comfort in one another in a
brutal world as has ever been put on film. At one point Hildy asks Cable if her
being a prostitute bothered him.
“Hell no, it never bothered me,†he answers. “I enjoyed
it. Now what the hell are you? A human being? Trying the best you can. We all
got our own ways of living.â€
“And loving?†Hildy asks.
“Gets mighty lonesome without it.â€
Despite the hard-boiled attitude both characters profess
to adopt, after they’ve spent some time living together in his house, in one
brief moment it all comes down like a house of cards. They’re having dinner
with the Rev. Sloan and talk turns to Hogue’s penny pinching ways, charging
everyone for water and food when they stop at the Springs. The reverend says
he’s surprised Cable doesn’t charge Hildy for supper. “Why would I charge you?â€
Cable tells her. “You never charge me.†And, because of that one thoughtless
sentence, suddenly you see a dream die on Hildy’s face. It’s the end of their
relationship. The scene -for all its subtlety - has a devastating emotional
impact.
There’s more to the story, including Hildy’s return after
living in San Francisco, and the long- awaited showdown between Cable and his erstwhile
partners, Taggert and Bowen. Strother Martin and L. Q. Jones, who were part of
Peckinpah’s informal stock company, having appeared in several of his films,
are perfect here. Nobody took a bullet and died on film better than L. Q.
Nobody.
The ending is not comedic at all. It is filled with a sad
irony that shows as simply and as understatedly as possible, what a puzzling
thing life really is.
As with any major film star who dies young, Jean Seberg has become a cult of personality to some film fans, partly due to the fact that she died in Paris from an overdose of barbiturates at age 40 in 1979. Her death was ruled a suicide but conspiracy theories still abound because she was deemed a political radical by the FBI due to her association with far left wing causes and her support of the Black Panther party. On screen, however, Seberg's characters were generally not radical, although her breakthrough film did find her as the female lead in Godard's classic 1960 crime flick Breathless. Still, there were some hints of Seberg's liberated woman persona in her early career. One such film was In the French Style, a largely forgotten 1963 production based on Irwin Shaw's novel. Shaw wrote the screenplay and the film was directed by Robert Parrish, a respected veteran of the movie industry who never enjoyed a career-defining major hit. (The closest he came was directing segments of the bloated 1967 spoof version of Casino Royale.) The movie opens in Paris with Seberg as Christina James, a 19 year old free spirited girl from Chicago who has come to the City of Light to hone her skills as a painter. In the process of trying to acclimate herself to the metropolitan lifestyle, she meets Guy ((Philippe Forquet), a headstrong, sometimes arrogant 21 year-old who is nonetheless charismatic and quite handsome. He woos Christina and before long, they are a couple swept up in a whirlwind romance. However, it isn't long before there are strains due in part to their impoverished lifestyle. Guy, being a typical guy, tries to get Christina into bed, but she says when it happens, it will be on her terms and conditions. When the big moment arises, Guy's romantic evening turns into a disaster because he only has enough money to rent a room at a flophouse hotel without heat. In the course of the strained evening, Guy confesses to Christina that he cannot perform sexually because he is too nervous. He makes a shocking confession: he is actually a 16 year old high school boy and a virgin at that. While this does bring the story into a completely unexpected direction, it's the one element of the film that strains credibility largely due to the fact that Forquet was actually 23 years old at the time and looks it. Nevertheless, this plot device takes us away from what was shaping up as a conventional "boy meets girl" romance and plunges the viewer into unknown waters.
The story then jumps ahead in time and we find Christina now in her early twenties and very much in step with the Parisian lifestyle. She is the toast of her neighborhood's social scene and the belle of the ball in terms of attracting male suitors. In a rather progressive depiction of a single woman for the year 1963, it is made abundantly clear that Christina has her pick of lovers and routinely engages in short-term sexual affairs. Every time she meets the "right man", it turns out that differences in their lifestyles prevent them from enjoying a traditional relationship. Her father (very well played by Addison Powell) visits her from Chicago and, again Shaw's script goes against the conventional depiction of father and daughter relationships generally seen in movies during this era. Instead of being a square old fuddy duddy, Dad is actually amused by his daughter's somewhat hedonistic lifestyle and he asks her how many lovers she has had. "A couple", she replies, but it becomes clear that both of them regard that as a drastic understatement. When her father asks to see the paintings she has been working on for years, he gently informs her that they are below the quality he had expected. He cautions her that her party-filled lifestyle may be compromising her potential. Christina objects and two part company under a strain, but it becomes clear that her father's words have resonated with her and that it might be time to develop plans for a more productive career path.
All of that changes when she has a chance encounter with Walter Beddoes (Stanley Baker), a hard-drinking international newspaper journalist. They enjoy a torrid affair and fall in love but, alas, fate rears its ugly head once again when Walter's requirements to travel extensively takes him away from Christina for months at a time. He confesses to her that, while abroad "I don't live like a monk". Christina says she accepts that he will have other lovers but makes it clear that she will, too. Such behavior from a young couple was rarely depicted so honestly on screen in 1963, an era in which sexually assertive women were generally painted as floozies. By the time Walter returns from a three month stint in Africa, he finds Christina has a new boyfriend, an American doctor from San Francisco (James Leo Herlihy), who she says she intends to marry. She has a civilized lunch with both men, as Walter tries to persuade her to resume her affair with him. She confesses that she has seen her share of former lovers ultimately drop her to marry the girl of her dreams, a status she somehow never attains in their eyes. This climactic sequence left me a bit disappointed because in the end, Christina- that most liberated of young women- decides to throw in the towel to become a doctor's wife and live in San Francisco. However, director Parrish does afford us the nagging possibility that she knows she is selling out by doing so.
In the French Style is a very worthwhile experience. The Parisian locations add immeasurably to its pleasures and the crisp B&W cinematography Michel Kelber is impressive, as is the Joseph Kosma's atmospheric score. Not much happens dramatically in the film. You keep waiting for some earth-shaking development to emerge but it never does. However, that's part of the movie's charm. It recalls an era in which studios routinely backed small films with fine actors (they are all wonderful here) and gave them intelligent dialogue and direction.
Twilight Time has issued an impressive limited edition (3,000) Blu-ray edition that does justice to the fine B&W cinematography. The bonus extras include an isolated score track, informative commentary by film historians Lem Dobbs, Julie Kirgo and Nick Redman, a theatrical trailer and a collector's booklet with liner notes by Kirgo.
CLICK HERE TO ORDER TWILIGHT TIME BLU-RAY SPECIAL EDITION
CLICK HERE TO ORDER SONY BASIC DVD EDITION FROM THE CINEMA RETRO MOVIE STORE
Some of the best private eye thrillers tend to be complex and sometimes incomprehensible affairs. Howard Hawks' "The Big Sleep", for example, had a plot that could not be comprehended even by the people who made the film, but it ranks as one of the great movies in the crime genre. Similarly, director Arthur Penn's 1975 mystery "Night Moves" (the title is- appropriately enough- a metaphor) sat on a shelf for over a year before it went into general release, only to be greeted by an apathetic public. There were some prescient critics like Roger Ebert who foresaw the film's enduring qualities but, for the most part, "Night Moves" didn't get much attention in a year in which the likes of great films like "Jaws", "One Flew Over the Cuckoo's Nest', "Dog Day Afternoon" and "Barry Lyndon" were in release. The movie began to gain steam over the decades with the critical establishment and is now considered to be a classic by many, thus its arrival on Blu-ray from the Warner Archive is much appreciated by retro movie lovers.
The film reunited Gene Hackman with Arthur Penn after their triumphant work on "Bonnie and Clyde" (1967). Hackman was a supporting character in that film but received an Oscar nomination. In "Night Moves" he is the front-and-center star, in almost every scene and he dominates the movie with a superb, laid-back performance that is so natural that it reminds us of how Hackman's genius was to make you think you are watching a real-life person. He plays Harry Moseby, an L.A. private eye who isn't down-and-out like most of his cinematic counterparts, but is not setting the world on fire, either. He's a complex man haunted by bad childhood memories and he's got some contemporary problems, as well. His wife Ellen (Susan Clark) is bored and frustrated that Harry is too remote and spends far too much of his time on low-paying cases. He catches her having an affair but it's clear her lover (Harris Yulin) is more of a distraction than a passion. While Harry is trying to reconcile with Ellen, he's hired by Arlene Iverson (Janet Ward), a one-time minor starlet with a knack for marrying rich men. She wants Harry to find her wayward, runaway 16 year-old daughter Delly (Melanie Griffith), with whom she has a terrible relationship. Seems Arlene is dependent upon the funds from a trust that her late husband set up for Delly. As long as Arlene lives with the girl, she can continue residing in a mansion and enjoy a lavish lifestyle. However, once Delly turns 25, the spigot is turned off and Delly gets control of her fortune. The case leads Harry to the Florida Keys where Delly's stepfather, Tom Iverson (John Crawford) (divorced from Arlene) runs a charting plane service. He's surrounded by plenty of unsavory types, some of whom are employed as stuntmen in the movie business. At least two of them- Marv Ellman (Anthony Costello) and Quentin (James Woods)- have had sexual flings with the free-spirited Delly. Harry discovers Delly living openly with Tom Iverson and she resents having to be brought back to L.A. by Harry. She tells him her mother only views her as a source of income. While at Tom's place, Harry also becomes involved with another female with a troubled past, Paula (Jennifer Warren), who had once been both a stripper and a hooker before latching onto Tom and helping him with the plane charter business.She speaks in riddles and her dialogue with Harry is marvelously coy. (When she asks him where he was when Kennedy was assassinated, he replies "Which Kennedy"?).
Alan Sharp's terrific screenplay is witty and complex and chances are that when some of the mysteries are resolved, you'll end up scratching your head wondering what it all meant. "Night Moves" is a film that requires a few viewings before it all makes sense but that's part of the delight in seeing it for the first time. The dialogue crackles with bon mots and there are numerous intriguing sub-plots that sometimes overshadow Harry's primary mission, which, it turns out is explained in part by a MacGuffin. Hackman is superb, as is Arthur Penn's direction. The film has a moody, menacing atmosphere throughout, aided considerably by Bruce Surtees' typically dark cinematography. The supporting cast is letter-perfect with Jennifer Warren outstanding in an early screen role (she should have become a much bigger star, though she has found success as a director.) Also seen in an early role, James Woods impresses substantially in his limited screen time. Susan Clark (long underrated as an actress) is very good indeed, as is veteran character actor Edward Binns and Janet Ward. Young Melanie Griffith also impresses, though, ironically she played essentially the same role in another gumshoe flick that same year, "The Drowning Pool". I also admired the jazzy score by Michael Small. The finale of the film is most memorable. It's not only suspenseful and exciting but also intriguingly ambiguous with Harry on a boat literally spinning in circles, as the viewer may well be in terms of comprehending what has just occurred.
Because the original film elements of "Night Moves" were in decline, the Warner Archive spent a good time of time and money to restore the movie to its initial grandeur. The results paid off with an excellent transfer that does justice to Penn's artistic vision. Kudos to all involved. There are also some bonus extras: an original trailer and a vintage featurette, "The Day of the Director" that provides some very good behind-the-scenes footage of the movie in production. However, the Blu-ray cries out for an audio commentary to allow analysis of the film's many complex aspects. Perhaps a future release will include one. For now, this is a "must-have" for your video library.
CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE
The film must have seemed to have the makings of a classic. Director Vincente Minnelli reuniting with Kirk Douglas for the first time since their triumphant The Bad and the Beautiful a decade earlier. Edward G. Robinson co-starring and a supporting cast that included Cyd Charrise, Claire Trevor, James Gregory, George MacReady, George Hamilton and lovely up-and-coming actresses Rosanna Schiaffino and Daliah Lavi. Add to this exotic Rome locations during the era when La Dolce Vita was all the rage plus a source novel by Irwin Shaw -- this had to be a project that couldn't miss. Alas, it did indeed go off-target, but the fact that the 1962 screen version of 2 Weeks in Another Town falls short of its potential doesn't mean it isn't a gloriously trashy spectacle to behold.
Douglas plays Jack Andrus, a washed up, one-time screen legend who is
driven to the brink of insanity by the philandering nature of his
Italian wife (Charisse), who ended up having an affair with Douglas'
friend and collaborator, screen director Maurice Kruger (Robinson).
Years later, Andrus is contacted by Kruger, whose career is also in
decline, to reunite for a Rome-based major film that could revive their
reputations and popularity. When Andrus gets to Italy, he discovers
there is no part for him in the picture, but Kruger felt it would be
therapeutic to have him assist in the dubbing of the film. Before long,
the love/hate relationship between the two men sparks jealous and anger,
with Kruger's Lady MacBeth-like wife (Trevor) constantly finding ways
to cause friction. Adding to the soap opera aspects of the story is the
presence of an Italian screen diva (Schiaffino), whose temper tantrums
have everyone on edge. Andrus does find solace in the arms of a young
lovely (Lavi) but before long is embroiled in enough personal intrigue
and frustration to once again threaten his sanity.
The film is certainly not high art. Douglas dominates the landscape
with the type of eye-popping antics that made him a favorite of
impressionists during the era. Robinson is far more understated and it's
great fun to watch the two conflicting acting styles in the same
scenes. The film benefits from some good location scenery including rare
glimpses of fabled Cinecitta Studios during its heyday, but Minnelli
relies far too often on cheesy rear-screen projection shots that
distract from the byplay among the actors. The story is often overly
melodramatic and somewhat confusing, with the vast number of characters
intertwined in each other's scandals. However, it never reaches the
so-bad-it's-good status the similarly- themed The Oscar, which is
somewhat of a mixed blessing. With a few more "over-the-top" elements,
Minnelli could have created a trash classic. As it stands, 2 Weeks in Another Town is
too campy to be called a truly good film, and not campy enough to
emerge as a cult movie. Still, with all the powerhouse talent involved,
it never commits the cardinal sin of being dull.
The Warner Archive Blu-ray features a very good transfer and includes the original theatrical trailer.
CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE
I've long had admiration for the work of actor Robert Shaw ever since he impressed me at age 8 with his chilling interpretation of the SPECTRE psychotic killer Red Grant in "From Russia With Love". Shaw could always be counted on to deliver a fine performance even if the material he chose was sometimes underwhelming. Shaw was also a talented writer and playwright, having won acclaim for his play "The Man in the Glass Booth", which was inspired by the war criminal trial of Adolf Eichmann. Shaw, like many actors, participated in many questionable films in order to enable his real passion, which was to bring avante garde movie projects to fruition, even if they only appealed to the art cinema crowd. One of Shaw's most interesting vehicles is one of his least seen. "Figures in a Landscape" was his 1970 adaptation of an allegorical novel by Barry England that abounded with reference to the (then) on-going Vietnam war. Shaw dispensed with that aspect of the novel and instead played up its more opaque aspects, particularly those that concern the two protagonists in what is basically a two-character adventure. The film opens with Shaw and co-star Malcolm McDowell on the run in an unnamed country being pursued by unnamed forces (presumably the police and/or military) for unspecified crimes. One senses they are political prisoners in a totalitarian state but this is never addressed directly. Shaw is MacConnachie ("Mac"), a middle-aged man with a colorful past that often found him on the opposite side of the law. McDowell is Ansell, a twenty-something free spirited type from London whose social values are the polar opposite of Mac's old fashioned values. When we first see the men, they are running at a high rate of speed and have to contend with the major obstacle of having their hands bound behind their backs. We never learn how they effected their escape and from whom but these are just several key questions that Shaw's screenplay goes to lengths in terms of not filling in the audience on the details. The two men, bound by their mutual need for one another, bicker and bark at each other like Tony Curtis and Sidney Poitier in "The Defiant Ones" with Mac channeling his future performance as Quint in "Jaws" by constantly attacking the younger man for being the product of a soft generation. As these types of films generally play out, Mac and Ansell are able to win some small victories through mutual efforts and begin to develop a grudging but sincere admiration for each other. (In one of the script's few instances of humor, we learn that Mac is somewhat of a prude by the way he chastises the younger generation for the sexual promiscuity afforded by "The Pill".) They finally figure out a way to free their bonds and obtain food, water and arms. However, they find themselves relentlessly pursued by a helicopter piloted by faceless, nameless men who coordinate a widespread army of pursuers on the ground The image of the helicopter haunts Mac and Ansell throughout their desperate race across a harsh landscape that contains both deserts and high, snow-covered mountains. Throughout their ordeal, the men come to know each other better though Shaw's screenplay, perhaps not coincidentally, gives his character far meatier material than McDowell gets to work with. Shaw is at his best in the quiet sequences, reminiscing about his beloved wife who waits for his return home.
The film falls short of its Kafkaesque pretensions but is never less than engaging, thanks in no small part to the skill of director Joseph Losey in keeping the bizarre aspects of the scripts from becoming too alienating for the audience. There is also superb cinematography that does justice to the magnificent, if sometimes foreboding, Spanish landscapes and a fine score by the estimable Richard Rodney Bennett. It's unclear what Shaw was trying to say in this sometimes puzzling film that at times evokes aspects of Patrick McGoohan's classic TV series "The Prisoner". This jumbled aspect of the story robs the film of some of its potential dramatic payoffs but there is real satisfaction in watching Shaw and McDowell in parts that are this meaty. We only learn enough about each character to tantalize us even further regarding how they ended up in this dilemma and it's probably best that Shaw never provides any easy answers. However, some of the men's actions and interactions cry out for a bit more clarification especially in the exciting climax when Mac is motivated to take on downing the hated helicopter even at an unnecessary risk to his own life.
"Figures in a Landscape" has been released by Kino Lorber on Blu-ray. As with most of the company's titles, this one boasts a superb transfer that does justice to the impressive filming locations. Unfortunately, no extras are included. A pity because this film cries out for a commentary track that could have covered not only the movie itself but also Shaw's remarkable career, one that never completely fulfilled its potential because of his own personal demons.
Cinema Retro has received the following press release:
Get ready for a laugh in the cult-classic comedy that has
captured everyone’s hearts when The Big Lebowski 20th Anniversary Limited
Edition debuts for the first time ever on 4K Ultra Combo Pack that also
includes Blu-rayâ„¢ and Digital via the digital movie app MOVIES ANYWHERE on
October 16, 2018, from Universal Pictures Home Entertainment. Fans can relive
the hilariously freewheeling plot of one of the most beloved films of all-time
with the twisted crime-comedy starring Jeff Bridges (Crazy Heart, True Grit),
John Goodman (10 Cloverfield Lane, Argo), Julianne Moore (The Hours, Still
Alice), Steve Buscemi (Fargo, Ghost World), Philip Seymour Hoffman (The Master,
Capote) and John Turturro (Barton Fink, Fading Gigolo). The Big Lebowski 20th
Anniversary Limited Edition is the perfect gift for any fan and the exclusive
set includes a collectible bag, bowling ball pencil holder, polishing cloth and
sweater packaging offering an experience like no other to look back on the
cultural phenomenon of The Dude in the “#1 cult film of all time†(The Boston
Globe).
With unforgettable scenes and outrageous humor, The Big
Lebowski 20th Anniversary Edition showcases hours of bonus features including
retrospective documentaries, an interactive map, an in-depth look at the
phenomenon known as the Lebowski Fest taking audiences deeper than ever before
into the upside down world of “The Dude.â€
From the Academy Award®-winning Coen brothers, The Big
Lebowski is a hilariously quirky comedy about bowling, a severed toe, White
Russians and a guy named…The Dude. Jeff “The Dude†Lebowski doesn’t want any
drama in his life…heck, he can’t even be bothered with a job. But, he must
embark on a quest with his bowling buddies after his rug is destroyed in a
twisted case of mistaken identity.
BONUS FEATURES:
· The Dude’s
Life: Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi and John
Turturro take a look back at their performances and how their delivery of the
Coen brothers’ dialog became classic movie lines.
· The Dude
Abides: The Big Lebowski Ten Years Later: A conversation with the cast about
the film’s decade-long reign as a cult classic.
· Making of The
Big Lebowski
· The Lebowski
Fest: An Achiever’s Story: An in-depth look at the annual Lebowski Fest, a
celebration of The Dude and his world, attended by thousands each year.
· Flying
Carpets and Bowling Pin Dreams: The Dream Sequences of The Dude: A look at some
of the Dude’s trippiest fantasies so fans can learn for the first time how
these innovative scenes were created.
· Interactive
Map: Take a tour of the locations of The Big Lebowski, then and now.
· Jeff Bridges
Photo Book: For more than 30 years, Jeff Bridges has been snapping pictures on
movie sets. The accomplished photographer presents a portfolio of shots taken
on the set of The Big Lebowski.
· Photo Gallery
· And Much
More!
The Big Lebowski 20th Anniversary Edition will be
available on 4K Ultra HD combo pack which includes Blu-rayTM and Digital, and
Movies Anywhere.
4K Ultra HD is the ultimate movie watching experience. 4K
Ultra HD features the combination of 4K resolution for four times sharper
picture than HD, the color brilliance of High Dynamic Range (HDR) with
immersive audio delivering a multidimensional sound experience.
Blu-rayTM unleashes the power of your HDTV and is the
best way to watch movies at home, featuring 6X the picture resolution of DVD,
exclusive extras and theater-quality surround sound.
Digital lets fans watch movies anywhere on their favorite
devices. Users can instantly stream or download.
Movies Anywhere is the digital app that simplifies and
enhances the digital movie collection and viewing experience by allowing
consumers to access their favorite digital movies in one place when purchased
or redeemed through participating digital retailers. Consumers can also redeem
digital copy codes found in eligible Blu-rayTM and DVD disc packages from
participating studios and stream or download them through Movies Anywhere.
MOVIES ANYWHERE is only available in the United States. For more information,
visit https://moviesanywhere.com.
Across
13 Hilarious Discs, Lovers of the Three Stooges Will Find Over
45
Incredible Hours of Content, Including All of the Columbia Pictures
Shorts
(1934-1945), Four Feature Films, Vintage Animated Cartoons,
the
9-Part Documentary Series "Hey Moe! Hey Dad!," a Collectible,
Full-Color
Memory Book and More!
PROGRAM
DESCRIPTION
"Nyuk
Nyuk Nyuk...Why I Oughta..."
For
over 50 years, The Three Stooges presented a brand of pie-throwing, eye-poking
and head-bonking routines that cracked up multiple generations. They were the
masters of mirth, merriment and mayhem, turning slapstick comedy into an art
form. And, with a body of work including over 300 films, television, stage
shows, cartoons and more - they're forever ingrained in popular culture. Now,
one of the greatest comedy troupes of all time is here to poke, smack, slap and
bonk their way onto your screens with THE BEST OF THE THREE STOOGES!
With
this riotous DVD set, Time Life has brought together the Stooges greatest hits
in one exclusive collection, priced at $99.95 and available only at
ThreeStoogesDVDs.com. Across 13 uproarious discs, viewers will yuk it up with
over 45 hours of knee-slapping content brought together for the very first
time, including:
THE BEST OF THE
THREE STOOGES: COLUMBIA PICTURES SHORTS 1934-1945 -- These two
volumes feature 87 hilarious short films from 1934 to 1945. Witness the
rise of these comedy icons in this high-spirited collection containing the
first of the iconic Columbia Pictures Shorts. Watch as the Stooges hit
their stride and began to settle into their definitive roles- Moe as boss,
Larry the middleman, and Curly as their foil -- and experience what has
become regarded as the high point in the Three Stooges career - the Golden
Age! (8 Discs; 1496 mins)
THE BEST OF THE
THREE STOOGES: SHORTS, CARTOONS, & FEATURE FILMS -- From
feature-length films to rare cartoons and vintage shorts - this
collection is sure to leave a smile on your face and a bump on
the back of your noggin! It includes Shemp Howard Comedy Shorts (14
classics from the '30s & '40s); Joe Besser Comedy Shorts (10
side-splitters from the '40s & '50s), Joe DeRita Comedy
Shorts (4 smackers from the '40s), Feature Films (The
Three Stooges (2000, biopic); Have Rocket, Will Travel; The Outlaws Is
Coming and Rockin' in the Rockies; The Three Stooges Cartoons,
inludingBon Bon Parade (1935), Merry Mutineers (1936), A Hollywood Detour
(1942), as well as the bonus 9-part documentary series "Hey Moe! Hey
Dad!," which takes fans behind the scenes with the family of The
Three Stooges as they share never-before-seen footage and photos. (5
discs; 1309 mins)
About
Time Life
Time
Life is one of the world's pre-eminent creators and direct marketers of unique
music and video/DVD products, specializing in distinctive multi-media
collections that evoke memories of yesterday, capture the spirit of today, and
can be enjoyed for a lifetime. TIME LIFE and the TIME LIFE logo are registered
trademarks of Time Warner Inc. and affiliated companies used under license by
Direct Holdings Americas Inc., which is not affiliated with Time Warner Inc. or
Time Inc.