An accountant (Michael Jayston, NICHOLAS AND ALEXANDRA) suspects his wife (Mia Farrow) of less than a year is having an affair. He hires a private detective (Topol, FIDDLER ON THE ROOF) to follow her and expose her affair. Based on the play by Peter Shaffer (who adapted his play for the screen) and directed by Carol Reed (his final film). This agreeable dramedy never found an audience when it was originally released although both Farrow and Topol took the top acting honors at the San Sebastian film festival. I'd hesitate to call it a love story since Farrow and Topol's characters never so much as speak much less have sex but the film shows how two people can bond and become intimate without the usual romantic entanglements. Does it constitute adultery? The film doesn't address that issue. Topol is one of those actors (like Zero Mostel) who at times seems too big for the screen. It works for something like FIDDLER ON THE ROOF but here, he's often in danger of being too big but seems to rein it in just when it looks like he's about to eat the scenery. But actually, in the end, it contrasts nicely with Farrow's underacting. The movie doesn't always work but when it does, it works beautifully. The haunting score is by John Barry. With Annette Crosbie and Margaret Rawlings.
Set in 1955 Vienna when it is still under Allied occupation: U.S., Russia, Great Britain, France. When an Austrian black marketeer (Anton Walbrook), who glides gracefully among the most elite and politically powerful echelons in Vienna, is the victim of a practical joke by a French officer (Michael Redgrave), he carefully plots his revenge! Based on the operetta DIE FLEDERMAUS by Johann Strauss and written and directed by Michael Powell and Emeric Pressburger (THE RED SHOES). Powell and Pressburger have updated Strauss' operetta which allows them to satirize the political situation in Europe as well as eliminate some of the cobwebs that 19th century operettas often bring with them. Photographed by Christopher Challis (TWO FOR THE ROAD) in CinemaScope, Powell makes excellent use of the CinemaScope frame, filling it with activity in every corner with the production design and costumes taking advantage of the vibrant Technicolor (Redgrave's purple pajamas just pop off the screen). Operetta is an acquired taste and even if it's not your bag, you would be hard pressed to resist this film's farcical charms. The cast is superb right down the line and it's a delight to see Redgrave singing (yes it's his own voice) and dancing with aplomb. With Ludmilla Tcherina, Mel Ferrer, Anthony Quayle (who does his own singing), Dennis Price, Anneliese Rothenberger (who does her own singing) and Jill Ireland.
A documentary on Linda Ronstadt, one of the seminal female singers in the 1970s and 1980s. Directed by Rob Epstein (THE TIMES OF HARVEY MILK) and Jeffrey Friedman (THE CELLULOID CLOSET), this documentary follows Ronstadt's childhood in New Mexico to the L.A. music scene burgeoning in the 70s to superstardom and the debilitating illness that robbed her of her singing voice. One of the superstars of the 70s, Ronstadt literally could sing anything: rock, country, pop, standards, folk and opera and did. The film serves as a reminder of her remarkable voice and its range and as a trailblazer for women in rock. Diagnosed with Parkinson's disease which prevents her from singing, she handles it with grace and a quiet bravery. The film is chock full of archive footage of her singing and if you weren't already a fan of hers, you will be. The film features interviews with her friends and colleagues who were there with her in her journey including Dolly Parton, Don Henley, Emmylou Harris, Bonnie Raitt, Aaron Neville, Jackson Browne, Ry Cooder and J.D. Souther.
A carefully selected group of 10 people are essentially kidnapped and drugged by the U.S. government and sent to live in an underground habitat when a nuclear war breaks out and devastates the planet. It's the government's hope that these citizens who have been selected for their skills will re-populate the Earth when it is safe to return to the surface. But what no one counted on was that they are not alone in the underground refuge and something horrible will soon emerge. Directed by Sutton Roley, a potentially intriguing premise is botched by the sheer ineptitude of an inane script, lackluster direction and bad acting. Putting the collection of loopholes and the ethical considerations (none of the characters are there by choice) aside, characterization isn't consistent. In one scene, a character is an alcoholic rapist and in the next scene, he's a savvy businessman. As far as the horror aspect goes, I suppose it depends how you feel about bats. I'm not fond of them but I'm not inordinately frightened by them but if you have an aversion to bats, the fear factor may be a plus. This was a theatrical feature but it feels like a TV movie of the week. The ensemble cast includes Jackie Cooper, Alex Cord, Bradford Dillman, Richard Jaeckel, Diana Muldaur and Barbara Babcock
An elderly but wealthy woman (Merle Oberon) reflects on her youth and the men who loved her including a doctor (Joseph Cotten), a football player (George Reeves), a blind composer (Hans Jaray) and the one man (Alan Marshal) she loved but who abandoned her. A loose remake of the 1937 film UN CARNET DE BAL and directed by Julien Duvivier, who also directed the 1937 movie. The film suffers in comparison to its predecessor in that it lacks its haunting sense of regret over a life that impacted so many others and what might have been. This version has been given the Hollywood treatment and it's romanticized although it still retains its own "eyes finally opened" ending rather than a traditional happy ending. Given that it isn't a patch on the original, it still has a solid sense of style thanks to Duvivier. The Oscar nominated score is by Miklos Rozsa. With Edna May Oliver Sara Allgood and John Halliday.
A Sergeant (Gene Hackman) in the U.S. Army in Germany is given a routine assignment of escorting a rebellious soldier (Tommy Lee Jones) back to the U.S. for a court martial. But when his prisoner escapes, he soon finds himself in the middle of a political conspiracy that makes him a wanted man by both the police and assassins. Directed by Andrew Davis (THE FUGITIVE), its far-fetched plot and lapses are easily forgivable when it's so well made. Davis whips up some authentic tension and you'll find yourself glued to the screen. I really liked Joanna Cassidy as Hackman's ex-wife. She's a smart cookie and nothing gets by her when even Hackman's hero makes some dumb mistakes. For a paranoid conspiracy thriller, Hackman's not paranoid enough! I groaned several times thinking, "What the hell is he doing"? It's pulp but its choice pulp. With John Heard, Pam Grier (not enough screen time), Reni Santoni and Dennis Franz.
Set in late 19th century Venice, an American book editor (Jonathan Rhys Meyers) moves into the home of an old woman (Vanessa Redgrave) and her spinster niece (Joely Richardson) under false pretenses. What he really wants are the letters of the long deceased poet (Jon Kortajarena) who was once the old woman's lover. Based on the 1888 novella by Henry James and directed by Julian Landais. Although it has James Ivory (A ROOM WITH A VIEW) as one of its executive producers, the film was not well received and received only a very limited release in the U.S. early this year. Most of the complaints were aimed toward the movie's methodical pacing which is meticulously slow. I had no problem with the film's pacing. It was the painful performance of the colorless Jonathan Rhys Meyers who recites his lines as if he learned them phonetically. Redgrave steals every scene she's in but if the film belongs to anyone, it belongs to Richardson who brings shading and layers to her spinster. The shimmering cinematography is courtesy of Philippe Guilbert and there's a superb score by Vincent Carlo. With Lois Robbins and Poppy Delevingne.
The death of his wife (Elizabeth Shepherd) causes a man (Vincent Price) to hide from the world. But when a headstrong young woman (Elizabeth Shepherd) enters the picture, he marries her. But the spirit of his dead wife, possibly in the form of a black cat, refuses to let him go and haunts his very existence as well as that of the new wife. The screenplay by Robert Towne (CHINATOWN) is based on the short story LIGEIA by Edgar Allan Poe and directed by Roger Corman. While not in the league of MASQUE OF THE RED DEATH or FALL OF THE HOUSE OF USHER, this is one of the better Poe adaptations directed by Corman and starring Vincent Price. Alas, it can't sustain itself and by the film's finale, it seems to have exhausted itself. The subject of necrophilia is tastefully handled (or as tastefully as a subject like that can be dealt with) but perhaps it might have worked better with a younger actor than Price. Once again, black cats are used as instruments of evil. Won't the poor creatures ever get a break? The film is rich in atmosphere thanks to cinematographer Arthur Grant (QUATERMASS AND THE PIT). With John Westbrook and Derek Francis.
Set during the great depression of the 1930s, a strong and independent woman (Faye Dunaway) refuses the offers of a major oil conglomerate for her oil well (which has yet to produce any oil). But with only her estranged father (John Mills) and a hired drifter (George C. Scott) to help her, how long can she hold out? Directed by Stanley Kramer (JUDGMENT AT NUREMBURG), Marc Norman's weak screenplay and Kramer's colorless direction defeat the film before it even has a chance to get started. Two things in its favor: Dunaway is quite good in one of her least mannered performances and Robert Surtees' (BEN-HUR) wide screen Panavision cinematography which makes even the most commonplace images look wonderful. I'm not a fan of Kramer's "hit you over the head" message films but fortunately, he's does no proselytizing here. There's a dreadful folksy underscore by Henry Mancini that I could have done without. With Jack Palance and Rafael Campos.
Four adventurers band together to search for sunken gold in the Caribbean waters: a waitress (Brooke Shields), a drunk (Burgess Meredith), an aging surfer (Brian Kerwin) and an ex-drug runner (Thomas Byrd). But tensions rise when the two young bucks fight for the girl's attention and greed starts to poison the venture. Directed by Dick Lowry, this tale of a falling out among thieves when greed and lust sets in is something we've seen countless times before and the cliches are in full force here. We know what's going to happen even before the characters do and if they had any brains at all, they would see it coming too. The cinematographer James Pergola (POLICE ACADEMY 5) doesn't take full advantage of the lush Bahamas location. The camera spends most of its time ogling Brooke Shields in form fitting swimsuits. The droning synthesizer score is by Sylvester Levay.
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