Wayward Westerns

The Great Silence is an atmospheric spaghetti western directed by Sergio Corbucci (of Django fame) in 1968. During a harsh winter a mute gunslinger squares off against a band of voracious bounty hunters who store their victims in snow drifts till spring. Though there’s not much to the script and it’s seems a little clichéd 40+ years later there’s a delicious cynicism and plenty of merciless violence to keep you entertained as the atmosphere builds to an explosive and suitably dark finale. Brilliant but probably not to everyone’s taste.

Sidney Poiter joins forces with James Garner to escort a bunch of soldiers through Indian infested territory in Duel at Diablo but the wheels soon fall off their wagon haha and a relentless siege ensues. It starts off fairly atypically, the usual technicolour 60’s western bedecked in thinly veiled social commentary but it soon reveals a surprisingly dark underbelly of violence once the journey gets underway. With a strong, sharp script and some talented performances this tense little gem packs a punch and is woefully neglected.

Loving Ain’t Easy

Jerry Skolimowski’s 1970’s cult coming of age drama Deep End follows a young teenager into his first job as an attendant at a particularly grimy London bathhouse. Falling quickly under the spell of his attractive, whoring colleague, played by Jane Asher, the young man finds difficulty coping with the strains of his extracurricular responsibilities and his clumsy, stalkerish yearning. Reeking of the Sixties and directed with a lovely brooding atmosphere which overshadows the young actors shortcomings, things march inevitably towards a nicely er executed, quite stylish final act. A little dated I guess and a bit rough around the edges but it’s a period gem that still holds plenty of lustre.

 

Robert Aldrich’s adaptation of stage play The Killing of Sister George, released a year before  Skolimowski’s grubby tale, is a similar tale of fraught, uneven desires set against the backdrop of a swinging Sixties London. Beryl Reid stars as a TV soap actress with an acid tongue and drinking problem whose relationship with a young, seemingly simple woman is threatened by her belligerence and news that her beloved character is soon for the axe. Though it’s rightly lauded for it’s brave, ‘realistic’ depiction of lesbianism it’s should be remembered for the marvellous performances of Reid and York who filter the melodramatic, darkly humorous script with emotional nuance as well as histrionics.

Specialised Drollery

Alan Arkin's directorial debut Little Murders is a savagely dark comedy about romance and the vapidity of modern life set during a crime riven 70's New York. Elliot Gould stars as a hollow, nihilistic photographer who is wooed/coerced into marriage by a tradition-tied singleton but their burgeoning, plasticky life together is perpetually tested by the casual violence rife in the city. There's a decidedly manic energy to proceedings and it’s bitter script gives each character plenty of er, colour and lots of room for big, theatrical swipes at the contemporary mores of the day. An impressive, sadly neglected satire that has a deliciously dark edge.

Crispin Glover, professional odd bod, makes an early appearance in the barmy road trip/buddy comedy Rubin and Ed. When the reclusive Rubin is recruited by a failing salesman to attend a culty conference event he decides to bury his dead, frozen cat in the desert instead and an uneasy, unusual friendship blossoms between the two flawed morons. Glover and Hessemen put in bravura performances as the mismatched duo and their peculiar, highly amusing adventures have a surprisingly poignant effect despite the all the bizarre-ness. Another forgotten little comedy gem with a script to die for.

Page Based Productions

Cronenberg’s shiny/grimy adaptation of Cosmopolis (a sharp knife in the shallow guts of 21st Mammonism) retains some of it’s edge despite the uneven performance from Twilight Pattison. The film follows the book quite closely with most of the billionaire-on-the-brink’s varied antics included during his slow limo crawl across a gridlocked city and I’m sure there’s a fair bit of dialogue lifted too but there’s not enough time to give either their significance. It’s a fine looking film and there’s still plenty of smarts behind it’s gleeful, grim comedy so it’s worth catching but I’d recommend the novella first.

Another thought provoking, nuanced novel, Steppenwolf, got a big screen version back in 1974 and although good, similarly lacks the depths of the original. Max von Sydow stars as the melancholic scholar who, adrift after WW1, finds his mind and life lifted by an unusual jazz loving woman oh and lots of drugs and esoterica. The acting is excellent, the production not so much, peppered unnecessarily with some dated, gimmicky animations and sfx . Still there’s an effectively dreamy, dissolute weirdness that pervades proceedings and like Cosmopolis plenty of the big thoughts are intact.

There’s something about Stacy

Stacy Keach puts in a powerful performance in Luther, a 1974 film about the religious reformer produced as part of the so far excellent Masterpiece Theatre series of stage adaptations. The film follows the theologian's career from ordination and onto Wittenberg and his cataclysmic showdown with the Vatican sporting a powerful script which manages to balance the character of the man with his unflinching scorching idealism. Keach is ably supported throughout but dominates this film with a nuanced, quite remarkable turn. Heavy going but brilliant.

 

Keach's stunning portrayal of a damaged Viet Vet focuses the kaleidoscopic threads of 1970 counter-culture classic End of the Road. Adapted for the screen by Terry Southern (famed screenwriter rake) the film charts the recovery of a once catatonic patient and his reintroduction to society under the manic but paternal tutelage of his psychiatrist, played with much brio, by James Earl Jones. Shot with dollops of 60's psychedelic accoutrements that are probably an  acquired taste this is a tricksy, occasionally amusing film that shines a light into the damaged, delirious mindset of late Sixties Amurica that has plenty of substance to back up it’s style.

Couple of Corman’s

Dean Stockwell leads the cast in The Dunwich Horror a Roger Corman adaptation of the famed Lovecraft short. Stockwell turns up at a library hoping for a squiz at the Necronomicon in an effort to continue his ancestor's research but after entrancing one of the librarians it becomes clear his interest is more practical then academic. Despite the low budget and a hokey script this is still a half decent Hammer-ish chiller mainly down to Stockwell's creepy, weird performance which only falters during the climactic, highly amusing, ritual. Goofy fun.

Doug McClure stars as a fisherman-buffoon in another Corman produced horror B, Humanoids from the Deep. A spate of fishy attacks and a couple of corpses eventually lead the dull witted locals to the realisation that they're being invaded by murderous bottom feeders who also appear rather keen to make sexy time with catchable ladies. I suppose there’s some so-bad-it’s-good titters to be had along the way but the dreadful acting, dire script and piss poor production values (bad even for a Corman flick) meant that this was almost switched off more than once. Don’t bother.

Horror Throng

Brit horror/comedy Cockneys vs Zombies is as basic as the title suggest and it’s best bits are crammed into it’s trailer sbut it sill managed to raise a chuckle or two. Builders pop a sealed tomb and inadvertently unleash a zombie outbreak on the East End sending a bunch of bungling bank robbers battling across town to rescue their Grandad who's holed up in a scheduled-for-demolition old folks home. There’s a few nice chompy bits but the stronger, better acted and funnier OAP's segments are secondary to a predictable and cliched main story that has little imagination or charm. Half decent.

British 80's cult horror, Xtro, is just as flawed but at least has the decency to be quite, quite bonkers. When a UFO buzzes a remote cottage and abducts a middle class dad his traumatised son grows up with his mum and her yank boyfriend. When hubby strolls back into their lives a few years later, seemingly sans memories but with extra odd, his presence seems to unlock strange abilities in the kid and a merry, icky rampage is excreted. This is low budget stuff that's badly shot and poorly scripted/acted but it does mine a thick vein of gooey, quite repugnant body horror that's interspersed with some genuinely barmy deaths.

Mild Bogglers

The removal of a longstanding French moustache sparks an enigmatic and paranoid thriller called, unimaginatively, La Moustache. As the mundane event unravels the urbane architect’s relationship and sense of reality, the film reveals itself to be something other than straightforward but unfortunately it’s this pivoting, intended to deepen it’s mysteries, that is it’s undoing. Despite the decent performances and cinematography the film fluffs it’s tensions with a fairly stark change of pace and a drift into rather clichéd ambiguity. It’s still a good watch just a little unfulfilling.

Mark Romanek’s 80’s debut Static is a modest but peculiarly effective drama about a bereaved inventor who builds a device which offers glimpses of heaven and gathers the odd-bod residents of his small town to witness his ingenuity. With a quiet humour softening the tragedy of the main character and some great acting from Keith Gordon and Amanda Plummer Romanek marshals a delicate atmosphere and some poignant observations on our oh-so-human condition. Even though, like La ‘Tache, this stumbles a bit with the denouement it’s a much more interesting and successful film.

Raving & Lunacy

Where's Poppa? is a darkish 70's comedy about a beleaguered son tending to his crabby, increasingly deranged aging mother. After falling in love in with her new nurse he decides to rid himself of his hectoring burden once and for all. The script although amusing relies too much on a glut of farcical situations for most of the laughs and though George Segal and Ruth Gordon put in reasonable performances the film's dark discontentment gets squandered somewhat. It's good but not really worth the effort required to find a copy.
Donald Sutherland and Gene Wilder perform double duties in the silly farce Start The Revolution Without Me. Set in pre revolution France the duo play a pair of muddled-at-birth twins, with one pair destined for penury and fecklessness while the other luxury and ruthlessness. A plot to murder the King reunites their fates in a madcap torrent of misunderstandings and slapstick antics. The comedy comes in all guises with pratfalls, satire and irreverence steeped in a quick but goofy wit that’s handled marvellously by the talented cast. Though it’s probably too silly for most it’s a nice little nugget of offbeat laughs.

Bartel's Twisted Past

Paul Bartel had a varied career as successful actor, writer and director. His 1972 debut behind the lens, Private Parts, is a sleazy black comedy which follows a virginal teenager fleeing her squat and into the care of a distant aunt who runs a decrepit hotel populated with a bunch of perverts and weirdos but as the young girl settles in, her attachment to a creepy photographer puts her in jeopardy. The acting is piss poor and there's barely enough comedy to justify it’s existence but it does have a sort of grubby charm and an enthusiasm to offend (even if it does seem tame by today’s standards) so it’s not a complete waste of time.
Eating Raoul followed a ten years later and is much more accomplished dish of bad taste chuckles. Bartel himself plays one half of a professional couple who come up with a unique method for funding the culinary ambitions however their peculiar plan becomes unstuck with the arrival of a young handsome confederate. The script is much tighter than Private P and despite the murderous lunacy of the main characters Bartel still, somehow, manages to elicit some sympathy. Sure it looks terrible and the shock has paled over the years but it’s a decent watch
.

Dark Dabbler Docs

Maya Deren’s hypnotic footage is the basis for the documentary Divine Horsemen about Haitian Voodoo.

Interesting if amusingly muddled BBC documentary about English Witchcraft circa 1971.

A surprisingly even handed but brief documentary about the life of Aleister Crowley.

Hip Hop Historicals

Ice T uses his clout to gather the heavyweights of rap for his excellent documentary Something From Nothing. The focus is squarely on the craft of writing rhymes and his own legendary status ensures his interviewees are happy to relax and share their writing secrets with a fellow rapper. There's a few notable absences and a little too much Kanye West for my tastes but overall this is a thoroughly entertaining history of rap that, thankfully, eschews the macho posturing and bling that sullies their art.

Run DMC and the Beastie Boys collaborate in the 1988 nonsense thriller Tougher Than Leather. DMC gets released from prison and rejoins the band with the prospect of a new tour but when their friend is murdered they go looking for revenge instead. The plot, performances and production are pretty awful but it’s fortunately  festooned with cracking old school performances from both bands and steeped in some badass period ‘charm’. Great fun but for fans of the music only.

Kings of Cult

Monte's classic automative fable, "Two Lane Blacktop.

Meyer's masterpiece of mammaries, Supervixens.

Noe's afterlife odyssey, Enter The Void

Crooked Country Trips

Lee Marvin and Gene Hackman chew lumps off each other in the sleazy 70's thriller Prime Cut. When Hackman's rural gangster refuses to pay his dues the Chicago mob send ice-cool Marvin down country to make things right. Both leads consummately trade variants of smiling menace but the wry scripting keeps things fresh and although it's pretty formulaic stuff it has a certain grubby period charm what with the lady auctions, human sausages and a Combine harvester chase scene. A solid, occasionally barmy, tale of sex trafficking and hubris that gets plenty of good stuff from Hackman and Marvin but is otherwise unremarkable.

There's far less charm in the greasy backwoods thriller Poor Pretty Eddie but it more than makes up for it by it's sheer derangement. A sultry Jazz singer gets stuck in hillbilly hell after her car breaks down and ends up in a motel run by a soused cabaret wash up and her two male companions, a giant idiot and a lusty Elvis impersonator. Unaccustomed to guests of colour her presence causes ructions and it's not long before she finds herself in serious danger after attracting the eye of the unstable young lothario, Eddie. The script is perfunctory and it looks terrible but it's quite loopy in a 70's shlock/exploitation sort of way and Shelly Winters as the mother hen provides good ham throughout. Low brow & raw, it's probably only going to appeal to trash cinema collectors.

Cockamamie 70's

I was unaware that Bruce Lee had written a script shortly before his death but I'm pretty sure that Circle of Iron wasn't quite what the film he had in mind. The film opens with a martial arts contest with the competitors vying for the opportunity to read a book of wisdom hidden from the rest of the world. The loser of the final bout follows the victor on his travels to the books hiding place and takes on the quest when his chum carks it early on. The script and acting are painfully piss poor especially from the muscle bound lead, Jeff Cooper (who sports a 'do that scuppers any of attempts at profundity) and David Carradine's multiple turns aren't much better but worst of all the plot is a lumpy mish mash of Eastern thought that I'm sure doesn't reflect Lee's intention or ambitions. Only worth watching if you want to see something spectacularly bad.

Dr Black, Mr Hyde is a blaxploitation-era version of RLS's classic tale and despite it's obvious budget constraints manages a half decent job. Our protagonist is developing a cure for liver disease but under pressure for results takes a dose himself and finds the side effects of super strength and (amusingly unconvincing) honkeydom quite exhilarating and predictably chaos reigns as family, friends and colleagues feel the wrath of this changed man. Though the script and plot are decidedly of it's era Bernie Casey is surprisingly good and all in all I quite enjoyed it. Not exactly a classic but if you want something with a little period charm there's worse out there.

Sixty Eights

Joseph Losey's Secret Ceremony is a fraught, twisted melodrama bedecked with the talents of Liz Taylor, Robert Mitchum & Mia Farrow. Grieving the loss of her daughter, Taylor's whore befriends a recently orphaned teenager after an encounter on the bus and the pair develop an unnerving, fantastical relationship, each playing the 'role' of their lost loved who they happen to resemble. Cooped up together in the plush manor Farrow inherited, their intense bond is further complicated with the arrival of a predatory Robert Mitchum. This is a dark, wordy film about the dirty interpersonal webs we weave, tear at, then reweave and it's three leads, even Taylor, put in exceptional performances.

Otto Preminger's Skidoo is a big studio attempt to cater to 1968's acid crowd but mostly falls flat on it's face in a similar fashion to say, I Love You Alice B Toklas. An aging mobster, played by Jackie Gleason, is forced out of retirement to deal with an errant mobster by God, his eccentric kingpin and a mildly entertaining, faintly psychedelic caper ensues. Sporting a veritable panoply of stars including Groucho Marx, Slim Pickens & Burgess Meredith the comedy is inconsistent, plotting half baked and the LSD trip sequences so cliched and trite that it's immediately obvious that no-one involved had ever had a taste of the good stuff. A spectacular, craptastic failure.

Mavericks Monographed

Wilhelm Reich, a colleague of Freud & Jung's, was an unusual, grandiose thinker whose theories of sexuality and political freedom have largely been ignored by the scientific community, eclipsed as they were by his later more er, esoteric work but they did find a resonance in the counter culture movement of the 60's and 70's. In 1971 Serbian director Makavejev created W.R. Mysteries of the Organism, a chaotic, kaleidoscopic view of Reich's theories interspersing various documentary pieces with fairly insane narrative sections all mashed lovingly together with a LSD fervour and revolutionary zeal. If you're unaware of Reich I wouldn't start here as it's more of a dialogue about his work than an exposition (and it's 70's styling probably an acquired taste) but it's a surprisingly entertaining watch with a bravado and intellectual ambition seldom seen these days. It's a shame there's not a 'straight' examination of Reich's work but this film succeeds at the very least in matching it's subject's idiosyncrasy.

R Buckminster Fuller, another unique intellect, was successful in a number of scientific fields and is probably most famous for his Geodesic Dome design, however his theorising went well beyond normal disciplines and still seems startling groundbreaking today. The World of Buckminster Fuller initially seems to take a more traditional approach, with Bucky himself explaining his theories straight to camera but 10 mins in and it becomes apparent that the film makers thought a cut and paste approach to the editing equalled style and it suffers badly without a coherent progression to the segments. This scattergun effect combined with the aging Fuller's slightly eccentric manner and speech, made me think, occasionally, of Rowley Birkin from The Fast Show which is a bit of a shame as though it lacks the panache of W.R, if you stick with it, it does offer an interesting, more comprehensive look at another neglected thinker's work.

Hairless Homicides and a Hoary Haunt

Zalman King stars in the cult horror/thriller Blue Sunshine. Turning bald and then foamingly homicidal appears to be the fate of people who took the eponymous acid back in the day and our protagonist rumbles around the city trying to trace the other trippers while evading the police who suspect him of the murders. This is mostly ridiculous nonsense but there's some enjoyment to be had what with the comically overwrought acting, 70's era cheese and acid fuelled rampages. It's certainly not worth searching for but if you stumble across it, don't dismiss it out of hand.


Oliver Reed heads a cast including Burgess Meredith, Karen Black and Bette Davis in a fairly standard 70's haunted house flick called Burnt Offerings. Renting a house for the summer Reed drags his family into a bit of a pickle when the mansion slowly exerts an unnatural influence over his wife and they find it harder and harder to leave. Despite it's 70's cheese, maybe because of the quality of the actors, it builds quite the creepy atmosphere and at it's crescendo the secret behind the mysterious house is finally revealed. An odd little film that's been unfairly neglected.