Blazing Saddles (1974)

Blazing Saddles
Directed by Mel Brooks
Written by Mel Brooks, Andrew Bergman, Richard Pryor etc. etc.
1974/US
IMDb page
Repeat viewing/Amazon Prime rental
One of 1001 Movies You Must See Before You Die

Jim: [consoling Bart, who is upset that his attempts to be cordial with the citizens of Rock Ridge led to him being racially insulted] What did you expect? “Welcome, sonny”? “Make yourself at home”? “Marry my daughter”? You’ve got to remember that these are just simple farmers. These are people of the land. The common clay of the new West. You know… morons.

Not politically correct, but very funny.

The tale takes place in 1874.  Bart (Cleavon Little) is working on a chain gang laying railroad tracks.  He is sent to investigate some quicksand up ahead, of course falling into it with a buddy.  Soon he is standing in line to be hung.  The railroad will have to be shifted and is now slated to go through the town of Rock Ridge.  Evil political hack Hedley Lamarr (Harvey Korman) decides the best way to lower property values in Rock Ridge would be to send the town a Black sheriff.  Thus Bart is spared and heads to Rock Ridge.

Bart sets himself up in the jail and meets ex-sharpshooter “Waco Kid” Jim (Gene Wilder) who is now a common drunk.  But the two become friends and allies and Jim sobers up. It’s the two of them against the whole racist town.  But Bart has unusual smarts and is determined to do his job and protect the town.  Hedley hires saloon singer Lili von Shtupp (Madeline Kahn) to seduce Bart and find out what he’s up to.  This has the opposite effect and now Hedley has three foes instead of two.

Bart and Jim cook up an elaborate plan to build a replica of Rock Creek and lure the bad guys to the wrong town.  After an epic brawl, the fourth wall is breached and the fight takes over the Warner Bros. lot.  With Slim Pickins as the railroad foreman and Mel Brooks in a double role as randy Governor Le Petomane and another as an Indian Chief.

This movie seems to have grown on me over the years.  It is chock full of bad puns, fart jokes, double entendres, and physical humor.  Brooks got the final cut on the picture and left every outrageous bit in.  For example, the movie ends with a huge pie fight.  Some of it is kind of juvenile but mostly it’s a laugh a minute.  Recommended

The Enigma of Kaspar Hauser

The Enigma of Kaspar Hauser (Jeder für sich und Gott gegen alle = Every man for himself and God against all)
Directed by Werner Herzog
Written by Werner Herzog
1974/West Germany
IMDb page
Repeat viewing/Amazon Prime (free to members)

Kaspar Hauser: It seems to me that my coming into this world was a very hard fall.

Herzog moves back to Germany for this strange story of the life of a “wild child” found on the main square of Nuremberg in 1828.

As the movie begins, we see young man Kaspar Hauser  (Bruno S.) chained up in a filthy dungeon with no companion, just his toy horse, bread and water.  He has apparently been there all his life and has never learned to talk or walk.  One day, out of the blue, a mysterious man frees Kaspar, teaches him one bizarre sentence about wanting to join the cavalry and tries to get him to walk.  He then deposits Kaspar on that square bearing a very strange note and leaves.

The townspeople are not sure what to do with him so he stays in another stable for a while but then he is placed with a family of friendly peasants.  Their young children love to teach him basic vocabulary.  Eventually, the town fathers decide Kaspar has become a burden to the community and put him to work in a circus freak show.

Then a kindly professor takes pity on Kaspar and brings him into his home.  There he  learns even more.  The nobility wants to adopt him as a curiosity but Kaspar isn’t great at controlling his behavior so that doesn’t work out. He also continues to have a strong connection to his dream world.   I’ll end here.

Bruno S. is a stiff amateur actor but somehow I find him really moving.  The story is a melancholy one and poses many interesting questions about the value of “civilization” and human nature. The film is beautiful to look at and listen to.  I like it a lot.

Bruno S. had a life as harrowing as Kaspar’s.  From IMDb: The unwanted son of a prostitute, Bruno S. was beaten so severely by his mother at age 3 that he became temporarily deaf. This led to his placement in a mental institution; he spent the next 23 years in various institutions, often running afoul of the law.  He was also reportedly subjected to Nazi experiments on mentally deficient children.   Despite this past, he became a self-taught painter and musician; while these were his favorite occupations, he was also forced to take jobs in factories. Director Werner Herzog saw him in a documentary  and vowed to work with him, which led to his major roles in this film and Stroszek (1977).


Clip – I thought Kaspar’s solution was great!

The Conversation (1974)

The Conversation
Directed by Francis Ford Coppola
Written by Francis Ford Coppola
1974/US
IMDb page
Repeat viewing/Amazon Prime rental
One of 1001 Movies You Must See Before You Die

Harry Caul: If there’s one sure fire rule that I have learned in this business is… I don’t know anything about human nature. I don’t know anything about curiousity. That’s not part of what I do.

Sadly, this film is more relevant than ever.  It’s my favorite film by Coppola and my favorite performance by Gene Hackman

Harry Caul (Gene Hackman) is one of the best surveillance men in the business.  He has been hired by the director of a powerful company (Robert Duvall) to find out what his young wife Ann (Cindy Williams) is up to.  We watch as Harry and his colleagues try to capture a conversation Ann has with Mark (Frederic Forrest at lunchtime in a busy park in San Francisco.  The sound quality isn’t too great but Harry has the conversation recorded from multiple devices in various locations and by carefully splicing tapes together and cleaning up the sound, the conversation comes together.  He tries to deliver this to the director but he is out of the office.  He refuses to give the tape to creepy executive Martin Stett (Harrison Ford).

We learn that Harry, the ultimate eavesdropper, guards his own privacy zealously.  He won’t even tell Amy (Terri Garr) the most basic details of his life.  He always drops in on her without previous announcement.  Amy tries and fails to get Harry to open up on his birthday. She tells him she is not going to wait for him any more.  This gets under his skin but does not disturb his stoic exterior.

Harry goes to a trade convention and brings a few colleagues back to his office for a little party that allows the one of the guests to steal his tape.  Harry can put this back together. After listening to the tape over and over, Harry becomes convinced that the couple are in great danger of being murdered.  I will stop here.  With John Cazale as one of Harry’s employees

Hackman is fantastic in this movie.  His character forced him to restrain his performance and he is believable the whole way through.  I felt so sorry for him by the end.  He wasn’t even nominated for an Oscar. The winner was Art Carney who prevailed over Albert Finney, Jack Nicholson, Al Pacino and Dustin Hoffman.   The script is  really clever and engaging.  The time flew by.  I love David Shire’ jazz piano score.  Another movie that is extremely rewatchable even though you know the whole story.  Highly recommended.

The Conversation was nominated for Academy Awards in the categories of Best Picture, Best Writing, Original Screenplay and, fittingly, Best Sound

 

 

Murder on the Orient Express (1974)

Murder on the Orient Express
Directed by Sidney Lumet
Written by Paul Dehn from a novel by Agatha Christie
1974/UK/US
IMDb page
Repeat viewing/Amazon Prime rental

 

Hercule Poirot: Bianchi, Doctor, has it occurred to you that there are too many clu-ues in this room?

Perfect for when you are in the mood for a light-hearted murder mystery with an all-star cast.  And with Albert Finney’s remarkable performance, who wouldn’t be?

The main action happens in 1935 on a train journey between Instanbul and Calais.  The movie begins with a montage of U.S. newspaper headlines covering the kidnapping and murder of Daisy Armstrong, daughter of a famous aviator (clearly based on the kidnapping of the Lindberg baby).

We move on to Istanbul where Hercule Poirot (Finney) is about to board the famed Orient Express after having rendered valuable assistance to the Turkish government.  Orient Express CEO Bianchi (Martin Balsam) wants him to get the star treatment.  Soon after Poirot boards the train, a rich American named Rachett (Richard Widmark) asks him for protection after receiving numerous death threats.  Poirot refuses.  Rachett is stabbed to death the same night.

The train has been immobilized  by an avalanche.  This gives Poirot plenty of time to solve the crime and a captive group of suspects.  The passengers in First Class are all cooperative.  In fact, if anything, there are too many clues and too much information.  But fear not, Poirot is on the case.  The cast includes:  Lauren Bacall, Ingrid Bergman, Jacqueline Bisset, Jean-Pierre Cassel, Sean Connery, John Gielgud, Wendy Hiller, Anthony Perkins, Vanessa Redgrave, Rachel Roberts, Michael York and George Coulouris.

If you have read the novel, the surprise ending will be no surprise.  That doesn’t interfere with marveling at the absolutely unrecognizable Finney’s performance as the little Belgian detective or with enjoyment of the all-star cast and lavish production.  It’s not a must-see but I enjoyed it.

Ingrid Bergman won the Best Supporting Actress Oscar for her performance as a dowdy Swedish missionary.  I just do not get it.  The other women in the cast have more screen time and are equally good.  Bergman herself apologized to fellow nominee Valentina Cortese, saying Cortese should have won for her performance in Day for Night (1973).

Murder on the Orient Express was nominated for Oscars in the categories of: Best Actor; Best Writing, Screenplay Adapted From Other Material; Best Cinematography, Best Costume Design; and Best Music, Original Dramatic Score.

Ali: Fear Eats the Soul (1974)

Ali: Fear Eats the Soul (1974) (Angst essen Seele Auf)
Directed by Ranier Werner Fassbinder
Written by Ranier Werner Fassbinder
1974/West Germany
IMDb page
Repeat viewing/Criterion Channel
One of 1001 Movies You Must See Before You Die

Emmi Kurowski: But when we’re together, we must be nice to each other. Otheriwse, life’s not worth living.

I love Fassbinder’s melodramatic take on prejudice and racism.

Emmi Kurowski (Brigitte Mira) is a homely middle-aged widow who works as a cleaning lady.  One day she steps into a convenient barroom to get out of the rain.  It turns out the bar caters to foreign workers, mostly Arabs.  Arabs are all called “Ali” by the Germans. One of the girls dares an Ali (El Hedi ben Salem) to dance with Emmi.  He does.  They find they can share their troubles with each other and fall in love.  Emmi invites Ali to move in.

The relationship is condemned and mocked by virtually everyone including: Emmi’s neighbors, her co-workers, her children, local shopkeepers, and Ali’s co-workers.  Emmi is frequently referred to an an “old whore”.  The landlord threatens to evict Emmi for “subletting” her apartment.  So the couple marries.  Emmi’s children disown their mother. Things get so bad that the couple takes an out of town trip.  When they return they find that attitudes have changed.  Can this relationship survive?  With director Fassbinder as Emmi’s son-in-law, Irm Hermann as her daughter, and Barbara Valentin as the bar owner.

This is sort of Fassbinder’s take on Douglas Sirk’s All That Heaven Allows (1955) with an interracial relationship adding more social condemnation to the intergenerational one in that film.  We even get a scene of the children smashing the TV they bought to help relieve their mother’s loneliness The images are stunning and the story is still very relevant. Fassbinder also takes on Germany’s Nazi past and current German prejudice against its much needed foreign work force, highlighting the stress faced by these workers.   The acting is fantastic, though El Hedi ben Salem is clearly an amateur.  His performance works though.  Recommended.

The Taking of Pelham One Two Three (1974)

The Taking of Pelham One Two Three
Directed by Joseph Sargent
Written by Peter Stone from a novel by John Godey
1974/US
IMDb page
Repeat viewing/Amazon Prime rental

Mr. Blue: I once had a man shot for talking to me like that.
Mr. Gray: Yeah, well, that’s the difference between you and me. I’ve always done my own killing.

Despite some pretty cringe-worthy stereotyping, this is thoroughly entertaining.

The setting is 1974 New York City.  Four men enter a subway train at different stations wearing disguises.  Their leader is “Mr. Blue” (Robert Shaw). Mr. Blue is absolutely ruthless and cold.  The others are Mr. Brown (Earl Hindman), former train operator Mr. Green (Martin Balsam), and psycho Mr. Gray (Hector Elizondo).  They soon congregate in the front car, decouple the rest of the train, terrorize the personnel and passengers and highjack the train.

Mr. Blue calls into the NYC subway command center and demands one million dollars in cash within the hour.  Otherwise, he will kill one of the 18 hostages per minute.  He expects his instructions to be complied with to the letter.  It’s not that easy to come up with in the cash-strapped city and the unpopular mayor of the city dithers about paying it.

Transit Police Lt. Garber (Walter Matthau) is in charge of coordinating the chaos on the command center and the situation on the train.  The rest of the movie races at full throttle towards an exciting finale.

This sort of reminded me in tone of something like Airport (1970) or The Poseidon Adventure (1972). All the passengers represent some kind of stereotype of New Yorkers of the era and lots of fun is had with city politics.  The suspense builds nicely though and Matthau and Shaw are fantastic antagonists.  Recommended to those looking for this particular kind of good time.

Alice in the Cities (1974)

Alice in the Cities (Alice in den Städten)
Directed by Wim Wenders
Written by Wim Wenders with Veith von Furstenberg
West Germany/1974
IMDb page
First viewing/Amazon Prime rental

Angela: Your stories and your experiences – you treat them like raw eggs. As if you were the only one to experience things. And that’s why you keep taking pictures. They’re something you can hold on to, more evidence that it was you who saw these things.

Wim Wenders takes us on a unique road trip through America and Europe.  The pace took getting used to but I loved it.

A German publication has hired Philip Winter (Rudiger Vogler)  to write a story conveying the “landscape of America” and has financed his road trip through the country.  But all Philip has been able to accomplish after several weeks and thousands of miles is to take hundreds of Polaroid photos that don’t capture the reality he is going for.  He also spends a lot of his time complaining about the vulgarity and crassness of American popular culture.  He’s not a bad guy, just a chronic sourpuss.

Finally Philip’s publisher cuts off his financing.  He has very little money of his own and has to go back to Germany.  But when he arrives at JFK airport he finds out that German air traffic controllers are on strike and his next opportunity would be the next day on a flight to Amsterdam.  While at the counter, he helps a young mother who does not speak English. She is in a hurry to get back home with nine-year-old Alice (Yella Röttlander) after a break up.   The three become friendly and spend the time until the next morning together.  Then mom leaves Alice with Philip while she goes out.  Alice wants to go sightseeing, something Philip seems never to have considered, so they do.

When they get back to the hotel, the mother has left a note saying that she had to comfort her ex-boyfriend and she would meet them at the Empire State Building.  She fails to appear there or anywhere else she says she will and Philip is now stuck with Alice who says she does not remember her grandmother’s name or location.  The two develop a strange rapport as they make their way through Germany in search of a home for Alice,.  Her enthusiasm for new places and experiences slowly rubs off on him.

I must admit that for the first long while, I kept wondering when something was going to actually happen.  But when I relaxed and just went along for the ride, I was delighted with the movie.  It’s sort of the old story of a child showing a cynic the wonder of life.  But it is also absolutely unsentimental and real.  Ruttlander is a natural and doesn’t have a “cute” bone in her body.  I bought it all.  And there’s plenty to think about afterwards, too.  Recommended.

Clip

Chinatown (1974)

Chinatown
Directed by Roman Polanski
Written by Robert Towne
1974/US
IMDb page
Repeat viewing/Amazon Prime (free to Members)
One of 1001 Movies You Must See Before You Die

Ida Sessions: Are you alone?
Jake Gittes: Isn’t everybody?

This is one of those classics that you can pull out on any occasion, even with non-classic movie fanatics, and be assured that everyone in the room will love it.  That is because it is perfect.

The setting is 1937 Los Angeles.  Jake Gittes (Jack Nicholson) is a private investigator who seems to specialize in messy divorces.  We will learn that he has the instincts of a crack detective.  A woman pays Jake a visit and tells him she, Evelyn Mulwray, wants Jake to tail her husband Hollis and get a picture of him with his paramour.

Hollis is Chief Engineer for the Los Angeles Water and Power Department, a position that gives him a lot of power over how the scarce city water supply is allocated.  He is under enormous pressure to approve a dam that he opposes.  Jake’s “operatives” follow him around but he appears to have water on the brain 24 hours a day.  Finally, Jake is able to photograph him at a bungalow being affectionate to a young blonde.  He provides his report to Mrs. Mulwray.  The next day the photo is in the paper along with a lurid headline.

Noah Cross: You may think you know what you’re dealing with, but, believe me, you don’t.
[Gittes grins]
Noah Cross: Why is that funny?
Jake Gittes: That’s what the District Attorney used to tell me in Chinatown.

Shortly thereafter a mysterious woman introduces herself as Mrs. Evelyn Mulwray (Faye Dunaway).  She is not at all happy with the publicity and. of course, did not ask for her husband to be followed. She says she will sue.  With John Huston in an incredible performance as Noah Cross, Burt Young as a client, Diane Ladd as Ida Sessions, and Roman Polanski as a hoodlum.

This movie is a murder mystery and has many unforgettable twists and turns and it would be criminal for me to go any further on the off chance one of my readers has not seen it.

This is a movie I can and have watched over and over.  It’s hard to say whether I prefer the direction, the script, the cinematography, the acting or the music.  That is because they are all perfect. Jack Nicholson and Faye Dunaway were on fire at this exact time.  The plot gives you both an entertaining mystery and something to think about afterwards.  Polanski draws you in and makes the time fly.  This will probably still be a classic 50 years from now.  Unreservedly recommended.

Robert Towne won the Oscar for Best Original Screenplay.  Chinatown was nominated in the categories of Best Picture, Best Actor, Best Actress, Best Cinematography, Best Art Direction-Set Decoration, Best Costume Design, Best Sound, Best Film Editing, and Best Music, Original Dramatic Score.  I can’t understand how John Huston was not nominated and I would have voted for Jerry Goldsmith’s jazzy score over Nino Rota’s copy of a copy of a copy of his own work, beautiful as that music is.

 

Hearts and Minds (1974)

Hearts and Minds
Directed by Peter Davis
1974/US
IMDb page
Repeat viewing/Criterion Channel

 

 

President Lyndon Johnson: [historical footage] So, we must be ready to fight in Vietnam; but, the ultimate victory will depend upon the hearts and the minds – of the people who actually live out there.

Peter Davis blends political talking heads, interviews with soldiers on both sides, historical footage, and  interviews across the ideological spectrum to create, without narration, the definitive anti-war documentary.

The film begins with historical footage from the Indochina war.  It then covers U.S. public opinion on both sides on the Viet Nam war this trends from positive to negative as the movie goes on. The stories of certain veterans are also followed through interviews.  The movie includes interviews with pundits including Gen. William Westmorland, Clark Clifford (who was President Johnson’s Secretary of Defense at the end of his Presidency), Daniel Ellsberg, and Walt Rostow among others on their views of the war.

Gen. William Westmoreland: The Oriental doesn’t put the same high price on life as does the Westerner. Life is plentiful, life is cheap in the Orient. And, eh, that’s the philosophy of the Orient. Expresses it – life is not important.

The most shameful aspects of the effects of U.S. GI’s, both cultural and military, on the Vietnamese are highlighted and numerous Vietnamese officials and survivors are interviewed.  Although there is no narration, it is crystal clear where the hearts and minds of the filmmakers lie.  The film was released following the U.S. withdrawal from Vietnam and prior to the fall of Saigon.

This works well as both a historical piece and an effort to persuade.  Recommended to anyone interested in U.S. history of this era.

Hearts and Minds won the Academy Award for Best Documentary Feature.

A Woman Under the Influence (1974)

A Woman Under the Influence
Directed by John Cassavetes
Written by John Cassavetes
1974/US
IMDb page
Repeat viewing/Criterion Channel

 

Nick Longhetti: Mabel is not crazy, she’s unusual. She’s not crazy, so don’t say she’s crazy.

Almost too intense to bear, this domestic psychodrama is a must-see for its performances.

Nick Longhetti (Peter Falk) holds a blue collar job on a highway maintenance crew.  His wife Mabel (Gena Rowlands) stays home and cares for their three young children.  The couple clearly love each other very much.  The problem is that Mabel keeps kind of slipping and sliding into a world of her own.  She is also painfully socially inept.  Nick is the kind of guy that is never happier than when staging a big party and these are torture for her.

Nick lets her down on a date night and Mabel is not in a good state when she decides to host a little party for her children and their friends.  Her idea of fun includes dancing to imaginary music and playing dress-up and make-up as the kids ransack the house.  The father of one arrives and is appalled by what he sees.

Somehow Mabel’s mother-in-law (Katherine Cassavetes) gets involved. Imagine the worst most insensitive mother-in-law on the planet and multiply by two.  She convinces Nick that Mabel needs to be hospitalized.  Her psychiatrist arrives.  A pitched battle ensues as Mabel resists being taken away with all her strength.

Six months later, Mabel has just been released from the hospital.  Nick’s idea for a homecoming is to invite all of his friends and all of their extended family for a surprise celebration and feast.  This does not work out well either and another donnybrook ensues. Lady Rowlands played Mabel’s mother.

Gena Rowlands gives an absolutely incredible performance as Mabel.  She was so vulnerable it hurt.  And Peter Falk is fantastic as her clueless but faithful spouse.  The entire cast lets everything hang out.  There is a lot of chaotic shouting and even physical violence.   The screenplay is raw and real.  As far as I am concerned this is a must-see, albeit an exhausting one.  I can equally see why some people might hate it.

Gena Rowlands was nominated for the Best Actress Oscar.  John Cassavetes was nominated for Best Director.