The Phantom Planet Directed by William Marshall Written by William Telaak, Fred De Gorter and Fred Gebhardt 1961/USA Four Crown Production Inc.
First viewing/Amazon Prime
[box] [last lines] Narrator: What the future will reveal of this story is only the beginning, only the beginning, only the beginning…[/box]
Sometimes wooden acting and a ridiculous alien are not enough to make an enjoyably bad movie.
Rheton is a small invisible asteroid which can evade its enemies by moving in and out of galaxies. When a team is sent from Earth to investigate, its spaceship is drawn into Rheton’s force field and all but one of the astronauts perish. The survivor has become six inches tall like the rest of the folk on the planet. He blusters and tries to establish himself as alpha-male but to no avail. Rheton’s rulers have no intention of letting him go. So he spends his time dabbling in a love triangle and battling a Solorite.
That’s Richard (“Jaws”) Kiel in the alien costume
This plays it a little too earnestly to make a good “bad” movie. Quite missable.
A Woman Is a Woman Directed by Jean-Luc Godard Written by Jean-Luc Godard 1961/France/Italy Euro International Films/Rome Paris Films
First viewing/Netflix rental
[box] Alfred Lubitsch: Make up your minds. I’d hate to miss “BREATHLESS” – it’s on T.V.[/box]
Godard’s second feature is bright, shiny and brings us the lovely Anna Karina. It’s even more meta than Breathless and I’m still not buying it.
Stripper Angela (Karina) is locked in a perpetual, playful battle of the sexes with stuffy live-in lover Emile Recamier (Jean-Claude Brialy). She is also in a long-term flirtation with Emile’s friend, Alfred Lubitsch (Jean-Paul Belmondo). Angela has decided she wants a baby.
The plot, such as it is, concerns Angela’s light-hearted attempts to play the two men against each other until she gets what she wants.
As always, this is an exercise in style and the style is certainly innovative and fun. Godard is the star of all his films. Here he enjoys making references to his contemporaries in the French New Wave, going so far as having a character meeting a cameo Jeanne Moreau in a bar and asking her how Jules and Jim is going. I like some meat on the bones of my movies and am afraid Godard might never be for me.
Chaudhvin Ka Chand (Full Moon) Directed by M. Sadiq Written by Saghir Usmani 1961/India Guru Dutt Films Pvt. Ltd.
First viewing/Netflix rental
[box] “Sometimes the sky looks so beautiful and at the same time earth also looks so beautiful and finally we look so beautiful as well! By just looking at the nature you become the nature itself! Look at the beautiful full moon, you become a beautiful full moon!” ― Mehmet Murat ildan[/box]
I wasn’t in the mood to watch a 2 1/2+ hour romantic Bollywood musical. This one quickly captured me though.
The characters are predominately Muslims living in the northern India city of Lucknow. The mother of Nawab Pyare Mian has two dreams in life. One is to see her son married and the other is to fulfill her religious obligations by making the Haj pilgrimage to Mecca. By now she is infirm but can visit Mecca by proxy through her priest. The problem is the priest is unwilling to travel while his daughter is unmarried. This has a simple fix. Mom asks the Nawab to marry the daughter.
In the meantime, the Nawab caught a glimpse of a beautiful woman who briefly unveiled her face at the market place. He is now totally obsessed with finding her. He easily convinces his best friend Aslam to marry the priest’s daughter Jamila. But a series of misunderstandings means that Aslam discovers that Jamila was actually the beautiful lady at the marketplace. The Nawab is making plans to marry someone he thinks is his dream woman. This leaves Aslam, who is madly in love with his wife, with a terrible dilemma.
I thought this would be one I watched to get it over with but I was charmed. The Muslim angle is unusual and the story is sweet and tragic. There is a little of the obligatory comic relief but a refreshing lack of silliness and not too much dancing.
One-Eyed Jacks
Directed by Marlon Brando
Written by Guy Trosper and Calder Willingham from a novel by Charles Neider
1961/USA
Pennebaker Productions
First viewing/Netflix rental
One of 1001 Movies You Must See Before You Die
[box] Rio: You may be a one eyed jack around here, but I’ve seen the other side of your face.[/box]
This is an OK Western but I think I could have died without seeing it.
As the story begins, Rio (Marlon Brando) and Dad Longworth (Karl Malden) are on the run following a bank robbery. They end up stranded in the desert with one lame horse between them. Rio suggests a game to determine who will go out in search of fresh horses. He rigs the outcome so Dad will be forced to stick his neck out for the dangerous mission.
Ironically, Dad makes it to a ranch where he requisitions horses at gun point. He then makes off with the stolen loot, abandoning Rio to the Mexican police and an eventual five year sentence in a Mexican jail.
Upon his release, Rio joins up with another gang of bank robbers in the States. They know of substantial deposits in a town’s bank. Dad has gone more-or-less straight and is now sherriff of that town. This suits Rio fine since he has dreamed of killing Dad for the last five years.
We follow planning for the robbery and Rio’s dealings with Dad, wife Maria (Katy Jurado) and stepdaughter Louisa. Naturally, Rio and Louisa fall in love. With Slim Pickens as Dad’s mean and corrupt deputy.
This is not bad but nothing too special either. Brando does well with a Texas accent. He and the scenery look gorgeous in Technicolor. The movie seems to meander for a lot of its 2 1/2 hour running time.
One-Eyed Jacks was nominated for an Academy Award for Best Cinematography, Color.
So Evil, So Young
Directed by Godfrey Grayson
Story by Mark Grantham
1961/USA
Danziger Productions Inc.
First viewing/YouTube
The founders of a new colony, whatever Utopia of human virtue and happiness they might originally project, have invariably recognized it among their earliest practical necessities to allot a portion of the virgin soil as a cemetery, and another portion as the site of a prison. Nathaniel Hawthorne
Possibly the tamest women-in-prison movie ever made.
Ann (Jill Ireland) is framed for robbery and sent to prison where she is forced to wear a pink dress and be scolded by the guards.
Even the worst women-in-prison movie generally offers some fun. This one put me right to sleep. I will not be catching up on the parts I missed.
Immortal Love (Eien no hito) Directed by Keisuke Kinoshita Written by Keisuke Kinoshita 1961/Japan Shochiku Ofuna
First Viewing/FilmStruck
“My love for Linton is like the foliage in the woods: time will change it, I’m well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I am Healthcliff! He’s always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being.” ― Emily Brontë, Wuthering Heights
Ever-lasting love is not an entirely good thing in this melodrama.
Sadako (Hideko Takamine) is the beautiful daughter of a tenant farmer. She is in love with Takashi who is away at the front. Heibei (Tatsuya Nakadai), the lame son of a wealthy landowner, is in love with her. Frustrated by her consistent refusals of his marriage proposals, he rapes her. She becomes pregnant and they marry.
Almost immediately thereafter, Takashi returns. He begs her to run away with him but she is prevented. He marries another. Years pass. He has a son and she has two sons and a daughter. All concerned remain mired in resentment for most of their lives.
This is more nuanced than your average doomed romance and has an unusual, refreshing outcome. Given the personnel involved, you know going in that the acting will be outstanding and the cast does not disappoint. Not a masterpiece, but recommended if the plot appeals.
Immortal Love was nominated for the Oscar for Best Foreign Language Film.
Master of the World Directed by William Witney Written by Richard Matheson based on two novels by Jules Verne 1961/USA Alta Vista Productions
First viewing/Amazon Instant
The megalomaniac differs from the narcissist by the fact that he wishes to be powerful rather than charming, and seeks to be feared rather than loved. To this type belong many lunatics and most of the great men of history. – Bertrand Russell
Vincent Price and Charles Bronson liven up a fantastic voyage that cashes in on popular Jules Verne adaptations of the day.
The movie begins with a bunch of historic footage of unsuccessful attempts at heavier than air flight. We then move on to 1868 Morgantown, PA. The townspeople are astounded to hear a great rumbling and a menacing biblical quotation emanating from a nearby mountain. They assume it indicates volcanic activity. Department of Interior official John Strock (Bronson) arrives to investigate. He soon becomes acquainted with arms manufacturer Mr. Prudent (Henry Hull) and his daughter Dorothy. Prudent and Dorothy’s fiancé Phillip constantly bicker about the hot air baloon Phillip has designed.
Strock convinces the three to take him up in the balloon to take a peak at the crater. Before they know it, the balloon has been downed and they are prisoners inside a giant air ship, The Albatross. The Albatross’s captain is Robur (Price), a man with a mission. This is to end war through threats and violence. He simply sinks war ships, with all hands on deck if they do not heed his warning to abandon ship. Mr. Prudent’s party must figure out how to a) escape and (b) destroy the Albatross – preferably both. Meanwhile there is a mild love triangle between John, Phillip and Dorothy.
I thought this was much more entertaining than its mediocre IMDb rating would imply. The special effects are not so special but there is an atmosphere of adventure that is very appealing. Also, just watching Price do his thing is generally a treat for me. The young Bronson is magnetic – even a bit sexy.
Victim Directed by Basil Dearden Written by Janet Green and John McCormick 1961/UK Allied Film Makers
First viewing/Netflix
[box] Frank: Well it used to be witches. At least they don’t burn you.[/box]
Dirk Bogarde is fantastic in this exploration of the consequences of intolerance.
As the story begins, we are introduced to Barrett, a young man on the run. He keeps calling barrister Melville Farr (Bogarde). When Farr finally does take his call, he threatens to call the police if Barrett calls again. This does not deter Barrett from calling Farr’s house and leaving a message with his wife Laura (Sylvia Syms). We gradually learn that Barrett is fleeing the police who are after him for embezzlement. The police also suspect that he is a blackmail victim since he lives simply. Barrett’s arrest leads to tragedy.
Farr is a closeted homosexual (who denies ever succumbing to his desires) and the tragedy moves him to take action. This takes him and us into London’s gay subculture. Most of its denizens would prefer paying blackmail to jail where revelation of their “crime” would surely take them. With Dennis Price as a gay actor.
Victim is a sad but powerful film. I love Bogarde and he is at his haunted best here. The stigma of being gay hurt so many people, including the women caught up in the struggle to appear “normal”. I’m glad I have lived to see a new day.
This was an immensely brave film for its time – the first to utter the word “homosexual” and to treat homosexuals sympathetically. Bogarde was brave to have made it. Straight actors had rejected the part and it could have lead to unpleasant suspicions about Bogarde, who was gay himself.
I rented this but it is also available on FilmStruck. Recommended.
One, Two, Three Directed by Billy Wilder Written by Billy Wilder and I.A.L. Diamond from a play by Ferenc Molnar 1961/USA Bavaria Film/The Mirisch Corporation/Pyramid Productions
Repeat viewing/YouTube
[box] Otto Ludwig Piffl: Is everybody in this world corrupt?
Peripetchikoff: I don’t know everybody.[/box]
Wilder moves back into Ninotchka territory with this rapid-fire Cold War farce.
It is immediately before the building of the Berlin Wall. After suffering a couple of tours in Purgatory, Coca Cola executive C.R. MacNamara (James Cagney) is heading up the company’s Berlin office. His great dream is a promotion to the London office. The gatekeeper to his dream is his boss in Atlanta, Wendell P. Hazeltine. So, when Hazeltine asks MacNamara to house and chaperone his wild daughter Scarlet (Pamela Tiffin) while she is in Berlin, he can hardly refuse.
The seventeen-year-old Scarlet is untameable. MacNamara finally learns that she has been spending all the time she should have been at museums over in East Berlin. Worse yet, she has married a committed Commie named Otto Ludwig Piffl (Horst Buchholz) and is now pregnant. And her father and mother will arrive in Berlin shortly …
MacNamara leaps into action, determined by hook or by crook to wrest Otto from East Berlin and civilize him immediately. With Arlene Francis as MacNamara’s long-suffering wife.
I saw this years and years ago in my youth, perhaps my childhood, and have been unable to track it down ever since. I jumped at the chance when I saw it was available on YouTube. My viewing experience was not ideal as the movie occupied only a fraction of the frame and the already rapid-fire talking seemed to approach Chipmunks level.
Nonetheless, the movie was thoroughly enjoyable. Wilder has fun harkening back to his own and Cagney’s Golden Age past. The three Russian trade officials are something straight out of Ninotchka. The director makes fun of all sides in the Cold War, skewering Capitalism and Communism with equal relish. The dialogue just sparkles. The film misses being top-tier Wilder only because of its lack of a black heart under the laughs.
By the time the film was released the Berlin Wall was up and few saw any humor in the subject matter. It was one of Wilder’s few flops to date. One, Two, Three was nominated for an Academy Award for Best Cinematography, Black-and-White.
The Naked Witch Directed by Claude Alexander and Larry Buchanan Written by Claude Alexander and Larry Buchanan 1961/USA Alexander Enterprises
First viewing/YouTube
[box] “Most books on witchcraft will tell you that witches work naked. This is because most books on witchcraft were written by men.†― Neil Gaiman[/box]
Teenagers must have been vastly disappointed by this one, even in 1961.
This is the old story of a witch who returns from the grave to get vengeance on the descendents of those that burnt her at the stake. Â The only difference is that she wears a see-through negligee most of the time.
If you watch the clip you will see the high point of the movie – and with better music. Â Larry Buchanan went on to specialize in soft-core porn. Â This isn’t quite that but has the same basic vibe. Â Don’t waste your time.
It’s on to more mainstream viewing today!
https://www.youtube.com/watch?v=AWhmudXMW_8
Witch’s dance synched to In-A-Gadda-Da-Vida – pretty amazing synchronization!
I’ve been a classic movie fan for many years. My original mission was to see as many movies as I could get my hands on for every year from 1929 to 1970. I have completed that mission.
I then carried on with my chronological journey and and stopped midway through 1978. You can find my reviews of 1934-1978 films and “Top 10” lists for the 1929-1936 and 1944-77 films I saw here. For the past several months I have circled back to view the pre-Code films that were never reviewed here.
I’m a retired Foreign Service Officer living in Indio, California. When I’m not watching movies, I’m probably traveling, watching birds, knitting, or reading.
Photographs and videos found in this blog, unless indicated, are not owned by me and are here only for the purpose of education and discussion. Media found here are not intended for any commercial purpose. Copyright infringement is not intended.
Written material belongs to me and is copyrighted by flickersintime.com
