Flickers in Time

The Evil of Frankenstein
Directed by Freddie Francis
Written by Anthony Hinds
1964/UK
Hammer Films
First viewing/Amazon Instant
One of 1000 on They Shoot Zombies Don’t They

[box] Baron Frankenstein: Why can’t they leave me alone? Why can’t they *ever* leave me alone?[/box]

With Peter Cushing in an awesome laboratory, there was much to enjoy in this Hammer Horror entry.

Baron Frankenstein (Cushing) and a loyal assistant are hiding out in some remote mountains when they discover remains of the Baron’s creature frozen in a huge block of ice.  Frankenstein risks returning to his home village where he can use his lab to try to revive the creature.  He is mistaken in his belief that everyone will have forgotten about him in the ten years he has been absent.

He is not successful in reanimating the brain until he enlists the services of a crooked hypnotist.  Unfortunately, the hypnotist also makes the creature his obedient servant for a number of criminal enterprises …

I had fun watching this.  Francis’s experience as a cinematographer shows through clearly in some beautiful images.

Devil Doll
Directed by Lindsay Shonteff
Written by Ronald Kinnoch, Charles F. Vetter; story by Frederick E. Smith
1964/UK
Galaworld Film Productions/Gordon Films
First viewing/YouTube
One of 1000 on They Shoot Zombies Don’t They?

[box] “Dolls with no little girls around to mind them were sort of creepy under any conditions.” ― Stephen King, Desperation[/box]

There’s something sort of creepy about ventriloquist’s dummies – especially when the ventriloquist is also a hypnotist. An interesting premise does not necessarily mean a good movie, however.

The Great Vorelli does an act mixing ventriloquism with hypnotism on the vaudeville circuit in London.  His hypnotism is strangely sadistic (believing you are being executed; stripping down to the buff) and his dummy is strangely disobedient.  A reporter is investigating and talks his wealthy girlfriend into volunteering to be hynotized.  Big, big mistake.  Vorelli easily takes over her will and claims her as his own.  In the meantime, the reporter also investigates the past of the act and the reason the dummy has to be locked in a cage when not on stage.

This is OK but slow-paced.  It was made fun of on Mystery Science Theater 3000 but there are very few unintentional laughs in the movie despite it’s evident low budget. Apparently there were two versions made because the two scenes featuring bare breasts were replaced in the version used for MST3K.  It’s not bad but also not something to seek out.

****************************************

With the 1960’s, there were so many horror films made that it’s hard to whittle them down.  I’ve decided to watch those on the They Shoot Zombies Don’t They? 1,000 Greatest Horror Films List.  It’s hard to imagine any one calling Devil Doll  a “great” horror film but we’ll see how it goes.

Hush … Hush, Sweet Charlotte
Directed by Robert Aldrich
Written by Henry Farrell and Lukas Heller
1964/USA
The Associates & Aldrich Company
First viewing/Netflix rental

[box] Charlotte: What do you think I asked you here for? COMPANY?[/box]

More grande dame grand guignol from director Robert Aldrich.  Bette Davis steals the show out from under a distinguished cast.

The film begins with a flashback to a day that would change the life of Charlotte Hollis (Davis) forever.  Her affair and plans to elope with John Mayhew (Bruce Dern) have been discovered and reported to her father (Victor Buono) and his wife, Jewel.  Dad has a heart-to-heart with John who agrees to let Charlotte down.  Shortly thereafter unknown hands sever John’s head and hand with an axe.  Charlotte is widely believed to have been responsible although a case was never made against to her.

Thirty-five years later, the fragile, somewhat dotty Charlotte is living alone in her old family home tended to by the loyal Velma (Agnes Moorehead).  The house has been condemned to make room for a bridge but Charlotte defends her property with a shot gun.  She is sure that a visit by her last living relative, cousin Miriam (Olivia De Havilland) will clear everything up.  But Miriam’s presence only causes Charlotte’s mental health to take a nose-dive. With Mary Astor as the older Jewel Mayhew and Joseph Cotten as Charlotte’s good-ol’-boy doctor.

I really liked this.  It’s nice and juicy and graphic and there are all those old movie stars to enjoy.  Everybody is acting their hearts out but Davis is something special here. Recommended.

Hush … Hush, Sweet Charlotte was nominated for Academy Awards in the categories of Best Supporting Actress (Moorehead); Best Cinematography, Black-and-White; Best Art Direction-Set Decoration, Black-and-White; Best Costume Design, Black-and-White; Best Film Editting; Best Music, Original Song; and Best Music, Substantially Original Score.

The Visit
Directed by Bernhard Wicki
Written by Ben Barzman and Maurice Valency from a play by Fredrich Durrenmatt
1964/Italy/France/West Germany/USA
Cinecitta/Dear Film Produzione/Deutsche Fox/Les Films de Siecle/Productions et Editions Cinematographique Francais/Twentieth Century Fox
First viewing/Amazon Instant

Heav’n has no Rage, like Love to Hatred turn’d,/ Nor Hell a Fury, like a Woman scorn’d. – William Congreve, The Mourning Bride

This mesmerizing tale of revenge is a strong candidate for the Best New to Me Films of 2018 list.

I came into the film knowing almost nothing about it and think that it will have most impact that way.  The story takes place in a small town in an unnamed country that uses both the Roman and Cyrillic alphabets. The town is putting on an enormous show to welcome the visit of Karla Zachanassian (Ingrid Bergman).  In the twenty years since she left town, she has become the richest woman in the world as the widow of “Mr. Petroleum”.  The City Council not so secretly hopes that she is bringing cash to the impoverished town.

It turns out Karla was not as appreciated when she was a resident.  Ultimately, as a teenager, she lost a paternity case against lover Serge Miller (Anthony Quinn) who bribed a couple of town boys to say she was promiscuous, leaving him free to marry for money.  She was driven out of town and forced into prostitution.  Now she has a burning lust for Miller’s blood.  Any money for the town will have strings attached. See it to find out how Karla manipulates the situation to achieve her ends.

It took me awhile to get used to the dubbing and larger-than-life situation and acting.  Once I did, this was a slow burn to a terrific climax.  The leads are magnificent.  Recommended.

The Visit was nominated for an Academy Award for Best Costume Design, Black and White.

The Naked Kiss
Directed by Samuel Fuller
Written by Samuel Fuller
1956/USA
Allied Artists Pictures
Repeat viewing/Netflix rental

[box] Candy: Nobody shoves dirty money in my mouth.[/box]

Perhaps Fuller’s most gonzo film, the story moves from violence to singing handicapped children and back again in 90 minutes. It proves to be an intoxicating mixture.

As the film begins, we see a woman we will come to know as Kelly (Constance Towers) viciously beating a man with her purse.  At the end of the struggle, her wig comes off and we see she has been shaved bald.  The man was her pimp and had been holding out on her.  We learn Kelly is good because she takes no more than the $70 she was owed.

Kelly splits from her pimp and attempts to start anew in her old trade in the town of Grantsville.  Her first trick turns out to be Griff (aside: I’d like to know just how many times Fuller had a character named Griff in a movie.  I’m guessing it may be in the double digits). Griff is the police chief in town.  He enjoys Kelly’s services then orders her to leave town. He suggests she goes across the river where Candy’s place offers “bon bons” for sale. However, a look at herself in the mirror causes Kelly to go straight.

This she does wholeheartedly by landing a job, with no references or experience, as a nurse to handicapped children in an orthopedic hospital.  Here is where the singing comes in.  Concurrently, Grant, whose family the town is named for, returns from Europe.  The incredibly wealthy Grant, the benefactor of the hospital, immediately falls for Kelly with whom he has many intellectual conversations.  (Kelly can quote Goethe at the drop of a hat).

Despite some initial misgivings on Kelly’s part, the two fall in love.  Kelly reveals her sordid past.  Oddly, the moment she does Grant asks her to marry him.  Wedding plans are in full swing when Kelly stumbles upon the terrible truth about Grant and feels compelled to put her purse back into action.

This movie is truly strange but is a blast!  It is all lurid, yet sentimental, to the max.  Towers demonstrates acting chops ranging from rage to pathos.  I enjoy every single weird moment of this movie.  But I always am left with a nagging question about whether Kelly’s motive really would be justification for a homicide.  Recommended.

Seduced and Abandoned (Sedotta e abbandonata)
Directed by Pietro Germi
Written by Agenore Incrocci, Furio Scarpelli, Pietro Germi, and Luciano Vencenzoni
1964/Italy/France
Repeat viewing/Netflix rental

[box] Il maresciallo Polenza: [looks at a map of Italy, then covers Sicily with his hands] Better! Much better![/box]

The setting is Sicily Don Vincenzo Ascalone (Saro Urzi) is the undisputed ruler of his family of a wife and four daughters.  He believes 100% in Sicilian machismo and honor.  His daughter, the plump, mild Matilde, is engaged to Peppino, who is studying for a civil service job.  But Peppino has eyes for hot-blooded, beautiful Agnese (Stefania Sandrelli, Divorce Italian Style).  He catches her in a weak moment and impregnates her.  After much commotion, he refuses to marry Agnese because she is not a virgin.  The fact that he took her virginity makes no difference to him.

The rest of the move is one comic scene after another as Don Vincenzo storms like a bull in a china shop wavering between what he wants more – a wedding or vengence.  Before long, the law and later the whole village have their say.

Anyone who loves Divorce, Italian-style should enjoy this movie.  Germi takes the foibles of traditional Sicilian society even further in this one.  The film is laugh-out-loud funny though I think it could have benefitted from some tightening.  Recommended.

Trailer

Father Goose
Directed by Ralph Nelson
Written by Peter Stone and Frank Taroff; story by S.H. Barnett
Granox Company
First viewing/Netflix rental

[box] Walter Eckland: Let me tell you I am not a father figure. I am not a brother figure or an uncle figure or a cousin figure. In fact, the only figure I intend being is a total stranger figure.[/box]

No actor ever aged better than Cary Grant.  Here in Silver Fox mode he still makes a very credible and funny love interest.

The story takes place in the Pacific during WWII.  Walter (Grant) has become a loner, traveling around the world in his small yacht in a perpetual state of inebriation.  He arrives at an island being evacuated by the Royal Navy and starts helping himself to cans of its petrol.  Commander Frank Houghton (Trevor Howard) has Walter’s number though and through a combination of blackmail and trickery enlists him to replace an airplane spotter on an isolated island.  He keeps Walter on the job by rewarding him with the location of bottles of whiskey for confirmed spots.

Before too long, Walter meets up with Catherine (Leslie Caron) who buried Walter’s predecessor on the job and is trying to escort seven schoolgirls to safety.  Walter and Catherine spar their way to romance while trying to survive the rigors of the island and the threat of the Japanese.

This was entertaining.  I was kind of surprised to learn that is was nominated for three Oscars.

Father Goose won the Academy Award for Best Writing, Story and Screenplay – Written Directly for the Screen.  It was nominated for Best Sound and Best Film Editing.

Love Meetings (Comizi d’amore
Directed by Pier Paolo Pasolini
1964/Italy
Arco Film
First viewing/Netflix rental

[box] Software is like sex: it’s better when it’s free. Linus Torvalds [/box]

I was not expecting such a wry, staid documentary about sex from the director of Salo.

Director Pier Paolo Pasolini interviews people from all over Italy about love and sex issues of the day from “Where do babies come from.?” to “Should divorced be legal?”,  Also included are opinions on gender equality, premarital sex, “abnormal sexuality”, and prostitution.   He reveals a nation tentatively moving into more sexual freedom while still deeply influenced by Catholicism.

Pasolini selected some charming interviewees – young and old, Northerners and Southerners, city dwellers and country folk.  Their shyness and basic conservatism speaks to a lost time.  I enjoyed the film.

Clip

I Am Cuba
Directed by Mikhail Kalatozov
Written by Enrique Pineda Barnet and Evgenniy Evtushenko
1964/USSR/Cuba
Instituto Cubano del Arte e Industrias Cinematograficas/Mosfilm
Repeat viewing/my DVD collection

[box] The voice of Cuba: [Slums of Havana] I am Cuba. Why are you running away? You came here to have fun? Go ahead, have fun! Is this a happy picture? Don’t avert your eyes. Look! I am Cuba. For you, I am the casino, the bar, the hotels. But the hands of these children and old people, are also me.[/box]

Sergey Urusevskiy’s amazing camera work in this propaganda piece renders it art.

The movie was made to celebrate the Cuban Revolution and consists of four vignettes. The first concerns the effect of American tourism and capitalism on the people of Havana. First we witness a beauty contest at a Havana hotel.  Then we move to the bar where some very ugly Americans treat the Cuban bar girls as objects.  The sequence ends with an encounter between an American tourist and a poor young Cuban who has been forced into prostitution.

The second vignette begins with some poetic shots of Cuban peasants harvesting sugar cane only to find out that the land they have been farming for years has been sold out from under them to the United Fruit Company.

The third vignette moves back to Havana where idealistic university students seek to spread the revolution and squelch false rumors of Fidel’s death.  The sequence ends with the awesome funeral march through the city shown in the first clip below.

Finally the film moves to the Sierra Maestra where Castro’s guerrillas have captured the province and are recruiting peasants to join them in securing the Revolution.

This movie might be pure propaganda and with some pretty bad acting at that if not for Kalatozov and Urusevsky’s (both of The Cranes Are Flying) amazingly mobile camera work. Some of the shots defy explanation.  The lighting too is stunning.  Surely something any film buff should see before shuffling off this mortal coil.

Ignore the “drone” reference which is nonsense

more amazing camera work