[Originally published in Movietone News 27, November 1973]
Film directors have come from many backgrounds, in the past more so than today; but with Electra Glide in Blue a new source has been tapped. James William Guercio is a prominent record producer. The influence of his background in the recording industry becomes immediately apparent when, in the first several minutes of the film, we witness a “suicide” while a weepy piano tune plays on a hand-cranked phonograph. Guercio has a feeling for music and film, and he blends both into an expressive statement. Certainly one of the most poetic of these expressions is a chase scene which begins slowly, the characters in floating telephoto shots seen through waves of heat rising from the pavement and the sands of the Arizona desert; with the addition of music to the soundtrack it becomes a ballet that moves inexorably toward its climax.
Private Property (Cinelicious, Blu-ray+DVD) – Put this 1960 film in the “Lost and Found” category. The directorial debut by Leslie Stevens, a playwright and screenwriter and protégé of Orson Welles, it’s a neat little sexually-charged psychological thriller set in the sunny California culture of affluence and trophy wives and drifting hitchhikers crossing the stratified social borders.
Corey Allen and Warren Oates are Duke and Boots, the George and Lenny of angry drifters, and Kate Manx is the beautiful trophy wife that Duke spots on the Pacific Coast Highway in a white Corvette. They coerce a travelling salesman to follow that car and trail her to her Hollywood Hills home, taking up residence in a vacant home next door. They ogle her through the second floor window as Anne sunbathes and skinny dips, and then they insinuate themselves into her home. A student of the Method school, Allen plays Duke as an angry young con man who has perfected the sensitive soul act, while Manx, who was Stevens’ wife at the time, is a limited actress who Stevens directs to an effective performance. Oates is the revelation, walking that tightrope between loyalty and suspicion, slowly figuring out Duke’s games but slow to act until practically pushed into action.
[Originally published in Movietone News 43, September 1975]
Maybe one of the reasons I don’t much care for the John Schlesinger film of Day of the Locust is an attitude towards his characters—Nathanael West’s characters in this case—which he has avoided in other films. In Sunday BloodySunday there was no overt judgment, no condescension towards his people, and in fact the film’s openness was a way of questioning the successfulness and validity of relationships between people whose strengths were admirable and whose weaknesses were sympathetically portrayed. Even in MidnightCowboy there was the redeeming love and friendship between Joe Buck and Ratso Rizzo that gave some value to an ugly world. But in Dayofthe Locust Schlesinger handles his characters as though at the end of a long stick, turning irony into a cruel form of entrapment by making them seem so bereft of normally human characteristics that we wonder how they could ever possibly rise above their bathetic gropings and mutual fear and hatred of each other.
[Originally published in Movietone News 44, September 1975]
The bilious purple lettering of the credits prepares us for Conrad Hall’s photographic style through the first half or so of Smile: motion aside, everything appears as it might in a drugstore-developed roll of Kodacolor snapped on a picnic. Smile takes us to Santa Rosa, California—cinematically immortalized as the iconographically ideal American smalltown in Hitchcock’s Shadowof a Doubt (1943)—and plunges us eyeball-deep into American camp, several strata below kitsch. The Young American Miss beauty pageant, or rather the sub-pageant designed to yield a contender to represent the state of California, is tooling up. Bruce Dern, as a used-car and trailer dealer known to one and all by the loaded moniker “Big Bob” Freedlander, is deeply touched to learn that Barbara Feldon, a one-time Young American Miss now in charge of marshalling the girls, has provided a special gold nametag for him as head judge. His ole buddy—and Feldon’s hubby Nicholas Pryor—is less than enchanted with her nonstop pageant trip, which condemns him to evenings of TV dinners and booze, and with the initiatory ordeal approaching him: on the eve of turning 35, he must kiss a dead chicken’s ass while his brother, over-the-hill business pals cheer.
Ask anyone who’s devoted their life to the study and appreciation of movies and they can probably tell you exactly when they were “bitten by the movie bug,” that moment of personal epiphany that sparked an all-consuming passion for what is arguably the greatest, most powerful medium of artistic expression.
In my case, it was Stanley Kubrick’s 2001: A Space Odyssey that literally changed my life. That’s an influential milestone I share with many cinephiles who came of age in the 1950s and ’60s, especially those “movie brats” (among them James Cameron, George Lucas and Steven Spielberg) who were drawn to imaginative visions of the future. Because I’d spent most of my childhood outdoors or casually enjoying Disney films and other kid-friendly fare, I didn’t see Kubrick’s visionary masterpiece until it played a return engagement at Seattle’s glorious Cinerama Theater, in 1971, when I was nine years old.
(With its huge, curved Cinerama screen, the Cinerama is still the only theater in Seattle capable of showing “2001” as Kubrick intended. It exclusively hosted the film’s original 77-week Seattle run beginning in April 1968, and the fully restored 70-millimeter print of “2001” had its world premiere there, appropriately enough, in 2001, two years after the aging cinema was purchased and beautifully renovated by Microsoft co-founder Paul Allen. It’s now one of only three theaters in the world — along with the Cinerama Dome in Los Angeles and the Pictureville Cinema in Bradford England — equipped to exhibit three-panel Cinerama, requiring three synchronized projectors for the only seven films created in the three-strip Cinerama process, including 1956’s “This Is Cinerama” and 1962’s “How the West Was Won.” Starting this week [Sept. 30th] and running through mid-October, Seattle’s Cinerama is hosting a “70mm Festival” of 15 films, including “2001,” that originally premiered there.)