[Originally published in Movietone News 25, September 1973]
Richard Fleischer’s new film is a science-fiction-horror-mystery. The horrors are ecological: pollution, overpopulation, welfare as a national way of life, objectification of human beings. The mystery is the murder of Simonson (Joseph Cotten), head of the Soylent Corporation (from “soy” and “lentil”), producer of the world’s food supply: wafers that come in red, yellow and green. Charlton Heston is Thorn, police detective assigned to investigate the murder. Technically and dramatically much weaker than most slick science-fiction films, SoylentGreen is still more realistic on one terrifying point: the ecology will deteriorate, through misuse and overuse of plant and animal life as well as overpopulation, much sooner than human technology and architecture will advance to accommodate it and create the oppressive-but-neat world of domes, interplanetary travel and multi-leveled cities that characterize most movies of the s.f. genre. The world of SoylentGreen is a fetid, overcrowded, overheated mass of sweaty bodies, clothed in rags, living in abandoned cars and tenement stairwells, shuffled about by steam shovels when they become uncontrollable. Only the rich and those employed or owned by the rich have room to live in comfort, real food to eat, clean clothing and running water.
Let There Be Light (Olive, Blu-ray, DVD) – John Huston, like so many members of the Hollywood community, offered his talents to the armed services after Pearl Harbor. He was assigned to the Army Signal Corps, where he made four films. This disc features all four films, including a recently restored version of his final documentary for the armed services.
You can see his changing perspective on war through the productions, from Winning Your Wings (1942), a recruitment film narrated by James Stewart, to Let There Be Light (1946), his powerful portrait of the mentally and emotionally scarred men treated at a Long Island military hospital. Report from the Aleutians (1943) shows the routine of military life at a remote base in the frigid Aleutian Islands between Alaska and Russia (it’s also the only film shot in color), but his tone becomes darker in San Pietro (1945), which documents the battle to take a small Italian village from the occupying German forces. Huston provides the ironic narration himself over the record of destruction and loss of life on a single battle. The scenes of bombed-out ruins and dead soldiers are real but the battle itself was restaged by Huston for maximum dramatic impact. The military chose not to show the film to civilian audiences but new recruits did watch the film to understand the grueling ordeal awaiting them in battle. The film was voted into the National Film Registry in 1991.
Let There Be Light, his final film, is on the one hand a straightforward portrait of soldiers receiving help for “psychoneurotic” damage, what today was call post-traumatic stress disorder, and on the other a powerful portrait of the damage that war left on these men. It’s also a portrait of an integrated military, with black and white soldiers living and working in group therapy sessions together, before it ever existed in the barracks. The film was censored for 35 years and restored just a few years ago. This disc features the restored version.
The Threat (Warner Archive), a 1949 programmer from Felix E. Feist, opens with a rat-a-tat energy, quite literally: a prison break, a whining siren, and then the almost unbroken blasts of machine gun fire standing in for a musical underscore during the opening credits. All accomplished with a couple a few simple sets against the black of night. That’s making the most of limited resources. And that’s part of the pleasure of this kind of cinematic archeology.
Felix Feist is no auteur but he made some minor classics of the noir genre, notably The Devil Thumbs a Ride and Tomorrow is Another Day. Here he has a good story (if not always a great script) and a truly menacing heavy in Charles McGraw as death-row killer Red Kluger, his tenor gravel and heavy frame carrying the threat of the title in every step and speech. Red isn’t simply engineering a getaway, he’s plotting his revenge against everyone who put him in prison and getting rid of anyone standing in his way.
We’re not talking lost masterpiece here; Feist is saddled with flat dialogue (“Now you know how a good detective works. When he finds something, he calls!”), generic sets and a cast of frankly non-charismatic leads (Michael O’Shea adequate as the cop hero, Robert Shayne a real stiff as his partner, and Frank Conroy almost a non-entity as the D.A..). But Virginia Grey is superb as a trampled flower of a showgirl and Feist allocates his limited budget cleverly, saving his resources for a few set pieces, notably the finale in a hunting cabin where the wait for a getaway plane drags on and the tension turns to violence with a dynamic crane shot and a brutal bare-knuckle brawl. This is the kind of punch that low-budget crime films could and, at their best, did deliver.
Follow Me Quietly (Warner Archive), a 59-minute thriller from Richard Fleischer (soon to be a major studio director but in 1949 paying his dues in specialty shorts and B-movies), is just as good, and just as limited. This was clearly timed to play the bottom of a double bill, but it has better production values than most B-movies and Fleischer devotes much greater care to the direction. He’s announcing his ambitions here.
William Lundigan is the lead detective on the trail of a self-styled executioner called “The Judge” and Jeff Corey is his loyal, supportive partner, supplying the wry remarks as Lundigan applies modern techniques to build a physical and psychological profile from a smattering of clues: an early profiler in a shadowy film noir world. Fleischer does a tremendous job of whipping up drama from a generally static script, though even he can’t generate much heat from the love-hate tension between Lundigan and spunky, persistent reporter Dorothy Patrick. But while Fleischer garnered well-deserved kudos for a couple of sharp cinematic stings involving the dummy they mock up from the clues, his more impressive achievement is the eerie mood he creates from a generic backlot city street set and the chase finale he stages in an industrial plant, full of pipes and tanks and catwalks and ladders, a labyrinth that Fleischer employs superbly before the film’s final jab. (You should just ignore the romantic comedy of the framing coda, just one of those conventions of B-crime movies designed to left audiences back out of the darkness before send them out of the theater.)
Both of these films are given solid presentations: no frills, as is the MOD way, but solid, sharp masters from clean prints. They are fine looking discs.
The DVD debut of John Huston’s sprawling, globetrotting 1970 espionage thriller The Kremlin Letter is also the debut release of Twilight Time, a new boutique DVD label (that’s actual pressed DVDs, not DVD-R or MOD) featuring limited run releases of select titles from the 20th Century Fox library. The creation of Warner Bros. veteran Brian Jamieson and filmmaker/music restoration specialist Nick Redman, the label is initially slated to release one disc a month (and later perhaps more), all from the 20th Century Fox catalogue, all from Fox digital masters, all in limited edition runs of 3,000 units.
“All our releases will be properly manufactured DVD’s and Blu-Rays – we were not interested in the DVD-R’s, as we feel they do an injustice to the titles in the long run,” explains Brian Jamieson. “While I’m sure collectors will find they fill a void in their collections, but we wanted to deliver a quality product, something that meets our own expectations and something we could be proud of. We love the old Fox film classics, especially from the 50’s.”
John Huston has been accused of cynicism in his films but The Kremlin Letter, a complicated plot of Cold War spy games is the most cold-blooded portrait of an mercenary world he’s ever presented. Charisma-challenged Patrick O’Neal is the ostensible leading man here, playing a career Navy officer coerced into joining a covert private team and go behind the Iron Curtain to retrieve a diplomatically dangerous letter, but in the scheme of things he’s just another player in a big, messy, tangled ensemble piece. Richard Boone is the standout as a hearty bear of an intelligence veteran who mentors O’Neal in the insidious games played in the name of counter-intelligence, and George Sanders (first seen in drag playing piano in a gay lounge), Nigel Green (a pimp in Mexico), Dean Jagger (hiding out a country vicar) and Max Von Sydow (as a deadly Soviet assassin who, haunted by his past, may be the most human figure in the bunch) fill out the deadly rogues gallery.
The colorful figures and their elaborate schemes (involving extortion, seduction, prostitution and the drug trade) is like Mission: Impossible in the unforgiving culture of international espionage of John Le Carre’s double agents and plots-within-plots. This is not a world where trust gets you anywhere and even the so-called good guys resort to subterfuge and manipulation in dealing with their own people. The personal endgames drive the international agenda and the players are expendable pieces in the elaborate international chess match.