Category Archives: 1967 Films

#57 Favorite Film, 1967 Films, Alice Ghostley, Anne Bancroft, Buck Henry, Comedy, Dustin Hoffman, Elizabeth Wilson, Favorite Film of the Year, Katharine Ross, Kevin Tighe, Mike Farrell, Mike Nichols, Murray Hamilton, Norman Fell, Richard Dreyfuss, Romantic Comedy, Top 100 Films, Top 250 Films, William Daniels

The Graduate-1967

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The Graduate-1967

Director Mike Nichols

Starring Dustin Hoffman, Anne Bancroft

Top 250 Films #57

Scott’s Review #335

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Reviewed January 9, 2016

Grade: A

The Graduate is an immeasurable success and highly influential comedy from 1967- a time when films were gaining creative freedoms and pushing the envelope in new, edgy ideas and risqué subject matters.

Almost scandalous at the time of release, the film holds up exceptionally well after all these years and remains fresh and cutting-edge.

It is slick, sophisticated, and quite funny, though peppered with dark humor.

Thanks to Dustin Hoffman and Anne Bancroft, the film succeeds and remains among my all-time favorites.

Hoffman plays Benjamin Braddock, a nervous and insecure recent college graduate who returns home to sunny California, unsure of what his future holds.

His overbearing parents throw a lavish celebration at their home, where Benjamin is flocked by well-wishers, most of whom have a materialistic edge to them. His parents live in a very affluent community where wealth and items are of great importance.

All Benjamin wants to do is be by himself. At the party, Benjamin is pursued by the much older and glamorous Mrs. Robinson (Bancroft), who lives nearby and asks Benjamin for a ride home.

Her attempted seduction of him sets the film’s narrative in motion, as their relationship unfolds, particularly when Mrs. Robinson’s daughter, Elaine (Katharine Ross), enters the picture and captures Benjamin’s heart.

Director Mike Nichols successfully sets the right tone for the film, and we see the style and the sophistication of wealthy California in the 1960s.

Fashion, style, and glamour are prevalent, but they go against what Benjamin and Elaine stand for.

The film is also an exploration of generations. Benjamin’s parents and all their friends are into material things, such as cars, houses, and parties.

The triangle between Benjamin, Mrs. Robinson, and Elaine is the heart of the film. At first, we find ourselves rooting for Benjamin and Mrs. Robinson. There is a sweet nature to their romance. She is the aggressor- mature, in control, and confident, whereas Benjamin is insecure and shy, yet enamored with Mrs. Robinson.

Their awkward exchange in the hotel bar and their liaison in the hotel room are fantastic scenes.

Slowly, once Elaine emerges, Mrs. Robinson becomes more manipulative, taking on a villainous character, as the youngster’s love blossoms, and we begin to root for their happiness.

A fantastic aspect of The Graduate is its musical soundtrack, which was composed entirely by Simon and Garfunkel, a central musical duo of the late 1960s, from the opening chords of ‘The Sound of Silence’, to the appropriate ‘Mrs. Robinson’, the music adds much life and energy to the film and was successful at attracting young viewers at the time.

The featured soundtrack was highly influential to other films released after The Graduate.

Still fresh today, The Graduate (1967) launched the very successful career of Dustin Hoffman and emerged as an inspirational film that, though controversial in its day, seems tame now; however, the writing remains as crisp as it ever was.

A film to watch over and over again.  

Oscar Nominations: 1 win– Best Picture, Best Director-Mike Nichols (won), Best Actor-Dustin Hoffman, Best Actress-Anne Bancroft, Best Supporting Actress-Katharine Ross, Best Screenplay Based on Material from Another Medium, Best Cinematography

#89 Favorite Film, 1967 Films, Arthur Penn, Biography, Crime Drama, Denver Pyle, Drama, Estelle Parsons, Faye Dunaway, Gene Hackman, Gene Wilder, Michael J. Pollard, Top 100 Films, Top 250 Films, Warren Beatty

Bonnie and Clyde-1967

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Bonnie and Clyde-1967

Director Arthur Penn

Starring Warren Beatty, Faye Dunaway

Top 250 Films #89

Scott’s Review #628

Reviewed March 25, 2017

Grade: A

Bonnie and Clyde is an excellent 1967 crime drama that is not only a great film, but also successfully and surprisingly influenced an entire generation, becoming somewhat of a rallying cry for the youth generation of the time.

Released in a tumultuous period in history (the Vietnam War, the Sexual Revolution, and Civil Rights), the film fits the times and was groundbreaking in its use of violence, blood, and sex.

The film holds up tremendously well to this day and is beloved by intelligent film lovers everywhere.

The film begins with snapshots of the honest Bonnie and Clyde- a duo of bank robbers who rampaged the southwest during the Great Depression.

Set in steamy Texas, circa the 1930s, the film tells its story.

Clyde Barrow (Warren Beatty) meets Bonnie Parker (Faye Dunaway) when he tries to steal her mother’s car one hot day. Instantly infatuated with each other, the steamy duo team up and become partners in crime.

Over time, they enlist others and become more successful bank robbers, with the stakes rising with each heist.

Rounding out the crew of criminals are gas-station attendant, C.W. Moss, and Clyde’s older brother Buck, played by Gene Hackman, along with his wife, Blanche (Estelle Parsons), an innocent-minded and sometimes hysterical preacher’s wife.

Bonnie and Clyde is a unique film in many different ways- the quick-cut editing style influenced Sam Peckinpah in his movies to come, and the film uses a fast-paced rat-a-tat-tat style that symbolizes the gunfire, a significant element of the film.

Blood spurts from victims’ bodies in a style never before seen on the big screen, which led to many filmmakers’ comfort with using increased violence.

You could say that Bonnie and Clyde took away the innocence of Hollywood films and shook all of the traditional elements inside out.

The film’s conclusion is one of the greatest in cinematic history.

Far from an idyllic, happy ending, the traditional one in those days, the law finally catches up with Bonnie and Clyde, with grim results for the pair, and their demise is gruesome but true to form.

We have fallen in love with the characters, so their hasty exit from this world is tough to stomach, and as they writhe and twitch with each gunshot wound, the bullets pummeling the bodies, the scene is a difficult one to watch.

The love story between Bonnie and Clyde is intense yet sweet, and the casting of Beatty and Dunaway is spot-on. Smoldering with sexuality- as Bonnie fondles Clyde’s gun, who does not see this as a phallic symbol- their relationship is fraught with stamina and emotional energy.

The two actors feed off of each other and fill the scenes with gusto. Their chemistry is part of what makes the film so great.

One of the best scenes is the shoot-’em-up showdown at a ranch where the robbers are hiding out. The scene is laden with intensity and violence. As Buck is mortally wounded, Blanche is blinded and captured, soon to make a grave mistake in revealing one of the identities of the others.

Bonnie, Clyde, and C.W. barely escape with their lives, and their antics from this point become bloodier and bloodier. The cat-and-mouse play during this scene makes it the most suspenseful of them all.

Amid all the violence, a fantastic scene unfolds when Bonnie and Clyde meet at a secret location with Bonnie’s mother. A local townswoman, not an actress, was cast in the pivotal role of Bonnie’s mother, and the scene is an emotional experience.

The woman’s kindness and sensibility, and the sheer “regular person” she encompasses, humanize Bonnie and Clyde, and ominously, their downfall is soon to occur.

A highly influential film, Bonnie and Clyde is a film that is still quite relevant, especially for those who appreciate good movies and rich, intelligently written characters who are flawed yet humanistic, layered with complexity.

This is what director Penn carves out, and the film is an all-time Hollywood classic.

Oscar Nominations: 2 wins-Best Picture, Best Director-Arthur Penn, Best Actor-Warren Beatty, Best Actress-Faye Dunaway, Best Supporting Actor-Gene Hackman, Michael J. Pollard, Best Supporting Actress-Estelle Parsons (won), Best Story and Screenplay Written Directly for the Screen, Best Costume Design, Best Cinematography (won)

#90 Favorite Film, 1967 Films, Brian Keith, Drama, Elizabeth Taylor, John Huston, Julie Harris, Marlon Brando, Robert Forster, Top 100 Films, Top 250 Films, Zorro David

Reflections in a Golden Eye-1967

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Reflections in a Golden Eye-1967

Director John Huston

Starring Marlon Brando, Elizabeth Taylor

Top 250 Films #90

Scott’s Review #678

Reviewed September 3, 2017

Grade: A

Reflections in a Golden Eye is a film made during the beginning of a rich and creative time in cinema history (the latter part of the 1960s and the beginning part of the 1970s), where films were “created” rather than produced.

Less studio influence meant more creative control for the director- in this case, John Huston, who cast the immeasurable talents of Elizabeth Taylor and Marlon Brando in the key roles.

Worth mentioning is that Montgomery Clift was the intended star, but died before the shooting began. Richard Burton had turned down the role.

The film is an edgy and taboo story of lust, jealousy, and sexual repression set amid a southern military base. In the novel 1967, repressed homosexuality is explored in full detail, as well as heterosexual repression and voyeurism.

Initially a box-office flop, the film has since become an admired and cherished part of film history.

Reflections in a Golden Eye is based on the 1941 Carson McCullers novel.

Major Weldon Penderton (Brando) resides with his spoiled wife, Leonora (Taylor), at a US Army post somewhere in the South during the 1940s and 1950s.

A neighboring couple, Lieutenant Colonel Morris Langdon (Brian Keith) and his depressed wife, Alison (Julie Harris) are also featured and the trials and tribulations of Army life are exposed. Playing key roles are Langdon’s effeminate houseboy, Anacleto, and a mysterious Private Williams, played by a young and dashing Robert Forster.

Weldon is a repressed homosexual, rigid, and very unhappy with himself and his life, despite being successful professionally. To make matters worse, he is repeatedly needled and tormented by Leonora, who is having an affair with Morris.

Leonora adores her prized horse, Firebird, who becomes a significant part of the story. When Weldon and Leonora spy Private Williams completely naked in the woods riding bareback, Weldon feigns disgust, but his secret desires for the young man are revealed.

The two men then begin a secret cat-and-mouse game of spying and following each other around until a tragedy occurs.

Reflections in a Golden Eye is not a happy film; rather, it is a depressing piece about troubled lives and emotions. Passions are unfulfilled and repeatedly repressed as each character can be dissected in a complex fashion.

I am most intrigued by the character of Private Williams. A bit of an oddity, he mainly watches the action from afar, learning Weldon and Leonora’s secrets- they keep separate bedrooms and repeatedly squabble.

We wonder- is Williams obsessed with Weldon or Leonora? Or both? He sneaks into her room and rummages through her lingerie and perfume drawers. Would he, in a different time, consider himself to be transgender? Or merely intrigued by cross-dressing?

Weldon can also be carefully examined- he has fits of rage and violence that frequently erupt. Poor Firebird suffers a violent beating at his hands, to say nothing of the main character’s fate at the end of the film.

Having a macho and masculine exterior, his job is that of a leader, but the perception of a homosexual male during that time, if it was thought of at all, was more like the femininity portrayed by the Filipino male, Anacleto.

Huston wisely casts both male roles well in this department, as the men, along with Williams, could not be more different or nuanced.

A wise and telling aspect of the film is how it was initially shot with a muted yet distinguishable golden haze- appropriate to the film’s title- and much of the action seems to be viewed from the viewpoint of the horses.

The color theme was reportedly changed because it confused audiences, but my copy has the intended golden haze, and I find this tremendous. It works brilliantly in capturing Huston’s original intentions.

The film is reminiscent of Who’s Afraid of Virginia Woolf or Cat on a Hot Tin Roof, the latter made only the year before. Arguably, Taylor’s character in that film is very similar to Leonora’s.

In ways, Reflections of a Golden Eye (1967) could have been a stage production. One thing is clear: the film explores the human psyche deeply. I look forward to repeated viewings and further digging into the feelings and motivations of every principal character in a groundbreaking film by Huston.

#183 Favorite Film, 1967 Films, Alan Bates, British, Drama, Epic, John Schlesinger, Julie Christie, Period Drama, Peter Finch, Prunella Ransome, Robert Powell, Romantic Drama, Terence Stamp, Top 250 Films

Far from the Madding Crowd-1967

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Far from the Madding Crowd-1967

Director John Schlesinger

Starring Julie Christie, Terence Stamp, Alan Bates

Top 250 Films #183

Scott’s Review #315

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Reviewed January 1, 2016

Grade: A-

A sweeping, gorgeous epic made in 1967, Far from the Madding Crowd is pure soap opera (this is not a negative), done very well, featuring a woman with three male suitors and many similarities to another brilliant epic, Gone with the Wind (1939).

The cinematography, score, and writing are excellent, and at close to three hours, it is a lengthy experience.

The film is based on the popular novel written by Thomas Hardy.

The setting is lovely, rural England, the landscape green and lush- mostly farmland, where Bathsheba resides, having recently inherited her Uncle’s enormous estate and is, frankly, overwhelmed with the heavy responsibility required to run it successfully.

Three men appear in one form or another to lend a hand, and each falls madly in love with her- she had her choice of any of them. Throughout the film, each is given a chance to win her heart, and each faces trials and tribulations.

The wealthy neighbor, William Boldwood, is older and insecure. Frank Troy is a bad boy who is a cavalry sergeant, and Gabriel, a former farmer, has lost all of his sheep.

Having only seen this film twice (so far), I notice more and more the similarities to Gone with the Wind. Both are set around the same period (the 1860s), and both films feature powerful, independent, gorgeous female characters with multiple male suitors.

Unlike Gone with the Wind, though, Bathsheba is not self-centered, but wholesome and honest.

Julie Christie was undoubtedly the “it” girl during the time the film was made, having recently starred in Darling (1965) and Doctor Zhivago (1965), among others, and Far from the Madding Crowd is a perfect film for her, focusing on her beauty and earnestness.

She is exceptionally cast.

What I enjoy most about the film is that we do not know which of the men Bathsheba will wind up with…if any of them. Gabriel (Alan Bates) is my personal favorite, but at the beginning of the film, she rebuffs his marriage proposal.

In a heartbreaking scene, one of his dogs goes mad and leads his entire flock of sheep to their death. He is then forced to work as her shepherd, a job beneath him. He is the most likable of the three men, and it is fun to root for their ultimate union. But is he prone to bad luck?

Frank Troy is dashing- a clear lady’s man, yet I did not root for him. A character, whom I found to have strange motivations, impregnated and almost married a young lady named Fanny, only to turn her away based on a misunderstanding, then ultimately changed his mind about Bathsheba.

In one scene, he manipulates the citizens into getting drunk on brandy, which leads to a crisis. He is charismatic and used to getting his way.

Finally, Boldwood is wealthy, sophisticated, and appealing to Bathsheba in a certain way (primary stability). Still, there is also something I find “off” about the character throughout the film- unstable, maybe, needy? I did not find his character likable either.

The overlap and the relationships between the men are also interesting aspects of Far from the Madding Crowd. Will they become friends? Would they kill each other for Bathsheba’s affection?

Many emotions run through all four characters, which makes the film rich in character development.

Grand, sweeping, and beautiful are words that describe Far from the Madding Crowd, a film I enjoy exploring and evaluating with each viewing.

Oscar Nominations: Best Original Music Score

#191 Favorite Film, 1967 Films, Barbara Parkins, Darlene Conley, Drama, Jacqueline Susann, Lee Grant, Mark Robson, Patty Duke, Paul Burke, Richard Dreyfuss, Sharon Tate, Susan Hayward, Tony Scotti, Top 250 Films

Valley of the Dolls-1967

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Valley of the Dolls-1967

Director Mark Robson

Starring Barbara Parkins, Patty Duke, Sharon Tate

Top 250 Films #191

Scott’s Review #657

Reviewed July 3, 2017

Grade: A-

Based on the best-selling novel written by Jacqueline Susann a year earlier, the film version of Valley of the Dolls (1967) has become a cult classic in the years following release- it has earned the dubious description of “it’s so bad it’s good”.

The film dives headfirst into the soapy, dramatic world of Hollywood and Broadway, and the trials and tribulations three young women encounter as they try to “make it” in the backstabbing business.

The film teeters on camp, but it is a favorite of mine, as I love the theme of aspiring stars in La La Land. The set design and groovy styles of the late 1960s are also noteworthy.

Bored with her life in sleepy New England, Anne Welles decides to move to the bright lights of Manhattan, seeking fame, fortune, and excitement.

After she lands a secretarial job for an entertainment lawyer, who handles temperamental Broadway star Helen Lawson (Susan Hayward), Anne meets and befriends two other struggling young actresses.

Neely O’Hara (Patty Duke) is a vivacious, gifted singer, and Jennifer North (Sharon Tate) is a gorgeous blonde with limited talent but looks to die for.

The three women wrestle with the ups and downs of show business as they each achieve various levels of success and failure.

The film centers on both the love and the losses of each woman, and at times it’s rather soap-opera-like, especially the bitchy feud between Neely and Helen, but it’s a fun, entertaining experience.

Various men come in and out of the trio’s lives. The “dolls” referenced in the title are a nickname for pills that the girls readily pop, and alcohol is also used in the film.

One interesting aspect of the film I like is that the three women are very different from one another.

Anne is the most sensible of the three and arguably the most intelligent. Neely is wild, reckless, and constantly battles drugs and alcohol, yet she is both the most successful and the most talented. Jennifer is gorgeous but lacks the talent or the vigor to succeed in Hollywood.

Two of the three women do not have happy endings in their stories.

Some are admittedly a bit uneven, especially the performance of Duke as Neely. She plays the role wildly over the top, especially during her shrieking, drug-saddled tirades, but rather than find the performance irritating (some indeed might), I find the role loud, bombastic, yet sympathetic.

We root for Neely because she has talent despite her shortcomings, and she is a likable character to me, as I want her to find happiness.

Also playing up the camp is Hayward, as she fills Helen with fire, spite, and gusto, doing everything to make the audience view her as a queen bitch. Helen was scheduled to be played by the illustrious star Judy Garland (she would have been perfect!), but was reportedly fired for showing up for work drunk.

An enjoyable aspect of Valley of the Dolls is the humor, though sadly, the laughs are not always intentional. The finale involves a catfight between Neely and Helen in the classy ladies’ room of a famed theater.

With sheer delight, Neely yanks off Helen’s bright orange wig to reveal her natural head of hair. In campy fashion, Helen’s real hair is excellent- more shocking would have been if she were bald or had thinning hair, but her hair is bleached blonde and full.

In melodramatic fashion, Helen waltzes out of the theater sans wig.

Valley of the Dolls is a late-night treat that can be enjoyed and not taken overly seriously- the film differs vastly from the actual novel, and even the time (the 1960s versus the 1940s through the 1960s) is changed.

The film was followed by a much campier and satirical film, Beyond the Valley of the Dolls, made in 1970 and directed by Russ Meyer.

Oscar Nominations: Best Original Song Score or Adaptation Score

1967 Films, David Hemmings, Drama, Epic, Fantasy, Franco Nero, Joshua Logan, Laurence Naismith, Lionel Jeffries, Musical, Musical Drama, Richard Harris, Romantic Drama, Vanessa Redgrave

Camelot-1967

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Camelot-1967

Director Joshua Logan

Starring Richard Harris, Vanessa Redgrave, Franco Nero

Scott’s Review #1,370

Reviewed June 21, 2023

Grade: A-

Camelot (1967) is an adaptation of the well-known Broadway spectacle that explores the creation of the Knights of the Round Table. It’s the Middle Ages, and King Arthur is the main character.

Unfortunately, the original stars of the stage, Richard Burton and Julie Andrews, declined to participate. Still, their replacements, Richard Burton and Vanessa Redgrave, are more than adequate in their prominent roles.

At an epic length of nearly three hours, not every moment is the edge of your seat, and some lagging exists, but the film does justice to the stage production, only with a big budget to add extravagance.

The setting and experience are pure magic, not only because of the far-removed time. The Shakespearean elements are strong as royalty and entitlement mesh with scheming, jealousy, and dangerous romance.

This makes for some juicy soap opera drama.

After the arranged marriage of Arthur (Harris) and Guinevere (Redgrave), the king gathers the noble knights of the realm to his Round Table. The dashing Lancelot (Franco Nero) joins but soon falls in love with Guinevere.

When Arthur’s illegitimate and conniving son, Mordred (David Hemmings), reappears in the kingdom and exposes the secret lovers, Arthur finds himself, by his own rules, trapped into taking action against his wife and closest friend.

There are some dull moments to face at epic length, especially in the first half. I tuned out once or twice, but then I was whisked back to the dramatic events.

The great moments are genuinely outstanding, with enough punch to pack a emotional wallop.

During a sequence when Lancelot is challenged to a game of jousting with some knights, events turn deadly, and one knight, Sir Dinadan, is critically injured. Horrified, Lancelot pleads for Sir Dinadan to live, and as he lays hands on him, Dinadan miraculously recovers.

The scene is fraught with emotion as a decisive moment occurs between the men. It’s also pivotal to the storyline because it links Lancelot with Guenevere and sets off a romantic chain of events.

Guenevere is so overwhelmed and humbled that her feelings for Lancelot begin to change. Despite his vows of celibacy, Lancelot falls in love with Guenevere.

More than one song is lovely in Camelot, and as the production went on, I yearned for more musical numbers.

My favorite is the coy  “The Lusty Month of May,” which appears when Guinevere and the women frolic and gather flowers to celebrate the coming of spring. Later, Lancelot and Guenevere sing of their forbidden love and how wrong life has all gone in ‘I Loved You Once In Silence.’

In the eyes of the law, the lovers are to be punished so they are aware they are not long for this world.

Visually, Camelot is a spectacle rich in style and pizazz. Whimsical colors and a ton of vibrant and fragrant flowers appear regularly amid fields of greens and forests of trees.

The castles and battlefields also support Gothic structures and masculine power, which perfectly balance the exquisiteness of the other aspects.

This more than makes up for any drudgery the story might have. It’s nice to sit back and be fulfilled by the cinematic beauty, especially considering the romance at the heart of the picture.

So when the story drags, one can enjoy the visuals and escape for a moment.

Also impressive is the story of friendship and how a woman’s affection for a man can tear apart two male friends.

Camelot (1967) is a behemoth epic that requires patience. Some parts flat-out drag. But the daring, compelling triangle among the three leads usually turns the experience into an above-average thrill ride.

Oscar Nominations: 4 wins-Best Art Direction (won), Best Cinematography, Best Costume Design (won), Best Costume Design (won), Best Original Song Score or Adaptation Score (won), Best Sound

1967 Films, British, Charlie Chaplin, Comedy, Margaret Rutherford, Marlon Brando, Patrick Cargill, Romantic Comedy, Sophia Loren, Sydney Chaplin, Tippi Hedren

A Countess From Hong Kong-1967

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A Countess From Hong Kong-1967

Director Charlie Chaplin

Starring Marlon Brando, Sophia Loren, Tippi Hedren

Scott’s Review #1,287

Reviewed August 8, 2022

Grade: B-

I hesitated to list Tippi Hedren among the main cast above, since she only appears in the final ten minutes of A Countess From Hong Kong (1967). I then realized that her appearance also helped make the film better than it would have been without her, so I decided to give her some deserved props.

A Countess From Hong Kong needs all the help it can get to lift it above mediocrity, which it only does by a hair. This is surprising, given the directorial talent of Charlie Chaplin and the marquee-name recognition of heavyweights like Marlon Brando and Sophia Loren.

Somehow, the stars agreed to appear in the film. Maybe they hadn’t read the script before signing on the dotted line.

Perhaps the incessant door-opening and shutting sequences that go on endlessly are symbolic of the stars attempting to flee from this film.

It’s not all drivel and doom as the set decoration is flawless in beauty and style, and, of course, Miss Hedren’s appearance in the final act is splendid stuff.

The trivial storyline features a Russian countess named Natascha (Loren) who stows away in the stateroom of a married United States diplomat Ogden, (Brando) bound for New York. They must scheme to ensure she arrives safely and undetected in Hawaii by marrying her off to another man.

Predictably, Natascha and Ogden fall madly in love.

Let’s feature a couple of positives before delving into the shit.

Whoever dressed and decorated the sets for A Countess From Hong Kong practically deserves an Oscar nomination for their work. Brimming with the relevant mid-1960s style and sophistication, the sets are right out of television’s Mad Men.

The colorful yellows and navy blues pair perfectly with black and grey furniture and whatever costume Loren is wearing, especially when she is clad in an ill-fitting green getup during one hijink scene.

Especially noteworthy is any scene set away from one of the ship’s cabins, which is completely overused to enhance the farcical elements.

The open-set ball sequence is like a breath of fresh air, and it immediately flourishes with wide-open brightness. Easy to do (and recommended) is to forget the plot altogether and escape with pleasure into each artistic design of the dance number.

When Hedren appears dressed to the nines in glittery, royal outfits, it showcases both her star power and the costume team’s talent. She is given little to do as Martha, Ogden’s suspicious wife, except to be jealous, but she knocks it out of the park with her bit of screen time.

Loren and Brando surprisingly have little chemistry, even when Natascha and Ogden bark and banter with each other endlessly. Their characters are hardly developed, and hers turns into a bitch before too long, while he does enough fuming and pouting to last a lifetime.

Based on the title, you’d expect Natascha to be Asian, but instead, the character is Russian and being played by an Italian actress.

I understand the need for big Hollywood stars to be incorporated into a film to achieve solid box-office returns, but Chaplin seems to be without a clue how to make the pair connect.

A feeble attempt to add sophistication by giving English actress Margaret Rutherford one scene as a dotty, bedridden older woman does nothing other than waste the legendary actress’s time.

Though I shudder at the thought of how poor the film would have been without these talented actors.

A Countess From Hong Kong (1967) is a botched effort at creating what undoubtedly was supposed to be a fun romantic comedy romp. The film might have worked in the silent film era, but forty years later, it feels tired.

Instead, we must traverse the tedious story to find glimpses of brightness just beneath the surface.

1967 Films, Alec McCowen, Ann Bell, British, British Horror, Cyril Frankel, Hammer Horror, Horror, Ingrid Boulting, Joan Fontaine, Kay Walsh, Massimo Girotti, Silvana Mangano

The Witches-1967

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The Witches-1967

Director Cyril Frankel

Starring Joan Fontaine, Kay Walsh, Alec McCowen

Scott’s Review #1,096

Reviewed December 29, 2020

Grade: B

Legendary film actress Joan Fontaine chose a Hammer horror film as her final role. While not high-brow art, these films are an entertaining treat for horror fans.

They are frequently macabre, clever, and make the most of a small budget.

In The Witches (1967), Fontaine leads the way, adding class and huge star quality. The film is good, but not great, with an unfulfilling ending. The cinematography and Fontaine’s involvement are the best aspects.

Also worthy of mention in the acting department is Kay Walsh, a talented British actress, who is terrific as the seemingly kind woman who becomes a crazed witch. She adds professionalism to a pivotal role. The other supporting actors play their parts well, ensuring that the craft of acting is respected.

I adore the British flair that Hammer films always have.

Fontaine plays Gwen Mayfield, an English schoolteacher who accepts a new job as the headmistress of the local school in the quaint village of Heddaby. The quiet town is exactly what Gwen needs after suffering a nervous breakdown while residing in Africa.

She experiences a small flirtation with the Reverend Alan Bax (Alec McCowen), who confesses that he is not overly religious. Stephanie is his sister, played by Walsh.

Before long, Gwen becomes immersed in the worlds of two of her students, Ronnie (Martin Stephens) and Linda (Ingrid Brett). Ronnie insists that Linda is being abused, which prompts Gwen to investigate. Meanwhile, Gwen discovers a voodoo doll and sleuths to find out what is going on in the village.

Events lead her to a sanitarium, and finally to a coven of witches, intent on human sacrifice.

The Witches has a late-1960s look and feel, which adds some sophistication. Gwen is draped in stylish clothes and jewelry and wears a cute, trendy bob haircut.

The set design is cool, with groovy, colorful furniture that makes the tight budget work to its full advantage.  Alan and Stephanie’s estate is particularly impressive with modern furniture, drapes, and various trimmings.

Another positive is the hefty amount of exterior sequences offered.

Director Cyril Frankel, who directed many episodes of the popular British television series The Avengers, provides a similar production, so The Witches feels like a long episodic series. The luxurious English village is sunny, calming, and atmospheric, brightening the film’s atmosphere.

This nicely counterbalances the themes of demons, voodoo, and witches.

Frankel builds the story momentum throughout The Witches at a good pace, but this is lost in the final act, which is way too abrupt. During the first three-quarters of the production, we are led to believe that Gwen is either crazy, imagining the strange events, or that one of the townspeople is gaslighting her.

It’s easy to deduce that the latter is what is going on, and the fun is figuring out who is doing the dirty deeds.

When the culprit is revealed (and it’s displayed on the cover art!), the conclusion is underwhelming. An attempted cemetery human ritual to remove life from Linda and infuse it into Stephanie so that she can live forever is weak.

After an odd sequence of the townspeople dancing and writhing around like nutcases in an unintentionally laugh-out-loud example of overacting, Gwen foils Stephanie’s plan. The witch succumbs to death, a victim of her heinous plan backfiring.

It is hinted that Gwen and Alan (who are revealed to be good) will forge a romance in the future, but I would have liked to have gotten a stronger sense of their budding attraction during the film. Still, it is likely the two will ride off into the sunset together, safely.

While not as gory as other Hammer films, The Witches (1967) instead features exceptional performances and tells a decent story, interesting until the low-key finale.

I expected a bit more from the ending, which simmers out instead of electrifying.

1967 Films, Action, Akiko Wakabayashi, Bernard Lee, Desmond Llewelyn, Donald Pleasance, James Bond, Karin Dor, Lewis Gilbert, Lois Maxwell, Sean Connery, Tetsurō Tamba, William Sylvester

You Only Live Twice-1967

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You Only Live Twice-1967

Director Lewis Gilbert

Starring Sean Connery, Akiko Wakabayashi

Scott’s Review #636

Reviewed April 23, 2017

Grade: B+

You Only Live Twice (1967) is the fifth in the James Bond film franchise and the fifth to star iconic Bond, Sean Connery, in the lead role.

Reportedly growing bored with the role and eager to move on to meatier acting challenges, Sean Connery is not quite as mesmerizing in the role this time around, but is still indisputably charismatic and sexy with his delivery of one-liners and various affairs with women.

You Only Live Twice is the last to feature Connery until he is coaxed back into the role four years later with 1971’s Diamonds Are Forever.

The film is not among my favorite Bond films of all time, nor is it even in the top ten, for that matter, but it is still quite an enjoyable watch, and the Japanese locales are undoubtedly the highlight.

The film as a whole suffers from a silly story, dated special effects, and a completely lackluster villain, but it does have Connery to rescue it and a nice little romance between Bond and the main girl, Aki, played by Japanese actress Akiko Wakabayashi- that is, until she is unceremoniously poisoned.

The plot involves the hijacking of an American NASA spacecraft by another mysterious spacecraft. The Americans suspect the Russians of the action, and the British suspect the Japanese since the aircraft landed in the Sea of Japan.

MI6 (Bond) fakes his death in Hong Kong and subsequently begins to investigate who is responsible. His search brings him to Tokyo, where he investigates Osato Chemicals and stumbles upon evidence.

He is aided by both Aki and Tiger Tanaka, leaders of the Japanese Secret Service. Soon, it is revealed that the mastermind is SPECTRE villain Ernst Stavro Blofeld, in this installment played by Donald Pleasence.

Mr. Bond must destroy his enemy and inevitably save the world from a global nuclear war.

Though a timely storyline since 1967 was in the midst of the Cold War, the plot seems somewhat forced and a bit uninteresting. The countries blame each other for the hijacked ship, but this comes across as extremely plot-driven and secondary.

The “swallowing” of the aircraft seems cheesy and preposterous, even given the year the film was made, and the writing is not as rich as in some of the preceding Bond films, like From Russia With Love or Thunderball.

The film also has an overall “cheap” look. However, the film does have plenty of positives worth mentioning.

The gadgets that James Bond fixture, Q (the MI6 technical wizard) creates are state-of-the-art and fun. The mini-flying helicopter Bond uses is creative and offers even more views.

Bond faking his death in the opening sequence is a treat (albeit having been done before), and ceremoniously being cast off into the sea in a coffin, only to be wearing a suit and an oxygen mask inside the casket, is clever and light.

Donald Pleasence, a storied, fantastic actor, is not well cast as the main villain, Stavros, and I am not entirely sure why. The fact that his face is not shown until the last act is not helpful, and the character (though seen in other Bond films) is not compelling and is underutilized.

I would have liked the character to be a bit more visible, though surprisingly, the character was highly influential in the 1990s spoof Austin Powers films. Adorable yet creepy is Stavros, only being seen clutching and stroking a gorgeous white cat.

As for the Bond women, the Aki mentioned above is the best of the bunch. Gone too soon in the story, she is replaced by Kissy Suzuki, who is rather unappealing. Mostly clad in a skimpy white bikini and heels, and wearing a black wig, the character is forgettable and serves no purpose.

Conversely, villainous Helga Brandt, SPECTRE assassin, is very well cast and shares good chemistry with Connery. After an unsuccessful attempt to kill Bond, she is fated with a date with killer Piranhas as payment for her failure.

You Only Live Twice (1967) has a myriad of ups and downs, but it is worth watching for fans of the franchise, and specifically, fans of the classic Bond films featuring Sean Connery.

Some will argue that the film feels dated and chauvinistic, and to some degree, they are correct, but it is also a large part of a treasured franchise and a fun experience.

1967 Films, Art, Catherine Deneuve, Drama, French, International, International Drama, Jean Sorel, Luis Buñuel, Michel Piccoli

Belle De Jour-1967

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Belle De Jour-1967

Director Luis Buñuel

Starring Catherine Deneuve, Jean Sorel

Scott’s Review #486

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Reviewed September 29, 2016

Grade: A

Belle De Jour, the title translates to “lady of the day”, a French pun for “lady of the night”, a kind phrase for prostitution, is a fantastic art film.

Stylish, sophisticated, and open to interpretation (at least in my opinion), Belle De Jour is a late 1960s journey into eroticism, social norms, and sexual freedom.

Gorgeous star Catherine Deneuve has never looked better and calmly does mental conflict.

Luis Buñuel directs the film.

Severine is a wealthy, young, newlywed who seemingly has it all. She is showered with love and affection, not to mention material items, by her handsome hubby, Pierre, played by dashing Jean Sorel.

She wants for nothing as her husband is a doctor of great wealth. Yet she is unhappy and refuses to have physical relations with Pierre.

She begins a secret life as a prostitute in a posh home, only working in the afternoons, to avoid being found out. She has no regrets but is apprehensive about the clients she meets.

Throughout the film, Severine has secret fantasies about being kept in bondage and enduring various other sexual humiliations. All the while, the question is, “Is this all Severine’s fantasy or reality?”  Or perhaps merely a portion is.

The audience wonders.

Do we feel sorry for the character of Severine? Not. One could argue that she is spoiled and selfish, but she is not evil; she is somewhat confused. She is quite polite, and Deneuve fills her with kindness and even an angelic spirit.

One cannot despise her, even though on the surface one might be tempted to. What right does this woman have to rebuff her husband in place of sleazy clients? One particularly volatile client becomes obsessed with Severine and stalks her, going so far as to exact violence against her husband.

But wait, is this Severine’s fantasy or reality? Is she imagining everything and merely obediently waiting at home for her husband to return each day, or is she living this life?

Buñuel uses many shots of gorgeous Paris, including the famed Arc de Triomphe and other interesting streets and sights, which is a treat for culture fans. The use of these exteriors goes a long way to ensure that the film is clearly “French” from a visual perspective.

Indeed, in 1967, the sexual revolution was in full swing, and Belle De Jour epitomized the revolution of the times. Yet, it does not feel dated or reduced to a film “of its time”.

I find it more of a character study than a genre film, as Severine is an interesting study.

Belle De Jour challenges the viewer with an intense yet subtle story of a woman conflicted with sexual desire and repression- a film open to much interpretation and discussion.

It does what an art film is supposed to do- makes us think and ponder.

1967 Films, Action, Angie Dickinson, Carroll O'Connor, Crime Drama, Drama, John Boorman, John Vernon, Keenan Wynn, Lee Marvin, Lloyd Bochner, Mob

Point Blank-1967

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Point Blank-1967

Director John Boorman

Starring Lee Marvin, Angie Dickinson

Scott’s Review #263

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Reviewed August 8, 2015

Grade: B+

Directed by John Boorman, (later made famous for the masterpiece Deliverance in 1972), and based on the novel The Hunter, by Donald E. Westlake, Point Blank (1967) is a tense crime drama starring Lee Marvin as a man seeking revenge on those who have wronged him.

A criminal himself and involved in the mob world of deals and drugs, he is double-crossed by his partner, who takes off with his wife.

A relatively obscure film, Point Blank features obvious influences from the classics it preceded (The Getaway, 1972; Chinatown, 1974; The French Connection, 1971; and Dirty Harry, 1971) and contains some dynamic camera work and art direction.

In its day, it must have been quite a groundbreaking film.

The film begins muddled a confusing, catching the viewer off guard. We know nothing about any of the characters, who are suddenly introduced via flashbacks, interlaced with present and future scenes, so that chaos and tension fill the story immediately.

We know that someone has stabbed someone in the back, but we do not understand why or who the players are.

The film is set partly on deserted Alcatraz Island (the meeting point for a money drop, which we later learn), then moves to Los Angeles. Early on, we realize that Marvin’s character (Walker) has been tricked, shot, and left for dead by his partner Mal (John Vernon), who takes off with Walker’s share of cash…and his troubled wife Lynne.

Hell-bent on seeking revenge (and his money) on Mal and his wife (Lynne), he attempts to track the duo down using any means necessary, leading to the introduction of pivotal and mysterious characters such as Lynne’s sister Chris (played by Angie Dickinson), and Crime Organization leaders Carter and Brewster (played by Lloyd Bochner and Carroll O’Connor, respectively).

With little blood or overt violence, the film instead uses tense action scenes and a great style, and is told in a non-linear way.

One favorite scene involves Walker taking a new car for a test drive and interrogating the salesman for information. As he terrorizes the salesman, he repeatedly slams the vehicle into a pole using the car’s reverse and drive gears, increasing in intensity with each attempt by the salesman to avoid answering Walker’s questions.

Two other scenes that stand out and deserve mention are as follows: when a naked villain is nonchalantly tossed from a penthouse apartment to his death on the street, and subsequently becomes wedged under a passing car, the scene is as startling as it is well shot, especially considering the year was 1967.

In another scene, Lynne is at the beauty salon having her makeup and hair done by a stylist. Her face is captured in the mirror, and the camera shows a dozen or so images of the mirror layered on top of one another.

This looks great, inventive, and is a good example of some superlative camera shots that occur throughout the film.

A few interesting tidbits that I pondered following the film. Was the elevator scene containing Angie Dickinson (almost meaningless to Point Blank) the inspiration for the famous elevator scene from the 1980s Dressed to Kill?

Only Dressed to Kill’s director, Brian De Palma, would know the answer to that question.

How interesting to see Carroll O’Connor (later universally famous for portraying TV’s “Archie Bunker”) as a crime lord. Even though Point Blank was made before All in the Family premiered, it was tough to find him believable in this role.

Finally, I loved the scenes set high atop Los Angeles, in a gorgeous high-rise apartment- the sophisticated living room furniture arrangement and colors are great visual treats.

Taut, intense, and engaging, though admittedly a plot not always made crystal clear nor easy to follow, the film came along at a time when edgier, more experimental films were beginning to be released, which makes Point Blank (1967) a groundbreaking and influential film that undoubtedly helped bring about other crime dramas to follow.

1967 Films, Catherine Deneuve, Fantasy, Françoise Dorléac, French, Gene Kelly, George Chakiris, International, International Fantasy, International Musical, Jacques Demy, Jacques Perrin, Michel Piccoli, Musical

The Young Girls of Rochefort-1967

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The Young Girls of Rochefort-1967

Director Jacques Demy

Starring Catherine Deneuve, George Chakiris

Scott’s Review #252

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Reviewed June 30, 2015

Grade: B

The Young Girls of Rochefort (Les Demoiselles de Rochefort) is a musical fantasy set in a small French town outside of Paris.

The story focuses on a pair of gorgeous twin sisters, Delphine and Solange, played by real-life sisters Catherine Deneuve and Françoise Dorléac, who yearn to escape their small town for the bright lights of Paris and hope for romance.

The twins can have any man they want, but enjoy the thrill and excitement of conquests and being chased and sought after by seemingly all available French men. They spend their spare time discussing and fretting over various loves.

The film is so French and pure musical fantasy, and logic is not the primary focus. Much of it does not make much sense, in fact, nor does it need to. It is pure fantasy.

The film excels by being dreamlike, bright, and sunny. The vivid, bursting colors and lovely sets enhance the film’s look.

In particular, the coffee shop set is a dream. All the central characters gravitate to the café for drinks, gossip, and song and dance.

A great deal of the action takes place here, which is a significant plus to the film.

The Young Girls of Rochefort, made in 1967, is very state-of-the-art in terms of art direction and color.

The loose plot, which is not at all a reason to watch this film, is silly. The twins, longing for love, meet several men, all possible suitors, but their true motivation is to get out of Rochefort and find genuine excitement in the big city of Paris.

One cannot help but realize that the men are a means to an end for the girls.

The heartfelt part of the story belongs to that of the twins’ mother, Yvonne, who also longs for love. Yvonne runs the café and still pines for a long-lost love whom she jilted because of a funny last name. She now regrets her decision, and the audience is rooting for her to find happiness.

She is a wholesome character, whereas Delphine and Solange are selfish and are attempting to further their careers as musical artists.

My main criticism of the film is casting Gene Kelly as one of the sisters’ love interests. Far too old and well past his prime at this point, the casting doesn’t work. Yes, he is a fantastic dancer, but the age is too great to be believable.

In the end, the main reason to watch The Young Girls of Rochefort (1967) is to escape, let loose, and enjoy a bright, cheery, fantasy film.

Certainly not to be analyzed, the film succeeds in providing good escapist, cultured French fare.

Oscar Nominations: Best Score of a Musical Picture- Original or Adaptation

1967 Films, Elizabeth Davis, Gore, Gretchen Wells, H.G. Lewis, Horror, Horror-Camp, Horror-Comedy

The Gruesome Twosome-1967

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The Gruesome Twosome-1967

Director H.G. Lewis

Starring Elizabeth Davis, Gretchen Wells

Scott’s Review #8

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Reviewed June 17, 2014

Grade: B+

The Gruesome Twosome (1967) is an offbeat treat, an extraordinary, super-low-budget horror film from influential director H.G. Lewis.

This film is an enjoyable, campy, midnight-movie type of experience. The acting is completely over-the-top and played for laughs, purposely.

It felt like watching a horror version of a John Waters film, and the atmosphere and acting style undoubtedly influenced Waters.

Shots were added to fill the running time to warrant a film release. KFC and Michelob products are featured, and one favorite scene is a sorority-type slumber party where the girls dance while eating KFC.

The seven-minute intro of the talking foam heads is wonderfully strange and not to be missed.

While campy, there is one intensely gruesome scene towards the beginning of The Gruesome Twosome (1967), and it is a must-see for cult horror and/or late-night film fans.