Category Archives: 1977 Films

Alice, Sweet Alice-1977

Alice, Sweet Alice-1977

Director Alfred Sole

Starring Paula Sheppard, Linda Miller

Scott’s Review #1,343

Reviewed February 12, 2023

Grade: A-

Originally titled ‘Communion’ and re-titled and re-released as Alice, Sweet Alice in 1977, the film can proudly tout it as the debut film of star Brooke Shields. Her role, while quite small, is essential to the story.

Any film that either challenges, mocks, or showcases Catholicism, especially within the horror genre has instant appeal for me. There is something so warped yet satisfying to me.

Like The Exorcist did in 1973, Alice, Sweet Alice will leave Catholics and the otherwise religious squirming in their seats or scrambling for the ‘stop’ button on their remotes.

Director Alfred Sole, also a well-known production designer was inspired by Alfred Hitchcock’s films and the 1973 masterpiece, Don’t Look Now. Does it ever show if one looks closely enough?

The story is sometimes muddled and confusing to say nothing of implausible but the overall tone and content are fascinating. The camera angles, production design, musical score, and overall style are exceptional and make the film a major success.

On her First Communion day, Karen (Brooke Shields) is viciously strangled and set afire in church after being stuffed in a wooden chest. Her emotionally unstable and unattractive sister, Alice (Paula Sheppard) is immediately considered a suspect because of her jealousy and her possession of a translucent mask and Karen’s crucifix and veil.

Alice is no saint since she enjoys tormenting Karen and the obese landlord who lives in the apartment below her family.

Aunt Annie (Jane Lowry), a staunch catholic who hates Alice, is later stabbed on an apartment complex stairway by a childlike figure wearing a translucent mask and a yellow rain slicker. Annie insists her attacker was Alice.

In a subplot, the girls’ mother Catherine, played by Linda Miller embarks on a tender romance with her dashing ex-husband, now dating another woman, until he too is brutally murdered.

I was immediately struck smitten by the haunting musical score, a clear homage to Hitchcock’s Psycho from 1960. The shrill violins and the palpable bass are familiar bringing fond memories of that legendary masterpiece.

Instead of a direct copy though, composer Stephen J. Lawrence superbly enhances the effects to meet a more modern style horror film and it works.

Mr. Hitchcock’s fascination with stairways is also mirrored many times and Sole imprints many effective scenes using only shots of feet either walking up or down the stairs.

And, anytime a mask is used in a horror film it’s scary.

In terms of the plot, while the events are compelling, they also don’t make much sense. It would be too predictable and unsatisfying if Alice were the killer (she isn’t) although the terrific final sequence leaves room for a sequel as Alice maniacally studies a bloodied butcher knife.

However, there is a constant theme of hysterical religious judgment, punishment for sins, and sacrificing someone for the greater good. These align perfectly with the many hypocritical aspects of religion at a time when the catholic church was facing much criticism.

Characters like Aunt Annie and the wacky housekeeper, Mrs. Tredoni (Mildred Clinton) are played as over the top but work surprisingly well.

And it’s likely no accident how Sole cast the adorably handsome Rudolph Willrich as the much sought-after Father Tom.

In 1977, Alice, Sweet Alice was quite timely and fits nicely with other 1970s horror films with a religious theme.

Paula Sheppard all but carries the film though the supporting actors are all effective too. Her facial expressions teeter between soft and angelic, and demonic and cagey. It’s an exceptional part of the film.

Alice, Sweet Alice (1977) is an under-appreciated gem that needs to immediately be dusted off and uncovered by rabid horror fans seeking a superior watch.

Cinderella-1977

Cinderella-1977

Director Michael Pataki

Starring Cheryl Smith

Scott’s Review #1,333

Reviewed January 14, 2023

Grade: B

This telling of the legendary fairy tale Cinderella (1977) differs significantly from the sentimental and wholesome story of a rags-to-riches Disney princess that we all know and love.

It’s for adults only; even many adults will scurry to grab the remote and turn it off before their significant other or, god forbid, children, catch them slyly peeking at what emerges from the screen.

The film is pornographic. This fact doesn’t offend me or influence my critique and in reality, piques my interest tremendously in how the filmmakers turn Cinderella into a porn film.

It’s 1970s-style pornography with the bulk of the nudity going to the female characters with barely any male flesh to view though there is some. During the fleshy numbers, there is music and dancing to be had usually with the female performers singing while topless.

The familiar story involves a lonely prince (Brett Smiley) who tries several young women in his kingdom in his search for the one he met at a royal ball. Naturally, it’s Cinderella (Cheryl Smith) the gorgeous yet abused waif who sings and dances while doing her chores, longing for a better life.

The prince is jaded and feels no satisfaction from traditional sex as he boldly reveals in the musical number ‘My Kingdom Won’t Come’. His sex-crazed father the King (Boris Moris) decides to host a lavish ball so that his son can find what he wants.

You see, the weapon that Cinderella possesses is a special snapping female genitalia that the prince experiences at the ball while blindfolded and in an orgy. This quality is irresistible to him and he must find and be with the woman who is the one who has the magic vagina.

The film is naughtily personified and the fun is seeing how far out director Michael Pataki and screenwriter Frank Ray Perilli will go for a shock. Pataki was mostly an actor who dabbled in directing which makes sense since Cinderella feels widely experimental.

Events get off to a perfectly indecent start when the royal chamberlain played by Kirk Scott wanders the forest encountering nude females who coquettishly make out with each other for fun and the affection of the handsome man.

There is more than the sex scenes to keep one thrilled. The costumes and the makeup, specifically the disgraceful pancake colors applied to Cinderella’s devilish stepsisters are in your face and gratifying. The gowns at the ball are professional and stylish.

The film teeters into art film territory at times like when Cinderella performs a musical number while soaping in the tub and while parading through the forest.

Her wacky Fairy Godmother is a black man played by Sy Richardson who is just a burglar intent on robbing Cinderella’s home but he does provide her with her special ‘gift’.

These many idiosyncrasies make the film Cinderella a cross between a lewd John Waters film and a bombastic Russ Meyers party film.

Cheryl Smith is excellent in the title role providing a gorgeous face and figure with a lovely voice. She perfectly delivers the numbers and carries the film.

Among all the many incarnations of Cinderella, circa 1977 is the most outrageous and courageous. How this film was even made and with an R rating baffles me. It’s nearly impossible to find on streaming or in stores and a mere spontaneous purchase was how I was even able to see it.

My suggestion is for cinematically creative film fans to give Cinderella (1977) a whirl but with extreme caution. Viewed with the wrong companions could be disastrous and a 3 am start time with adult nibbles is highly encouraged.

No kiddies allowed.

Julia-1977

Julia-1977

Director Fred Zinnemann

Starring Jane Fonda, Vanessa Redgrave, Jason Robards

Scott’s Review #1,283

Reviewed July 31, 2022

Grade: A

Jane Fonda leads the charge in a powerful, and gorgeously shot, drama named Julia (1977) centering around pre-World War II and the impending Holocaust.

The drama is based on the writing of Lillian Hellman, a famous playwright, which depicts the relationship between two close friends and its unexpected consequences when one desperately needs help from the other.

When Lillian (Fonda), a renowned playwright, reunites in Russia with her childhood friend Julia (Vanessa Redgrave), the writer is asked to smuggle funds into Germany to aid the anti-Nazi movement. In the mix is Lillian’s mentor, Dashiell Hammett (Jason Robards), who is unaware of her dangerous assignment.

I immediately relish the film mainly because the message is extremely female-empowering and a dynamic friendship between two women is examined. This does not happen enough, successfully, in films even to this day.

Given the World War II theme, one would naturally assume the film would center around men, not women, and plenty of female spies and the like, are featured.

Added to the mix is the astounding cinematography of Germany, Poland, and Russia. In truth, the film was shot in England and France for security and restrictive reasons but it could have fooled me since the countries look authentic and believable.

Julie looks polished and that’s hardly a gripe. The production design and costumes are perfectly shot and colored to perfection. It’s not a dowdy or drab film and it depicts little amount of violence or torture choosing to focus on relationships and intrigue.

The suspenseful train sequence is brilliant in every way, sprinkling in Hitchcokian bits along with enough nail-biting to make the long scene a key takeaway. Lillian must keep secret her intentions as she traverses toward Russia and each train scene whether it’s the peril of being checked while crossing the border, or eating in the dining car, is captured with perfection.

A slight suspension of disbelief is the casting of the beautiful Fonda as the plain-looking playwright Lillian Hellman. In some scenes, she is made up to look haggard, tired, and homely but the trick never works for a minute.

It’s even giggle-worthy and recommended to sit back and watch Fonda give a splendid performance forgetting altogether that she is portraying the writer.

In other movies, it might have only been about Fonda from an acting perspective but in Julia, the spoils go round and round. At the very least Redgrave, Robards, and Maximilian Schell, who plays a pivotal character named Johann, must be mentioned. Each brings professionalism and believability to their characters.

But quieter parts by a woman passenger and a girl passenger are my favorites. They go from cheery to serious, speaking in a sort of code, not stating they are helping Lillian, but obviously, they are using facial expressions to reveal true alliances.

A delightful point to make is that Julia is Meryl Streep’s first film role, albeit in a tiny part.

Speaking of Redgrave, when she won the Best Supporting Actress Academy Award she made an infamous speech that marks a great controversy.

In her acceptance speech, she thanked Hollywood for having “refused to be intimidated by the threats of a small bunch of Zionist hoodlums whose behavior is an insult to the stature of Jews all over the world and to their great and heroic record of struggle against fascism and oppression”.

This was preceded by members of the Jewish Defense League picketing the ceremony and followed by some boos and retorts to her comments.

But back to the film, Julia does not end in a happily ever after way. A major character is killed and a baby is lost forever. But, that’s part of the truth about creating a film that harkens back to a day when non-conformity led to death.

Julia (1977) is a vital film that still holds up tremendously well and in a world still filled with chaos and oppression, it’s a great reminder of the power of cinema.

Oscar Nominations: 3 wins-Best Picture, Best Director-Fred Zinnemann, Best Actress-Jane Fonda, Best Supporting Actor-Jason Robards (won), Maximilian Schell, Best Supporting Actress-Vanessa Redgrave (won), Best Screenplay-Based on Material from Another Medium (won), Best Cinematography, Best Costume Design, Best Film Editing, Best Original Score

Cross of Iron-1977

Cross of Iron-1977

Director Sam Peckinpah

Starring James Coburn, Maximilian Schell

Scott’s Review #1,140

Reviewed May 8, 2021

Grade: B+

Cross of Iron (1977) is a film that sticks with you. I appreciate that it’s not a standard, cookie-cutter war film that too often graces the big screen decade after decade featuring different wars but applying virtually the same message. The tone is usually pro-United States with little explanation or defense of the other guys.

This is not one of those films.

That said, I could have used more of a straightforward approach because Cross of Iron is all over the place. It’s like a fragmented puzzle that doesn’t add up or come together but the experience is something both mind-blowing and unforgettable.

Sometimes confusing and unpleasant, it’s directed by Sam Peckinpah so anyone possessing knowledge of some of his other works knows what the experience will be like.

His best films, Straw Dogs (1971) and The Getaway (1972) are famous for their lightning-fast editing sequences galore and sudden still frames. Violence and mistreatment of female characters are also Peckinpah staples and Cross of Iron sure has those elements.

But it’s not on the level that Straw Dogs and The Getaway is as far as a solid storyline. Not even close.

The synopsis goes something like this. The time is World War II and Corporal Rolf Steiner (James Coburn) is a well-respected member of the German military and a recipient of the Iron Cross, Germany’s highest military honor. He leads a group of soldiers to battle somewhere in Russia, presumably.

Envious of Steiner’s Iron Cross award, Captain Hauptmann Stransky (Maximilian Schell), a Prussian officer clashes with Steiner when he joins the unit near the Russian front. Desperate to receive his own Iron Cross, Stransky takes the credit for a significant attack and sparks a heated rivalry with Steiner.

Mixed in with all this machismo drama between Stransky and Steiner are several brooding German soldiers, one French soldier, and a rescued Russian boy. A homosexual relationship between the French soldier and another soldier is discovered by Stransky and used as blackmail while Stransky himself may also be gay. Yet another soldier kisses a fellow soldier on the mouth.

Sadly, these story points go nowhere. And I didn’t care one iota about the Iron Cross.

To add to the confusion, a few of the German soldiers appear to be German while the others, especially Steiner, seem American. They frequently denounce Hitler which makes the viewer wonder why they are fighting for him. Are they forced to? Were many German soldiers not pro-Hitler but had to fight to avoid execution?

Again, these points are not explained.

The film introduction features children singing German songs amidst real-life footage of Hitler and Nazis and the conclusion also features children singing and still frames of children suffering during the war.

The sequences, while powerful, have nothing to do with the story since the story has nothing to do with children except the one lone Russian boy.

If you can get past the cloudy storylines Cross of Iron has some delicious stuff to chew on. Besides the fantastic editing, the film features one of the most intense and interesting scenes I’ve witnessed in a long time.

When the soldiers stumble upon a group of female Russian detachments things heat up. A despised Nazi Party member takes one of the women into a barn and rapes her. She bites off his penis and he kills her. Steiner allows the remaining women to exact revenge on the rapist and they beat him to death.

A couple of things stand out in this scene. As much as Peckinpah usually reduces his female characters to victims, in this scene there is a strong feminist angle which I love.

Were there Russian female soldiers in real life including a high-ranking major? Steiner allowing the women to kill the Nazis would make his group anti-Nazi?

There is a lot to ponder throughout and after watching Cross of Iron (1977). I’m not sure if I’m a huge fan of the film or ever need to see it again but maybe I should. So much goes on throughout the film that either adds or detracts from the experience that it’s a perplexing watch.

I’d add much more to the relationships between the characters, especially the male-male sexual dynamic to bring more substance.

The dynamic of Steiner taking the Russian boy under his wing had more to offer and I’d also reduce the number of battle scenes seemingly thrown in every so often to prove or justify that Cross of Iron is a war film.

Airport ’77-1977

Airport ’77-1977

Director Jerry Jameson

Starring Jack Lemmon, James Stewart, Olivia de Havilland

Scott’s Review #1,072

Reviewed October 20, 2020

Grade: B+

The word that springs to mind following a viewing of the disaster flick Airport ’77 (1977) is entertaining. Whether this is positive or negative depends on the viewer and what that viewer wants out of a film.

As a huge fan of the disaster genre, I was one satisfied customer though there is little to distinguish the film from other efforts. It is a more cohesive and professional-feeling effort than its predecessor, Airport ’75.

The fun is watching the cast, the grandiose list of who’s who of Hollywood heavyweights gracing the opening credits.

We wonder who will survive and who will not.

The star is the airplane. Showcased by way of both interiors and exteriors, the luxurious privately-owned Boeing 747-100 is a great highlight of the picture.

Owned by wealthy philanthropist Philip Stevens (James Stewart), the plane is packed with VIPs and priceless art traveling to his Florida estate for a party.

The wealthy travelers are drugged, and the aircraft is subsequently hijacked before crashing into the ocean in the Bermuda Triangle and sinking 100 feet, prompting the survivors to undertake a desperate struggle to live.

The airplane set is a feast for the eyes. A double-deck plane (naturally!) the plush green carpets and the spiral staircase complete with a robust bar stocked with every type of liquor imaginable are wonderful trimming.

It allows the viewer to forget all about the typical in-flight treats like their seat being kicked, a screaming baby, or a fat man snoring, and escape to the pleasures of champagne, caviar, and slippers.

Seriously, the sets are tremendous and worthy of their accolades.

Jerry Jameson, primarily a television director, sticks to a formulaic approach that makes the film look like a long television series. Think Murder, She Wrote, Dallas, or Dynasty at 30,000 feet.

I say this because the melodrama is sky-high (no pun intended) and situations arise between flight crew and passengers to create more tension than the crash itself.

The juiciest drama exists between husband and wife Martin (Christopher Lee) and Karen Wallace (Lee Grant). He flirts with women at the bar, drinks too much, and gets jealous. They squabble. You get the idea.

What a joy it is to see some of the stars on-screen together, specifically Stewart, Olivia de Havilland, and Joseph Cotten. As Nicholas, Cotten is a romantic match for de Havilland’s Emily Livingston, and they appear to be old friends.

Fans of classic cinema will undoubtedly associate him with Shadow of a Doubt (1943) and her with Gone with the Wind (1939) and to see the legendary stars side by side is darling, nearly worth the price of admission.

Stewart is perfectly cast as the rich and distinguished man eager to see the impending arrival of his estranged daughter and her son, hopeful of a happy reunion.

These delights are why I love this genre.

The actors teeter back and forth between phoning in their lines and enthusiastically having a ball with their respective roles. Sometimes it’s hard to tell which is which. I’ll bet the set was tension-free as everyone was earning a bundle of cash.

And why not? The budget is plentiful and filled with overabundance.

The plot is generally ludicrous as is to be expected. The thought that anyone, let alone nearly everyone, could survive a crash into the ocean and remain unscathed as it sinks to the depths of the water is beyond silly.

Suddenly, when all passengers conveniently emerge from their drug-induced stupor simultaneously, hysterics erupt which is quite humorous. As the water slowly begins to seep into the plane a frenzied effort to find a way out commences.

The last portion of the film involving a rescue crew coming to save the passengers is a disappointment, lacking much captivation.

Airport ’77 (1977) has all the elements its target viewer expects it to have. If the well-known cast were instead unknowns the crash peril and its following adventure were not danger personified, and the dramatic and romantic tensions left out, the film would be a disappointment.

The film is like sinking your teeth into a fattening, highly caloric Whopper from your favorite Burger King. It’s a guilty pleasure that you wouldn’t necessarily tell your health-conscious friends you get so much enjoyment from.

But, it’s fun, so why not indulge from time to time?

Oscar Nominations: Best Art Direction, Best Costume Design

1900 (Novecento)-1977

1900 (Novecento)-1977

Director Bernardo Bertolucci

Starring Robert De Niro, Gerard Depardieu

Scott’s Review #984

Reviewed January 28, 2020

Grade: A

An epic to rival all epics, 1900 (Novecento) (1977) is a grandiose offering of monumental proportions featuring legendary actors and created by a brilliant director.

With a running time of a whopping three-hundred and seventeen minutes in its original version, 1900 is known for being one of the longest commercially released films ever made.

The cinematography is breathtaking, and the historical values, like friendship, class distinction, and rivalry are outlined and explored in depth.

The key is to let the experience marinate and blossom with a slow and patient build.

Brilliant director Bernardo Bertolucci’s tale follows the lives of two Italian men, a peasant named Olmo (Gerard Depardieu) and landowner Alfredo, (Robert De Niro), both ironically born on January 1, 1900.

Inseparable as children, the two become estranged as their differing social status pulls them apart. Their conflicts mirror the political events in Italy, as both fascism and socialism gained prominence in the country.

Here is a bit of background on the film.

Due to its length, the film was presented in two parts when originally released in many countries, including Italy, East, and West Germany, Denmark, Belgium, Norway, Sweden, Colombia, Pakistan, and Japan.

In other countries, such as the United States, a single edited-down version of the film was released.

The latter is not the way to watch this film. I do not like severely edited films, especially in an epic such as 1900, so the full-length version is highly recommended.

The film opens on April 25, 1945, the day Italy is liberated from the fascists, and this is key to the political message Bertolucci crafts. As peasants revolt against the owner of the land, Alfredo (De Niro), and female laborers wield deadly pitchforks, the resulting ambiance is one of chaos.

We know nothing of Alfredo yet but know enough to realize he is rich and perceived as a tyrant. The natural reaction is to sympathize with them because they are oppressed.

As the film backtracks to the turn of the century, a more elegant scene emerges with the birth of two infants, Alfredo and Olmo. The sequence is sweet, both babies are bright and filled with promise.

Sadly, this is not meant to be.

A railway track is an important addition to the film and one that culminates in the climactic finale.

The most interesting aspect of the film is the dynamic development of Alfredo and Olmo as they grow. Alfredo resents his family’s wealth and sides with Olmo, a socialist. Alfredo sees his family as false and Olmo and his family as genuine.

This aspect is timeless and can be related to by any viewer with any intelligent sense of the world today. The obvious analogy of the haves and have-nots cannot be clearer in this film. Frightening, is that some have-nots are convinced they will one day become the haves.

The messages and feelings that 1900 elicited are emotional and strong. Aren’t all men created equal? On the surface they are, but Alfredo and Olmo are not equal. As the birth scene reveals and as Bertolucci makes clear, they are born with advantages and disadvantages.

These characteristics simply are what they are, and as human beings grow and learn social norms the financial differences become more robust and the humanistic connections weaker.

If the social aspects of the film or the brilliant cinematography are not enough to please a viewer, the historical lessons presented are second to none. One can revel in the political and historical excitement that existed in Europe throughout the forty-five years in which the film is set.

I wish Hollywood made more films like this.

1900 (Novecento) (1977) can be enjoyed as both a grandiose dramatic period piece, revered for its majestic and flourishing design style, or as a thought-provoking message film, about the unresolved social class distinctions that exist in the world.

I found the film a treasure that works on all levels and showcases just how good a director Bertolucci is.

This film is not his best-known work, but for fans of cinema as an art form, this is a must-see.

High Anxiety-1977

High Anxiety-1977

Director Mel Brooks

Starring Mel Brooks, Madeline Kahn

Scott’s Review #740

Reviewed April 11, 2018

Grade: A

For lovers of legendary film director Alfred Hitchcock (as this reviewer is a die-hard fan), the 1977 spoof/satirical feast High Anxiety is a must-see.

The film is simply a treat for the multitude (nearly twenty!) of fun references to Hitchcock classics that fans can easily point out. Such classics as 1964’s The Birds, 1945’s Spellbound, 1958’s Vertigo, and 1960’s fan-favorite Psycho are heavily parodied.

Producer, director, and star Mel Brooks abounds all expectations with a brilliant performance and a smattering of veteran Brooks ensemble players along for the ride.

Featured stars Madeline Kahn, Harvey Korman, and Cloris Leachman provide wonderful comic performances that are quite lively and memorable without ever being too zany or silly.

High Anxiety is a hilarious and clever production.

Brooks plays neurotic Doctor Richard Thorndyke, who has been hired by the Psycho-Neurotic Institute for the Very Very Nervous. His role is to replace Doctor Ashley, who has died mysteriously at the facility.

Transported by his nervous driver, Brophy, he meets a bevy of peculiar characters led by Doctor Charles Montague (Korman), a man with a BDSM fetish, and Nurse Charlotte Diesel (Leachman), the grizzled head nurse.

Thorndyke immediately receives death threats amid strange shenanigans seemingly following his every move.

Brilliantly, Thorndyke suffers from “high anxiety” a witty reference to Hitchcock’s character of Scotty from 1958’s Vertigo.

As he meets and falls in love with Victoria Brisbane (Kahn), a woman whose father is a patient at the facility, he becomes determined to prove the fraudulence and deceit of Montague and Diesel, while subsequently clearing himself of a murder charge orchestrated by the pair.

The murder scene- occurring in a crowded lobby- with Thorndyke caught red-handed holding the murder weapon as a camera snaps the shot for evidence, is a direct spoof of 1959’s North By Northwest.

To be clear, High Anxiety is not a high-brow film nor does it ever dare to take itself too seriously. It knows what it is and what it wants to achieve and that is to both entertain and please fans of Hitchcock.

The film is an ode and tribute to the general film-making of the director who reportedly adored the picture and the accolades that Brooks received for making it.

There is hardly a better stamp of approval than that.

I adore the casting and the odd characters Brooks writes, specifically Leachman and Korman. The duo ham it up with a script laced with great comic moments for the duo to sink their teeth into.

As Leachman, with her drill sergeant-like stiff posture and pointed bosom (Mrs. Danvers from 1940’s Rebecca), combined with the wimpy and snarky mannerisms of Korman’s character, they are the perfect combination of female dominant and male submissive as they play off of one another in a crisp style.

The sinister way that Nurse Diesel (my favorite character) utters the word “Braces”, a reference to her henchman, drizzles with dark humor and wit.

Piggybacking off of these characters, Dick Van Patten (Eight is Enough) gives a fine turn as the doomed straight man with a conscience,  Dr. Wentworth, who just knows something is up at the facility but is too timid to know exactly what it is.

His death scene is one of my favorites as derived from 1976’s Family Plot, the poor man is driven to ruptured eardrums and a subsequent stroke after his car is rigged to blast rock music, trapping him inside.

Brooks and Kahn make a lovable duo as the beleaguered romantic couple is forced into an adventure to prove innocence and rescue Victoria’s father from harm.

A favorite moment is Brooks’s wonderful rendition of the song “High Anxiety” at a hotel piano bar as he successfully woos Victoria is an entertaining romantic comedy moment.

Predictably- he gets the girl.

High Anxiety (1977) is delicious, silly, and peppered with great classic Hitchcock moments that are momentously fun to watch and pick out which movie they each reference is from.

An absolute must-see for all Hitchcock fans or those who simply want a humorous, lightweight introduction to the works of the Master.

The Spy Who Loved Me-1977

The Spy Who Loved Me-1977

Director Lewis Gilbert

Starring Roger Moore, Barbara Bach

Scott’s Review #637

Reviewed April 27, 2017

Grade: A-

The Spy Who Loved Me (1977) is pure James Bond- an installment of the franchise that successfully contains all of the elements of an exceptional Bond film- and then some.

By this time Roger Moore was firing on all cylinders and had made the character of James Bond his own- Sean Connery who?

With his third appearance in the role, Bond exudes charisma and wry wit, combined with a fabulous story, sexy Bond girls, and a villain worthy of his role, The Spy Who Loved Me achieves near perfection, save for too drawn out of an ending- otherwise, an excellent, memorable film that does not feel dated in the least.

When Soviet and British submarines begin to vanish, the two sides team up and send their best agents forward to uncover the circumstances surrounding the disappearances.

Barbara Bach plays Major Anya Amasova, also known as Agent Triple X, a Soviet agent, and naturally Bond becomes enamored with her beauty and intelligence.

Together they face off against a megalomaniac named Karl Stromberg, who is intent on destroying the world with nuclear missiles and creating his underwater world. Stromberg’s sidekicks are Jaws, a giant with steel teeth, and a deadly vixen named Naomi.

Interestingly, if watched as a companion piece to a Bond film of the 1960s, as I did this time around (You Only Live Twice), the viewer will notice the change in how Bond female characters are treated.

No longer servile and obedient to the male characters (Bond specifically) Bond women are now his equals in every way, matching him in career success and intelligence.

The main “Bond girl”, (Anya), is a shining example of this, which the film immediately offers. In one of my favorite scenes, Anya is in bed with a handsome man- when “Agent Triple X” is paged, we assume the agent is the man until Anya slyly responds to the message- it is nonchalant, yet a brazen way to make the point that women have emerged as powerful and sexy figures in the modern Bond world.

The chemistry between Moore and Bach is immeasurably important to the success of the film and their romance is dynamic- they simply have “it” and their scenes smolder with sensuality. To complicate matters, Bond has killed an agent whom Anya was in love with and she plans to kill Bond as soon as their mission is victorious.

Director, Gilbert, also adds a slice of Bond’s back story- giving truth and rich history to the story and mentioning Bond’s deceased wife (married and killed in On Her Majesty’s Secret Service), a subject Bond deems off-limits.

This ode to the past only enhances the connection between these two characters.

Villains play an important part in the success of The Spy Who Loved Me.

Take Stromberg- he is sophisticated, mature, worldly, and rich- and quietly insane. He also has a lavish dining room in his underwater submarine with exotic fish swimming about through visible tanks- a gorgeous element to this film.

Through a trap door,  victims meet their demise by a vicious killer shark swimming about. One unlucky female assistant, who has double-crossed Stromberg, meets her maker in bloody fashion. Later, Bond sees a severed hand floating about in one of the tanks.

This is great creative writing and adds nuances to the film.

Hulking henchman, Jaws, who would return in the next installment, Moonraker, dazzles and impresses with his deadly, steel teeth.

A great scene, aboard a high-speed train, and a throwback to 1963’s From Russia With Love, is action-packed.

Naomi meets her demise after an ill-fated helicopter chase scene. I would have liked to have gotten more screen time and gotten to know this character. Her brief, but obvious flirtation with Bond is all too short- and he never even gets to share a bed with her!

Not to be outdone, the locales in the film are lavish and gorgeous- Egypt and Italy are countries explored, and scenes are shot on location in each country in grand fashion.

The Egyptian pyramids are featured as a chase and a murder occur during a nighttime exhibit- also fantastic are the gorgeous shots of Sardinia- a beautiful region in Italy, where Stromberg’s hideout is set.

A mini gripe is a lengthy conclusion to the film. As Bond struggles to recalculate the two nuclear missiles set to destroy New York and Moscow, Bond must rush to make sure they do not hit their intended target.

The “final act” of the film just goes on too long with way too many soldiers and men running around in a panic. The action is great, but enough is enough by the end.

Roger Moore once commented that The Spy Who Loved Me (1977) was his favorite of all the Bond films to make- it is easy to see why he felt this way.

The film contains all of the necessary elements to make it one of the top entries in all of the film franchises and has a magnificent feel to it.

Oscar Nominations: Best Original Score, Best Original Song-“Nobody Does It Better”, Best Art Direction

3 Women-1977

3 Women-1977

Director Robert Altman

Starring Shelley Duvall, Sissy Spacek

Scott’s Review #578

Reviewed January 1, 2017

Grade: A

Robert Altman is one of my all-time favorite directors and what a pleasure it is to uncover additional gems that he has directed over the years.

I have seen 3 Women (1977) before but some films (the true greats) are like fine wines and get better and better over time, in addition to being appreciated more and more with each passing viewing.

3 Women is a prime example of this. The level of psychology and the changing personalities of the characters make it a unique and brilliant experience.

3 Women is a psychological feast and the study of three complex characters, hence the title.

How fantastic how Altman claimed to have dreamed the entire film, complete with Duvall and Spacek in the roles, and then attempted to recreate the dream on film- he has done a masterful job.

The film is dream-like with an interpretive element that will leave the viewer pondering not only the relationships between the three women but who exactly each woman is- consciously and sub-consciously. Lots of questions will abound as the film concludes.

The main relationship is between the characters portrayed by Duvall and Spacek.

Duvall plays Millie Lamoreaux, a chatty and confident woman, who works at a California health spa for elderly clientele. She is statuesque and gorgeous, but surprisingly not well-liked by her colleagues, two of whom are mysterious identical twins.

New employee Pinky Rose is a shy and vulnerable mousy type, who takes an immediate liking to Millie, becoming somewhat obsessed with her. The pair eventually move in together and begin to engage in a mysterious and sometimes volatile friendship dripping in jealousy and lust.

Eventually, they switch personalities, only adding to the mystique of the film. They reside in the Purple Sage Apartments, run by Edgar and Willie Hart.

Willie is the third woman referenced in the title and is a pregnant painter, creating unsettling murals marveled at by Pinky.

It has been argued that 3 Women was an influence on the David Lynch masterpiece, Mulholland Drive (1992), and the more I ponder this the more that I agree with it.

The dream-like, surrealistic qualities are prevalent in both films.

Peculiar, strong-willed women are the central characters in both films and psychology and amnesia are the main themes. The southern California setting is identical as are the interpretive elements, and the fantastically odd characters- both lead and supporting.

When Pinky’s elderly parents are introduced, this is uncanny to a pair of grandparents featured in Mulholland Drive. Both are superior films so the comparisons are a joy to think about and ponder the complexities.

Ingmar Bergman’s 1966 psychological film Persona is most certainly a large influence on 3 Women. That film dared to explore merging personalities among women.

The final scene of 3 Women is intense and thought-provoking. The lives of the women carry on following a tragic event, but each takes on a certain persona and role within the family unit that they have forged.

Among other qualities, I view 3 Women as a feminist film, despite being directed by a male. Altman was famous for allowing his actor’s free reign in dialogue and development and this most certainly had to be the case with 3 Women.

One of Altman’s masterpieces.

Altman is a genius in nearly every film that he creates, but 3 Women is probably his most cerebral, and the film that can be talked about and analyzed more than the others.

What a pure treat for a complex film lover to explore. 3 Women (1977) is not for mainstream audiences nor is it meant to be.

Eraserhead-1977

Eraserhead-1977

Director David Lynch

Starring Jack Nance, Charlotte Stewart

Scott’s Review #541

Reviewed December 10, 2016

Grade: B+

Eraserhead is one of the oddest films that I have ever seen. The film is an early (1977) David Lynch film and is shot entirely in black and white.

It is a surrealist horror film.

Entrancing is the locale of the film- a bleak wasteland, of sorts, in an even bleaker town. The name is unknown.

Factory worker Henry Spencer (Nance) is garish in appearance/with spiky hair, and wild eyes, he is peculiar, to say the least.

He trods day after day, to and from his job, meeting interesting, yet grotesque characters. He has a child, who is inhuman with a snakelike face.

Henry meets an odd woman while carrying groceries home, and his apartment is filled with rotting vegetation.

While not one of Lynch’s best works, since the “plot” is incomprehensible to follow or make very much sense of, still, Eraserhead is a blueprint for his later works, with odd visuals, and even odder characters, and is to be revered for its imagination alone.

The film is fascinating in its weirdness, but I probably never need to see it again.

It’s a must-see for any David Lynch fan for the warped experience.

Desperate Living-1977

Desperate Living-1977

Director John Waters

Starring Mink Stole, Liz Renay

Scott’s Review #534

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Reviewed December 4, 2016

Grade: B

Desperate Living (1977) will not be everyone’s cup of tea. It is a raunchy, late-night comedy, similar to other John Waters-directed cult classics.

This one, however, suffers from the absence of Waters staple, Divine, who did not appear due to scheduling conflicts.

For this glaring omission, Desperate Living is not the greatest of the Waters films, but it is a fun experience all the same.

The film has choruses of political satire, specifically fascism, and overthrowing the government.

Mink Stole (Peggy Gravel) takes on the lead role as a crazed, mentally unhinged, neurotic woman on the lam with her maid, Grizelda, after they accidentally cause the death of Peggy’s husband.

Peggy has been in and out of mental hospitals and is clearly off her rocker as she yells at neighbors about communism.

After an encounter with a lewd police officer, the duo is banished to Mortville, a town filled with outcasts and social deviants. They align with others in the town to overthrow the tyrannical Queen Carlotta, played by Waters fixture Edith Massey.

Carlotta plots to spread rabies throughout the community and is at war with her daughter, Princess Coo Coo.

The issue with Desperate Living is the absence of Divine, originally set to play Mole McHenry, a self-loathing female wrestler, determined to receive a sex change operation.

One imagines the Divine in this important role, which was played by Susan Lowe, a capable star, but no Divine. With Divine in the part, the hilarious possibilities are endless.

Mink Stole carries the movie well, but traditionally being a supporting player in Waters’s films, is not quite the star the film needs to be a true success.

This is not to say that the film is a dud- it is entertaining and will please most Waters fans. It contains gross-out moments and vulgarity from the very first scene- as the opening credits roll, we see a roasted rat, daintily displayed on good china, on an eloquent dinner table, presumably to be served.

Later, Carlotta meets her fate by being roasted, pig style, on a spit with an apple in her mouth. Another character is executed by being shot in the anus. The offensive moments never end!

There also exists a quite controversial scene that I am surprised made the final cut. Peggy, already in a frazzled state due to a neighbor boy accidentally shooting out her bedroom window, is shocked to find another boy playing “doctor” with a little girl in her downstairs basement.

Both children are completely naked, leaving not much to the imagination. This scene is tough to watch as one wonders what the child actors thought of all of this.

I have never viewed another scene quite like this in film.

Otherwise, Desperate Living is filled with cartoon-like characters, lots of sexually deviant leather men, grizzled men with facial hair, and other odd-looking characters, making up the community of Mortville.

Water’s set creations for the exterior scenes of the town are great using mainly cardboard and rubbish he found throughout Baltimore where the film was shot, the sets show a bleak yet colorful underworld.

Desperate Living (1977) is a raunchy good time with over-the-top acting, trash-filled moments, and laugh-out-loud fun.

The lack of any Divine makes it not the first offering to watch from the Waters collection. Pink Flamingos (1972) and Female Trouble (1974) would take that honor.

Suspiria-1977

Suspiria-1977

Director Dario Argento

Starring Jessica Harper, Joan Bennett, Alida Valli

Top 100 Films #54     Top 20 Horror Films #14

Scott’s Review #339

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Reviewed January 9, 2016

Grade: A

Suspiria is a horror masterpiece, made in 1977, by my favorite Italian horror director, Dario Argento.

A combination of complex storytelling, glossy colors, and a unique art direction, makes this film a treasure and an influence in “the look” of a film attempting to achieve an interesting art direction choice.

The color red is highly prevalent throughout Suspiria, which makes sense due to the subject matter of witchcraft and demons. The musical score is brilliant and chilling.

This film is perfect and one of my favorites.

The film takes place in Germany and the opening sequence is fantastic. We meet our heroine, Suzy Bannion (Jessica Harper), an American ballet student, as she arrives in blustery Munich to attend a prestigious ballet school.

The shot of the driving wind and rain as she exits the airport is a great example of the ultimate style of this film.

Suzy meets a creepy taxi driver who drives her to the school, where she witnesses a frantic student, Pat Hingle, fleeing the school. Suzy is then denied access to the school by a mysterious voice over the intercom.  The focus of the film then shifts briefly to Pat’s perspective as she meets a sinister fate when she stays with a friend.

One fantastic aspect of Suspiria is we know something is wrong with the ballet academy, we just do not know what or who it involves. With great creativity, Dario Argento builds a set that is modern, and sophisticated but laced with an underlying menace.

As we meet the supporting characters, Madame Blanc (Joan Bennett) and Miss Tanner (Alida Valli), we know something is not right with them either. Blanc is kindhearted; Tanner is a drill sergeant, but both seem to have something to hide and claim to know nothing of Pat’s terror.

There is also Daniel, the blind piano player, whose seeing-eye dog suddenly turns vicious.

The plot is complex and does not always make perfect sense, but the elements of Suspiria make it a masterpiece.  Pat’s death scene is laced with greatness as she dangles from a high glass ceiling dripping blood. Her hysterical friend is sliced to bits by the falling glass.

This is the best double-death scene in horror film history.

When creepy maggots invade the school leaving the girls feeling for safety, the film goes all out. A later scene involving Suzy’s best friend and fellow student, Sarah, attempting to flee the school via the basement, only to struggle in a pit of razor wire is splendid.

Much of Suspiria is dubbed in English mainly due to the actors either speaking German or Italian, but Jessica Harper and Joan Bennett have distinguishable voices, which lend texture and richness to the dialogue.

Suspiria (1977) is a grand horror film, not solely for its mysterious story, but for all the added components that Argento throws into the mix- strange characters, weird sets, and the heavy dose of blood-red- pretty fitting.

Annie Hall-1977

Annie Hall-1977

Director Woody Allen

Starring Woody Allen, Diane Keaton

Scott’s Review #48

261909

Reviewed June 19, 2014

Grade: A

Annie Hall (1978) is one of Woody Allen’s finest works and that says something as his list of wonderful films goes on and on (Manhattan, Blue Jasmine, and Interiors) are gems.

Annie Hall is a witty, intelligent, great comedy. It is sharply written, quirky, and neurotic all rolled into one.

Comedy is a tough genre. Romantic comedies are even tougher to get right.

My favorite part of the film is Woody Allen himself. Some might say he plays himself, but he is engagingly hysterical as the neurotic, skeptical, Jewish, cynical New York man named Alvy.

He meets and falls in love with equally neurotic Annie Hall, played by Diane Keaton.

They quarrel, love, and traverse from New York to California and back.

There are some very funny scenes (lobster, movie theater line, and the drive-through Manhattan), and the intelligent, crisp dialogue makes this a top-notch comedy.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Woody Allen (won), Best Actor-Woody Allen, Best Actress-Diane Keaton (won), Best Screenplay Written Directly for the Screen Based on Factual Material or Story Material Not Previously Published or Produced (won)