Tag Archives: 1965 Films

1965 Films, British, Donald Sutherland, Hammer Horror, Horror, Maurice Kaufmann, Peter Vaughan, Silvio Narizzano, Stefanie Powers, Tallulah Bankhead, Yootha Joyce

Die! Die! My Darling!-1965

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Die! Die! My Darling! -1965

Director Silvio Narizzano

Starring Tallulah Bankhead, Stefanie Powers, Peter Vaughn

Scott’s Review #1,437

Reviewed September 2, 2024

Grade: B

Die! Die! My Darling! (1965) is a British horror film released under this name in the United States, but it was initially titled Fanatic in the United Kingdom. This was frequently done for marketing purposes.

The film follows a young woman, played by Stefanie Powers, who wanders into the clutches of an old wacko, played by legendary actress Tallulah Bankhead. The once-sultry actress is unrecognizable as an elderly, hobbling old crone who is a religious freak.

She blends nicely into the 1960s trend of a once sexy and acclaimed actress going the horror route sans glamour or makeup. Bette Davis did the same thing, most notably in 1962’s What Ever Happened to Baby Jane? who Bankhead’s character is similar to.

One could argue that Davis led the pack with heavyweights like Joan Crawford, Joan Fontaine, and Veronica Lake.

Patricia Carroll (Powers) plays an American woman who travels to London to marry her boyfriend, Alan (Maurice Kaufmann). While there, Patricia decides to visit Mrs. Trefoile (Bankhead), the mother of her deceased ex-fiancé, to pay her respects and chat with the woman before marrying Alan.

Upon arriving, however, Patricia discovers that Mrs. Trefoile’s grief over her son has transformed her into a lunatic, and the woman plans to ‘save’ Patricia by holding her prisoner and helping her see God’s light.

Mrs. Trefoile’s staff—the housekeeper, Anna (Yootha Joyce), the groundsman, Harry (Peter Vaughn), and the mentally challenged, Joseph (Donald Sutherland)—are along for the ride.

The film is a perfect late-night watch and should not be taken too seriously. Once Patricia is locked in the upstairs bedroom of the quaint English cottage, it’s no surprise that she will eventually escape.

The fun is watching her many attempts at freedom and the inevitable conclusion.

Director Silvio Narizzano provides genuine thrills and peril that would make Hitchcock proud. When Patricia crafts a makeshift rope by tying bed linens together to climb down the side of the house, I hold my breath, hoping she will make it as she carefully scales past two characters chatting near a window.

The comical element is how she cannot physically overpower the older woman or Anna. She is younger, more muscular than either, and has the will to survive.

But Die! Die! My Darling! It isn’t meant to be analyzed but merely enjoyed. Narizzano fulfills that request with a nice set design of the cottage interiors, superior acting by Bankhead and Powers mainly, and real moments of peril the audience can enjoy.

As a viewer, I felt emotionally invested in the characters and couldn’t wait for Patricia to escape and Mrs. Trefoile to give her desserts.

I mostly enjoyed Patricia’s determination and battle with the wicked older woman. Some characters might have cowered to her demands, but Patricia remained strong in what was undoubtedly an effort to provide for 1960s feminism.

This counterbalances nicely with Mrs. Trefoile’s old-fashioned religious fanatism. It’s the old versus the new, especially when Patricia admits she’s not into religion.

Bankhead is the highlight, and I could only imagine Davis playing the role instead. Bankhead plays the part magnificently, and accurate glamour shots of Bankhead appear to have been used to show a younger Mrs. Trefoile, an actress.

The film is a cat-and-mouse affair and begins with a quick graphic of a cat chasing a mouse. Fans familiar with Hammer Horror Productions can rest assured that the cheap but effective sets are fully displayed.

A creak here and there and battered couches and walls only enhance the experience.

Die! Die! My Darling! (1965) is recommended for horror fans or Bankhead fans who want to see her stripped down, only three years before she died at age sixty-six.

1965 Films, Antoinette Cristiani, Camp, Hal Hopper, John Furlong, Russ Meyer, Sexploitation, Stuart Lancaster

Mudhoney-1965

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Mudhoney-1965

Director Russ Meyer

Starring John Furlong, Stu Lancaster, Antoinette Cristiani

Scott’s Review #1,366

Reviewed June 4, 2023

Grade: B+

This requires an open-minded, mature audience, as with other Russ Meyer films. You should watch it late at night, and some good, quality libations make for the ideal situation and robust enjoyment.

To set the stage for those otherwise unfamiliar with the intriguing director,  he is known primarily for writing and directing a series of successful sexploitation films that featured campy humor, witty satire, and enormously large-breasted women.

The women frequently frolic around semi-nude or completely nude, with their endowments proudly bouncing around.

Gems like Faster, Pussycat! Kill! Kill! (1965), Beyond the Valley of the Dolls (1970), and Supervixens (1975) are known as his definitive works.

Mudhoney (1965) is not one of his best-remembered films, but it contains enough fun and boobs to highly recommend for either his staunch fans or newcomers seeking bombastic 1960s entertainment.

I’d be careful not to watch it with parents or conservative-leaning friends, though.

Amid the Great Depression, Calef (John Furlong) arrives from Michigan in a backwoods Missouri town looking for work en route to greener pastures in California.

He becomes a hired hand under farmer Lute (Stu Lancaster) and takes a shine to Hannah (Antoinette Cristiani), Lute’s pretty niece.

The feeling is very mutual.

Problems surface when Hannah’s abusive and frequently drunk husband Sidney (Hal Hopper) becomes aware of their attraction and it’s revealed that Calef is fresh out of prison.

With the help of an unhinged preacher, Sidney turns the locals against Calef and organizes a lynch mob to take him down.

The film is shot in black and white, which only enhances the visual of a midwestern, cornfed small town. Desolate and bleak, it is presumed to be summertime as most women bathe outdoors (naked, of course) or swim in a nearby pond.

Besides Hannah, other blonde female characters appear. The sexy Clara Belle (Lorna Maitland) is the most adventurous and fun.

As with other Meyer films, especially Supervixens, there is one character who is evil and possibly insane. In this case, it’s Sidney who eventually sets fire to a farm and rapes and murders the preacher’s wife.

The acting is hardly up to par, but Mudhoney is not about Oscar-caliber performances. The over-the-top, campy performances and the obnoxious and loud dialogue only enhance the events.

The comical moments outweigh any dark moments, and taking the film too seriously is hard. Laugh-out-loud worthy is when the preacher eyes the naked Eula as she washes on the country farm.

The visual aspects of Mudhoney impress me, especially in the opening sequence. A series of quick shots of intersecting bare feet reveal that Meyer has more to offer than sexploitation. Later, a body falling into a grave involves inventive camerawork.

Before anyone gets their knickers in a twist, while one primary female character is beaten and victimized, there is more than enough female empowerment to go around, especially Clara Belle.

She is nobody’s fool, and along with the snickering, brash Maggie Marie, deliciously played by Princess Livingston, they incorporate no-nonsense, strong female characters.

B movies never entertain better than a Russ Meyer film, and Mudhoney (1965), while not his best, has entertainment value with a dour middle-of-nowhere USA setting.  This parlays perfectly with the white-bred, fresh-faced characters who appear within.

1965 Films, Ann-Margret, Cab Calloway, Drama, Edward G. Robinson, Karl Malden, Karl Swenson, Norman Jewison, Rip Torn, Steve McQueen, Tuesday Weld

The Cincinnati Kid-1965

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The Cincinnati Kid-1965

Director Norman Jewison

Starring Steve McQueen, Karl Malden

Scott’s Review #1,138

Reviewed April 29, 2021

Grade: B

I suppose anyone really into poker playing or similar casino games might be partial to The Cincinnati Kid (1965), especially if they are a die-hard Steve McQueen fan.

But for those with no interest in the ‘sport’ and who think that McQueen is a royal douche who received a modicum of film success, the film is a marginally decent effort.

For those who don’t know, Steve McQueen, the actor and not the British filmmaker, was nicknamed the “King of Cool” and played the anti-hero in most of his films.

His heyday was from the mid-1960s through the early 1970s, and he garnered success by repeatedly playing the same role. He was notorious for insisting his hair was perfect, being selfish, and being a royal prick.

He died of cancer in 1980.

An earlier film of his, The Cincinnati Kid (1965), is set in Depression-era New Orleans, though the film’s severe 1960s look makes it almost impossible to determine that it’s not the 1960s.

Eric Stoner (Steve McQueen) is a cocky poker player nicknamed the Cincinnati Kid who challenges longtime champ Lancey “The Man” Howard (Edward G. Robinson) to a showdown at the table, where a war of persistence and luck ensues.

To add energy, Rip Torn is cast as Slade, a villainous man who seeks revenge against Howard and tries to help Stoner best him.

In addition to the inevitable final poker game, Stoner is immersed in a romance with good girl Christian Rudd (Tuesday Weld) as he tries unsuccessfully to fend off the seductive advances of his best friend Shooter’s (Karl Malden) girlfriend (Ann-Margret), who is also a close friend of Christian.

Romance and double-dealing are in the air in this film.

The main draw is McQueen because he is charismatic and carries the by-the-numbers film. The story point appears to be a battle between youth (Stoner) and seasoned wisdom (Howard), but other than the fantastic finale involving (what else!) a tense game of cards, I didn’t find the primary story experience all too interesting.

There are other impressive aspects, however, such as the trimmings.

Realistic is how the actors handle the playing cards, speak the game terminology, and smoke a fat cigar, adding some good authenticity to the film. The New Orleans flavor provides some culture, and many black actors appear in minor roles that at least give some representation of the actual southern city.

Despite the talented cast, only McQueen shines.

Weld and Ann-Margret are incredibly one-note characters and opposites (good girl and bad girl) with little development. Malden is the moral compass of the film but otherwise has little importance to do.

Interestingly, Norman Jewison replaced original director Sam Peckinpah shortly after filming began. He described The Cincinnati Kid as his “ugly duckling” film that enabled him to transition from the light films he previously made and take on more serious films and subjects.

Cinema lovers know he directed the 1971s Fiddler on the Roof, a completely different film.

I wonder if Jewison’s heart was in this film or if he did the best he could with a subject that was not close to his heart.

Knowing Peckinpah’s brilliant work, I wonder if he would have made The Cincinnati Kid darker and more violent.

One scene that turns my stomach is a gruesome and violent cock-fighting scene. Any animal cruelty makes my blood boil, so I turned my head and refused to watch the scene or the group of merrymakers sitting around cheering the bloodbath.

The Cincinnati Kid (1965) is an enjoyable watch for poker lovers or fans of Steve McQueen. It is also not bad for casual fans.

Though I have not seen it, I understand that The Hustler (1961) is a similar-themed and better-made film.

1965 Films, Britt Ekland, Comedy, Doris Day, George Marshall, Hermione Baddeley, Maura McGiveney, Ralph Levy, Raquel Welch, Rod Taylor, Romantic Comedy, Sergio Fantoni

Do Not Disturb-1965

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Do Not Disturb-1965

Director Ralph Levy, George Marshall

Starring Doris Day, Rod Taylor

Scott’s Review #917

Reviewed July 8, 2019

Grade: C+

Singer and actress Doris Day put her stamp on the romantic comedy genre during the 1960s, becoming synonymous with wholesome film characters. She had spunk and charm and always wore sensible shoes.

Do Not Disturb (1965) is a lightweight, forgettable work with a silly premise, a juvenile script, and a meandering plot.

The film is somewhat saved by the interesting locales of London and Kent, England, but those seeking better quality should seek out the gems The Man Who Knew Too Much (1956) and Pillow Talk (1959).

Day and Rod Taylor star as Janet and Mike Harper, an American couple who relocate to England as part of a transfer for the company he works for. They immediately disagree over where to live; Mike prefers the excitement of London, but Janet favors the rustic quality of Kent.

After she gets them a house thirty miles outside London, the plan backfires when the couple grows further apart due to Mike’s need to commute to London every day. Lonesome and isolated, Janet worries incessantly that Mike is having an affair with his new secretary, Claire Hackett (Maureen McGivney).

Prompted by her busybody landlord, Vanessa Courtwright (Hermione Baddeley), Janet meets an Italian antique dealer, Paul Bellari (Sergio Fantoni), who she hires to redecorate her house. The antics begin with Mike spending more time with Claire, Janet, and Paul in equally close quarters.

Janet and Mike may be innocent, but Paul and Claire could have designs on their potential mates, especially as the foursome faces one compromising situation after another.

The heart of an authentic romantic comedy is good, old-fashioned chemistry between the leads, and Taylor and Day exhibit adequate sparkle but hardly sizzle.

Mediocrity in the setup and writing can be forgiven if other elements, like crackling moments, exist, but those are rare in Do Not Disturb.

Some Like It Hot (1959) embodies a great comedy with romantic wrappings featuring fantastic leads Jack Lemmon and Marilyn Monroe. Still, the former does not come close to finding its footing amid cliche after cliche.

The film is plot-driven and heavy on story-dictated situations rather than character development. The ending is predictable. The jokes fall flat or feel distinctly canned and cheap, and the laughs never catch on.

During a tepid sequence, Janet and Paul visit a remote town to look at antiques. She ends up drinking too much bubbly and becomes drunk and foolhardy.

What should have been comic relief does little to further the plot or flesh out the characters.

Director Ralph Levy makes little effort to steer the film beyond a slick mainstream “affair” despite the release year being 1965 when more edgy works replaced the polished and familiar.

Rather than dare to go to a less-than-cheery place and perhaps decide to have Janet or Mike cheat on their significant others, Levy chooses not to go there, instead attempting to satisfy those seeking a happily-ever-after wrapping.

Not to be entirely negative, Do Not Disturb features remarkable and stunning locale sequences of bustling metropolitan London, quaint English cottages, and wilderness, oozing with culture and sophistication as well as down-home comforts and rich flavor.

The combination of an American couple thrust into a different setting with a new set of rules and regulations to follow makes the film fun and offers a sprinkle of good scenery.

Do Not Disturb (1965) is a mid-1960s mainstream release buried among nests of other similar-themed but better-written films. Even appealing and bankable stars of the time like Taylor and Day could not succeed in spicing up tired gimmicks and plot devices.

The film will forever be relegated to the romantic comedy shelves, teetering on the brink of obscurity.

1965 Films, Charles Bronson, Drama, Elizabeth Taylor, Eva Marie Saint, Richard Burton, Robert Webber, Romantic Drama, Vincente Minnelli

The Sandpiper-1965

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The Sandpiper-1965

Director Vincente Minnelli

Starring Richard Burton, Elizabeth Taylor, Eva Marie Saint

Scott’s Review #897

Reviewed May 12, 2019

Grade: B+

The Sandpiper (1965) is a film that stars Elizabeth Taylor and Richard Burton, released at the very height of their fame.

It capitalized on their notoriety as one of the world’s most famous couples and their well-known romantic tribulations. Although they portrayed adulterous lovers, they were married shortly before filming began.

The film’s theme of adultery closely mirrored their own lives at the time, as each very publicly conducted an affair with each other while married to spouses.

The film is a lavish and sweeping production. It is one of the few major studio pictures ever filmed in Big Sur, and the story is expressly set there.

Big Sur is a rugged and mountainous section of the Central Coast of California between where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. It is frequently praised for its dramatic scenery and is the perfect location for a film with romance.

The Sandpiper (1965) is a romantic drama featuring the two stars’ chemistry. It is a pure case of art mimicking real life, at least in some way. Watching the actors work off one another is fascinating and wonderful. It makes me wonder what life would have been like on the set amidst the dreamlike and steamy locale and the fresh romance.

The story is not dynamic but quite theatrical, the actors being the main reason for watching.

Taylor plays Laura Reynolds, a bohemian, free-spirited single mother who lives in Big Sur, California, with her young son, Danny. Laura makes a living as an artist while homeschooling her son, who has gotten into trouble with the law.

When Danny is sent to an Episcopal boarding school, Laura meets the headmaster, Dr. Edward Hewitt (Burton). The duo falls madly in love despite Edward marrying teacher Claire (Eva Marie Saint).

The melodrama only escalates as those close to the pair catch on to their infidelity.

The gorgeous locale of Big Sur is second to none and exudes romance and sexual tension with the crashing waves against the mountainous terrain, symbolic of a passionate love affair. As the characters capitulate to each other, the lavish weather only infuses the titillating experience.

Taylor is lovely to look at throughout the film, and the erotic nude chest of the character plays a significant role. I wondered if the inclusion had the desired effect or resulted in unintended humor, as the endowed sculpture is quite busty.

The film belongs to Taylor and Burton, but the supporting cast deserves mention for creating robust characters that add flavor.

Eva Marie Saint plays the amiable wife, distraught by her husband’s infidelity but later coming to an understanding. Charles Bronson plays Cos Erickson, Laura’s protective friend, who despises Edward’s hypocrisy.

Finally, Robert Webber is effective as Ward Hendricks, a former beau of Laura’s, eager for another chance with the violet-eyed bombshell.

The film’s title represents a sandpiper with a broken wing that Laura nurses as Edward looks on. The bird lives in her home until healed and then flies free, though it returns occasionally.

This sandpiper is a central symbol in the movie, illustrating the themes of growth and freedom. Its sweetness is appropriate for the love story between Laura and Edward.

The Sandpiper is an entertaining film but not a great one. It suffers from mediocre writing and cliched storytelling but is a vehicle for Taylor and Burton.

The fascination is watching the actors, not for a great cinematic experience; the film is not very well remembered but for fans of the supercouple.

The film was made one year before the dreary yet brilliant Who’s Afraid of Virginia Woolf? (1966) starring the same husband and wife duo as does The Sandpiper (1965).

Laura and Edward are worlds apart from George and Martha, and when watched in close sequence, one can marvel at the acting chops of each star.

The film won the Academy Award for Best Original Song for the sentimental “The Shadow of Your Smile.”

Oscar Nominations: 1 win-Best Song-“The Shadow of Your Smile” (won)

1965 Films, Anna Massey, Carol Lynley, Keir Dullea, Laurence Olivier, Megs Jenkins, Otto Preminger, The Zombies, Thriller

Bunny Lake Is Missing-1965

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Bunny Lake Is Missing-1965

Director Otto Preminger

Starring Keir Dullea, Carol Lynley

Scott’s Review #877

Reviewed March 13, 2019

Grade: B+

Bunny Lake Is Missing (1965) is a taut psychological thriller that feels fresh and unpredictable, containing a mysterious, almost haunting quality throughout its running time.

The film focuses on one big question: Is the main character’s interpretation of events real or imagined? The uncertainty makes the film intriguing to watch. Glimpses of London locales also make for fun viewing, as the chaotic and creepy children’s school is the film’s primary location.

Though not remembered well, the film is still worthy of a watch.

Ann (Carol Lynley) is a single mother recently transplanted to London with her well-kept brother Stephen (Keir Dullea). When she hurriedly drops off her unseen daughter, Bunny, at her new preschool and instructs the school cook to watch her, the girl soon disappears.

When the police were called to investigate, they discovered nobody on staff had any eyes on the young girl. The plot thickens when it is revealed that all of Bunny’s belongings have been removed from Ann’s residence and that Ann had an imaginary childhood friend named Bunny.

Has Ann concocted the entire scheme herself for attention, or could she be harmful or psychotic?

The film offers several subtle nuances that either work or do not work. The opening credits are a lesson in cinematic creativity as the words present as slivers of paper torn down the middle.

Though the musical score during this sequence is not necessarily eerie, the complexity and ferocity present an ominous and certainly intriguing element.

This point is a wise move because it sets the tone for such a thriller as the film presents itself.

Otto Preminger’s black-and-white style is upbeat, enhancing the overall look of the picture. The muted tones evoke an effective ghost story style with an ambivalent chilling technique.

As the mystery is ultimately resolved, the introduction of new and peculiar characters offset the tangled plot as the look of the film remains constant.

As Horatio Wilson, Ann’s landlord, and Martita Hunt, the retired school headmistress, Noel Coward lives in the attic, which does wonders for adding creepy ch. Butters, but are they meant to be red herrings or keys to the big reveal?

A few gripes are that incorporating the English rock band The Zombies serves little purpose, and the addition is perplexing.  I’m not opposed to the band’s music, but the songs have nothing to do with the plot.

Seen on the television during a pub scene and later heard on a janitor’s radio during an escape scene, the odd placement seems little more than a marketing tool product placement.

Another miss is with the casting of Sir Laurence Olivier as Superintendent Newhouse. His talents are wasted mainly with little more than a throwaway role despite arguably being considered the lead.

As the straight man handling the investigation, his performance is adequate but limited, especially given his Shakespearean stage actor talents. His performance is both phoned in and beneath the historic actor.

The other roles are well-cast, especially Lindley and Dullea in key parts. For the film’s first portion, I assumed the pair were husband and wife until it was revealed otherwise, which is a lovely, unexpected nuance. Their chemistry is sweet and easy, and both perform their respective roles with poise and charisma.

1965, both were relatively novice young actors on the brink of stardom, though sadly short-lived. Their acting chops are firmly in place with this film, which is fun to witness.

For fans of psychological thrillers with an implied ghost story enveloped within its clutches, Bunny Lake Is Missing (1965) is worthy and mysterious entertainment with a surprise ending.

The film is not stellar, with some weaknesses, and is less than a pure classic, reminiscent of a good, solid Twilight Zone television episode.

1965 Films, Comedy, Drama, Federico Fellini, Giulietta Masina, International, International Comedy, International Drama, Italian, Mario Pisu, Sandra Milo, Valentina Cortese

Juliet Of The Spirits-1965

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Juliet Of The Spirits-1965

Director Federico Fellini

Starring Giulietta Masina, Sandra Milo

Scott’s Review #725

Reviewed February 15, 2018

Grade: A

A true Fellini film in every sense and perhaps his most personal film, 1965’s Juliet of the Spirits, is a colorful and masterful experience with fluid art direction and stunning sets and costumes.

As with most of his films, the story and its intricacies are odd and do not always make perfect sense, but the film is meant to be absorbed and felt and exhibits more of a central plot than some of his other works.

Juliet of the Spirits is undoubtedly a must-see for fans of Fellini or any novice who wants an introduction to the great director.

In a compelling tidbit of background information, lead actress Giulietta Masina, wife and muse of director Fellini and sometimes deemed the female Charlie Chaplin, plays a true-to-life character.

In real life, the woman suffered from her with a philandering husband- Fellini himself!

For this reason alone, the film is fascinating as a true-to-life story, leading the audience to empathize with Giulietta and her life of doldrums and turmoil.

Giulietta Boldrini (Masina) is an affluent woman living in Italy with her successful and dashing husband, Giorgio (Mario Pisu). Despite wealth, two housekeepers, and free time to do whatever she pleases, she is dissatisfied with her life and surroundings.

This occurs mainly after she hears her husband mutter another woman’s name in his sleep. Concerned and intrigued, Giulietta hires investigators to unravel the mystery, which spawns an adventure for her.

Instead of being a cookie-cutter film with a basic plot explained above, in proper Fellini form, the character of Giulietta traverses on a journey into the dreamlike and odd experience, tapping into her repressed desires and innermost thoughts while being exposed to her larger-than-life and sexy neighbor, Suzy (Sandra Milo).

The oversexed Suzy enlightens Giulietta to the joys of her mansion, treehouse, dazzling, weird friends, and bubbling sensuality.

Juliet of the Spirits is a joy to watch and quite a bit more linear than other complex masterpieces such as the 1960’s La Dolce Vita or 1969’s Fellini Satyricon.

The plot is spelled out presently- Giulietta is depressed and anxious for something new and exciting. Her journey into this new life while wrestling with her demons and resistance makes this film so much fun.

Styles and colors are brilliant and lavishly loud. Take the gaudy and glamorous nest that Suzy calls home. Her palace is both tawdry and sophisticated, with a built-in underground swimming pool where she bathes after lovemaking and velvety red walls and furniture.

Fellini uses gorgeous reds, greens, and blues throughout the film to create dazzle and spectacles with larger-than-life characters.

To further focus on Suzy for a minute, the blonde bombshell frequently visits her very own treehouse, complete with a swing. She flirts with handsome young men who gaze up at the scantily dressed beauty as she tosses her high-heeled shoe down to them in a suggestive manner.

When they come up to the top of the treehouse by way of a mechanical basket, presumably for sex, this is too much for the overwhelmed Giulietta, who returns to the safety of her own home. But she is excited and scared.

The film belongs to Masina, and we cannot help but wonder if Fellini created Juliet of the Spirits for the actress for his reported years of cheating. Regardless, Masina plays a confident woman on the outside- insecure on the inside, flawlessly.

With her expressive eyes and a nice smile, Masina enthusiastically embraces the role, making her a perfect fit for a Fellini film.

Juliet of the Spirits mixes several film genres, including fantasy, drama, and light comedy, and contains interesting supporting characters.

Suzy’s seemingly clairvoyant mother is a great side character. Upon meeting Giulietta, she immediately sees that the woman is troubled. Giulietta’s father, whom we meet when she is a little girl appearing in a religious play, is boisterous and spirited.

I was fortunate enough to stay at the Grand Hotel in Rome, a lavish yet strange establishment where Fellini spent many nights as a guest. While watching Juliet of the Spirits, I fantasized that he drew inspiration for this film from the hotel.

The grand red textures appear in the hotel and the Fellini film so I could have experienced a truly inspiring facility.

Stalwart, creative, and masterful director Fellini once again creates a stylish film that must be thought about following a good, solid viewing.

Too much analysis, however, will ruin the enchanting experience. Juliet of the Spirits (1965) is best enjoyed as a treat that will mesmerize you in glamorous fashion.

Oscar Nominations: Best Art Direction, Color, Best Costume Design, Color

1965 Films, British, British Horror, Catherine Deneuve, Horror, Ian Hendry, John Fraser, Roman Polanski, Thriller

Repulsion-1965

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Repulsion-1965

Director Roman Polanski

Starring Catherine Deneuve

Scott’s Review #554

Reviewed December 21, 2016

Grade: A

Repulsion is an excellent British film, an early film by the great director Roman Polanski, made in 1965. The film was shot on a low budget, and the action mainly takes place inside a small London apartment.

Repulsion is part of Polanski’s “Apartment Trio,” along with Rosemary’s Baby (1968) and The Tenant (1976), which are all set in apartments.

The film tells the story of Carol (Catherine Deneuve), a beautiful young woman who slowly goes insane throughout a weekend while left alone by her vacationing sister.

Carol is a beauty parlor worker who is seemingly sweet and shy but gradually becomes violent, volatile, and unbalanced. She experiences hallucinations, and it is alluded to that she may have been sexually abused as a child.

She loathes men.

The film is shot in black and white, with eerie camera shots, background noises, and very little music. Its claustrophobic atmosphere makes it all the more disturbing.

These characteristics make the film a challenging experience to watch, but that is to its credit.

We see Carol unravel and are mystified by the aspects that make her this way. The bathtub scene and the scene with Carol’s landlord are highlights of their brutality.

Repulsion (1965) is challenging to watch but an excellent piece of cinema. It is an in-depth character study of an unhinged woman reaching her psychological breaking point.

1965 Films, Art, Camp, Haji, John Furlong, Lori Williams, Russ Meyer, Scott's Top 100 Films, Sexploitation, Stuart Lancaster, Susan Bernard, Tura Satana

Faster, Pussycat! Kill! Kill!-1965

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Faster, Pussycat! Kill! Kill!- 1965

Director Russ Meyer

Starring Tura Satana, Haji

Top 100 Films #85

Scott’s Review #406

220px-Faster_pussycat_kill_kill_poster_(1)

Reviewed May 28, 2016

Grade: A

Faster, Pussycat! Kill! Kill! is a 1965 masterpiece that has eluded me for many years, mainly because it is unavailable on Netflix.

Finally, I decided to buy the newly released Blu-Ray edition and immediately became a massive fan of this Russ Meyer work of art.

Influential and intriguing, it is no surprise it is a camp classic.

Several famous directors, like Quentin Tarantino, have paid homage to this film in their later works, notably Death Proof (2007). Fast cars, sexy women, and murder represent this unique film.

Compared to other famous Meyer works, specifically the gregarious yet brilliant Supervixens (1975), Faster, Pussycat! Kill! Kill! is almost understated and quiet.

He also directed the well-known Beyond The Valley of the Dolls from 1970.

Shot in black and white, several notable comparisons to Supervixens are: a hot California desert, large-breasted women, and gas stations are prevalent throughout.

Unlike Supervixens, though, there is little or no nudity.

Three go-go dancers race through the desert in their sports cars. They have murder and kidnapping on their minds. The ring leader, Varla (Tura Satana) is a vicious, sexy, Asian woman. Her two side-kicks are Billie (Lori Williams) and Rosie (Haji). While Billie and Rosie fight in a juvenile fashion, Varla is the serious one.

The trio enjoys racing their cars and engaging in the game “chicken.” When they meet the all-American couple, Tommy and Linda, out for a romantic drive, they have a dispute and end up killing Tommy- drugging and kidnapping Linda.

After stopping for gas, Varla hatches a plot to steal money from a crazy older man, his muscular yet dimwitted son (known as the Vegetable), and the older man’s seemingly normal son, Kirk.

Faster, Pussycat! Kill! Kill! is a groundbreaking film because it is gender-bending. The women are hardly written as sex objects, as most films of that day were far from that. They are ferocious, specifically Varla, and they do typically masculine things. They race cars, fight, and kill, yet they do not sacrifice any of their femininity.

All three women are sexy and busty and wear stylish makeup. They are not trying to be like men but tough girls, and these aspects make the film so wonderful to watch.

In Hollywood, these female characters are usually molls to even rougher men or support the men in some way. These female characters are the film.

My favorite character is Varla. Sexy, fierce, and a minority, how often is a female villain this charismatic?  Perhaps she would be a conquest of Bond in Bond films and not her person.

Varla makes up her own rules. The fact that she is Asian is superb and breaks many barriers to how Asians are portrayed in the film. Varla is more devious than the other characters and willing to kill anyone who stands in her way, even her friends.

She is a character written very well by Russ Meyer and a pure femme fatale.

The male supporting characters are interesting. The older man, actor Stuart Lancaster, would later appear in Supervixens. He is a cripple, wacky, and as diabolical as the women. He has designs on innocent Linda and makes no bones about it. The Vegetable is hunky and fresh-faced- an innocent victim of his father’s evil ways, so he is a character we root for. I enjoyed the brief romance between him and Billie.

Lastly, Kirk is the “normal” son, also a victim of his father. When he and Linda run across the desert while Varla chases them, we root for them to survive.

The black-and-white style, chosen to save money, enhances the unique cinematography with sharp edits and gives the film a mystique.

The 1960s jazzy score adds to the film as well. In color, I wonder if the film would have had a more cartoonish quality. The black and white moves Faster, Pussycat! Kill! Kill! Into art film territory.

The debate over the film is, “Is the film exploiting women or empowering them?” The film answers whether women can be tough, sexy, and complicated with a resounding yes.

All three principal characters are layered, each developing feelings for other characters. At one point, Billie questions Rosie’s sexuality. Still, the female characters are not monsters, nor are they caricatures. They are complex with real emotions.

Faster, Pussycat! Kill! Kill! (1965) is an influential art film/exploitation film that empowers female characters, questions gender categorizations, and takes hold of the viewer, never letting go.

The film is a brilliant representation of the changing times in cinema during the 1960s.

1965 Films, Action, Adolfo Celi, Anthony Dawson, Bernard Lee, Claudine Auger, Desmond Llewelyn, James Bond, Lois Maxwell, Luciana Paluzzi, Sean Connery, Terence Young

Thunderball-1965

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Thunderball-1965

Director Terence Young

Starring Sean Connery, Claudine Auger

Scott’s Review #364

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Reviewed January 9, 2016

Grade: A

By 1965, the James Bond franchise was embarking on its fourth segment, and the budget reflected the success of the preceding films.

Thunderball reaps the benefits of an enormous budget and is. As a result, it is a grand, epic film. Its sheer magnitude makes it one of my favorite Bond films simply because of its look.

The special effects are a marvel.

By this time, Sean Connery had comfortably immersed himself in the role of Bond with his charms and ability to exude charisma.

In this story, two NATO atomic bombs have been stolen by SPECTRE and hold the world to ransom for millions in diamonds. They are threatening to detonate one of the bombs in a major city in either the United States or England. Mr. Bond must race against time to deter this from happening.

For starters, the opening sequence is one of my favorites. Bond attends the funeral of a deceased SPECTRE agent (number 6) at a lavish chateau in France. The agent is disguised as his widow, but Bond is not fooled.

This sets the stage as a dramatic fight scene ensues between the two “men.”

The main villain of Thunderball is Emilio Largo (Adolfo Celi), a handsome, suave SPECTRE agent (number 2). He is rich and sophisticated, which is reflected throughout the film.

His grand estate is set and filmed in the Bahamas, giving most of the film a steamy, posh look, with bluish-green waters and white crispy sand.

It’s the most gorgeous backdrop.

Largo is a great Bond villain and on par with Bond. He also has charm, good looks, and charisma.

The main Bond girl is Domino, played by Claudine Auger. Largo’s mistress is typically clad in black and/or white, hence her name. Auger has the perfect balance of beautiful looks, sophistication, and intelligence and is an ideal match for Bond. The chemistry between Connery and Auger is apparent and a significant part of the film’s success.

What sets Thunderball apart from some Bond films is the central portion of the film, mainly in the second half, taking place underwater.

In a clear example of showing off the modern technology of the time (1965), some complained that these sequences went on too long and did not further the plot.

These points may contain some validity, but oh, are they so gorgeous to look at? The exotic underwater world is majestic.

Thunderball has it all and is one of the most gorgeous Bond films. It is big, bombastic, and filled with bright colors.

It contains all the elements of a great Bond film, so it has held up incredibly well all these years.

Oscar Nominations: 1 win-Best Special Visual Effects (won)

1965 Films, Bette Davis, British, British Horror, Hammer Horror, Horror, Jill Bennett, Seth Holt, Thriller, Wendy Craig

The Nanny-1965

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The Nanny-1965

Director Seth Holt

Starring Bette Davis

Scott’s Review #256

70089620

Reviewed July 11, 2015

Grade: B

The Nanny is a 1965 Hammer productions thriller starring legendary film icon Bette Davis as a mysterious nanny caring for a ten-year-old boy named Joey.

Joey has recently been released from a mental institution and returned home to resume everyday life, but has he been “cured”?

There is obvious tension between Joey and Nanny, but the audience doesn’t know what that tension is precisely. Why do they dislike each other? Why is Joey afraid of her?

As the plot unfolds, the suspense and tensions thicken as various events occur and Joey’s parents and Aunt Pen are further fleshed out. Past events are revisited, and the story becomes thrilling.

At one point, long before Joey’s return home, his younger sister has drowned, and the circumstances are vague. It has devastated the family, including Nanny. Joey has been blamed for her death, though he insists that Nanny is the culprit.

Nobody except the neighbor girl believes Joey, and the audience wonders who to believe and who to root for: Joey or Nanny. Davis, like Nanny, brings a warmness to her character, but is she sincere? Is it an act? Is Joey a sweet boy or maniacal?

These questions race through the audience’s minds as the film progresses. When Virginia, the mother, eats tainted food, the obvious conclusion is that the Nanny poisoned it since she prepared it. But why? Did she do this?

As the plot is slowly explained, there are a few chills, though the ending is not too surprising.

Any film starring Bette Davis is a treasure, though admittedly, it is not her finest work. Still, her finest work is challenging to match.

The Nanny is a good film, though not great. It is shot in black and white, which is a nice touch for a thriller.

The main reason to watch Davis’s performance is that it is always mesmerizing. Traditionally playing gruff, mean, or bitchy parts (especially in her later years), The Nanny allows Davis to play a sympathetic role.

She is seemingly sweet, proper, well-organized, and a perfect nanny on paper.

The role of Virginia, played by Wendy Craig, is a bit too neurotic and slightly over-acted. She is rather one-note as the fretting mother worried about her son. The character of the father is also a bit one-dimensional.

The Nanny is more of a classic thriller from the 1960s that is often lumped together with some of Bette Davis’s other films around the same period (Dead Ringer-1964, Hush, Hush, Sweet Charlotte-1964, and Whatever Happened to Baby Jane? -1966), and are in large part superior to The Nanny. As a stand-alone, it is a decent film.

1965 Films, Anna Lee, Best Film of the Year, Best Picture Oscar Winners, Charmian Carr, Christopher Plummer, Drama, Eleanor Parker, Julie Andrews, Musical, Musical Drama, Peggy Wood, Richard Haydn, Robert Wise, Scott's Top 100 Films

The Sound of Music-1965

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The Sound of Music-1965

Director Robert Wise

Starring Julie Andrews, Christopher Plummer

Top 100 Films #29

Scott’s Review #49

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Reviewed June 20, 2014

Grade: A

The Sound of Music (1965) is a film that almost everyone has seen over and over. It is undoubtedly ingrained in most people’s childhood memories, especially around the holiday season, and is a treasure to watch.

It is tough to be objective as I’ve probably seen the film dozens of times and continue to appreciate and love it with each repeated viewing.

Maria (Julie Andrews) is a pretty, young, free-spirited woman living in the gorgeous hills of Austria. We first meet her on a lush hilltop where she sings with the birds and enjoys life.

While very popular with other nuns, she does not quite fit in at the Nonnberg Abbey, where she studies to become a nun. She is sent to discover herself as the governess of seven nearby children. They are the children of well-known and now-retired Georg von Trapp (played by Christopher Plumber).

Since his wife died, no life or music exists inside the house. Maria brings life and music to all and transforms everyone into a happier existence. The threat of the powerful Nazis wishing to recruit a disapproving von Trapp adds tension.

Maria and von Trapp fall madly in love.

As a musical, it is top-notch and is the hallmark of all musicals. The songs are challenging to get out of one’s head (“The Sound of Music,” “Climb Ev’ry Mountain,” and “My Favorite Things” are personal favorites), but the list of gems goes on and on.

The political/Nazi story was lost on me as a child, but now I see the film does have a darker tone in the second half and becomes quite severe. Indeed, since it is a family film, the details are glossed over a bit, but so what? It is more the wonderful music that makes The Sound of Music great and memorable.

The first half is wholesomely sugary, sweet, and safe and, from what I’ve read, exceptionally loosely based on the real von Trapp family. However, this hardly matters as it is escapism, which is needed sometimes.

I hate to dissect and overanalyze a film like this, a fantasy/musical extravaganza meant to be enjoyed—lighthearted and fun for everyone.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Robert Wise (won), Best Actress-Julie Andrews, Best Supporting Actress-Peggy Wood, Best Scoring of Music-Adaptation or Treatment (won), Best Sound (won), Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color, Best Film Editing (won)

1965 Films, Alec Guinness, David Lean, Drama, Epic, Geraldine Chaplin, Julie Christie, Noel Willman, Omar Sharif, Rod Steiger, Romantic Drama, Scott's Top 100 Films, Tom Courtenay

Doctor Zhivago-1965

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Doctor Zhivago-1965

Director David Lean

Starring Julie Christie, Omar Sharif, Rod Steiger

Top 100 Films #47

Scott’s Review #42

449931

Reviewed June 18, 2014

Grade: A

Doctor Zhivago (1965) is a great film to watch on a cold night or throughout the crisp winter or holiday season.

The film is a classic masterpiece directed by the talented David Lean (Lawrence of Arabia, 1962, A Passage to India, 1986) whose perfectionism is evident in his epic films.

Nearly every scene could be a painting, so the cinematography alone is reason enough to become enchanted with art.

Of course, the story is also a goldmine as a sprawling decades-long love story unfolds amid the ravages of the bloody Bolshevik Revolution.

The film is set in the bitter cold of Russia (though in reality, all scenes were shot in Spain), and the bitterness of the cold climate and the war mix with a doomed love story set against the backdrop of the many battles and wartime effects.

Nearly all sequences are set in the winter, and the blustery and icy effects are nestled against numerous scenes of cozy, candlelit cabins or more extravagant glowing surroundings.

Viewers must be surrounded by fire, flaming candles, or another form of warmth as a snowstorm or blizzard besets outdoors for a perfect viewing experience.

A large-screen television or a cinema is simply a must to watch this film as it is epic on the grandest scale.

Omar Sharif and Julie Christie (a gorgeous star in her day) are cast perfectly as Uri and Lara, young forbidden lovers enthralled with one another but involved with significant others.

The film dissects their initial meeting and their story over the years, experiencing marriages, births, and deaths throughout the ravages of Russia in the early twentieth century.

Despite their affairs, neither is deemed unsympathetic. Quite the contrary.

Audiences will fall in love with the pair and become enchanted as we watch their love-tortured adventures.

Sharif and Christie are just magnificent and utterly believable as a couple.

The set pieces are magnificent and flawless in design and detail (my favorite is the Ice Palace).

The cinematography is breathtaking, and the content is very close to the superior novel by Boris Pasternak, and a feeling of “really being there” encompasses the viewer.

Doctor Zhivago (1965) is a brilliant film, perfect for a snowy winter evening.

Oscar Nominations: 5 wins-Best Picture, Best Director-David Lean, Best Supporting Actor-Tom Courtenay, Best Screenplay Based on Material from Another Medium (won), Best Music Score-Substantially Original (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing