Tag Archives: 1972 Films

#4 Favorite Film, 1972 Films, Abe Vigoda, Al Lettieri, Al Martino, Al Pacino, Alex Rocco, Best Picture Oscar Winners, Diane Keaton, Drama, Epic, Favorite Film of the Year, Francis Ford Coppola, Gianni Russo, James Caan, John Cazale, John Marley, Mario Puzo, Marlon Brando, Mob, Morgana King, Richard Bright, Richard Conte, Richard S. Castellano, Robert Duvall, Sterling Hayden, Talia Shire, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Godfather-1972

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The Godfather-1972

Director Frances Ford Coppola

Starring Marlon Brando, Al Pacino, James Caan

Top 250 Films #4

Scott’s Review #196

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Reviewed November 24, 2014

Grade: A

The Godfather (1972) is one of the most identifiable and brilliant film masterpieces of all time. It is so ingrained in pop culture and film history that it was a blueprint for 1970s cinema, and its legend deserves to live on.

The film has not aged poorly nor been soured by over-exposure. It is as much a marvel today as it must have been when it was initially released in theaters.

The film revolves around the Corleone family- a mob family living in New York. They are high-powered, wealthy, and influential with politicians and law enforcement alike. They are the cream of organized crime families.

The patriarch of the family is known as “The Godfather”; his real name is Don Corleone, played by Marlon Brando.

The eldest son, hot-headed Sonny, is played by James Caan. Middle son Fredo, played by John Cazale, is dim-witted and immature, serving as the family’s weak link.

Finally, the youngest son is the central character in the film. Michael, played by a very youthful Al Pacino, has just returned home from World War II, a decorated and Ivy League-educated hero.

Throughout the film, Michael wrestles with steering the Corleone family business toward the straight and narrow or continuing the death, bloodshed, and corruption that currently plague the family.

Rounding out the Corleone family is Tom Hagen, an Irish surrogate son of sorts, who serves as the family attorney. Connie, the temperamental and emotional sister, and Mama Corleone, the passive wife of Don, complete the prominent family.

The supporting characters are numerous, ranging from family friends and relatives to corrupt mobsters and those introduced while Michael lives in Italy.

The brilliance of The Godfather lies in the richness of its numerous characters, as well as its structure and pacing.

Even minor characters are vital to the film, and every scene is essential and effortlessly paced, so that they neither seem rushed nor dragged out; the film is immeasurably character-driven.

My favorite character is Michael Corleone, as he is the most troubled and complex of all. Pacino plays him to the hilt as, initially, a nice guy trying to do the right thing, going against the grain, and non-traditional- he proposes to a WASP woman who has no Italian heritage.

When events unfold in a particular way, Michael suddenly becomes the family’s leader, despite being the youngest son, and the character’s complexities deepen from this point.

Specifically, the revenge-killing sequence is brilliant, keeping the viewer on the edge of their seat through a car ride, a meal at a restaurant, and a men’s room scene, until all hell finally breaks loose, all the while Michael is conflicted, unsure, and intense.

Has he veered too far from being a nice guy? Can he salvage the family business without being ruthless? Michael faces a battle of good vs. evil.

The scenes are brilliantly structured- the grand opening scene alone is beautiful as the audience is introduced to the entire family- cheerfully dancing and frolicking during a bright and sunny outdoor wedding (Connie’s) at the Corleone estate, while inside a dark interior study, a man begs Don Corleone to help avenge his raped and beaten daughter by having her attackers killed.

Several scenes in The Godfather are my personal favorites —the aforementioned restaurant scene, where Michael is faced with a dilemma involving a corrupt policeman and a high-powered figure. One can feel the tension in this extended scene.

The scene in a Hollywood mansion where poor, innocent, horse Khartoum meets his fate in the most gruesome way imaginable.

Later, Michael’s beautiful Italian wife, Apollonia, has an explosive send-off.

Towards the end of the film, there is an improvised scene set in a tomato garden, with an elderly Don Corleone playing with his young grandson.

Finally, the brutal scene at the toll booth involving Corleone’s son, Sonny, is mesmerizing, murderous, and flawlessly executed.

The lack of any strong female characters and how women are treated (either beaten or passively following their husbands) is bothersome.

Unfortunately, this was still the case circa the 1940s.

One could argue that Kay Adams, played by Diane Keaton, is the strongest female character because she questions the Corleone family’s motives and tries to keep Michael honest and trustworthy. She has little in common with the other female characters.

Lines such as “I’m gonna make him an offer he can’t refuse” and “Don’t forget the cannolis” are unforgettable and quote-worthy.

The film’s finale is breathtaking—a combination of bloody killings and a peaceful scene in which Michael accepts the honor of becoming his nephew’s godfather. As he pledges his devotion to God and denounces Satan, the murders he orchestrated are simultaneously being executed.

The character, while complex, suddenly becomes a hypocrite.

Some view Michael as strictly a hero whose choices should not be questioned or analyzed; others see him as a complex, tortured, and flawed character rather than a hero.

One must watch The Godfather and The Godfather Part II (1974) as companion pieces, as Part I is slightly more straightforward and easier to follow than the more complex and layered sequel.

The Godfather (1972) is storytelling and filmmaking at its absolute best and continues to influence films to this day.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor- Marlon Brando (won), Best Supporting Actor- James Caan, Robert Duvall, Al Pacino, Best Screenplay Based on Material from Another Medium (won), Best Costume Design, Best Sound, Best Film Editing

#28 Favorite Film, #7 Favorite Horror Films, 1972 Films, Alec McCowen, Alfred Hitchcock, Anna Massey, Barbara Leigh-Hunt, Barry Foster, Billie Whitelaw, Clive Swift, Horror, Jean Marsh, Jon Finch, Michael Bates, Thriller, Top 10 Horror Films, Top 100 Films, Top 20 Horror Films, Top 250 Films, Top 40 Horror Films, Top 50 Films, Vivien Merchant

Frenzy-1972

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Frenzy-1972

Director Alfred Hitchcock

Starring Jon Finch, Barry Foster, Anna Massey

Top 250 Films #28

Top 40 Horror Films #7  

Scott’s Review #244

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Reviewed May 17, 2015

Grade: A

Frenzy (1972) is a later-day Alfred Hitchcock film that returns the masterful director to his roots in London, England, his country of origin, and the place where his early films were made.

As with numerous other Hitchcock stories, the protagonist is falsely accused of murder and struggles mightily to prove his innocence before time runs out and he meets his doom.

The film is distinctly British, featuring an entirely British cast, and includes a humorous side story about the primary investigator’s wife. This terrible cook prepares exotic yet unappetizing meals for her husband.

This comic relief perfectly balances the heavy drama encompassing the main murder story, as Frenzy is one of Hitchcock’s most violent and graphic films.

Made in 1972, he was able to include much more explicit content. A neck-tie murderer, who also rapes his female victims, is on the loose in London.

In the opening sequence, we see a dead woman floating in the Thames River during broad daylight, nude, except for a neck-tie that she has been strangled with. A crowd of spectators races to see what all the fuss is about.

We then meet the central character of the film, down-on-his-luck bartender Richard Blaney, who is fired from his job as a bartender by his hateful boss.

Blaney has a loyal girlfriend in Babs, a barmaid at the same local watering hole. Babs is sexy, yet plain. He also has a successful ex-wife, Brenda, who runs a dating company. Blaney regularly sponges off Brenda for money and dinners. Also in the picture is successful fruit-market trader Bob Rusk, who is a friend of Blaney’s.

All four of these central characters play a significant role in the main plot.

As events begin to unfold, the film is not a whodunit as traditionally it could have been. Instead, the audience quickly learns who the murderer is and their motivations, which is an interesting twist in itself.

Despite this knowledge, the film is quite compelling as a classic Hitchcock horror-thriller.

It is interesting for Hitchcock fans to compare this film with many of his earlier works. Released in 1972, at a time in film history when such sensors were more lax, it is the first Hitchcock film to feature nudity.

It is also the film of Hitchcock’s that features the most brutal rape/murder scene of all, surpassing the shower scene from Psycho, in my opinion.

The victim’s ordeal is prolonged, as she begins praying, thinking she will only be raped, at first unaware that her attacker is also the neck-tie murderer, and her life is running short. This leads to a sad, gruesome outcome for her.

One of the most interesting murder scenes takes place off-camera and is an ingenious idea by Hitchcock. The neck-tie murderer lures a victim to his apartment complex under the guise of being a friend of hers.

They walk upstairs to his unit and go inside, all the while the camera remains outside the apartment, so the viewer only imagines the horrors unfolding inside.

The camera then slowly goes back down the stairs and out onto the street, and looks up at the murderer’s window. The fact that the victim is one of the main characters makes one’s imagination run wild about what is transpiring inside the apartment, and the viewer is filled with grief.

This is a brilliant choice by Hitchcock and so effective to the story.

Another great scene is the potato truck sequence.

As the neck-tie murderer has dumped his victim, like garbage, into a potato sack, he is panicked to realize that she has taken his pin from his jacket and presumably clenched it in her fist as a clue, despite her demise.

What will he do now?

The extended scene features the murderer inside the potato truck attempting to unclench his pin from her hand and escape the moving truck without being caught.

It is my favorite scene in Frenzy.

Frenzy (1972) is a return to triumph for Hitchcock, after the complex Topaz (1969) and Torn Curtain (1966), both underappreciated political thrillers made a few years earlier.

He returns to the horror genre like gangbusters, throwing in some good, sophisticated British humor for good measure.

What a treat this film is.

#30 Favorite Film, 1972 Films, Adventure, Arthur O'Connell, Carol Lynley, Dick Durock, Disaster, Eric Shea, Ernest Borgnine, Gene Hackman, Jack Albertson, Leslie Nielsen, Pamela Sue Martin, Red Buttons, Roddy McDowall, Ronald Neame, Sheila Matthews Allen, Shelley Winters, Stella Stevens, Top 100 Films, Top 250 Films, Top 50 Films

The Poseidon Adventure-1972

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The Poseidon Adventure-1972

Director Ronald Neame

Starring Gene Hackman, Ernest Borgnine, Shelley Winters

Top 250 Films #30

Scott’s Review #214

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Reviewed January 17, 2015

Grade: A

The disaster genre, primarily represented in film during the 1970s, includes some of my personal favorites, and The Poseidon Adventure (1972) is easily at the top of the list.

Set on a lavish ocean liner, the SS Poseidon, on New Year’s Eve, the doomed ship falls victim to a powerful tsunami while sailing from New York to Athens on its final voyage, causing it to topple over and leaving a handful of survivors to meander through the bowels of the ship in an attempt to find a way out and be rescued.

They are led by a stubborn preacher, played by Gene Hackman.

The appeal of The Poseidon Adventure is, of course, watching the cast of characters in peril and guessing which ones will meet their fates and how- think of a slasher film without the horror component.

Featuring an ensemble cast of Hollywood celebs of the day, the characters are introduced to the audience before the tidal wave erupts, so we care for them immensely.

There is the former hooker with the heart of gold married to a gruff cop (Stella Stevens and Ernest Borgnine as Mike and Linda Rogo).

Then there is the sweet-natured older couple on the cruise to see their grandchild (Shelley Winters and Jack Albertson as Manny and Belle Rosen).

Pamela Sue Martin plays the teen girl, Susan, who falls madly in love with the preacher, Reverend Scott. Robin and her younger brother are traveling to see their parents, who await their arrival.

Roddy McDowall plays a waiter named Acres.

Lastly, Red Buttons plays James Martin, a health-conscious bachelor, and Carol Lynley plays shy singer Nonnie.

Reverend Scott is the moral focal point of the film and questions god several times throughout.

The sets are extraordinary- the colorful Christmas tree in the grand dining room is fantastic. The entire New Year’s Eve party scene is my favorite- it is festive, extravagant, and mixed in with a scene where the ominous tsunami is rapidly approaching.

The festive celebration quickly turns into confusion as the sirens sound, and finally into panic as furniture begins to fly.

Visually, this scene is the most intricate- the ship turns upside down after the crash, thus giving the illusion that the bottom of the ship is the top.

Tricky.

From this point on, all of the sets to follow are intended to be upside down- a crafty and effective style, but none more than the dining room scene.

A victim toppling and crashing into a giant clock is a memorable scene.

As the group of survivors haggardly makes their way throughout the ship, they encounter underwater explosions, dead bodies, rushing water, and disputes, mainly between Reverend Scott and Rogo, as to how to proceed to safety.

One by one a handful of the group meets their fates in gruesome fashion- falling into a fire, a heart attack, and falling to one’s death.

Shelley Winters is the film’s comic relief with her humorous quips about her weight, and her death scene brings me to tears every time I watch it.

A heavyset older woman who, at one time, was a dynamite high school swimmer, she attempts to help the group by holding her breath and swimming underneath the engine room, which is blocked- she does inevitably save the Reverend Scott’s life but succumbs to a heart attack shortly thereafter.

It is a powerful, heartbreaking scene.

The film is a great adventure. What makes The Poseidon Adventure (1972) so timeless and continues to bring so much pleasure? Certainly not high-brow nor high art, but it does not need to be.

It is meant to be enjoyed for what it is- a thrilling, fun, entertaining ride.

Oscar Nominations: 1 win-Best Supporting Actress-Shelley Winters, Best Song Original for the Picture-“The Morning After” (won), Best Original Dramatic Score, Best Costume Design, Best Sound, Best Art Direction, Best Cinematography, Best Film Editing

#52 Favorite Film, 1972 Films, Bob Fosse, Drama, Fritz Wepper, Helmut Griem, Joel Grey, Liza Minnelli, Marisa Berenson, Michael York, Musical, Musical Drama, Top 100 Films, Top 250 Films

Cabaret-1972

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Cabaret-1972

Director Bob Fosse

Starring Liza Minnelli, Michael York

Top 250 Films #52

Scott’s Review #975

Reviewed December 31, 2019

Grade: A

If not for the mighty and powerful The Godfather (1972) blocking its path (but who’s complaining?), Cabaret (1972), with eight Academy Award nominations, surely would have won Best Picture in its year of release.

The film thus has the dubious honor of receiving the most nominations of all time without whisking away the ultimate trophy, but no matter; the Oscars are not everything.

The production, acting, and story are inventive and envelope-pushing, both serious and fun, and proof that 1972 was one of cinema’s greatest years.

The story centers on a circle of friends enjoying the decadence and joviality of the decade, though they face their own struggles. Energetic Kit Kat Klub performer, Sally Bowles (Minnelli) takes a shine to British scribe, Brian (Michael York) when he moves into her boarding house.

Despite having completely different personalities, they become deeply bonded and best friends. Rich playboy baron, Maximilian (Helmut Griem), woos the pair with money and travel and beds each of them separately, eventually dumping them both.

In a supporting yet important subplot, Fritz Wendel (Fritz Wepper) is a German Jew passing himself off as a Protestant. He falls madly in love with Natalia (Marisa Berenson), a gorgeous and authentic German Jewish heiress.

Their love story is comic relief, but it also has a dangerous aspect, given the foreboding political events. The safety of the cabaret serves as a haven while the outlandish Master of Ceremonies (Joel Grey) appears throughout the film performing risque numbers.

Adapted from the popular Broadway stage show, the musical drama is set in 1930s Berlin and begins in 1931. Historians will realize that the decade of the 1930s in Germany was frightening, giving rise to the deadly and hated Nazi Party.

While the film never goes full-fledged dark, there are snippets of beatings and ridicule at the hands of the Nazis, powerful stuff and tough to take, especially given the Jewish religion of some of the principals.

Liza Minnelli has never had a better role than the one she plays as Sally. The character is vivacious, zesty, and emotional, and Minnelli dives in headfirst, winning viewers’ hearts. Beneath her bubbly exterior, Sally is wounded, yearning for love and peace of mind.

She pretends to be close to her wealthy father, but it is far from the truth. The most powerful scene is when a pregnant Sally comes to terms with the heart-wrenching decision to abort the baby.

For both the time-period setting, the 1930s, and the year the film was made, 1972, the sexuality dynamic is powerful and worth a nod. Brian, openly bisexual and at a different time certainly gay, is a great character.

He beds Sally more out of friendship than anything else while delving into admiration (or lusting) for the suave and dashing Maximilian. The fact that his sexuality is embraced and explored is to be celebrated and respected. It’s also a damned interesting part of the film.

Of course, Cabaret being a musical, the performance numbers are superlative. With gorgeous choreography by the director, Bob Fosse (and who would expect anything less from the seasoned artist), the sets and costumes are stylish.

The conclusion, featuring “Cabaret”, is done grandly as Sally performs on stage with precision and bombast. “Willkommen” and “Maybe This Time” are also dynamic favorites.

Cabaret (1972) is a spirited, intelligent experience, never glossing over the historical period, nor assuming viewers are too dumb to have a handle on those events.

The film plays best for smart audiences who appreciate artistic merit and enjoy the robust musical numbers.

Carefully, the film is designednever to shy away from the crucial Nazi power that was creeping up and leading to a generation of despair and repercussions.

Oscar Nominations: 8 wins-Best Picture, Best Director-Bob Fosse (won), Best Actress-Liza Minnelli (won), Best Supporting Actor-Joel Grey (won), Best Screenplay Based on Material from Another Medium, Best Scoring: Adaptation and Original Song Score (won), Best Sound (won), Best Art Direction (won), Best Cinematography (won), Best Film Editing (won)

#58 Favorite Film, 1972 Films, Action, Al Lettieri, Ali MacGraw, Ben Johnson, Crime Thriller, Richard Bright, Sally Struthers, Sam Peckinpah, Slim Pickens, Steve McQueen, Thriller, Top 100 Films, Top 250 Films

The Getaway-1972

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The Getaway-1972

Director Sam Peckinpah

Starring Steve McQueen, Ali MacGraw

Top 250 Films #58

Scott’s Review #439

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Reviewed July 3, 2016

Grade: A-

The Getaway (1972) is a classic action film directed by Sam Peckinpah, known for films such as Straw Dogs and The Wild Bunch.

His films are known as “guy films” and are a rather violent experience.  The Getaway is no exception, though it is not immensely brutal either. Still, there is more than one macabre scene and one dastardly villain.

For fans of Peckinpah, The Getaway is a must-see.

The film features Steve McQueen and Ali MacGraw, who are perfectly cast as lovers Doc and Carol McCoy. Inescapable was their chemistry, and art mirrored life: the two were embroiled in a torrid love affair during the shooting, and later they married.

We meet Doc in a Texas prison, where his parole has just been denied. Doc and Carol decide to make a deal with corrupt businessman Jack Benyon to ensure Doc’s release. One stipulation is for Doc to participate in a bank heist with two of Jack’s men (Rudy and Frank).

The heist goes off, but things go awry, and Doc and Carol head for El Paso with a large sum of money, being pursued by Rudy and a double-cross attempt by Jack.

Rudy kidnaps veterinarian Harold and his young wife Fran (Sally Struthers) to aid him with his injuries, taking them along as he pursues Doc and Carol.

Amid the already complicated plot, a con man attempts to steal Doc and Carol’s money.

Doc and Carol are clearly the heroes of the film and are meant to be rooted for, and the characters work very well together. Yes, they are criminals, but they are portrayed as lovely and as not hurting anyone who does not deserve it. Doc does spare Rudy’s life at one point, and I think this only reinforces Doc’s appeal as an antihero.

The love story is also a significant aspect of the filmmaking, making Doc and Carol likable. A few sweet, tender scenes of their romance are mixed in, adding a nice balance to the otherwise testosterone-fueled events.

The Getaway features spectacular editing, particularly at the beginning of the film, where we watch Doc in prison, going through his day-to-day rituals, which are seamlessly interwoven with other stories in the movie.

The musical score matches perfectly with the editing, adding a provocative element of intrigue. These components add the necessary elements to a film like this- edge-of-your-seat!

I love the Texas setting.

Characters are constantly traveling to get somewhere- either by train, by car, or on foot- so we see much of the Texas countryside, almost giving The Getaway a Western flavor.

It is certainly a hot, humid environment, though McQueen always wears a sophisticated suit, and MacGraw looks stylish and put together.

And from a prop perspective, I never tire of seeing those early 1970s sedans driving at high speeds.

Unfortunately, as with most of Peckinpah’s films, women are not portrayed in a positive light, though Carol is one of the strongest of his female characters. Yet, in one tough scene, she is smacked around by Doc after he realizes she slept with Jack to ensure his release from prison.

The most confusing and weak character is Fran. In a strange bit of writing, she inexplicably falls madly in love with her kidnapper, Rudy, even as he abuses and humiliates her, while her husband is around. This is odd and tough to watch, and not the best part of The Getaway.

Her character is not developed well, and it is head-shaking that she feels any passion for Rudy.

The heart of the film belongs to Doc and Carol as they are on the lam for much of the time, and this is a successful part of The Getaway- hence the title. Will they get caught? Will they escape?

The characters remind me of Bonnie and Clyde, so we wonder if Doc and Carol will meet the same fate, but of course, we like them, so we do not want that.

The Getaway is a fast-paced, down-home, red-blooded sort of action film. It is stylized, gritty, and sometimes violent. The chicken wing scene between Rudy, Fran, and Harold starts light and then turns ugly, adding to the film’s unpredictable nature.

A supreme offering by Peckinpah.

#104 Favorite Film, 1972 Films, Bill McKinney, Burt Reynolds, John Boorman, Jon Voight, Ned Beatty, Ronny Cox, Thriller, Top 250 Films

Deliverance-1972

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Deliverance-1972

Director John Boorman

Starring Jon Voight, Burt Reynolds, Ned Beatty

Top 250 Films #104   

Scott’s Review #324

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Reviewed January 5, 2016

Grade: A

Deliverance is a disturbing, gritty, yet terrific 1972 thriller directed by John Boorman and starring a all-male cast.

The film is an adventure, albeit a dark one, with a subject matter difficult to watch; the film takes dark twists along the way, which is also its beauty. The viewer will get a harsh look at the backwoods of Georgia, not to mention gorgeous outdoor scenery.

A group of middle-aged, metropolitan businessmen, (played by Burt Reynolds, Jon Voight, Ned Beatty, and Ronny Cox), from Atlanta, decide to go rafting for a weekend getaway along a remote river in a desolate area of Georgia.

It is a guy’s weekend.

Lewis and Ed (Reynolds and Voight) are experienced canoeists and therefore the leaders of the group.

The guys are jovial, but soon come upon a strange group of very poor townspeople. The men ask for a ride to the river, and one of the men, Drew (Cox), engages a peculiar young boy in a friendly duel of banjo versus guitar, but the boy then snubs Drew.

Later, events take a dark turn when a hunter-versus-hunted game emerges between the city-dwelling men and the country rednecks.

The film is interesting as it begins as a light-hearted adventure, nearly a buddy movie. The men laugh and joke as they relish the excitement of the weekend ahead.

The film then becomes slightly eerie during the banjo scene. We know that something strange or sinister has occurred, but we cannot put our finger on it.

Does the redneck boy hate the city men, or is he mentally challenged? Why the strange looks of the poor people of the tiny town?

From this point, Deliverance takes a dark turn as a brutal event occurs involving two deaths- one under mysterious circumstances, and a male rape scene that is disturbing in its intensity and humiliation.

The rawness of these aspects of the film is unprecedented, especially when contrasted with the beautiful nature that is also at the forefront.

The acting is spot-on. In my opinion, Jon Voight makes this film and gives a layered, character-driven performance, so much so that the audience becomes invested in his life. Ed is a good guy- arguably the kindest of the bunch- and is forced to become a different person as the film progresses, far from his true self.

He struggles in one scene- one beautifully peaceful scene- to shoot and kill a deer calmly grazing in the woods. He cannot do it. I love this scene as it shows Ed’s true nature. He does not dare tell the other men of his perceived shortcomings.

Ironically, he is then forced to make another painful decision involving human life.

On the surface, it is a straightforward mainstream film, but as the film progresses, it becomes a layered masterpiece—happy, tragic, strange, depressing, peaceful, and brutal—like Deliverance (1972).

The film is a disturbing, memorable gem and needs to be viewed to appreciate the golden age of 1970s cinema.

Oscar Nominations: Best Picture, Best Director-John Boorman, Best Film Editing

#122 Favorite Film, 1972 Films, Anna Magnani, Britta Barnes, Comedy, Dennis Christopher, Drama, Federico Fellini, Fiona Florence, Gore Vidal, Independent Comedy, International, International Drama, Italian, Marcello Mastroianni, Peter Gonzales, Top 250 Films

Fellini’s Roma-1972

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Fellini’s Roma-1972

Director Federico Fellini

Starring Peter Gonzales, Britta Barnes

Top 250 Films #122

Scott’s Review #649

Reviewed June 5, 2017

Grade: A-

Fellini’s Roma (1973) is a trippy experience set in Rome across two different periods.

As with all Fellini films, the film is meant to be experienced rather than analyzed.

One must nestle into the life that Fellini offers on-screen- in this instance, the fabulous city of Rome, Italy, in both positives and negatives.

The experience was very good for me, as both a world of odd characters and of ancient Rome oozed from the screen appealingly and absurdly.

From a plot narrative- there is a rot one. Arguably, the only character portrayed is Rome herself. The film takes place in both the 1930s and the 1970s and is said to be an autobiographical tale of director Fellini’s experiences growing up in Rome.

We see little Fellini as a youngster, experiencing the vast city for the first time, and as a teenager, now living in the city. Interestingly, the film moves back and forth between the two periods with no rhyme or reason.

Throughout the film, we see both the beauty and the ugliness of Rome- the majestic Colosseum and the dirty entrails of the gloomy city. Scenes of seedy brothels, mainly in the 1930s, and a myriad of strange and scantily clad females prance before the cameras, looking for a lucky score amid the droves of men lusting after them.

Another depicts a fashion show, of sorts, taking place at the Vatican, involving nuns and priests in bizarre costumes.

The 1930’s setting is my personal favorite. Gritty, cold, and harsh, Rome’s bleakness is depicted. Unsurprisingly, this has much to do with the historical period: since Mussolini was in power and on the eve of World War II, the darkness was apparent.

In a frightening scene, bomb sirens wail while a woman shrieks in panic. The brothel scenes are downright creepy, and the subsequent theatre scenes involving drunken, rowdy, young men leering and cursing at the entertainment are a particular slice of a life sequence.

In contrast, the 1970s sequences are layered with more beautiful depictions of the city. Brighter colors predominate, and there appear to be scientists or explorers digging into ancient ruins, finding gorgeous art that is subsequently damaged by the wind. We also see hippy types basking in the sunlight.

Again, much of this film is largely open to interpretation.

I adore Fellini’s Roma in terms of an expression of the city of Rome as an art form, but the film is highly unconventional- another plus for me.

Sure, I may have wanted to learn more about the bevy of creepy and potentially interesting characters. Still, I finished the film with an appreciation for Rome unlike any I have ever known.

A startling final scene, in which legendary Italian film star Anna Magnani appears scantily clad, implied to be a prostitute, was filmed shortly before her untimely death at the age of sixty-five.

As a film, Fellini’s Roma (1972) is a wonderful history lesson, but also a lesson in interpretation and film appreciation. Most filmgoers are accustomed to a beginning, middle, and end, as well as some semblance of a plot.

Roma contains none of that; rather, it is mind-opening and still fresh many years after its release, which is a true testament.

#165 Favorite Film, 1972 Films, Channing Wilroy, Comedy, Cookie Mueller, Danny Mills, Dark Comedy, David Lochary, Divine, Edith Massey, Independent, Independent Comedy, John Waters, Mary Vivian Pearce, Mink Stole, Paul Swift, Susan Walsh, Top 250 Films

Pink Flamingos-1972

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Pink Flamingos-1972

Director John Waters

Starring Divine, Edith Massey

Top 250 Films #165

Scott’s Review #359

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Reviewed January 9, 2016

Grade: A

One of the truest and best late-night gross-out films of all time, Pink Flamingos (1972) breaks down barriers I never thought possible in film and contains one of the most vomit-inducing scenes ever to grace the movies.

The film is certainly one of a kind and will only be appreciated by a certain type of film-goer. Pink Flamingos is raw, entertaining, and must be seen to be believed.

Outrageous in every way and shot in a documentary style, the film features weird close-ups and amateurish camera angles, only adding to the fun.

I love the film.

In what director John Waters famously dubbed the “Trash Trilogy”, along with similar films Desperate Living and Female Trouble, Pink Flamingos has the dubious honor of being the best of the three.

Waters’ stalwart, Divine, plays Babs Johnson, an underground criminal who lives a meager existence in a trailer with her mentally challenged son, Crackers, and her bizarre, egg-obsessed mother, Edie (Massey). Babs’s companion, Cotton, joins them.

In an attempt to win the “Filthiest Person Alive” contest and usurp Babs from achieving this distinction. The Marbles (Mink Stole and David Lochary) set out to destroy her career.

Pink Flamingos is complete and utter over-the-top fare, but I have fallen in love with the film over the years.

Let’s say it is a type of film that is an acquired taste, and one will eventually revel in the madness or be disgusted with its bad taste.

Waters, a truly creative person, breaks new ground in filth. On a budget of no more than $10,000, it is impressive how he pulled this off.

The antics that Babs and the Marbles engage in are downright crude, but the extreme nature of the fun is exactly what is to love about the film. Hysterical is the character of Babs’s mother, Edie.

Confined to a crib and constantly inquiring about the Egg Man, she is obsessed with eggs and wants to eat nothing else. She eventually marries the Egg Man. The character is entertaining beyond belief.

The Marbles run a clinic in which they sell stolen babies to lesbian couples for cash.  When they send Babs a box of human excrement and a card that says “fatso”, the war between the two sides is on.

The highlight of the film is the main sequence in which Babs holds a birthday party. A male contortionist flexes his anus in rhythm to the song “Surfin’ Bird”, which may be the only film featuring an anus.

How Waters got away with some of this stuff is mind-blowing.

The most disturbing scene occurs at the very end, when Babs watches a dog do “its business” on the street and then picks up the excrement and eats it, revealing to the audience a toothy (and brown) smile.

Reportedly, Divine did this act. As the film ends, Babs truly is “The Filthiest Person Alive”.

Thanks to the genius of John Waters and Divine, and the superlative supporting cast, Pink Flamingos (1972) is a reminder that creativity and unique humor need not conform to a specific style or follow a road map.

Waters throws out any film criteria, instead creating a masterpiece of warped fun and disgust.

#178 Favorite Film, #8 Most Disturbing Film, 1972 Films, Art, Bernardo Bertolucci, Giovanna Galletti, Jean-Pierre Léaud, Maria Michi, Maria Schneider, Marlon Brando, Massimo Girotti, Top 10 Most Disturbing Films, Top 250 Films

Last Tango in Paris-1972

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Last Tango in Paris-1972

Director Bernardo Bertolucci

Starring Marlon Brando, Maria Schneider

Top 250 Films #178

Top 10 Most Disturbing Films #8

Scott’s Review #202

687496

Reviewed December 5, 2014

Grade: A-

Last Tango in Paris is a very dark 1972 erotic art film directed by Bernardo Bertolucci (The Conformist, 1970), starring Marlon Brando as a disturbed, angry American man named Paul, whose wife has committed suicide.

He is left to survive on his own in Paris, lost and without her, where he runs a decrepit apartment complex.

Lonely and bitter, he meets a much younger Parisian woman (Maria Schneider), equally disturbed for different reasons, and they forge a relationship that is sometimes brutal and degrading but also contains mutual affection and need.

They are addicted to each other.

This film may very well be my favorite performance by Marlon Brando. He plays a hateful, unpleasant character, yet something about him is appealing, and the viewer sympathizes with his grief.

That is to Brando’s credit, of course. A lesser actor would not be as effective.

He is damaged, treats everyone like shit, but there is also a vulnerability to him that is mesmerizing to watch. Brando was such a great method actor that he morphed into the characters he played. Paul is certainly having the most raw and emotional performance of his career.

Actress Maria Schneider is also tremendous in the film. Equally disturbed, her character Jeanne experienced a vastly different upbringing- that of wealth and pampering.

She has a fiancé who loves her dearly, yet she is drawn to the power and abuse of Paul- the fact that he is an older man is sexy to her.

I kept thinking, “What is wrong with this woman?” She seemingly has everything, yet she yearns for excitement. Is Paul a fling for her? Does she care about him, or is she using him? Is he using her? Could they be using each other?

The film raises many psychological questions. Jeanne is clearly in emotional turmoil. Both Jeanne and Paul are.

Last Tango in Paris is a difficult film to watch- several scenes are unpleasant, even brutal, but it is a character study of two damaged individuals.

When Paul anally penetrates Jeanne on the floor of his apartment, forcing her to recite gibberish, it is almost too much to bear. Paul wants to know nothing about Jeanne. He does not want to know her name, her past, nothing- complete anonymity. He lives for the present, and their sex is animalistic, filled with lust and need.

But these examples are a testament to the power of Last Tango in Paris. It is not boring.

The finale leaves you wondering what will happen to Jeanne. Will she commit suicide? Will she return to her fiancé and life of luxury, her affair with Paul over? Was the affair only a fling for her, or does she love Paul?

The film is a dark, tragic, romantic story. It is brutal, raw, and honest, and is not to be missed.

Oscar Nominations: Best Director-Bernardo Bertolucci, Best Actor- Marlon Brando

#218 Favorite Film, #32 Favorite Horror Film, 1972 Films, David Hess, Fred J. Lincoln, Horror, Independent, Independent Horror, Jeramie Rain, Lucy Grantham, Sandra Peabody, Steve Miner, Top 250 Films, Top 40 Horror Films, Wes Craven

The Last House on the Left-1972

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The Last House on the Left-1972

Director Wes Craven

Starring Sandra Peabody, Lucy Grantham, David Hess

Top 250 Films #218

Top 40 Horror Films #32

Scott’s Review #1,387

Reviewed August 6, 2023

Grade: A

Heavily influenced by Ingmar Bergman’s 1960 masterpiece The Virgin Spring, The Last House on the Left (1972) is essentially the same story.

The time is modern, the locale is switched from Sweden to New York, and the religious exploration is absent. But rest assured, both films are brutal and not for the faint of heart.

It’s not violence for violence’s sake, though, and a powerful revenge tale emerges amid unique camera styles and settings.

Wes Craven, who put the horror genre back on the map in 1996 with Scream, writes and directs the raw, independent The Last House on the Left.

He was accused of going too far in the film and exploiting pain and suffering, mostly by victimizing female characters, but the truth is, the situation can and has occurred in real life.

The film brings powerful realism to the terrifying actions of horrible people; if that’s too much for some, they shouldn’t watch it.

But lovers of experimental cinema should.

Craven’s genius is mixing sunny, cheery sequences, poppy music, and comic relief with uncomfortable scenes of rape and torture so well that the audience’s reaction is guttural and rage-infused. The dark scenes unfold on a sunny afternoon in the woods, set to upbeat music, making what would otherwise be a pleasant day feel unsettling.

Many horror sequences use darkness, thunderstorms, or other special effects to set the right mood, but Craven goes way off center.

Perky teenagers Mari (Sandra Peabody) and Phyllis (Lucy Grantham) head into New York City for a concert where they look for some marijuana. They stumble upon a foursome (three men and one woman) of escaped convicts who force them to endure a night of rape and torture.

The following day, the gang kills the girls in the woods, not realizing they’re near Mari’s house. When they pose as salesmen and are taken in by Mari’s mother (Eleanor Shaw) and father (Richard Towers), the parents quickly figure out their identities and plot revenge.

A side story involves two incompetent police officers who unsuccessfully try to pursue the escaped convicts.

I was immediately made aware of the very low-budget filmmaking, with muted, grainy visuals. The cinematography is what makes The Last House on the Left work so well. With high caliber and glossy texture, it would seem too polished.

The acting isn’t brilliant, and the overall look and feel is reminiscent of a John Waters film. Again, this only enhances the bare bones, late-night viewing experience.

There are warnings galore. The pain and suffering endured by Mari and Phyllis are hard to watch, and I felt their degradation in my bones. I won’t go into gory details, but it isn’t fun.

However, there is some satisfaction to be had. When Mari’s parents cleverly set traps inside their house for the murderers to fall into, there are cheer-out-loud moments of celebration for the audience.

One murderer even gets his penis bitten off.

Suspension of disbelief must be given to justify how this chain of events could occur. What are the chances the convicts would happen to bring the girls to Mari’s house in the middle of nowhere?

Wouldn’t the parents be in shock or have a meltdown over the realization of Mari’s death? Somehow, they find the wherewithal to construct a stagey revenge plot on the fly.

The dumb cops will do no favors for police officers looking for some respect.

Still, the utter depravity and brutality of The Last House on the Left (1972) make it one of the most genuine-feeling horror films of all time. Add the fact that the situation could happen, and the result is a frightening one.

1972 Films, Adventure, Agostina Belli, Comedy, Drama, Elena Fiore, Giancarlo Giannini, International, International Comedy, International Drama, Italian, Lina Wertmüller, Luigi Diberti, Mariangela Melato, Turi Ferro

The Seduction of Mimi-1972

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The Seduction of Mimi-1972

Director Lina Wertmüller

Starring Giancarlo Giannini, Mariangela Melato, Agostina Belli

Scott’s Review #1,420

Reviewed February 4, 2024

Grade: B+

Lina Wertmüller, a visionary female director around a time when there were few female directors with notoriety, created The Seduction of Mimi (1972), a flavorful Italian adventure/drama/comedy.

Any fans of Federico Fellini will immediately draw comparisons to his films with saucy banter, odd characters, and lively music. But amid the fun exists importance.

Wertmüller produces a film with a more defined plot focus than Fellini usually does.

The key to the enjoyment of The Seduction of Mimi is twofold. Actors Giancarlo Giannini and Mariangela Melato starred together in three of Wertmüller’s films, usually as love-torn yet bickering couples, full of drama and misunderstandings.

The other films are Love and Anarchy (1973), which I have not seen, and Swept Away (1974), which I have seen.

The actors work so well together that anyone familiar with them will instantly be delighted, especially during high-energy scenes when they spar or passionately solidify their romantic intentions.

Giannini was Wertmüller’s muse in a time when, rarely if ever, a male actor was a muse of a female director.

The other nicety is the film’s title. One might assume (I did) that the character of Mimi is female and is seduced by a male, but in Wertmüller’s film, it is the reverse. This causes traditional gender stereotypes to be turned on their heads with more awareness of assumptions.

Mimi (Giannini) is a Sicilian dockworker who inadvertently becomes involved in an increasingly complicated series of personal conflicts.

After he loses his job after voting against a Mafia kingpin in a ‘secret’ election, Mimi leaves his frazzled wife Rosalia (Agostina Belli) to find work. He moves to Turin, where he engages in an affair with a Communist organizer, Fiorella Meneghini (Melato).

Soon, Mimi finds himself juggling not two but three relationships and three children while plotting to take revenge against the corrupt forces that ruined his life.

The Seduction of Mimi is quite good, but I’m more partial to her other films, like Swept Away and the hysterically brash Seven Beauties (1975), which is, in my opinion, her best work.

Still, there is a lot to enjoy about ‘Seduction’.

Taking nothing away from Melato’s performance, Mimi is the focal point, and Giannini is a pure delight. For viewers unfamiliar with his work, his dazzling green eyes and almost manic style fill the character with pizazz and passion.

The actor is also great at making his wacky shenanigans seem realistic.

Beyond the hijinks, Wertmüller offers serious messages about sexual hypocrisies, political dilemmas, and corruption. She mixes jokes with purpose so that the audience learns a thing or two while being richly entertained.

Like her obvious mentor, Fellini, she appreciates good satire and incorporates that into her films.

Visually, there’s some cool, wacky camera angles going on. Mimi repeatedly notices moles, beauty marks, or otherwise odd or eccentric facial features, which come into focus in shaky close-up shots.

Since the film is so Italian, it’s joyful to watch it for this aspect alone. There are frequent sequences shot on location in Sicily and around Italy, a treat for those partial to European films.

The Seduction of Mimi (1972) is a film I’d like to see again for more appreciation and further examination. It’s a film that has more going on than meets the eye and leaves viewers pondering, specifically regarding the Union storyline.

1972 Films, Anne Ramsey, Barbra Streisand, Comedy, Conrad Bain, Dark Comedy, David Selby, Drama, Fantasy, George S. Irving, Irvin Kershner, Isabel Sanford, Jacobo Morales, Lois Smith, Paul Benedict, Paul Dooley, Stockard Channing

Up the Sandbox-1972

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Up the Sandbox-1972

Director Irvin Kershner

Starring Barbra Streisand, David Selby

Scott’s Review #1,308

Reviewed October 18, 2022

Grade: B

Up the Sandbox (1972) is likely the least successful film in the Barbra Streisand collection and more obscure than likely desired. The star performs no songs, and the film is experimental, but it’s unclear whether it was intended to be.

Streisand takes a break from comedies and musicals to venture into unknown territory, risking a payoff that doesn’t always come through.

On the flip side, she never looked more beautiful in a film.

The film has its moments. It’s shrouded in early progressive feminism, which provides intrigue, and it’s tough to go wrong with a bankable star like Streisand in a lead role.

Still, the fantasy sequences get too weird and sometimes unnecessary, and the film doesn’t always make a lot of sense.

The film gets taken down at least a notch for two anti-gay slurs that are shamefully unnecessary to any plot direction.

I award Up the Sandbox credit for thinking outside the box and being unconventional. Still, the parts don’t come together into a cohesive unit, leaving me unfulfilled while recognizing the superior qualities.

The cover art (see above) is wacky and thought-provoking.

Margaret (Streisand) is a young wife and mother who is bored with her day-to-day life in New York City, playing second fiddle to her successful and too-busy husband, Paul (David Selby).

He is a professor at Columbia University, and they reside in a cramped yet fairly sophisticated apartment.

To combat boredom, she regularly escapes into increasingly outrageous fantasies: her mother breaking into the apartment, an explorer’s demonstration of tribal fertility music at a party causing strange transformations, and somehow joining terrorists to plant explosives in the Statue of Liberty.

Streisand is well cast, and while other actresses could have given a fine performance, she plays New York Jewish better than anyone. Her struggle to break out of her life of doldrums is perfectly conveyed as she yearns to achieve a balance between men and women.

She resents going down the path of a housewife, just like her mother did, and vows to be nothing like her, as the women bicker and feud throughout the film.

The sequences involving her mother are the best in the film. Played by Jane Hoffman, Margaret’s mother provides all of the expected Jewish mother stereotypes, like nagging and judging, hilariously.

The funniest mother/daughter sequence sees Margaret smash her mother’s head into a giant birthday cake. Naturally, it’s just her fantasy.

Up the Sandbox wins big for the large number of location sequences set in early 1970s New York City, which is absolutely fascinating to watch. One with an appreciation for Manhattan can be assured of a pleasant viewing experience.

The most heartfelt and sentimental moments occur during a long shot of the still-under-construction World Trade Center. Seeing the Twin Towers still being erected brings back teary memories of 9/11.

Lavish sequences are set in and around Columbia University in upper Manhattan, and the campus is frequently seen as Margaret and her friends trudge their baby strollers through the campus and surrounding areas.

Where the film fails is when it teeters too far out in fantasy land. It makes little sense why Margaret would join terrorists intent on blowing up Lady Liberty, or what the group’s intentions are.

Perhaps it is a metaphor for something that went over my head.

Even when the screenplay is a dud, Ms. Streisand holds her head high and plays the comedy or drama with sincerity and professionalism. With her well-known perfectionism, she would have been aware when things were not working.

A film not remembered well, Up the Sandbox (1972) scores some points with its locales, progressivism, and star power, but stumbles off course too many times to recommend.

If only Streisand had belted out a number or two amid her scripted fantasies, the film might have worked better.

1972 Films, Agostina Belli, Edward Dmytryk, Horror, Joey Heatherton, Karin Schubert, Marilù Tolo, Nathalie Delon, Raquel Welch, Richard Burton, Sybil Danning, Virna Lisi

Bluebeard-1972

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Bluebeard-1972

Director Edward Dymtryk

Starring Richard Burton, Raquel Welch, Joey Heatherton

Scott’s Review #1,293

Reviewed August 23, 2022

Grade: A-

My expectations of Bluebeard (1972) were of a late-night foray into the world of weird horror. The story is loosely based on a French folktale about a nobleman with a curious wife, forbidden to enter a mysterious room.

I was anticipating an entertaining experience, but nothing more.

To lower expectations, the critics’ reviews of the film were quite harsh, ridiculing and ripping upper-class actor Richard Burton to shreds, calling this film the decline and fall of his career.

Instead, I was treated to luscious art direction created on a small budget and a fascinating, macabre story about a man nicknamed ‘Bluebeard’ (Burton) who kills each of his six former wives while revealing his dirty deeds to wife number seven, Anne (Joey Heatherton), whom he plans to kill.

We learn that Austrian aristocrat Baron von Sepper (Richard Burton) would rather kill his wives than divorce them. It’s the 1930s, and he is a decorated war hero with a few secrets. A lady’s man he meets the most beautiful women, but quickly grows bored with them.

He hides their remains in a secret refrigerated room, and Anne stumbles upon their corpses. Now, she must escape his clutches to avoid becoming his next victim.

Burton is famous for being the husband of Elizabeth Taylor, for appearing in superior films like Who’s Afraid of Virginia Woolf (1966) and The Robe (1953), and for being a much sought-after Hollywood star during the 1950s and 1960s.

By the time Bluebeard was made, he was a raging alcoholic and needed the film work. However, intentionally or not, he is a fabulous addition to the film, whether he was sober during shooting or not. He perhaps doesn’t even recall making it.

The most fun with Bluebeard is the anticipation. Once I realized the film was working backward and detailing each of Bluebeard’s six former wives’ murders, I was hooked! Each murder is better than the last, and poor Raquel Welch as Magdalena is locked in a tomb alive.

In the comical form, the actress plays a slutty nun.

One particular scene had me tickled pink. Bluebeard’s third or fourth wife, a gorgeous blonde who is a chatty ‘motor mouth’ and eager to dive into bed with her new husband, is decapitated via guillotine when she thinks she will finally become intimate with him.

It’s a fabulous sequence that I had to watch twice.

The decapitation scene is nearly rivaled by a titillating girl-on-girl scene between Nathalie Delon and Sybil Danning, who plays a prostitute hired to teach Bluebeard’s wife how to enjoy the pleasures of touch and eroticism.

They quickly get naked and kiss.

Instead of being aroused as any straight man would, Bluebeard takes a pair of shears to them, impaling them to death one on top of the other. We then realize he is quite inadequate in the sexual department.

It should go without saying that folks looking for a PG affair need to look elsewhere. There are enough breasts bared to make the prudish blush mightily. The lesbian scene might leave them running for the hills.

No, Bluebeard is an adult venture for those desiring a healthy serving of female flesh with their bloodletting. The male actors are spared any nudity- that’s the way cinema was back then.

Heatherton does surprisingly well paired with Burton, and their chemistry works. She is not a top-quality actress, but she is appealing, and we root for her to escape the madman.

The art direction is tremendous and reminiscent of the attention to detail and craft that Hammer Horror films achieved around that same period. The velvet-red walls of Bluebeard’s massive estate ooze with royalty and sophistication. Each table, chair, and set piece is perfectly placed.

Of course, Bluebeard is pure camp and over-the-top shenanigans, but it’s a hoot all the way, never dragging or taking itself too seriously.

I was pleasantly surprised by Bluebeard (1972) and consider it a must-see for Burton fans seeking later works sans Elizabeth Taylor. It’s not high art, but it’s sure delicious Saturday-night fun.

1972 Films, Barbara Murray, British, British Horror, Chloe Franks, David Markham, Freddie Francis, Geoffrey Bayldon, Horror, Horror Anthologies, Ian Hendry, Joan Collins, Nigel Patrick, Patrick Magee, Peter Cushing, Ralph Richardson, Richard Greene, Robin Phillips, Roy Dotrice

Tales from the Crypt-1972

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Tales from the Crypt-1972

Director Freddie Francis

Starring Joan Collins, Ian Hendry, Robin Phillips

Scott’s Review #1,200

Reviewed November 25, 2021

Grade: A-

Tales from the Crypt (1972) is a delicious British anthology based on stories from the EC Comics series. Each of the five chapters is eerie storytelling that offers horror fans glimpses into the minds of depraved, devilish characters with sinister motives.

The sheer joy is witnessing their comeuppance.

This film is the predecessor to Vault of Horror (1973) and can be watched as a companion piece.

Below is a summary, review, and rating of each vignette.

Intro

Five strangers are suddenly compelled to join a tourist group to visit the old catacombs.

Separated from the main group, the strangers find themselves in a room with the mysterious Crypt Keeper (Ralph Richardson), who details how each of them may die.

…And All Through The House- A

Joanne Clayton (Joan Collins) brutally kills her husband Richard (Martin Boddey) on Christmas Eve to get her hands on their insurance money.

She prepares to hide his body but hears a radio announcement of a homicidal maniac (Oliver MacGreevy) on the loose.

She sees the killer (who is dressed in a Santa Claus costume) outside her house, but cannot call the police without exposing her crime.

Her daughter is upstairs in her bedroom, unaware.

This is my favorite chapter, and it’s nonstop action. Collins is terrific as the greedy Englishwoman put in peril. The audience will cheer for her to get her just desserts, especially after she callously disregards a lovely Christmas gift her husband bought for her.

Reflection of Death- B+

Carl Maitland (Ian Hendry) abandons his family to be with his secretary, Susan Blake (Angela Grant). After they drive off together, they are involved in a car accident. He wakes up, having been thrown clear of the burned car. He tries to hitchhike home, but everyone he meets screams with horror when they see him.

This vignette is slightly confusing in terms of the events’ timeline, but compelling as we wait to see what Carl’s face looks like and what has happened to Susan and his wife.

Poetic Justice- A

James Elliott (Robin Phillips) lives with his father Edward (David Markham) across from the home of elderly dustman Arthur Edward Grimsdyke (Peter Cushing), who owns several dogs and entertains children in his house.

James hates Arthur’s ramshackle lawn and embarks on a scheme to rid the neighborhood of the older man.

I love seeing Cushing play against type as a kindly grandfatherly character, and this chapter is the ultimate revenge fantasy, and quite satisfying to see what happens to James.

It’s also a perfect watch for Valentine’s Day, since the holiday is in play.

Wish You Were Here- A-

Businessman Ralph Jason (Richard Greene) is on the verge of financial collapse. His wife Enid (Barbara Murray) notices the inscription on a Chinese statue the couple owns.

They are granted three wishes. Enid decides to wish for a fortune and, surprisingly, the wish comes true, but with dire results.

This one wonderfully cascades a chain of events that leaves the characters in peril. The theme is once again about greed, specifically surrounding insurance money. The fast-paced nature is appealing, and the ancient Chinese wishes leave one character in eternal suffering.

Blind Alleys- A-

Major William Rogers (Nigel Patrick) becomes the new director of a home for blind people and exploits his position to live in luxury with his dog, Shane. At the same time, his drastic cuts to food and heating worsen the residents’ living conditions.

Led by George Carter (Patrick Magee), the residents revolt after a fellow resident dies of hypothermia. Rogers and Shane are locked in the basement, where Rogers must navigate through a maze of razor blades and a now ravenous wild dog who will hungrily eat his owner.

Though far-fetched, Blind Alleys is delicious fun and contains my most hated character. This is all the more satisfying as he ‘gets it’ in the end!

Finale

After completing the final tale, the Crypt Keeper reveals that he was not warning them of what would happen, but telling them what has already happened: they have all “died without repentance.

The conclusion does nothing more than put a satisfying cap on the viewer as each character once again pays for their shenanigans.

1972 Films, Austin Pendleton, Barbra Streisand, Buck Henry, Comedy, John Hillerman, Kenneth Mars, M. Emmet Walsh, Madeline Khan, Michael Murphy, Peter Bogdanovich, Randy Quaid, Romantic Comedy, Ryan O'Neal, Sorrell Booke

What’s Up, Doc? -1972

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What’s Up, Doc? -1972

Director Peter Bogdanovich

Starring Barbra Streisand, Ryan O’Neal 

Scott’s Review #1,162

Reviewed July 20, 2021

Grade: B+

Careful trepidation is advised for filmmakers venturing into humorous or slapstick comedy waters, especially if they are better known for dramatic films.

Since we’re talking 1970s cinema here, there is only one Mel Brooks, and plenty of films with physical humor and gags fail miserably.

What’s Up, Doc? (1972) is not one of them and is a refreshing success.

Brooks’s influence can easily be seen throughout the film, and this is no surprise. Before doing any post-film research, I was immediately reminded of the popular television sitcom Get Smart, which ran from 1965 to 1970.

Buck Henry, a frequent Brooks collaborator, co-created Get Smart and wrote the screenplay for What’s Up Doc?

The antics and comedic moments scream Brooks. If one is unfamiliar, it is like watching a Mel Brooks film.

Director Peter Bogdanovich, most notably known for the 1971 masterpiece The Last Picture Show, changes course, opting for comedy with lots of screwball situations and physical comedy that are completely different from his previous work.

Speaking of Brooks, Madeline Kahn, a mainstay of his films, appears as a particularly neurotic character named Eunice Burns. It is her first film role.

I must say I was thoroughly impressed by What’s Up, Doc?, which oddly pairs two Hollywood superstars of the time, Barbra Streisand and Ryan O’Neal.

One might be surprised to think of the duo as romantic partners, and the chemistry comes and goes throughout the film, but the antics and quick dialogue are joyous and timed perfectly between the actors.

What’s Up, Doc? intends to pay homage to comedy films of the 1930s and 1940s, especially popular Warner Bros. Bugs Bunny cartoons, hence the title, but the reference doesn’t appear until the final scene.

This caused me to ponder why the specific title was used.

The premise goes something like this. Doctor Howard Bannister (O’Neal) arrives in San Francisco to compete for a research grant in music. He is accompanied by his overbearing wife, Eunice (Khan).

Already nervous and on edge because of Eunice, he meets a strange yet charming woman named Judy Maxwell, played by Streisand, at the drugstore. They are drawn to each other yet are not sure why. She both annoys and fascinates him.

In a subplot, a woman has her jewels stolen, and a government whistleblower arrives with his stolen top-secret papers. Ironically, all the players have identical red plaid bags and stay in neighboring hotel rooms, adding to the confusion and hilarity.

My favorite moments are the screwball scenes. Especially memorable are the hilarious sequences that take place in and around the hotel guest rooms as a constant in-and-out of parallel rooms unfolds. Each character has a particular motivation as they sneak around the hallways and rooms.

It is delightful fun.

When I realized that Streisand and O’Neal were the romantic leads, I was skeptical at first, but their chemistry is not bad. They are not the sort of couple that he and Ali MacGraw were in Love Story (1970), and certainly have no heavy drama to play, but they play comedy off of each other well.

The film makes a joke about the film Love Story.

Unfamiliar to me, I am glad I took the chance and watched What’s Up Doc? (1972). The film provides laughs, entertainment, and good chemistry among the cast who know how to deliver rapturous humor with perfect timing.

Rated G, the film can be enjoyed by the entire family as there is not a double entendre or otherwise offensive moment to be found—just good, old-fashioned humor. I would argue that the film influenced the 1970s as much as it paid homage to earlier comedy films.

I would see it again.

1972 Films, Andrew Duggan, Brett Somers, Comedy, Dark Comedy, Jeannie Berlin, Joyce Van Patten, Larry Cohen, Satire, Yaphet Kotto

Bone-1972

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Bone-1972

Director Larry Cohen

Starring Yaphet Kotto, Andrew Duggan, Joyce Van Patten

Scott’s Review #1,121

Reviewed March 12, 2021

Grade: B+

It’s tough to review a film like Bone (1972) because it’s a tough film to categorize. Is it a satire, or does it dissect racism and classism?

The truth is, it does all of the above and offers a bizarre, jagged cinematic experience that will leave the viewer perplexed, scratching their head, and ruminating about it long after the credits roll.

I was originally expecting Bone to be a 1970s exploitation film, but it’s not that at all.

One lazy sunny day, in Los Angeles’s illustrious Beverly Hills, local salesman Bill (Andrew Duggan) and his wife Bernadette (Joyce Van Patten) bicker beside their luscious pool.

They are horrified when they realize a filthy rat has become stuck in the filter. This provides some symbolism as the film chugs along. When they rush to call the exterminator, a threatening black man named Bone (Yaphet Kotto) suddenly appears.

Frightened, they first assume he is with the exterminator company, but when he terrorizes them with the now-dead rat, they offer him money to leave. While they search for banking materials, Bone realizes that Bernadette and Bill are not as wealthy as their appearances suggest.

Bone sends Bill to the bank to withdraw cash, or else he will rape and beat Bernadette. At the same time, Bernadette becomes suspicious of Bill’s financial intentions.

There are moments in the film that left me feeling like I was watching something bizarre or nonsensical. I’m still not sure what the opening scene of Bill filming a television commercial featuring cars involved in wrecks with dead bodies inside meant.

The images are bloody and horrific- artistic, but unclear is the message.

The conclusion is also unclear. When one character appears to murder another, a third character vanishes. Naming the characters would ruin the story, but suffice it to say that one may wonder whether the entire film was a dream.

The realization that Bill and Bernadette make individually is that they don’t care for one another and would happily leave the other to die. We know little about their life before, but assume, while rich, they live a life of boredom, each yearning for some spice.

How many nights does Bernadette sit alone by the pool, drowning her sorrows in Chardonnay?

Yaphet Kotto is wonderfully cast. Soon to be well-known as a James Bond villain in Live and Let Die (1973), his character in Bone starts as menacing and slowly becomes sympathetic, almost relatable.

When he reveals to Bernadette that he cannot maintain an erection unless he is raping someone, the thought is sickening, but he also appears vulnerable and feeble.

He gradually becomes my favorite character of the three, whereas in a conventional film, he would be the one not to root for.

Bill’s experiences are a mind-fuck.

Tasked with withdrawing money from his bank to save his wife, he thinks why should I? He meets a gregarious woman at a bar, played by Brett Somers, and a chatty young woman online at the bank, who beds him and makes him a salted steak.

They frolic away the afternoon as, for all he knows, his wife could be dead!

The issues of classism and racism are the meat and potatoes of Bone, and where the film succeeds. We feel the pain of Bone when he, as a black man, must stand out like a sore thumb in swanky Beverly Hills.

He has had to struggle for every crumb he has gotten, while spoiled brats like Bill and Bernadette get everything and work half as hard. It’s not fair, and the audience is meant to empathize with him.

Larry Cohen, well-known for the low-budget campy circuit, creates a perplexing project with added black comedy. The rat, the chatty girl, the X-Ray lady, everyone in the film is wacko!

Bone (1972) is a weird film that I don’t know what to make of.  I took it as a glimpse into social issues, and I loved the food references, the steak, and eggs, mostly.

The plot and conclusion will leave you wondering, but I guess that’s better than forgetting the film five minutes later. I’m still trying to make heads or tails of it.

1972 Films, Anna Palk, British, British Horror, Harry Andrews, Horror, Marlon Brando, Michael Winner, Stephanie Beacham, Thora Hird

The Nightcomers-1972

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The Nightcomers-1972

Director Michael Winner

Starring Marlon Brando, Stephanie Beacham

Scott’s Review #1,080

Reviewed November 11, 2020

Grade: B-

The Nightcomers (1972) is a disappointing prequel to Henry James’ 1898 novella The Turn of the Screw, which had already been adapted into the 1961 film The Innocents.

The dreadful title is neither catchy nor specific to the film. The lackluster and unmemorable result is jarring, given the masterpiece that is The Innocents.

It’s unclear whether the intention was to build on the film or to base it directly on the novella, forgetting The Innocents.

It’s not worth the effort to ruminate over the answer.

The most interesting comparison is that the film was released the same year as The Godfather (1972), in which the iconic role of Vito Corleone, the mafia head of household, and arguably the best role of Marlon Brando’s career, was created.

Mirrored against his role as a bizarre gardener named Peter Quint, with a broken Irish accent, one can guess why one role is memorable and why the other isn’t.

Flora (Verna Harvey) and Miles (Christopher Ellis) are recently orphaned children living in a vast English estate. Their absent guardian pays for the housekeeper, Mrs. Grose (Thora Hird), and governess, Miss Jessel (Stephanie Beacham), to keep things running smoothly.

Jessel and Peter embark on a torrid and sometimes abusive relationship that the children witness and emulate through play-acting. Flora and Miles suffer from isolation and must use their imaginations to make the best of their idle days.

Watching in sequence with The Innocents is not encouraged.

The Nightcomers is best served as a stand-alone product. The events and continuity are muddy and will confuse the most astute viewer.

Flora is much older than she is in The Innocents, even though the action takes place before those events. The characters being played by different actors doesn’t help.

Finally, The Nightcomers contains none of the ghostly mystique and spookiness that The Innocents does. So, it is advisable to put The Innocents out of mind.

Admittedly, events do come together in the final act, which is the best part of the film.

When two deaths occur simultaneously, they are both quite shocking and powerfully filmed. I felt more emotionally invested in the final ten-minute sequence than in the rest of the film.

Brando has one emotional scene worthy of his talents. Given the actor’s powerful chops, he can make any scene believable, but this is the cream of the crop material.

Stephanie Beacham is an okay casting choice, but I never felt the chemistry or connection between Jessel and Quint. Their relationship didn’t work for me.

Suspension of disbelief is required to get through a scene where a character drowns in what looks like two feet of water, making the scene lose some power.

Harvey and Ellis, as the children, are okay, but nothing spectacular. I am jaded, but I compare them again to The Innocents, and those actors are just better and more haunting, especially Miles.

The subject of mental illness and the distinction between reality and imagination is not explored in The Nightcomers.

The production is not a total dud, containing enough exterior elements of the plush and English landscape to please and make viewers feel they are in the country manor themselves.

The interior scenes are just as good. The children gallop through the enormous house to their heart’s delight, making the viewer feel like a kid along with them.

The sadomasochistic scenes between Peter and Miss Jessel are quite titillating and border on the X-rated. During the bedroom scenes, I nearly blushed from embarrassment. But, as erotic as they are, they also don’t do much to further the plot or add to the story.

They have a kinky sex life- so what?

There is also a weird suggestion of incest since Flora and Miles imitate what Quint and Jessel do; how far would they take it? The plot has good potential, but the film and direction aren’t executed well, and things don’t come together.

If you’ve never heard of The Innocents (1961), then The Nightcomers (1972) is recommended.

If viewing a cinematic masterpiece is desired, however, stick with the former and never look back.

1972 Films, Andrea Feldman, Camp, Drama, Independent, Independent Drama, Joe Dallesandro, Pat Ast, Paul Morrissey, Sexploitation, Sylvia Miles

Heat-1972

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Heat-1972

Director Paul Morrissey

Starring Joe Dallesandro, Sylvia Miles

Scott’s Review #479

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Reviewed September 11, 2016

Grade: A-

Heat (1972) is a Paul Morrissey/Andy Warhol collaboration in the 1970s sexploitation film genre.

The film is a spoof of the 1950 classic Sunset Boulevard and stars 1970s cult star Joe Dallesandro.

He plays a hunky, struggling actor and former child star who begins a relationship with a has-been actress (Sylvia Miles) and her lesbian daughter as they cohabit in a seedy Los Angeles hotel run by a plump landlady (Pat Ast).

He pays the landlady a reduced rent in exchange for sex.

Heat (1972) stars two of my favorite cult film actresses (Miles and Ast).

It is a fun, over-the-top, independent-style sex romp and a pleasing experience for those in the mood for something left of center.

1972 Films, Comedy, Drama, George Roy Hill, Michael Sacks, Ron Leibman, Science Fiction, Sorrell Booke, Valerie Perrine, Warren Frost

Slaughterhouse Five-1972

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Slaughterhouse Five-1972

Director George Roy Hill

Starring Michael Sacks, Ron Leibman

Scott’s Review #84

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Reviewed July 1, 2014

Grade: A-

Slaughterhouse-Five, adapted from the novel of the same name and made in 1972, is a dream-like visual experience through cinematic time.

The main character (Billie Pilgrim) is a World War II soldier who survives a horrific explosion during the war, and he, along with the viewer, floats through time to relive, but not change, three other periods in his life.

It is a first-person narrative.

As a senior during the most engaging period, he is transported to a lavish planet in outer space where he falls in love with a Goddess.

There is a certain anti-war sentiment to the film, and it is certainly cerebral, unique, mesmerizing, and tough to explain, but it is dreamy and clever, and, after 30-plus years, is surprisingly fresh. It should be experienced.

It is a science fiction type of film.

My favorite scene is the humorous, yet tragic, runaway Cadillac scene.

1972 Films, Best International Film Oscar Winners, Bulle Ogier, Dark Comedy, Delphine Seyrig, Fernando Rey, French, International, Jean-Pierre Cassel, Julien Bertheau, Luis Buñuel, Michel Piccoli, Milena Vukotic, Paul Frankeur, Satire, Stéphane Audran

The Discreet Charm of the Bourgeoisie-1972

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The Discreet Charm of the Bourgeoisie-1972

Director Luis Buñuel

Starring Fernando Rey, Paul Frankeur

Scott’s Review #13

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Reviewed June 17, 2014

Grade: A-

The Discreet Charm of the Bourgeoisie (1972) is a wonderful French satire by Director Luis Buñuel.

The movie is very strange- three well-to-do couples meander from dinner party to dinner party and, due to circumstances beyond their control (an incorrect date, a mysterious corpse, and a military raid), never end up sitting down and enjoying a meal together.

How the individuals are wealthy is a bit vague, though there is mention of drug smuggling.

It’s unclear who is matched up with whom since frolicking amongst them is commonplace. Several of them experience odd fantasy/dream sequences throughout and are often seen wandering down the road.

The entire film is tongue-in-cheek, poking fun at the wealthy class.

It’s offbeat but delightful.

Oscar Nominations: 1 win-Best Screenplay Based on Factual Material or Material Not Previously Produced or Published, Best Foreign Language Film (won)

1972 Films, Amy Farrell, Frank Kress, Gore, H.G. Lewis, Hedda Lubin, Henny Youngman, Horror, Horror-Camp, Independent, Independent Horror

The Gore, Gore Girls-1972

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The Gore, Gore Girls-1972

Director H.G. Lewis

Starring Frank Kress, Amy Farrell

Scott’s Review #12

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Reviewed May 14, 2014

Grade: B+

The Gore Gore Girls (1972) is a fun, late-night, campy horror film by the “Godfather of Gore”, H.G. Lewis.

An unknown assailant is hacking strippers to bits using very unusual methods. An investigator is hired to find out whodunit.

It’s an entertaining experience, and I love the way the whodunit is mixed with horror. I enjoyed the reveal of the killer.

Influenced by John Waters (even the music seems identical!), it’s a hearty viewing of wildness, merriment, and debauchery.

Comedian Henny Youngman appears, though he later denied being in the film.

The strippers are over-the-top and unique, and the investigator (sort of a Sherlock Holmes type) is wonderful to watch.

Quite a low budget, with the audio tough to hear at times and the video fuzzy, but this only enhances the fun.

Continuity errors for miles, but it hardly matters.