Tag Archives: Murray Melvin

#44 Favorite Film, 1975 Films, Diana Körner, Drama, Epic, Gay Hamilton, Hardy Krüger, Leonard Rossiter, Marie Kean, Marisa Berenson, Michael Hordern, Murray Melvin, Patrick Magee, Philip Stone, Ryan O'Neal, Stanley Kubrick, Steven Berkoff, Top 100 Films, Top 250 Films, Top 50 Films

Barry Lyndon-1975

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Barry Lyndon-1975

Director Stanley Kubrick

Starring Ryan O’Neal, Marisa Berenson, Patrick Magee

Top 250 Films #44

Scott’s Review #211

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Reviewed January 4, 2015

Grade: A

Barry Lyndon (1975) is a sprawling, beautiful film by famed director Stanley Kubrick. The film is set in the 18th century.

Extremely slow-paced yet mesmerizing, every shot looks like a portrait, and the inventive use of real candlelight in certain scenes makes this film a spectacle in its subdued beauty, to say nothing of the gorgeous sets and costumes.

The film is nothing short of a marvel to view.

The story centers around Ryan O’Neal, who plays an Irishman named Redmond Barry.

Redmond is a poor Irishman, but he is an opportunist. The film follows his life as he travels throughout Ireland, England, and Germany, becoming involved in duels, being robbed, impersonating an officer, being reduced to a servant, gambling, marrying a rich widow, and feuding with his stepson.

When he woos and marries the wealthy Countess of Lyndon, he settles in England to enjoy a life of wealth and sophistication. He changes his name to Barry Lyndon.

His ten-year-old stepson, Lord Bullingdon, becomes a lifelong enemy as their hatred escalates, and he is the focal point of Act II of the film.

The supporting cast is filled with unique characters, and in particular, the three sinister characters (Lord Bullingdon, Mother Barry, and Reverend Runt) are delicious to watch, especially when they square off against one another, as with Runt and Mother Barry.

Barry’s two love interests (Lady Lyndon and a German war widow) are entertaining to watch, and Lady Lyndon’s costumes are exquisite. Furthermore, Chevalier de Balibar, a wealthy gambler who takes Barry under his wing, is a delight.

As with many masterpieces, the film would not be as wonderful without the great casting.

My three favorite scenes include the vicious confrontation between Mother Barry and Reverend Runt- an initially polite conversation between two selfish characters gradually spins into viciousness, the duel between Barry Lyndon and Lord Bullingdon- bitter rivals square off in an awkward yet dramatic duel, and when Barry passionately kisses his dying friend- an unexpected homoerotic scene.

Barry Lyndon delves into the issue of class and class distinctions, clearly defining the haves and the have-nots, and the struggles of the poor to obtain wealth by any means and of the wealthy to retain their good fortunes.

With a running time of over three hours, it may initially turn viewers off, but as time goes on, the film will grip the viewer and not let go.

Having now seen Barry Lyndon (1975) four times, I enjoy the film more each time as I become more absorbed in and immersed in the masterpiece.

It’s like a fine wine- it gets better with each taste.

Oscar Nominations: 4 wins-Best Picture, Best Director-Stanley Kubrick, Best Screenplay Adapted from Other Material, Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation (won), Best Costume Design (won), Best Art Direction (won), Best Cinematography (won)

1971 Films, British, Christopher Gable, Georgina Hale, Glenda Jackson, Ken Russell, Max Adrian, Murray Melvin, Musical, Musical Comedy, Tommy Tune, Twiggy

The Boy Friend-1971

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The Boy Friend-1971

Director Ken Russell

Starring Twiggy, Christopher Gable

Scott’s Review #1,407

Reviewed October 27, 2023

Grade: B+

With each Ken Russell film, I expect something wacky, and I sit back for a schizophrenic roller coaster ride.

His finest efforts, such as Women in Love (1970), The Devils (1971), and Tommy (1975), offer bombast and weirdness in their own way.

The British director decided to take on The Boy Friend (1971), a reworking of a 1953 traditional musical of the same name by Sandy Wilson, and turn it upside down on its ass. Those expecting a conventional affair with cheery sing-along numbers in perfect symmetry will be disappointed.

The messy project has its ups and downs and meanders off course on more than one occasion. With jagged storytelling and dragging sequences, it makes up for ground with sizzling visuals and costumes. It offers the audience a glimpse of theatrical drama and shenanigans both onstage and offstage.

On its own merits and given that the director is Russell, it gets a marginal thumbs-up, but it is nowhere near as fantastic as his other works.

The plot is a bit confusing, divided into three levels. Level one tells the main story: in the 1920s, in the south of England, a struggling theatrical troupe is performing a musical about romantic intrigues at a finishing school for young women in the south of France.

The cast awkwardly strives to impress a visiting, famous movie director, hoping for fame and fortune. They giggle, improvise, and scheme to get noticed, risking upstaging the other cast members.

Next, there is the musical itself. Four of the girls at the school are very forward and have boyfriends, but Polly, played by 1960s supermodel Twiggy, is shy and has no one to take her to the carnival masked ball that night.

Tony (Christopher Gable), a messenger boy from a dress shop, brings her a costume, and they fall in love.

Finally, the film features extensive fantasy sequences in which the characters’ dreams and hopes are enacted through music and dance, without dialogue.

Glenda Jackson, who won an Oscar for Russell’s Women in Love, returns in an uncredited appearance as the theatre star whom Polly must fill in for when she breaks her leg.

The crux of the film is the romance between Polly and Tony. While there is some chemistry between the duo, they never fully take off as the centerpiece.

The cleverness lies in the reveal of the twist on stage, cementing the pair’s connection as characters in the play.

Nonetheless, there are too many other things going on to care about the lovebirds for very long.

The musical numbers got my attention, especially towards the end of the film. My personal favorite, ‘It’s Nicer in Nice’, kicks off with high-caliber energy and shout-outs to other cities compared to Nice, France. It’s a fun regional experience with great culture and an upbeat rhythm.

The chirpy ‘It’s Never Too Late to Fall in Love’ follows soon after, offering a gleeful ending.

The fantasy sequences waste the story’s potential and offer no plot direction, yet are fun to watch anyway. Dripping with colors and razzle-dazzle, the chaotic events are dreamlike and foot-stomping.

Twiggy, with little to no prior film experience, is quite impressive in the lead role. Her voice is strong, and her acting skills are more than adequate. What might have been a disaster is not, thanks to her talents.

Although other Ken Russell films are tighter and more linear, The Boy Friend (1971) is worth watching, especially for his die-hard fans.

Oscar Nominations: Best Music, Adaptation, and Original Song Score

1971 Films, British, Christopher Logue, Drama, Dudley Sutton, Gemma Jones, Georgina Hale, Horror, Ken Russell, Max Adrian, Michael Gothard, Murray Melvin, Oliver Reed, Religious, Vanessa Redgrave

The Devils-1971

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The Devils-1971

Director Ken Russell

Starring Oliver Reed, Vanessa Redgrave

Scott’s Review #1,403

Reviewed October 4, 2023

Grade: A

Ken Russell, best known for directing the outstanding Women in Love (1970) and The Who’s Tommy (1975), creates a disturbing opus about perversion and scandal within the Roman Catholic Church in medieval times.

The film’s graphic portrayal of violence, sexuality, and religious blasphemy ignited shocked reactions from censors, and it initially received an X rating in both the United Kingdom and the United States. It was banned in several countries and heavily edited for exhibition in others.

This alone will pique the interest of open-minded, curious viewers. It sure did mine.

The film is ironically entitled The Devils (1971) and stars Russell Stalwart Oliver Reed, who also appeared in the aforementioned films.  Reed leads the charge as a sexy, rugged man who beds many women and is the center of a convent full of nuns’ nasty and naughty thoughts.

Vanessa Redgrave also appears as a lustful and evil nun with a hunchback.

During the period of seventeenth-century France, Father Grandier (Reed) was a priest whose unorthodox views on sex and religion influenced a passionate following of nuns, including the sexually obsessed Sister Jeanne (Redgrave).

When the power-hungry Cardinal Richelieu (Christopher Logue) realizes he must eliminate Grandier to gain control of France, Richelieu vows to destroy the man. He portrays Grandier as a Satanist and spearheads a public outcry to destroy the once-loved priest’s reputation.

The Devils is outrageous and bizarre in only the best of possible ways. Who doesn’t love a healthy dose of nun orgies and simulating fellatio on a large candlestick? One nun violently masturbates as another looks on, giggling sadistically.

The camera loves Reed and Redgrave, who, interestingly, are not a couple in the film. These British actors were at the height of their careers in 1971, and both portrayed roles that must have been tremendously challenging.

Despite being set in France, the film opens in a naughty way with a nearly nude dance performed by skinny Louis XIII (played with wacky delight by Graham Armitage). Rumored to be gay, the king traipses around in colorful costumes and later shoots protestants dressed as gorillas for sport.

There are themes of exorcising and burning at the stake, and mentions of the warring Catholics and Protestants, so there is a seriousness amid the antics and shenanigans.

It took me a little while to become fully immersed in the chaotic land of Loudon, a town in western France where the film is set. In truth, a second viewing really helped me settle in and have a sense of what was going on.

The best films really are like fine wines.

Russell’s attempts to irritate and incite the overly religious are quite satisfying in a wicked way. As much as he mocks religion by making the traditionally sexually conservative filled with lust and animalistic sexual prowess, there is much more going on.

Beneath the surface, he challenges the ridiculousness of religion, which cinema lovers will embrace and delight in. There are history lessons to be had, though, and the film provides exceptional details of the political upheavals and tyranny that occurred.

The thunderous musical score by Peter Maxwell Davies is fabulous, especially during The Devil’s final act, when a central character endures a broiling on a wooden stake.

Those who own the wonderful Blu-Ray version of the film can enjoy various outtakes, cast interviews, and behind-the-scenes information.

An added delight for knowledgeable film fans is the inclusion of character actor Murray Melvin, famous for playing Reverend Runt in the classic Barry Lyndon (1975). He plays Father Pierre Barre.

The Devils (1971) is a perverse and operatic extravaganza of lunacy. It’s caked with sex and nudity and blasphemy that I loved every bit of. The dangerous tone can be studied and thought about long after the film ends.

2004 Films, Andrew Lloyd Webber, Ciarán Hinds, Drama, Emmy Rossum, Gerard Butler, James Fleet, Joel Schumacher, Minnie Driver, Miranda Richardson, Murray Melvin, Musical, Musical Drama, Patrick Wilson, Period Drama, Simon Callow

The Phantom of the Opera-2004

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The Phantom of the Opera-2004

Director Joel Schumacher

Starring Gerard Butler, Emmy Rossum, Patrick Wilson

Scott’s Review #1,336

Reviewed January 23, 2023

Grade: A-

Having been fortunate enough to see the legendary Broadway production of The Phantom of the Opera makes any film version impossible to usurp compared to the live stage show.

The lights, the sets, the booming music, the dreaded chandelier, and presumably phenomenal acting all make for an unforgettable experience.

Since we are talking film, the cinematic version of The Phantom of the Opera (2004) is breathtaking and nearly twenty years late to the game, I should be scolded for having not seen it earlier like when it was initially released.

It’s based on Andrew Lloyd Webber’s 1986 musical of the same name, which in turn is based on the 1910 French novel Le Fantôme de l’Opéra by Gaston Leroux.

Critics were not kind to the film though most audiences liked it so I almost didn’t see it save for my hubby renting it and encouraging us to watch it.

I am glad I did because this film encompasses a feast of riches.

I wonder aloud if the fact that it was directed by Joel Schumacher who created the dreadfully bad Batman & Robin, made seven years earlier in 1997 influenced bad reviews. After all, nobody likes their superhero movies butchered and payback’s a bitch after all.

For the novice fan, the summary is as follows. Gerard Butler stars as the disfigured, reclusive Phantom who roams beneath the Paris Opera and takes budding star Christine (Emmy Rossum) under his wing.

But as he falls for her, she finds love with handsome and porcelain-like Raoul, played by Patrick Wilson, leaving the Phantom none too pleased.

If nothing else, and there is something else, the film is a spectacle. Gorgeous Parisian sophistication drips from the screen in nearly every scene from the gloomy catacombs to the enthralling opera stage.

The costumes reek of French style, glamour, and texture, and the principle cast is easy on the eyes, to say the least.

These treats are merely a warmup to the astounding and professional art direction, making the winter sequences dreamlike and gothic, capturing the tone perfectly.

This encapsulates the dire story sequence and aids in the viewer feeling the pain of the Phantom.

The all-too-familiar numbers are modernized in just the right places especially “The Music of the Night” which could have been played on popular radio stations. The lively “Masquerade” parlays into the lovely “The Phantom of the Opera” duet between the Phantom and Christine in his ugly lair.

I didn’t feel the chemistry between Rossum and Wilson the same way I did between Butler and Rossum and maybe that’s the point. Wilson doesn’t have much to work with since the character isn’t the main attraction.

I never wanted Christine to ride off into the unknown with Raoul but ached for the pain that the Phantom felt for Christine’s kindness.

As much as I like Wilson the actor I champion the casting of Rossum (unknown at this time) and Butler who is the top draw in the talent department.

His loud and colorful musical numbers enrapture me as a viewer and grip me with his pain. The passion and magnificence are on full display. Butler is my favorite actor.

Minnie Driver is perfect as the spoiled diva, and the supporting cast, including veteran Simon Callow, gives the cast further credibility.

I was transported to another world while watching The Phantom of the Opera (2004) by the sheer extravagance of what was on the screen. Schumacher more than deserves top accolades and respect for his production.

Oscar Nominations: Best Art Direction, Best Cinematography, Best Original Song-“Learn To Be Lonely”