The Shuttered Room (1967) ***

More Straw Dogs (1971) than The Old Dark House (1963) with for good measure a side helping of Bad Day at Black Rock (1955) thrown in. After a super menacing opening, a sustained sense of threat is all the fuel we get to keep the story going, the horror elements kept at bay as much as the creature imprisoned behind the titular room in a mill.

The mill’s long since been abandoned since Susannah (Carol Lynley) spent a terrifying night there as a child when the creature broke out and had to be battered into submission by Susannah’s Aunt Agatha (Flora Robson). The mill’s on a remote island and Susannah’s back aged 21 to claim her inheritance. Only trouble is her cousin Ethan (Oliver Reed) thinks he tops the line of succession to inherit the tumbledown building.

Although her uncle is long dead, her aunt lives in a tower complete with hawk and strides around in the kind of black cape previously assigned to vampires. The mill’s still got a reputation, a local worker blinded and disfigured after being attacked by a fire-breathing demon. Susannah and husband Mike (Gig Young) have the idea of turning the mill into a summer home and have come by to try it out, though Susannah’s dormant fears keep spilling over.

So while we’re waiting to either the creature to break out again or for Susannah, in the manner of all foolish heroines, to trot up the stairs and push through the door, it’s up to Ethan and his gang to attempt to terrorize the couple. Clearly never being educated about incest, Ethan sets his heart on carnal relations with cousin Susannah.

If only he could get Mike out of the way. Trouble is Mike isn’t as meek as he looks and like Spencer Tracy in Bad Day at Black Rock he’s got all those tricky karate moves so that when Ethan comes after him it’s the local who ends up in the river.

But Ethan’s got a cunning plan and sets up an ambush. The gang block the road with their truck and when Mike gets out of his car to investigate is hog-bound in a fishing net, receiving a few more traditional punches to boot. To pass the time the gang commandeers his vehicle and race up to their bound captive, braking just in time.

Meanwhile, Ethan is pursuing Deborah through the mill, intent on rape. Although she manages to humiliate him by calling his bluff that just enrages him and his rage intensifies. It’s still unclear how/why the creature escaped but we know it’s on the loose because it’s previously despatched a local girl who sneaked into the mill to steal Susannah’s nylons.

So while Mike manages to escape the thugs and hit them with some more karate chops, Susannah doesn’t really need his help, the creature coming to the rescue. Beyond the creature being her sister, there’s no further explanation for her imprisonment. There is a (kind of) shock ending.

The main problem is this looks as if it’s been filmed without any rehearsal, as if the actors have been hired for their previous roles. It’s no stretch for Carol Lynley (Bunny Lake Is Missing, 1965) to come across as a somewhat vacuous blonde. Menace is Oliver Reed’s (Hannibal Brooks, 1968) middle name and Gig Young (That Touch of Mink, 1962) has always got by on a certain easy charm though the chop-suey came as a surprise.

The real achievement from director David Greene, in his debut, is to get away without much real horror. By now H.P. Lovecraft was major source of horror. This was the fourth movie out of five in the 1960s drawn from his portfolio. In the current century there’s been no shortage of adaptations. Despite the lack of genuine horror, the other ingredients make up

The Best House in London (1969) *

One of the worst – and certainly among the most repellent – films ever made. A hymn to misogyny under the guise of the not very difficult task of exposing Victorian hypocrisy, it labors under the bizarre thesis that all women want to be prostitutes. Screenwriter Denis Norden’s befuddled sense of history is awash with the same kind of contempt for audiences. Elizabeth Barrett (of Wimpole St fame) rubs shoulders with Lord Alfred Douglas (Oscar Wilde’s illicit lover) even though they lived half a century apart, the Chinese Opium Wars and The Indian Mutiny feature despite being separated by 15 years.

Sex workers had proved the basis for many good (and occasionally excellent) pictures in the 1960s ranging from Butterfield 8, Never on Sunday, Irma la Douce and Go Naked in the World at the start of the decade to Midnight Cowboy at its end, but these all featured well-rounded characters facing understandable dilemmas. But here the cynical and demeaning plot –  more Carry On Up the Brothel than political satire – makes you wonder how this concept was perceived as either plausible or an acceptable subject for comedy

The monocle joke. Dany Robin sports the manacles her idiotic girls were supposed to wear rather the monocles they did wear.

Feminist philanthropist Josephine Pacefoot (Joanna Pettet) – a character based on the real-life campaigner Josephine Butler – has set up the Social Purity League to rescue fallen women. Walter Leybourne (David Hemmings) is hired as a publicist to bring the issues raised to a wider audience. When Josephine inherits the fortune of Uncle Francis (George Sanders) the pair come up against the nefarious Benjamin Oakes (also played by Hemmings), her cousin and his half-brother, who has purloined his uncle’s mansion in Belgravia as the premises for London’s first brothel – The Libertine Club. This venture is backed by the Home Secretary (John Bird) as a way of getting streetwalkers away from upmarket shopping streets where their presence discourages wealthy females. Josephine also has to deal with a caricatured “evil” Chinaman (Wolfe Morris) through her uncle’s investment in opium. There’s also for no particular reason apoplectic airship inventor Count Pandolfo (Warren Mitchell).

All the women rescued from the oldest profession by Josephine are soon recruited by Oakes and a good chunk of the middle section of the movie involves various excuses to give the viewers intimate glimpses of what goes on in the brothel, involving an abundance of nudity.  Oakes also aims to seduce Josephine while the shy Walter struggles to entice her into romance.

Excepting Josephine and Oakes’ mistress Babette (Dany Robin), the women are uniformly stupid. The story begins with Oakes’ duping a woman in a hot air balloon into removing her clothes on the grounds that it was the only way to reduce height enough to land. And it does not get any better. Women supposedly forced onto the streets after bad experiences with men turn out to be the seducers. Walter has the devil’s own job getting any of the girls to agree they had been raped. Walter, hoping to sell a story to The Times, is no less crass: “I can get five columns for a good rape.” Flora (Carol Friday), rescued much to her displeasure, is “gagging” for it. And there’s just an awful scene where a young girl sings about her “pussy” which even in the 1960s surely raised adverse comment.

The humor is largely of the sniggering variety. The brothel girls wear monocles instead of manacles, the only game on display in the Card Room is strip poker, and naturally there is a peeping tom, lawyer Sylvester (Willie Rushton).

As if to display his erudition, but without raising the laughter quotient, Norden chucks in literary cameos by the score – Charles Dickens (Arnold Diamond), Alfred Lord Tennyson (Hugh Burden), the aforementioned Elizabeth Barrett (Suzanne Hunt) and Lord Alfred Douglas (George Reynolds), Sherlock Holmes (Peter Jeffrey) and Dr Watson (Thorley Walters), plus explorer David Livingstone (Neil Arden) and department store entrepreneurs Fortnum (Arthur Howard) and Mason (Clement Freud).  

That the movie actually gets one star is thanks to a number of excellent visual jokes: one scene of Uncle Francis defying the mutineers by raising the Union Jack cuts to the blood-splattered flag decorating his coffin; Sylvester frustrated at the keyhole but still hearing the moans of seducer-in-chief Oakes is followed by the sight of the wannabe lover struggling to get out of his bonds, having been attacked by Chinamen.

There’s not much difference, beyond hair color, between the characters essayed by David Hemmings (Alfred the Great, 1969). Both are one-dimensional, the pop-eyed virgin astonished by the goings-on at the brothel, the suave villain who might as well be twirling his moustache for all the depth he brings to the role. Thankfully, Joanna Pettet (Blue, 1968) is at least believable though even she could not act her way out of scenes where she was suspended by the Chinaman above a vat of boiling acid.

George Sanders (Sumuru, Queen of Femina aka The Girl from Rio, 1969) has a ball as the hypocrite-in-chief who knows how to monetize vice while Dany Robin (Topaz, 1969) brings some finesse to an otherwise one-dimensional part. But everyone else is a cipher which is a shame given the talent on show – John Bird (A Dandy in Aspic, 1968), John Cleese (A Fish Called Wanda, 1988), Warren Mitchell (The Assassination Bureau, 1969), Bill Fraser (Masquerade, 1965) and Maurice Denham (Some Girls Do, 1969). Among the girls, you might spot Veronica Carlsen (Dracula Has Risen from the Grave, 1968) , Margaret Nolan (Goldfinger, 1964) and Rose Alba (Thunderball, 1965).

Director Philip Saville (Oedipus the King, 1968) should have known better and certainly made amends later in his career with among other projects BBC series Boys from the Blackstuff (1982). But Denis Norden (Buona Sera, Mrs Campbell, 1968) never wrote a more misguided piece in all his life.

For sure, a film like this is not going to do down well in these times but I was surprised how vilified it was on release, critics like Roger Ebert insulted by its endless attacks on women, the public no less hostile and it died a death at the box office.

American Gangster (2007) *****

I’ve seen this more times than The Godfather (1972) and The Godfather Part II (1974) put together, so, for me, yeah, this is the greatest gangster picture of all time. There’s always a snobbery involved in talking about your all-time favorite picture.  In discussions, I often find that the movie people consider the best is rarely the one they watch the most. While I adore both Godfather pictures on an academic level, they now seem a haul, especially with the running time, overtly grandiose.

American Gangster, on the other hand, is fleet of foot. The dual storylines – Black gangster Frank Lucas (Denzel Washington) rising to the top, incorruptible cop Ritchie Roberts (Russell Crowe) heading a team targeting New York’s drug kingpins – neatly intersect until nearly the end.

Director Ridley Scott has thrown off the shackles of sci fi and history – the demands of the grandiose and the visually cinematic and (in the sci fi) the problems of finding a new way to tell the Alien tale when the audience is waiting for the gore. Here he concentrates on narrative that, seemingly at every turn, exposes character. The story is a fascinating one at that. Nobody in law enforcement or at the higher echelons of Government went after Frank Lucas because nobody thought a Black gangster could build an empire to which even the Mafia kowtowed.

Oddly enough, the violence is muted. Scott does away with the need for repeated violence by an opening shot that sets the scene, Lucas setting fire to a snitch. This is more of a story about big business, that entrepreneurial spirit by which America sets so much store. And it’s a story about family. Lucas recruits all his brothers for the enterprise. Roberts is an outcast in the family of cops because he refuses to be corrupted.

But Roberts is no saint. He is accused by wife Laurie (Carla Gugino) of being scrupulously honest on that front only so he can be dishonest in the rest of his life, with his promiscuity and neglect of his son. When Lucas has the entire extended family round the table to celebrate Xmas (or Thanksgiving – there’s turkey involved, that’s all I know) in a mansion, Roberts is reduced to a tuna sandwich in his cramped apartment.

This is a time when gangsters were celebrities, safe in the knowledge that they were untouchable as long as they paid off the cops. Lucas shuns excess, determines not to draw attention to himself, which is why he remains hidden for so long, and it’s only when, to satisfy his wife, he wears an outrageous fur outfit that he comes to the attention of Roberts.

As the tale zips along, in the background we witness the drugs industry at work, the packaging, the distribution, the clashes between rivals, the deaths of junkies (including a cop), and Vietnam, where corrupt soldiers have made possible Lucas’s clever scheme to buy drugs at the source, cutting out the middle man and ensuring the purity of the product.

But Lucas is a corporate hero. He believes in the brand. A brand, he says, is a guarantee of quality, its dissipation the cause of a dispute with mobster Nicky Barnes (Cuba Gooding Jr.). In the corporate drugs world, the Mafia might think it has drawn Lucas into its tentacles, but it’s the other way round.

This all climaxes in the most dangerous manner – cinematically speaking – possible. John Ford owns the doorway, has done since The Searchers (1956). Christopher Nolan has also taken a tilt at that particular cinematic crown in The Odyssey (2026) when the gates of Troy open to reveal the gigantic figure of Agamemnon in black shining armor. Here, the doors opening are those of a church. Lucas steps out to see the street deserted except for the waiting Roberts.

There are other standout scenes in a movie that careers along so fast it scarcely needs them – Roberts dressing a corpse up to look alive to escape a mob, the shock of the cops when Roberts hands in rather than shares out a million bucks, Lucas burning the fur coat in rage, any time corrupt Detective Trupo (Josh Brolin) appears the scene is a standout, Roberts begging corrupt cops for his money back, Lucas interrupting his breakfast to execute a rival in the street, even the meet-cute with Lucas’s future wife  Eva (Lymari Nadel) “can you let go of my hand?”

Lucas dresses immaculately but conservatively, Roberts is in jeans but Tupo, in black leather coat, exudes power. There’s very little moralizing, although various people complain about the loss of an accepted order. The drug dealers go down but there’s no mention of imprisonment for the hordes of soldiers and airmen who took money to feed drugs to their own soldiers or ship them to America.

The cast is absolutely terrific, Denzel Washington (The Equalizer 3, 2023) a commanding, cunning, figure, Russell Crowe (Gladiator, 1999) with his shuffling walk, Chiwetel Ejiofor (Backrooms, 2026) and Josh Brolin (Weapons, 2025) as the most arrogant of the corrupt cops. Supporting roles are filled by the likes of John Hawkes (Three Billboards Outside Ebbing, Missouri, 2017) , Carla Gugino (Watchmen, 2009), Cuba Gooding Jr. (Jerry Maguire, 1996), Armand Assante (Blowtorch, 2016), Idris Elba (Heads of State, 2025) and Ruby Dee (A Thousand Words, 2012). Written by Steve Zaillian (The Irishman, 2019) based on an article by Mark Jacobson.

There’s one other stunning element that needs mentioning – the music by Marc Streitenfeld (Prometheus, 2012). This must be the most self-effacing score ever to grace a gangster picture.

If this has been made today, the trailers would be acclaiming the Oscar achievements of the actors – the tally comes to three winners and three nominees. Next year, when this is due a 20th anni reissue maybe that will be the promotional tag.

I might well be tempted to watch it again tonight.

Bye, Bye, Braverman (1968) ***

Director Sidney Lumet didn’t have an easy time of it in the late 1960s. Like The Appointment (1969), this went missing in action. And you can see why. While The Secret Life of Walter Mitty (1947) was straightforward in mixing fantasy with reality, this is more tricksy – in a contemporary way.  The fantasy elements verge so much on the realistic that it’s difficult at times to work out what is real.

And to add a bit of more substantial culture to the mix, there are shades of James Joyce, in the idea of someone going to a funeral and imagining their own death. And while there are actually a quartet of buddies in early middle age heading for the funeral of their friend, the titular Braverman, luckily there’s only one, Morroe Rieff (George Segal) who appears to live in his imagination.

Morroe makes a living working in public relations, his novels not sufficiently commercial. You don’t realize this at first because you think he’s the cop who’s had to bring the news of her husband’s death to his wife Inez (Jessica Walters). Then you might think that he and Inez have the hots for each other and literally the moment the road is clear, she’s jumping his bones. But it’s pretty clear, from the way his wife Etta (Zohra Lampert) is annoyed about him running to Inez’s side at the slightest emergency, that he’s got more (unrequited) interest in her than a married man should have.   

That last is the trickier one. It seems like it could be real. After all, the husband was notorious for his philandering, while Inez has played the dutiful wife. But you soon realize that any time Morroe is outside the strict confines of talking to his mutinous girlfriend or with his pals, virtually every other scene he appears in is manufacture.

The other three are well-drawn. Their occupations are largely irrelevant, because in Seinfeld fashion what they actually mostly do is talk, and often about things that are as inconsequential as Seinfeld, and they bond over communal memory of even odder things.

Felix (Joseph Wiseman) is the pick, in part because he has the best lines. He tells his feckless son, “I wasn’t crazy about your mother, and I like you even less.” He refuses to get into a Volkswagen because he’s Jewish and the car was made in Germany.

The wrong funeral.

So mostly what you’ve got is the kind of inconsequential chatter that a bunch of intellectuals will indulge in, some of it intellectual, some of it not. That’s just the kind of movie it is. And either you’re going to sit back and let it work, or you’re going to switch off early once you realize what type of picture it is.

There were a lot of movies back in the day that concentrated far more on dialog and character than story and moving a story along. In part this was due to Hollywood drawing far  more on the talents of playwrights, when William Inge (Bus Riley’s Back in Town, 1965), Tennessee Williams (Night of the Iguana, 1964) and Arthur Miller (The Misfits, 1961) were considered marquee attractions. The kind of story-driven action picture that proliferated from the 1970s onwards didn’t exist to make spectacle more important than dialog or character.

Making up the quartet are Barnet Weinstein (Jack Warden) who sports a toupee that comes off in a crisis and Holly Levine (Sorrell Brooke) and they’re all past masters at niggling each other and trying to niggle out the meaning of life.

Getting to the funeral isn’t straightforward. Inez’s directions prove difficult to follow. There’s an interaction with a taxi driver (Godfrey Cambridge) and they turn up at the wrong funeral.

Sidney Lumet steers clear of the grandiose, he’s not trying to make any visual points, and the fantasy inserts take the place of the inner monolog of James Joyce.

But it’s all dialog, so be prepared.

George Segal (The Bridge at Remagen, 1968) almost reinvents his screen persona, Jack Warden (Blindfold, 1966) revels in a more outgoing less choleric character, but Joseph Wiseman (Dr No, 1962) steal the show. Look out for Jessica Walters (Number One, 1969) and Zohra Lampert (A Fine Madness, 1966).

Screenplay by Herbert Sargent, in his debut, from the novel by Wallace Markfield.

You can see why this has gone missing but if you know what you’re going into it’s worth a look.

I have my own copy but you can get a good flavor of it – the first hour at least – on YouTube.

Danger Has Two Faces (1967) ***

Doppelgangers don’t come any luckier. In this instance the swap is with a married billionaire. Cue you’d think for a romcom, especially if the wife has her own reasons for welcoming a replacement. Except this was made at the height of the espionage boom, so it’s quite a slick thriller, not a laff in sight.

The set-up is pretty good. Billionaire Mark Wainwright (Robert Lansing), emerging drunk from a West German pub, is mistaken by an East German thug for American spy Peter Murphy (Robert Lansing) who he’s chased through a secret passageway under the Berlin Wall. Murphy, wounded and exhausted, is mistakenly assumed by Mark’s chauffeur to be his boss and whisked off to a mansion to recover.

Mark’s wife, Eva (Dana Wynter), while her suspicions are alerted, has good reason not to give the game away. Her real husband, a playboy with no interest in business, was on the verge of signing away her family fortune. When the new Mark refuses to do so, she plays along, intrigued not so much by his job as by the fact that he is the opposite of her husband, kind and considerate.

Complications arise when Eva’s half-brother grows suspicious after his bid to take over the empire is thwarted, and when the East Germans express doubts that Peter was killed, tailing Eva and approaching the fake Mark, and when, as if often the case in these espionage pieces, Peter’s slippery boss Jack (Murray Hamilton) isn’t going to let him disappear quietly when having a billionaire provides the perfect cover for going anywhere in the world on a whim. There’s also the issue of who are the faces on the secret microfilm. And secret police swarming all over the place.

And, of course, of the doppelganger keeping up his disguise. Luckily, the original is a nasty, intemperate character so sudden rudeness can get him out any situation though drinking nine martinis without falling down drunk might be a bigger ask. Plus he’s a man “no government wants to offend.”

So enough complication to keep the movie rolling on, plus, as you might expect, incipient romance. It gets slightly episodic after this, involving helping a dissident escape East Germany and outing a Dutch spy.

While taken with the new Mark, Eva knows a) that his job comes first and b) it involves violence. She doesn’t want to take second place to his job and ain’t keen on shooting and fisticuffs.

But it takes a surprise turn in the third act when Jack instructs his agent to kill a 16-year-old boy who’s being blackmailed into revealing American spies. Rather than do that, the agent tries to go down a different route.

Robert Lansing is a new name to me, but then I’ve not seen  Namu, the Killer Whale (1966). He’s got a brooding intensity that didn’t get him as far up the Hollywood ladder as you’d have thought. Dana Wynter I knew from Sink the Bismarck! (1960) but her movie roles had been scant.

Directed by John Newland (The Spy with My Face, 1965). Like The Man from Uncle features, this turns out to have been culled from a series, The Man Who Never Was, released in the US for television and abroad into cinemas.

Entertaining. While it might have been more entertaining as a rom com, it certainly works well enough for a thriller.

You can catch this on YouTube and minus the annoying ads.

Guess Who?

Every now and then I come across a book and think this would make a good film. I’ve just finished this particular book and already I can see four movies in it.

A fellow, mostly what these days we’d term a nerd –  physically awkward, doesn’t have a girlfriend – a farmer’s son, but not in one of those rich prairie farms with corn as high as an elephant’s eye, but so dirt-poor there’s no electricity or running water, so poor he spend two years harnessed like a mule to a grader on back-breaking road work. His only education is a bare pass as the lowest grade of teacher’s college.

He takes a teaching job in a big town. The job is teaching public speaking and coaching the debating team. The debating team has never won anything, not even locally. Our fellow starts building student confidence. On his first day he has the students stand up in class and for ten seconds make animal noises. He encourages them to be silly – and not afraid. Everyone being silly is one way of helping the students bond. Even the shy kids don’t  mind being silly in public.

Then they were asked to make a 30-second speech on any subject. Then it was a minute, then five minutes. But by this stage, speeches had to be rehearsed. And kids couldn’t spout nonsense. They had to know their stuff. They had to research.

And once you were able to stand up in front of your fellow students for five minutes, the audience was encouraged to heckle and pick holes in your argument. But there was an odd thing, the kids liked the way he nagged away at them because it meant he cared. He had improved their social skills no end already and now he wanted to go further. Even the rebels sought his approval.

Of course, his fellow teachers had no idea what he was trying to do and mostly sniggered behind his back because he still looked like a gangly nerd.

Then the debating started. Kids willingly stayed in hours after class, declaiming, being heckled and nagged. Then our fellow did something unheard of. He sent his debating team out on tour, covering hundreds of miles. No one had ever seen the like, not even from the city or state champions. They went into informal “no-decision” contests with all the schools they might meet in a debating competition. The subject that year was the jury system so the teacher and the students researched the subject to death.

When the proper city championship began, the shy students discovered there was unexpected gold in all this hard work. They were treated as heroes. They were welcomed as visitors in other schools and when they came home the teacher ensured the local media was recording their success. They would get sent out individually to another school to talk on some subject and audiences were rapt. People applauded.

Initially, there was no public support. A debate on home soil might attract an audience of seven. But soon the debating hall filled up. Cheerleaders led the chanting and turned cartwheels the way they did for football games.

The city championship had been won by the same school four years in a row. This school had never, in its history, won. This time was the first.

Next came the state championship. The school was in a fever. They had never come anywhere near competing at state level. But after winning 67 consecutive victories they were on the brink. One more victory would do it.

Hollywood would have changed the narrative. They would have given our lonely fellow a girlfriend, who originally hated him but then grew to like him as much as his students. And Hollywood would have ensured they became state champions. But the truth is they lost.  Even so a banquet was held in their honor, the teacher won a pay raise.

The second movie is another underdog story. At any college in America, athletes are the top dogs. They get the preferential treatment. If there’s any easy jobs going round, or anything remotely beneficial, it goes to them. Even in a piss-poor low-grade college, the footballer is unchallenged.

Our fellow was never going to make a football team, too gangly, awkward, clumsy. The football team had a secret society to help them stay in control. Our fellow was always going to be blackballed. So he set up his own secret society. And he worked like a dog to become the top dog, stealing away those precious positions that gave a poor student breathing space.

But the third tale is best of all, in terms of a politician doing what he’s there to do, which is to improve the lot of his constituents. By this time our man is a politician and determined to help the farming community where he grew up.

There was no electricity where he grew up. The utility companies argued it was too expensive to install and in any case the dirt-poor farmers couldn’t afford it so it would be a foolish investment. No electricity meant no movies, no radio and no labor-saving devices like washing machines, pumps for running water, electric irons, machines for grinding corn or sawing wood or feeding the livestock.

Water came from a well 50-100 feet deep, nearly 100 yards from a house. It came up one bucket at a time, weighing 32lb. An average farm used 200 gallons of water a day. An average bucket held four gallons. Water was required for washing, cleaning, cooking, ironing.

Without electricity, fires for cooking, washing and heat came from wood stoves. They were hard to start and almost impossible to keep going. The room was a furnace in a land that in the summer was also a furnace. Since there was no electricity, there was no refrigeration. Fruit and vegetables had to be canned the day they became ripe, and not all fruit and vegetables conveniently ripened on the same day, all the fruit on one tree wouldn’t even ripen at the same time.

The women on these farms were all bent over, old before their time, from their arduous physical labor.

Barely 10 per cent of the nearly seven million farms in America had electricity. And even when the Government forced the utility companies to change their rules, that still left these piss-poor farmers out on a limb because they still didn’t fit the criteria.

So our fellow set out to change all that. He not only worked his socks off but proved he had innate political skills, knew how to get the best out of people who opposed him, and eventually – this involved also the building of a dam which he was instrumental in pushing through – he got his people water.

However, in terms of national impact, the fourth tale beats that. In 1940, without our fellow, the Democrats would have lost the Presidential election. Franklin D. Roosevelt was risking his personal popularity in any case by going for an unheard-of third term in office. Roughly a month before the election is looked like the Democrats were heading for a heavy defeat.

One of the reasons was that the party was hopeless at fundraising. Many of the people who chaired such committees were useless, promoted simply because they were next in line. Candidates desperate for cash to launch a campagn were denied any money. The Republicans, the party representing big business, were much better prepared in that line.

Our man, a very minor politician, somehow inveigled himself into a very minor position on the campaign committee and set about raising funds. He called in a lot of favors. He raised more money that the party had seen in a lifetime.

But he didn’t just hand out money willy-nilly. He targeted candidates whose seats were most at risk. He asked them how much they needed and gave it to them. But given he was in regular contact with the guys on the ground floor, he invented something new and incredibly useful. He got these guys to poll their guys and fed this information back to party HQ. Although rudimentary polling existed, it took weeks to be analyzed and disseminated, so virtually useless in the last few weeks of a campaign. He was able to provide up-to-the-minute information on the state of play in every state and therefore allocate more funds if necessary.

If I tell you our fellow – I hesitate to call him “our hero” – was LBJ, you’ll probably cringe. Because Lyndon B. Johnson was accused of all sorts in the Oliver Stone’s specious film JFK, and was condemned for escalating the war in Vietnam, something that cast a huge shadow over anything else he did, and virtually for succeeding generations destroyed his reputation at a stroke.

Robert Caro, the author of the book I’m reading, The Path to Power (The Years of Lyndon Johnson, Vol 1), doesn’t much like our fellow.  Caro spends acres of print space demolishing our fellow’s personality, as if being driven was a flaw and power was almost certainly abused.

Now there’s no doubt that LBJ stuck his nose in the trough, but so did virtually every other politician – it’s not a job these days that evinces much praise. But what he did do which 99 per cent of all other politicians did not was he got the job done. He had such energy and determination that he achieved far more than your average politician, and virtually always for the benefit of the common man, of which he was one. Nobody wanted to give his farmers electricity and if it hadn’t been for LBJ they wouldn’t have gotten any. Nobody had been asked to cough up to help a campiagn fund and if he hadn’t stepped into the breach Roosevelt would not have been elected.

This book is 800 pages long and there are four other volumes to come. But if LBJ achieved this much so early in his career, goodness knows what he’d manage later.

If nobody wants to make a movie, then a mini-series would get the job done. Our lovelorn fellow eventually does marry and have affairs with – gasp! – beautiful women and that’s long before he gets anywhere near the Presidency.

Apologies for venturing miles off  my determined course but I’ve been so absorbed in this book I’ve had less time to watch movies. I’m not American so my knowledge of longdead American presidents is scant, but this was an eye-opener.

Robert A. Caro, The Path to Power, the first volume of the LBJ biography, was first published to universal acclaim in 1982. Caro, now 90, is working on the final volume.

Question mark image by  Simone Secci on Unsplash

The Driver (1978) ***

Blasphemy I know but I went to see this back in the day not because of director Walter Hill, certainly not for star Ryan O’Neal, but for the wonderfully edgy Bruce Dern (Smile, 1975). You never knew what Dern would do next. Even his hairstyles tended to be offkey. Without having the choleric demeanor of, say, Trevor Howard, he was never far short of exploding. Although he had a couple of top-billed roles, his position as an out-and-out leading man never took off and he was relegated to second male lead. But having him in your cast could transform a picture, especially if you let him off the lead.

My guess is that Walter Hill was aiming for the monosyllabic essence of a Clint Eastwood, Steve McQueen or Charles Bronson in casting the main role. But no matter how often Ryan O’Neal screws up his eyes or issues dialog through a sullen mouth he lacks the edginess his existential character requires, like those French guys Alain Delon or Jean-Paul Belmondo who were kings of edginess.

Instead, we’re stuck with O’Neal, and I don’t entirely blame the actor, he’s not always sappy, look at his work in The Thief Who Came to Dinner (1973). But the director does him no favors by failing to provide him not only with a background but any sense of a contemporary life – no partner, no kids – apart from a fondness for country music. Whatever he’s salting away his hefty earnings as a getaway driver for we never find out. So, unfortunately, bearing in mind O’Neal’s screen presence limitations, what we’re left with is a cipher.

All we know about the unnamed driver (Ryan O’Neal) is that he doesn’t like guns – and that proves to be a bit of a clever red herring. The unnamed detective (Bruce Dern) is much better value. Theoretically, he’s the good guy but back in the day cops had carte blanche to play the bad guy and this one decides to trap the driver by setting up his own bank robbery, planning to enrol the driver.

Into this mix comes “the player” (Isabelle Adjani – an actress who has a definite Gallic edge), a poker player, a kept woman, who happens to catch sight of the driver during a robbery at a small-time casino and then demands payment for not picking him out of a line-up. There is a smattering of burgeoning romance but you wouldn’t trust her not just to be after you for your wallet.

I’ve not mentioned the car chases, of which there are several. I’ve not mentioned them because they are all the same and except for ripping off a Lee Marvin scene from Point Blank (1967) lack the edginess and invention of the famous predecessors Bullitt (1968), The French Connection (1971), Fear Is the Key (1972) and any James Bond picture you care to mention. All the chases take place on the flat and maybe duke into the occasional alley but mostly stick to the main roads where tires can screech and let off sparks. And that’s it really. Once in a while someone has to duck to avoid bullets, but after the first chase, it’s basically repetition. Okay for the petrol-heads but a tad boring for the rest of us.

So back to the clever dick cop. Even by the standards of the rogue cop, the plot point seems imminently ridiculous. The detective is hiring a gang of robbers known to like using their guns to scare off any innocent bystanders. So what are the chances of that going wrong and some poor bank customer or employee being knocked off. Explain that to your employers, Mr. Detective. Trying to catch a getaway guy is not going to wash as the excuse.

Plus, of course, your clever plan relies on being able to get back the stolen dough. In those days, of course, you didn’t have to worry about the PTSD of anyone caught up in a violent robbery or think of compensating a bank for damage to property and some such and since this is Hollywood where all dreams come true, even one as barmy that that hatched by Walter Hill (he’s the screenwriter, too), you can just carry on regardless.

The best part of the picture is the non-vehicle getaway. The driver has to use a fence to get rid of the hot cash and is willing to trade it in at a substantial loss. This involves left luggage, keys, double crossing, the detective chasing down two sets of cash, the player, and a final stand-off.

Talking Pictures TV which has a habit of finding gold in old pictures out of circulation for a long time has this to view for free. I had wanted to check it out to correct my earlier estimation and for the pleasure of seeing Bruce Dern in one of his best roles. But I didn’t end up altering my opinion.

Bruce Dern steals the show. It’s worth comparing what little Isabelle Adjani (The Story of Adele H, 1975) does to what little Ryan O’Neal does. She wins hands down.

Walter Hill would go onto to win a certain regard among critics. But the only pictures of his I like undeservedly are Streets of Fire (1984) with another monosyllabic main character and 48 Hrs (1982) but the latter mainly because Eddie Murphy knocks spots off the monosyllabic sour Nick Nolte.

Worth a watch for all the wrong reasons. Not Walter Hill or car chases, but Bruce Dern and Isabelle Adjani.

By the way, Bruce Dern is a guest at this year’s Edinburgh Film Festival so we might get a showing of Silent Running (1972) or Smile (1975).

Behind the Scenes: The “Coming Soon” Business

I used to buy a British monthly movie magazine called Films and Filming, a cut above Photoplay and ABC Film Review but not as hoity-toity as  Sight & Sound, and the first pages I always turned to were two particular sections. One was called “New Productions” and the other was “Premieres.”

Unlike now when movies open globally day-and-date, there was no way of knowing when movies would open in the UK – and they had to open in London first (hence the importance of the premiere) before they would turn up in my home city of Glasgow. Even if you were able to tap into Variety or Screen International at a library reference room and note which films had opened in the USA, that still provided no clue as to when they would open in Britain.

The Exorcist, for example, opened in the US at the tail end of 1973 but didn’t receive a London premiere until March 14, 1974. Papillon also opened in December 1973 in New York, but its London premiere was also March 14 the following year.*  But there was barely a fortnight between The Great Gatsby hitting New York and premiering at the Leicester Sq Theatre in London on April 10.

I knew all this well ahead of time because I had bought the March 1974 edition of Films and Filming which came out in February. Had I sought such details in the standard media I would have looked in vain until photos of the premiere appeared.

The “New Productions” section of the March issue of the magazine told me I could expect in due course, out of 50 movies listed, the likes of Francis Ford Coppola’s The Godfather Part II with Al Pacino and Robert De Niro both playing the Mafia kingpin, Stanley Kubrick’s Barry Lyndon, Robert Redford as The Great Waldo Pepper, Robert Aldrich prison drama The Longest Yard with Burt Reynolds, Arthur Penn’s The Dark Tower (later renamed Night Moves), Jack Nicholson and Faye Dunaway in Roman Polanski’s Chinatown and Jon Voigt in The Odessa File. I had no idea when any of these would appear or even what they were about but at least I could put them on my radar.

So I am one of those guys that’s always checking online to see what’s coming up in the next few months at the cinema. These days, unless it was Dune, or a Christopher Nolan picture or a conic book franchise, I’d generally have no idea what was coming my way because the media is not interested in the run-of-the-mill product.

The Coming Soon Business is generally limited to trailers. Seeing a trailer for Digger, with Tom Cruise in Oscar-bait form, which isn’t due till October, whetted my appetite and I thought I dig into the Release Schedule section of the Imdb to see just what was coming my way.

There’s a remake of mountaineering adventure Cliffhanger starring Lily James in the Sylvester Stallone part, the French biopic of General De Gaulle, and D-Day drama Pressure (“from the makers of The Darkest Hour”). Zach Creggar (fresh from Weapons) has a new take on Resident Evil, and Georgia Oakley (Blue Jean, 2022) does the same for Sense and Sensibility starring Daisy Edgar-Jones.

Anne Hathaway is hoping to capitalize on the hot streak of The Devil Wears Prada 2 and The Odyssey with thriller Verity co-starring Dakota Fanning. Former Spiderman Andrew Garfield is the British rebel leading The Uprising directed by Paul Greengrass (The Lost Bus, 2025).

Sandra Huller (Project Hail Mary) chases another Oscar nom for Fatherland. There’s a Batman spin-off Clayface. Godzilla Minus Zero is a sequel to the surprising hit of a few years back. John Lithgow stars as Roald Dahl in an adaptation of the play Giant.

Johnny Depp aims at the Thanksgiving crowd with Ebenezer and goes rogue in Avengers: Doomsday at Xmas. I Play Rocky looks like being a breakout hit. There are reprises for The Fockers in Focker-in-Law, with Ariana Grande drafted in to help out series regular Robert De Niro, and Santa Claus in Violent Night 2. Dune: Part Three has already staked out Xmas as have the third edition of Jumanji and in a clever piece of counter-programming Robert Eggers’ Werewulf.

Coming into the New Year there’s a very welcome return for The Beekeeper, another offering from M. Night Shyamalan, a reimagining of the Narnia legends, Julia Roberts in mainstream thriller Panic Carefully, and the second remake of The Thomas Crown Affair this time around with Thomas B. Jordan.

In between we can look forward to being sold various festival fare as the next-best-thing.

*In fact, I didn’t have to wait that long for The Exorcist, it opened in Glasgow in the first week of April 1974. Papillon took much longer – mid-July. The Great Gatsby opened in Glasgow on April 22nd.

Behind the Scenes: “Supernova” (2000)

With both Walter Hill (48 Hrs, 1982) and Francis Ford Coppola (The Godfather, 1972) involved, you wouldn’t have expect this to emerge under the directorial aegis of one Thomas Lee. For the simple reason that Thomas Lee, at least in the movie directorial world, doesn’t exist. The name superceded that of Allan Smithee, the name attached to any  movie where the director had removed their name. This was the result of a DGA decree that no movie could be released without a director’s name being attached.

Smithee made his debut in 1955 – but only in television – and it wasn’t until 1969 that the pseudonym was called into practise for movies – for Don Siegel’s Death of a Gunfighter starring Richard Widmark and Jud Taylor’s Fade In starring Burt Reynolds. I’ve reviewed both of these and they’re not as terrible as having a pseudonym for director may sound. Thomas Lee entered the equation after the Arthur Hiller gave the game away with his satire starring Ryan O’Neal An Allan Smithee Film: Burn Hollywood Burn (1997).

Here’s the toy version of the space ship. Collector’s item I’m sure.

Quite why Supernova turned in a mega-budget production ($60-90 million) is anyone’s guess given it had begun life as a more modest number sold as “Hellraiser or Dead Calm in outer space.” The original idea was that the artefact would be returned to Earth with devastating results. It had originally been developed under the title Dead Star in 1990 – utilizing some artwork by H.R. Giger of Alien fame – by director William Malone (House on the Haunted Hill, 1999) with a budget in the $5 million range. That budget proved out of reach for the original backers and was sold to MGM/UA.

You might not have welcomed a contribution from Coppola given the mess he made of Megalopolis (2024) but he was brought once Walter Hill departed the project. Hill had arrived at short notice after original director Geoffrey Wright (Romper Stomper, 1992) made a speedy exit with two months to go before production was scheduled and MGM was worried about an impending Actor’s Strike.

Wright wanted to shoot the entire film in zero gravity, one of many creative differences with the studio that led to him ankling the project. Along with him star Vincent D’Onofrio walked. Jack Scholder (The Nightmare on Elm St Part 2, Freddy’s Revenge, 1985) was briefly involved before MGM called upon the services of Hill who had co-written and produced Alien (1978) and two sequels. Hill did a re-write that removed most of the references to Alien. Both James Spader (Crash, 1996) and Lou Diamond Philips (La Bamba, 1987) signed up on the strength of Hill’s involvement. Angela Bassett (What’s Love Got to Do with It, 1993) turned down Monster’s Ball (2001) to do this instead, an ironic decision given Halle Berry won an Oscar for her performance in that film. It may have been the nudity that put her off and reputedly she refused to strip off along with the others when settling into their pods in Supernova. Robin Tunney (End of Days, 1999) and Peter Facinelli (The Big Kahuna, 1999) were in the rising star category.

MGM had big merch plans for the film. There was even a toy version of the spaceship Nightingale. Principal photography was completed in July 1998 and Hill spent 24 weeks in the editing suite.

Hill had much darker vision and a different ending in mind from the final film. MGM cut the special effects budget and, against the director’s wishes, showed to a test audience a version (the final version according to the studio) of the film minus the effects. When, predictably, the film tanked, Hill walked.

MGM returned to Jack Scholder now, worried about the negative reaction by the test audience.  He directed reshoots, added humor and character development, changed the voice of the ship’s computer so it was more emotional and re-edited the picture and although it tested better than Hill’s version, MGM shelved it for a year. They tried to bring back Hill but when he demanded $5 million for reshoots they turned for reasons best known to themselves (except that he was an MGM board member) to Coppola who had not enjoyed a hit in two decades. Still, he was what would be known these days as a “visionary” and the studio assumed he could wave a magic wand. That was another $1 million on the bottom line.

Coppola recut it. He had four different endings to choose from including one where Karl (Peter Facineeli) transforms into a demonic monster and one where they would be no reprieve, no extension of evolution, for Earth. He superimposed the faces of Bassett and Spader on those of Tunney and Philips in a love scene so that the commander and doctor could have sex. Hill initially planned to accept a credit if he agreed with Coppola’s edits. He didn’t and demanded his name be removed.

MGM wanted a PG-13 certificate in the USA rather than the R-rating that the Alien films attracted. So the bulk of the sex and nudity disappeared, although that allowed the DVD to claim it was the “uncensored version.”

There had been an upsurge of interest in sci fi in 2000. Two films about Mars appeared – Brian De Palma’s Mission to Mars with Tim Robbins and Red Planet starring Val Kilmer. That none of the three films did well suggests this was sci fi overload.

Supernova opened poorly in the USA and overall brought in $14.6 million in box office gross and was barely released elsewhere.

Supernova (2000) ***

Under-rated for sure but still light years ahead of such sci fi nonsense as The End of Oak St (2026). Doesn’t hang around either, story told in 82 minutes flat. And instead of wasting time and stretching credibility just comes straight out and says the crew on this space ship and the audience for that matter aren’t smart enough to understand even in pure mathematical terms what is going on in the ninth dimension, which is where the narrative threat comes from.

Plays around with the Alien series conceit of alien aboard a space ship but doesn’t require a toothy monster and doesn’t fall for that old canard of dropping what you’re doing and responding to a distress signal from outer space. For the simple reason that this is medivac operation, its purpose to rescue people in distress.

There’s some interesting stuff about evolution and quite a nice line about the human race being effectively composed of stardust gathered from the previous millions of years. And it’s gone truly hyper in terms of the threat – I mean Project Hail Mary (2026) level of threat. We’re not talking about invading Earth or blowing it up, what’s at stake from this item from the ninth dimension is our solar system as a blue giant (sun) or supernova intends to wipe out anything it perceives as a rival.

Given that our brains, as noted, are too small to conceive of such a concept, the main narrative concentrates on dealing with a refugee from a mining planet and his “treasure” worth billions, plus an “11-minute window” at the end of the tale for the crew to escape. The Nightingale space ship has performed what’s termed a “dimension-jump” which permits it in pure lightspeed style to cover 3,000 light years in a flash.

However, the ship’s captain dies during the jump and recovering drug addict Nick (James Spader) takes command. On board we’ve got Dr Kaela (Angela Bassett), lovers Danika (Robin Tunney) and Yerzy (Lou Diamond Phillips), and Benji (Wilson Cruz) who plays chess with computer control Sweetie. First hint of impending trouble is that Karl (Peter Facinelli), the fellow being rescued, was the abusive partner of Kaela. Then it turns out he’s Karl’s son. Then it turns out he’s actually Karl, grown younger and somewhat superhuman, a charmer, who manages to seduce Danika, though her lover doesn’t seem to mind, too entranced by the “treasure”, a spherical artefact containing the aforesaid ninth dimensional matter.

Nick wants to dump the treasure out the window. The ship’s got enough problems, having lost most of its fuel during the jump and liable to be incinerated in 17 hours by the blue giant which is sucking it into its high-gravity atmosphere.

Nick returns to the mining planet to find extra fuel supplies, not realizing this is a trap of Karl’s devising, allowing the invader to weaponize all manner of equipment against Nick. Meanwhile, Karl gets rid of Danika and Yerzy by the simple measure of ejecting them into space. He gets the better of Kaela and Benji. The best scene is Benji pleading with the computer to override its controls to deal with Karl, on the grounds that she’s done this once before to wake him up to play chess.

Naturally, Nick has a few tricks up his sleeve or the ending would be pre-ordained. Although you probably wouldn’t expect to see Nick and Kaela stuck in the same pod, buck naked, for the journey home. Whether they then exchange bodily fluids is unclear, but they do swap eye color.

There’s also an interesting kicker. If the artifact reacts with the blue giant, it will create a supernova which will reach Earth in 51 years and either destroy it or lead it into a new form of evolution.

This doesn’t have a good rep, mostly on account of the shenanigans relating to its shooting – more about that tomorrow – but I found it to be pretty serviceable. James Spader (Secretary, 2002) was always better when he could exude menace of sexual creepiness so playing the hero just doesn’t seem right. Peter Facinelli (Viper, 2026) exudes a Spader kind of menace – with a smile. Oscar-nominated Angela Basset (What’s Love Got To Do With It, 1993) ensured there was at least one class act aboard. Robin Tunney (End of Days, 1999) is landed with the overly-emotional scenes. Lou Diamond Philips (La Bamba, 1987) and Wilson  Cruz, better known for television, are effective.

There was a whole hoohah surrounding the direction so I’m dealing with that tomorrow in a Behind the Scenes.

Much better than I expected.

Discover WordPress

A daily selection of the best content published on WordPress, collected for you by humans who love to read.

The Atavist Magazine

by Brian Hannan

WordPress.com Blog

News, Tips & Website Tutorials