It’s Saturday, day One of the Anti-Damsel Blogathon 2015! And Fritzi of Movies Silently who will be taking over on Sunday… and I are SO knocked over by the amazing turn out! We’re glad to see you so raring to go just like those women who kicked down doors, crossed boundaries and forged a wholly unique path for themselves and other women who are empowered and inspiring and unrestrained to be gloriously-themselves.
So I’ll not wasted any further time with ‘cheap sentiment’ as Bette so effectively impresses upon us… and just get on with the show!
Our host Fritzi chooses a ‘new’ kind of women Miss Lulu Bett who as she explains the wonderful Lulu and her story as “throwing off the gloomy shackles of Victorianism and making her own way in the modern world! And Lulu’s not so easy to bully!
Lindsey at The Motion Pictures pays tribute to one of the most versatile mavericks Ida Lupino. Actress, writer, director, producer. An Emmy-nominated actress and as Lindsey points out, the second woman ever to be admitted to Hollywood’s Director’s Guild. To look at her long impressive career & body of work is to behold a legend that took the reigns and made her life in the shape of Ida Lupino!
Mind of Levine comes up with a title that makes me feel all warm inside, because she conjures up a bold title that I can grab onto. As of late, I’ve been devouring every film I can on the incredible Carole Lombard, who tragically died in a plane crash. What would she have accomplished in a life time if she had survived.
She has a pantheon place here at The Last Drive In. Irreverent, hilarious, gorgeous, sublime and one step ahead of her male leads. A comedic timing and genius that shook up a studio system that couldn’t handle her verve. Well just read this amazing contribution to the event in Stacy LeVine’s own words… Carole Lombard forever a legend, and an Anti Damsel if there ever was one!
Nitrate Glow offers us a beautiful gem from 1968… directed by Isao Takahata. Hilda is the little songstress who was way before her time in terms of animation heroines. Nitrate Glow offers an incredibly eloquent and insightful look at a unique film!
Kristina’s offbeat & clever insight =Cobra Woman and it’s a hell of a choice. It’s got the good twin/bad twin paradigm and Maria Montez, a warrior woman in charge! Here’s just a tidbit of Kristina at Speakeasy’s perspicacity!
It is said that “no drug-soaked brain could dream up the horrors of Cobra Island,” ‘but this movie dreamed it up and brought it to vivid life. This is fantastic entertainment and pulpy comic book spectacle bursting at the seams with fantastic things:’
Fantastic things like Maria Montez an Anti Damsel for sure…I know what I’m watching later!
When you think of a woman who is less imperiled you think Jessica Walter as Evelyn Draper or as The Joy & Agony of Movies did, Tuesday Weld is spine chilling as Sue Ann Stepanek, a pretty sociopath who let’s nothing get in her way! She is the epitome of the ‘pretty bad girl’ It’s a great addition to the Anti Damsel Blogathon!
Leave it to Dorian of Tales of the Easily Distracted to offer us a witty and apropos tribute to the Anti Damsel Audrey Hepburn as Regina Lampert in Charade (1963) Just because Hepburn exudes a delicate finery and elegance, she has always manifested a power that strikes out like a lioness! Charade is a wonderful romantic comedy that showcases why the versatile Audrey Hepburn is a legend!
Frieda Inescort plays Lady Jane Ainsely in The Return of the Vampire 1943. Now it’s no small task to play it empowered along side Bela Lugosi! Lady Jane Ainsley: “Your eyes look like burning coals. Don’t come any nearer. Don’t touch me.”
Serendipitous Anachronisms pays tribute to the great Kim Hunter and her memorable character as Dr. Zira in Planet of the Apes 1968. It’s a passionate piece about brave and brilliant women who command an entire civilization of men, oops I mean apes with her strong leadership style and wisdom… Couldn’t have an Anti Damsel Blogathon without her!
The prolific Karen has to say about our lovable Joan “downtrodden Depression-era woman who transforms her existence from bleak oppression to indisputable triumph. Using her wits, her nerve, and her determination” We couldn’t have an Anti Damsel party without inviting one of the most effervescent gals Joan Blondell!
Who better than to pay tribute to an immensely empowered, and I do mean immense! 50 feet worth of empowered woman, than Aurora from Once Upon a Screen. Nancy Fowler Archer will remain indelibly in our secret voyeuristic yearnings to grow tall enough to kick the crap out of the finks who dare betray us!
Old Hollywood Films does this Anti Damsel Blogathon proud to showcase one of the greatest legends, Lillian Gish brings to life one of the strongest, pure hearted gun totin’ characters Rachel Cooper in Charles Laughton’s Masterpiece Night of the Hunter (1955) And say… this is a gif that just keeps giffing !!! Thanks Old Hollywood Films for sharing this fabulist heroine!
Moon in Gemini has also honored this grand bash with yet another legendary figure of empowered women-ness! We can’t neglect Barbara Stanwyck and this post will make all you Stanny fans happy with…
The Furies: The Anti-Damsel with a Daddy Fixation! I would have liked to taken one of those Dr. Taylor classes. And as Debbie so aptly puts it- “Is there any character that Barbara Stanwyck played that COULDN’T be classified as an anti-damsel?”
I’d say no! it wasn’t possible for her to be non-empowered or in peril. She didn’t have those strong shoulders and that gritty voice for nothing. Even if Bogie was poisoning her milk, or she was bed ridden or stalked by a dream lover or even a witness to murder, she never quite seemed like a weak woman. Just a strong one in the wrong place at the right time. So dive in now to Moon in Gemini’s brilliant perspective on quite an interesting Stanwyck film!
BNoirDetour showcases the talent of Linda Darnell in this highly charged film of social criticism that explodes on the screen in No Way Out (1950)! As Edie Johnson caught in the crossfire of racism, she’s got a lot of guts to rise above the chaos and come out kicking!
When CineMaven’s Essays from the Couch writes that her heart skips a beat because of our Anti Damsel themed Blogathon, I want to return the compliment and say how grateful both Fritzi and I are for the overwhelming response to this tribute to empowered women! And CineMaven, you couldn’t have picked someone better to cause pangs in my heart than the underrated Ella Raines in what I think is one of THE most incredibly intricate psychological film noirs Phantom Lady, with gutsy Carol (Ella) as our heroine!
You’ll never get anything but unique and mind expanding insight from Goregirl’s Dungeon. I was sooo thrilled to have her join in and offer her take on an Anti Damsel. Read her fascinating overview of Anna Karina in the films of Jean -Luc Godard…
Defiant Success has made this Anti Damsel Blogathon that much better for having covered Deborah Kerr as Karen Holmes a woman who speaks her mind in From Here To Eternity (1953) Kerr is the consummate anti damsel and she always wields that classy composure!
As Virginie from The Wonderful World of Cinema says- “Movie heroines are not always princesses waiting for a prince to rescue them, they are not always victims or damsels in distress. Female movie characters can be strong, they can have guts, determination and many other wonderful qualities” Shirley Booth had a powerful stamina and warmth that couldn’t be extinguished. We’re so happy to have her as a part of our Anti Damsel Blogathon!
Carole & Co. devotes a journal to the groundbreaking versatility, beauty and comedic genius of Carole Lombard. We’re so glad to have her join us for the Anti Damsel Blogathon! Taken away from us too soon, journey through this insightful post and read about Lombard as producer!
Karavansara has done the honor of taking up my wish list and paying tribute to one of THE most iconic sexy and strong female role models of the 60s. I am with them. Diana Rigg & Emma Peel both left a huge impression on me growing up. And yes I couldn’t resist having a one of my first crushes either… Read this well written tribute to one of the finest examples of empowerment…!
“Emma Peel, as portrayed by Dame Diana Rigg, is one of the icons of the 1960s, a sex symbol, and one of the earliest strong, empowered female leads in television entertainment.”
Heather Drain of Mondo Heather explores the Uber mod & deviant world of the Cult & Exploitation 60s paying tribute to a pretty formidable Anti Damsel Big Shim (Marni Castle) sporting a steel bra that could be registered as a lethal weapon. The film includes other divinely demented Anti Damsels’ as Heather writes- “Sweety East (Monique Duval), who is a Texan-fried, butt-crack rocking version of Honey West, things go from nutzoid to putting out fire with gasoline”
PS: You gotta love a reference to Honey West (Anne Francis) that sexy private eye with her groovy house ocelot Bruce!
Naturally we couldn’t do this empowering bash without spotlighting the great Joan Crawford. And Wolffian Classic Movies Digest does a wonderful job of reminding us why Crawford the legend and Mildred Pierce the Anti Damsel are so timeless… Here’s a quote from their fabulous piece –“Joan Crawford starting out as the happy housewife breaks free of that mold becoming her own woman as She carries the movie on her Broad shoulders”
Smitten Kitten Vintage did one hell of a bang up job covering not only the incomparable Bette Davis but her iconic portrayal of Margo Channing in All About Eve 1950. The film that put her back on track in Hollywood! Read this insightful piece here. Because no Anti Damsel Blogathon would be complete without the legendary Bette ‘hold onto your seatbelts it’s gonna be a bumpy night’ Davis
Superfluous Film Commentary shares the sublimely bold Gene Tierney as Lucy Muir, a steadfast widow who is fiercely independent and isn’t afraid of ghosts either! A beautiful film and a wonderful contribution to our Anti Damsel bash! as they so eloquently put it Tierney is “positively radiant Gene Tierney, likewise fits the definition of empowered.”
I’ll think I’ll go get a banana split until we’re back with Fritzi on Sunday for more Empowered Lady Love!- Your everlovin’ MonsterGirl
THE SILENT YEARS: When we started not giving a damn on screen!
In celebration of our upcoming Anti Damsel Blogathon on August 15 & 16, I had this idea to provide a list of bold, brilliant and beautiful women!
There was to be no indecent exposure of the ankles and no SCHWOOSHING! Not in this Blogathon baby!
From the heyday of Silent film and the advent of talking pictures, to the late ‘20s to 1934 Pre-Code Hollywood, films were rife with provocative and suggestive images, where women were kicking up a storm on screen… The end of the code during the early 60s dared to offer social commentary about race, class, gender and sexuality! That’s our party!
In particular, these bold women and the screen roles they adopted have become legendary. They sparked catchy dialogue, inspired fashion trends, or just plain inspired us… All together there are 111 of SOME of the most determined, empowered and uniquely fortified femmes of classic film…!
First of course I consulted the maven of all things splendid, shimmery and SILENT for her take on silent film actresses and the parts that made them come alive on the immortal screen…. Fritzi at Movies Silently has summoned up thesefabulous femmes….
Now to unleash the gust of gals from my tornadic mind filled with favorite actresses and the characters that have retained an undying sacred vow to heroine worship… In their private lives, their public persona and the mythological stardom that has & still captivates generations of fans, the roles they brought to life and the lasting influence that refuses to go away…!
Because they have their own unique rhythm to the way they moved through the world… a certain kind of mesmerizing allure, and/or they just didn’t give a hoot, a damn… nor a flying fig!
“The most courageous act is still to think for yourself. Aloud”-Coco Chanel
Stars like Bette Davis, Barbara Stanwyck and Joan Crawford managed to keep re-inventing themselves. They became spirited women with an inner reserve of strength and a passion for following their desires!
The following actresses and their immortal characters are in no particular order…!
1 (of a person, action, or idea) showing an ability to take risks; confident and courageous: a bold attempt to solve the crisis | he was the only one bold enough to air his dislike.
• dated (of a person or manner) so confident as to suggest a lack of shame or modesty: she tossed him a bold look.
“I am my own woman” –Eva Perón
(source edited)- by Jürgen Müller‘s for TASCHEN’s Movies of the 60s- “Like no other decade before or since, the 60s embodied the struggle against a jaded, reactionary establishment. As the Vietnam War dragged on, the protests grew in scale and intensity. Revolution ran riot, in the streets and on the silver screen. The movies of the epoch tell tales of rebellion and sexual liberation, and above all they show how women began to emancipate from their traditional roles as housewives or sex bombs…”
Drew Casper writes, “Some films still styled along classic lines while others simultaneously embodied both the old and new approaches… Stirred the placid waters of the classical with grittier degrees of realism with their accompanying darker sensibilities.” –Postwar Hollywood 1946-1962
Women like Jane Fonda, Anna Magnani, Simone Signoret, Audrey Hepburn, Ann Bancroft, Piper Laurie, Angie Dickinson,Bette Davis, Joanne Woodward, Patricia Neal and so many more became iconic for breaking the old mold and grabbing a new kind of individualism without judgement and new kind of self expression.
Barry Keith Grant writes in American Cinema of the 1960s-“The decade was one of profound change and challenge for Hollywood, as it sought to adapt to both technological innovation and evolving cultural taste.”
And of course the films I’m covering here. These films began to recognize an audience that had a taste for less melodrama and more realistic themes, not to mention the adult-centric narratives with a veracious Mise-en-scène…
PS: I would have included Mia Farrow in Rosemary’s Baby but that is my favorite film and plan on doing a special post in honor of this brilliant timeless masterpiece… and Mia’s quintessential performance.
As a little glance into a portion of cinematic history over the decade of the burgeoning sixties -The following are particular favorites of mine… Bold & Beautiful ‘as is’ and Beyond need of Redemption!
Elmer Gantry is always chasing dreams and always telling dirty stories is the smooth talking traveling salesman, brought to life by Burt Lancaster who portrays his character with a bit more sensuality than Sinclair Lewis‘ cold predatory con man. Gantry is a hard drinking provocateur and a lady’s man. Raised by a father who quoted verse, he has a swift grasp of the Bible and uses it to insinuated himself into Sister Sharon’s hell fire traveling road show. Though he is a skeptic, he sees a great light in Sister Sharon and the potential to fill the coffers with riches!
The sublimely beautiful Jean Simmons is as ethereally angelic as she is a pure sensuality. Sister Sharon Falconer is a young revivalist in the style of Aimee Semple McPherson. Sharon is at first righteous and unwavering in her convictions, she begins to awaken unto the spell of the charming and bigger than life Elmer Gantry. Elmer starts out poetically ruthless as he insinuates himself into Sharon’s life, until she loses her firm grip on her faithful mission and their attraction blossoms into a physical one.
One night he craftily sweet talks Sharon’s virginity away from her, though she is a very willing participant ready to be freed from the confines of her stifling religious prison.
Sharon struggles with her identity as a pious figure and a sexually aroused woman. Simmons is an actress of fine distinction who can work with that duality bringing to the screen a role with great complexity. She is also stuck in between the conflict that ensues between Elmer and her manager Bill Morgan (Dean Jagger) who doesn’t like nor trust Gantry’s influence over Sharon.
Sister Sharon created herself from nothing and is now pragmatic and independent with a vision to capture the world, by building a temple for the people so she can share the good word of God. No more traveling as a revival side show attraction. She is brave, dedicated and faithful to the end. And I won’t spoil the ending– at least I will say that she is a true believer and a real woman filled with passion on both sides of the coin. She allows herself to be seduced by Gantry, yet still is fiercely dedicated to building her own tabernacle so she may offer comfort and inspiration to those in need.
Shirley Jones is fabulous as Lulu Banes who was first seduced by Gantry while she was the Deacon’s daughter now…. a call girl from Elmer’s tawdry past, who tries to rake up a little gossip and cash as payback for Mr. Gantry ditching her. Okay, there’s some blackmail involved when she sees the opportunity because there’s sour grapes as Gantry left Lulu in the lurch, with a broken heart. But in the end, Lulu’s got integrity. She’s plucky, and has some of the best lines in the film and hey she’s not only a call girl… she a nice girl…
She’s so lovable that Shirley Jones won the Oscar for Best Supporting Actress that year!
It’s interesting to hear that it took actor Author Kennedy to get Simmons potted on milk and gin before she felt comfortable enough to do the scene where the revival tent catches fire and flaming debris is falling around her head.
Both Jean Simmons and Shirley Jones caught the spirit in this film!
Elmer Gantry wound up being a very controversial film when it was released directed by Richard Brooks, adapted from the book by Sinclair Lewis with lush and pulpy cinematography by John Altonand a stirring score by the great André Previn.And terrific costume designed by the brilliant Dorothy Jeakins (The Sound of Music 1965, The Way We Were 1974).
“Let’s get this straight, you don’t interest me no more than the air you stand in.”-Lady Torrance to Val
Directed by Sidney Lumet, The Fugitive Kindis based on the play Orpheus Descending by Tennessee Williams who also penned the screenplay. At this point there’s shouldn’t be any doubt about my passion for Mr. Williams or Anna Magnani.
Anna Magnaniis a primal force of sensuality winning an Academy Award for Best Actress for her portrayal of Serafina Delle Rose in the marvelous, The Rose Tattoo 1955. (“A clown with my husband’s body!”)
The Fugitive Kind has a gritty, allure not only due to the level of acting by Magnani and Brando or the evocative material it’s partly due to Boris Kaufman’s (12 Angry Men 1957, On the Waterfront 1954) edgy cinematography.
Anna Mangani delivers another impassioned performance as Lady an equally potent role as a shop owner in Louisiana who is chained to a brutal marriage by her vindictive and dying husband Jabe (Victor Jory) when along comes Marlon Brando as Valentine “Snakeskin’ Xavier a guitar playing roamer who takes a job in the shop until Lady’s jaded loneliness and Valentine’s raw animal magnetism combust..
Brando plays the solitary Val, a drifter who’s presence is as commanding as a lion stalking. Val comes into the small town where Lady Torrance runs the shop, her husband Jabe is mostly bed ridden, dying of cancer, but also eaten up with jealousy and hatred toward his wife, foreigners and outliers. He’s vicious and controlling and Lady lives out her days caring for this angry and miserable man, until Val comes into her life, changing Lady’s stoicism awakening her heart releasing her desires.
Magnani gives a powerful performance of a woman starved from sexual pleasure, mentally abused by her husband and bemoaning the days when the wine flowed like a river at her father’s vineyard that was suspiciously burned to the ground.
Magnani manifests an authenticity that comes from a battered past and present, yet she exudes an enduring sense of love and passion. Lady dreams of fixing up the outside part of the store as a confectionery festooned with white lights and delicate atmosphere and Val can sing and play his guitar.
At first interviewing for a job is an awkward exchange. Once Lady and Val have a very intense and thoughtful conversation, she decides that she likes this strange talking boy and hires him to work in the store. The tension is visible even in the darkly lit scene and through the diffuse patch of light you can see their chemistry brewing.
Lady is taken with this strange talking boy who begins to tell her about people. “there’s two kinds of people in this world, the buyers and the people who get bought.” Then he tells her about a type of bird that has no legs so it can never land. It’s a meditative moment, and Brando is magnificent. “…cause they don’t see ’em, they don’t see em way up in that high blue sky near the sunthey spread their wings out and go to sleep on the wind and they only alight on this world just one time, it’s when they die.”
Val is pursued by Carol Cutere, (Joanne Woodward) the quirky local tramp from a wealthy family, who worships his snakeskin jacket as well as his incredible ‘hot’ body. But, Val finds himself drawn to the evocative and more complex Lady. They begin an affair, fall in love and Lady gets pregnant. Will they be like the bird that can never land, only sleep on the wind and the day they land is the day they die…
If you care about love, you’ll talk about a teenage boy and a woman who is all allure, all tenderness… and too much experience! – tagline
“What’s more I don’t like to work in New York. I never have. I live here. I like it. I like this house. I like eating at home, I like living like a human being. Why should I knock myself out. this is my retreat you know.”
Directed by Alexander Singerwith a slick burlesque/modern jazz score by Gerald Fried.
Lola Albright stirs the libido as a very classy ex-stripper Iris Hartford a very intoxicating woman who seduces a naive and inexperienced working-class boy, Vito Pellegrino (Scott Marlowe)who falls deeply in love with her. Soon Vito begins to feel the disparate reality of their relationship. Once his reality is shattered, discovering that she is a stripper, Vito ends the affair with Iris, seeking out a neighborhood girl who is of his own age.
Lola Albright has a very sophisticated way of coming across on screen with a reserved yet palpable dignity. But Iris generates an undercurrent of provocative and alluring intelligence. Marlowe has always been great as a either a clever playboy or whiny young man, who isn’t quite getting what he wants.
A Cold Day in August examines an authentic journey for a young boy who experiences his first sexual awakening with an older woman. And their socially unorthodox relationship not only serves the film’s exploitative narrative it comes across quite genuine because of Albright’s very real sexual magnetism and the attraction by an impressionable boy.
Of course the film works on the level of titillation & taboo because Iris is not only older than Vito, she is ALL woman and then some for any man. She would be considered a tramp because she used to take her clothes off for a living. Her ex-husband comes back into the picture and pleads with her to fill in for a week in NYC, but that life was far gone by now.
When Iris first seduces Vito she feeds him a dish of ice cream after he fixes her air conditioner. It’s as if she’s rewarding a little boy for doing a good job. In the midst of these queer moments where she desires him yet infantilizes him, they do carry on a sexual relationship. Iris is a free sexual being who makes no apologies for who she is. It doesn’t take too long before Vito realizes that he’s way out of his league, but Iris does initiate him into the world of sex.
I have come to adore Lola Albright this year. In A Cold Wind in August she manifests a kind of existential sensuality as she can offer a nurturing kiss and then go on to take what she needs. She yearns for pleasure which is literally illustrated by her stripper costume of a sort of Queen of Outer Space gold lamé number complete with eye mask, it’s alluring and vulturous at the same time.
Robert Rossen (The Strange Loves of Martha Ivers 1946, All the Kings Men 1949, Billy Budd 1962 & Lilith 1964) wrote of all his films, they “Share one characteristic: The hunt for success. Ambition is an essential quality in American society.”
The Hustler is the story of Fast Eddie Felson (Paul Newman) who has a penchant for self punishment and self destructiveness and in his cockiness likes to take on high stakes pool games. He has a dream of bumping Minnesota Fats (Jackie Gleason) off the pedestal of fame. Eddie and Fats meet up and by the end of a very long marathon, Eddie is wiped out and whipped, which doesn’t help his enormous ego.
Eddie meets Sarah (Piper Laurie), a highly educated modern woman. She’s an independent loner, a bit morose, a bit jaded, but somehow she allows Eddie to work his charms on her until she is hooked. Still no matter what happens in the end, Sarah Packard speaks her mind and lives life on her own terms…
Sarah has a physical disability as she walks with a limp, and is referred to as a cripple.
Finally, as the film progresses, whether Sarah feels that she is perverted and twisted because she sleeps with the repugnant opportunist Bert Gordon (George C. Scott) or drinks too much, or has the need to be loved because of her physical disability, Sarah Packard is such a real character that it breaks your heart.
Tensions arise when manager Bert Gordon signs on to promote Eddie. He’s a shady predator who tries to drive a wedge between Eddie and Sarah, and takes advantage of her one night while Eddie’s away.
Sarah reads poetry and uses alcohol as a way to balm her loneliness, but there’s a strength in her honesty that is very endearing. Talk about guts, Piper Laurie wanted to get a feel of authenticity for her character and so she hung out at the Greyhound Bus Terminal at night.
IMDb fact: Piper Laurie didn’t make another film for the next 15 years, devoting the time to her marriage and raising her only daughter. She returned to the screen in 1976 in ‘Brian de Palma”s Carrie (1976), earning her second Oscar nomination.
And we all know how bold that performance was…. memorable & cringe-worthy!
At the party that Bert invites Sarah to come to, he whispers something in her ear that makes her toss her drink and run away in tears. The actress talked about this scene in her autobiography. She had met up with George C Scott many years later and “I finally asked him what he had whispered into my ear in the big party scene in The Hustler that elicits a violent response from me. We shot it perhaps three or four times and I could never figure out what he was saying… He told me he chose to use just gibberish, knowing he could never invent words or phrases as powerful as what my imagination could summon up. Probably true.”
That was a very cool approach to the scene which came off beautifully!
Roslyn: “If I’m going to be alone, I want to be by myself.”
The Misfits was initially written as a short story by Arthur Millerwho was actually waiting for his divorce in Reno to go through before he could marry Marilyn Monroe. Based on a short story in Esquire Magazine, he specifically wrote it for his then wife Marilyn Monroe.
A beautiful divorcée Roslyn Tabor (Marilyn Monroe) who has been put through hell, takes up with a faded cowboy Gay Langland who is still strutting like a lady’s man in early-sixties Nevada. He’s a rugged individualist who wants nothing to do with earning wages. At first she meets up with Isabelle Steers played by the inimitable Thelma Ritter who can throw out a one liner like no one else, anything out of her mouth is gold.
Roslyn is in Reno to divorce her husband Ray. She meets up with Guido (Eli Wallach) who is building his ‘unfinished’ dream house for a wife who died during child birth years ago, yet he still holds a candle to her memory and suffers from WWII bombing raids He sets his sights on Roslyn but his friend Gay Langland (Clark Gable) a crusty old cowboy moves in first and the two start a tenuous relationship. Roslyn is kind and loves all animals, and still thinks kindness is always just around the corner.
Montgomery Clift plays an ambiguously sexual bachelor who drinks to try and take the pain away. All four are non-conformists who begin to form a type of family. Roslyn is thoughtful and sensitive and Gay is a typical male on the prowl. Along for the ride is Perce Howland (Montgomery Clift) who is the most trusting and kind. He is not committed to trapping the horses for pet food, and wishes to stop it too. The horses that roam free are symbolic of the beautiful spirit that Roslyn possesses. A bit sad but tender and kind. Roslyn tags along on a trip up in the mountains with Gable, Eli Wallach and Monty Clift much to Roslyn’s horror that they are capturing horses in order to sell them for dog food.
Marilyn Monroe later said that she had hated both the film and her own performance. I feel like she is selling herself short. She managed to navigate around the incredible testosterone on screen and off. Perhaps it was her innate sadness that shone through, but she brought a tremendous sensitivity that was an inner sort of beautiful… The Misfits is probably one of my favorite performances by Monroe, it seems like a close look into her sad yet dreamy soul.
A RAISIN IN THE SUN with RUBY DEE as Ruth Younger, CLAUDIA MCNEILL as Mother Lena Younger and DIANA SANDS as Beneatha Younger
Lena Younger crying “Oh God, please, look down and give me strength! “
Written by Lorraine Hansberry for the stage then adapted to film and directed by Daniel Petrie
Sometimes there are films and stories that I just immediately have to say “It’s some powerful good.” Maybe it comes from watching a lot of The Andy Griffith Show that has rubbed off on my conversational style. But regardless, A Raisin in the Sun is some powerful good! That’s what happens when an ensemble of incredible actors get together and tell a poignant story about family struggles, in particular, a Black family struggling in a privileged world that works very hard to keep Black people on the ‘outside’ of success, making them continually grasp at that mythical American Dream that just doesn’t exist, at least for most people.
Directed by Daniel Petriea story about racial oppression and assumptions. Illustrated vividly in the scene with the marvelous character actor John Fiedler who plays Mark Linder. from the Clybourne park un- “welcoming committee.”
The woman form a strong wheel that keeps the family moving even when Walter Lee Younger (Sidney Poitier) takes his time coming to terms with his pride.
Mama Lena lived in a time where Black folk had fought so hard during the Civil Rights movement to witness a generation of young Black people to demand and obtain their rights. But there exists in the home a generation gap between her and her children. Walter Lee is a very proud young man who is frustrated with just being a chauffeur. When Lena’s husband’s insurance policy comes to the family, they each have ideas of how to spend it. Three very strong female characters satellite around one man whose identity rests on false notions of success reflected back at him through the lens of a white social class. But Walter Lee is continuously grounded by the strength of the women around him.
Beneatha is a progressive woman who railed against being a traditional wife and mother. She was way too independent and a strong female figure for 1962.
Cléo is a famous French Chanteuse awaiting the results of a biopsy. She is afraid that she will be told that she has cancer. We as are the spectators we watch Cléo spend two hours in her day until she finds out whether she is going to die. Sounds morbid, but director Agnès Varda (Varda herself was Bold & Beautiful– trained as a master photographer… and at the core or the soul of the French New Wave Cinema) weaves a whimsical visual dance as Cléo walks through the hours of her possibly tenuous life. The film is marvelous and Corinne Marchand as Cléo is a very captivating figure. In France it is said that the hours between five to seven are when lovers gather. Cléo wants to just keep moving in hopes of avoiding the results of her test. Throughout Cléo’s journey she is subtly restrained by the knowledge that she may be dying. Even as she sings torch songs, shops for hats and walks through the streets of Paris.
At 5pm she even visits a Tarot Reader. And just from experience, pulling The Hanged Man in a tarot reading is never really a good thing. And of course Death shows up as well. And the Death card should never be regarded as literal, but under the circumstances it would be frightening to a woman waiting for test results. She asks the woman to read her palm but she refuses, and so Cléo leaves frustrated.
Throughout Cléo wanderings, there are little interactions that lay on the periphery. Knowing that death could be looming overhead, Cléo seems to develop a heightened sense of awareness, even if the actions of unessential characters are truly incidental surrounding Cléo while she is walking through her two hours.
Cléo wanders through out the streets of Paris with her maid in tow or her friend the nude model. The next stop is at the hat shop, where she proceeds to try on many fashionable hats. Several mirror shots showcase the use of iconography of the female image as seen reflecting back. Cléo looks magnificent in even the most outrageous of hats.
Cléo and her maid come back to her apartment, that has a nice vast playful quality to it, with a piano, and a wonderful swing, and of course an opulent bed. Cléo reposes in her bed like royalty, as two fluffy kittens toss each other around. José Luis de Vilallonga credited as The Lover comes to see her. There doesn’t seem to be much passion between the two.
“You’ll EAT and DRINK what I SAY until you lose five pounds IN THE PLACES WHERE I SAY!” -Pepe
I couldn’t resist paying homage to at least one exploitation film seeing this is about the 60s! With a flavor and atmosphere of night club noir surrounded by decadence and the sordid lives of it’s inhabitants it comes across with a low budget appeal, Satan in High Heels was filmed in New York’s old La Martinique cabaret. This isn’t a film about immorality, it’s plainly just some high art sleaze that is so fun to watch, mainly because of Grayson Hall. Hall has a languid graveled voice that is almost intoxicating to listen to. Putting aside the other two leading ladies voluptuous Sabrina who plays herself, Meg Myles as Stacy Kane a second rate stripper whose wardrobe consists of various leather outfits and riding crop, it’s Grayson Hall (of Dark Shadows fame) that brings the story to a boil as the ultra domineering Pepe– as cool as the center seed of a cucumber.
She’s jaded and cynical and is a New York City kind of Marlene Dietrich with her quick asides and Sapphic strut. Even when she’s taking long drags of her cigarette she can deliver a curt line that cuts to the point, “Bear up, Darling, I love your eyelashes.”
After Stacy working the carnival circuit discovers her ex husband hanging around the dressing room with a load of cash, she grabs the doe and heads to New York City. Once she arrives she auditions at a night club as a singer, and is hired by the libidinous Pepe who wants to do a Pygmalion on the tramp. Belting out torch songs like “I’ll beat you mistreat you til you quiver and quail, the female of the species is more deadly than the male.” Neither Stacy (Meg Myles) or Sabrina (Norma Ann Sykes) Yikes get points for being buxom.
It’s Pepe who is sophisticated and wicked that makes you quiver & quail? Hmmm I need to look that up!
“Everybody can’t wait to help me get rid of it!”-Jane
When it’s Bryan Forbes (Seance on a Wet Afternoon 1964,The Stepford Wives 1975) directing you know to expect something deeper and quietly intense. In The L Shaped RoomLeslie Caron plays Jane Fosset a melancholy unmarried woman who is pregnant and on her own. She takes a room in a boarding house in London. While there Jane meets all the inhabitants of the decadent house where there dwells a collection of various misfits and outliers of society. Two working girls of the night persuasion, Pat Phoenix as Sonia, the man-eating Landlady who isn’t quite friendly, and the lovely old lesbian Mavis (Cicely Courtneidge).
And then there’s the struggling on edge Toby (Tom Bell) who is a writer living on the first floor. The two strike up a relationship, as Jane decides whether to get an abortion or keep the baby. There’s also Johnny a black Jazz Musician ( Brock Peters) who gets upset when Jane and Toby start a sexual relationship. The story is human and moving and as deeply whimsical as the tenants who come and go. Leslie Caron is superb as a solitary girl with a serious dilemma, so much so that she was nominated for Best Actress. Caron is splendid as Jane who manifests a courage and striking dignity to live life on her own…
Alfred Hitchcock’s cautionary tale based on Daphne du Maurier’s best selling novel. The Birdswas Hitchcock’s film , that not only demonstrated the precarious security of everyday life by contrasting a quaint California seaside town inexplicably besieged by angry birds. One of Hitchcock’s most frequent theme is the precariousness of social order and morality. And the introduction of Tippi Hedren as Melanie Daniels definitely shakes things up. There’s almost a supernatural connection, if not the mere symbolic one.
I couldn’t resist Tippi Hedren as Melanie Daniels who is no shrinking violet. She may be a relatively straightforward central protagonist – the rich spoiled girl from the big city whose complacency is then severely shattered. Melanie is still an independent woman who mostly keeps it together right up to the end. Okay once she’s trapped in the attic she sort of goes a bit fetal but come on people the natural world is attacking! –with beaks and claws!
Behind the scenes she might have had a mini melt down thanks to Hitchcock’s maneuvering to have her attacked for real. Melanie Daniels ascends into Bodega Bay like the birds, she is a warning of the dangers of strong, and non-conformist women, especially strong willed sexually free women. Are the people being attacked by just the birdsor is the strength of Melanie Daniels presence to tear apart the claustrophobic relationship between son and mother and the quiet conventional community.
From Carol Clovers Men, Women and Chainsaws -Her Body, Himself.
in Poe’s famous formulation , the death of a beautiful woman is the “most poetic topic in the world.”
Hitchcock during the filming of The Birds said: “I’ve always believed in following the advice of the playwright Sardou”. He said ‘Torture the women.’
Clover comments that what the directors don’t reveal out loud about the women in peril theme is that “women in peril are at there most effective when they are in a state of undress” and assailed by a totally phallic enemy.
Melanie Daniels while trapped in the attic and justifiably shaken from the ordeal does not lose her ability to protect herself and give up and die.
In one of the most vivid and unforgettable scenes in film history (I would wager my one-of-a-kind Columbo doll that other people agree) is when Melanie is waiting outside the schoolhouse sitting on the park bench with the jungle-gym behind her. She sees a few birds gathering on it. As Hitchcock is known to do, he drags out the suspense until we are at the very edge. She sees a few more birds join in. She lights up a cigarette, as this extends the scene further. There isn’t the composed style of filming a scene where it would go right to the fright factor. Hitchcock manipulates Melanie and us the spectator. Once more she follows the movement of another crow heading toward the jungle-gym which now is revealed has hundreds of birds waiting to attack…!
“Boy… somebody in this car smells of Chanel No. 5, It isn’t me, I can’t afford it!”
Directed by Martin Ritt and based on Larry McMurtry’s novel. From -Drew Casper Postwar Hollywood from 1946-1962 “Ritt Caught the parched, circumspect, empty quality of a middle-class WASP life in a Texan cattle community.”
The raspy attractiveness of Patricia Neal can make any film worth watching. In Hud she conveys a weary yet wise housekeeper/mother figure for the elderly widower Rancher and the Bannon men Hud and Lonnie. She has to deflect all the lustful advances by Hud, but she has grown comfortable with the blueness of her isolation, and has made peace with her troubling past. She handles the volatile Hud (Paul Newman) and nurtures the impressionable Lonnie (Brandon deWilde)
Patricia Neal won an Academy Award for playing the housekeeper Alma in Martin Ritt’s Hud, although she only appears in the film for 22 minutes! James Wong Howe creates a desolate, moody sense of Americana with his cinematography and Elmer Bernstein contributes his magnificent score.
Patricia Nealwas particularly proud of one unscripted moment that made it into the film. While talking to Hud about her failed marriage, a huge horsefly flew onto the set. Just as she says she’s “done with that cold-blooded bastard,” she zaps the fly with a dish towel. Martin Ritt loved it and printed the take.
Paul Newman is the cold blooded Hud Bannon. He’s a ruthless reckless cowboy and a heartless uncaring miscreant who hurts everyone in his life. He’s self confident, drives a pink Cadillac and when he’s not swaggering slow like he’s a meandering playboy, who still lives on the isolated farm with his elderly father and his nephew Lonnie (Brandon deWilde) who worships him, he’s sleeping around.
Melvyn Douglas plays Homer Bannon, his father whom he clashes with. His father is a righteous man, filled with principles but his son is a self-indulgent outlier of society who cares for nothing and no one. Life is just about having ‘kicks’ It was that time in film history that the youth archetype were all looking for those ‘kicks’
Hud’s amoral lifestyle and the struggle between the good people who satellite around him create a dismal world for everyone. Alma and Hud develop a sexual banter between them. She’s attracted to his prowess and his good looks, but Hud only sees her as the help. He want’s what he can’t have, so she is a challenge to him that’s all. But Hud is abusive to Alma, he even parks his Cadillac in her flower bed.
Alma has a hearty strength and takes all the masculine posturing with stride. She’s as laid back as a cat taking a nap in the sun. Alma too has a sensuality that lies open, on the surface as she flirts with Lonnie and is aroused by Hud’s beautiful torso. The theme that is underlying through out Hud or I should say Alma’s part in the narrative is that women like to be around dangerous men. Alma doesn’t expect anything from Hud, understanding his nature all too well. He possesses a merciless kind of sexual desire that cannot be satisfied. But Alma does create a conflict for him…
In his cynical exchanges with Alma, he is contemptuous toward women and boasts a sexual confidence, that makes him one cocky bastard. But Alma is not a child nor is she an inexperienced woman. she is equally world weary and is titillated by his sexual innuendos.
Directed by John Huston based on the story by Tennessee Williams, Night of the Iguana.
John Huston loved placing a group of interesting people in a landscape that was inhospitable and sweltering.
Ava Gardner as Maxine Faulk is a sultry beauty that inhabits the tropical night like a panther moving through the brush.
A defrocked Episcopal clergyman the Rev. T Lawrence Shannon (Richard Burton) working as a tout guide in Mexico leads a bus-load of middle-aged Baptist women and a teenage girl on a tour of the Mexican coast. It is there that he wrestles with the failure and doubts that haunt his wasted life. While temporarily stranded he takes respite with Maxine who runs the small out of the way hotel. Ava Garner wields heavy dose of sensuality as she burns up the screen with her raw and unbound sexuality. Surrounded by young men whom she swims with at night. And not taking any crap from the busload of repressed Baptists and Sue Lyon as a young Nymphomaniac.
Shannon was kicked out of his church when he was caught with one of his parishioners, and now Charlotte Goodall (Sue Lyon) is a troublesome nymph chasing after him provocatively. Her guardian is Judith Fellowes (Grayson Hall) an uptight lesbian who seems to hate all men, bus rides and humid weather besides. When Fellowes catches Charlotte in Shannon’s room she threatens to get him in trouble, so he enlists the help of his friend Maxine Faulk, and leaves the group stranded at her remote hotel.
Once Hannah Jelkes (Deborah Kerr) and her elderly grandfather arrive, the atmosphere seems to shift and Shannon is confronted with questions of life and love. Everyone at the hotel has demons and the rich and languid air seems to effect everyone… Ava Gardner as Maxine waits patiently for Shannon to realize that they could have a passionate life together if he’d stop torturing himself..
From Ava Gardner: “Love is Nothing” by Lee Server Ava Gardner loved the chance to work with director John Huston.
The play had opened on Dec 28th 1961 at Broadway’s Royale Theatre with Bette Davis, Margaret Leighton and Patrick O’Neal.
“A typical Williamsian study of desire, dysfunction and emotional crisis. set in a frowzy Acapulco Hotel where defrocked alcoholic horny minister now tour guide The Rev T Lawrence Shannon haphazardly battles for his salvation aided and abetted by lusty innkeeper Maxine Faulk and wandering spinster Hannah Jelkes.”
Producer Ray Stark regarded the film’s formula should be a “mix of soul-searching, melodrama and lowlife exotica”which would capture Huston’s imagination.
Ava was cast to play the ‘earthy widow’ Maxine- Huston considered Gardner perfect as she was a Southern actress with ‘feline sexuality’. perfect to play one of Tennessee Williams’ ‘hot-blooded ladies!’
Ava Gardner wanted the role to be really meaningful. She did have several volatile scenes, for instance when she is exasperated by Shannon, to spite him Maxine impulsively rushes into the ocean to frolic with her two personal beach boys.
According to the book, “Ava had become sick with fear— of the physicality of the scene (how could she not look bad falling around in the water with her hair all soaked?), the sexuality of it (the two boys roaming all over her body as the surf rolled across them). and the physical exposure (the scene called for her to be wearing a skimpy bikini) Huston told her in that case, kid they would rewrite and shoot the scene at night and with minimal lighting. As she got more uncomfortable Huston suggested that she simply go in the water in her clothes (Maxine’s ubiquitous poncho too and toreador pants). ‘It’ll look more natural like that anyway’- Huston said.”
Houston even waded into the water with her, they had a few drinks, he held her hand and waited til she was ready to shoot the scene. And it came out beautifully with one take!.
Johnny -“Pretty Cool aren’t you Miss Farr” Sheila “Only when there’s nothing to be excited about”
Directed by Don Siegel This remake of Ernest Hemingway’s taut thriller has been given a 60s sheen of vibrantly slick color. In contrast to Robert Siodmak’s masterpiece in 1946. The femme fatale in this Post-Noir film is Angie Dickinson as opposed to Ava Gardner.
Don Siegel’s 1964 adaptation of Ernest Hemingway’s short story The Killers is quite a horse of a different colour. first off the obvious is that it is not in haunting B&W… The double – crosses are still in the picture. the big heist and the hidden doe…
And we don’t have Ava Gardner, but we do get Angie Dickinson. Cassavetes is a race car driver Lancaster was a mechanic… we don’t have the primal sexuality of Burt Lancaster we have the pensive arrogance of John Cassavetes.
The viewpoint of the story is not seen through the eyes of the victim, but the Kiilers who want to understand why the protagonist just stands there and lets himself be gunned down in cold-blood “just stood there and took it.”
While Siodmak’s version is drenched in shadow and nuance, Siegel’s version is gorgeously played out like a taut violin string in the brightly mod colors of a 60s world. It was no longer the year of the dark and dangerous femme fatale that hinted at promises of a sexual joyride alluded to with suggestive dialogue and visual iconography. Now we have Angie Dickinson’s character Sheila Farr a modern sexually liberated woman who struts her stuff in the light of day.
The two hit men Lee Marvin and Clu Gulager walk into a school for the blind and shoot down John Cassavetes. On the way back to Chicago Marvin’s character wants to know why he didn’t try to run when he had the chance. Also told in flashback, it pieces together the reason for him wanting to die. After Cassavete’s is washed up as a race car drive when he has a near fatal crash- he takes up with crime boss Ronald Reagan and tries to steal his woman- Sheila.
DEAD RINGER with BETTE DAVIS as Margaret DeLorca & Edith Phillips
Margaret: “Oh Edie I wanted to marry Frank so desperately” Edie “But you never loved him, you never made him happy… you ruined both our lives.” Margaret “I’ll make it up to you. Remember remember when we were children? You were the one person I really loved.”
Edie–“LOVED!!!!! You never loved anybody but yourself. Margaret “You have all the time in the world to find happiness. You can get rid of this place. You can get rid of it and take a trip.” Edie-“To outer space!” Margaret- “Money’s no object. How much would you like?- “YOU haven’t got that much!” ( Edie smacks the money out of Margaret’s hand.)
I simply couldn’t choose the 60s and not include a little psycho-melodrama, a bit of Grande Dame Guignol–without including my favorite of all… Bette Davis. Directed by actor/director Paul Henreid this extremely taut suspense thriller starring Bette Davis in two roles is a captivating story that grips you in the guts from beginning to end.
It’s 1964 Los Angeles and Bette plays twin sisters Margaret de Lorca and Edith Phillips.The film opens at Margaret’s husband’s funeral. The two sisters haven’t seen each other in twenty years.
Margaret has married very rich, with the man that Edith had planned on marrying. Edith lives a modest life and is dating a very fine police officer Sgt Jim Hobbson played by the wonderful Karl Malden. He loves his Edie who has a little jazz bar, is kind and simple and doesn’t share the arrogance and ruthless nature like Margaret. Margaret tricked Frank into marrying her, claiming she was pregnant.
One night Margaret comes to visit Edie and insults her by offering her some cheap clothes as a hand off plus Edie learns from the chauffeur that the pregnancy was all a lie. That Margaret ruined her chances of happiness. Adding to Edie’s troubles the property agent has give her the boot, since she’s 3 months late with the rent.
In a moment of rage with several ounces of premeditation -Edie shoots Margaret, assuming her identity, hopping into her sisters chauffeured limo and moving into the great house with servants and wealthy snobbish friends. Unfortunately it’s only a matter of time before Margaret’s smarmy lover Tony (Peter Lawford) shows up and discovers right away about the masquerade. Of course he blackmails Edie for his silence. Also Detective Jim Hobbson starts coming around thinking that Edith’s death was suspicious and not a suicide. What makes the film interesting is how Jim is the one person who could recognize Edie behind the elegant clothing, and at times there is a spark of awareness, but it just might be too late for Edie playing Margaret to turn things around. One particular exchange that is wonderful is the unspoken sympathetic relationship between Edie and Henry the quintessential Butler played Cyril Delevanti who has the most marvelously time worn face.
“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
― Sigmund Freud
“Ladies and gentlemen- welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains sex.” — Narrator from Faster, Pussycat! Kill! Kill! (1965)
THE DARK PAGES NEWSLETTER a condensed article was featured in The Dark Pages: You can click on the link for all back issues or to sign up for upcoming issues to this wonderful newsletter for all your noir needs!
Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”
Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962—“When People are Kind to each other why do they have to find a dirty word for it.”
The Naked Venus 1959–“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”
Baby Boy Franky Buono-Blast of Silence (1961)“The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”
Lorna (1964)-“Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones”
The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham“I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”
Delphine Seyrig as Countess Bathoryin Daughters of Darkness (1971)– “Aren’t those crimes horrifying. And yet -so fascinating!”
Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)–“I was so young. I already knew that to love the world you have to get away from it.”
The Lickerish Quartet (1970)–“You can’t get blood out of an illusion.”
THE SWEET SOUND OF DEATH (1965)– Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”
Peter O’Toole asSir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”
Euripides 425 B.C.–“Whom God wishes to destroy… he first makes mad.”
WHAT DOES PSYCHOTRONIC MEAN?
psychotronic|ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia
In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!
FILM NOIR HAD AN INEVITABLE TRAJECTORY…
THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!
I just got myself this collection of goodies from Something Weird!
Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs, brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. WhileFilm Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.
Directed by J. Lee Thompson’s (Blonde Sinner 1956, Tiger Bay 1959, Cape Fear 1962, The Reincarnation of Peter Proud 1975) the outre surreptitious Eye of the Devil (1966) is an atmospheric smorgasbord of uncanny & haunting images encircled by the air of clandestine and provocative underlying forcefulness. With ease the film pulls you into an esoteric world of ancient rites and beliefs and primal fears and urges to prevail against or more aptly in honor of the pagan notion of the rule & reign of the old ways, and the dominant elementals. It’s a bit of a cryptic occult meditation on reverence, immortality, sacrifice and reaping what you sow.
Niven urbane and resolute in his stature as Patriarch of the French family who comes home to the ancestral chateau to tend to the vineyards, (the past season’s crop has suffered) and take his rightful place during the rites of the ceremonial harvest. Phillipe must not only observe the deadly family secrets that have survived for centuries but more horrifying than that, it must continue to be passed down to his children.
Eye of the Devil, works so well to capture our ideologies by the throat partly because of the convincing performances by the enormously talented cast who inhabit this secret world, Deborah Kerr, David Niven, Flora Robson (Beast in the Cellar 1970 ) as Phillipe’s Great Aunt the Countess Estell, Donald Pleasence as a malefic cleric Pere Dominic with shaved head and solemnity, David Hemmings, Sharon Tate, and Emlyn Williams.
Both Sharon Tate and David Hemmings play two beautiful yet sinister figures lurking about. David Hemmings went on to do Michelangelo Antonioni‘s Blow Up (1966) and Sharon Tate whose first movie this was, went on to do Roman Polanski’s originally called Dance with The Vampires, now called The Fearless Vampire Killers, a comedic romp through the classical vampire story, though a little numb possessed a few hilarious moments.
The film is an adaptation of Philip Lorain’s novel Day of the Arrow
Once again absolutely stunning visual frames from cinematographer Erwin Hillier
Erwin Hilliercombined with J. Lee Thompson’s directing style is tense and well focused gaze creating a closed world of authentic dis-ease. Beautifully photographed with slight suggestions of The Wicker Man. There is an intoxicating ambiance perfectly underscored by the simplistic yet alluring music by composer Gary McFarland. Hillier’s close ups capture fertile images of evil & arcane sensuality.
David Niven is the marquis Philippe de Montfaucon who is the owner of a historic Vineyard. When a dry season hits the harvest he is summoned to the castle Bellenac. Deborah Kerr plays his wife-Catherine de Montfaucon who is told to remain in Paris with the children, but she follows him anyway. And for her troubled she is assailed in the woods by very ominous figures in hoods which makes for a very potent scene… which does not cease even up to the end’s shocking climactic conclusion.
The opening frames are quick cuts which utilize the sound of a speeding train, cut away frames between reveal shots of a sharp arrow, we hear the train sirens, a lavish cocktail party in high society, an old world looking bearded man on the train, the arrow is raised- it pierces the heart of a white dove, the woods are filled with hazy black hooded figures, eerie and ominous they stand by the trees. A cross of branches is set on fire. Close up on Sharon Tate then close up on Hemmings then the screen goes black and the credits roll…..
It’s a post modern and riveting way to open a film about an esoteric narrative …the film’s title is set against the speeding train it’s windows like eyes themselves staring back at us.
When Phillippe the Marquis arrive in Bellenac the villagers all seem to revere him, lifted their hats to him, heads downward, humbled and proud. He meets up with the cleric Pere Dominic (Donald Pleasence) the mood and furnishings give one the idea of an Orthodox Christian sect.
Some thought he would not return to Bellenac the butler knew he would return… Phillippe asks how about you father?
“Ive never doubted the path you have chosen” Phillippe-“What makes you think I’ve chosen it?”
Pere Dominic-“You came back didn’t you”
The priest places an elaborate amulet on the table. Phillippe picks up the amulet Dominic tells him “I think you have chosen it Phillippe my son.”
Family friend Jean-Claude Ibert (Edward Mulhare) sits by the fireplace in Paris talking about Phillippe’s trip back to Bellenac. Catherine tells him the first time she was there after their wedding she says it was the most frightening place almost as though they were back in the Middle Ages. Jean-Claude tells her that Phillippe had always been obsessed with the place as if he was trying to solve it’s diabolical secret.
Once at the castle Philippe seems distant as if he is following a mysterious compulsion guided by the pervading force of a cult that recognizes ancient pagan rituals, and perhaps sacrificing his own life in order to save the vineyard. Catherine can do nothing to change her somnolent husband’s mind to leave and come back with her and the children to Paris.
Both Sharon Tate as the luminous Odile de Caray and David Hemmings as the impish Christian de Caray play two beautiful yet other-worldy and sinister figures lurking about with bow and arrows. Turning toads into doves, and is fixated on the children.
Odile mesmerizes both Jacques and Antoinette She asks if they believe in magic, then she demonstrates her powers by changing a frog on a lily pad into a dove. Could she be using the art of hypnosis to create an illusion?
Catherine does not want her brother Christian killing anymore doves on the property and isn’t happy to see her influence over her children. It begins to rain. But Odile tells her that they are not life giving clouds and that it will pass quickly. Catherine asks why she is at Bellenac. Odile tells her that she and her brother come there often… Then Christian appears and shoots an arrow into a tree right next to Catherine. The siblings wander through the landscape like other-worldly minions.
Phillippe begins to pull away consciously from his wife and children, he tells her to take them and leave. She pleads with him to come home with her and that she can help him. In a sense it’s all begun and even if she tries to make a fuss afterwards, no one will either believe her or come forward to help her.
She says he must be mad, that he’s dying for nothing, walk away from this stupid evil.
“I’m dying for what I believe.”
“No one can help me, not even you. You don’t understand you could never understand”
He is preparing for a glorious pilgrimage of the soul. He is beyond being reached. He is prepared for the festival of ‘The Thirteen Days” or rather The Thirteen Dancers…
Alain de Montfaucon (Emlyn Williams) tells Catherine that he expects to be a living God, and that Pere Dominic is more than part of it… He is all of it. He is a Pagan. And Bellenac is… A Fortress of Heresy…
IMDb fun fact:
Originally Kim Novak was cast in the role of Catherine de Montfaucon. Filming began in the fall of 1965 in France. Near every scene had been filmed when Kim Novak fell from a horse and wasn’t able to complete her scenes. Deborah Kerr was hired to take over and every scene that featured Miss Novak had to be re-shot with her replacement.
HAVE A SO-REAL SUNDAY NITE- FROM YOUR EVERLOVIN’ MONSTERGIRL!
“ONLY THE MAN WHO WROTE PSYCHO COULD JOLT YOU LIKE THIS”
Director Michael Anderson( The House of the Arrow 1953, The Dam Busters 1955, Chase a Crooked Shadow 1958, Conduct Unbecoming 1975, Logan’s Run 1976, Dominique is Dead 1979 ) creates a wavelength of dark tension and monochromatic extremes in this atmospheric post noir suspense yarn.
Adapted for the screen by Joseph Stefano’s (The Outer Limits 60s & Psycho 1960) based on the novel byMax Ehrlich (The Reincarnation of Peter Proud, The Glass Web, various dramatic television series)
The Naked Edge opens as the credits roll in a manner similar to Saul Bass, we are dropped into a gruesome stabbing in the darkly lit office building, where George Radcliffe (Gary Cooper)is the key witness.
Sadly, This would be Gary Coopers last film, after battling cancer. The Naked Edge was released a month after his death, but was not received well at the box office.
After Mr. Evan Wrack (the marvelous Peter Cushing) grills the only witness to murder in court Gary Cooper in his last role plays American George Radcliffe whose testimony helps bring a guilty verdict for murder and theft of his co-worker Donald Heath (Ray MacAnally) who then gets sent to prison.
There’s a question as to whether Heath actually committed the crime???
George’s wife Martha, the always enchantingDeborah Kerrbegins to suspect her husband when various clues start pointing in his direction… Is she married to a cold blooded killer?
With a fantastic supporting cast, Peter Cushing, Michael Wilding, Eric Portman, Diane Cilento,Hermione Gingold, as Lilly Harris, Ronald Howard, Helen Cherry, Wilfrid Lawson and Diane Clare.
Dramatic musical score by William Alwyn (The Fallen Idol 1948, She Played with Fire 1957, I Accuse! 1958, A Night to Remember 1958, Burn Witch Burn 1962)
Most impressive is the offbeat cinematography by Erwin Hillier (The Mark of Cain 1947, The House of the Arrow 1953, Chase a Crooked Shadow 1958, and perhaps his best–the extraordinary Eye of the Devil 1966 again with Deborah Kerr, David Niven and Sharon Tate)
Hillier’s quirky angles and low lighting add an apprehensive atmosphere, and loads of key frames that are just beautifully shot as a refrain to the tension. Both Anderson & Hillier love to emphasize faces… it’s a touch that I love about their work together.
There are thousands of films in my collection… this has been one of them! Your ever lovin’ MonsterGirl