Chandler’s Trailers: “Foreplay” (1975)

“Foreplay”  (1975) Considering the drastic flux occurring in the American cinema commensurate with both the so-called Sexual Revolution (which with the concurrent rise of the radical Women’s Lib movement made for some interesting paralyzing debates between the assertion of sexual freedom and the cultural application of said freedom as being a tool of my misogynistic institutional objectification) and the rapid emergence of its filmic black sheep progeny, “Porno Chic”, Hollywood filmmakers predictably but frustratingly tread lightly in the artistic water where a meaningful (or truly erotic) expression of human sexuality might emerge within the context of a dramatic (or even comedic) presentation. Faced with an industry of filmmakers (inclusive of the so-called American New Wave writers and directors, who would presumably not be subject to to any knee jerk trepidation born of sanitized career creativity under the Production Code) studied in the mentality of the subject of sex as something forbidden and morally aberrant, sexuality in the modern America cinema found representation as either gratuitous peek-a-boo exposures, or in exercises of tittering vulgarity. Curiously, these same cheaply exploitative and sexually  immature traits were the bread and butter of the sexploitation films of from the emergence of the nudie cutie to the presumed softcore precipice signaled by the rise of “Porno Chic”. These same depressing tendencies are prominently at work in the 1975 comedy “Foreplay”, a tripartite collection of sexually tinted humorous shorts intended to pronounce to the world that the dirty joke may no longer dead, but nevertheless is in desperate need of a mercy killing.

To read the complete review, click the following link to:


Posted in comedy, erotica, movie reviews, Movies, Porno Chic, sex, writing | Tagged , , , | 1 Comment

Chandler’s Trailers: “Keeping Up With the Joneses” (2016)


keepingup3“Keeping Up With the Joneses” (2016) A comedy which intermingles the movie-fed image of spies (i.e., those who carry on covert operations which seem to bring the greatest attention to themselves) with a Hollywood humorist’s vision of suburban America, “Keeping Up With the Joneses” is a film that doesn’t aim very high yet manages to waste every opportunity to achieve even the slight amusements that are its goal. From the first, the focal married suburban couple, Jeff and Karen Gaffney, are conceived as two nitwits perpetually in the midst of life as sketch comedy since their every interaction, no matter how private, seems intended to be played for the delivery of one-liners and tired slapstick. Unfortunately, as played by Zach Galifianakis and Isla Fisher, their characters begins at an almost  hysterically fumbling pitch (at no time do the pair ever resemble anything but two overwrought comic actors) and have nowhere to go except to a more elevated level of the obnoxious.

To read the complete review, click the following link to:


Posted in comedy, espionage, Movies, Reviews, Romance, women, writing | Tagged , , , | 4 Comments

Stars Behind Bars: Classic Film Images Photo Quiz, May 2019 Edition, Vol. 10 – 20

aaabarsStars Behind Bars: Classic Film Images Photo Quiz, May 2019 Edition, Vol. 10 – 20

With the recent collegiate scandal involving several prominent Hollywood actresses doing their thespian best to convince a disgusted populace that their attempts to inflict their less than stellar progeny onto an unsuspecting graduating class of (as seen through Celebr-o-vision) garden variety commoners who just happened to actually apply themselves to the task of educational advancement was actually an act of academic altruism, it has become apparent that instead of enduring yet another installment of the favored perennial exercise in prevarication by the Democrat ruling class, which promises a mass Exodus to the hinterlands of the Marshmallow Fluff of the League of Nations- O Canada  -yet never delivers the promised change of address notifications, that they might instead seize upon a fortuitous opportunity and choose to contribute in Making America Less Grating Again by mimicking  the example of the unfortunate House of Laughlin by traveling the express exit from polite society and booking an extended stay in the Big House, which would not only separate the cultural snowflakes from imposing their lunatic ideals on a genuine working class from five to life (though the latest Sanders delusion, born-  no doubt  -of an excess of Vermont cheese, would still afford them the opportunity to write in their favored ethnocentric Maoist even in the comfort of solitary confinement) and thus save the rest of us from having to endure one more electoral season of their interminable irrational clucking? And with that extended introduction, we present yet another version of America’s most trusted model for anti-immigration legislation, the Classic Film Images Photo Quiz, brought to you by those wonderful border smugglers of SKITTLES, America’s favorite breakfast candy. In this edition, we glory in the very thought of as many Hollywood denizens finding citizenship in a cell block, and feature the many films in which a character is depicted as enjoying such residency. Your task is to observe the following twenty five images and identifying from which films they were sourced. The first to correctly identify all of the images will receive bail in the form of the coveted CSR Culture Shock Award; better than a Presidential Pardon and enjoyable without the danger of itching or unpleasant facial eruptions. Good luck.


Posted in biography, books, British films, comedy, crime, Drive-In Movies, education, History, Movies, Mystery, westerns, women, writing | 4 Comments

By the Colouring Book: “Die, Monster, Die!” (1965)


            “Die, Monster, Die” (1965)

    The literary reputation of H.P. Lovecraft receives a glancing body blow with “Die, Monster, Die!”, an extremely casual adaptation of his celebrated short story The ColourdiemonsterdieHS Out of Space; a film which seems to have far more in common with the with the Edgar Allan Poe adaptations (themselves only mere suggestive shells of the original tales) of Roger Corman in which an outsider’s presence becomes an unwitting catalyst in the unraveling of dangerous familial dynamics attributable to illness, tragedy and a particularly alarming genetic disposition toward madness. This is, perhaps, a foreseeable source of influence since the first-time director Daniel Haller had recently worked on no less than five of the Poe/Corman films  (including “The Haunted Palace” which, although attributed to Poe, actually had its basis in another Lovecraft story, The Strange Case of Charles Dexter Ward) in the capacity of art director or production designer.

    But in the indulgent use of such well traveled narrative tropes which have little to do with the source material, director Haller and screenwriter Jerry Sohl mistakenly embrace a staid familiarity; a decision which comes at the expense of ultimately abandoning one of the most notable achievements of Lovecraft’s tale: the conception of an entirely unorthodox alien presence, which here is abandoned for a far more conventional source of menace. In fact, there are attempts to obscure such conventionality late in the film with a out of left field suggestion that much of what is occurring is nonsensically connected to a grandfather’s occult attempts to contact mysterious beings, which is in itself suggestive Lovecraft’s  entirely unrelated Cthulhu Mythos. However, this is merely evidence of a desperate attempt to obscure the fact that the filmmakers, despite their labored attempts to create an air of  unspeakable horror, are merely distracting from the film’s trading in that hoariest of  post-1950 genre tropes: radiation mutation.

To read the complete review, click the following link to:


Posted in books, Boris Karloff, Drive-In Movies, H.P. Lovecraft, horror, Movies, Roger Corman, science fiction, short stories, writing | Tagged , | 7 Comments

Labor Party: “The Mole People” (1956)

         “The Mole People”  (1956)

  It’s a curious phenomenon when a cultural industry ignores a particularly prickly subject which merits serious dramatic representation simply through moral cowardice or, more disgracefully, through financial considerations which take into account certain regional markets which might boycott such historical illumination as a slap in the face to still existent Jim Crow lifestyles. The Hollywood industry, once self-ruled by the complex set of regulations barring all that were deemed transgressive breaches of moral behavior, nevertheless cast a blind eye to those darker corners of human nature which institutionally promoted racism. Thus, in such a corrupted atmosphere of righteousness did flower a fairly consistent portrait of  citizens of color depicted as little more than domesticated servants or foolish caricatures and as such the source of undignified humor. If black indignity (not to mention rage) was suspiciously absent from the so-called Golden Age of Hollywood, so too were unflinching and unromanticized depictions of American slavery; with existent portraits of suffering usually relegated to the more individual circumstances of indentured servitude (generally a healthily buxom maiden in historical adventures or melodramas) or, especially, as a figure of empirical oppression in biblical epics; whose distant timeframe did much to obscure any inconvenient kinship to more historically adjacent examples of comparative offences. Then there are the most curious instances of allegorical representation…

    Beginning with a rather unconvincing lecture espousing the hollow sphere theory by Dr. Frank C. Baxter, the 50’s favored expert on scientific subjects which are outside of his chosen field of expertise (he was a professor of English), Virgil Vogel’s “The Mole People” is granted an air of arch self-importance which may have been thought to grant the particularly preposterous scenario a certain level of intellectual respectability, though the film has as much relevance to the opening academic salvo as a documentary on coal mining. Subterranean considerations aside, “the Mole People” is ponderous even when the story suggests far more incident than is actually occurring. One reason for this may be the sheer abundance of scenes in which characters do little but skulk through  unlit tunnels in fruitless exercises in tail-chasing; that is when they are not surrounded by the grandeur of some of the most obvious matte paintings in memory. 

To read the complete review, click the following link to:


Posted in Drive-In Movies, horror, John Agar, movie reviews, Movies, religion, Romance, women, writing | Tagged , , , | 2 Comments

Farm Hands: “Jennie, Wife/Child” (1968)

jennie1      “Jennie, Wife/Child”   (1968)

    For the advanced connoisseur of sexploitation sleaze, “Jennie, Wife/Child” is bound to disappoint. But for those trulyjenniewifechildos interested in the cinema in all of its permutations, and the small, unexpected demonstrations of unheralded accomplishment in the most unlikely of vehicles, there is much to consider, even admire, in this umpteenth telling of the jealous farmer and his sexy but unhappy (not to mention unsatisfied) young trophy bride.

    The subject of endless derisive dirty jokes, the curmudgeon farmer as cuckold (or outraged parent of a violated tease in the farmer’s daughter variations) is here represented by Albert Peckingpaw (Jack Lester), whose miserly ways has created a frisson in his May -December marriage to twenty four year old Jennie (Beverly Lunsford) who, realistically, is a bit long in the tooth to be continuously referenced as a child bride. Finding little romantic sustenance in Albert’s refusal to buy her pretty baubles, Jennie seeks comfort in the person of their farm hand Mario (Jim Reader), a Jethro Bodine wannabe who, as prescribed by the rules of Hollywood stereotyping in the depiction of rural laborers, is as dumb as a bale of hay. Mario spends his leisure time becoming inebriated by swigging on liquor bottles which are obviously empty, while Jennie orbits about the barnyard dullard, with her dreams of erotic rewards sparked by the fact that Mario is often shirtless and sweaty despite the fact that he rarely engages in labor more strenuous  than trying to remember which chores to do. Peckingpaw catches his wife in flagrante delicto merely by hearing her giggle (the film is surprisingly chaste), a demonstration of far more active imagination than the farmer has previously exercised. Naturally, being the product of heated melodrama, Peckingpaw reacts not with reason or self-reflection, but with the planning of a murderous revenge.

 To read the complete review, click the following link to:




Posted in Drive-In Movies, grindhouse, movie reviews, Movies, music, Reviews, Romance, women, writing | Tagged , , | 12 Comments

Splits: “The Cheerleaders” (1973)



ARE YOU HELPING WITH MY GOLF SWING OR ARE YOU JUST HAPPY TO SEE ME?: Getting your stroke right is all a matter of practice as amply demonstrated in Paul Glickler’s hard-hitting exploration of modern mores, radical feminist empowerment and the missionary position, “The Cheerleaders”.

       “The Cheerleaders”     (1973)

    With “The Cheerleaders”, director Paul Glickler answers the musical question: just what goes on in the heads of America’s annoying sideline0000cheerleadersOS screamers? If his film is any accurate indication, the answer is simple: very little thought as all roads appear to lead to the nether regions. The film follows the peculiarly successful season of the Amarosa High School football team-  peculiar as they have been colossal duds until a recent string of victories against superior teams  -and the particular circumstances involved in this mysterious turn of events. Being that this is a Jerry Gross presentation rather than one by Walt Disney, what are the odds that this mystery may find a solution not with Flubber but with rubbers?

      By turning his high school cheerleading squad into an uncontrolled group of insatiable succubi, the Glickler film reverses the popular role of horny male adolescents in their search for carnal nirvana, though “The Cheerleaders” presents its “heroines” in a distinctly different light: being deliberately, aggressively predatory with a specific reward in mind for their sexual servicing. Rather than the usual vacuous goofy male teen simply out to get laid to fulfill the demands of both the dopey teen comedy and their burgeoning hormones, the girls of Amarosa High’s cheerleading squad seem so naturally practiced in the fine art of the courtesan revelry as to make the antics in Fanny Hill seems like antiquated prudery in comparison. And while the spontaneous couplings are of sufficient frequency to raise alarm that the squad might eventually suffer from friction burns, the young ladies (whose indeterminate portrayed ages, led to provocative concerns over a possible portrayal and endorsement of underage carnality; a view which the filmmakers deplorably sniff aside as mere coming-of-age hijinks) are imbued with a motive of disturbing calculation for a greater portion of their libertine excesses: with the  their sexual congress unhealthily suggesting secondary school prostitution. None of the girls seem motivated by personal stimulative gratification, as much as the more mercenary reward of adding another win in their school’s hapless football team’s victory column by draining (so to speak) the opposing team’s players of stamina by strategically banging their brains out before the game. One wonders if the same stratagem is implemented for the school’s basketball, baseball and wrestling tournaments? Why not debate team meets and chess club matches as long as we’re talking about the blind promotion of school spirit? (In regard to the squad actually lighting a fire of enthusiasm under the collective student body, it might have occurred to someone in the planning stages of the film to have the girls show the slightest affinity for anything but painfully uncoordinated and tepid attempts at sideline rallying.)

To read the complete review, click the following link to:

Posted in Drive-In Movies, education, erotica, grindhouse, movie reviews, sex, Uncategorized, women, writing | Tagged | 1 Comment

-30-: Classic Film Images Photo Quiz, April 2019 Edition, Vol. 1984

-30-: Classic Film Images Photo Quiz, April 2019 Edition, Vol. 1984

    Now that the two year Mueller investigation has reached the obvious conclusion that indeed there has been blatant seditious collusion between Russian interests to undermine and interfere with public confidence in American democracy, and a shadowy-  if ineptly attention seeking  -crass, craven and self-absorbed partner within the United States who can be easily identified by the SVR code name, the Fourth Estate (a conclusion which becomes more apparent if, in the context of this discussion, you identify the brethren first Three Estates as Moe, Larry and Curly), it may be a perfect opportunity to identify the bearers of shameless Poverty Row standards to a once noble and necessary profession. (It is probably obligatory, for reasons of clarity, to emphasize that the more secondary [but, unfortunately, still publicly unavoidable] cohorts in this grand scheme of fraud, deception and ignominy-  politicians and Hollywood celebrities  -have never been noble or necessary except in their own personal pursuit to nourish their own special form of sociopathic narcissism.) Yes, we are talking about the Free Press (at least they admit what they’re worth), that randy bunch of neurotics, incompetents and featherweight idealists whose professional ethics are guided by a moral compass as straight as Quasimodo’s spine. And with that brief but poignant introduction of persons whom you would never entrust with keeping an eye on your latte while you’re visiting Starbucks’ Men’s/Women’s/Transsexual/Whatever Room (we cater to all persuasions here in the sovereign state of “Who Gives a Damn? Mind Your Own Business and Lemme Eat My Beef Jerky in Peace”), we bring you yet another edition of that most celebrated of boardless bored games, the Classic Film Images Photo Quiz; brought to you, as always, by the ravenous consumers of SKITTLES, America’s favorite breakfast candy. In this edition we celebrate, or at least mention in passing without succumbing to cramps and a general sensation of nausea, the brave and bold (and mostly fictional) depictions of intrepid journalists in the cinema. The following twenty five images are from films in which honor, dignity and ethics (there are inevitable exceptions) are the cornerstones of the depicted news profession. (Editorially, we at CSR felt it unfair to load the quiz with less respectable representations of the craft, feeling that the current crop of “journalists” are embarrassing themselves enough without assistance.) Your task is to identify all twenty five films, avoid Congressional subpoenas by supplying your answers to us in a (preferably compromised) dossier. The first to correctly identify all twenty five films will receive the infamous CSR Culture Shock Award; legitimate as a substitute passport at all Russian border crossings. Udachi.


Posted in biography, books, Boston, comedy, crime, History, Movies, politics, Television, westerns, women, writing | Tagged , | 9 Comments

“Across 110th Street” (1972)


across1             “Across 110 Street”  (1972)

    Barry Shear’s “Across 110th Street” walks the precarious line between the gritty urban cop thrilleracrossOS for which the standard was set by the previous year’s “The French Connection” and the trashiest of blaxploitation, that unwittingly goes to great lengths that oily haired mobsters and watered down genre tropes don’t make for a satisfying mix. Shear’s predilection toward handheld camera shooting intends to weld a docudrama immediacy to the proceedings à la Friedkin, but all that results is a strained, incompatible visual aesthetic whose grittiness only makes the B-movie artificially of the characters all the more unpalatable.

    As the result of a deadly Harlem robbery, which results in the death seven men, including two police officers, an energetic search for the perpetrators is led by Mafia psycho Nick D’Salvio (Anthony Franciosa) whose interest in indulging in graphic, extended torture is only equalled by his acting the caricature of every overly emotive bad gangster performance including a particular affinity toward expressing every shade of human emotion with a death’s head toothy grimace. On the side of the proverbial angels is police Capt. Frank Mattelli (Anthony Quinn), a veteran cop whose delicate technique of beating witnesses results in not a single lead but effortlessly maintains the film’s provocative but needless my consistent level of brutality.  Partnered with Mattelli’s old-across2school persona (by way of secondary  corrupt film noir flatfoots) is  the more satiric contemplative Lt. William Pope (Yaphet Kotto), whose gentler forbearance also fails to yield; with the resulting generational, racial and temperament frisson between the two reduced to a mere matter of appearance, with Pope looking quite dapper, whereas Mattelli continually looks as if he’s just fallen out of a Murphy bed.

To read the complete review, click the following link to:

Posted in black cinema, Blaxploitation, books, crime, Movies, racism, writing | Tagged , , , | 2 Comments

Busted: “The Organization” (1971)

“The Organization” (1971)

    In “The Organization”, the final film in the Virgil Tibbs  trilogy, there is a vivid demonstration of the law of diminishing returns. The film features a plot that is not only needlessly illogical, but commits the unpardonable sin of making the featured homicide detective fairly irrelevant to the main action.

    A furniture manufacturing company is subjected to a robbery of such unnecessary overproduction (apparently designed to eliminate the possibility of escaping notice), so much so that it could have only been conceived by a scenarist overly stimulated by viewing any one of a hundred better caper films. The protagonists are a merry band of social activists, each equipped with a sad story and the kind of weighty chip on their respective shoulders which will guarantee that they will stupidly act in a recklessly emboldened fashion which will almost guarantee their demise.

To read the complete review click the following link to:




Posted in black cinema, crime, movie reviews, movie sequels, Movies, Mystery, Sidney Poitier, writing | Tagged , | 2 Comments

Chandler’s Trailers : “The Nude Bomb” (1980)

 Television super spy Maxwell Smart makes a tepid motion picture debut in Clive Donner’s “The Nude Bomb”, an aimless exercise in demonstrating how smart (no pun intended) and tightly constructed the original “Get Smart” series was in comparison to the seemingly hundreds of spy, Eurospy and comedic knock-offs which have been produced since the popularity of the James Bond thrillers in the 1960’s. If the original incarnation of the series was illustrative of anything, it is how precariously close to a ridiculous self-parody most of presumably serious efforts were, and how easily, in the hands of seasoned farceurs the fundamental building blocks of espionage might be slightly exaggerated to expose an absurdist core. “The Nude Bomb” strays from this calculation with a dedication of an accounting firm analyzing l.p. the reliable fiscal marketability of a known brand with a “New and Improved!” label obscuring the fact that the previously favored ingredients have been monkeyed with. With the exception of Smart and the evil organization KAOS, there is little of the familiar remaining and little that is new tickles the funnybone.

To read the complete review, click the following link to:–america/




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Posted in comedy, espionage, movie reviews, Movies, Reviews, Sylvia Kristel, Television, writing | Tagged , | 2 Comments

Lonelyhearts: “Play It Again, Sam” (1972)

aaplay   “Play It Again, Sam”  (1972)

    It would seem like a smart move to begin the film version of Woody Allen’s theatrical opus “Play It Again, Sam” with the airport aaplayOSfinale from”Casablanca”, as the difference in screen image between the heroically noble Rick Blaine and Allen’s slack-jawed Allan Felix immediately establishes the foundation of the psychological dependence based on idolatry with Allen’s movie maven whose relationship failures are methodically italicized when compared to the polished artifice of his Golden Age Hollywood romantic fantasies.

    Much of the film’s humor is derived by emphasizing the drastic gulf between Bogart’s idealized masculine movie persona (who appears periodically to offer what is meant as sage wisdom) and Allen’s fawning but almost pathologically awkward horndog; though this is a conceit which becomes increasingly aaplay2strained when it becomes apparent that the often inconsistent, film noir embellished advice given by the trenchcoated Dear Abby is merely the product of a phantasmagoric apparition solely at the mercy of Allan’s own insecure predispositions toward women; with Bogart’s B-movie philosophizing emanating entirely from Allan’s own inability to operate with confidence with the opposite sex while confusing and altering the admired behavior of his figurative mentor to coincide with Allan’s own romantic shortcomings. 

To read the complete review, click the following link to:


Posted in comedy, film noir, Humphrey Bogart, movie reviews, Movies, Reviews, Romance, theater, women, Woody Allen, writing | 4 Comments

Chandler’s Trailers: “The Life and Times of Xaviera Hollander” (1974)



 “The Life and Times of Xaviera Hollander” (1974)  Disregarding the content of the real-life Hollander’s memoirs ‘The Happy Hooker’, Larry G. Spangler’s film is merely an extremely crude patchwork of lackluster sex scenes framed as flashbacks as a fictitious rendition of Hollander answers a series of stilted inquiries from her current lover while he awaits resurrective stimulation for a second go around. As portrayed by newcomer Samantha McLaren, Hollander is an overly tanned (considering every minute of her spare time seems spent in poorly lit compromising positions) sexual go-to girl whose initial professed innocence and inexperience seems consistent with that of a veteran streetwalker; her bored proficiency of technique demonstrated in her supposed virginal encounter belies any credibility that a loss of purity is an issue (a common flaw in adult films where the “innocent” is portrayed either as overtly matter-of-fact or suspiciously practiced in the fine points of boisterously heated lovemaking). 

To read the complete review, click the following link to:



Posted in books, erotica, grindhouse, movie reviews, Movies, pornography, sex, women, writing | Tagged | 2 Comments

Chandler’s Trailers: “Sex By Advertisement” (1968)

sexbyadvertisement “Sex By Advertisement”  (1968)  Is it a mockumentary on the subject of “degenerate” sex, or simply another sleazy sexploitation film pretending to have social significance in order to elude prosecution? A little of both actually, though the former may be more unintentional by way of a truly bizarre editorial aesthetic possible only through an entirely fortuitous incompetence that only a lunatic could have purposely designed. In any event, Joel M. Reed’s obscure faux documentary “Sex By Advertisement” features clinical testimony by Dr. Joanne Ridgefield (played by future “Miss Jones” Georgina Spelvin who would certainly have insider knowledge about the subject, though not in the way academically accredited in the film) who soberly and unflinchingly reads disapproving commentary from cue cards concerning what she sees as a burgeoning danger of luring unsuspecting enthusiasts of sexual debasement by way newspaper classifieds and coffee shop bulletin boards. Not exactly The Kinsey Report

To read the complete review, click the following link to:

Posted in erotica, Georgina Spelvin, grindhouse, Jennifer Welles, Movies, Reviews, sex, women, writing | Tagged , | 3 Comments

Knock Offs: “Bobbie Jo and the Outlaw” (1976)

bobbiejo3        “Bobbie Jo and the Outlaw”  (1976)

    When bored carhop Bobbie Jo Baker (Lynda Carter) asks charmless drifter Lyle Wheeler (Marjoe Gortner) who his hero is, the answer should be the more accurate “Clyde Barrow” rather than the asserted “Billy the Kid” bobbiejoandtheoutlawINSERTas the violent trajectory to be taken by these two characters will be unmistakable to anyone who has seen Arthur Penn’s landmark 1967 film, though now admittedly executed on a lesser scale both in style and substance.

    Mark L. Lester’s “Bobbie Jo and the Outlaw” purports to tell the story of a couple doomed in an inescapable spiral of crime, yet the film is embarrassingly short on the essential narrative element of character motivation. The only reason for Bobbie Jo and Lyle’s descension into truly meaningless lawlessness is that the film needs an excuse to fill its paltry 88 minutes with badly staged car chases and shootouts once it has already exhausted the audience’s patience with a numbing succession of  music interludes shamelessly inserted to kill time while invaluable expository dialogue is drowned out by a soundtrack promoting irrelevant country western crooning; though, perhaps, on the basis of the decipherable dialogue by Vernon Zimmerman, Lester’s conciliation toward obscurity is more along the lines of a public service. Surely, the standards demanded of a literate American culture need no further dumbing down by yet another drive-in feature with no ambition, no originality and no reason to exist.

To read the complete review, click the following link to: 


Posted in crime, Drive-In Movies, Movies, Reviews, Romance, women, writing | Tagged , , | 2 Comments

Screwballed: “What’s Up, Doc?” (1972)

whatsupdoc4                 “What’s Up, Doc?”  (1972)

    When a popular genre fades away and then finds a sudden revival in even a singular vehicle, it is natural to consider whether the newer incarnation brings a legitimate contribution to the genre or is merely a product of slavish nostalgic admiration? Surely suchwhatsupINSERT considerations are at the forefront with “critic” cum director Peter Bogdanovich’s “What’s Up, Doc?”, a contemporized version of those breathless slapstick comedies which burst onto movie screens in the mid-Thirties and all but disappeared within two decades.

    Ever the relentlessly enthusiastic film buff, whose fawning idolatry of Golden Age Hollywood obviously clouds his creative  judgment sufficiently for any impulse toward originality to take a backseat in favor of nostalgic imitation, in “What’s Up, Doc?”, Bogdanovich unaccountably bases his comedy on a tired Hitchocockian Macguffin rather than in a witty clash of eccentrics, with the rusty gears of tired plotting fed by wheezy gag writer schtick that becomes increasingly pedestrian as it unfolds. 

    In San Francisco, several unrelated characters arrive and converge at a hotel, four of them carrying matching plaid suitcases (does it make sense that a rich dowager would carry the same case as a penniless student?) that will figure in a continuous game of musical luggage which becomes not only fatiguing but pointless as multiple switches often occur without anyone being aware nor with there being any consequence, so what exactly is the point except to distract from the central characters and the realization that there really isn’t any story constructed about them?  The screenplay by Buck Henry, Robert Benton and David Newman (the latter two losing every bit of their “Bonnie and Clyde” strutting rights after “Oh! Calcutta!”), based on a story by Bogdanovich (which from the pastiche nature of the film suggests the scenario might have been based on viewing notes of better directors’ movies, though not necessarily the better parts of those films) doesn’t allow for a continuous flow of comic dynamism nor a believable romantic tension to emerge between the principles when the various scrambled travel bags are afforded far more priority screen time.

 To read the complete review, click the following link to:


Posted in Barbra Streisand, comedy, Movies, Reviews, Romance, writing | Tagged , , , , | 2 Comments

Chandler’s Trailers: “The Holcroft Covenant” (1985)

holcroftcovenantThe resurgence of the Third Reich seems to be popular sport for thriller novelists seeking an easily identifiable scapegoat for global chicanery, and nowhere has this premise been given a more haphazard treatment than in John Frankenheimer’s film of the Robert Ludlum novel “The Holcroft Covenant”. A roster of distinguished European acting talent is trapped with Michael Caine in a preposterously violent (and needlessly sleazy) conspiracy plot whose eventual disclosure is so monumentally underwhelming in comparison to the mayhem that occurs in its concealment that the embarrassingly staged reveal comes off like an overemphatic reading of an actuarial report. 

To read the complete review. click the following link to:

Posted in books, espionage, History, John Frankenheimer, Michael Caine, Movies, Mystery, Reviews, World War II, writing | 2 Comments

67 Years and No Relief in Sight: Classic Film Images Photo Quiz, March 2019 Edition, Vol. 1952



NEWS FLASH: The prototype Feather ‘N’ Tickle Cinema was to be given a lucrative test run in the quiet village of Beetley until a 2018 meeting of the Parish Council reminded the citizens of the national English ban on fun and pleasure.

67 Years and No Relief in Sight: Classic Film Photo Quiz, Mar. 2019 Edition, Vol. 1952

    Some men are born to greatness. Some have greatness thrust upon them, And some just won’t go away. Which brings us to yet another edition of America’s (The Former Colonies for those who have not kept up with their The Federalist subscriptions.) favorite irritant that doesn’t require relief with a topical ointment, the Classic Film Images Photo67gif1.gif Quiz, brought to you, as always, by those fine folks who distribute SKITTLES, America’s favorite breakfast candy; also available at the Beetley Q8 Petroleum (along with a selection of “funny” magazines under the counter; use the code word: WHIPLASH) In this edition we celebrate the life and legacy (well, the presence anyway) of one of CSR’s most persistent reader contributors (AKA anarchistic instigator) and as such may be legitimately eligible for intensive therapy as medically certified by that great and vast social experiment known as Chandler Swain Reviews. However, in celebration of our same good buddy from the far shores of Beetley (and we do suggest you visit his site at:, one of the most literate and readable havens on the Web) we present a look at his 67 years as reflected in the cinema. The following sixty seven images each represent a year in the life of our pal Pete, though we suspect without the occasional pictured lingerie. Your task is to correctly identify all sixty seven photos. The first to do so will receive the relatively new but still adolescently difficult CSR Culture Shock Award, transferable for one free seat at the Thursday Night Vatican City College of Cardinals Poker Night. Good luck.

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Posted in biography, black cinema, books, British films, comedy, crime, History, Movies, Musicals, Mystery, Romance, women, writing | 7 Comments

The Spy With Alfie’s Face: “The Jigsaw Man” (1983)


       “The Jigsaw Man”  (1983)

    Featuring a story which obviously taking its cue from real-life double agent scandals (just where would half of the British espionage films have found their inspiration withoutjigsawmanOS Kim Philby?) Terence Young’s “The Jigsaw Man” is a spy thriller which seems to take more pleasure in the diversity of oddball eccentricity it presents as representative of British Intelligence than in making sense.

     Beginning as if it intends to be a continuation of “Scream and Scream Again”, traitorous former head of MI6 Philip Kimberley (whose backstory sounds suspiciously like details from the life and times of Philby and Guy Burgess) who is now living in the bosom of Mother U.S.S.R. is unceremoniously whisked away to undergo a session of secretive surgery involving major facial reconstruction, the result being a miraculously undetectable transformation from Kimberley (Richard Aylen) into defector Sergei Kuzminsky (Michael Caine), who has agreed to return to England to hand over his former “insurance policy”: a pay list of every Soviet spy operating in Great Britain, for the meager price of one million Swiss francs. However, the altered Kimberley has plans of his own, including a reuniting with his estranged daughter Penelope (Susan George) and double-crossing the KGB by selling the critical documents to the British Secret Service for one million dollars. Naturally the Soviets anticipate this deception (then why allow Kimberley the opportunity?) and they seem to have no problem in locating the supposedly wily Kimberley no matter how elaborate his machinations, despite being depicted as some of the most obvious and incapable agents ever to grace the screen. 

To read the complete review, click the following link to:

Posted in books, British films, Cold War, espionage, Laurence Olivier, Michael Caine, Movies, Romance, writing | Tagged , , | 2 Comments

Lure of the Siren: “Carmen” (1915)

carmen19153           “Carmen”  (1915)

     If a proper movie translation of Prosper Mérimée’s novella “Carmen” is to be realized, the film must positively reek of earthiness; it must relay a passion so irresistible in its attraction and so obsessive in its possession that it carmen1915OSconsumes the heart and destroys the soul. That’s a tall order for any filmmaker, but the film must additionally trust in the storytelling instincts to be gleaned from Mérimée’s source material and not shortchange the narrative of the doomed Don José in favor of its more provocative character, the gypsy Carmen, who may be the instrument of the soldier’s ultimate fall from Grace, but it is still Don José’s story.

    Any successful translation of “Carmen” is also reliant upon incisive casting and that is the first and most glaring failure of Cecil B. DeMille’s 1915 version. Opera star Geraldine Farrar makes her motion picture debut in the title role, and though her presence here is heralded to a great extent by her stature, at the time, as one of the world’s most celebrated operatic divas, her estimable vocal gifts are irrelevant in this production in which her interpretation of Mérimée’s fiery seductress could be most accurately comparable to that if it were being played by Margaret Dumont; all theatrical posturing that results in a portrait far too matronly and self-conscious to generate a flicker of heat. Negligible too is the Don José of Wallace Reid who fails to leave any impression; either as lover or actor.

To read the complete review, click the following link to:

Posted in books, Cecil B. DeMille, History, Movies, Reviews, Romance, silent movies, women, writing | Tagged , , | 1 Comment

Nakedly Revealing: “Oh! Calcutta!” (1972)



BARE ESSENTIALS: While the talented Margo Sappington choreographs and performs her own dance au natural in the pursuit of Art, the audience is left to ponder as to polar extremes of its own patronizing interest: the search for artistry or merely prurient curiosity?  Surprisingly, the answer may  lie within Jacques Levy’s unpredictably revealing film recording of the initially Off-Broadway production of “Oh! Calcutta!”, which actually speaks more about the audience’s reaction to the new sexual freedoms opening up in popular culture at the time, than in  exhibiting  the smallest  hint of wit or insight into the subject of sex, despite the prestigious roster of names accredited with the show’s conception.

          “Oh! Calcutta!”  (1972)

    “In America, sex is an obsession. In other parts of the world, it’s a fact.”                                                                                                                          – Marlene Dietrich

    There’s an interesting sequence at the beginning of Jacques Levy’s film version of the notorious theatrical revue “Oh! Calcutta!” in which the cast members are unashamedly mingling in the altogether as they go about their preparatory rituals backstage, while the arriving audience is seen sitting with a palpable discomfort as if each 00000000ohcalcuttaOSof the patrons were awaiting a court sentence. The dichotomy in behavior is both amusing and revealing: the performers enjoying complete ease with their bodies (how refreshing to see nudity portrayed as something other than for a lewdly sniggery effect instead of the casual celebration of the unselfconscious unencumbered state of the human body shown here) while the audience members seem to be layered in extra clothing as if the very act of sitting in the theater is tantamount to a shameful admission of prurient appetites (not to mention fleshy contact with the theater chairs might create an intimate contact with a sexually transmitted disease, as if they were sitting in a midnight showing on The Deuce).

     The brief sequence is an unexpected (and, from the evidence of the rest of the film, unintentional) documentation of common extremes of the systemic popular hypocrisy here finding expression in behavior associated with the perceived acceptance of open sexuality in American society while contradictorily proffering an acknowledgement of an unspoken defensive societal posture in publicly denying any actual interest in sex. So restrictive were the watchdogs of the most influential art form of the 20th Century (cinema), who actively quashed any overt expression of the sexual impulse except as a provocation for moral condemnation, that it perpetuated a self-castigating mindset for an unhealthily extended period in popular cultural.

 To read the complete review, click the following link to:








Posted in Culture, dance, erotica, Film Reviews, movie reviews, Movies, Musicals, Reviews, sex, theater, writing | Tagged , | 2 Comments

Fragility: “David and Lisa” (1962)

davidandlisa     “David and Lisa”  (1962)

    Hollywood seems reluctant to ignore a good story about mental illness as the actors are given to unleashing the hounds in roles that are traditional award magnets, while directors are afforded the opportunity to extend their visual vocabulary to heightened davidandlisaosaesthetic exaggerations depicting the (usually) frenzied mental state of the character (the Salvador Dali designed funhouse ride dreams of “Spellbound”) or the nightmarish condition of their institutional environs (the Bosch/Busby Berkeley flavored tableaux of “The Snake Pit”). 

    With “David and Lisa”, Frank Perry, in his directorial debut, initially sheds the self-consciously stylized baggage most filmmakers indulge in with similar material, favoring an impressively unobtrusive, pseudo-documentary style in which there is a genuine respect for the process of quiet observation and listening as a means to achieve real understanding, and secure emotional intimacy.

    David Clemens (Keir Dullea) is a highly intelligent young man who suffers from a pathological terror of physical contact. As he is introduced, he is being placed as a resident of a psychiatric youth treatment facility, though there is never an attempt to specifically identify his or any of the other residents’ actual psychological disorders; which by all available evidence, seems to involve different forms of discomfort with normal social interaction (though the same could be said of any high school cafeteria, sodavidandlisa3 the lack of more clinical reference points is not helpful in appreciating the film’s set-up). David is arrogantly antisocial, dismissing the thoughts and interest of others as insignificant, but is obsessed with the mechanics of timepieces and suffers from obvious obsessive compulsive behavior. His emotional isolation finds relief when he falls into an empathetic relationship with fellow resident Lisa Brandt (Janet Margolin), an energetic adolescent girl who apparently can only speak through childish rhyming verse, but who also suffers sudden shifts into a more withdrawn and mute personality (communicating solely through writing), identifying herself as Muriel. Lisa’s suffering from schizophrenia (as it is identified by David during one of his early smarty-pants pronouncements) suggests that the center’s patient roster acknowledges the presence of patients suffering from acute biological not restricted to simple behavioral disorders but also acute biological disorders. 

To read the complete review, click the following link to:

Posted in books, children, education, Movies, parenting, psychiatry, Romance, writing | Tagged , , , | 1 Comment

Again, Savages: “No moriré sola” (2008)

nomoriresola6          “No moriré sola”  (2008)

     There are times when a solitary movie makes you regret the invention of the cinema. “No moriré sola”, a.k.a. “I’ll Never Die Alone”, is made by people who evidently found “Innomoriresolaos Spit On Your Grave” too cerebral an experience; weighed down, as it must have been, with an inconvenient excess of sociopolitical baggage (called in civilized circles: excuse making) which inconveniently intruded upon the visceral thrill to be had in watching a woman repeatedly brutalized and raped. 

   “No moriré sola” is far more straightforward in its intentions. A carload of young women stops to help a shot (though the condition of her body suggests additional brutal treatment) and dying woman laying on the side of the road. In reporting the incident, the women are summarily beaten and raped (and more) by the same fellows who killed the first victim.  That’s about it for anything which might resemble a plot as though the production has been streamlined even from the spare example of its obvious source of inspiration.

To read the complete review, click the following link to:





Posted in crime, grindhouse, Movies, women | Tagged , , | 2 Comments

Twenty Five on the Black Hand Side: Classic Film Images Photo Quiz, Feb. 2019 Edition, Vol. 46

mlk61Twenty Five on the Black Hand Side:  Classic Film Images Photo Quiz, Feb. 2019 Edition, Vol. 46

    Being that February has been designated Black History Month by every U.S. President since 1976 (while Congress has been completely inactive on our initiative to declare August “Give a Free Pastrami on Dark Rye, With Mustard and a Pickle to Writers of CSR Month”…. the bastards!), it seems an opportune time to pretend to care about eithernew faces2 new faces3cultural diversity or history when we’re painfully hungry for a pastrami on dark rye, with mustard and a pickle, and to present this month’s edition of America’s favorite intracranial distraction from visions of cream soda with  a pastrami on dark rye with mustard and a pickle chaser, the Classic Film Images Photo Quiz, brought to you by those foolish fellows who promote and distribute SKITTLES, America’s favorite breakfast candy and twice as nutritious as a recommended daily allowance of head cheese. In this edition we celebrate the talent, perseverance and contributions of the black artist in film in the century long struggle to emerge from the shadows playing subservient bit roles or eye rolling stereotypes in the service of a whitewashed Hollywood whose headliners conducted themselves with the moral standards of denizens of Caligula’s Pleasure Palace while black artists were regarded with scorn and an absence of dignity simply due to the color of their skin. The rules are the same. Be the first to identify the following twenty five films and receive that totem of global peace and harmony (and a dandy decoration on the refrigerator), the CSR Culture Shock Award. Good luck, and pass the sauerkraut.

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Posted in biography, black cinema, Blaxploitation, books, comedy, Drive-In Movies, History, Jim Brown, Movies, Musicals, women, writing | 2 Comments

Concession Stand Bites: “The War Wagon” (1967)

thewarwagon“The War Wagon” (1967)
Starring John Wayne, Kirk Douglas, Howard Keel, Robert Walker Jr. Bruce Cabot, Keenan Wynn. Written by Clair Huffaker, based on his novel. Directed by Burt Kennedy. Standard serio-comic western which places Wayne in the rare role of the pseudo-bad guy, or is he?. In this film he’s Taw Jackson, an ex-con who’s out to rob the even badder guys who stole his ranch and then set him up to serve a stretch in prison. So technically there is no break in the Wayne persona, which veered explosively in John Ford’s “The Searchers” and then returned to the relative comfort zone. The supporting characters are a grab bag of western “types” usually played for background color, but in this case brought to the forefront to give the illusion of a density of incident that just isn’t there: they include a jealous, compulsive thief (Wynn), a drunken explosives expert with an inconveniently loose tongue (Walker Jr.), an Indian who can’t stay out of trouble (Keel) and Taw’s eventual partner Lomax, (Douglas) a gunslinger who is contracted to kill him and was also instrumental in helping frame him in the first place. If it all sounds rather forced and gimmicky, it is that, but Wayne and Douglas make an amusing duo helped by some brisk witty dialogue that often doesn’t know when to quit and gets too cute for it’s own good; as if the two are accompanied across the landscape by a team of overworked comedy writers.

To read the complete review, click the following link to:

Posted in John Wayne, Kirk Douglas, Movies, Reviews, westerns, writing | Tagged , , | 2 Comments

Concession Stand Bites: “Murder Inc.” (1960)

murderinc“Murder Inc.” (1960) Starring Stuart Whitman, May Britt, Peter Falk, Henry Morgan, David J. Stewart, Simon Oakland, Morey Amsterdam, Joseph Bernard, Vincent Gardenia. Written by Irve Tunick & Mel Barr, based on the book by Burton Turkus and Sid Feder. Directed by Burt Balaban and Stuart Rosenberg. Tepid, meandering story of the Brooklyn gang that became the assassination arm of organized crime in the 1930’s and the means by which they were exposed, leading to the execution of syndicate kingpin Louis Lepke. The film proceeds haltingly and without sufficient focus, betraying a troubled production and the use of two different directors. When Peter Falk (in his screen debut) is onscreen as criminal assassin Abe Reles, the film comes alive, drawing from his energetic performance. Unfortunately, he is invisible for much of the second half and the film suffers with a variable performance by Stuart Whitman in an underwritten (and not particularly compelling) role as singer Joey Collins who eventually provides important testimony for investigating Burton Turkus (Henry Morgan).

To read the complete review. click the following link to:

Posted in books, crime, History, movie reviews, Movies, women, writing | Tagged , | 3 Comments

Concession Stand Bites: “A Game of Death” (1945)

agameofdeath“A Game of Death” (1945) Starring John Loder, Audrey Long, Edgar Barrier, Russell Wade. Written by Norman Houston, based on the story by Richard Connell. Directed by Robert Wise. First remake of the classic “The Most Dangerous Game” finds big game hunter Don Rainsford yet again shipwrecked on the island of a madman who hunts humans for sport. Being that the film was shot and released at the end of World War 2, the killer protagonist has been changed from the story and film original Russian Zaroff to the German Erich Kreiger, but except for a few extra lines of valuable philosophical dialogue from Kreiger that is in keeping with the original story, the first half of the scenario is a virtual carbon copy of James Ashmore Cheelman’s 1932 adaptation, down to the harmful and unnecessary addition of the heroine Ellen Trowbridge- nee Eve- (played by the less annoying than Fay Wray Audrey Long, but far too bland nonetheless) and her brother Robert-formerly Martin- (Russell Wade, an improvement on the uselessly drunk and hammy Robert Armstrong). 

To read the complete review, click the following link to:

Posted in books, fay wray, movie remakes, Movies, Reviews, Robert Wise, short stories, writing | 2 Comments

Concession Stand Bites: “Shaft” (1971)

shaft“Shaft” (1971) Starring Richard Roundtree, Moses Gunn, Charles Cioffi. Directed by Gordon Parks. Written by Ernest Tidyman, based on his novel. The blaxploitation hit that supposedly started the genre into short-lived high gear is neither blaxploitation nor the hit that started the genre in earnest (that was more likely the Ossie Davis film “Cotton Comes to Harlem”), but a relatively colorless entry into the NYC private eye genre with it’s sole distinction that it stars a protagonist of color. Richard Roundtree portrays p.i. John Shaft as a fashion model with an attitude that wouldn’t intimidate Helen Hayes. 

To read the complete review, click the following link to:

Posted in black cinema, Blaxploitation, books, crime, Drive-In Movies, Movies, music, New York City, writing | Tagged , , | 2 Comments

Concession Stand Bites: “Judgment at Nuremberg” (1961)

judgmentatnuremberg“Judgment at Nuremberg” (1961)
Starring Spencer Tracy. Burt Lancaster, Richard Widmark, Marlene Dietrich, Maximilian Schell, Judy Garland, Montgomery Clift. Written by Abby Mann. Directed by Stanley Kramer. Lengthy, literate courtroom drama, still the most intelligent film to come from Hollywood on the subject of Nazi atrocities. The subject is post-World War II war crimes tribunals, ironically taking place in Nuremberg, location of the first international attention attained by Nazi fanaticism through the “documentation” of Hitler’s National Socialist rallies (filled with alarm bells curiously unheeded at the time) in Leni Riefenstahl’s “Triumph of the Will”. Kramer’s film is a still scathing indictment, not only of the Nazis but of Germany itself, as it dissects the disintegration of the moral fabric of an entire society who found the capability of inhuman action a small price to pay for a quick resolution of their economic and political crises. To the credit of the filmmakers, there is an attempt to interject a balanced viewpoint so what little may be understood of the attraction of evil by an entire society may be examined; but it is an intractable riddle, resistant to any one universal truth. Kramer and writer Abby Mann are well aware of this, and in a cogent creative choice, concentrate instead on the industry of denial and evasion of responsibility. 

To read the complete review, click the following link to:

Posted in Burt Lancaster, crime, History, Judy Garland, Movies, politics, Richard Widmark, Spencer Tracy, Stanley Kramer, World War II, writing | Tagged , , | 1 Comment

Concession Stand Bites: “Legend of the Lost” (1957)

legendofthelost“Legend of the Lost” (1957)
Starring John Wayne, Sophia Loren, Rossano Brazzi, Kurt Kasnar. Written by Ben Hecht and Robert Presnell. Directed by Henry Hathaway. In Timbuktu, adventurer Joe January (Wayne) is hired by a mysterious man named Paul Bonnard (Brazzi) to guide him into the Sahara Desert, in what later is revealed to be a plan to find Bonnard’s father, a lost city and the treasure that is supposedly hidden there. Accompanying them on the trip is a local girl of ill repute, Dita, (Loren) with whom Joe spends most of the trip bickering, although there develops an almost imperceptible seed of a romantic triangle that doesn’t really develop since Bonnard is a man of piety believing in neither drink nor with sexually fraternizing with women; until later, that is, when Bonnard attempts to kill Joe in an unmotivated delusional jealous rage over Dita. 

To read the complete review, click the following link to:

Posted in John Wayne, movie reviews, Movies, Reviews, Romance, Sophia Loren, women, writing | Tagged , , | 2 Comments

Chandler’s Trailers: “Godzilla” (1998)


godzilla1998     The Americanized version of Toho’s “Gojira” franchise is about nothing if not large, gaudy set-pieces. There are dozens of scenes, each involving catastrophic property damage, noisy weaponry and variable special effects, all topped off with a dollop of some truly execrable screenwriting and stereotypically boobish cartoon cutouts substituting as recognizable human characters. In other words: a typical Roland Emmerich blockbuster. The basic premise of a large behemoth running amok in a modern city is hardly a new concept unless we ignore the 1925 silent feature “The Lost World” or 1933’s “King Kong” or 1953’s “The Beast From 20.000 Fathoms” or any number of Harryhausen features, or…well, you get the idea. 

To read the complete review, click the following link to:

Posted in Drive-In Movies, Godzilla, kaiju, movie remakes, Movies, New York City, science fiction, writing | Tagged , | 2 Comments

Concession Stand Bites: “Slaughterhouse-Five” (1972)

slaughterhousefive“SLAUGHTERHOUSE-FIVE” (1972) Starring Michael Sacks, Ron Leibman, Valerie Perrine, Eugene Roche, Perry King, Kevin Conway. Directed by George Roy Hill. Written by Stephen Geller based on the novel by Kurt Vonnegut Jr. When the film of a seemingly unfilmable novel manages to capture not only the substantive essence but the tone of it’s literary source, you know you’re seeing something special. Director George Roy Hill was an odd bird, capable of a complete surrender to crass commercialism (see “Butch Cassidy and the Sundance Kid”) yet still capable of direct, intelligent artistry in the service of that same commercialism. His film of “Slaughterhouse-Five” is a latter such film, confidently crafted with a superbly intelligent script adaptation, a roster of perfectly cast performers stressing type not star power and gossamer-like editing from the brilliant Dede Allen which effortlessly translates Vonnegut’s conceit of Billy Pilgrim’s becoming “unstuck in time” with the graceful ease of a page turning, despite the fact the page turning is out of sequence and perfectly capable of confusing the audience with a seeming randomness; though “seeming” is the operative word, as there is an intelligent design at work in which each jarring transportation is met with corresponding, collaborative elements from one sequence to another. 

To read the complete review, click the following link to:

Posted in books, movie reviews, Movies, Reviews, Romance, science fiction, World War II, writing | Tagged , , , | 3 Comments

Concession Stand Bites: “Dracula” (1931)

dracula“DRACULA” (1931) Starring Bela Lugosi, Dwight Frye, Helen Chandler, David Manners, Edward Van Sloane. Directed by Tod Browning and an uncredited Karl Freund. Written by Garret Ford, from the play by Hamilton Deane and John L. Balderston, based on the novel by Bram Stoker. The first “official” film based on Stoker’s vampiric Count has atmosphere to spare in the opening reels with Frye’s Renfield visiting Dracula’s Transylvanian castle, but once it reaches dry English soil, it become a dry English drawing room play. This is somewhat predictable since the film takes as it’s primary source, not the groundbreaking epistolary novel, but the tepid stage adaptation by Deane & Balderston. The stage bound feel of the script is not compensated for by imaginative direction; as a matter of fact Tod Browning’s efforts seems particularly hampered in this effort as if he either was disinterested in the material or felt insecure with the primitive technical constraints of early talkies. 

To read the complete review. click the following link to:

Posted in books, horror, movie reviews, Movies, Pre-Code Movies, Reviews, theater, vampires, writing | Tagged , | 1 Comment

Concession Stand Bites: “36 Hours” (1965)

36hours“36 Hours” (1965)
Starring James Garner, Eva Marie Saint, Rod Taylor, Werner Peters, John Banner, Alan Napier. Written by George Seaton, based on the story “Beware of the Dogs” by Roald Dahl and a story by Carl K. Hittleman & Luis H. Vance. Directed by George Seaton. High level intrigue World War 2 style, following an elaborate deception by German psychiatric experts to extract top secret information about the impending D-Day invasion from Allied insider without him knowing about it; this is a radical expansion of the famous 1944 short story “Beware of the Dog” by Roald Dahl, with its more streamlined scenario of a downed, wounded RAF pilot substituted by the more grandiose vision of the “one man who holds the key to the war” formula. James Garner portrays Major Jefferson Pike, a U.S. Army Intelligence Officer who, after being briefed on the particulars of the imminent European Invasion, travels to Lisbon to meet with a recruited German double agent to ensure the Germans are anticipating the upcoming battle plans incorrectly.

To read the complete review, click the following link to:

Posted in books, espionage, History, James Garner, Movies, psychiatry, Rod Taylor, Romance, short stories, World War II, writing | Tagged , | 2 Comments

Concession Stand Bites: “My Little Chickadee” (1940)

mylittlechickadee“My Little Chickadee” (1940) Starring W.C. Fields, Mae West, Joseph Callieia, Dick Foran, Margaret Hamilton, Donald Meek, Ruth Donnelly. Written by Mae West, W.C. Fields. Directed by Edward F. Cline. What would appear to be a comic match made in heaven, with West, the Queen of the insouciant double entendre and Fields, the screen’s merriest misanthrope, is actually a frustrating demonstration of the creatively debilitating effects of the Production Code. Evident from the very first scene is the gag placed on Mae West, preventing her from practicing her most signature brand of sexually provocative material; her raison d’etre. It is like handicapping Fred Astaire with cement shoes topped by spats, obliviating one of the most important foundations of her lasting appeal. Almost every opportunity for West to speak (she wrote her own dialogue) is an exercise in frustration, often awkwardly paused as if she’s imagining the dialogue she’s unable to speak before the actual uninspired lines emerge, and occasionally there seems to be a sharp edit at the end of her lines, as if she smuggled one by the censor’s and was later rudely truncated. Fields, for his part, fares much better, evidently always unfazed by the limiting restrictions of Hays, having created his own idiosyncratic vocabulary substituting for language which would be deemed “offensive”. 

To read the complete review, click the following link:

Posted in comedy, Mae West, Movies, Reviews, Romance, W.C. Fields, westerns, women, writing | Tagged | 1 Comment

Cut Ups: “The Switchblade Sisters” (1975)


Robbie Lee as Lace, the leader of the Dagger Debs, whose own worst personal enemy is the sibilant s.


     Films that purport to be Exploitation cinema but follow the routine thematic formulas of this breed of cinema without encompassing genuine prerequisite exploitation elements is simply trash without a reason to exist.

    Jack Hill’s “Switchblade Sisters” (alternately titled “The Jezebels”, without any greater success) is such an animal; a mutt masquerading as an overbred canine- a compendium of drive-in trash cinema clichés encompassing a random Column A/Column B selection 300px-Switchblade_Sistersfrom gang films, blaxploitation cinema, vigilante films, drug films, teen films, sexploitation cinema and women-in-prison melodramas- with no apparent decision ever made on which avenue to focus on. Its a virtual “greatest hits” version of exploitation but on somnambulist cruise control.

    The film follows the exploits of two high school gangs, though most of the participants look about a decade too old, one named the Daggers and their female counterpart The Dagger Debs, who later in a break from the male of the species, to become The Jezebels. The events that lead to this change bring about the only remotely interesting aspect of the film; an indelible feminist viewpoint of empowerment.

    Despite the fact that the subordinate Dagger Debs are the girlfriends of the male gang, they are treated as shabbily and with the same lack of respect afforded their victims in the surrounding community. This has little to do with machismo or an innate toughness, but is a sloppy perspective perpetrated by director Hill who set a general standard in all of his exploitation films of celebrating the empowered woman by treating them as proverbial sexual objects as gratuitously and insultingly as possible.

To read the complete review, click the following link to:

Posted in crime, Drive-In Movies, grindhouse, movie reviews, Movies, women, writing | Tagged , , , , | 1 Comment

Concession Stand Bites: “The Mountain” (1956)

mountain“The Mountain” (1956)
Starring Spencer Tracy, Robert Wagner, E.G. Marshall, Claire Trevor, Richard Arlen, William Demerest, Anna Kashfi. Written by Ranald MacDougall from a novel by Henri Troyar. Directed by Edward Dmytryk. When a passenger plane crashes at the top of a mountain in the Swiss Alps, it sets of a long simmering clash of brother against brother in Dmytyk’s leisurely but effectively suspenseful action drama. When a mountaineering party is launched, not to find survivors of which there are presumed to be none, but to gather mails and important documents, mountaineering legend Zachary Teller (Tracy) declines the opportunity, simply saying “I don’t climb anymore.” His hot-tempered sibling Christopher (Wagner) has other notions, expressing grave dissatisfaction with his life and with Zachary (“It used to mean something to be your brother,” he hisses contemptuously at Zachary, as if individual accomplishment would be an alien concept to his callow imagination.) and hatching a scheme to climb the mountain to rob the dead of their money and jewels. Much of the first half of the film is spent reemphasizing Zachary’s reticence to climb the mountain- no matter what the circumstance -partially leading to a foolhardy expedition that results in the death of a close friend. Much is made of Zachary’s expertise and of his simple way of life, but in Tracy’s portrayal Zachary gives not only the impression of being a man of simple tastes, but of just being simple.

To read the complete review, click the following link to:

Posted in 1950's cinema, Boston, Drive-In Movies, movie reviews, Movies, Spencer Tracy, writing | Tagged , | 1 Comment

Concession Stand Bites: “Upstairs and Downstairs” (1959)

aaupstairsanddownstairs“Upstairs and Downstairs” (1959) Starring Michael Craig, Anne Heywood, Mylene Demongeot, James Robertson Justice, Daniel Massey, Sid James, Joan Hickson, Joan Sims, Claudia Cardinale. Written by Frank Harvey, based on a novel by Ronald Scott Thorn. Directed by Ralph Thomas. What is it about British comedies that they seem to be populated by an unfair abundance of quirky, happily oddball characters who effortlessly operate in a world of their own individual behavioral devising- a quality that in genteel American terms might be referred to (if Capra’s “Mr. Deeds Goes to Town” is used as a barometer of appropriate living) as “being pixilated” but in British terms might be more appropriately identified as “eccentricity”? Successful British comedies are abundant with eccentricity, more often than not with a seemingly inexhaustible population capable of all manifestations of drollery from deliciously awkward mannerisms, to comically twisted asides. Somehow, in the world of British comedy, even the normal is slightly askew, but in a civilized way, which makes the social aberrations all the more delicious. Ralph Thomas’ “Upstairs and Downstairs” is a fine example of the sturdy social center upended by a dizzying orbit of eccentricity.

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Posted in British films, comedy, movie reviews, Movies, Romance, women, writing | Tagged , , , , | 1 Comment

Middle Age Crazy: “The Black Sleep” (1956)

theblacksleeppix1    “THE BLACK SLEEP” (1956)

     Reminiscent of a poverty level variation of H.G. Wells’ “The Island of Dr. Moreau”, “The Black Sleep” is also a distant poor cousin to the clubhouse monster films of the waning days of Universal’s horror films such as “House of Frankenstein” which would 220px-Blacksleepposterassemble the various fading monster attractions for one last gasp at box office hurrahs. In this case, it’s not the monster characters that are resurrected but the roster of performers including Basil Rathbone, Lon Chaney Jr., Bela Lugosi and John Carradine. Directed by Universal veteran Reginald Le Borg and written by John C. Higgins who penned a number of surprisingly gritty noir features for Anthony Mann, the film enjoys the pedigree for a promising horror film, but the talents all seem asleep at the wheel in what is not only a painfully derivative tale of “mad scientist” syndrome that had been done to death a decade before, but also a horror film without horror, chills, suspense or a genuine reason for any of the featured horror veterans to be appearing onscreen. Neither Chaney nor Lugosi have a word of dialogue to speak-yet still manage to be appallingly unconvincing- while Carradine, in what is basically a glorified cameo, brings enough ham to his role to feed a starving nation.

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Chandler’s Trailers: “The Boys From Brazil” (1978)


    Beware actors who protest their image too much. In the case of Franklin J. Schaffner’s “The Boys From Brazil”, the thespian in question is none other than venerable good guy Gregory Peck who makes a career backflip to the darker regions of human nature by tackling the role of nefarious Nazi Doctor Josef Mengele, a turn of dramatic ambitions that Peck seems to relish, yet is sadly inadequate to the task. Not that he’s assisted by surrounding cast of scenery munching screen Aryans including an odd turn by the usually reliable James Mason who plays his Nazi conspirator as a tourist of Key West club spots. The film follows the plot of Ira Levin’s source novel fairly closely, though Levin’s signature finales with evil seemingly emerging triumphant is obscured in no small part by a terribly staged final confrontation and the ruinous, multiplied non-presence of newcomer Jeremy Black, perhaps the worst motion picture discovery since Smell-O-Vision, though equally odoriferous. This mineral deposit impersonating an actor has been generously granted the opportunity to fail in several roles, each distinguished by a different accent, none of which resembles a legitimately recognized echo of human speech. 

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Posted in books, Gregory Peck, Laurence Olivier, movie reviews, Movies, music, Reviews, science, World War II | Tagged , , , | 1 Comment

Chandler’s Trailers: “Batman Returns” (1992)

batmanreturns    Tim Burton’s second film outing exploring Gotham City’s Caped Crusader is once again long on annoying guest villains and short on the main character. Though cheerfully absent of the destructive narcissism of a particular Nicholson, the film is a seamless continuation of the first film’s few strengths but an escalation of it’s more gratingly unnecessary flaws. In this installment, Batman is faced with two different costumed foes: a mutant Penguin and Catwoman; played respectively by a typically scene chewing (and drooling) Danny DeVito and a sumptuously playful Michele Pfeiffer. Again, Gotham City seems suspiciously underpopulated, as if the film’s budget didn’t extend beyond needlessly busy art direction to suit Burton’s (by now) tiresome visual scheme. It all begins well until the forced mechanics of cartoon villainy undercut the deliberate solemnity of the portrayal of the film’s hero. 

To read the complete review. click the following link to: emerging-cinephiles-and-a-better-America/

Posted in comic books, Drive-In Movies, movie reviews, movie sequels, Movies, Reviews | Tagged , , , | 5 Comments

Concession Stand Bites: “Airport” (1970)

airport“Airport” (1970) Starring Burt Lancaster, Dean Martin, Jean Seberg, George Kennedy, Helen Hayes, Van Heflin, Maureen Stapleton, Lloyd Nolan. Directed by George Seaton. Written by George Seaton, based on the novel by Arthur Hailey.
The film credited with instigating the disaster movie trend of the early 70’s, Seaton’s film actually takes it’s model from the soap opera, with the dialogue advancing plot exposition rather than exploring character. The “all-star” cast is an interesting mix of genuine stars, fading screen personalities and eclectic hangers-on and the whole film is approached with the earnestness of an industrial instructional short which should minimize dramatic interest, but strangely makes the blatant hokum far more appealing than it has a right to be. Oddly, the least sympathetic characters in the roster are the ones chosen for possible doom and it’s more a credit to the sturdy conventions of the genre than to filmmaking cleverness that the film manages to maintain a moderate level of suspense. 

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Posted in books, Burt Lancaster, Dean Martin, disaster films, Drive-In Movies, movie reviews, Movies, Reviews | 2 Comments

True Confections: “Trottie True” (1949)

trottietrue         “Trottie True”   (1949)

    “Trottie True” (stupidly retitled for U.S. distribution as “The Gay Lady”) is a colorful not quite rags to riches story (more like a tale of working class to upper crust ascendancy) embellished with song and dance, all in the service of the not tootrottietrueos original message that money and prestige don’t necessarily lead to  happiness, though they certainly can be tangible inducements when genuine affection makes a happy intrusion as part of the overall equation.

    Though there would appear to be little in the film that hasn’t been done before-  the parade of noble working class stiffs who carry on with a chipper optimism that might make Betty Hutton blush; sympathetic and subtly fun loving servants; a ruling class whose armor of superiority (easily distinguished by the timely placement of an arched eyebrow) can be effortlessly thawed with a coquettish flash of dimple and a cheery song  -it all works to a surprising degree, in no small part due to the film’s stubborn refusal to capitulate to the seeds of melodramatic discord simmering just beneath the movie’s sunny surface. There is a charm to the film that is not only undeniable but infectious, though it a charm easily won without the challenge of dramatic material which honestly addresses the real issues of class and sexual politics that are put to use as topical backdrops. Not unlike most musical features, any weight relevant to its subject is insubstantial by design.

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Posted in British films, comedy, movie reviews, Movies, Musicals, Romance, theater, women, writing | Tagged , , | 1 Comment

Primitives: “The Lost World” (1925)

alostworld1            “The Lost World”  (1925)

   Based upon the 1912 adventure novel by Sherlock Holmes scribe, Sir Arthur Conan Doyle, Harry O. Hoyt’s 1925 “The Lost World” presents Conan Doyle’s less well known but equally estimable (in a more overtly flamboyant fashion) creation, Professor GeorgelostworldOS Edward Challenger in his initial appearance on the screen.

    This tale of a small band of intrepid adventurers, who travel to the farthest reaches of unexplored South America in order to find evidence of an uncharted plateau housing remnants of prehistoric epochs, has been substantially watered down in the adaption process from its initial action oriented pulp attraction with the inclusion of a woman in the novel’s original all male quartet of explorers, which not only changes the masculine dynamic of the narrative but fundamentally alters both a major character’s motivation in joining the expedition but also makes irrelevant the ironic twist ending pertaining to the cynical extinguishing of the novel’s tenuous connective thread to the romantic ideal. 

    Fiery Professor Challenger (Wallace Beery) leads a small group of volunteers, including renowned hunter Sir John Roxton (Lewis Stone), fellow scientist Professor Summerlee (Arthur Hoyt), journalist  Ed Malone (Lloyd Hughes) and Paula White (Bessie Love, whose role in the story is the aforementioned invention of the film adaptation), the daughter of explorer Maple White who was lost in a prior expedition tolostworld63 the mysterious plateau. The evidence of White’s discovery, a journal filled with sketches of living prehistoric creatures, is met with mockery when presented by Challenger to a conference of esteemed academics. Malone, in an attempt to cement his relationship with girlfriend Gladys Hungerford (Alma Bennett) by demonstrating an active pursuit of heroic adventure, persuades his editors to sponsor a rescue mission for White with Malone acting as their exclusive correspondent. 

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Posted in animation, books, movie reviews, Movies, Romance, silent films, silent movies, women, writing | Tagged , , , , | 2 Comments

Mind Games: “Monstrosity” (1963)



“HEY… MY BRAIN’S UP HERE!”: Dr, Frank (Frank Gerstle) attempts to keep his eyes on the prize while prepping domestic Nina Rhodes (Erika Peters) for a literal change of mind in the cheap, derivative but rather disturbing “Monstrosity”.

                   “Monstrosity”  (1963)

    “Monstrosity” is a film that has a great deal on its plate but none of it worth doing as it has already all been done better. And worse. Hence we are privy to a narration (spokenmonstrosityos  by Bradford Dillman) postulating the wonders of brain transplantation and its connection to vampiric legend (don’t ask) as well as a sexy corpse, a mad scientist, a nocturnal prowling man-beast, a murder and grave robbing. And that’s only in the first four minutes. Unfortunately, sheer quantity of borrowed horror movie elements does not necessarily produce a better film, merely a traffic jam.

Cleverly named scientist Dr. Frank (Frank Gerstle) is experimenting with brain transplantation using the bodies of recently deceased, very healthy looking young women. Regardless of the fact that there is no explanation as to the availability of so much freshy departed female meat in such a desolate location, the experiments proceed with the usual monstrous blunders (hence the title of the film) present in every mad scientist film, including the aforementioned man-beast; the product of an animal brain placed inside a human body (though why this makes the subject suddenly look like a denizen of Dr. Moreau’s summermonstrosity1 cottage is another unexplained mystery of science). Frank’s research is funded by a miserly old woman, Mrs. March (Marjorie Eaton) whose interest is motivated by her own desire to have her brain transplanted into the body of a nubile young woman. Also in her employ is Victor (Frank Fowler), a toady who practically salivates at the prospect of grabbing onto Mrs. March’s money (though Mr. Dillman reminds us that the unsavory rewards of romantic attachment to a twenty-something pin-up girl only for her to have the mind of a crotchety octogenarian). The scheme nears fruition with the importation of three foreign domestics-  Nina (Erika Peters), Beatrice (Judy Bamber) and Anita (Lisa Lang)  -who, unlike most women in peril in horror films, seem acutely aware that something is amiss from the very start, but feel powerless to take countermeasures. 

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Posted in Drive-In Movies, grindhouse, horror, Movies, science, women, writing | Tagged , , | 2 Comments

Hecklers Needed: “Dance Hall Racket” (1953)


WAS IT SOMETHING HE WROTE?: While one fortunate actor is left to contemplate the luck of his early demise in Phil Tucker’s atrocious “Dance Hall Racket”, Honey Bruce (here alibied as Honey Harlow) watches as real-life husband Lenny Bruce is manhandled by perpetual bad film contributor Timothy Farrell; no doubt over the crummy dialogue written by the “comic genius”.

            “Dance Hall Racket”  (1953)

  Critics have been arguing for decades over the genius/mediocrity of the late comedian Lenny Bruce, but with scant direct filmed evidence to make a case either way (certainly the horribly miscast Bob Fosse directed biopic “Lenny” did not help in any way), the verdictdancehallracketos may perpetually be unresolved. “Dance Hall Racket”, the only extended feature film appearance of the late comic as an actor will only further roadblock the cause for cultural canonization as Bruce is awkward, hesitant and often physically unable to spit out his admittedly horrible dialogue. The situation may be worse than first imagined, however, as Bruce is also credited with writing the same admittedly horrible dialogue.

    Directed by Phil Tucker between his work on the notorious SF hiccup “Robot Monster” and one of his sociological treatises on ecdysiasts, “Tijuana After Midnight”, “Dance Hall Racket” is the kind of backyard production that might have resulted when Mickey and Judy decided to “put on a show”, if their intention was imitate the tried and true gangster film by divesting themselves of every healthy creative instinct, all the while emphasizing the nickel and dime productiondancehallracket3 values (and having change left over) that would make any PRC production look like a Cecil B. DeMille opus by comparison.

   Low level racketeer Umberto Scalli (Timothy Farrell) runs a run down dance hall while running a diamond smuggling operation in his office. His hot-tempered flunky Vincent (Lenny Bruce) kills one of his contacts- a off-duty sailor  -in the crowded hall, but as in keeping with the traditions of bad movie convenience, no one notices, and Vinnie and an associate easily dispose of the body. Enter the authorities, who send an undercover man to solve the mystery, but whose genuine function only seems to be to contain the story within the confines of the film’s few crummy sets. Oddly, none of this will have any relevance to the outcome of the movie.

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Posted in Boston, crime, grindhouse, movie reviews, Movies, women, writing | Tagged , , , | 1 Comment

Chandler’s Trailers: “Four Dimensions of Greta” (1972)

fourdimensions2 “Four Dimensions of Greta” (1972)
Never at a loss for a gimmick to lure unsuspecting patrons to  fill seats, the 3-D craze arrived on the shores of England about two decades late with “Four Dimensions of Greta”, a film that despite its visual gimmickry still grovels in the same exploitation mire as every other film attached with the directorial stamp of Peter Walker. On assignment for a German magazine, horny young journalist Hans Wiemer (Tristan Rogers)  is sent to London for a penetrating investigation of that most critical of global crises: the au pair experience. 

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Posted in British films, crime, erotica, London, movie reviews, Movies, Mystery, Romance, sex, women | 3 Comments

A Not So Fine Madness: “A Reflection of Fear” (1972)

areflectionoffear1       “A Reflection of Fear”  (1972)

  Cinematographers who assume the director’s mantle often produce movies which heavily favor the visual rather than the contextually comprehensible, with the fledgling filmmaker often failing to make allowances for the fact that rarely can a film achieve itsareflectionoffearOS intended goals with an overreliance upon the pictorial to the exclusion of almost everything else (Jack Cardiff’s “Girl on a Motorcycle” is a case in point).

    In the case of William A Fraker’s “A Reflection of Fear”, the film was rumored to have had extensive post-production reworking and interference from the studio, though in those unfortunate cases there is generally a sense of diminution of the film’s intentions, whereas in Fraker’s film there is hardly a occasion where any two contiguous scenes offer a clue as to what the audience is expected to decipher from the plot which is a series of contradictory convolutions wrapped within tediously conventional psychological thriller genre tropes. 

    Marguerite (Sondra Locke) is a fifteen year old who has been raised in a completely reclusive environment with no friends and few personal connections outside of her strangely domineering mother, Katherine (Mary Ure) and grandmother, Julia (Signe Hasso). Her inflexibly restrictive and lonely existence, which seems to have promoted an extremeareflectionoffear5 form of delusional interaction with imaginary companions, is about to experience a serious disruption with the arrival of her father, Michael (Robert Shaw), who has been absent from her life for ten years. The purpose of Michael’s visit is to obtain a divorce from Katherine so that he might marry his girlfriend Anne (Sally Kellerman), though in their reconciliation, it is obvious to everyone that there is more than a healthy father-daughter attraction between Michael and Marguerite. 

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Posted in books, Canada, movie reviews, Movies, Mystery, Reviews, women, writing | Tagged , , , | 5 Comments

Solo: Classic Film Images Photo Quiz, Jan. 2019 Edition, Vol. 1

passengers1Solo:  Classic Film Images Photo Quiz, Jan. 2019 Edition, Vol. 1

    The act of being alone comes in many forms in the cinema, from a voluntary solitude to an imposed seclusion, with the reaction to such isolation ranging from moodiness to surrendering to the brink of madness. However, anyone who enjoys a long weekend in Boston with the streets magically cleared of a vast majority of the population-  giving the illusion that you havealonegif1 suddenly been blessed with insertion in one of those The Twilight Zone episodes in which the entire population has vanished without a trace, which seems like a bad idea on the program, but encountered in the real world gives one the warm sensation of having won the lottery without buying a ticket  -might think that the feelings of emotional devastation rendered on the Silver Screen are subject to a bit of overreach. Nevertheless, being cognizant that not everyone shares the extremities of antisocial attitudes of we here at CSR, there are many instances in the movies in which the act of being alone brings with it a meditative placidity that some might find comforting, but they’re probably anarchists anyway. And with this awkward (and probably morally inappropriate) segue we bring you yet another in a long line of editions of America’s favorite monthly brain stimulant, the Classic Film Images Photo Quiz, brought to you, as always, by the street pushers of SKITTLES, America’s favorite legally addictive breakfast candy. In this edition we celebrate those films in which characters experience the extremes of solitude whether voluntarily, or more likely, through the cruel hands of fate. Your task, as always, is to identify each of the following twenty five movies and report your finding right back here for evaluation. The first to correctly identify all twenty five films will be the proud recipient of the CSR Culture Shock Award, the only cultural honorarium that can act as both an amenable companion and an emergency flotation device. Good luck.  

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Posted in biography, books, British films, Bruce Dern, comedy, History, movie remakes, Movies, science fiction, silent movies, Steve McQueen, women | 4 Comments

Chandler’s Trailers: “Invasion U.S.A.” (1952)


“Invasion U.S.A.”  (1952)  If one can imagine a production of  “The Time of Your Life” reconstituted with “Fail-Safe”, you might get a pretty good idea of the awkward Cold War civics lesson that is “Invasion U.S.A.”, a collection of mismatched and inconsistent stock footage wrapped around a few dramatic scenes, including a few ridiculously low-tech scenes of Soviet officers (though never specifically identified as “the enemy”, it’s pretty obvious) standing in front of a chart, directing their entire global assault. The denizens of a Manhattan bar are engrossed in awkward and stilted dialogue meant to reveal the shared social indifference of stock movie characters (who cavalierly dismiss worrisome news broadcasts from the bar’s large flat screen TV, strangely ignorant of the fact that such an item was decades away from being available), when they are suddenly entranced (in more ways than one) by a pensive stranger named Mr. Ohmer  (the underrated Dan O’Herlihy) who seems fixated on swirling his extremely large brandy snifter. 

To read the complete review, click the following link to:

Posted in Cold War, Drive-In Movies, movie reviews, Movies, politics, Reviews, Romance, war movies | Tagged , , | 2 Comments