Showing posts with label 1970. Show all posts
Showing posts with label 1970. Show all posts
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| Robert Hooks and Lynn Redgrave |
"Go home with you? -- but I don't even know you." -- Myrtle
Myrtle Kane (Lynn Redgrave), who once belonged to a group called the "Mobile Hot Shots," gets a stranger, Jeb Thornton (James Coburn), to pretend he's engaged to her so they can win some prizes on a local game show. Unfortunately, the host also wants to marry them on the program. Jeb takes Myrtle back to his dilapidated plantation, Waverly, where he lives with his black half-brother, "Chicken" (Robert Hooks). The dying Jeb agreed that Chicken would have the plantation after his death if he helped him work it, and signed a paper to that effect, but now he sends Myrtle out to get back the paper by any means possible. But Chicken knows something that may make all of Jeb's manipulations unnecessary. Loosely based on Tennessee Williams' play "The Seven Descents of Myrtle," it's a wonder why anyone thought Mobile Hot Shots would make a good movie. Everyone is miscast, and Lumet is certainly the wrong director. The movie can't seem to make up its mind if it's a comedy or not -- there are a couple of chuckles, but that's it, and the final revelation is a pip -- but its biggest failing is that with all that's going on it's still a bore [even a climactic flood doesn't help much]. Redgrave seems to be channeling Geraldine Page in Sweet Bird of Youth (although her character is completely different), but she makes one of the the least convincing Williams' heroines ever. Coburn makes some effort but gets nowhere, and Hooks comes off best, but in this movie that's not saying much. Still it's hard to play Williams just right, and mediocre Williams is even harder. Gore Vidal's screenplay at one point seems to hint at homosexual incest, but as it comes out of nowhere and is unconvincing anyway, it was probably just to set up a quick, dumb gag late in the movie. The premise of the picture is intriguing but the development is just dismal. With Hooks playing a character who denies his being black, one would have to say Hot Shots is horribly dated as well. [If one wonders why anyone would want to own a property like Waverly in the first place, all I can say is real estate!]
Verdict: This should just be washed away with the flood. *1/2.
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In this pretty much entirely fictionalized story of "Pretty Boy" Floyd (former pop singer/teen idol Fabian Forte), Floyd is a sympathetic figure who only fell into crime because he was unfairly accused of murdering the man who shot his father to death. Before long prison escapee Floyd is under the wing of a middle-aged madame named Beryl (Annabelle Weenick), robbing banks with confederates, and becoming a kind of handsome folk hero. Forte doesn't disgrace himself in the role but the acting isn't the main strength of this movie, which is clearly aimed at the non-discriminating drive-in market and wears out its welcome pretty quickly. Larry Buchanan was also responsible for Zontar the Thing from Venus. At least this has somewhat better production values.
Verdict: Nothing all that pretty in this low-grade melodrama. **.
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| Mediocre duo: Nigel Davenport and Jean Wallace |
Extreme pollution and a grain-destroying virus have combined to cause hunger and even cannibalism in parts of the world, and citizens of the UK are afraid it isn't long before the same thing happens to them. John Custance (Nigel Davenport), his wife, Ann (Jean Wallace), their children, and friend Roger (John Hamill) take off for a farm in the countryside but have a hell of a time getting there. Along the way they hook up with Pirrie (Anthony May), a casual murderer, but they descend into savagery just as much as everyone else. Eventually Custance is pitted against his own brother ... No Blade of Grass is well-directed by Cornel Wilde [The Naked Prey] -- who does not appear in the film but offers some narration -- but can't overcome its weak script and the miscasting of its two mediocre leads, Davenport [A Man for All Seasons] and Wallace [Jigsaw], although there are good performances from members of the supporting cast. There are some arresting sequences, such as the harrowing business when the family tries to get out of a mob-ruled city by car, and a tense stand-off between Custance and Pirrie over the daughter, Mary (Lynne Frederick). George Coulouris [Citizen Kane] has a small role as a gun shop owner. Despite all of the very grim goings-on, No Blade of Grass manages to become quite tedious after awhile. There is hardly a sympathetic character in sight.
Verdict: Unremittingly depressing, and not good enough to compensate for it. **.
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| The cast of MI including Warren, Nimoy, Lupus and Elliott |
MISSION: IMPOSSIBLE Season Five. 1970.
The big change for season five was to do away with the rotating females and use Lesley Ann Warren as "Dana" on a weekly basis. Another change was that Sam Elliott was brought in to play a doctor named Doug Roberts and replaced Peter Lupus for about half of the episodes. Neither Warren nor Elliott lasted more than one season, and Leonard Nimoy made this his last season as well. Another change was that more unexpected developments occurred during missions, increasing the suspense. The jazzed up theme music was pretty lousy, however. This was still a solid season, with several especially good episodes. Robert Conrad played a hit man in "The Killer" and Anthony Zerbe guest-starred in "The Amateur." The object was to get an important list regarding a heroin outfit from a dying mobster in "Squeeze Play." Barney's brother is killed by criminals in "Cat's Paw" with a memorable performance by Abby Lincoln. Lupus and Elliott both appear in "The Party" with intrigue surrounding a bash at an embassy. Henry Darrow and Kevin Hagen score in "Blast," about an unknown person trying to raise funds for a revolution. In the unusual "Homecoming," Phelps and the team investigate serial murders in Jim's home town; Loretta Swit guest-stars. The season had other good episodes as well.
Verdict: This team doesn't quit. ***.
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| Grayson Hall and Thayer David |
In this first theatrical feature based on the popular Gothic soap opera Dark Shadows, the storyline that introduced vampire Barnabas Collins (Jonathan Frid) is retold, although it ultimately goes off in its own direction separate from the series. Looking for treasure, Willie Loomis (John Karlen) stumbles across a coffin containing the centuries-old Barnabas and inadvertently releases him. Barnabas introduces himself as a cousin to the American branch of the Collins family, and is struck by the resemblance of Maggie Evans (Kathryn Leigh Scott) to his lost love, Josette. While Barnabas feeds upon young ladies in the vicinity, and even turns Carolyn Stoddard (Nancy Barrett) into one of the undead, two people figure out his secret: Dr. Julia Hoffman (Grayson Hall) and Professor Stokes (Thayer David). Julia discovers that there's a cell in Barnabas' blood that may be responsible for his condition and begins to cure him, falling in love with him as well. But when she discovers that the person he's committed to is not her but Maggie ..uh oh! Like the series, House of Dark Shadows benefits from some good acting, with Karlen, David and Scott being especially notable; Don Briscoe as Carolyn's boyfriend and Grayson Hall as Julia are also effective, as is Louis Edmonds as Roger Collins. Joan Bennett shows up now and then as Elizabeth Collins, wringing her hands and looking worried. Roger Davis is fine as Maggie's boyfriend, Jeff, and Dennis Patrick (Dear Dead Delilah) appears as a sheriff. While Dan Curtis [Curse of the Black Widow] could never be considered a great stylist, he keeps things moving and manages to build up some tension toward the end. Certain sequences are especially atmospheric and there is some good art direction, most memorably in a climactic sequence in Barnabas' misty basement. The tune that Josette's music box plays is evocative and the old age make up used on Frid is quite convincing. There are some unintentionally comical moments, and this hasn't the visceral impact of the best of the Hammer horrors, but it really isn't at all bad. Followed by Night of Dark Shadows.
Verdict: About a hundred times better than the Tim Burton version. ***.