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Framed (1975)
A must-see for fans of tough '70s action movies
FRAMED is an exceptional action film. Unfortunately it is not well-known, which is odd considering that it was directed by the great Phil Karlson, who also directed the previous year's WALKING TALL, which was a major hit that launched star Joe Don Baker's acting career.
Baker stars as Ron, a bar owner with a passion for gambling at poker. He's also passionate about his gorgeous girlfriend Susan (Conny Van Dyke), who sings frequently for his bar patrons. Ron scores big at a high stakes poker game, but his thrills are short-lived when, during his drive home that night, he witnesses a seemingly victimless shoot-out. When he arrives home, a sheriff's deputy accosts him in his garage and tries to arrest him without citing any charges. Ron and the deputy duke it out (a disturbing and exceptionally well-staged fight scene), leading to Ron being charged and convicted, not for the altercation with the deputy but for supposedly killing someone in the shoot-out he witnessed. Before he knows it, he's in prison, where he befriends a jailed mob boss (John Marley) and concocts his revenge strategy for when he gets out. Upon his eventual release, he sets out on his investigation, looking to uncover the truth about his wrongful conviction and punish those responsible.
Director Karlson, who was mostly known for his many outstanding film noir efforts (e.g. KANSAS CITY CONFIDENTIAL and THE PHENIX CITY STORY), directs this - his final film - with a tough, gritty edge. It's a neo-noir, to be sure, with a protagonist who is strong, intelligent and furious. Baker gives one of his finest performances, proving yet again that he could carry a film with his charisma, everyman qualities and undeniable acting skill. The movie's violence is graphic and hard-hitting, earning its R rating with ease, so fans of violent action cinema will likely derive much satisfaction from this one. If you gravitate toward movies of this type, you'll definitely want to seek out FRAMED.
Fingers (1978)
One of the best films of the 1970s
FINGERS is a brilliant film. Superficially it is a tough, gripping and unusual crime film about a violence-prone collector of gambling debts, but beneath the surface it is a psychologically complex (and presumably autobiographical) portrait of a man struggling with self-worth, sexual inferiority, and impending mental illness.
Harvey Keitel stars as Jimmy, an aspiring concert pianist who is striving to impress his mother, who is a once-promising piano prodigy now confined to a mental institution. He also longs for the acceptance of his father (Michael V. Gazzo), a two-bit loan shark who used to be a big-shot bookmaker. Jimmy's father occasionally requests (demands, really) that Jimmy collect money owed by clients who are delinquent on their payments, which typically requires intimidation or violence. Jimmy is conflicted: He wants to be a peaceful musician, but his father's approbation means a great deal to him as well.
Meanwhile, Jimmy strikes up a bizarre tryst with a beautiful, emotionally reclusive woman named Carol (Tisa Farrow), whose heart belongs to a quick-tempered former boxer (Jim Brown). Jimmy and Carol rush into a sexual relationship, but she is wholly apathetic toward Jimmy, seemingly using him as a means by which to pass the time between meetings with her real boyfriend.
Jimmy is always reaching for various modes of acceptance, regardless of the source: He is deeply flattered by attention from gay men, and is even distracted greatly when an underage girl visibly finds him charming. He even forces himself on an ultimately willing gangster's moll. (Jimmy's constant pursuit of sexual acceptance seemingly mirrors that of writer/director James Toback, whose own pursuits became public knowledge when the #metoo movement formed.)
The performances are searing (Keitel and Gazzo are especially compelling), the writing is uncommonly sharp, and Toback's direction is impressive, despite the film's low budget roots. The NYC locations are often as grimy and unnerving as the content itself, adding to the film's already brooding and seedy tone. The occasional bursts of violence are also upsetting: When Jimmy employs violence, he is brutal and animalistic.
FINGERS is essential viewing for crime movie buffs and connoisseurs of emotionally charged, psychologically layered cinema alike. Its lean 90 minute run time contains a great deal of content, owing to its abundance of subtext. It is Toback's finest offering, and stands as one of the finest films of its decade.
The Outfit (1973)
A hard-boiled action/crime movie masterpiece
THE OUTFIT is outstanding in all respects. The script, shot design and performances are top notch, and it is uncommonly gripping throughout.
Robert Duvall stars as a bank robber, freshly released from prison, who reunites with his old flame and partner-in-crime (Karen Black). It soon comes to light that Duvall's brother has been recently killed by syndicate hitmen, because of a mob-controlled bank that the two of them had robbed a few years earlier, and that Duvall is next on the hit list. Instead of running from danger, Duvall reunites with another former crime partner (Joe Don Baker), and informs "the outfit" (the mob, for the uninitiated) that they owe him $250,000 for killing his brother, and that he'll be robbing every mobster he can find until they pay up. This riles the boss of the local crime chapter (Robert Ryan), who tasks all of his personnel with the job of killing Duvall and his crew.
The action is punchy and the tension is tangible from start to finish, with memorably tough dialogue (Duvall's run-ins with fellow criminals is often dryly amusing, as there is an almost brotherly kinship among these career ne'er-do-wells). The script was written by director John Flynn (adapted from a Richard Stark novel), and Flynn's direction is exceptional. Duvall, Baker and Black are in top form, aided by a sensational supporting cast of familiar faces. THE OUTFIT is not only a memorable action classic, it's one of the best films of the '70s, and one of the finest crime films of all time.
Breaking Point (1976)
Underrated action gem
BREAKING POINT is a fine action movie, cleverly directed by the late, great Bob Clark. It's uncommonly moody and tense for the genre, with several moments of jarring violence and some suspense sequences that look like they're out of a horror movie (Clark cut his teeth on horror pictures, and made some great ones, e.g. DEATHDREAM and BLACK CHRISTMAS).
Bo Svenson, giving an effective and likable performance, stars as a family man who, while out walking down a dark, snowy street at night with his stepson, encounters two gangsters beating a man to death. He gets involved, and chases the gangsters away, but it's too late, as their victim succumbs to his injuries. A police detective (Robert Culp, who's always dependable) convinces Svenson to testify against the gangsters in court, and promises to put him into witness protection. Svenson and his family are relocated, but when the case against the gangsters falls apart, Svenson is wanted by the gangsters' vengeful boss. Eventually, Svenson must decide if he wants to keep running with his family in tow, or go after the crime boss himself.
The film is a relatively low budget Canadian production, so you won't get expensive-looking car chases or city blocks exploding, but the tension is palpable throughout, and the action scenes on parade (few as they are) are expertly handled and have an unusual amount of impact, owing to an uncommonly high amount of character development (it's very easy to be concerned about the Svenson character's well-being) and a deliberate - but effective - pace.
As of this writing, the Fox Video DVD (which was available in the early '00s, for a shockingly short amount of time) is long gone, and fetches sizable prices in the online used market. However, it is worth tracking down for action fans, especially those who hold Svenson's turn as Buford Pusser in the WALKING TALL sequels in high regard (BREAKING POINT is a far more accomplished film). It is an action movie that is in dire need of re-release, and rediscovery.
Un uomo dalla pelle dura (1972)
A must-see for fans of poliziotteschi, gialli, neo-noir and Blake
UN UOMO DALLA PELLE DURA stars Robert Blake as Teddy, a down-on-his-luck university grad who wound up a low-level boxer. He finds out that his manager has been lying about money, so he hits the road in search of opportunity. Teddy runs into an old college buddy, who steers him toward a new boxing manager. The manager and Teddy hit it off, and things seem too good to be true. The resulting partnership leads to a string of vicious killings, Teddy's involvement with a determined police detective (Ernest Borgnine), and a budding romance with the new manager's daughter (Catherine Spaak). Fans of the great Tomas Milian will get a kick out of his creepy, funny, mysterious hippie who may be involved with all of the murder and mayhem.
Much of the fun is not knowing where the narrative will lead, and which genre it will touch upon. It starts as a noirish road movie, with a drifter comes to realize there's an array of characters out to get him. His novice sleuthing, coupled with some horror elements (jump scares, bloody murder sequences, creepy music, etc.), gives much of the film a strong giallo (Italian murder-mystery) feel, a sub-genre that was popular at the time. There are occasional action moments, in the form of fighting (both in and out of the ring) and some jarring gun violence, giving the film a strong eurocrime/poliziotteschi vibe.
The performances are all uniformly fine. Blake is particularly good here, presenting us with a likable central character who isn't without faults. The writing is surprisingly sharp, filled with memorable dialogue, especially Teddy's colorful, profane, occasionally hilarious verbiage.
I'm not surprised by the negative reviews here. The movie is almost solely available in a highly truncated and censored version. If people could finally see director Francesco Prosperi's cut, this would likely garner a sizable following.
I've seen this one a number of times. It's a favorite. It's clear that no one involved set out to make a masterpiece, just a tough, clever, scary, entertaining movie. I think it wound up being a masterpiece.
Tenderly (1968)
Charming and unjustly obscure comedy gem
TENDERLY a.k.a. THE GIRL WHO COULDN'T SAY NO is a personal favorite. It's an Italian comedy, just prior to the explosion of "sexploitation" comedies from that region that became internationally popular in the early '70s, but TENDERLY is not one of those. It deals with sex, certainly, but there is no nudity and no graphic depictions of sex are on display. It is, however, quite unique, to the point that some viewers may deem it bizarre.
The story concerns Franco (George Segal) and Yolanda (Virna Lisi), who grew up together as best friends. Franco, as a boy, told Yolanda that he loves her and that they would always be together. As the two grow into young adults, Franco attends a prestigious medical school, while Yolanda chooses to embark on a series of misadventures and takes a string of lovers. Their lives converge repeatedly, as Yolanda tends to show up in Franco's life without warning, so that they may continue their romantic (albeit very sporadic) life-long affair. These visits often complicate Franco's life, as he has a very tight and strict schedule (particularly when he becomes a professional doctor), but cannot refuse Yolanda when she shows up out of the blue, somehow more radiant and attractive than the time before. When Franco gets married to another woman because Yolanda won't commit to him, her random visits get more troublesome than ever.
Director Franco Brusati went on to helm the brilliant BREAD AND CHOCOLATE (1973), which won the Best Foreign Film Oscar. He is a very talent filmmaker, and his work on TENDERLY certainly showcases his abilities. It is a stylish, fast-paced, and at times hilarious movie, owing largely to the comedic talents of the great George Segal. While Virna Lisi has some funny moments, her Yolanda's primary function seems to be to titillate, but it's amusing how oblivious she is to Franco's plight whenever she appears at the worst possible time. The supporting cast is terrific as well, many of them providing some truly hilarious moments. The film's humor covers a lot of ground, including some jarringly dark comedy (the nature of which I wouldn't dream of spoiling here). For the most part, however, it's a cute, light-weight affair, and it's hard to imagine the mentality of someone who would find any aspect of it offensive (although anyone angered by the idea of someone cheating on their spouse will want to stay clear of this... and most of Segal's other similarly-themed '70s output, for that matter).
ABOUT THE MOVIE'S AVAILABILITY: This one is very difficult to find. I spent years tracking it down before I finally came upon a bootleg with mediocre video quality, from a website that no longer exists. I keep hoping that it will surface on DVD or (preferably) Blu-ray. Sadly, as of this writing, George Segal has passed away very recently. As a huge fan of his work I hope that some of his best and most neglected films start appearing on Blu-ray (LOVING, THE TERMINAL MAN, BLUME IN LOVE, BORN TO WIN, etc.), and TENDERLY is a film deserving of inclusion in that list. It really is a fine, funny movie, and I sincerely hope that anyone who's interested in seeing it is fortunate in their search for a copy.
Street Scenes (1970)
Scorsese's self-suppressed anti-war document that simply needs to be seen
I learned of this elusive Martin Scorsese-directed documentary when I was very young (approximately 12 years old), and I became obsessed with finding it, as I was already a fan of his films. I was also an aficionado of war-based documentaries (HEARTS AND MINDS, WINTER SOLDIER and THE ANDERSON PLATOON were among my favorites). Therefore, I had high hopes for STREET SCENES - not only that I would find it, but that it would be extraordinary.
Finally, after decades of hunting, I managed to see it. It did not disappoint. In fact, I was quite surprised by how much of Scorsese's signature touches were prevalent throughout. The filmmaking is raw (1.33:1, mostly black-and-white 16MM with some color sequences, handheld camerawork with little attention paid to elegant framing), but it excels as a vessel for information - in this case, mostly about a protest march on Wall Street, including interviews with the anti-war protestors (most of them college age) as well as the buttoned-down spectators who came to shake their heads at those doing the marching, and later a similar march in Washington, D.C.
The filmmaking is energetic and even somewhat stylized, complete with frequent bursts of classic rock in the soundtrack (Blind Faith's "Had To Cry Today" is the first song heard, over shots of riot squad members standing by with their helmets on and their clubs menacingly in hand). It all has an immersive element, owing not only to the compelling techniques on parade, but to the looming skyscrapers that surround the event being documented, creating an urban backdrop that makes for a very unique-looking environment.
Unfortunately, when the march is over and the movie retires to a hotel room where Scorsese, Harvey Keitel, Verna Bloom and other artistically-minded anti-war activists sit around pontificating about the worth of their media-based contributions to the protest movement, the film downshifts considerably and things become less compelling. However, it's still amusing - and, at times, fascinating - to hear some of the exchanges being recorded.
In all, this documentary - which was heavily influenced by the aesthetic of documentary filmmakers D.A. Pennebaker, Frederick Wiseman and The Maysles Brothers - is fascinating not only for rabid fans of the director's later work, but as a vivid document of a nightmarish time in which the war (and the draft) seemed to never end, and the act of public protesting was nearly as potentially dangerous as military combat itself. I feel it's a strong work and ought to be released.
As of this writing, The Criterion Collection has just announced the Blu-Ray release of Scorsese's early short films, and I'm certain that the people at Criterion tried in vain to get Scorsese to release this documentary as well. At this stage, it appears highly unlikely that the movie will ever enjoy a legitimate release on home video in any format, and that's a real shame. If people were able to see it, they might finally realize that TAXI DRIVER and THE IRISHMAN are - above all else - anti-war statements, both featuring heartless protagonists whose deep-rooted emotional scarring (and capacity for violence without subsequent remorse) stems largely - if not entirely - from their service in the American military.
Midsommar (2019)
Promising start, but becomes dull, derivative and ridiculous
Self-described horror fans have been telling me to see this since its opening weekend. I finally gave it a shot (the theatrical version), knowing that it was inspired by THE WICKER MAN (1973). I went into it prepared for it to be reminiscent of that film, but I didn't expect it to steal from other horror movies that most fans of the genre are already well aware of. This bothered me a great deal, and shattered the spell the filmmakers hooked me with in the beginning.
It starts very well. The characters are nicely drawn, much of the acting is uncommonly good, and the pre-credit sequence establishes a horrifying reality-based tone that sets the stage for what is to come. I was hooked. Lead actress Florence Pugh is quite good, as are the Swedish characters who provide the source for most of the film's horror elements.
I won't say much about the plot, except that it concerns a group of young Americans who are invited by their Swedish friend to a commune in Sweden where ancient rituals could put foreign visitors in danger. A premise like that can either lead to genuine suspense and scare scenes, or it can provide a series of laughable, clunky attempts at horror. Sadly, as this film progresses, it manages to fall into the latter category, especially for horror fans who have any memories of the well-trodden classics of the genre.
*SPOILERS*
The first real moment of on-screen violence is straight out of the original THE TEXAS CHAIN SAW MASSACRE (1974). It's not only lifted from that film, but isn't even reinvented in any way to conceal the fact that it's copied. It's just a blatant rip-off of the first kill scene in that film. I was shocked by director Ari Aster's nerve in doing this, especially since just about anyone interested in horror cinema has seen Tobe Hooper's classic. Aster was already leaning heavily on THE WICKER MAN, which in itself begs for some forgiveness on the part of the viewer, so the theft of the killing from Hooper's film is - in my view - unforgivable. It shattered the impact of everything the film was accomplishing, and it's so jarringly shameless that I couldn't get back into the film.
As the movie approaches its finale, director Aster's primary influences become more than apparent, as he hurls elements from SUSPIRIA (1977) and especially the third act of THE WICKER MAN at the viewer with reckless abandon. Are there potentially affecting moments that didn't remind me of pre-existing movies? Sure, but again, Aster blew it for me by alerting me to the fact that he's not only a big fan of popular horror classics, but that he isn't afraid to pick key scenes from them. A shame, because MIDSOMMAR wouldn't be a bad film if Aster had been more concerned with making a unique experience. That said, moviegoers who haven't seen '70s horror movies - or who don't mind cinematic theft that transcends the notion of "paying homage" - will likely have a rewarding experience here.
Some say Ari Aster is a filmmaker worth watching. I strongly disagree.