This film version of Jack Gelber’s one-room, real-time play The Connection takes place in a Greenwich Village loft that, although grungy and low-down, now presents every speck of dirt and every cockroach with a clarity probably unseen since 1961, if then. As a time capsule alone, the film’s historical and stylistic perspective is fascinating.
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Robert Siodmak’s The Strange Affair of Uncle Harry might be confused in some minds with Alfred Hitchcock’s Shadow of a Doubt, because both are small-town crime stories about murder and uncles. The latter film features Uncle Charlie, an evil man visiting a small town from the big, sophisticated outside world. However, Siodmak’s film has an arguably more disturbing premise, as its moral rot is homegrown from the town’s oldest and most illustrious family.
One useful aspect of on-demand and streaming titles from Warner Archive is the chance to see obscurities that sound halfway interesting, as well as to confirm that, in some cases, obscurity is merited.
Shot in Italy with a mostly Italian cast and crew (and obvious dubbing in certain scenes), Panic Button offers several points of half-interest. Top-billed Maurice Chevalier spends the whole movie winking and shrugging and mugging as though paid by the tic, twice bursting into jaunty if unmemorable songs by George Garvarentz. It will also appeal to fans of Jayne Mansfield, who has a reasonable role showing off her assets, although this film is shot in a flat, unflattering black and white that devalues what should have been all its pleasing vistas.
All at Sea, called Barnacle Bill in England, is an Ealing comedy starring Alec Guinness, but there’s a reason you never hear it mentioned in the same breath with Kind Hearts and Coronets, The Lavender Hill Mob, The Man in the White Suit, or The Lady Killers—except in the hopeful trailer, which claims it’s the best of them all. It’s a nice, modest, and pleasant little effort that clearly comes from the same sensibilities without being as inspired.
Vice and Virtue is a perfect example of how Roger Vadim applied the concept of “seduction” to aesthetics as well as story, providing an operatic exercise in the transgressive and kinky with a veneer of literary cachet. He’d already done this with his modernised Les Liaisons Dangereuses (1960), which is possibly the best of several films from that novel (Milos Forman’s Valmont is also excellent). In the resoundingly artificial and allegorical Vice and Virtue, the high concept is to update the Marquis de Sade’s Justine to Nazi-occupied France at the end of WWII.
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"A regular FKA twigs performance is exciting. But her 'Congregata' event amps up the fervor ten fold, with more wild dancers, powerful lights and costumes.READ the article