Film

Keep Off: 'Private Property' Takes a Dip in Adult Waters

Kate Manx in Private Property (1960)

In the early '60s, Hollywood was struggling to convey the idea that people now and then have sex.


Private Property

Director: Leslie Stevens
Cast: Corey Allen, Warren Oates
Distributor: Cinelicious
Extras: 4
Year: 1960
Release date: 2016-11-08

Shabby and unkempt, Duke (Corey Allen) and Boots (Warren Oates) drift over to a gas station and intimidate the owner into giving them free orange pop. Then they squat on their haunches and talk about sex. Boots says he's "never made it" because he's saving himself for marriage, and he bristles when Duke says he's looking for a "sugar daddy". To pacify him, Duke says he'll fix it up for Boots with some "twitch". When they spot a fine blonde woman, a nervous salesman (Jerome Cowan) tells them she's out of their class, but they persuade him to give them a lift and follow her car, at one point threatening him with knives to continue.

So these boys are established from the start as all bully and tough talk, giving an air of menace that carries them through a slow-burning psychological study in which we wait to see if anything violent will really happen, or anything sexual, or both. From the empty house next door, they spy on the pretty woman, Ann (Kate Manx), who spends most of the day by her swimming pool. Her heated pool is as much a symbol for herself as the switchblades are for the uptight, sexually bantering drifters, and it's hard to miss the symbolism.

In 1960, Leslie Stevens wrote and directed this very cheap independent production, shot in his own house and starring his wife. He would move on to a productive career in TV, most notably with The Outer Limits. This debut feature vanished without a trace, as did his pioneering Esperanto movie Incubus (1966) with William Shatner.

Just as that film was finally rediscovered after decades, it's now time for this forgotten exercise in moody drama to come in from the cold with a crisply restored print that shows off the beautiful black and white photography of veteran DP Ted McCord (The Treasure of the Sierra Madre[1948], East of Eden [1955], The Sound of Music [1965]) and his equally talented young assistant Conrad Hall, who would soon work on The Outer Limits and go on to win three Oscars. Also receiving a prominent credit, and interviewed in an extra is still photographer Alexander Singer, who would soon direct his own indie dramas on sexual themes, such as A Cold Wind in August (1961).

While the main performances are better than you'd expect in a shady melodrama, the photography is what makes the picture as it frames or entraps its characters in claustrophobic compositions, even when outdoors. They're enclosed by cars, reflective windows, wicker cages, gin glasses, and of course the rippling pool and its eerie reflections. This is especially true in the last act, scored insistently by a bolero on the stereo.

In the early '60s, Hollywood was struggling to convey the idea that people now and then have sex. It had successfully avoided that implication for so long that it hardly knew how to handle it, and movies that tried to push the notion achieved controversy and sometimes local censorship. A few major studio examples around this time include A Summer Place (1959), Strangers When We Meet (1960), Splendor in the Grass (1961), and several items with Deborah Kerr, the only actress classy and British enough to get away with being cast consistently as an adulteress.

Stevens' film, to quote the nervous salesman, isn't in their class, and consequently it feels that much more seamy and sweaty and tawdry as Duke, supposedly on behalf of Boots, begins his sweet-talking seduction of Ann, who turns out to be frustrated in her relationship with her insurance-peddling husband (Robert Ward). While the notes mention the movie's influence by certain noir films, it has less to do with those than with pointing the way forward to adult dramas of the type Hollywood couldn't quite permit itself to make yet.

For now, the slack had to be taken up by such low-budget indie fare, and this is still a movie where nobody "makes it". The impulse is usually displaced in studio-era movies, especially in those allegedly naughty comedies where everyone talks about sex and nobody has it, e.g., The Marriage-Go-Round (1961), also written and produced by Leslie Stevens. Stevens' script for Private Property seems well aware of this concept of repressed impulses driving action, which accounts for the suggestive dialogue about sugar daddies and the strange three-way tango between the two mugs and their supposed quarry.

The movie Private Property most closely resembles is the wonderful 1972 feature debut of writer-director Larry Cohen, which is another hothouse drama of two drifters, a bored wife and her husband, complete with portentous swimming pool. It goes by various names including Bone, but I saw it as Housewife, a title that echoes the real estate theme of Private Property, with both wives seen as restless trophy objects tied to expensive houses. Since one of the drifters is played by Yaphet Kotto, Cohen's film adds a racial theme. They'd make an excellent double feature.

This Cinelicious package is a Blu-ray/DVD combo with Singer's brief interview, a new trailer, and a cogent booklet. The 4K digital restoration was performed by UCLA Film and Television Archive. It's advertised as a limited edition of 3,000 copies.

6

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less
Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

Next Page
Related Articles Around the Web
Film

Subverting the Romcom: Mercedes Grower on Creating 'Brakes'

Noel Fielding (Daniel) and Mercedes Grower (Layla) (courtesy Bulldog Film Distribution)

Brakes plunges straight into the brutal and absurd endings of the relationships of nine couples before travelling back in time to discover the moments of those first sparks of love.

The improvised dark comedy Brakes (2017), a self-described "anti-romcom", is the debut feature of comedienne and writer, director and actress Mercedes Grower. Awarded production completion funding from the BFI Film Fund, Grower now finds herself looking to the future as she develops her second feature film, alongside working with Laura Michalchyshyn from Sundance TV and Wren Arthur from Olive productions on her sitcom, Sailor.

Keep reading... Show less

People aren't cheering Supergirl on here. They're not thanking her for her heroism, or even stopping to take a selfie.

It's rare for any hero who isn't Superman to gain the kind of credibility that grants them the implicitly, unflinching trust of the public. In fact, even Superman struggles to maintain that credibility and he's Superman. If the ultimate paragon of heroes struggles with maintaining the trust of the public, then what hope does any hero have?

Keep reading... Show less

The Paraguay-born, Brooklyn-based indie pop artist MAJO wraps brand new holiday music for us to enjoy in a bow.

It's that time of year yet again, and with Christmastime comes Christmas tunes. Amongst the countless new covers of holiday classics that will be flooding streaming apps throughout the season from some of our favorite artists, it's always especially heartening to see some original writing flowing in. Such is the gift that Paraguay-born, Brooklyn-based indie pop songwriter MAJO is bringing us this year.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image