INSERTS (1975)

Title: INSERTS

Year of Release: 1975

Director: John Byrum

Genre: Drama

Synopsis: A once-famous Hollywood silent director now makes pornographic movies in his mansion.

Within a film history context: Movies about the pornographic film industry were not common before 1975. There were several examples of these which were largely exploitation films, with unknown casts. INSERTS was the first which was produced for a Hollywood studio, with well-known actors, and first-time director. Ed Wood's THE SINISTER URGE (1960), was one of the first to look at the industry. It explored a pornographic mob-run movie business, and how the models in these are found murdered, highlighting the police search for the killer of these young women. IS THERE SEX AFTER DEATH? (1971), directed by Alan Abel and Jeanne Abel, contained a small scene of a pornographic movie being made, but it was simulated for the camera in this comedy-mockumentary about sex in its various forms. 

Alain Patrick's BLUE MONEY (1972), concerned itself with a Los Angeles director of pornographic movies. Married and with a child, he dallies with an actress, but his life unravels not only on the domestic front but also, as the police are on his tail due to his filmmaking occupation. SUGAR COOKIES (1973), directed by Theodore Gershuny, had an insidious pornographic filmmaker who murders his star on camera, but tries to pass this off as suicide, with the dead woman's lesbian lover seeking revenge. INSERTS was a movie which was consumed with the making of a pornographic film by its director, in comparison to the other entries.

INSERTS had the most in common with those pictures about a pornographic film director and the making of his movie, with both BLUE MONEY and SUGAR COOKIES standing out. In these pictures, there is a male director of pornographic films in the forefront, and the viewer becomes intimately acquainted with them, and their lives. BLUE MONEY and SUGAR COOKIES both have a 1970s setting, which made them contemporary. The movies were both positioned in 1970s territory, when there was an upsurge in pornographic filmmaking at the time. INSERTS differed as it was set in the early 1930s, when the director in that film, boy Wonder, had great difficulty in adapting to sound, making silent porn movies to survive. Aside from this, Boy Wonder in INSERTS was painted as a former auteur of sorts, whose previous success overshadowed his current persona. Neither of the directors in BLUE MONEY and SUGAR COOKIES could be seen in the same vein, just working in porn. This is where INSERTS diverted from these films, where a famed Hollywood director now made hardcore pornographic pictures. 

In terms of the psychological makeup of the respective porn director, Boy Wonder in INSERTS was closer to the director in BLUE MONEY than SUGAR COOKIES. While Boy Wonder did exhibit off-the-wall thoughts and actions, suggesting something akin to necrophilia at one point, he was not a psychopath as the director in SUGAR COOKIES. He was seen as a man down on the count trying to reignite his lost fame through shooting pornographic movies. This was a thoroughly different interpretation than that of the director in BLUE MONEY, who was being pursued by the authorities due to his filmmaking. The private life of the director was something the three films also tackled in vastly opposing ways. Jim in BLUE MONEY had a wife and child, and strayed with another woman. His situations was more of a domestic persuasion than that of Boy Wonder in INSERTS. One is given little access to Boy Wonder's private life in the picture, aside from the fact that he and Cathy Cake do sleep together. There is more of a concentration on Boy Wonder's efforts to make his porn film than peering deeply into his personal life. An in-depth look at a pornographic film director, this portrait is one of the best aspects of INSERTS.

Overview: John Byrum is an American director who made four films from 1975 until 1986. He predominately filmed dramas, with a sole comedy being his final picture to date. His second movie, HEART BEAT (1980), charted the relationship between the Beat Generation figures Carolyn Cassady, husband Jack Cassady, and Jack Kerouac from the late 1950s, until the 1960s. Mr Byrum's third effort, THE RAZOR'S EDGE (1984), was a remake of the 1946 film. A man returns from serving in World War I, and he finds that everything has changed dramatically, and life is not the same as what he left. John Byrum's final movie to date, THE WHOOPEE BOYS (1986), was a comedy of two young men in Florida, and their raucous antics. INSERTS marked John Byrum's movie debut, but is not one of his best pictures.

With INSERTS, John Byrum has, unfortunately, made a highly flawed film. The story of a Hollywood silent director whose career has seen better days, resorting to making hardcore pornographic movies in his mansion, it is not an easy picture to watch. There are reasons why this is so. While the narrative is divided into three acts, and has a sense of organization in this way, what appears onscreen is less than compelling. The movie, to be fair, does give some insights into characters and situations, which are deftly delivered by a great cast. INSERTS, though, has a tendency to ramble through its almost two-hour running time, which manifests itself in one particular way.

There is an emphasis on sexual situations, and a certain flippancy which becomes grating. This could be seen as being natural given the movie is about a porn director and the making of a movie, but relying on sexuality, and not delving deeper into what brought these people to porn films, gives INSERTS an air of emptiness. It feels as if it likes to shock and surprise the audience with its attention to sexual matters, but this is not backed up with a sturdier backstory to provide strength, and further clarity to the movie. The final section is the best part of the film, where Boy Wonder and Cathy Cake become acquainted in all respects, but by the time it arrives it is too late to save it. An enervating film to witness, INSERTS is lacking in many areas which could have made it a much better picture.

Acting: INSERTS has an enthusiastic cast who give their all, making the movie better than it is. In the lead part of Boy Wonder, one-time Hollywood director now down on the count, Richard Dreyfuss is excellent. Portraying all sides of a complicated character, whose nasty tendencies often come to the fore, Mr Dreyfuss succeeds in making Boy Wonder an entrancing figure. As Harlene, the drug addicted actress now shooting porn films for Boy Wonder, Veronica Cartwright is likewise formidable. Seeing the hyper Harlene carry on with her escapades is one of the most charming, compelling, but tragic depictions of addiction ever captured on film. 

Harlene's onscreen costar Rex the Wonder Dog is in the comely person of Stephen Davies. Mr Davies expresses this young buck's dreams and wild aspirations with an infectious fervour that, as with Harlene, have a pathos about them which is real. The final acting of note was by Jessica Harper as Cathy Cake, a young woman wanting to be an actress. Miss Harper's Cathy goes head-to-head with Richard Dreyfuss' Boy Wonder, being the only person to take him on, and get to the core of Boy Wonder's psyche. A poised actress with an intellectual approach to her acting, Miss Harper is another of the bewitching thespians who make their mark in INSERTS.

Soundtrack: INSERTS has an unusually lean soundtrack. The vast majority of the movie has no background music, either diegetic, or non-diegetic. The exceptions to this are the opening credits, a piano rendition of 'Moonglow' which appears non-diegetic, but is revealed to be diegetic in nature, segueing into Boy Wonder playing the piano. Boy Wonder plays the piano again in the final scenes, and this leads to the closing credits, with a vocal version of 'Moonglow' played. The film prefers to have the audience's attention focused on what is taking place onscreen rather than utilizing music to punctuate the action.

Mise-en-scene: INSERTS takes an interesting approach to its mise-en-scene. The entire movie is set in one location, being the mansion of Boy Wonder, and this allows the action to proceed in a single place. In some ways, it may seem limited to have a single set, but it maintains attention on the small group of characters who inhabit, and pass through this narrative world. Art direction by John Clark excellently creates a vision of a decaying mansion, alongside Josie MacAvin's set decoration. Cinematographer Denys N. Coop employs a dour use of Deluxe color, emphasizing brown hues, which is in keeping with the film's dark and subversive themes. Additionally, the shooting of the pornographic film within the movie is of interest. Scenes effectively jumps between color stock, and black and white, to show Boy Wonder filming the porn, and how it appears through his camera. This occurs not only during the opening sequences but also, later in the picture.

Notable Acting Performances: Richard Dreyfuss, Veronica Cartwright, Stephen Davies, Jessica Harper.

Suitability for young viewers: No. Frequent coarse language, male nudity, female nudity, adult themes, medium-level violence, drug use.

Overall Grade: D

Link: IMDB Page

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HELLO-GOODBYE (1970)

Title: HELLO-GOODBYE

Year of Release: 1970

Director: Jean Negulesco

Genre: Drama, Romance, Comedy

Synopsis: A car salesman falls for a mysterious French woman who hitches a ride from him, but is surprised to discover her true identity.

Within a film history context: Movies about car salesmen have not been plentiful in cinema history, generally being supporting characters in the narrative. One of the first to feature a car salesman was William Nigh's morality play TODAY (1930). In this film, the Wall Street crash is the reason a man becomes a used car salesman, but his wife finds this life change a step downwards, and exceedingly difficult to bear, becoming a prostitute. THE YOUNG IN HEART (1938), directed by Richard Wallace, featured a family of charming schemers on the make, with the patriarch assuming a position as a luxury car salesman. With Garson Kanin's humorous TOM, DICK AND HARRY (1941), a young woman enchants three very different men, one of these being a car salesman. In contrast, an unscrupulous car salesman is a minor character in GAS HOUSE KIDS GO WEST (1947), directed by William Beaudine, selling a stolen car to young men seeking to go to California. A similar situation was apparent in Don McDougall's suspenseful HOT CARS (1956). A car salesman finds himself in hot water working for a man who sells stolen vehicles, and becomes implicated in an elaborate chain of events. 

NO DOWN PAYMENT (1957), directed by Martin Ritt, had a car salesman leading a profligate life of excess which endangers his marriage to his wife. Robert Hamer's SCHOOL FOR SCOUNDRELS (1960) followed the lead of many of the previous movies, with two devious car salesmen selling a man a dud car in this British comedy. THE FAST LADY (1962), directed by Ken Annakin, also had a smarmy car salesman who causes waves for a man to whom he sells an automobile. A decidedly comic take on car salesman was in William Castle's THE OLD DARK HOUSE (1963). A car salesman makes a special delivery of a car to a mansion for his friend, but stumbles into surprises, and shocks galore in this comedy-horror movie. HELLO-GOODBYE had more in common with the lighter-hearted films about car salesmen, but had some of its own individual features.

It was closest to THE YOUNG IN HEART in terms of its central character being a luxury car salesman, but unlike this film, Harry in HELLO-GOODBYE was a main protagonist instead of a supporting character. Both films had the car salesman surrounded by glamorous trappings, which is something that other films diverted from, being more centred upon car salesmen who were underhanded or devious. While Harry could not be described as a young innocent, and had various tricks up his sleeve, he was not in the same league as the scheming car salesmen from entries such as GAS HOUSE KIDS GO WEST, HOT CARS, SCHOOL FOR SCOUNDRELS, or THE FAST LADY. There was an air of charm, naivete and romance in HELLO-GOODBYE's Harry which none of the other movies could match. 

The car salesman in NO DOWN PAYMENT had a personal life, being a Lothario and wreaking havoc, but Harry in HELLO-GOODBYE was in search of not only money but also, true love. This made Harry a more approachable, sympathetic figure than the car salesman in NO DOWN PAYMENT. The other main difference was that while NO DOWN PAYMENT was steeped in realism, HELLO-GOODBYE was of a more escapist, high life orientation. The central example of this being Harry coming into contact with European Royalty, this only emphasizing the movie's beguiling nature. A film which takes its car salesman character and story, giving both of these a stylish rendition, HELLO-GOODBYE is an entertaining, if slight, picture.

Overview: Jean Negulseco was a Romanian director long in Hollywood. In his career he directed thirty-eight motion pictures ranging from dramatic to more comic movies, in many instances with sweeping, romantic themes. His movies were also notable for their visual gloss and glamour, but generally had the courage of their convictions. Mr Negulesco's first film, CRASH DONOVAN (1936), co-directed with William Nigh, was the tale of a police officer becoming enmeshed with a smuggling ring, starring stalwart action star Jack Holt in the lead. Mr Negulesco began to rise in prominence with THE MASK OF DIMITRIOS (1944). A film noir about how a mystery writer in Istanbul, and how he encounters a real-life murder when a criminal is found dead in the Bosphorus had an illustrious cast headed by Peter Lorre, Zachary Scott, Victor Francen, and Sydney Greenstreet. One of Jean Negulesco's most important films of the 1940s was HUMORESQUE (1946). The remake of a silent film with Alma Rubens, this version starred Joan Crawford as a woman who falls for a younger violinist, beautifully acted and photographed. JOHNNY BELINDA (1948) was the story of a deaf-mute woman who is raped, and falls pregnant. The kindly doctor whom she befriends is accused of being the father of her baby, and backlash occurs in the town, leading to many repercussions for the characters. 

THE MUDLARK (1950) detailed the story of a young man in 1870s Britain who finds a locket of Queen Victoria, and wants to see her at any cost. It is also the story of how the Queen is in mourning for her late husband, and how a politician tries his best to assist her to reenter public life after a long seclusion. TITANIC (1953) concerned a bickering American couple on the doomed voyager, and associated stories intertwined. With HOW TO MARRY A MILLIONAIRE (1953), Jean Negulesco began his ascent as the maker of glossy entertainments with a romantic edge. Three women seek millionaire husbands, and love to go along with this, but life steers them in the right direction. One of the most popular movies of the year, aided not only by its visual appeal, CinemaScope, and leading actresses Lauren Bacall, Betty Grable, and Marilyn Monroe, it was an effervescent movie. Romance was once again on the agenda for Mr Negulesco in THREE COINS IN THE FOUNTAIN (1954). The structure of three young women seeking love was again explored here, but this time set in Rome, and with a slightly melancholy edge that suited the dramatic material. 

DADDY LONG LEGS (1955) was a musical of an orphaned French woman, and the American man who paid for her education. A May-December romance subsequently develops between the two, with Fred Astaire and Leslie Caron in the lead roles. Romance was also at the fore of BOY ON A DOLPHIN (1957). A love triangle blossoms between a Greek sponge diver and two men competing for her emotions in this exotic adventure tale. A CERTAIN SMILE (1958) was another film with a love triangle, this time a young French woman engaged to a young man embarks on an illicit affair with his uncle. THE BEST OF EVERYTHING (1959) was a chic tale of the lives, and loves, of young women working in the publishing industry on Madison Avenue. Into the 1960s, THE PLEASURE SEEKERS (1964) was an updated version of THREE COINS IN THE FOUNTAIN, this time set in Madrid. It was not as commercially successful as the original, or seen in the same way in retrospect. HELLO-GOODBYE had elements in common with Jean Negulesco's more upmarket movies, but was not one of his best efforts.

HELLO-GOODBYE had the presence of romantic themes which infused his best work, such as HUMORESQUE, HOW TO MARRY A MILLIONAIRE, DADDY LONG LEGS, and THREE COINS IN THE FOUNTAIN. People seeking love, and coming up against obstacles was a common tenet in Jean Negulesco's movies. In these films people find love in most unexpected quarters, with unconventional couplings emphasised. Many times there are age gaps between characters in romantic stories, something HOW TO MARRY A MILLIONAIRE, THREE COINS IN THE FOUNTAIN, DADDY LONG LEGS, and BOY ON A DOLPHIN also shared with HELLO-GOODBYE. In HELLO-GOODBYE, Dany and her husband the Baron have a great age difference between them, but this is not mentioned as being the reason for her unhappiness. Aside from this, HELLO-GOODBYE possessed other qualities also evident in Jean Negulesco's other movies. With its French setting, it was one of his films with an international flavour, something which Mr Negulesco had an affinity for, with THE MASK OF DIMITRIOS, THREE COINS IN THE FOUNTAIN, A CERTAIN SMILE, and THE PLEASURE SEEKERS examples of this. While HELLO-GOODBYE had several positive traits, there were definite deficiencies when the film as a whole is taken into consideration.

It is pleasing that HELLO-GOODBYE has that sense of pathos that marked HUMORESQUE, JOHNNY BELINDA, DADDY LONG LEGS, and THREE COINS IN THE FOUNTAIN, but the movie does not dive as deeply into why characters act the way they do in the movie. The result is that the viewer is given a set of occurrences which are understandable, but not fully fleshed out. Dany is the Baron's wife who hitches a ride with car salesman Harry, thus taking on a lover, but one is given fleeting insights into why Dany has taken these actions. The depth of her unhappiness is never really exposed, in spite of scenes where it appears she rails against being the well-dressed trophy wife of a powerful baron. Aside from this, there are other parts of the film which required further attention. 

Both sons of the baron expressed amorous feelings toward Dany, but, this thread is introduced, and quickly dismissed. In addition, there is a slight mentor relationship between Harry and the baron's son Raymond, but it is something that is explored in just a handful of short scenes. The baron's private life, outside his marriage with Dany, is also left to the imagination. While it is good to not overload viewers with information, in these cases more would have been beneficial. Aside from this, there is also the tendency in the picture to showcase Dany in a state of undress, which quickly becomes tiresome. While Dany is a figure of attractiveness and charm, her dispplays of nudity do nothing for the movie. Despite these flaws, though, some things can be said about HELLO-GOODBYE in the final analysis. Jean Negulesco's final film was not one of his most admirable efforts, but, nevertheless, a diverting, if lacking, motion picture.

Acting: The acting in HELLO-GOODBYE is one of the reasons the film works, lifting it considerably. Michael Crawford, as Harry, car salesman and jetsetter, does a great job in the movie. An actor well-known for his comic roles, here he does that, coupled with a pathos that makes Harry a rounded character. As Dany, Harry's lover, and wife of the Baron, Genevieve Gilles contributes an interesting interpretation of a woman dissatisfied with her life in the picture. An actress for whom this was her sole acting part, she does well with the varied emotions of this complicated young woman. On the other hand Didier Haudepin, as Raymond, the Baron's son, is wasted in a small part that could have been extended, as he was intriguing to watch. Curd Jurgens as Baron de Choisis, though, is what gives the film its oomph and elegance. A German actor who played in many Hollywood films, generally as military men but also in other roles, here adds his considerable dash, authority, and humor as the multi-faceted Baron, a man to watch.

Soundtrack: Francis Lai's dreamy theme song is one of the most memorable aspects of HELLO-GOODBYE. It is played in full during the opening credits sequence, and throughout the movie on a regular basis, exemplifying the film's romantic, European focus. The theme is also utilized during the closing credits with lyrics which provide the movie a snazzy style and allure.

Mise-en-scene: HELLO-GOODBYE has beautiful attention to detail in terms of mise-en-scene, which befitted its high budget. Henri Decae's colour cinematography captures both indoor, and outdoor locations with finesse, always careful in not making whatever appears on screen garish. Outdoor locations such as the French Riviera, exteriors of the Baron's mansion, for example, are all easy on the eyes, but effective in their use. Interiors such as the Baron's mansion, his and Dany's bedroom, the casino, and Dany's small apartment, play an important role in providing non-verbal information about the characters to the audience, thanks to production designer John Howell, and set designers Pierre Charron and Pamela Cornell. Costuming by Rosine Delamare is also another key element in the movie, particularly striking is the contrast between Dany's informal, and elaborate formal outfits.

Notable Acting Performances: Michael Crawford, Genevieve Gilles, Curd Jurgens.

Suitability for young viewers: No. Female nudity, adult themes.

Overall Grade: C

Link: IMDB Page

THE NIGHTCOMERS (1971)

Title: THE NIGHTCOMERS

Year of Release: 1971

Director: Michael Winner

Genre: Drama, Horror, Period

Synopsis: In Victorian times, a gardener and his lover, who is a governess to two children in an English manor carry on an illicit affair, but the children have their own agenda for the couple.

Within a film history context: Movies which focus upon the Victorian Era in England have been plentiful in cinema. Those specifically expressing evocations of darker themes have been periodically shown on cinema screens throughout the years. One of the first in this vein was Alfred Hitchcock's THE LODGER (1927). The story of a serial killer in Victorian era London, and how a lodger residing in a home is suspected of these crimes, was one of the director's earliest pictures, and a vehicle for matinee idol Ivor Novello in the lead. Into the sound period came DR. JEKYLL AND MR. HYDE (1931), directed by Rouben Mamoulian. The classic story of a doctor with dual personalities, one good, one evil, was given florid treatment here, with Fredric March in the main part. With Stuart Walker's MYSTERY OF EDWIN DROOD (1935), a choirmaster leads a double life, and becomes obsessed with a young woman, his manic inclinations reaching boiling point, leading to suspicions of murder. Mayhem was also evident in THE DEMON BARBER OF FLEET STREET (1936), directed by George King. An odious barber befriends customers in his shop, thereafter killing them, and stealing their money. The 1940s featured many diverse films which also examined the Victorian Era in England.

Victor Fleming's DR. JEKYLL AND MR. HYDE (1941) was a remake of the earlier movie from 1931, this time with Spencer Tracy excellent in the lead role of the disturbed doctor, with solid support from Ingrid Bergman, and Lana Turner. GASLIGHT (1944), directed by George Cukor, was about a man who systematically seeks to drive his wife insane to cover up a crime he committed years ago. Taking a leaf out of Alfred Hitchcock's THE LODGER was John Brahm's 1944 THE LODGER. Following similar territory as the first film, this time around with a man brutally murdering women in Victorian London, the killer takes his own life in this version. MOSS ROSE (1947), directed by Gregory Ratoff, followed a scheming chorus girl who insinuates herself into the life of a man, blackmailing him as he had left a crime scene, but events will not leave her alone. Lewis Allen's SO EVIL MY LOVE (1948) was about a woman emotionally manipulated by a charming man, and becoming implicated in his unorthodox schemes, with tragic consequences. The real-life story of murderer Charles Peace was brought to the screen in THE CASE OF CHARLES PEACE (1949), directed by Norman Lee. Charting his troubled existence and various crimes, among these the killing of a policeman, ending with his hanging execution. Also coming at the end of the 1940s, Jean Negulesco's THE FORBIDDEN STREET (1949) was about a wealthy woman marrying a poor artist, who dies, their union a turbulent one. She then marries another man who resembles her late husband, and their life together is much different in nature.

THE SON OF DR. JEKYLL (1951), directed by Seymour Friedman, was about the son of Dr Jekyll, Edward, and how he tries to continue his father's work as a chemist, but comes across opposition from another doctor, who seeks to ruin his reputation. The mystery was also thick in Maurice Elvey's THE LATE EDWINA BLACK (1951). When a woman unexpectedly passes away, suspicion about the circumstances surrounding her death fall on her husband and her best friend, but things become murkier over time for the detective investigating the case. THE HOUR OF 13 (1952), directed by Harold French, mined serial killer themes yet again, with a jewel thief becoming enmeshed in the murders of police officers in Victorian London. With Arthur Lubin's FOOTSTEPS IN THE FOG (1955) a treacherous man kills his wife, but is later manipulated by his maid, who wants to become his next wife, but both suffer for their insidious actions. Once again a serial killer was the crux of THE HAUNTED STRANGLER (1958), directed by Robert Day. This time around, a man delves into the case of a killer hanged for killing a string of women twenty years prior, but becomes possessed by the spirit of the murderer. Yet another film about a Victorian serial killer could be found in Monty Berman and Robert S. Baker's JACK THE RIPPER (1959). In this instance, an American detective is assigned to help Scotland Yard in finding this mysterious, infamous murderer of the late 1880s.

Horror was at the forefront of THE TWO FACES OF DR. JEKYLL (1960), directed by Terence Fisher. The doctor and scientist is at it again, this time taking a potion, and committing crimes before being brought to justice.  Jack Clayton's THE INNOCENTS (1961) was of a gothic persuasion in comparison to other Victorian era movies which dealt in murder and mayhem. A governess to two children becomes embroiled in the mystery of what happened to the children's previous governess, and her gardener lover, with many unexpected twists and turns. Fear of being buried alive was what consumed the narrative of THE PREMATURE BURIAL (1962), directed by Roger Corman. In this movie, a man has this fear which causes no end of grief not only for himself, but also, his wife. Campy shenanigans also marked Terence Fisher's THE PHANTOM OF THE OPERA (1962). In late Victorian London, a disfigured man, the eponymous phantom, causes mayhem, and commits murder, which are connected to personnel at the London Opera House. In contrast, Sherlock Holmes and Dr. Watson were the main protagonists in A STUDY IN TERROR (1965), directed by James Hill. This time around, the investigative duo are on the trail of elusive serial killer Jack the Ripper in 1880s London. At the end of the 1960s, Gordon Hessler's THE OBLONG BOX (1969) was an American International Pictures production made in Britain. A man is kept locked away from sight from his brother, an aristocrat, but with the assistance of unscrupulous people, fakes his passing, and causes death to those who double cross him in this complicated movie. THE NIGHTCOMERS was another entry in films set in the Victorian Era, but with some of its own defining characteristics.

The movie shared the motifs of skullduggery, dirty doings and murder which marked the darker Victorian films, but also highlighted a sadomasochistic male-female relationship within its framework. This was far removed from the psychologically loaded, but more conventional, heterosexual unions of movies such as GASLIGHT, THE FORBIDDEN STREET, and FOOTSTEPS IN THE FOG. THE NIGHTCOMERS was the most sexually-forward, explicit movie of the Victorian era films, going much further in depicting the relationship of a surly man, and a mealy-mouthed governess, both given over to sexual perversity. Aside from this, there is the presence of minors in THE NIGHTCOMERS who motivate much of the action, which is something missing from previous movies. THE INNOCENTS was the one film where younger characters receive equal airing as the adults, but this was the exception rather than the rule for the genre.

In general, adult characters were the ones initiating the goings-on in the other Victorian movies, with younger people largely missing from the canvas. In THE NIGHTCOMERS the children are demonic, and more evil than the gardener, which is a surprising element in THE NIGHTCOMERS. There is a contrast between the surface appearances of the well-spoken and presentable youngsters, and their copying of the acidic relationship of the gardener and the governess. The implication is that children learn by example, which is something this movie seems to be saying. This also gives THE NIGHTCOMERS a controversial notability of sorts, in that it pushes the boundaries not only of male-female relationships but also, those depictions of children as well. The notion of childhood innocence is turned on its ear in this movie, and that youthful games can sometimes lead to death and disaster. One of the most extreme of the Victorian era movies in content, THE NIGHTCOMERS is a taxing movie to watch.

Overview: Michael Winner was a British film director with thirty-four motion pictures to his credit over the space of thirty-eight years. He made many films which contained themes of crime, and people battling this, but also comedies, and musicals. Mr Winner's first film, SHOOT TO KILL (1960) is considered to be a lost movie. Detailing the activities of a showbusiness reporter, and his involvement in politics, it was mainly of interest as it featured Lynn Redgrave in a small role. Next came CLIMB UP THE WALL (1960) which was a musical comedy starring bandleader Jack Jackson, and a number of other celebrities. In programmer MURDER ON THE CAMPUS (1961) a man is suspicious of his brother's death, which appears to have been suicide. With the assistance of a woman, whose father has vanished, he sets out to prove that it was homicide, but not suicide, which occurred. Veering into exploitation territory was SOME LIKE IT COOL (1961), a comedy which was concerned with nudism. PLAY IT COOL (1962), on the other hand, charted the escapades of a rock singer and his band who become friendly with a young woman, the film containing many musical numbers. 

Michael Winner did another musical with THE COOL MIKADO (1963). In this movie, a young man does not want to marry a young woman of his father's preference, and joins the army, but falls for a Japanese woman while in Tokyo, many romantic complications ensuing. It was back to crime theme for Michael Winner s in WEST 11 (1963). A footloose young man is convinced by a criminal to murder his aunt for her money, but things take another turn. THE SYSTEM (1964) followed a Lothario photographer aiming to entrance a young woman during vacation season, but finding that she is more than a match for his libidinous ways. Into the late-1960s THE JOKERS (1967), was another comedy, with two brothers hatching a plan to lift the Crown Jewels from the Tower of London, but matters were not as clear cut as they first thought. At the end of the 1960s came HANNIBAL BROOKS (1969), an action-comedy following a prisoner of war in Nazi Germany, and how he escapes with his elephant, headed for Switzerland. In the 1970s, Michael Winner made some of his most-recognized, famous movies.

THE GAMES (1970) was about several athletes competing at an Olympic Games marathon event, with an illustrious cast including Michael Crawford, Ryan O'Neal, and Charles Aznavour. Western CHATO'S LAND (1972) had a half-Native Indian killing a sheriff in self-defense, but this act leads to the rape of his wife, and revenge against those who had done this. THE MECHANIC (1972) was a character study of two men, one an older hitman, the other an aspiring assassin, but events occur to bring their relationship to melting point. THE STONE KILLER (1973) featured Charles Bronson as a private eye who investigates the killing of a hitman, and is drawn into an elaborate plot involving the Mafia. Next came one of Michael Winner's most controversial films, DEATH WISH (1974). The story of an architect whose wife is killed, and daughter raped during a home invasion, thus the impetus for him to become a vigilante on New York City streets, was a startling and successful movie. The DEATH WISH franchise led to several sequels, and Mr Winner directed the next two entries in the series, being DEATH WISH II (1982) and DEATH WISH 3 (1985). Both of these films, though, were not as critically acclaimed as the original, seen to indulge in an excess of violence. 

Michael Winner's next movie, WON TON TON: THE DOG WHO SAVED HOLLYWOOD (1976)  was a change of pace for the director. A comedy about a silent screen dog who reaches the heights of stardom, it was notable for its many guest stars from the Golden Years of Hollywood. Mr Winner then made a foray into horror with THE SENTINEL (1977) where a young woman goes to live in a Brooklyn apartment, but discovers that the building is a hotbed of demonism. It was back to crime territory with THE BIG SLEEP (1978). Another instalment in the film version of Raymond Chandler's detective story, it was set in London rather than Los Angeles, and starred Robert Mitchum in the lead role. Michael Winner ended the decade with FIREPOWER (1979) an action movie about a woman seeking revenge for the murder of her husband, and thereafter finding an intricate web of lies and deceit. Into the 1980s and after, Michael Winner made several movies, but none that matched his output from the 1960s and 1970s.

THE WICKED LADY (1983) was a racy remake of the 1945 film of a restless young woman who plays with hearts, but falls for a highwayman, in turn becoming both his accomplice, and lover. It was back once again to crime, this time in the suburbs, with SCREAM FOR HELP (1984). A young woman suspects that her mother's new husband is up to no good, and discovers that he is planning to kill them both for the money. She hatches a plan to foil his scheme, with much angst and violent occurrences taking place. In complete contrast, a piece with a decidedly period feel was APPOINTMENT WITH DEATH (1988), set in the 1930s. Based upon Agatha Christie's Hercule Poirot mysteries with an all-star cast, a hated woman is found dead, and many people suspected of her demise. Softer in tone was A CHORUS OF DISAPPROVAL (1989). A young widower becomes part of an amateur theater musical group, which not only helps him, rising to male lead but also, success with the female members of the group. 

BULLSEYE! (1990) was a financial failure concerning two inept scientists, and their various schemes which result in much intrigue and derring-do. Michael Winner's second last movie, DIRTY WEEKEND (1993) was a violent film about a young woman harassed by a man, then killing him, and continuing a murder spree, subsequently dispatching six more men. Mr Winner's final film, PARTING SHOTS (1998), was a variation on the director's common themes of crime and revenge, with a terminally ill man purchasing a gun, and planning to exact retaliation on those who had wronged him. THE NIGHTCOMERS, Michael Winner's sixteenth movie was, unfortunately, one of his most disappointing efforts. 

Michael Winner had a reputation for making films that pushed the boundaries in terms of taste and acceptability, taking on challenging themes, and following through with these in an uncompromising manner. THE MECHANIC, THE STONE KILLER, SCREAM FOR HELP and, in particular, DEATH WISH are examples of this, where the films have the courage of their convictions, despite the heady nature of the movies themselves at times. THE NIGHTCOMERS has neither the style, nor the continuity of the above examples, and is one of Mr Winner's least satisfactory movies. There are several reasons why this is so. With THE NIGHTCOMERS, Michael Winner has made a motion picture that mainly relies on shocks and visual stimuli to maintain interest, at the expense of a story with emotion. The black humour that worked in some of his movies with more serious subjects, such as DEATH WISH, is at sea in THE NIGHTCOMERS. It comes across as callous and cruel, in light of the tragic turn events take at the film's end. These features lead the film on a path of indifference from which it cannot recover.

Scenes are inherently cold, moving from one situation to the next, without any suspense to grip the viewer. Barbarity and sexual perversions are high on the list of this movie, and it creates nothing but a sour taste in the mouth. The central relationship is one which the film is at pains to depict as dangerous and permissive, but later painted as a Romeo and Juliet-type story, which does not add up to a cohesive whole. The characters in this 'love story' are never given a chance by the writing to express the reasons they want to be together, or any real delving into why they indulge in these deviant sexual practices. It is all about flashiness, doing things that appear to be daring, but which are at heart sick, and demeaning. The treatment in particular of the lead female character is especially tasteless, and something that any self-respecting woman, and man, should rail against. In addition, the portrayal of the children is equally disturbing, and shallow. Aside from some good performances, it all adds up to nothing in the end. One of Michael Winner's most wanting movies, THE NIGHTCOMERS is an inferior film experience.

Acting: THE NIGHTCOMERS is a film where the direction, and writing affected the quality of the acting. In the lead role of Peter Quint, the manor's gardener, Marlon Brando, unfortunately, is not in one of his best roles. A performer who had some stunning parts in the first part of his career, but whose later roles were not of the same level, here stagnates in the poorly-written part of Quint. As Miss Jessel, Quint's lover, and governess to the two children living in the manor, Stephanie Beacham is also hampered by a lack of finesse in the writing. An actress who can perform in spades, her roles in television series The Colbys and Dynasty proof of this, here does her best with what is a lackluster role that takes no advantage of her immense acting prowess. On the other hand, THE NIGHTCOMERS is a showcase for Thora Hird, thoroughly convincing as the manor housekeeper Mrs Grose. With her sharp voice and commanding ways, she brings authority to her role. Christopher Ellis, as Miles, one of the two juveniles living at the manor, brings his well-spoken young man to life, albeit with a cunningly evil edge that works. The final acting of note was by Verna Harvey as Flora, Miles' sister. As with Christopher Ellis, her precise diction and faux innocence does wonders as the comely young woman with an evil agenda on her demonic mind.

Soundtrack: THE NIGHTCOMERS' musical soundtrack is one of the best features of the movie. Composed by Jerry Fielding, his sensitive instrumental theme adds atmosphere and urgency to the film, making up in its elegant manner for the overall inadequacy of the production.

Mise-en-scene: Cinematography by Robert Paynter is beautiful, suitable to the downbeat nature of the material, a measured use of colour. Costuming by Ray Beck is also of a high standard, convincing the audience of the film's Victorian setting. Locations such as the Victorian Manor, and outdoor locales are all well-utilized, giving THE NIGHTCOMERS a verisimilitude that works on a visual level.

Notable Acting Performances: Thora Hird, Christopher Ellis, Verna Harvey.

Suitability for young viewers: No. Female nudity, adult themes, high-level violence.

Overall Grade: D

Link: IMDB Page

Trailer

THE BUTTERCUP CHAIN (1970)

Title: THE BUTTERCUP CHAIN

Year of Release: 1970

Director: Robert Ellis Miller

Genre: Drama, Romance

Synopsis: Two cousins, born of identical twin sisters, long for each other, and bring others into their cocoon as substitutes, creating an emotional love quadrangle.

Within a film history context: Unlike love triangles, love quadrangles have not been prominent in cinema, but films about these have appeared from time to time. One of the first dealing with the subject was Marshall Neilan's THREE MEN AND A GIRL (1919). In this lost film, silent screen actress Marguerite Clark starred as a young woman who causes romantic waves for three men, with complications aplenty occurring as a result of her coquettish behavior. In another silent movie, WOMEN MEN FORGET (1920), directed by John M. Stahl, an intricate series of events with a married couple and two outside parties ensues, but where a happy end takes place for the couple. An early sound comedy with a love quadrangle scenario was Victor Schertinger's FASHIONS IN LOVE (1929). A married concert pianist embarks on an affair with another woman, but the husband of the other woman becomes involved with the pianist's wife in this early sound film. THREE LOVES HAS NANCY (1938), directed by Richard Thorpe, was entirely different in approach. A young woman proceeds to New York in search of her fiancé, and becomes involved with two men, in this vehicle for the sprightly Janet Gaynor, with Franchot Tone and Robert Montgomery as the men in question. In a similar vein, George B. Seitz's LOVE FINDS ANDY HARDY (1938) had the charming Andy Hardy squiring three young women in this entry in the series, including Judy Garland, Lana Turner, and Ann Rutherford.

WHEN LADIES MEET (1941), directed by Robert Z. Leonard, followed a lady novelist who loves her  womanizing married publisher, but is in turn loved by another man, who tries to dissuade her from this infatuation by introducing her to the publisher's wife. Forward into the 1950s, with Douglas Sirk's INTERLUDE (1957) a young American woman in Munich falls for a married man, but is also pursued by a doctor, thus making up the four characters in this love quadrangle with an international flavour. Matters were definitely of a lighter manner in THE GRASS IS GREENER (1960), directed by Stanley Donen. An Earl and his Lady encounter a young woman and an oil tycoon during the guided tour of their estate to visitors, this causing romantic derring-do for these aristocrats and their would-be new flames. In comparison to these movies, THE BUTTERCUP CHAIN varied vastly from these films with its original approach to the love quadrangle subject.

Many of the above examples featured married couples with love troubles, such as WOMEN MEN FORGET, INTERLUDE, or THE GRASS IS GREENER, or a single person being pursued by three other parties, with THREE LOVES HAS NANCY, and LOVE FINDS ANDY HARDY the prime examples. Matters were dissimilar in THE BUTTERCUP CHAIN as the central protagonists, Margaret and France, were cousins, a man and a woman born to sisters, but raised as siblings. This incest angle added a forbidden aspect to the film, and the movie touches upon this delicate subject in a careful way. Unlike the people in the other pictures who were unrelated, in THE BUTTERCUP CHAIN, having a pair of cousins long for each other accents a tragic depth in the proceedings that was lacking from previous samples. It brings out other considerations, such as Fred and Manny, who enter the lives of Margaret and France. 

Fred and Manny's function in the movie is to substitute sexually with Margaret and France respectively, as the cousins cannot be with one another because they are related. This adds a complex undertone to the events which is at odds with the more conventional, straight-laced narratives of the other films. While THE BUTTERCUP CHAIN could have been at risk of becoming lurid with this subject matter, the handling takes into account the feelings of the characters, which packs an emotional wallop after a pivotal scene takes place. This is another area where the movie diverts from others in the genre. The breakdown in censorship at the time allowed for a more in-depth, and honest view of these relationships that could not have occurred previously. An original entry into the love quadrangle genre, THE BUTTERCUP CHAIN is of note for its sensitive, tense handling of a controversial topic.

Overview: Robert Ellis Miller was an American director with eleven feature films on his resume, and one movie on which he partly participated. His inaugural film, ANY WEDNESDAY (1966) was a comedy romance about a young woman caught between both a married and a single man, starring Jane Fonda and Jason Robards in the main parts. Next came SWEET NOVEMBER (1968), with Sandy Dennis as a woman who ingratiates herself into the lives of several men for a special reason. One of Mr Miller's most famous films, THE HEART IS A LONELY HUNTER (1968) was his third effort. Charting the blossoming relationship between a man and a young woman, it had a tragic undertone that was expertly delivered by a cast headed by Alan Arkin, and Sondra Locke in the lead roles. Mr Miller followed this with another comedy, THE GIRL FROM PETROVKA (1974), which was about the romance between a Russian ballerina and an American journalist. From herein, Robert Ellis Miller's output was not as varied, or memorable as his earlier films. 

BIG TRUCK AND SISTER CLARE (1974) focused on two Israeli truck drivers picking up a nun from her convent and other assorted incidents. BALTIMORE BULLET (1980) starred James Coburn and Omar Sharif in the escapades of two pool hustlers. REUBEN, REUBEN (1983) was a return to the whimsical romance style of his first few films, about the love a poet has for a young woman. In total contrast HAWKS (1988), was a comedy drama about two terminal hospital patients seeking a good time in their remaining time on earth. BRENDA STARR (1989) was a costly, loss-making film about a comic book artist who becomes part of his book, and involved with his female character. Robert Ellis Miller's final movie, BED & BREAKFAST (1991), was about three women running a bed and breakfast whose life changes with the entrance of a man, played by Roger Moore, into their lives. THE BUTTERCUP CHAIN, his fourth movie, was one of Robert Ellis Miller's most interesting, subtle works.

Based upon the novel of the same name by Janice Elliott, Mr Miller has done an admirable job directing THE BUTTERCUP CHAIN. Robert Ellis Miller has crafted a film that flows very well, and moves from one character, and situation to the next, with ease and grace. The transitions are smooth in this regard, and never abrupt. It has a romantic, ethereal quality shared by Mr Miller's first few movies such as ANY WEDNESDAY, SWEET NOVEMBER, and THE HEART IS A LONELY HUNTER. In terms of a comedy-drama balance, THE BUTTERCUP CHAIN had comic moments within its narrative structure, but these were subdued in tone, and never comedy for the sake of comedy. These were natural to the characters, and have a place in the movie without ever being forced. They are about expressing characters' feelings for each other, stolen moments, and are in a sentimental vein. There are other sound qualities of the film which warrant mention.

At first glance, THE BUTTERCUP CHAIN seems to have a series of events that appear casual upon initial examination, but the second half of the movie puts everything that has occurred into perspective for the viewer. All the intimate, unhurried moments between the characters, and privileged conversations add up to an unexpected, highly charged scene in the nightclub sequence. The film explores the psychological excesses of its characters' lives of freedom, and infidelity, in this shattering segment, and with it comes a tone of reflection, and repent, for mistakes made. This is the best part of the film, and what gives it power. There are, though, some aspects which may be misunderstood for their presence, and seem frivolous.

The flashes of both male, and female nudity, and the sexual merry-go-round played among the four main characters is something that seems unnecessary on the surface, and somewhat exploitative. Looking closer at the story, though, these features are utilized to emphasize the uninhibited, candid nature of the relationships in the movie, and how free love does not always have positive consequences for all. This is what lifts the movie from being something sudsy and empty, to having meaning. A highly satisfactory picture with its heart in the right place, THE BUTTERCUP CHAIN is a pensive film which shows off its director, and cast, in a flattering light.

Acting: The film has five main performances which are all distinctive, and support the movie's message exceedingly well. As France, Hywel Bennett adds another interesting portrayal to his list of performances. With his biting line delivery and smoky voice, he is both adept at showing bitterness, but also, sensitivity with finesse. As Margaret, France's cousin, Jane Asher has a relaxed manner and attractiveness that nicely offsets France's offhandedness, and the two actors work together convincingly as the tragic cousins. Leigh Taylor-Young always has an allure that appears well on film, and here is no exception. As the object of desire of not only one, but three men in the movie, Miss Taylor-Young makes this romantic escapade understandable for the audience with her interpretation of the wistful Manny. Two other actors make an impact in the film with their acting.

Adding jauntiness to the proceedings is blonde, handsome Sven-Bertil Taube as Fred, who becomes involved with both Margaret, and Manny. An actor who adds joy and life to the film, Mr Taube is fine in the comic sequences, but performs equally well in the dramatic segments, particularly the nightclub sequence. Despite been showcased in a state of undress for much of the film, Mr Taube rises above this with his intelligence, and nous. The final acting of note in THE BUTTERCUP CHAIN was by Clive Revill as George, a man interested in both Margaret and Manny. A performer whose face is like a canvas, expressing happiness and sadness, allowing the audience in on his intimate thoughts, this eloquent actor happily rounds out the great acting in the movie.

Soundtrack: The movie has a sweeping musical theme that is employed at both the film's start, and at its conclusion. It has a softness and sensitivity in keeping with THE BUTTERCUP CHAIN's thoughtful presentation.

Mise-en-scene: THE BUTTERCUP CHAIN is beautifully photographed by Douglas Slocombe, with many exquisite scenes captured, the highlight being Margaret sitting in a field of buttercups. The outdoor locations are all well-chosen and naturalistic, ranging from the United Kingdom, Spain to Sweden, giving the film an international flair. Costuming is appropriate to the characters, with France's idiosyncratic fashion sense complementing his volatile personality, and Margaret's garments elegant, but never overpowering, emphasizing her aspirational nature.

Notable Acting Performances: Hywel Bennett, Jane Asher, Sven-Bertil Taube, Leigh Taylor-Young, Clive Revill.

Suitability for young viewers: No. Male nudity, female nudity, adult themes.

Overall Grade: B

Link: IMDB Page

Trailer

THE TOUCHABLES (1968)

Title: THE TOUCHABLES

Year of Release: 1968

Director: Robert Freeman

Genre: Drama

Synopsis: A pop star is kidnapped by four young women and held hostage as a sexual slave in a pleasure dome, but is eventually rescued.

Within a film history context: Films about the Swinging London of the 1960s and early 1970s were a common occurrence in the cinema of these eras. John Schlesinger's DARLING (1965) with Julie Christie, focused upon the life of a young fashion model in London. Silvio Narizzano's GEORGY GIRL (1966) and Lewis Gilbert's ALFIE (1966) were both comedic in tone, and examined a young woman in love with a young man, but marrying an older gentleman, while the latter film examined a young Cockney's love exploits in London. Michelangelo Antonioni's BLOW-UP (1966) was a jazzy thriller about a photographer and his love life, and his involvement in a murder.

Nicolas Roeg's PERFORMANCE (1970) was one of the most audacious of the films set in Swinging London, replete with sexual content and violence as a criminal takes refuge in the home of a rock star. In contrast to these films, THE TOUCHABLES lacked romance and drama, but was much more fantastical and escapist in outlook. While it had a certain jazziness and sense of humour in common with the other films, its focus was less on story than those but instead, on surface appearance. The quartet of attractive actresses could be said to hark forward to television series such as CHARLIE'S ANGELS with its trio of private investigators, but comparisons to this program can only be made on the level of female pulchritude than story.

Overview: Robert Freeman was a photographer for the Beatles, but also a film director in the late 1960s. Of his two films was the romance drama SECRET WORLD (1969) starring Jacqueline Bisset, his first being THE TOUCHABLES. While it is a film which is likeable, the overriding emphasis of the movie is not on its story but, instead, its visuals. This can be a good quality when the story is as strong as the imagery, complementing it, but in THE TOUCHABLES, while not working against it, does not produce a balanced film.

The kidnapping of a pop singing idol could have been handled in a much more emotional, and suspenseful manner, but in the film it is just an excuse to have this character tied to a bed, and subsequently taken advantage of sexually by a bevy of attractive young women. There is no explanation as to why these young women, the eponymous touchables, kidnap the pop idol, and, if they were put up to this by someone else. There is also no indication as to why the African-American wrestler finds pop idol Christian so fascinating, and wants him sexually. The film leaves these, and plenty of other plot holes throughout its running time, which make the film very frustrating to watch.

If the director's aim was to produce a film where visuals are more important than a consistent plot he has succeeded in this vein, with the resulting effect that the story has taken a back seat to the spectacle, hindering what could have been a much better film. Remakes of excellent films are often hit or miss, not always improving upon the original, and many times unnecessary in the first place. I believe THE TOUCHABLES would well do with a remake, but this time, hopefully, with a more compelling story to match the stunning visual feast for viewers so that they can be nourished on both levels.

Acting: THE TOUCHABLES is definitely a film where the spectacle on screen takes a definite back seat to the acting, this being detrimental to its overall impact. This is also linked to the story, and how the lack of a strong storyline possibly did not assist the actors to perform in a more passionate and convincing manner. The agreeable David Anthony has the look and aura of a pop idol, but his kidnapping does not elicit an overly heated reaction from him in the film. While he does resist somewhat at first, he seems to submit too quickly, and this makes the character somewhat wishy-washy. The film also seems to relish presenting him scantily clad, which is a tenet of this film in other ways.

Similar to David Anthony, wrestler Ricky Starr only seems to be in the film to show off his physique in extremely skimpy costumes and towels, but there is no dramatic impact from his presence - he is only present as a symbol of phallic masculinity. Possibly he is posited as a macho contrast to the less muscular David Anthony, but that is the extent of the contrasts of the male characters. The young ladies in the film, while different in looks, are not particularly well-defined. The only actress given some dramatic meat to chew, and who performs it well, is Judy Huxtable. Her educated air, flawless diction, and businesslike manner, good looks, and iciness work well in THE TOUCHABLES, and hers stands out as the film's best performance, effectively differentiating her from the other actresses in the film.

Soundtrack: THE TOUCHABLES has quite a catchy 1960s theme song that is played both at the film's beginning, and at its conclusion. There are some incidental uses of the song through the film in several scenes, the vocals adding a melodic touch to the proceedings. Apart from this piece, there are several other songs played during the more dramatic moments in the film which do complement the visuals, and add interest without being too overpowering.

Mise-en-scene: This is the strongest element of the film, standing way above the film's other features. From its beginning to the very end, THE TOUCHABLES is visually beautiful without being garish. The film's opening credits introduce the four young ladies who have the main roles in the movie, and the effect is somewhat akin to a shampoo commercial, with their flowing hair and faces highlighted, but this sets the tone for the remainder of the film. The pleasure dome where the touchables kidnap, and ravish their victim is one of the most inventive sets ever captured on film, and a major reason it is worth seeing the film out of curiosity. Other sets such as the stadium where Ricky Starr performs his acrobatic stunts, the Wax Musuem, the funky city abode the touchables inhabit, with its 1960s kitsch paraphernalia, and the Sporting Club featured are all well-designed, giving the movie a depth in this sphere.

Suitability for young viewers: No. Brief male and female nudity, adult themes, low-level violence.

Overall Grade: D

Link: IMDB Page

Trailer