shepardjessica-1

I'm not familiar with Mr. Franco's work and I'm sure he has more interesting films than this one. Luciana Paluzzi is barely in it. Rosalba Neri is sensuous as always. Elisa Montes, a real beauty, gives the best performance. Maria Rohm resembles Chery Ladd (TV's Charlie's Angels). Mercedes McCambridges is a tough commandant. Maria Schell is compassionate and kind as her replacement with Herbert Lom playing the sleazy lecher Governor.

Rating: 4/10. The ending was very ambiguous with a terrible song that also opens the film. Some interesting jungle shots and the babe factor pushes this one along with little result, but I'm glad I saw it.

This film was exactly what I expected with some fun mid-60's music. Mary Ann Mobley, who basically only made this type of film, is lovely as always as the songwriter college girl who in a fun way is somewhat of a pre-feminist. Chris Noel as Sue Ann, the beautiful blonde, who also specialized in 60's beach films is delightful, and Nancy Sinatra (although she doesn't sing) appears in one of her first films and looks so young. The men are nothing to speak of.

Interesting musical groups including The Animals and The Dave Clarke Five make this better than some from this genre. Best performance = Chris Noel. Enjoyable, silly jokes, watusi dancing, and just fun stuff.

Nazis, she-creatures, Hop Singh & the lovely Irish McCalla (Sheena, Queen of the Jungle on TV) populate this low-budget mess that couldn't be more fun. Bad dialogue abounds, Victor Sen-Yung (from Bonanza), Tod Griffin as a less than charismatic hero, and of course the beautiful, tall, athletic spoiled rich girl played by Ms. McCalla. Comical SS soldiers, beautiful dancing girls getting "make-overs" that don't quite work out and a "deserted" island. All the ingredients necessary for a shlock epic.

A 5 out of 10. Best performance - the head Nazi doctor. Not to be missed if you have a hankering for b/w drive-in fare from the late, great 1950's. It's too bad I. McCalla didn't make more of these. She couldn't act a lick, and admitted that in interviews, and later became a well-known artist (painter) in the 60's. One of the real beauty pin-up queens of the 50's.

Another vibrant creature in Ms. Bardot's growing gallery of young temptresses is a joy to behold. Filmed in Spain in glorious technicolor, her beautiful golden hair cascading around her shoulders, she proves once again that no man is her match. Teasing and flirting with a well-to-do bull-breeder (who has a lovely invalid wife), this flamenco student is the ultimate sex kitten and proved she was the most irresistible sexual creature ever put on film. She plays him like a fiddle as well she should. Dressed in various bolts of red, yellow AND black, usually barefoot or wearing tiny slippers, flaunting her trademark dancer's walk, Ms. BB is at the top of her game with her confidence shining through.

A melodrama similar to THE NIGHT HEAVEN FELL ('58 as well) with beautiful locales that are exceptional. I don't think this did well at the box office with many bloated critics sneering at her blatant sensuality. Don't watch a dubbed version of this where they stick Ms. Bardot with a terrible voice, as they did many times.

A 7 out of 10. Best performance = B. Bardot. Gorgeious and seductive, holding out until it suits her needs, this young woman should be applauded for showing true sensuality in those censor-ridden and repressed 1950's. Bravo BB! The 1st truly independent woman in film at a relatively young age; 23 at this time. This film surprised me. Very few actresses nowadays, even in their thirties could project a maturing young woman's inner workings. Most of them still seem like teenagers. Oh well.

Although I've usually enjoyed Chabrol's film and his (then-wife's) Stephane Audran's ice-cool looks, this is down the ho-hum trail from beginning to end (picking up a bit in the middle). Trintignant is his usual passive self and Jacquelline Sassard is strange and disturbing-looking with no apparent acting talent.

A 3 out of 10. Best performance = S. Audran. If this is supposed to be erotic, mysterious, and dark - it missed the mark by a mile. Beautiful French locales with extra supporting characters who serve no real purpose. Don't waste your time unless you're really a Chabrol junkie. Have wanted to see this for years...what a pity.

Michael Sarrazin had such a promising career when he was young (They Shoot Horses, Don't They?, The Sweet Ride, The Film-Man Man). What happened? I guess losing the part (because of his agent) of Joe Buck in Midnight Cowboy did him in. Anyway, this piece of 18th Century JUNK is beyond description. The most horrifying musical score in memory.

A 2 out of 10. Best performance = Ursula Andress (the only saving grace in the film - beautiful & fiery). Ms. Andress is used to this style of goofiness. Most "comedies" portray Napoleon as an idiot or mentally unbalanced, but this one takes the cake (let them eat it). Unbelievable waste of money spent on this European turkey that makes you cringe with the bad gags, overabundance of stunt men, thousands of extras and just plain creepy. AACKK.

This low-budget strange film (released in '67), but probably made in '63 has a phenomenal opening shot with the main woman strolling down the wooden boulevard to the strains of "When The Saints Go Marching In" while she proceeds to (on high heels) mess with folk who are already where she has been.

Throw in a corrupt minister, a naive black (young) guy, and a lecherous drunken father and the title of the movie hits you like a rock. But, well-filmed cinematography (B/W); some bikers (who are punks), great locales where they filmed it (Florida or California) and you have a fascinating piece of American Pie with actors who never acted again....but I liked it (and the poster is cool). Can't imagine what people thought when they saw it in a theatre (drive-in or otherwise; in any state) back in the 60's, but well worth the trip. A 5 out 10. Best performance = lead actress (can't remember her name). Check it for gator, cajun, preacher, high-heeled, b/w, jumbo, almost-educational morality types, and just plain American tale of woe and excitement on a Saturday night below the Mason-Dixon Line. Thoroughly captivating and choice, but not a great film.

For some reason, I expected more crass (and I've seen Russ Meyer films from the late 60s and early 7s) and exploitive (although they are in docu-creepy realistic funny way) rendition of a story like this. I couldn't have been more mistaken. Perfectly cast - Hal Hopper (the ultimate sleaze-bag in a worn linen suit, babes galore - Lorna Maitland and her beautiful mute sister (can't remember her name) who was mute (and has no lines)...the "crazy" and hilarious mother of the these two "Lil Abner" rejects who makes moonshine ..on the side - whose name is Princess something (in real life)...Anyway, I'm making it sound complicated and it's not and it's not "dirty" (even for then). It's funny, serious (darkly later), kind of sexy, great b/w cinematography and the ending is on the plains.

I never thought this film would be good. Meyer's best film (that I've seen - which is about half his output). Well-done.

This typical "drive-in" flick of the late 50s is actually fairly complicated that gets very interesting in the last 45 minutes. "Starring" the totally under-appreciated Beverly Garland (a scream queen of the 50s) and Tuesday Weld's mom in PRETTY POISON in the 60s, this sly "gator" tale is walked through Cajun swamps into unknown realms where George MacReady and Lon Chaney, Jr. live every day. Thankfully, Ms. Garland (beautiful, talented, and finally on the color MY THREE SONS episodes) is SO believable in her character's plight about her husband's "condition" ..you're sucked it.

Best performance - Ms. Garland. A 7 out of 10. The husband (who looks the same to me ..even when he's "afllicted" is good), but the Mom, the servants, the HOUSE. It has all the ingredients that make "B" movies fascinating with a lot of help from Beverly Garland playing a lead Chara ..along with Bruce Bennett and various types. Recommended for it's breed of cat.

I couldn't make head nor tail of this Euro-mess. Even with 3 of my favorite European beauties from the 60's (Stefania Sandrelli, Barbara Bouchet, and Claudine Auger) AND Barbara Bach, this gloomy Italian mystery tale has no value, story-wise. Some interesting locales, but went from bad to worse. Even Giancarlo Giannini seemed bored.

A 1 out of 10. Ms. Bouchet has a fetching derriere. I haven't seen many of this type of film, but it was pointless drivel at best. I hope the actors were paid well. This film is an immediate sleeping pill. I dozed off four times just trying to wade through it. Forget it. The director fell asleep at the wheel. Great music...

One of the best of '59, with great musical score (Belafonte financed this apparently), intense B/W cinematography with wonderful actors, including Harry Belafonte as Johnny. Robert Ryan as the racist (unlike he was in real life) is all too believable with his wisecracks and attitude while he is a ticking time bomb, especially with his pathetic girlfriend (Shelley Winters - wonderful actress), constantly trying to deal with his moods. Small "cool" role for Gloria Grahame. Ed Begley (Oscar Winner a few years later) as Dave in one of his best roles. Richard Bright (Al Neri in THE GODFATHER) as an effeminate stooge thug.

An 8 out of 10. . Best performance = Robert Ryan. Upstate and Manhatatan locales (no sets), jazz clubs, and time is spent. One of Robert Wise's better films, for sure. Wayne Rogers (Trapper on TV show M.A.S.H.) in probably his 1st film, and Cicely Tyson has a few lines (early in her career). Find this one.

This lively and spirited version of Bob Fosse's stage show was deserving of many of it's awards and I'd rate it a 9 out of 10. Best performance - Renee Zellweger. As Roxie, Zellweger carries the show on her skinny shoulders and should have won Best Actress. Catherine Zeta-Jones looks a bit fleshy in her Oscar winning performance, although she does fine. John C. Reilly is pathetic as called for, and Richard Gere finally found a role that suits his "smarmy" personality.

I think this is the Best Musical in years with interesting plot and well-directed pace. The big songs are spectacular and the quiet ones (the few) are touching and cynical in a tough Chicago world.

Robert Mitchum gives his finest performance as Harry Powell in Charles Laughton's lone directing job. What a character! Adults trust him and children don't. Like a Grimm Brothers nightmare with incredible cinematography (b/w) by Stanley Cortez. Shelley Winters is as pathetic (her character) as she was in A Place In The Sun and the children are excellent, with sturdy support from the grand old lady Lilian Gish.

A 9 out of 10. Best performance - Mr. Mitchum. People apparently weren't ready for this in the mid-1950s since it had no popularity (now probably considered one of the best of that era). This is not be missed and it's a shame Mr. Laughton never got another chance. LOVE and HATE go hand in hand as Harry would say. Creepy yet beautiful soundtrack and a film that lingers on in the mind. Great stuff!

The best (although 1913) Western made, in my opinion. Peckinpah was really in his element with this epic tale of "closure" in the Old West with a marvellous cast and all versions of this one are excellent (with realistic and unappealing violence). All those great 50s actors winding down (as characters, most of them) into the NEW WORLD. William Holden, proud and tired, was never more authentic. Robert Ryan (one of my favorites) with similar feelings and almost gone (after THE ICEMAN COMETH, one his best) without achieving true respect in film history (with a wonderful stage career as well). Ernest Borgnine (one of the few left from this cast) as loyal Dutch with his own set of principles. Edmond O'Brien - crusty and smarter than most think, especially the Gorch Brothers played by two originals - Ben Johnson and Warren Oates - not too bright, but tough, and unaware until the closing door. Strother Martin, L. Q. Jones, Jaime Sanchez, Bo Hopkins, etc. - great cast.

A 10 of out of 10. Best performance = Robert Ryan. Should have won Best Cinematography. It deserved more than it's two Oscar nominations. An epic of the changing times with dusty, windswept villages and horses looking for their riders. A beautiful film!

This loosely based "Howard Hughes" tale, full of corruption and the American Dream with wonderful, almost Soap-Opera acting techniques actually plays, because it is well cast. Carroll Baker, beautiful and gorgeous playing the party girl, Rina, who is selfish and proud of it, to George Peppard (finally appropriately cast after 5 year of miscasting) playing Alex Cord (tough, messed-up, good businessman, the new Anti-Hero), Alan Ladd on his last little legs (good actor), and Elizabeth Ashley (wonderful actress (Happiness) who never got a break) playing Peppard's smart, rich, flame (who in real life was actually married to George Peppard) before Martha Hyer comes sliding in.

Great American melodrama (ten years after it was popular in American and everywhere) playing out the string. Best performance = Carroll Baker. A 7 out of 10 (mostly for over-the-topness). If you like this, check out THE Oscar (actually worse; but great characters) dying in a bog while they complain about their wardrobe. A pastiche of the 60's that I saw when I was 12 and never got it...until I was 18 (a million ice-ages ago). Music is terrible. Directing is non-existent. Great extras and Nevada locales and some interesting bad "good" fight scene (in between love quarrels and money debates)...the river flows. Give it a chance. It's it's own real world that keeps a pace screaming until the end (when the music gets really loud) and you realize something or whatever. Give it a shot!

One of my favorites and I think Hitchcock's best film. Made relatively low-budget with his TV-show crew, this movie has haunted me for years and not because of the shower scene. Actually, the best scene is just prior to the shower scene and it's in the parlor with Norman and Marion. The only human connection moment in the film that doesn't show selfishness or ulterior motives. Quiet and full of info, as the camera looms over them, this scene is masterful in writing and acting. Perkins gave his best performance as the timid and lonely Mr. Bates who really is clueless. Janet Leigh is perfectly cast as the sexy, intelligent woman in over her head. The rest of the cast is top-notch and this film should have cleaned up at the Oscars in '60, but was considered too creepy for most folks.

A 10 out of 10. Best performance = Perkins. Brilliant editing and cinematography (b/w) with The Bates Motel a wonderful set. This film is highly undervalued and I don't consider it a horror film. Dashed illusions, loss of essence, and money-will-fix-it attitude while suspicions fly all over the place. Great stuff!

Except for Margaret Rutherford's wonderful performance (Oscar-winning), this bloated star fest is horrible, especially Elizabeth Taylor (in her worst performance), Rod Taylor, and Elsa Martinelli. Burton is acceptable and Welles is amusing, but what a script! A 4 out of 10. Best performance - Richard Burton. They made a lot of these character epics in the 60's and this one is the worst of the melodramatic lot; even the music sounds like it's from Ben-Hur. What a misguided waste of costumes and airport sets. I'm sure everyone was paid for a fortune for this mess and it's disgraceful. Maggie Smith is lovely as R. Taylor's loyal and loving secretary.

Vibrant and urban paranoia to the max in the 70's!. Deniro's, Scorsese's, Keitel's, and teen Jodi Foster's best work in a tough and exciting big city tragedy of "redemption" and survival. Great script by Paul Schraeder (his best as well; I'm not a big fan of films he's directed), throw in Peter Boyle, the Lower East Side, Cybill Shepard finally cast properly (although she's clueless), and a variety of supporting actors who have a seamless thread to the streets of New York City in that time period (I lived there then) and it's brutal and sad, but a valuable piece of Americana, ugly or not.

A 10 out of 10. Best performance = Mr. Deniro. Bernard Hermann's last score (1st being Citizen Kane). Great cinematography and scenes that go on too long..to make you even more uncomfortable. No wonder this film won 0 for 4 Oscars (who cares?). Hard to watch (like IN COLD BLOOD), but on the track and a true American tale if there's such a thing.

A wonderful book and the film captures much of the beauty and culture, although some side-stories are given short-shrift (Portia and her father). This is my favorite film of '68 and Alan Arkin should have Won gold. His John Singer, a thoughtful and attentive man who realizes the plight of humanity's basic selfishness too far down the road is a complete character. Sondra Locke's debut was marvellous and Chuck McCann was also brilliant.

A 9 out of 10. Best performance = A. Arkin. Stacy Keach's film debut. I wish Cicely Tyson had more scenes to play with Percy Rodriguez as we are left in the cold about much of their situation. Highly recommended film!

Jean Renoir was a fascinating director, but this one has holes in it, despite a classic "beach" mood. Robert Ryan, one of our most underrated actors, looks perfect but seems miscast in this one. Joan Bennett (I've never quite gotten her appeal) seems lost, although she was perfect in the two Fritz Lang films (Scarlett Street & Woman in the Window). Best performance = Charles Bickford as the blind painter-husband. I know there were problems with editing this at the time, but I kept hoping for more.

A 6 out of 10. Too much blasting music, but great cinematography. Irene Ryan (Granny Clampett) has a supporting role, and I believe this is the first film I've seen her in. A great director, but I just couldn't grab onto this film.

Sweet and lovely Brigitte Bardot is almost in her own world in this delightful "love" story from the mid-50's. Louis Jourdan is his usual suave Frenchman and Ms. Presle is amusing and driven, but Ms. Bardot (as usual) walks away with the film. Playing a model (by accident) she glides through situations without getting stressed, looking stunning the entire time.

A 5 out of 10. Best performance = B. Bardot. Not much of an acting challenge for BB and the others, but lovely musical score and great location shooting and just fun. I'm catching up on Ms. Bardot's film and find her delightful, charming and always a treat to the eye. This was right before her "sex" image burst onto to the screen in AND GOD CREATED WOMAN.

Ms. Bardot, as always, is charming and delightful and has a cool little studio apartment in this lovely pastiche. It's perfectly cast with very few semi-nude scene and Brigitte is delightfully in love with a yuppie fool who can't see the light. BB's suitor is funny and attentive and worthy of her attention.

A 6 out of 10. Best performance = Ms. Bardot. She made only a few great films, but is always worth a look because of her presence. Great photography and locales in France. I'm surprised BB doesn't have more of a following, but I realize she hasn't made a film since '73. I've seen about half of her films and enjoyed most of them. Check them out.

Brigitte Bardot sparkles in this lighthearted romp with Charles Boyer and looks great as always. Although I prefer her dramas and melodramas her romantic comedies are a filling dessert. She seems comfortable, relaxed, and appears to be having a fine old time. Boyer is always charming and an undervalued actor for many years.

A 6 out of 10. Best performance = BB. The music is annoying, especially the opening, but the color is great. All Bardot fans should seek this out (just for fun). I think Bardot is under-rated because few of her films are GREAT ART, but she holds her own with anybody and was always a treat for the eyes as well.

Off-beat kooky film that's great with relaxed and funny performances from James Caan & Sally Kellerman in the leads. Howard Zieff also directed HEARTS OF THE WEST 3 years later (wonderful flick). Road flick, dangerous, great supporting cast including Peter Boyle (so great in JOE, TAXI DRIVER, and THE CANDIDATE and Louise Lasser - always interesting). From the opening with Richard B. Schull, James Caan is in a state of perpetual paranoia in the plains and it's like a Jonathan Demme film crossed with David Lynch with a touch of Woody Allen. An 8 out of 10. Best performance = Peter Boyle.

Seek this little gem out if you're interested in hip 70's films that didn't make the bucks and really wasn't seen by many Americans. Terrific stuff with a laid-back yet keen sensibility.

Brigitte Bardot lights up the screen (while keeping her threads on mostly) as a wife who plans to clear her husband's name while working at a dance studio..and she can really mambo. Very complicated plot, but well-paced. Hits some night spots which few films did at the time (cross-dressing) with overall decent acting and beautiful color.

A 6 out of 10. Best performance = BB. The guy who played BB's husband (the dentist) died right after this. He was married to Michele Morgan, I believe. Brigitte is sexy, intelligent, fun, dilligent, and focused in this surprising little gem (without being art). Dawn Addams is an added treat. The DVD copy I watched was clear as a bell which many of Ms. Bardot's film transfers are not. Seek it out for an interesting and fun surprise.