National Vietnam War Veterans Day

Today is National Vietnam War Veterans Day

First Blood is the first and best of the Rambo movies. Each sequel in the series became more simplistic and excessively militaristic. Based on David Morrell’s novel, First Blood has a dark somber tone and subtext completely missing in the other later works. The violence here is not exploitive but allows the viewers to enjoy the film on the surface as nothing more than an action/thriller. Howwever, there is a deeper level with something to say about returning war veterans and their problematic adjustment back to civilian life. The Vietnam veteran had the additional burden of facing a hostile homecoming. Unlike all previous veterans from earlier wars, the Vietnam veterans were not treated as heroes, instead they were met with disdain, spit upon, and even called baby killers.

Like many Vietnam Veteans, John Rambo (Sylvester Stallone) has PTSD that went undetected. A former Green Beret, Rambo was the perfect fighting machine in Vietnam, but back home he can’t hold a job. He’s lost and travels aimlessly. In a small town in Washington State, he meets a hostile sheriff (Brian Dennehy). Rambo has a rebellious streak in him and it doesn’t sit well with the lawman and his crew. When cornered, he fights back the only way he can, the way they taught him.

First Blood, in its own crude way, shows why Vietnam Veterans deserve a day of their own. It may be hard to believe today that Veterans were treated with such scorn.

Having a day of their own is the least that we can do all these years later.

Read more about Vietnam Veterans War Day here.

Valentine’s Day – 1929

On Valentine’s Day in 1929, Al Capone allegedly sent a surprise gift to his Chicago North Side enemy Bugs Moran. Capone and Moran were in the middle of a gang war over territorial rights involving bootleg booze. On that romantic holiday, four men posing as police officers, entered Moran’s headquarters. They lined up seven of Moran’s thugs against a wall (Bugs wasn’t there) and emptied their machine guns into them. While it has never been completely proven that Capone was behind the massacre, he is generally credited with the bloody gift. Photo is from Roger Corman’s 1967 film, THE SAINT VALENTINE’S DAY MASSACRE.

My Favorite Private Eye Films

Here we have my top ten, plus six HM’s, of my own personal faovorite P.I. eyes. I’ve always had a soft spot for the anti-hero types, though you will find Nick and Nora Charles on the list. It was Humphrey Bogart as Sam Spade and Philip Marlowe who cemented my love for the mean dark streets of film noir where many of the best P.I. films are set. Please share you own favorites if you so desire.

The Maltese Falcon (1941)

There are lies, deceit, sex, betrayal, murder, a stay true to the source screenplay by John Huston, a supporting cast that includes Mary Astor, Sydney Greenstreet, Peter Lorr, Elisa Cook, and of course Humphrey Bogart as Sam Spade all add up to make this film the epitome of Private Eye films.

Chinatown (1974)

The Long Goodbye (1973)

A multi layered, satirical, witty send up, and as you would expect from Robert Altman, a breakdown of genre conventions. Still the film keeps many of Chandler’s archetypal characters (wives stuck in loveless relationships, low-rent hoods, and cops too bored to do the job right) but he does it with a twist. Altman’s Marlowe is not the hard boiled knight in 1940’s armor living by his own moral code. In fact, this Marlowe seems to lack a moral center. Altman, along with screenwriter Leigh Brackett, turned our anti-hero into a man who is out of his time. He is the complete outsider; from the law, the hoods, even to his neighbors..

Kiss Me Deadly (1955)

Mickey Spillane’s Mike Hammer was never better served than in Kiss Me Deadly. Ralph Meeker’s Mike Hammer is a cold, brutal, sneering, amoral, narcissistic, and sullen dark knight dealing out revenge as his own form of hard-nosed justice. He’s a “bedroom dick” who easily confesses to some irksome cops to his own repugnance (you’ve convinced me, I’m a stinker). After giving a lift to a psychiatric ward escapee (Cloris Leachman) Hammer finds himself involved in a mystery where radioactive material is the prize. Director Robert Aldrich has delivered a cynical, fatalistic, and apocalyptic noir masterpiece.

The Big Sleep (1946)

Harper (1966)

With the making of Harper, based on Ross MacDonald’s first novel there was a definite connection to the past. First, there’s author MacDonald who writer Michael Avallone once wrote that Hammett, Chandler and MacDonald were the “Father, Son and Holy Ghost” of the hard-boiled school of fiction. MacDonald himself was a major influence on many of the mystery writers we read today including Sue Grafton, Robert B. Parker and Robert Crias. Next was Warner Brothers, the same studio that brought you The Maltese Falcon and The Big Sleep, released the film. Finally, there is Lauren Bacall. Bogie’s Baby herself who taught Bogart how to whistle. Paul Newman’s Harper is cynical and quick with the wise cracking, snappy comebacks. Like many classic P.I. films, it all takes place in California, land of off-beat cults represented here in the face of Strother Martin as a phony guru who runs a cult called Temple in the Clouds.

The Thin Man (1934)

Devil in a Blue Dress (1995)

Farewell, My Lovely (1975)

I always ranked Humphrey Bogart as my favorite screen version of Philip Marlowe with Robert Mitchum a solid number two. Mitchum plays an older version of the P.I., but just as cynical. He’s backed up by a nice group of supporting actors including the beautiful Charlotte Rampling, Sylvia Miles, John Ireland, Harry Dean Stanton, Anthony Zerbe, Jack O’Halloran with a minor role by still unknown Sylvester Stallone. Look for the great hard-boiled writer Jim Thompson in a small role.

Marlowe (1969)

Honorable Mentions (in alphabetically order)

Kiss Kiss Bang Bang (2005)

Klute (1971)

Murder, My Sweet (1944)

My Favorite Brunette (1947)

Night Moves (1975)

Shaft (1971)

New eBook: Politics on Film

I am both editor and contributor to the latest CMBA (Classic Movie Blog Association) eBook, POLITICS ON FILM. Thes book contains seventeen essays covering politically tinged films dating back to the 1930s and up thru the 1960s. While not a definitive collection, the articles include a wide range of political points of view from the courageous to corruption to satire. Among the movies included in this collection are well known works like The Best Man, All the King’s Men, Duck Soup, and Yankee Doodle Dandy, to more obscure films such as Medium Cool, What Every Woman Knows, and Left, Right and Center.

Contributors: Paul Batters, Annette Bochenek, Marsha Collock, Jocelyn Dunphy, Patricia Gallagher, Amanda Garrett, Rick Gould, Jess Ilse, Marianne L’Abbate, Kevin Maher, Beth Nevarez and Lora Stocker, Patricia Nolan-Hall, Linda J. Sandahl, Patricia Schneider, Nur Soliman and J.O. Watts.

All proceed from the purchase of this eBook from Amazon are donated to the National Film Presevation Foundation. Also available from Smashwords for FREE.

Thoughts on Movie Going in the Age of Covid-19

Will movie going ever be the same? It’s not like I want to add more doom and gloom to what we have been experiencing, however after reading a few articles recently, I have wondered about its future. Theaters are in crisis. Regal theatres have kept its doors closed up to now. AMC is open with limited capacity and struggling.  Like many, I have not been inside a movie theater since the pandemic hit us early this year, turning our lives inside out. True, I have been watching plenty of movies, thanks to DVD’s, Netflix, Amazon, and other outlets that we fortunately have today, but theater going is still a unique experience. I mean, I don’t care how big your TV screen is, it’s not as big as a theater’s. And though I no longer indulge, I love the smell of movie theatre popcorn, and just having other people around to share the experience. All of which is all gone… at least for now. 

One article I read mentioned how many of the studios have been postponing the release of their major films until next year. Steven Spielberg’s new version of “West Side Story,” scheduled for release this Christmas season now pushed back to a December 2021 debut. Also, there is “Respect,” the bio about Aretha Franklin, starring Jennifer Hudson, that should have been out by now. Instead, it now has a new release date of August 2021. This is all in hopes a vaccine would be out and the pandemic gone, or at least under control by then, and audiences will feel safe enough to come back and sit next to hundreds of other people in an enclosed space. What are the odds?

Despite people, including myself, and businesses wanting to get back to normal, what we are facing is a new normal where life has changed. It won’t be forever, but until COVID-19’s eradicated like Polio, you have to ask yourself how safe is it to go back to the old normal, and what is your tolerance for risk? For me, my risk tolerance of going to a movie theater filled with people who don’t want to wear a simple thing like a mask or don’t believe the science or just don’t care is more than I can deal with in my life.

Be open and willing to adjust to changes in life.  

I hate not going to a movie theater or seeing a live concert or theater performance. I also hate the idea of getting sick from a disease that we still know little about and seems in many people to have long-lasting effects.

But I also think how much worse this all could be if it was 1970 and there were no PC’s or I-Pads, I-Phones, cable TV and streaming services to connect us with the outside world like we have today. Think about it, how fortunate we are in that respect.  

No, I won’t be going back to a movie theater for a while, a long while. I miss it, but I’d also miss too many other things in life if I get sick or die. I’m not living in fear as some may say or think I am. I’m adjusting to a new normal that may be around for a while and making the best of it. I just need to decide what movie I want to watch tomorrow.

Movie Watching in Quarantine Scene 8

Jaws

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Jaws has become more than the prototype of the modern blockbuster. With the pandemic, it has become something of a political statement. Specifically, the Mayor of Amity who insists on keeping the beach open because it’s the 4th of the July weekend, and local businesses will be crushed if the tourists stay away. Hey, it’s just a shark. Never mind that people are dying. Putting that aside the film remains a great thriller/horror story perfect for the summer. Jaws is so perfectly paced that one is always on the edge of your seat, tense even when the scary moments turn out to be false alarms, and just when you start to relax it hits you with the real shocks. Like “Psycho” “Jaws” has become a pop culture icon. There are even bits of dialogue that have become catch phrases (you’re gonna need a bigger boat) which is always a sign that a film has moved on to be more than just a great and entertaining film, but is now embedded into our pop culture.

M*A*S*H

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In January 1970, I was back from Vietnam for about five months or so. A four month stint followed in the states at Fort Polk, Louisiana, and now I was on leave before heading off to Germany to complete my three years of service. While home, I was catching up with family, friends, and movies, lots of movies. It’s well known that director Robert Altman used the Korean War as a metaphor for the then ongoing and unpopular Vietnam War. The film struck a nerve. M*A*S*H was a crass, subversive, and sacrilegious anti-war comedy unlike any other. The film not only mocked military bureaucracy and war but religion takes a bit of a beating too. Like Dr. Strangelove, made some six years earlier, the film laughs at the absurdities of war and the bureaucracy behind it. Egotism, incompetence, and piousness all take a shellacking. The only thing our anti-heroes (Donald Sutherland and Elliot Gould as Hawkeye Pierce and Trapper John) value is proficiency in the operating room. When the chips are down, saving the wounded men from the insanity that engulfs the world is what matters. Sutherland and Gould lead an outstanding ensemble cast that includes Sally Kellerman, Tom Skerritt, and Robert Duvall among others. While the film has lost some of its shock value over the years it remains a classic.

Lust for Life

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Kirk Douglas made for the perfect Vincent Van Gogh. He managed to dig into the emotional depths of his character and is charismatic enough to make the audience believe him to be the tortured artist. It was this movie, and soon after, Irving Stone’s autobiographical novel, that introduced me to the world of art. Eventually, I made my way to read about other artists, going museums and in the process creating a lifelong love for art. “Lust for Life” is the portrait of the artist as someone who suffers for his art. There is rejection and abuse in every one of his relationships. Douglas, in one of his finest performances, was nominated for an Oscar and deserved to win. Instead, the Academy gave the Best Actor award to Yul Brynner for his overly theatrical performance in The King and I.

The Front

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The Front is a well-intentioned black comedy of an ugly period in American history. The Blacklist ruined many peoples’ lives, destroying careers and livelihood many times without proof or cause. It turned friends and colleagues against each other. Narrow-minded politicians preached hate, and fear listened to by blind narrow-minded followers. The film was written by Walter Bernstein and directed by Martin Ritt, two of the artists blacklisted back in the 1950s. Using Woody Allen as the front lightens the dark subject matter yet they still managed to make a film that conveys the dark times and fears the country was facing in the late 1940s and early 1950s. It didn’t matter if you were a member or not of the Communist Party or were a member sometime in the past. If you were friends with someone who was or had knowledge of someone with left-wing leaning, once they got you in their headlights, called before the HUAC and forced to testify; name names, or be blacklisted. Allen plays his usual self-centered coward who eventually finds himself in deep water when he is subpoenaed because he acted as a front for a few friends on the blacklist. Is the film an oversimplification of what happened, yes, but it works at the limited level it is presented. And it has a great closing line!!! “The Front” had one other special memory. John Lennon and Yoko were in the audience! I spotted them after the film ended and the audience began filing out. I never saw Lennon in concert but I did go to the movies with him,,, sort of.

Murder Inc.

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 Murder Inc. mixes facts with a fictional love story. The film allegedly tells the true story of the Brooklyn based independent murder for hire crime organization that carried out assassinations for the Mafia and the Jewish Crime Syndicate. Peter Falk plays contract assassin Abe “Kid Twist” Reles, a cold hearted killing machine, and he is the best thing in the movie. In real life, and in the film, Reles turned rat after he was marked for a contract himself. Both in the film and in real life, Reles died suspiciously when he was tossed out a window of Coney Island’s Half Moon Hotel despite being under 24-hour police protection. The on location shoot gives a realistic feel to it all. The rest of the cast includes Stuart Whitman as his rather stiff self, May Britt, Sarah Vaughn, making her film debut, Sylvia Miles, and Morey Amsterdam as what else but a standup comic. But the worse casting is that of TV comedian Henry Morgan as the real life prosecuting attorney Burton Turkus.

Movie Watching in Quarantine Scene 7

Scene 7 in the continuing series Movie Watching in Quarantine.

Annie Hallanniehall

It wasn’t the first time Woody and Diane Keaton teamed up on the screen but Annie Hall would solidify their coupling as one of the great screen couples. Neurotic lovers seemingly perfect for each yet destined not to last. What does last is Woody’s second lover in the film, not a person, but the city of New York. In Annie Hall, Allen for the first time puts on screen New York City, or at least his version of New York City, consisting of the Upper East and West Side, movie theaters, bookstores, museums, and restaurants all populated with a closet full of pseudo-intellectuals.
For the first time in his career Woody, while managing to continue the self-deprecating bookish pseudo-intellectual laughs, blends in or rather introduces new colors onto his palette: passion, romance, love, and regret. In “Annie Hall,” Woody gives us the many colors making up the romantic rainbow. Even if you lose in the end, it was great to have had made the trip. With Annie Hall, Woody Allen found his voice.

The 39 Steps

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 Alfred Hitchcock’s 1935 thriller speeds along like a shooting star. A moment is not wasted during its tight less than 90 minute running time. Filled with suspense and humor, some risqué for its time, the film is a roller coaster ride that never stops. For the first time, Hitchcock used what would become one of his most famous motifs that of the innocent man accused of a crime he did not commit. It would surface again in films like The Wrong Man, Saboteur and North by Northwest. Another Hitchcock theme that will appear again and again in his films is the cool blonde; Madeleine Carroll, I believe may be the first in a long line of cool Hitchcock blondes. Spies and secret organizations are another theme that would continue to show up in future works. Of his British period, this ranks for me as his best. The Lady Vanishes, Sabotage and The Man Who Knew Too Much not fare behind.

Point Blank

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Based on a novel (The Hunter) by Richard Stark, aka Donald E. Westlake, John Boorman’s 1967 neo-noir Point Blank was a revelation when it first came out in 1967 one of the most stylistic and earliest films, along with “Bonnie and Clyde” released the same year, to reflect the influences of the French New Wave. Boorman uses flashbacks, inter cutting, offbeat camera composition to create the paranoid universe Lee Marvin’s Walker travels in attempting to collect the $93,000 owed him. Though dressed in suits and working out of corporate offices, John Boorman’s underworld characters in Point Blank are as treacherous, backstabbing, and a conniving group of low life’s as gangsters from the days of Al Capone and Lucky Luciano. But as slick, as they think they are, they meet their match in Walker a relentless, lifelong criminal, doubled crossed out of his share of money from a robbery and left for dead on Alcatraz Island. More than revenge, Walker wants his damn money.
Don’t bother with the Mel Gibson 1999 remake (Payback). Gibson’s character is less anti-hero and more a crude gorilla dressed up in false modern day movie cool. The film as a whole has no heart or soul. It’s mindless pulp.

Rosemary’s Baby

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 Motherhood can be a joyous thing; the miracle of birth, a child, the result of a bond between two people. Watching the child grow and discover life can be heartwarming and reaffirming. Then again, the idea of a live organism, another person growing inside you, just might be a bit unsettling and disturbing as you watch your body change, and you ask yourself what the child will be like. He/she could turn out to be a bright, upstanding member of the community. Then again, your little precious could turn out to be another Al Capone or Jeffrey Dahmer or even worse. Many films have focused on the dark side of motherhood: Psycho, Mommie Dearest, and The Manchurian Candidate. And then there is Rosemary’s Baby.
We have been conditioned to expect witchcraft to be practiced in places like Salem or it’s like. But, not on the Upper West Side of New York City. Rosemary’s Baby can be watched as just a great horror film, but it can also be read as a mother’s worst nightmare. Betrayed by her husband selling her out for a successful acting career, arranging to have her impregnated by the devil, forcing her to be left in the hands of a demonic doctor and some very devilish neighbors. The terror of rape, an unwanted pregnancy, and the fear of abnormal deformed childbirth are also filtered into the storyline. Rosemary becomes isolated, trapped with no family or friends to confide in or help her. Roman Polanski has given us a room full of paranoia with an eerie atmosphere and morbid humor. The acting adds much. The waif-like Mia Farrow makes her look even more vulnerable. John Cassavetes has a perfect demonic look in his eyes. Polanski opens and closes the film with sky-high views of the Bramford apartments where most of the film is shot. The Bramford is of course the famed Dakota Apartments on the Upper West Side, home of many famous people, and sadly most notable for where John Lennon lost his life.

Psycho

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While Psycho may not be as shocking as it was back in 1960, Alfred Hitchcock’s classic till outshines the Freddy Krugers, Hannibal Lectors, Michael Myers, and Jason Voorhees that have followed. Though there are deeply disturbing themes running through the film, Hitchcock always makes it feel entertaining. Shot for under 1 million dollars, the director lures the audience in with masterful editing (the famed shower sequence), suspense, thrills, black humor, and a brilliant score by Bernard Herrmann.

Movie Watching in Quarantine Scene 6

The Man With Two Brains

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 One year after Steve Martin and Carl Reiner spoofed the P.I. genre in “Dead Man Don’t Wear Plaid,” (their third of four collaborations), they reteamed to do a takeoff on Mad Scientist flicks in this delightful though sometimes uneven comedy. Martin through sheer talent pulls out enough laughs to make it worth seeing. Some jokes may slip by if you’re not familiar with films like “Frankenstein” and “Donavan’s Brain.” Kathleen Turner makes for a perfect slinky, devilish siren, in a perfect send up on her previous femme fatale in “Body Heat,” who marries our crazy hero only to soak him for his money.
Martin portrays brain surgeon, Dr. Hfuhruhurr who has perfected a new type of brain surgery, something called the cranial screw-top method. He uses it to save the life of a beautiful young woman (Turner) he hit with his Mercedes. The woman turns out to be a golddigger who seduces every hunk she meets while avoiding to sleep with her new husband. Frustrated, our hero falls in love with the brain of another woman — a brain that has been pickled jarred by another mad scientist (David Warner). Despite some bits falling flat, there are more than enough good ones, though it never rises to the level of Mel Brooks’ “Young Frankenstein.”

                                                                      Tony Rome

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With Tony Rome, Frank Sinatra found the smart ass, wise guy loner role the public always felt the singer/actor was in real life. He’s a bit too old for the role, he was 51, however, that hard, tired face and look surely adds to the aura. So how good, or bad, is Tony Rome? Well, it’s neither. It’s somewhere in that hazy middle ground of shades of gray. One of the film’s obvious failures is the wardrobe choices Sinatra’s Rome wears. He looks like he came out of a 1950’s film complete with fedora and “ring-a-ding” repartee he is given to pontificate. What was rat pack hip in the late 1950s and early ’60s was completely old fashion in the psychedelic world of Purple Haze, Surrealistic Pillows, and Sgt. Pepper in the late ’60s. Worst is the wardrobe he wears when he is on the houseboat where he lives. The Captain’s hat and white slacks are cheesy God awful. That said, Sinatra handles himself well. He’s convincing as the streetwise loner. The plot is a bit convoluted, but then what P.I. film isn’t? Rome is asked by his ex-partner to help get a rich, drunk teen out of a Miami hotel without being seen and keeping the hotel’s name out of it. It sounds like a quick $200 bucks, but of course, it’s not.
The film is lightweight, more like a TV detective show than say The Maltese Falcon. There’s no deep probing into the meaning of life or Rome questioning his own sense of morality. There are no rain-soaked darky lit mean streets that many shamus roam. The setting is Miami and it’s all sunshine and heat. Sinatra is good with the wisecracks; they come quickly and often. There’s a good supporting cast that includes Richard Conte, Jill St. John, Gena Rowlands, and Sue Lyons. There’s also a cameo by the former middleweight/welterweight champion boxer Rocky Graziano, and daughter Nancy Sinatra sings the title song.

 

The Wild Bunch

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THE WILD BUNCH – Both Sam Peckinpah’s “The Wild Bunch” and George Roy Hill’s “Butch Cassidy and the Sundance Kid” released in 1969 take a look at the end of an era: the Wild West. They are two films coming at you from different points of view. Butch Cassidy is a loving, romanticized take on the Wild West featuring two of the most charismatic stars of the era. Butch and the Sundance Kid are outlaws but they are fun-loving and good-humored. It’s an honor, as Woodcock (George Furth) the train employee tells Butch, to be robbed by Butch and his gang. With Butch and Sundance it comes down to that you wouldn’t mind having a beer with these guys. Not so much with The Wild Bunch crew. There is an inherent violent streak in this film whether its kids burning a scorpion, or lawman blatantly gunning down innocent townsfolks while attempting to stop a robbery, outlaws shooting U.S. soldiers, outlaws shooting Mexican soldiers or Mexican soldiers torturing outlaws. They kill for revenge, profit, power, fun, and any other reason. It was a way of life.
The Wild Bunch, like “Bonnie and Clyde” a few years earlier was considered violent and bloody. After more than 50 years of cinematic violence, the shock value had numbed us some but it still holds a grip on the audience. Like Butch and Sundance where the future is seen in the form of a bicycle, here it’s represented by the automobile. The closing final shootout is a violent visually poetic take that closes the book on a way of life. Oh yeah, “The Wild Bunch” is a modern day masterpiece of filmmaking.

Pay or Die

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For three years, 1906-1909, Lt. Giuseppe “Joseph” Petrosino headed what became known as the Italian Squad of the New York Police Dept. As a detective, Petrosino focused on fighting the Italian criminal element in New York’s Little Italy, a group known as La Mano Nera or the BLACK HAND a forerunner to the Mafia. “Pay or Die” is a vivid account of the life and times of Giuseppe Petrosino. Like most film biographies liberties have been taken but the overall story is true, including an extortion attempt on Opera star Enrico Caruso as portrayed in the film. Though filmed on a studio lot, the film reflects an accurate look at immigrant life at the turn of the 20th Century. Italian immigrants were pouring into the United States mostly from the poorer parts of Italy. Many of these families settled in New York, in what became known as Little Italy. The Black Hand preyed on the Italian community extorting money from store owners. If they didn’t pay, storefronts were blown up or worst. The owners brutally murdered. A note would be left with the body, a black hand imprinted on it as a warning to others. The film provides a tough look at the early days of the Italian criminal element in the United States and how they as predators, extorted and terrorized their own people. The film uses the phrases “Mafia” and “Mafioso” at a time when J. Edgar Hoover only just began to admit that the Mafia even existed (maybe he watched this movie). “Pay or Die” was a small B film that came and went into theaters without much fanfare. Ernest Borgnine is perfectly cast as Petrosino who comes across as a tough honest cop dedicated to cleaning up the Black Hand out of Little Italy and giving honest Italian immigrants the chance to become part of the American dream.

Marathon Man

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For a time in the 1970s, William Goldman was one of my favorite authors: Magic, Control, Tinsel, and Marathon Man were some of his best sellers. He also was a prolific screenwriter: Harper, No way to Treat a Lady, Butch Cassidy and the Sundance Kid, All the President’s Men, Misery, and The Stepford Wives. He also adapted many of his own novels to the screen Including Magic and Marathon Man. Marathon Man is a fast paced, diabolical thriller about former Nazis, smuggled diamonds, a rouge government agent, and a dentist scene that still brings nightmares to me each time I have a dental appointment. John Schlesinger’s film version is not perfect. If plot holes bother you, it could be bothersome, but putting that aside, it’s a thrilling ride. Dustin Hoffman is well cast and Laurence Olivier delivers a frightening performance. After watching this film, you’ll never want to hear your dentist say, “Is it safe?”

Valentine’s Day – 1929

On Valentine’s Day in 1929, Al Capone allegedly sent a surprise gift to his Chicago North Side enemy Bugs Moran. Capone and Moran were in the middle of a gang war over territorial rights involving bootleg booze. On that romantic holiday, four men posing as police officers, entered Moran’s headquarters. They lined up seven of Moran’s thugs against a wall (Bugs wasn’t there) and emptied their machine guns into them. While it has never been completely proven that Capone was behind the massacre, he is generally credited with the bloody gift. Photo is from Roger Corman’s 1967 film, THE SAINT VALENTINE’S DAY MASSACRE.

John Greco Author/Photographer

Here is scene 4 in my Movies Watched in Quarantine series

The Roaring Twenties

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WNEW Channel 5 broadcast, on Sunday afternoons, one Warner Brothers movie after another. The Roaring Twenties was a mainstay. It was James Cagney’s last gangster film until White Heat some ten years later.
The Roaring Twenties is a rise and fall tale, in this case, of Eddie Bartlett (Cagney) a World War 1 vet who came home alive but with no prospects for the future. His old job as a mechanic is taken. He settles for a job driving a taxi with his old buddy Frank McHugh, that is until he accidentally stumbles in the bootleg business. With prohibition now the law of the land Eddie builds an empire becoming the king of New York. His old war buddy, George (Humphrey Bogart) works with him. However, like in many of his early roles, Bogie is…

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Movie Watching in Quarantine Scene 5

The Man Who Shot Liberty Valence

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John Ford’s brilliant western is both a romantic, three-way, love story and a look at the west on the cusp of change. Watching it again I realized how political a movie this is. There are battles between two factions. Those who want to remain a territory and those who want to become a state. It’s a typical rich versus the everyman battle. The future versus the status quo. Even the film’s love story, a triangle between a tenderfoot, a gunslinger, and the woman they love represents a dying western way of life. John Ford blends it all together with this filmmaking classic, his last great western.

 

The Graduate

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Some films are indelibly burned into your psyche for many reasons. It may have to do with the heart of every audience member jumping into their throats the first time the shark comes out of the water in “Jaws,” or the blaring rock sound of The Ronettes great song, “Be My Baby,” on the soundtrack in “Mean Streets,” or the discovery of a little know film called “The Panic in Needle Park” as you watch a then unknown actor named Al Pacino blow you away. There are certain films that are etched into your life and become a brick on the wall that helped build your love for movies. For me “The Graduate” was one of those films. It’s one of the seminal films of the 1960s ushering the “New Hollywood.”

Bananas

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One of the early, funny films that the more mature Woody Allen would dismiss later in his career. That said, this disjointed, sometime hodgepodge of a film remains funny. The jokes come fast, some fall flat, others remain fresh. Of all of Allen’s films “Bananas” is the closest he ever came to the satirical lunacy of the Marx Brothers (think “Duck Soup”). Here Allen’s banana republic of San Marcos meets Freedonia! Look for an unknown Sylvester Stallone stretching himself as an actor playing a subway thug.

National Lampoon’s Vacation

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This is no masterpiece but there is a dark streak of satirical comedy running through the film as it strikes at the ideal the perfect American family trip. Yes, the Griswold’s are on an ill-fated trip across America. Destination? The vacation promise land, Wally World, (think Disney World). It’ a bumpy road but there’s enough fun along the way thanks to Chase, Imogen Coca, and especially Dennis Quaid as the family’s country hick cousin (“I don’t know why they call this stuff Hamburger Helper. It does just fine by itself”). There’s a great soundtrack headed by Lindsay Buckingham’s catchy “Holiday Road”.

 

A Kiss Before Dying

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Not wanting to marry his pregnant girlfriend Dorothy (Joanne Woodward) who will be disowned by her over strict and cold-hearted father if he found out, Slick college student, Bud Corliss (Robert Wagner) gives her a loving kiss and tosses her off the roof of a seven story building. The police are convinced it was a suicide, but her sister, Ellen (Virginia Leith) does some investigating of her own. Bud meanwhile begins dating Ellen, never bothering to mention he knew or dated Dorothy. Soon Ellen’s life is in danger as Bud’s perfect murder begins to unravel. Based on Ira Levin’s (Rosemary’s Baby) novel this is a dark thriller that will keep the tension building in high gear throughout.