I’m pretty much up to date now, and this post only includes a single film from the list. In all other respects, a fairly typical spread, featuring directors I’ve mentioned in previous posts.
The Naked Kiss, Samuel Fuller (1964, USA). Fuller’s Shock Corridor, filmed around the same time, is on the 1001 Movies You Must See Before You Die list, and I watched it and was much impressed. This movie appeared as a trailer on the DVD I watched of that film, so I decided to buy Criterion Blu-ray editions of both. As you do. But only now have I got around to watching The Naked Kiss. And… it’s exactly what I expected. And exactly as good as I expected. Which is: pretty damn good. Constance Towers (the girlfriend in Shock Corridor) plays a prostitute who flees her pimp after he abuses her, and ends up in the small town of Grantville. The local head copper directs Towers to a brothel across the river, but she decides it’s time to go straight and – because the man from the big house, and most eligible bachelor in town, has financed a wing for disabled children at the local hospital – decides to become a nurse’s aide on that wing. She gets to meet the big man, the two fall in love and become engaged… The copper, of course, is convinced it’s all an act, although it does in fact seem genuine. But just before the marriage, Towers catches her fiancé abusing a child, brains him and accidentally kills him. The copper sees this as vindication, but when the child is found and confirms Towers’s story he has to re-assess his opinion of her. This is pretty strong stuff, but then Fuller was never one to shy away from difficult material. Towers is good in the lead – she carries the film, in fact – and even Fuller’s shock opening, in which Towers attacks her pimp – filmed as if the camera were the pimp – and he rips off her wig revealing she is bald, is both arresting and highly effective at establishing her character. Worth seeing.
The Disappearance of Alice Creed, J Blakeson (2009, UK). I stumbled across this on Amazon Prime, and the reviews seemed positive so I gave it a go and… It’s one of those tight little thrillers with a small cast – three in this case – which work or fail depending on the quality of the cast. Fortunately, in this case they have Gemma Arterton, Eddie Marsan and Martin Compston, all of which possess the acting chops required. Arterton is kidnapped by Marstan and Compston, and the film pretty much takes place entirely within the flat where they hold her prisoner. However, there’s more going than there initially appears – not just between kidnappers and victim, but also between the kidnappers as well. Perhaps the twists were signposted a little too heavily, but I’ve seen much worse thrillers with much bigger budgets and A-list casts – in fact, I’ve given up after ten minutes on such movies. But this one is a taut little well-made thriller and worth a watch.
Le bel indifférent, Jacques Demy (1957, France). And so I continue to work my way through my Demy collection, and while I certainly think it was worth buying I can’t say every film in it has been a winner. This is a short film, less than an hour long, and consists of a woman wandering around an apartment giving a monologue, while her eponymous lover is, er, indifferent. It’s based on a 1939 play by Jean Cocteau, and Demy films it with a limited colour palette and stages it as if it were indeed a play (with opening and closing curtains too). I found myself somewhat… indifferent to it.
The Merchant of Four Seasons, Rainer Werner Fassbinder (1971, Germany). And so I continue to work my way through my Fassbinder collection, and while this first volume of films from 1969 to 1972 has, I think, proven less satisfying than the second volume of films from 1973 to 1982, I’m still glad I have it. As for this film, it seems to be Fassbinder’s try at a kitchen-sink drama, inasmuch as it’s a domestic drama which contains everything but the kitchen-sink. The fruit peddler of the title is in a loveless marriage, and pines for his past career as a policeman. His mother doesn’t like him, his wife thinks he’s having an affair, he drinks heavily… and then he has a heart attack. After he recovers, he reconciles with his wife and then meets an old friend from his Foreign Legion days… who he first gives a job and then invites to live with him and his wife, and so finds himself replaced… Grim, German realist stuff. Perhaps not the most engaging Fassbinder I’ve seen so far, but a step up from some of the earlier experimental films.
Trouble in Paradise*, Ernst Lubitsch (1932, USA). Posh con man meets posh con woman, it’s love at first sight. Years later, they get involved with the profligate heiress of a perfume fortune… and why is this on the list exactly? The leads – Miriam Hopkins, Herbert Marshall and Kay Francis – are all perfectly watchable, the script has plenty of snappy one-liners, and there are clear character arcs. But it’s all a bit ordinary, and though it may well have done really well when it was released , I can’t honestly see what makes it a candidate for the 1001 Movies you Must See Before You Die list.
Barbary Coast, Howard Hawks (1935, USA). A gold digger, Miriam Hopkins, arrives in San Francisco in 1850, only to discover her fiancé has been murdered. So she takes a job as a croupier at local gangster Edward G Robinson’s casino. And the rest of the film is basically Robinson strutting around like the worst kind of cinema villain, while everyone else in San Francisco runs around scared of him. Obviously – the title is sort of a clue, although it was apparently the actual name of San Francisco’s red light district from the 1860s to the 1910s – that’s the intent… but it makes for annoying viewing. He’s so reprehensible and powerful a villain that his eventual downfall is inevitable and his depredations prior to that somewhat unbelievable. There’s a good guy, of course, Joel McCrea, who plays a complete naïf who manages to confound Robinson and win Hopkins’s heart. But it’s not enough to offset Robinson’s pantomime villainy.
1001 Movies You Must See Before You Die count: 731