Review: Steven Spielberg's THE SUGARLAND EXPRESS (Countdown to "The Fabelmans")

TRASH IN MY EYE No. 51 of 2022 (No. 1863) by Leroy Douresseaux

The Sugarland Express (1974)
Running time:  110 minutes (1 hour, 50 minutes)
Rated – PG
DIRECTOR:  Steven Spielberg
WRITERS: Hal Barwood and Matthew Robbins; from a story by Steven Spielberg and Hal Barwood and Matthew Robbins
PRODUCERS:  David Brown and Richard D. Zanuck
CINEMATOGRAPHER:  Vilmos Zsigmond (D.o.P.)
EDITORS:  Edward M. Abroms and Verna Fields
COMPOSER:  John Williams

CRIME/DRAMA/ACTION

Starring:  Goldie Hawn, William Atherton, Ben Johnson, Michael Sacks, Gregory Walcott, Steve Kanaly, Louise Latham, Dean Smith, and Harrison Zanuck

The Sugarland Express is a 1974 crime drama, road movie, and action film directed by Steven Spielberg.  The film is Spielberg's directorial debut in theatrical films.  Based on a real life event, The Sugarland Express focuses on a young woman and her prison-escapee husband who go on the run in order to retrieve their toddler son from foster care.

The Sugarland Express opens in 1969 and introduces 25-year-old Lou Jean Sparrow Poplin (Goldie Hawn).  She visits her incarcerated husband, 25-year-old Clovis Michael Poplin (William Atherton), at the Beauford H. Jester Unit, a pre-release center of the Texas Department of Criminal Justice.  Lou Jean wants to tell Clovis that their son, two-year-old Baby Langston (Harrison Zanuck), has been placed in foster care by the Child Welfare Board.

Lou Jean convinces Clovis that she is breaking him out of prison, although he only has a few months left in pre-release, so that they can retrieve their child.  After sneaking out of the prison, the couple ends up in a car crash.  They waylay a Texas Highway Patrolman, Trooper Maxwell Slide (Michael Sacks), and taking him hostage and taking possession of his patrol car.  Clovis and Lou Jean go on the run, headed for Sugarland, Texas, the home of Baby Langston's foster parents.  Meanwhile, Captain Tanner (Ben Johnson) of the Texas Highway Patrol, leads an ever-growing caravan of police cars in dogged pursuit of Lou Jean and Clovis.

In anticipation of Steven Spielberg's upcoming “semi-autobiographical film, The Fablemans, I am perusing his filmography.  I started with the television movie that first got him noticed, Duel (1971), and now I am at his first theatrical film.

The Sugarland Express is based on a real event that occurred in Texas in the spring of 1969.  The film's lead characters, Lou Jean and Clovis, are not so much likable as they are pitiable because they are so stupid.  Goldie Hawn gives a good performance as Lou Jean, but this isn't a “Goldie Hawn picture,” although her name is placed above the title on movie posters.  However, Trooper Slide and his boss, Captain Tanner (played by the great Ben Johnson), are quite likable or even lovable.  Still, this film is not so much about the characters as it is about the situation.

I think that what makes this film really work is how Steven Spielberg plays out the situation as a film narrative.  I've always said that he gets the best out of his cast, crew, and creatives.  The Sugarland Express is a slow-moving train wreck because the conductors, Lou Jean and Clovis, don't know what they are doing and do not really think out their decisions.  Yet, they are … pulling a train of cop cars, and Spielberg's attention to the thrilling and exciting aspects of this situation:  car chases and crashes, shoot-outs, colorful locales, etc. add some zing to this express to Sugarland.

He finds time to give us just enough of a taste of the Bonnie and Clyde-like Lou Jean and Clovis and of Captain Tanner and Slide to keep the audience interested in the fate of the characters, if not the well-being of all.  Even the Poplins' fans and admirers are a motley lot of lovable regular folks.

As the film races towards its end, Spielberg turns The Sugarland Express into a mesmerizing thriller.  Every performance, small and large, takes on dramatic heft, and the audience knows one thing – this shit is for real, now.  Seriously, it is in the last half-hour of The Sugarland Express that we can see the style and techniques that Spielberg used in his second film, Jaws, a legendary blockbuster movie and one of the most influential films of the last half-century.

7 of 10
B+
★★★½ out of 4 stars

Saturday, September 3, 2022


NOTES:
1974 Cannes Film Festival:  1 win: “Best Screenplay” (Hal Barwood, Matthew Robbins, and Steven Spielberg); 1 nominee” “Palme d'Or” (Steven Spielberg)


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this site or blog for reprint and syndication rights and fees.

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Review: Albert Finney and a Star-Studded Cast Power 1974 "Murder on the Orient Express"

TRASH IN MY EYE No. 5 of 2022 (No. 1817) by Leroy Douresseaux

Murder on the Orient Express (1974)
Running time:  128 minutes (2 hours, 8 minutes)
MPAA – PG
DIRECTOR: Sidney Lumet
WRITER: Paul Dehn
PRODUCERS:  John Brabourne and Richard Goodwin
CINEMATOGRAPHER:  Geoffrey Unsworth
EDITOR:  Anne V. Coates
COMPOSER:  Richard Rodney Bennett
Academy Award winner

MYSTERY

Starring:  Albert Finney, Lauren Bacall, Ingrid Bergman, Sean Connery, Martin Balsam, Jacqueline Bisset, Jean-Pierre Cassel, John Gielgud, Wendy Hiller, Anthony Perkins, Vanessa Redgrave, Rachel Roberts, Richard Widmark, Michael York, Colin Blakely, George Coulouris, and Denis Quilley

Murder on the Orient Express is a 1974 British mystery film directed by Sidney Lumet.  It is based on the 1934 novel, Murder on the Orient Express, written by Agatha Christie (1890-1976).  Murder on the Orient Express focuses on a revered detective who tries to solve a murder on a snow bound train, while dealing with a multitude of suspects.

Murder on the Orient Express finds acclaimed detective, Hercule Poirot (Albert Finney), ready to board the transcontinental luxury train, “the Orient Express,” in December 1935.  Having solved a case for a British Army garrison in Jordan, he is due to travel to London on the Orient Express from Istanbul.  There, he encounters his old friend, Signor Bianchi (Martin Balsam), a director of the company which owns the line.

There are other notable passengers traveling in the same coach as Poirot and Bianchi.  There is the assertive and talkative American widow, Harriet Belinda Hubbard (Lauren Bacall).  The quiet English governess, Mary Debenham (Vanessa Redgrave), and Colonel John Arbuthnott (Sean Connery) of the British Indian Army have apparently struck up a relationship.  Swedish missionary, Greta Ohlsson (Ingrid Bergman), is on a trip to raise charity funds so that she can continue to take care of “little brown babies.”  American businessman Samuel Ratchett (Richard Widmark), is on a business trip with with his secretary/translator, Hector McQueen (Anthony Perkins), and his English valet, Edward Beddoes (John Gielgud).

There is an Italian-American car salesman, Antonio Foscarelli (Denis Quilley).  Elderly Russian Princess Natalia Dragomiroff (Wendy Hiller) travels with her stout German maid, Hildegarde Schmidt (Rachel Roberts).  Hungarian Count Rudolf Andrenyi (Michael York) and his wife, Elena (Jacqueline Bisset), are always together.  American theatrical agent, Cyrus Hardman (Colin Blakely), is always in the background.  The train's French conductor, Pierre Michel (Jean-Pierre Cassel), attends to the passengers' numerous needs.

On the second morning of the journey, Samuel Ratchett is found dead.  Signor Bianchi asks the esteemed Monsieur Poirot if he can discover the identity of the murder before the train arrives in Brod, where the Yugoslavian police will take over the investigation.  With the assistance of Bianchi and the Greek physician, Dr. Constantine (George Coulouris), Poirot discovers that the victim was stabbed 12 times.  Now, he must investigate 13 suspects.  Who has committed this murder?  Who is lying?  Where is the truth?  And what is the real story behind the mysterious American who is the victim?  Poirot must discover the answers before the murderer strikes again aboard a train that becomes snowbound.

Agatha Christie died about 14 months after the release of Murder on the Orient Express.  Apparently, this film and Witness for the Prosecution were the only movie adaptations of her books that she liked.  She was also apparently pleased with Albert Finney's performance as Hercule Poirot.

The primary treat of Murder on the Orient Express is its star-studded cast, led by Albert Finney, who earned a “Best Actor” Oscar nomination for his performance.  Ingrid Bergman won the “Best Supporting Actress” Oscar for her role as Greta Ohlsson, a performance that is so immersed in technical detail that it seems more fitting for some high-minded, serious dramatic film.  In general, the women here give strong performances in character roles.  Wendy Hiller is a delight as Princess Natalia Dragomiroff, and Lauren Bacall chews up the scenery as the assertive and talkative Mrs. Hubbard.

The cast of this film is comprised of the some of the biggest movie stars of the middle twentieth century.  Some were not known for playing character roles, but in Murder on the Orient Express, they flexed their character acting chops.  The result of these star performances is a hugely entertaining whodunit with a shocking murder and plenty of terrific intrigue.

I thoroughly enjoyed this film, and although I was initially put off by Albert Finney as Poirot, I soon found myself unable to stop watching him.  Yes, 1974 Murder on the Orient Express shows its age, but fans of whodunits, of Agatha Christie, of murder mystery films will want to see this film.

7 out of 10
A-

Wednesday, February 9, 2022


NOTES:
1975 Academy Awards, USA:  1 win:  “Best Actress in a Supporting Role” (Ingrid Bergman); 5 nominations: “Best Actor in a Leading Role” (Albert Finney), “Best Writing, Screenplay Adapted From Other Material” (Paul Dehn), “Best Cinematography” (Geoffrey Unsworth), “Best Costume Design” (Tony Walton), and “Best Music, Original Dramatic Score” (Richard Rodney Bennett)

1975 BAFTA Awards:  3 wins:  “Anthony Asquith Award for Film Music” (Richard Rodney Bennett), “Best Supporting Actor” (John Gielgud), and “Best Supporting Actress” (Ingrid Bergman); 7 nominations:  “Best Actor” (Albert Finney), “Best Art Direction” (Tony Walton), “Best Cinematography” (Geoffrey Unsworth – also for “Zardoz”), “Best Costume Design” (Tony Walton), “Best Direction” (Sidney Lumet – also for “Serpico”), “Best Film,” and “Best Film Editing” (Anne V. Coates)


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this site or blog for reprint and syndication rights and fees.

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Review: "HEARTS AND MINDS" Still Condemns with Power

TRASH IN MY EYE No. 61 of 2021 (No. 1799) by Leroy Douresseaux

Hearts and Minds (1974)
Running time:  112 minutes (1 hour, 52 minutes)
MPAA – R
DIRECTOR:  Peter Davis
PRODUCERS:  Peter Davis and Bert Schneider
CINEMATOGRAPHER:  Richard Pearce
EDITORS:  Lynzee Klingman and Susan Martin
Academy Award winner

DOCUMENTARY – War, Politics

[The recent ignominious end of the “War in Afghanistan” (October 7, 2001 to August 30, 2021) got me to thinking about America's involvement in Vietnam decades ago because … you know … people never learn and they never change.  In military conflicts, if you run on up in there, you gonna eventually run on up outta there.  So anyway, I remembered the gold standard in theatrical Vietnam documentary films, Hearts and Minds, and it was time to see it again.]

Starring:  Captain Randy Floyd, Sgt. William Marshall, Lt. George Coker, George Bidault, Father Chan Tin, Daniel Ellsberg, David Emerson, Mary Cochran Emerson, Senator J.W. Fulbright, Sec. Clark Gifford, Corporal Stan Holder, Mui Duc Giang, Walt Rostow, Vu Duc Vinh, Vu Thi Hue, Vu Thri To, Gen. William Westmoreland, and Richard Nixon, John F. Kennedy, and Lyndon B. Johnson

Hearts and Minds is a 1974 documentary film directed by Peter Davis.  It is an antiwar movie that examines the Vietnam War (1955 to 1975) and confronts the United States' involvement in the civil war within the Southeast Asian nation of Vietnam.  The film's title, Hearts and Minds, is based on the following quote from U.S. President Lyndon B. Johnson:  “the ultimate victory will depend on the hearts and minds of the people who actually live out there.”  Hearts and Minds won the Oscar for “Best Documentary, Features” at the 47th Academy Awards, which were presented in 1975.

During the time of its release, critics of Hearts and Minds complained that the film was two one-sided, but from the beginning, the film's stated and obvious premise was that the United States should not have been involved Vietnam and in the strife between the governments of North Vietnam and South Vietnam.  Director Peter Davis recounts the history of the Vietnam War by examining the history and attitudes of the opposing sides of the war, and he does this by interviewing government officials and military leadership and personnel from both sides of conflict.  He also uses archival news footage, specifically featuring the U.S. Presidents whose actions started, sustained, and/or exacerbated the conflict and violence that marked the Vietnam War.

It is in that way that Davis presents what I see as the film's key theme:  American attitudes and goals were the reason that a Vietnamese civil war became an American-driven Vietnam War.  After World War II, the leadership of the U.S., both government and military, decided to make the world in its image.  American's imperial ambitions had been long-simmering, seeing a number of nations as rivals or obstacles, especially the Soviet Union and China, the faces of “international communism.”  Such imperialism found a proxy war in the struggle between communist North Vietnamese and its South Vietnamese allies, the Viet Cong,against South Vietnam (or the State of Vietnam).

Hearts and Minds emphasizes how the the United States helped to create the bloody conflict with Vietnam and how it ultimately prolonged the struggle.  In interviews with such people as General William Westmoreland, the American commander of military operations in the Vietnam War during its peak period from 1964 to 1968, not only does the self-righteous militarism of the U.S. reveal itself, but also American' racist attitudes about the Vietnamese people.

This militarism and racism is also exemplified in another one of the film's interview subjects, American prison of war (POW), U.S. Navy pilot, Lt. George Coker.  The film includes footage of Coker making public speeches after his release from six-and-a-half years in North Vietnamese captivity.  Coker's racism and jingoism are repulsive, which, to me, are obviously the result of his upbringing (brainwashing) and military training.  However, I'm not sure that it was a good choice to include him in Hearts and Minds, as the film's detractors have used Coker's status as a POW to criticize the film as being “too one-sided” and anti-war propaganda.  One could always say that the attitudes Coker reveals in his return to the U.S. are, to some extent, the result of the degradation he experienced as a POW.

That aside, what makes Hearts and Minds one of the greatest American documentary films of all time (if not the greatest) is director Peter Davis' willingness to give voice to the Vietnamese people through interviews and film footage.  One of Hearts and Minds' most shocking and controversial sequences shows the funeral of a South Vietnamese soldier.  His grieving family includes a sobbing woman (his mother?) who has to be restrained from climbing into the grave after his coffin is lowered into the ground.  The cries of a grieving boy, perhaps his son, are like that of a wounded animal.  I first saw Hearts and Minds a few years ago on TV, and that scene stays with me, even as I write this.

Americans sometimes remember how many Americans died in the Vietnam War (over 58,000), but almost three-and-a-half million Vietnamese civilians and soldiers died during the war (according to numbers provided by Vietnam in 1995).  An example of the wanton death and destruction is personified in a North Vietnamese farmer who loses his eight-year-old daughter and his three-year-old son because of an American bombing campaign.  His anger and grief, especially at the death of his daughter who was killed while feeding pigs (all of which apparently lived), encapsulates the wrongness of American involvement in Vietnam.

Two other interviews of American servicemen stand out to me.  First, Sgt. William Marshall, an African-American from Detroit, offers a bit of levity in the film by the way in which he describes his experiences.  However, he also condemns Americans, demanding that they witness in his war injuries a guilt from which we may not turn away.

The other is Hearts and Minds' concluding interview, which features US Vietnam veteran, U.S. Navy pilot, Captain Randy Floyd.  One of his statements summons up the feckless relationship that Americans have with their militarist and imperialist government.  Floyd says, “We've all tried very hard to escape what we have learned in Vietnam.  I think Americans have worked extremely hard not to see the criminality that their officials and their policy makers exhibited.”

With those words, Hearts and Minds makes itself both timely and timeless, although the American “Global War on Terror” of the twenty-first century also helped to keep this film timely.  It is left up to academics, film historians, the Academy of Motion Picture Arts and Sciences' (AMPAS) “Academy Film Archive,” and the “National Film Registry” to save Hearts and Minds from being entirely forgotten.  Still, we movie fans, or at least some us, must make an effort to bring Hearts and Minds back into prominence.  America has need of this work of art and of this lesson in history.

10 of 10

Sunday, October 17, 2021


NOTES:
1975 Academy Awards, USA:  1 win for “Best Documentary, Features” (Peter Davis and Bert Schneider)

1975 Golden Globes, USA:  1 nomination: “Best Documentary Film”

2018 National Film Preservation Board, USA:  “National Film Registry”


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: "The Parallax View" is a Bit Askew (Remembering Alan J. Pakula)

TRASH IN MY EYE No. 199 (of 2004) by Leroy Douresseaux

The Parallax View (1974)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – R
PRODUCER/DIRECTOR: Alan J. Pakula
WRITERS: David Giler and Lorenzo Semple, Jr. (based upon the novel by Loren Singer)
CINEMATOGRAPHER: Gordon Willis
EDITOR: John W. Wheeler
COMPOSER: Michael Small

DRAMA/MYSTERY with elements of thriller

Starring: Warren Beatty, Hume Cronyn, William Daniels, Kenneth Mars, Walter McGinn, Kelly Thordsen, Jim Davis, Bill McKinney, and Paula Prentiss

The subject of this movie review is The Parallax View, a 1974 drama and political thriller directed and produced by Alan J. Pakula. The film is based on the 1970 novel, The Parallax View, which was written by Loren Singer. While David Giler and Lorenzo Semple, Jr. are credited as the film’s scriptwriters, acclaimed screenwriter, Robert Towne, also contributed to the screenplay, but did not receive screen credit.

Joseph Frady (Warren Beatty) is the kind of rash and reckless reporter who needs to defend his reputation, both to colleagues and to his editor. So when a colleague comes to Frady and tells him that all the reporters who witnessed the assassination of a leading U.S. Senator are being murdered, even he is skeptical. The reporter was a witness, and she is frantic with fear that someone is out to murder her. After her mysterious death, Frady comes to believe there is some truth to the story. His investigations leads him to a shadowy and nebulous conspiracy involving an enigmatic therapy institute called The Parallax Corporation. Frady infiltrates Parallax to become a patient, unaware of how much they know about him.

The Parallax View is a fairly good suspense thriller with a good take on conspiracy theories. Director Alan J. Pakula uses lots of long tracking shots that follow the action and film narrative from a great distance. This heightens the film’s sense of mystery and confuses the audience in such a manner that they can sympathize with Joe Frady’s confusion. The film has many twists and turns, and often the audience must wonder who knows what. How successful has Frady’s infiltration of Parallax been, and who is the hunter and who is the hunted?

The film’s major flaw is flat and stiff acting that sticks with the movie until the last act, and the Parallax Corporation itself seems like a B-movie convention or the kind of trite villain found in potboiler fiction. Still, The Parallax View is a good movie about bureaucratic intrigue, government chicanery, and especially makes a good point about the intervention in political affairs by mysterious and private interests. I highly recommend this to conspiracy theory fans.

6 of 10
B

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Review: "The Texas Chainsaw Massacre" Remains a True Classic Film (Happy B'day, Tobe Hopper)

TRASH IN MY EYE No. 65 (of 2004) by Leroy Douresseaux

The Texas Chainsaw Massacre (1974)
Running minutes: 83 minutes (1 hour, 23 minutes)
MPAA – R
PRODUCER/DIRECTOR: Tobe Hopper
WRITERS: Kim Henkel and Tobe Hopper
CINEMATOGRAPHER: Daniel Pearl
EDITOR: Larry Carroll and Sallye Richardson
COMPOSERS: Wayne Bell and Tobe Hooper

HORROR/THRILLER

Starring: Marilyn Burns, Allen Dazinger, Paul A. Purtain, William Vail, Teri McMinn, Edwin Neal, Jim Siedow, Gunnar Hansen, John Dugan, and Ed Guinn with John Laroquette (narrator)

The Texas Chainsaw Massacre is a 1974 horror film directed by Tobe Hopper. Filmmakers such as Ridley Scott and Rob Zombie have cited this independent film as being an influence on their work. The Texas Chainsaw Massacre is one of the most famous and infamous American horror movies ever made. It spawned two direct sequels, a prequel, and a 2003 hit remake.

The film follows a group of young people (or hippies, depending upon your point of view), traveling through Texas by van in the 1970’s, when they encounter a family of murderous cannibals. Sally Hardesty (Marilyn Burns) and her brother, Franklin (Paul A. Purtain), visit their grandfather’s grave after hearing news about vandalism and grave robbing at the cemetery. Three friends have accompanied the Hardestys on this trip, which becomes weird when they pick up a hitchhiker who turns violent. While looking for gas, things get worse, and these young people must fight a chainsaw wielding, masked manic – known as Leatherface (Gunnar Hansen) for their lives.

The film (itself based on the Ed Gein murder, upon which Alfred Hitchcock’s Psycho is based) has spawned many urban legends, most built around the idea that there are people in Texas selling delicious barbeque made out of human flesh in roadside quick stops and shacks. View the film carefully, and it’s easy to see why. Hooper’s direction is brilliant, and it is a shame Hopper’s career never quite reached the heights that The Texas Chainsaw Massacre promised.

The film is documentary-like, but also has a dreamlike quality that is very effective. The Texas Chainsaw Massacre movie is often like a nightmare that’s over quickly, but while you’re experiencing it, the nightmare seems to go on forever. Its jarring finale not only furthers the idea that this is a bad dream, but it also makes The Texas Chainsaw Massacre seem like a fairy tale. It’s like a really nasty Grimm Brothers story of careless and naughty youth who are so oblivious to nature and so focused on their own wants that they ignore the sense of evil and foreboding around them.

Hooper really had a solid vision for his crew and the assisting filmmakers. The shots, editing, lighting, and music go a long way into creating the sense of dread and psychological horror in the film. The cast is mostly inspired and never slacks up, which allows the level of intensity and fear to keep increasing as the film narrative unfolds. The Texas Chainsaw Massacre is unsettling, frightening, and just plain freakish, but it’s also funny and has some odd moments of satire and social commentary.

8 of 10
A

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Review: "Blazing Saddles" Still Rides Hard and Funny (Happy B'day, Darby)

TRASH IN MY EYE No. 11 (of 2004) by Leroy Douresseaux

Blazing Saddles (1974)
Running time: 93 minutes (1 hour, 43 minutes)
MPAA – R
DIRECTOR: Mel Brooks
WRITERS: Andrew Bergman, Richard Pryor, Norman Steinberg, Alan Uger, and Mel Brooks, from a story by Andrew Bergman
PRODUCER: Michael Hertzberg
CINEMATOGRAPHER: Joseph Biroc (D.o.P.)
EDITOR: Danford Greene and John C. Howard
Academy Award nominee

COMEDY/WESTERN

Starring: Cleavon Little, Gene Wilder, Harvey Korman, Madeline Khan, Slim Pickens, Alex Karras, Mel Brooks, Claude Ennis Starrett, Jr., Liam Dunn, Dom DeLuise, David Huddleston, John Hillerman, George Furth, and Carol DeLuise

Hedley Lamarr (Harvey Korman), a corrupt political boss, wants to run a railroad through the small western town of Rock Ridge, but he has to ruin the town so its citizens will want to leave. Lamarr appoints a black sheriff named Bart (Cleavon Little), thinking that will certainly demoralize them and make them leave Rock Ridge. Bart, however, joins forces with a washed-up gunfighter Jim (Gene Wilder), also known as The Waco Kid, and becomes Lamarr’s formidable adversary. Lamarr then concocts a plan to have a collection of the vilest criminals, cutthroats, and thieves ravage Rock Ridge. Bart, however, rallies the townspeople (who initially hated having a black sheriff) to a grand stand off against their would be destroyers.

Blazing Saddles is one of the great film comedies (it would certainly make my Top 10), and is still the all-time best parody of movie westerns. Actually, the film takes on a western sub-genre, the horse opera, in which a beleaguered sheriff, all but abandoned by the townsfolk he’s sworn to protect, must stand alone against corrupt, greedy, and murderous men. What really makes Blazing Saddles work as a parody of westerns is that the film really works like a western. It looks and feels like a classic western flick from Hollywood’s golden era of Technicolor westerns. In order for a spoof to work, the spoof has to fell like the thing it’s parodying.

Unlike a lot of parodies, Blazing Saddles also has a plot and solid story structure – a clear beginning, middle, and end, and the characters are excellent. A fine group of character actors also play the parts. Cleavon Little and Gene Wilder are excellent comedians, both fun with a kind of likeable slyness, but Madeline Kahn and Slim Pickens also give bravura performances in small roles that help to define the movie.

Blazing Saddles is funny and brilliant, heavy with belly laughs. Although I’ve encountered many people who don’t like it for various reasons, the is one of the films that firmly established director Mel Brooks as a great American comic, a funny man in any medium.

9 of 10
A+

NOTES:
1975 Academy Awards: 3 nominations: “Best Actress in a Supporting Role” (Madeline Kahn), “Best Film Editing” (John C. Howard and Danford B. Greene), and “Best Music, Original Song” (John Morris-music and Mel Brooks-lyrics for the song "Blazing Saddles")

1975 BAFTA Awards: 2 nominations: “Best Screenplay” (Mel Brooks, Norman Steinberg, Andrew Bergman, Richard Pryor, and Alan Uger) and “Most Promising Newcomer to Leading Film Roles” (Cleavon Little)

2006 National Film Preservation Board, USA: National Film Registry

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Review: "Young Frankenstein" is Eternally Funny

TRASH IN MY EYE No. 51 (of 2005) by Leroy Douresseaux

Young Frankenstein (1974) – Black & White
Running time: 105 minutes (1 hour, 45 minutes)
DIRECTOR: Mel Brooks
WRITERS: Gene Wilder and Brooks – screen story and screenplay (based upon the novel Frankenstein by Mary Shelley)
PRODUCER: Michael Gruskoff
CINEMATOGRAPHER: Gerald Hirschfeld
EDITOR: John C. Howard
Academy Award nominee

COMEDY/HORROR with elements of drama, sci-fi, and romance

Starring: Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Cloris Leachman, Terri Garr, Kenneth Mars, and Gene Hackman

Mel Brooks’ Young Frankenstein is a tribute to Mary Shelley’s classic novel, Frankenstein, by way of parody. The film pokes fun at the various film versions of the novel, in particular the Universal Pictures versions. Parody’s work best when the parody looks a lot like the material at which it’s poking fun; that is why Young Frankenstein and Brooks’ other famous send-up, Blazing Saddles, work so well. Saddles looks, sounds, and walks like a western, and Young Frankenstein is a beautiful, black and white dream that looks as if it were born right next to the Universal’s Frankenstein films. In fact, this film was shot on the same set with the same props and lab equipment as the original 1931 film, Frankenstein.

After years of trying to live down the family’s reputation, Frederick von Frankenstein (Gene Wilder) is summoned by a will to his late grandfather, Victor von Frankenstein’s, castle in Transylvania. He is joined at the castle by Inga, (Terri Garr), who tells Young Frankenstein that she is his assistant, and by Igor (Marty Feldman), whose grandfather worked for Frederick’s grandfather. Frederick eventually discovers his grandfather’s step-by-step manual explaining how to reanimate dead tissue. He repeats granddad’s experiments and creates The Monster (Peter Boyle). However, despite his imposing size and frightful face, The Monster only wants to be loved, but the local villagers aren’t buying it. The Monster repeatedly tries to escape the fright and ignorance that wants to destroy him, but Frederick wants to bring him home and teach him to live amongst people.

1974 was a good year for Brooks because it also saw the release of his classic send up of westerns, Blazing Saddles. Young Frankenstein is still considered by many to be his best film (I take the other side saying Saddles is his best), and the film remains a gorgeous black and white ode not only to Frankenstein movies, but also to the beauty of black and white films and how the splendor of their superb costume designs and lavish and ornate sets were still evident even without the benefit of color photography.

The cast is also superb, and no one single person needs to be singled out because everyone is at the top of his or her game. However, the late Marty Feldman wasn’t shy about playing up the fact that he was acting in a comedy. Paying special attention to him every time he’s on screen is worth the patience when paid off in comic gems. The film also has a lot of good jokes and clever gags, and the timing is impeccable – apparently due to a lot of editing. That’s probably the best thing about this film; watching it gives the sensation that everything works, makes sense, and that the humor is true. Young Frankenstein is one of the great film comedies, and is not to be missed.

8 of 10
A

NOTES:
1975 Academy Awards: 2 nominations: “Best Sound” and “Best Writing, Screenplay Adapted from Other Material”


1975 Golden Globes: 2 nominations: “Best Motion Picture Actress – Musical/Comedy” (Cloris Leachman) and “Best Supporting Actress – Motion Picture” (Madeline Kahn).


2003: the National Film Preservation Board, USA added the movie to the National Film Registry.

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Review: Isaac Hayes, Yaphet Kotto Rev Up "Truck Turner"

TRASH IN MY EYE No. 172 (of 2004) by Leroy Douresseaux

Truck Turner (1974)
Running time: 91 minutes
DIRECTOR: Jonathan Kaplan
WRITERS: Michael Allin and Oscar Williams (from a story by Jerry Wilkes)
PRODUCERS: Paul M. Heller and Fred Weintraub
CINEMATOGRAPHER: Charles F. Wheeler
EDITOR: Michael Kahn

ACTION

Starring: Isaac Hayes, Yaphet Kotto, Alan Weeks, Annazette Chase, Nichelle Nichols, Sam Laws, Paul Harris, John Kramer, and Scatman Crothers

With its whacked-out violence, splashy sex, foul language, preening ho’s, and funky costumes, Truck Turner is one my best experiences with so-called blaxploitation films. The early Jonathan Kaplan (The Accused, in which he directed Jodie Foster to her first Oscar) directorial effort stars Isaac Hayes as Truck Turner. Turner is a bounty hunter who with his partner Jerry (Alan Weeks) is tracking a vicious and powerful pimp named Gator (Paul Harris). Turner kills Gator after an extended chase scene and huge shootout. Driven by revenge, Gator’s main squeeze, Dorinda (Nichelle Nichols), puts a hit out on Truck. After Truck easily dusts off the hit squad, Dorinda convinces Gator’s old rival and nemesis, Harvard Blue (Yaphet Kotto), to go after Truck in what turns out to be a bloody finale.

Kaplan directed a breezy and smoothly moving, violent action feature that would fit right in with current hyper-kinetic action flicks. Michael Kahn, who would go onto to be Steven Spielberg’s editor-of-choice and win three Oscars for editing Spielberg films, showed why he is so highly respected and graced with so many awards and nominations. Kahn’s editing created the sense of urgency, desperation, danger, and fear that was necessary to sell this particular kind of urban thriller. He actually raised the sense of looming disaster that hides around every corner in the urban setting.

The stars of this show, however, were the stars. Isaac Hayes gave a great performance as the kind of relentless and destructive protagonist that Arnold Schwarzenegger, Sylvester Stallone, Bruce Willis, and Harrison Ford would become so famous and so wealthy for playing. His Truck Turner is every bit the unstoppable force that the Arnold’s Terminator is. Hayes also provided the cool score for this film. Nichelle Nichols bold, foul-mouthed, Dorinda alone is worth the cost of admission, especially since we get to see her brick house form squeezed into her tight and sexy futuristic ho outfits. Yaphet Kotto is always a welcome sight, and he was so smooth and sensible that it’s almost a shame that Harvard Blue wasn’t the star.

7 of 10
A-

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