Hi, Mom! (1970) - Youthful, edgy De Palma/De Niro career-starting nonsense

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Iconic American painting Whistler's Mother (1871) has been manipulated to hold a semi-automatic rifle on this playful, hype-filled poster for Brian De Palma's Hi, Mom!

Vietnam veteran Jon Rubin has an idea to become an adult filmmaker by shooting a film of his New York neighbors.

 

Hi, Mom! is written and directed by great New Jerseyite filmmaker Brian De Palma (Murder à la Mod (1968)), with Charles Hirsch (Greetings (1968)) contributing story elements.

It is a very uneven and youthful New-Yorker flick that's also enormously typical of the time in which it was made. It flutters this way and that with pompous opinions delivered without consequences. 

The scenes of Robert De Niro (Ronin (1998)) as a minute-dictated seductor and Jennifer Salt (Family (1978, TV-series)) as easy prey are amusing. De Niro empathetically acts out all the odd roles that he's given in the sprawling film, which ends with a black experimental theater troupe who become violent as a provocation. Hi, Mom! may well be simultaneously interesting and bad.

 

Related posts:

Brian De Palma: Mission to Mars (2000) - De Palma's awful space turkey 

Carlito's Way (1993) - De Palma's best gangster movie

The Fury (1978) - De Palma's telekinetic powers run amuck! 
Carrie (1976) or, Don't Bully the Strange Girl!  

 

Watch a 1-minute clip from the film here

 

Cost: Reportedly 120k $

Box office: Unknown

= Uncertain

[Hi, Mom! was released 27 April (New York) and runs 87 minutes. De Niro reprises his Jon Rubin character from De Palma's Greetings (1968) in the film. Shooting took place in New York. Whether the film ever screened outside of New York originally is unknown. De Palma returned with Get to Know Your Rabbit (172). De Niro returned in Jennifer on My Mind (1971). Hi, Mom! is fresh at 73 % with a 6.70/10 critical average at Rotten Tomatoes.]

What do you think of Hi, Mom!?

Hercules in New York (1970) - Arnie's big, bulging debut

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This bright poster for Arthur Allan Seidelman's Hercules in New York, - which bills Arnold Schwarzegger using a made-up last name that would soon be retired, - certainly doesn't sell itself short

Hercules rises as a young rebel from Olympus and winds up in New York City, where his extraordinary strength soon arouses attention.

 

Hercules in New York is written by Aubrey Wisberg (The Big Fix (1947)) and directed by debuting Arthur Allan Seidelman (Six Dance Lessons in Six Weeks (2014)).

In the following escapades of Hercules, he meets a woman and beats a bear to death, among other things. Naturally this acting debut for Arnold Strong, - better known as Arnold Schwarzenegger (Conan the Destroyer (1984)), - holds quite a bit of curio value. For unknown reasons it wasn't until well into the 1980s that Schwarzenegger would be taken seriously as a starring power in his breakthrough Conan the Barbarian (1982).

The effects are crazy (bad), and the story is loony, - but you can't argue with Schwarzenegger's Mr. Universe shape. It is impressive!

Watch a trailer for the film here

 

Cost: 300k $

Box office: Unknown

= Uncertain - but presumably a flop

[Hercules in New York premiered 25 February (North Carolina) and runs 92 minutes. Schwarzenegger, 22 years old at the time, was encouraged to audition by his bodybuilding friend Reg Park, who had appeared in a number of Hercules movies. He was paid 12k $ for his performance. Shooting took place in October 1969 - ? in New York. Several scenes, including the Times Square chariot race scene, were shot without permits. Schwarzenegger's voice was deemed unusable due to his thick Austrian accent and he was dubbed over by an uncredited voice actor; but Trimark's 'original English dialog' DVD release has Schwarzenegger's voice, only not in the final scene, in which he was not present at the time of shooting. The film seems to have been a flop, but the numbers aren't available to back up the claim. RAF Industries, the only production company behind it, folded up after its release, which seems to have been solely in North America. Rights holder Premiere Pictures attempted to auction off the rights in 2006 for 550k $, but it is unclear (and doubtful) whether they were successful. Seidelman returned with NET Playhouse (1970, TV-series) and theatrically with Children of Rage (1975). Schwarzenegger returned with an uncredited appearance in The Long Goodbye (1973); Arnold Stang (Flying Saucer (1976, short)) with a voice performance in Marco Polo Jr. (1972). 18k+ IMDb users have given Hercules in New York a 3.3/10 average rating.]

What do you think of Hercules in New York?

The Garden of the Finzi-Continis/Il Giardino dei Finzi-Contini (1970) - An exquisite, painful De Sica WWII love drama

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A graphically recreated close-up of a young woman's beautiful face, encircled in autumn-colored leaves, makes up this striking poster for Vittorio De Sica's The Garden of the Finzi-Continis

In late-1930s Italy, while the fascists' power and madness escalates, life continues in Ferrara in Emilia-Romagna, where Jewish Giorgio is in love with his childhood friend Micòl from the wealthy, Jewish Finzi-Contini family.

The Garden of the Finzi-Continis is written by Ugo Pirro (Ogro (1979)) and Vittorio Bonicelli (Arabella (1980, miniseries)), adapting the same-titled 1962 novel by Giorgio Bassani (The Gold-rimmed Spectacles/Gli Occhiali d'Oro (1958)), and directed by Italian master filmmaker Vittorio De Sica (Rose Scarlatte (1940)), whose 25th feature it was. De Sica, Franco Brusati (Violent Life/Una Vita Violenta (1962)), Alain Katz (La Cosa Buffa (1972, second assistant director)), Tullio Pinelli (Flipper (1983, TV movie)), Cesare Zavattini (Lipstick/Il Rossetto (1960)) and Valerio Zurlini (Violent Summer/Estate Violenta (1959)) contributed uncredited screenplay work.

De Sica animates the fine, heart-rendering story with a familial tenderness, and the beautiful photography (by Ennio Guarnieri (Le Giraffe (2000))) and delectable costumes add much to this war-time drama/romance, which shows us the tragedy of WWII from a new angle: SPOILER Namely from the inside of two splendid Jewish families that are destroyed.

In this exquisite production the stars sparkle: Lino Capolicchio (An Impossible Crime/Un Delitto Impossibile (2001)) and Dominique Sanda (The Journey/El Viaje (1992)), along with Helmut Berger (Die Jäger (1982)) as the closeted homosexual and ill Alberto and Romolo Valli (Boom! (1968)) as Giorgio's proudly Italian father, whose patriotism is in vain. SPOILER Only the ending, in which the victims play tennis in slow-motion, is misbegotten.

 

Related post:

 

Vittorio De Sica: A Farewell to Arms (1957) or, Love in Spite! (co-star)

Watch a 2-minute clip from the film here

 

Cost: Unknown

Box office: In excess of 596k $ (North America alone)

= Uncertain

[The Garden of the Finzi-Continis premiered 2 December (Jerusalem, Israel) and runs 94 minutes. Shooting took place in Ferrara, Emilia-Romagna, Italy. Bassani was upset with how the relationship between Malnate and Micòl was made explicit in the film and distanced himself from De Sica. The only gross number readily available online is the 596k $ North-American gross. The film was nominated for 2 Oscars: It won for Best Foreign Film and lost Adapted Screenplay to Ernest Tidyman for The French Connection. It also won 1/2 BAFTA nominations, the Golden Bear at the Berlin International Film Festival, 1/2 David di Donatello nominations, was nominated for a Grammy, and won a National Board of Review award, among other honors. Roger Ebert gave the film a 4/4 star review, translating to a notch over this one. De Sica returned with an anthology segment, a TV-series episode and a TV documentary prior to his theatrical return with Lo Chiameremo Andrea (1972). Capolicchio returned in Le Tue Mani Sul Mio Corpo (1970); Sanda in Sans Mobile Apparent (1971); and Berger in Love Me Strangely/Un Beau Monstre (1971)). The Garden of the Finzi-Continis is fresh at 100 % with an 8.10/10 critical average at Rotten Tomatoes.]

What do you think of The Garden of the Finzi-Continis?

Flesh Feast (1970) - Veronica Lake's madcap maggot exploitation swansong

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An appropriately ghastly, sensational poster for Brad F. Grinter's Flesh Feast

Two villainous doctors conduct dubious science with maggots and stolen corpses in a cellar laboratory with the aim of rejuvenating an expat top Nazi! - Yikes!

Flesh Feast is written by Thomas Casey (Sometimes Aunt Martha Does Dreadful Things (1971)), who also photographed the film, and co-writer/co-producer/director Brad F. Grinter (Blood Freak (1972)). It is a schlocky, ultra-cheap grade Z film, - but it has a certain attraction, if you approach it with low expectations, (or none.)
Psychedelic elements and hot ladies are combined with maggots, dangling, putrefying body parts and former major Hollywood star Veronica Lake (Sullivan's Travels (1941)), whose infamous last film this is, (she even co-produced it.) She plays a grotesque part, which she nevertheless pitches into full throttle. Lake seems genuinely mad in Flesh Feast.
The script is almost terrible, and the film bores in stretches. SPOILER Its Hitler/maggot end scene has to be seen to be believed!

Watch a short trailer for the film here

Cost: Unknown
Box office: Unknown
= Uncertain
[Flesh Feast was released 20 May (USA) and runs 72 minutes. Shooting took place in Miami Beach, Florida on a tiny budget. Rice was used to pass off as a sea of maggots in closeup shots. Despite its R rating, it was shown with 'GP' and 'PG' ratings printed on it in parts of the US, where it also continued playing on double and triple bills all the way up to 1983, likely accruing a very healthy gross over the years. Grinter returned with Devil Rider! (1970). Lake never acted again and died from hepatitis at age 50 in 1973. 513 IMDb users have given Flesh Feast an average 2.2/10 rating.]

What do you think of Flesh Feast?

Even Dwarfs Started Small/Auch Zwerge Haben Klein Angefangen (1970) - Herzog teases us to react with uniquely odd experimental drama

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An unusual poster for Werner Herzog's Even Dwarfs Started Small, which begs us to squint to make out what it is showing us, which is in itself quite funny

A group of dwarfs revolt against the institution they inhabit, and in fits of childlike glee destroy what they can there.

Even Dwarfs Started Small is the second film from great German writer-director Werner Herzog (Fitzcarraldo (1982)). It is an experimental drama in B/W that seems to be inspired by dreams, although it doesn't resemble any dream I've ever had. Some have opined that it has nightmarish qualities, but the contagious laughter and sheer silly glee of the dwarfs bar me from really feeling this alleged aspect of the film.
Because of the immobile, flat structure of the action, (it is not appropriate to really call it a plot), in which things just appear to happen without much in the way of causality, Even Dwarfs Started Small feels long. Some of the episodes in it are amusing, and the unique oddity of the whole movie is also hard not to embrace I find, - even if the meaning in it, - if indeed there is any, (which it is fair to be skeptical about), - escapes me.

Related posts:

Werner Herzog: Jack Reacher (2012) - Highly entertaining, dark hero-vehicle for Tom Cruise (actor) 
2010 in films and TV-series - according to Film Excess [UPDATED I] 
Happy People: A Year in the Taiga (2010) - Herzog and Vasyukov invite us to meet a remote, tough Siberian people 
The Bad Lieutenant: Port of Call New Orleans/Bad Lieutenant (2009) or, Werner Herzog's Bad Lieutenant
Cobra Verde/Slave Coast (1987) - Herzog and Kinski's final work delves into the madness of slavery 

Watch the first minute of the film here

Cost: 0.2 mil. $
Box office: Unknown
= Unknown
[Even Dwarfs Started Small premiered in May (Cannes) and runs 96 minutes. It was shot on Lanzarote, Spain. Stories about the production include that Herzog would direct one actor not to laugh and then tease him with a barrage of funny faces during the shot, so the guy would break down in laughter throughout the scene. One actor was overrun by the car driving in circles but was unscarred and immediately ready for more shooting. The same actor later caught fire, which Herzog put out, whereupon he swore that he could throw himself in a cactus patch and allow his actors to film it, if no one else was injured during shooting. No one was, and Herzog kept his promise. The film was released unrated in a small release in North America a few months after playing at the New York Film Festival. It played in West Germany and, years later, in Spain, Japan, Portugal, Greece and Australia. Herzog released 4 documentaries before his next fiction feature, which paired him with his 'muse' through many following films (Klaus Kinski), Aguirre, the Wrath of God/Aguirre, der Zorn Gottes (1972). 5,227 Rotten Tomatoes users have given Even Dwarfs Started Small an average rating of 3.7/5.]

What do you think of Even Dwarfs Started Small?

The Red Circle/Le Cercle Rouge (1970) - Melville spins a deft, ice-cold, minimalist heist thriller

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A gritty poster for Jean-Pierre Melville's The Red Circle

QUICK REVIEW:

The film starts with two convicts achieving freedom: One is released, the other escapes his transport on a train with a plan: Along with an ex-cop with ballistic expertise, he will rob a jewelery store.

Great French director Jean-Pierre Melville's (The Gambler/Bob le Flambeur (1956)) film-language is extremely minimalistic in this hyper-elegant heist thriller, both in terms of dialog, the drawing of the characters and the music and lack of same: SPOILER The approximately 20 minutes long heist scene takes place in almost absolute silence.
The three thugs, dark Alain Delon (Rocco and His Brothers/Rocco e i Suoi Fratelli (1960)) in particular, appear as cold and professional opposite the skilled inspector (crooked-nosed André Bourvil (The Longest Day (1962)) and his cynical boss; ("All men are guilty.")
The Red Circle is a solid, elegant, uncommonly downplayed crime serving that curries no favor with us in terms of romance or other sentimentalities.
A fun fact about it is that the Buddha quote in the the film's epigraph, which sort of explains the film's title, was entirely made up by Melville himself.

Alain Delon in Jean-Pierre Melville's The Red Circle

Watch the cool, original, French trailer for the film here

Cost: Unknown
Box office: 0.3 mil. $ (2003 US re-release)
= Uncertainty
[The film had many admissions in its own country France (4.3 mil.) and seems to have done very well in Italy (1,350 mil. lire). Whether this makes it a hit on its initial release or not is not certain. It enjoyed a long American re-release in '03 (January-September) on a few screens and has a fan in great Chinese action director John Woo (Mission: Impossible 2 (2000)).]

What do you think of The Red Circle?
What's Melville's best film in your opinion?

Catch-22 (1970) - Nichols wages war on war with ensemble cast in absurdist adaptation

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Stars fronting Mike Nichols' Catch-22

We follow the lives of a squadron of American pilots during WWII on a Mediterranean island, where they serve under a colonel, who keeps upping the number of missions they have to fly before they are let off.

The cast of this adaptation of Joseph Heller's 1961 novel of the same name is remarkable: A very young Martin Sheen (Apocalypse Now (1979)), Jon Voight (Deliverance (1972)), Alan Arkin (Little Miss Sunshine (2006)), - who is outstanding as the distraught lead, Captain Yossarian, who seems the most clear-sighted in the bunch, - along with Anthony Perkins (Psycho (1960)), - also great as the peculiar chaplain, - Martin Balsam (Psycho) and Orson Welles (Citizen Kane (1941)) as the general, of course.
Catch-22 is a political anti-war satire about the craziness and futility of war which has more in common with Fear and Loathing in Las Vegas (1998) than with Twelve O'Clock High (1949), another legendary war movie about pilots and flying. The context of it, - the 20th century's devastating war-focus and overwhelming destruction, - is key to understanding and appreciating it. It features more or less subtle streaks of absurd comedy, while also being deadly serious and very bold, - and some looking for a more traditional war movie may be disappointed, if they happen to choose Catch-22. It has several outstanding sequences that are staged incredibly; the narrative runs a challenging course, which keeps every involved audience member on his/her feet; Catch-22 is unique and powerful and hits an aerial filmmaking standard that possibly hadn't been charted ever since Howard Hawks' classic masterpiece Only Angels Have Wings (1939).
It is directed by great director Mike Nichols (Who's Afraid of Virginia Wolf? (1966)), who has just passed away after a long life and a truly illustrious career. He adorned this film with some extremely long shots that are quite unique. Catch-22 is a disturbing film that stirs afterthoughts about the nature of war and the human mind.

Related reviews:

Mike Nichols: Angels in America (2003, TV-miniseries) or, Dying in the 80's, of AIDS, at L-E-N-G-T-H
Biloxi Blues (1988) or, '45 Army Camp Confidential 

Martin Sheen in Mike Nichols' Catch-22

Martin Balsam in Mike Nichols' Catch-22

Watch the original trailer for the film here

Cost: 18 mil. $
Box office: 24.9 mil. $ (US only)
= Big flop, though some uncertainty
[1970 also saw the release of Robert Altman's anti-war farce MASH, which was much more successful in America, (though Catch-22 is a better film), and perhaps American audiences didn't have the appetite for two similarly disillusioned visions of men and war in the same year, while the Vietnam war was tiring the nation's patience outside movie-theaters, in reality.]

What do you think of Catch-22?
What are Mike Nichols' three greatest films in your opinion?

The Boys in the Band (1970) - Friedkin and Crowley's groundbreaking gay birthday party movie

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Curiosity-inspiring poster for William Friedkin's The Boys in the Band

The Boys in the Band isn't a musical, as its posters declare, nor a film about a band. It is a daring and taboo-breaking stage adaptation of Mart Crowley's (The Men From the Boys (2002)) off-Broadway play by master director William Friedkin (The Exorcist (1973)).

Michael and Donald are preparing for the party they are throwing in Michael's New York apartment for their mutual friend Harold's birthday, when an old college chum makes a tearful surprise-call to Michael. And soon, while the party of colorful 'queens' are having a ball, the perplexing, homophobic 'ghost of the past' friend arrives on the doorstep.

The revelatory evening and night that follows in Boys in the Band is structurally reminiscent of such films as Key Largo (1948), Cat on a Hot Tin Roof (1958) and The Breakfast Club (1985) in that it feels like a heightened everyday drama, concept-driven around the idea of the evening of discoveries and confessions in a single location. We may call it the 'pot-boiler'-grip.
Forgetting this somewhat unnatural narrative device, Crowley's script contains poignant dialog and zingers en masse. There are several truly funny moments, mostly stemming from the original characters and the unparalleled performers: The film reutilizes all of the stage players, and it is hard to pick out who to highlight, because they all do an exceptional job, but here goes:
Cliff Gorman (Ghost Dog (1999)) is incredible as Emory, who gets compared to a chicken wing in one hilarious scene in the film. Peter White (Thirteen Days (2000)) is superb as the straight stranger, who maybe isn't so straight when it all comes down to it. Robert La Tourneaux (Pilgrimage (1972)) is well-playing and eye-candy as Harold's present cowboy. And finally, Leonard Frey (Tattoo (1981)) is legendary as birthday boy Harold, though his character's slithering sarcasm becomes, I think, a bit too rash at times.

The details:

Friedkin was only in the first stage of his film directing career with Boys in the Band, but already his talent is obvious. Besides handling a big theater ensemble who could have easily run away with 'his' film, he achieves making a great movie, which in its look and technical side is clearly not merely filmed theater.
This amusing and melancholic drama-comedy is renowned as one of the first major American movies to deal with homosexuality in an open fashion, and I found that, looking past the campy humor and aged references, the characters still feel real and truthful today. The self-flagellation and -hatred apparent in several of them has luckily lessened for most adult homosexuals in today's world, but the film in a way only attains higher value since things have (thankfully) changed since its making.
The despair is tangible below the frail surface, but the liveliness of the characters and performers and Friedkin's sure direction prevents The Boys in the Band from ever becoming a downer. At its finest, it is a moving portrait of human beings. It is often thought-provoking and has an ending that definitely sits with you after it has left the screen.

Watch the original trailer for the film here

Cost: Reportedly 5.5 mil. $ (although it seems very high)
Box office: 3.5 mil. $ (North American rentals only)
= Uncertainty
[Though the film is considered a cult classic in gay cinema today, besides a great film, it was received more coolly and even with disdain by some critics at its premiere. Due to its subject matter, it only played big cities in the States.]

What do you think of The Boys in the Band?
Other early gay-themed films that you want to recommend?

Chisum (1970) - Middle-of-the-road John Wayne action-western

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Painted poster with some of the excitement that's the heart of Andrew V. McLaglen's Chisum

QUICK REVIEW:

Two 'great' men are fighting over who is gonna rule in a small town; Chisum, who is just and good, or Murphy, who is greedy and bad.
The action-western is a rare thing, but here is one, where the label fits: Fire, murder, shootings, falls, fist fights, - and almost without stop.
John Wayne (The Man Who Shot Liberty Valance (1962)) has the pretty boring title lead. Hank Worden (Red River (1948)) and Richard Jaeckel (3:10 to Yuma (1957)) are charismatic in side-roles, but the dialog and script for Chisum - by Andrew J. Fenady (Mayday at 40,000 Feet! (TV, 1976)) is generally too horrid to afford the film any lasting impressions.
It is directed by the London-born film-maker Andrew V. McLaglen (The Undefeated (1969)).
Here are some more posters for this mediocre based on - but far removed from - real events western:

Wayne winning his first Oscar for True Grit (1969) was used in the trailer for the much inferior western from the same year, Chisum here

Cost: Unknown
Box office: 6 mil. $ (only US rentals)
= Uncertainty

What do you think of Chisum?
Best and worst John Wayne films in your opinion?

The Butcher/Le Boucher (1970) - Small town thriller masterpiece from Claude Chabrol

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A psychedelic, rave-filled poster for Claude Chabrol's The Butcher

We follow the fairly young school teacher and school leader Hélène for a time in a small, French village, while a brutal killer of women rages, and she is being courted by the town's war veteran butcher.

Le Boucher is an absolutely excellent crime thriller with a soft romance, which seems to crystallize everything that's good in French master filmmaker Claude Chabrol's (This Man Must Die (1969)) movies and in modern French films in general, and which concludes in an intense and sharply modern ending.
Besides brilliant acting from the two leads, Stéphane Audran (Babette's Feast (1987)) and Jean Yanne (Weekend (1967)), Butcher is both photographed (by Jean Rabier (The Umbrellas of Cherbourg (1964))) and told (in Chabrol's own script) with a rare, grown-up integrity and an unassuming elegance. The atmosphere of the little village is indescribably pleasant, and the film takes its time getting us into the town's pace, so that it feels like actually going to such a town for a short time.
What makes the film stand out is not least its reluctance to shape answers to the mysteries of the killings, which leaves us either dumbfounded or to make ends meet on our own as to the dark holes in human nature that these misdeeds point to. Le Boucher is Chabrol's best film, a true thriller classic and a cinematic masterpiece.

 

Related post:

 

Claude Chabrol: Top 10: Best French movies

Jean Yanne and Stéphane Audran in Claude Chabrol's Le Boucher

The title still from Claude Chabrol's Le Boucher

In lieu of a trailer for the undervalued masterpiece, here is an old interview with Claude Chabrol - French-style - that is, in French, without subtitles (sorry)

Budget: Unknown
Box office: Unknown - but 1.1 mil. people saw it in theaters in France alone
= Uncertainty

What do you think of Le Boucher?
Other thrillers and/or Chabrol-films that you can compare it to?

The Ballad of Cable Hogue (1970) - Manly respite with Robards and Peckinpah

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French poster for Sam Peckinpah's The Ballad of Cable Hogue

QUICK REVIEW:

Typical Sam Peckinpah (The Wild Bunch (1969)) story about a man, who is left to die in the dessert, until he finds water after a few days, buys the land and falls in love with a good whore. His partner is a horny priest.
Jason Robards (All the President's Men (1976)) is good as the doughty, simple man Hogue. I found myself dreaming myself away, despite, - or perhaps because, - Cable Hogue is a film where not much happens.
The film uses many foolish effects like 4-split screen, fast forwards, a comical motif and animation, which gives it an almost psychedelic feel as an untraditional romantic western-comedy, (and very typical of its time.) These effects are also a reason for its inclusion in the unflatteringly named 'Death of the West'-wave of westerns from the 60s and 70s.
The production was troubled: Taking a far step away from his preceding hit The Wild Bunch, which is a fiercely violent western, Peckinpah shot Cable Hogue with weather difficulties and severe drinking in Nevada and Arizona, going 19 days and 3 mil. $ over budget, with terrible stories of mass-firings and an alcoholic's lack of control attributed to him, Peckinpah was left by Warner Bros.-Seven Arts after the film and lost prestigious future directing jobs due to his wild ways on The Ballad of Cable Hogue.

The Ballad of Cable Hogue by Sam Peckinpah; a film that, like most of his films, will mostly appeal to men

Irreverence and male jargon spells fun in Sam Peckinpah's The Ballad of Cable Hogue

Budget: 3.7 mil. $
Box office: 5 mil. $
= Even

What do you think of Peckinpah and The Ballad of Cable Hogue?
What is your favorite Peckinpah-film and why?