The Damned.

Review #2608: The Damned.

Cast: 

Macdonald Carey (Simon Wells), Shirley Anne Field (Joan), Viveca Lindfors (Freya Neilson), Oliver Reed (King), Alexander Knox (Bernard), Walter Gotell (Major Holland), James Villiers (Captain Gregory), Tom Kempinski (Ted), Kenneth Cope (Sid), with Rachel Clay (Victoria), Caroline Sheldon (Elizabeth), Rebecca Dignam (Anne), Siobhan Taylor (Mary), Nicholas Clay (Richard), Kit Williams (Henry), Christopher Witty (William), David Palmer (George), and John Thompson (Charles)

Directed by Joseph Losey.

Review: 

Sure, let's see what's with the British and sci-fi/horror. Known as The Damned in its native Britain but These Are the Damned in its original American release (as distributed by Columbia Pictures), the film was based on the 1960 novel The Children of Light by H.L. Lawrence by Evan Jones. At director was expatriate Joseph Losey, who reluctantly accepted because of his desire to keep working as an American that was still reeling from the blacklist of the previous decade (it was he who brought in Jones to do the script rather than the one originally co-written by producer Anthony Hinds and Ben Barzman). Due to demands from Hinds (who once stated his loathing of both Losey and the film), there would be more than one version of the film lurking around to pair for a double feature. It actually was meant to be just a 95 minute movie (complete with already being rated with an X certificate), but Losey went with the suggested Hinds edits (heaven forbid a bleak movie be a bit bleak for audiences) for an 87 minute version on release for the UK (of course, the movie ended up being released first in Australia in 1962 before the UK release of "The Damned" for a title rather than "The Brink" in 1963). Columbia ended up quibbling even further and released it only in 1965 with a 77-minute version called "These Are the Damned" (because, hey, Village of the Damned [1960]). Losey would continue to direct all the way until his death in 1984 at the age of 75, leaving behind such films as The Boy with Green Hair (1948), Boom! (1968), and The Go-Between (1971).

Sure, it's a horror movie in the perils of potential Armageddon that goes with atmosphere over gore (as one does when focusing on what lies beneath kids that happen to be a bit cold) that does in fact make for a pretty curious movie that really does have no winners. The best of intentions can in fact lead to the potential for the most horrifying of possibilities in a time where people really did believe in the looming threat of a Cold War blooming into actual nuclear holocaust where only the fateful few may survive. Naturally, it is a potboiler type of movie that gets to that point by first starting out with a gang of tough-guys and the relative ease in which they engage in violence for a world that both loves and hates the ones who are angry to it all. You might remember that Hammer liked what they saw from Reed* in The Curse of the Werewolf [1961] to cast him with a few more interesting roles in movies such as this and Paranoiac [1963] before exploding later in the decade. His performance here weighs heavily in the time you see him for what lurks in the hearts of men within his instability and his odd dynamic with his onscreen sister in Field that suggests more than meets the eye in the cloying rot that pervades us more than we wish to admit. This doesn't take away from Carey and Field, don't get me wrong, because they still make for suitable presences to get caught in the structures of chaos with very few choices for themselves that might as well fit the title of the film more than anything. Knox and his cold logic in the ideas of reasoned intentions does fit for the key piece of seeing where all things lie when plans and human nature crash into a fiery hell. The interactions with the kid actors generally go pretty well in seeing the unsettling nature of what things really are like outside of a bubble, where cold choices really can be made by the most alleged warm-blooded people imaginable. The damned could inherit the Earth, but for what? As a whole, it is the horrors of the inevitable that really drive the movie for better or worse, one that makes a pretty damned cold time that is worth at least one curious watch.

Overall, I give it 8 out of 10 stars.

Song of the day!

*One year after the film came out, Reed got into a bar fight that saw him fear the worst because he ended up with plenty of stitches and a scar on his cheek. But he lived on.

The Way We Were.

Review #1444: The Way We Were.

Cast: 
Barbra Streisand (Katie Morosky), Robert Redford (Hubbell Gardiner), Bradford Dillman (J.J.), Lois Chiles (Carol Ann), Patrick O'Neal (George Bissinger), Viveca Lindfors (Paula Reisner), Allyn Ann McLerie (Rhea Edwards), Murray Hamilton (Brooks Carpenter), Herb Edelman (Bill Verso), and Diana Ewing (Vicki Bissinger) Directed by Sydney Pollack (#084 - Tootsie and #1441 - Jeremiah Johnson)

Review: 
“As a young woman, I wanted nothing more than to see my name in lights.”
Barbra Streisand dreamed of being an actress from childhood, and it is easy to say that she has followed through with considerable talent for six decades. The daughter of a teacher and a singer-turned-bookkeeper, she practiced singing from a young age while eventually spending additional time studying acting (such as stage actress biographies and acting theories). She made her way from nightclubs in 1960 to Broadway in 1962, with her first album being released the following year. Her appearance in the 1964 Broadway production of Funny Girl furthered her success, and when the musical was adapted into a film in 1968, she would make her film debut and reprise her role and win an Academy Award for Best Actress. By the time she was in line to do this film (her seventh), she had starred in a variety of genres such as musicals, comedies, and dramas.

Some movies are just schmaltzy, and this one nearly drowns because of it. Actually, one little barometer you can use to try and set the mood for if you may enjoy this film is how one reacts to the title song of the picture, sung by Streisand and written by Alan Bergman, Marilyn Bergman, and Marvin Hamlisch. It supposedly is a tearjerker kind of song, so if one really is swayed by melodramatic phrases like "Memories light the corners of my mind / Misty watercolor memories of the way we were", then by all means go for it. If I ever had a blindspot when it comes to music, sad love songs rank up there. Inspiration for the film came from the experiences of writer Arthur Laurents during his time at Cornell University, where he knew a student just as reactionary about events of the time as the main character present here, with an eventual turn to creating a love story (of sorts) with a talented writer without the strength to really apply themselves with writing. Laurents was a noted playwright who had directed Streisand in I Can Get It for You Wholesale back in 1962. The film may seem a bit jumbled with its plot, and the fact that there were numerous re-writes done to the script (from writers such as Dalton Trumbo) doesn't help, and Laurents had left (and returned) the production due to taking issue with Pollack with his handling of the main characters, since he felt that he needed to make Redford's character more equal to Streisand's character (since Pollack had promised Redford to make the character less of a strawman in order to get Redford to sign on). Laurents was obviously not too pleased with the resulting film, once stating that "To make a mantra of 'It's only a movie was as useless and foolish as feeling pain. No matter what I felt or thought, no matter what I tried to accomplish or how, Sydney Pollack would ultimately have his way. That was what I had to face and accept. They didn't cry 'Author! Author! in the movies, they never had. Now they cried 'Auteur! Auteur! -- even if the auteur fucked up the picture."

As a film about the evolving times into the Hollywood blacklist interlaced with a tragic romance, it isn't exactly a strongly put-together film, particularly when it comes to settling in the tragic parts of its climax, which seem too abrupt for a film that somehow seems too long and not long enough at the same time of 118 minutes. Your mileage may vary on what seems most interesting to you when it comes to the story, but I just couldn't get myself into all that this film wants to juggle, a snoozer in the political aspects (when not trying to preach to the choir). Everything one could praise for a film like this can soon be followed by the word however, as if this was a film of contradicted principles. Streisand and Redford seem to do well with each other, beaming as stars with distinct craftsmanship that can make for interesting magic when not arguing with each other. You know the type: the idealist with resilience and fire like a phoenix and the golden boy with his own sense of preservation (you can tell pretty quickly which one you might like better when it gets to the college speech scene, where she talks about her beliefs with Marxism before getting mocked with a "Any Peace But Katie's Piece" sign - which leads to her getting mad and calling them fascists, which is just as amusing as trying to take Marxism super seriously). In a sense it is like watching passionate waves crash onto a calming beach, which can work pretty well. On the other hand, the supporting characters seem to be a victim of the editing (particularly with a wasted Hamilton), where one only sees fleeting moments with folks like O'Neal that only serve to try to not drag things out to the inevitable pasture.  If one goes along with these characters, then all power to you - to me I couldn't help but think of them more as belonging to camp than true tragedy. For its failures to really set up a cohesive finish before its final manipulations with the climax, I can't find myself to give a positive shake for this film - its machinations to get to its tragic point are frenzied and not consistent enough to stick its landing, regardless of how much star power is present here. I do not care for tearjerker films like this because I know that it really isn't going to shake me the way it thinks it will, since this one nearly inspires laughter at its subject rather than pity. Maybe it is a reflection on what fits my tastes more than anything, since one knows Streisand and Redford have done far better films than this. This is an irritating mediocre movie, because you know that this annoying tearslop could do so much better, and yet here we are with a shaky principled mess that only serves as a late night rental for those who just want to see Streisand and Redford together once without having the highest of expectations. 

Overall, I give it 6 out of 10 stars.