Diana Scott (Christie) is being interviewed for “Ideal Woman,” telling the story of her life. And what a life! From a “normal” life and a normal marriage, she becomes friends, and later lovers, with reporter Robert Gold (Bogarde). The two of them move through in the London art scene in the swinging sixties, partying and being adored.
They both leave their spouses for each other and move in together. However, Diana becomes very jealous when Robert goes back to his ex to see his kids. In fact, she decides to have her own child, but changes her mind when it becomes a reality.
Diana, bored with Robert who likes to stay home and write, continues to seduce and be seduced to further her own modelling and acting career. She moves up in the world one man at a time while not playing very well with other women at all, all of whom she sees as threats. But what does she really want from life?
We loved the clothes, the decadence and hypocrisy, the out and proud gay people, and all the fake books hiding vices throughout the movie. Julie Christie and Dirk Bogarde are wonderful as Diana and Robert, with both good and bad qualities.
As she desperately starts searching for her girl, Ann finds that she has trouble convincing people that Bunny really exists. Apart from her brother Steven (Dullea), no one in England has ever seen the girl since they came over from the USA – not even the audience.
Even Bunny’s things have gone missing from their new house, and supercreepy landlord Horacio Wilson (Coward) cannot remember seeing them despite being very invasive while Ann was unpacking her toys and clothes. And now we are no longer sure there ever was a girl. But fear not! Superintendent Newhouse (Olivier) is on the case and determined to get to the bottom of the mystery!
We loved this SO much! The characters are amazing and the mystery is very well done. Carol Lynley is wonderful as the increasingly frustrated and desperate Ann (while looking very much like a 1960s Keri Russell. Or the other way around, we suppose). Noël Coward is Creepy McCreeperson, Keir Dullea is slightly sinister, and Laurence Olivier’s Newhouse is likable from his very first appearance.
Trying to figure out who to believe and what is really going on was fun and kept us guessing (although our suspicions were eventually confirmed. Yay us!) Despite her slow start, Ann turned out to have agency and cunning – she was not just a damsel in distress!
Jennie (Munro) is a small town girl living in a lonely world. She takes the midnight train going anywhere. Well, actually, she gets a drunken ride with a couple of older men to their apartment in London and is raped and abandoned. But that doesn’t sound as nice.
Her whole life she has dreamed of the luxury and fame she’s been sold in commercials and movies, but when she tries to pursue it, she is brutally punished by every man she meets. After the rape, she meets barman Bob (Stride) who invites her to stay with him, and the two start a relationship. However, Jennie is not satisfied with just staying at home and being a girlfriend – she wants a career of her own, which Bob sees as a threat to their relationship. Actually, he sees everyone as a threat to their relationship, and would rather have Jennie stay at home and never talk to anyone but him ever again. When she meets abusive producer Karl Denny (Badel), she immediately (and completely out of character) surrenders to him and leaves Bob.
Now, Bitter Harvest is an interesting one. Everything we’ve read about this movie (which, granted, isn’t a lot, but still) seems to suggest Jennie is a manipulative, selfish young woman who will do anything to get ahead, and who doesn’t appreciate what she has. But this is not how we read it at all.
What we saw was a young, sweet and naïve, though willful, girl who stood up for herself and dreamed of a more exciting life. When she told “nice guy” Bob she was pregnant at their first meeting, she wasn’t lying but thought she told him the truth – she had had sex (read: had been raped) and thus she must be pregnant.
Also, she never lies to Bob about what she needs money for, or where she’s going. She just (rightfully) assumes that this is her choice to make, and that if he loves her, he will support her choices. However, despite his kindness in taking her in when they both think she’s pregnant with another man’s child, Bob is a controlling and condescending asshole who resorts to threats and violence when Jennie makes her own choices. When she refuses to leave with him, he tries to strangle her, suggesting he’s not really the nice guy he is painted to be.
Jennie’s willful and autonomous side is also what makes her complete surrender at Denny’s slap seem out of character. Personally, we feel that in order to control her like that, he needed to build up to it, not slap her on the first night. However, perhaps her hope of a better life blinds her.
Finally, just a couple of words about the popular interpretation of her “little black book” that the police find in her apartment: we didn’t interpret that as evidence of her “promiscuity” as many suggest, but as evidence of Denny prostituting her. However, none of us has read the book the movie is based on – our interpretation is based solely on the movie we watched. And in that, we think Jennie has been unfairly treated by several viewers.
As mentioned, there are some similarities between Jennie and Patsy from The Small World of Sammy Lee, made especially clear to us as we watched them as a double feature. The difference is that Patsy stumbles into the sex trade because of her love for a man, while Jennie falls into it due to ambition and a hope for a better life for herself. Thus, Patsy makes it out while Jennie must be punished. Really – give us time and money and we can probably write a thesis on this. Although we suspect this has already been done many times over…
So, how do we feel about Bitter Harvest? We think it’s an interesting film to watch, but it’s problematic enough that we can see how it has been removed from the list.
What we learned: Apparently, girls should be satisfied with what they have, whether it’s an uneventful life in a small, dead town or as a spouse to a man prone to violence whenever he doesn’t get his way.
Next time: Bonus: X: The Man with the X-Ray Eyes (1963)
No, we are not dead. We just had to take a small hiatus due to exams and related stress enducing activities which take a lot of time away from writing. But things are calming down (only two weeks until the summer break for some of us!) and we’re ready to get back into it. And we do so with classic British crime film The Small World of Sammy Lee.
Patsy (Foster) arrives at a Soho strip club looking for Sammy Lee (Newley), the compère at the club who she had a fling with, and a job. Unfortunately for her, he’s off gambling and getting further into debt with a local kingpin, so she’s left with his sleazy boss instead.
Returning to work, Sammy is not overly pleased to learn that Patsy has found a job there, but at least she’s hired as a waitress rather than a stripper. For the time being. Additionally, he receives a call informing him that his debt of £300 is to be collected immediately. Although he does manage to talk the debt collectors into giving him 5 hours to come up with the money.
Sammy has to pull all his strings, exhaust all his contacts and juggle all his ideas to make the money in the allotted time in order to survive the night. As the night goes on, the deals get shadier and shadier, and he will pull all those who love him down with him.
Sammy Lee is charming and funny, but a selfish bastard. His contact with his brother is limited to asking for money, and he has lots of acquaintances and very few friends. He pleads with the men in his life for money, but dismisses all the women who want to help him, probably out of some false sense of chivalry. Poor Patsy deserves better.
The Small World of Sammy Lee is tense and engaging, and we enjoyed it a lot. We also secretly liked the gratuitous strip tease scenes with the elaborate scenarios, despite our lack of understanding of their sexual appeal (might be a gender thing). We loved the properly choreographed numbers, the clear themes, and the contrast between the show and everything happening backstage.
And while we weren’t necessarily fans of Sammy, we really enjoyed Newley’s performance and the character’s ingenuity in trying to raise the money. We watched this as a double feature with Bitter Harvest, and to us, this reads a bit like an alternate reality version of that (which we’ll come to in a few days) with Patsy as a less driven and less autonomous Jennie. But we’ll explore this further in the next blog post.
What we learned: What a compère is. And also, don’t gamble. Although we already knew that.
Colin Smith (Courtenay), a working class boy with anger issues, is sent to a borstal school (or reform school for those of us not in the know) for burgling a bakery. Once there, he is sorted into Drake House in a ritual we found disappointingly lacking in hats.
The school’s philosophy is that hard work, discipline, and exercise will put these young men on the right track in life. During training, the governor of the school (Redgrave) observes Colin’s brilliant running skills and takes a special interest in his new pupil.
Colin is given special permission to train outside the school’s fence for an upcoming race against a public school (or private school for those of us not in Britain), and in between training sessions, we get flashbacks to his life before this and the circumstances which led him to this point.
Like many of the old dramas we’ve watched in the past few years, we enjoyed this movie so much more than we thought we would. We loved the flashbacks, the smart-ass remarks of our (anti-)hero, Colin’s singular running style, and the clash of cultures in the changing rooms before the race.
At first, the governor seemed like quite a good guy, but we soon realised that this was mainly due to what we have dubbed the “Michael Redgrave-effect,” in which a character become instantly likable because the actor playing him/her just exudes kindness and benevolence. (See also: The Innocents, in which Redgrave plays the uncle who basically abandons his young relatives and sends a youngish governess in without warning her about the circumstances, but you still go “oh, what a charming chap! I’m sure he had his reasons!”)
Without spoiling it too much (although light spoilers ahead), the ending was the sort of ending which would have very much appealed to our teenage, rebellious selves and which frustrates our old, security-concerned selves. This was your chance, kid! But also: yeah! Stick it to the man!
Jack Barrett (McEnery) is on the run from the cops and desperately tries to contact several friends for help, all of whom turn him down and sends him on his way. When the police finally catches up with him, we learn that he is a victim of blackmail and Detective Inspector Harris (Barrie) correctly deduces the reason: Barrett is gay.
When Barrett kills himself in his jail cell, one of the people who turned him away feels guilty. Successful barrister Melville Farr (Bogarde), a once close friend of the dead man (some might say too close), decides to find out the truth behind Barrett’s indirect murder and bring his blackmailer to justice.
There is just one problem. Farr is a respected member of society with a successful career and a lovely wife, Laura (Syms), both of which he stands to lose if he pursues his hunt. This does not deter him, and his investigation makes him vulnerable to scrutiny from a society in which homosexuality is not only frowned upon but illegal.
Victim really took us by surprise, as we were not familiar with it before it was added to the list. A movie which explores homosexuality and demonizes the society which condemns them rather than the gay men themselves? From 1961? We were very pleasantly surprised indeed!
It’s in many ways a very quiet movie, with little score, but it still packs a punch. We liked the Detective Inspector who seemed very sympathetic to the blackmail victims’ plight, all the people giving speeches about the ill-treatment of homosexuals and the fact that everyone treated Barrett’s suicide as a murder. It’s sad, outrageous and extremely engaging, and it must have been very controversial upon its release six years before homosexuality was legalized in Britain. And it’s definitely still worth seeing.
What we learned: It’s incredible to think that people can be considered criminals because of who they are as opposed to what they do… And it’s even more incredible to think that this hasn’t changed – only the groups targeted have (and not even that in a lot of places).
In 1943, British soldiers are stranded on the Greek island of Kheros, about to be blitzed by Germany but unable to leave due to the Axis controlled guns (as in big, massive cannons, not just a couple of revolvers, mind you) on the nearby island of Navarone. As no bombing missions have been successful, the British assemble a commando unit to infiltrate the island and take out the guns.
The unit is a team of “pirates and cutthroats;” Major Roy Franklin (Quayle) Captain Keith Mallory (Peck), Corporal John Miller (Niven), Colonel Andrea Stavros (Quinn), “Butcher” Brown (Baker), and Spyros Pappadimos (Darren). Their mission, should they choose to accept it, is to climb an unclimbable cliff to sabotage the guns.
The team is gathered, plans laid and events put in motion. They’re a ruthless but charming bunch, and they set out on their hazardous journey where they encounter storms, Germans, trust issues, dangerous climbs in awful conditions, injuries, capture, torture and romance.
The Guns of Navarone is an action packed movie about manly men doing manly things. We loved the long sequences without dialogue and the (often lack of) score. Among our favourite scenes were the storm with the subsequent shipwreck and climb, and the incredibly tense ending when we were waiting for the booby trap to be triggered. We were quite literally on the edge of our seats.
The tension is oftentimes palpable and this is a very entertaining war epic, not unlike The Bridge on the River Kwai. So if you’re looking for a WWII double feature and you have several hours to spare, the two might make an excellent combo. Just be sure to wrap up warm and bring a snack.
Jo (Tushingham) is an artistic sixteen-year old girl who’s neglected by her mother Helen (Bryan) and tired of the way her life is going. Following the girl’s short romance with black sailor Jimmy (Danquah), Jo is kicked out from her home when her mother marries a disaster of a man, Peter (Stephens).
Jo moves out, gets a flat and a job in a shoe shop, as well as a new gay best friend in Geoff (Melvin). In short, she’s pretty much living the outcast girl’s dream. There’s one problem though – her romance with Jimmy left her pregnant.
Like Saturday Night and Sunday Morning, A Taste of Honey was familiar to the extremely sophisticated Sister the Oldest from her literature studies, but only in writing. The film version of Shelagh Delaney’s play was no disappointment and we both enjoyed it a lot.
We can imagine that this one would have been at least a tiny bit controversial upon release with its depictions of sexuality (both young girls and homosexuals should keep that to themselves, thank-you-very-much!), interracial relationships and horrible parenting.
Despite the somewhat bleak subject matter, A Taste of Honey is not as depressing as it could easily have become. The dialogue is funny and witty, and the characters are interesting – especially the women and Geoff.
We loved Jo – she’s awkward, insolent, insecure, independent, stubborn, sharp and fabulous, partly thanks to Tushingham’s performance. This movie is a great little slice of kitchen sink drama with a fantastic cast and a strange but interesting peep show scene set in Blackpool. Not sure why we point that out that in particular, but it seemed worth mentioning. Definitely recommended.
In a small British town, all the residents (and animals) simultaneously pass out one day. They wake up a few hours later, unharmed, but later find that all the fertile women in the village are pregnant. Which obviously leads to some uncomfortable questions and suspicions.
The children are born 5 months later (which hospital show-fans everywhere know is waaay too early), and they all have white blond hair and intense eyes. Among the new parents are Anthea (Shelley) and Gordon Zellaby (Sanders). The latter is a professor who enjoys a good relationship with British Intelligence, and he takes on the task of observing and possibly educating the strange children.
The children develop quickly, and are supersmart and polite, which in itself is a warning sign for anyone who’s ever encountered an actual child. In addition, they seem to have a hive mind and powers of telepathy. If anyone from the village poses any sort of threat to them, they soon become suicidal and the threat is eliminated. But what is their purpose? And will humanity survive their coming?
Village of the Damned is such a classic horror movie we will just go ahead and assume that everyone has seen it. We love the final scene in which the kids tear apart Gordon’s mental wall, the chilling, creepy children themselves, and the unsettling atmosphere. The kids, and especially David Zellaby (Stephens), are calm, rational and emotionless, and very disquieting. Their reactions to any threat are relentless and brutal which works great coming from adorable little kids.
With Halloween coming up, you could do a lot worse – and it’s short enough to fit neatly into any sort of marathon you may be planning. Also, perfect low budget costume idea for those of you with children of your own! Just prepare yourself to be terrified of them.
What we learned: We’re definitely never having children. Never.
Hooray! We’ve reached number 200 on the list! 20% done! 200+ blog entries! And many, many hours spent in front of the TV! Tonight, we shall toast with bubbles and celebrate, but not before bringing you another very short film review of a very short film.
The Running, Jumping and Standing Still Film is a series of strange and absurd slapstick comedy skits shot in the English country side. The title is almost longer than the film itself, and there’s very little we can say about it other than that it was amusing and reminded us a bit of Monty Python, so we would not be surprised if this was an inspiration for the comedy group. Which, if we’d bother looking it up, we’re sure we’d find was true.