Several years before Merchant Ivory became big with films such as Howard’s End and Room With a View, they made the less successful THE WILD PARTY (1975). James Coco plays a fading comedy star (baased on Fatty Arbuckle, I believe) whose party will double as a screening for his new film which he hopes will turn his life around. In the meantime he’s increasingly abusive to his mistress (Raquel Welch) even as she struggles to be supportive.
I’ve been curious about this one for a while but it lost my interest almost immediately. The cast, which includes Perry King, Royal Dano and David Dukes, is good but there’s something heavy-handed about the execution that I didn’t see in later Merchant-Ivory works (whether it’s the Americanness of this one or that it’s an early work, I don’t know). As a result I lost interest fast; The Cat’s Meow worked much better in a similar vein.
Howard Hawks’ TWENTIETH CENTURY (1934) stars John Barrymore and Carole Lombard in a screwball comedy where Boy Director Gets Girl Actor, Boy Director Loses Girl Actor to Hollywood and Boy Director then moves heaven and hell to get back as he can’t seem to score a hit without her. This feels very much like a dry run for the Cary Grant/Rosalind Russell relationship in Hawks’ His Girl Friday, which was also written by Ben Hecht but as Films of Howard Hawks says, it’s not as balanced: this is a Barrymore star vehicle and while he’s hysterically funny, Lombard’s role isn’t written to match him (nor does he have Grant’s charm) which makes her too much the victim (and her boyfriend is a complete cipher). Thumbs down.“There’s a law in this country about riding on trains and I’m calling on you to invoke it.”
JUDAS AND THE BLACK MESSIAH (2021) is the grim story of how the FBI gave one petty black crook the choice to either spend time in prison or joining Fred Hampton’s Black Panther chapter, giving them intel to take Hampton down and ultimately helping them assassinate him. Well done, although as I’m familiar with Hampton’s story and they’re sticking close to the facts there’s nothing terribly revelatory here (the big surprises were that Hampton was only 21 when they killed him and that the informant committed suicide the night after PBS aired an interview with him). “You don’t have to understand, Bill — you just have to draw me a blueprint.”When I moved up here TYG bought me a copy of the Amicus horror film THE HOUSE THAT DRIPPED BLOOD (1971) and proceeded to freak out about the 1970s fashion. That made it irresistible when Carolina Theatre aired it on the big screen last weekend. Investigating the disappearance of horror star Jon Pertwee, a Scotland Yard man learns it’s only the latest several bizarre deaths in the house, from Denholm Elliott being attacked by his fictional creation to Peter Cushing and Joss Ackland losing their heads over a wax figure of Salome to Christopher Lee worrying his daughter is the child of Satan. Not the best of Amicus’ output but fun. “Then I wouldn’t suggest that you spend time in that house alone.”
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