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About JStafford

I am a writer for The Travel Channel, ArtsATL.com, Burnaway.org and other publications. I am also a film researcher for Turner Classic Movies and a member of the Atlanta Film Critics Circle. This blog is dedicated to overlooked, obscure or underrated movies and other cinema topics that I want to share.

Marco Ferreri’s Hairy Angel

Annie Girardot in THE APE WOMAN (1964)

Annie Girardot in THE APE WOMAN (1964)

I can remember being fascinated with Marco Ferreri’s The Ape Woman (La donna scimmia) from the first time I saw a still from it in the May 1964 issue 28 of Famous Monsters of Filmland. A woman wearing eye makeup and sporting a beard and hairy legs poses provocatively for the camera while her mate, either a man in a tacky ape costume or a prop gorilla, rests his head in her lap. The photo description, “Beauty (?) and the Beast make a hairy horror pair in THE APE WOMAN,” was the only information offered about this upcoming release and, since it was being featured in FFofF, I assumed it qualified as fantasy cinema. Continue reading

Scandal Sheet Smackdown

Five Star Final poster

In the early thirties, most studios steered clear of social protest films but not Warner Bros. They embraced the genre with the same muckraking glee that characterized some of their subjects. Prison reform was addressed in one of their most famous films, I Am a Fugitive from a Chain Gang (1932), with equally controversial topics like the rise in urban crime and drug addiction among war veterans being presented in The Public Enemy (1931) and Heroes for Sale (1933), respectively. Five Star Final (1931), on the other hand, addressed a different type of social problem – tabloid journalism.   

Continue reading

Eurotrash or Subversive Satire?

ann and eveIs it possible to make a movie that works as both art house fare and exploitation cinema? Arne Mattsson’s Ann och Eve – de erotiska (1970), which was released in the U.S. in an English dubbed version as Ann and Eve, certainly comes close but still manages to frustrate both intended audiences with a bait-and-switch narrative that moves freely from sexual titillation to Swedish angst a la Bergman to surreal flights of fancy and back again, never revealing whether it should be taken seriously or as a put-on until the final frames. Continue reading

Middle Age Crazy

original posterIt’s hard to imagine a more unlikely prospect for a film adaptation than John Cheever’s short story, The Swimmer, which was first published in The New Yorker. Yet, it was actually adapted into a major motion picture from Columbia Pictures starring Burt Lancaster. Was it a success? Hardly. Even though a handful of critics endorsed it, the public stayed away but for some who were lucky enough to see it, the film resonated for years. Now it is available on Blu-Ray and DVD from Grindhouse Releasing and a reassessment is in order. Continue reading

Soul Survivors

11311651-lAlthough less well known today than Stanley Kramer’s Oscar-nominated 1967 drama, Guess Who’s Coming to Dinner?, and still unavailable on DVD/Blu-Ray, One Potato, Two Potato (1964) was the first serious, non-exploitive attempt to deal with an interracial marriage as its main subject and was independently produced outside Hollywood. Set in the fictional small town of Howard (a stand-in for Painesville, Ohio, where it was actually filmed), the movie is bookended by a courtroom ruling on a child custody case and in between is the sad but all too true story of an interracial couple who become social outcasts in both the white and black communities.    Continue reading

Desert Rats

Nigel Davenport (left ) & Michael Caine in PLAY DIRTY (1969)

Nigel Davenport (left ) & Michael Caine in PLAY DIRTY (1969)

Underrated by critics and ignored by audiences upon its initial release in 1969, Play Dirty, directed by Andre de Toth, has slowly but surely acquired an appreciative fan base over the years thanks to high profile advocates of the film like Martin Scorsese who included it on a long list of guilty pleasures for the May-June 1998 issue of Film Comment. Unfortunately, this World War II drama starring Michael Caine had the misfortune to follow in the wake of Robert Aldrich’s box-office hit, The Dirty Dozen (1967), to which it was often unfairly compared. But, outside of a similar assemble-the-team concept which sends a group of criminals on a suicide mission, the film has very little in common with Aldrich’s blockbuster and there is absolutely no reason to feel any guilt over liking it either.  Continue reading

The Neopolitan Trinity

Vittorio De Sica (left), Sophia Loren, Marcello Mastroianni in TOO BAD SHE'S BAD (1955)

Vittorio De Sica (left), Sophia Loren, Marcello Mastroianni in TOO BAD SHE’S BAD (1955)

Often overlooked or dismissed as a minor comic trifle, Peccato che sia una canaglia (English title: Too Bad She’s Bad) has, in recent years, acquired a much more favorable reassessment from film scholars and film buffs due to occasional revivals on Turner Classic Movies and a 2004 DVD release from Ivy Video. It not only has a delightful, rakish charm and evocative on-location filming in Rome but showcases three of the most iconic names in Italian cinema directed by the legendary Alessandro Blasetti, whose career began in the silent era and spanned six decades. Also noteworthy is the fact that the film is based on the short story Il fanatico by Alberto Moravia, the celebrated Italian novelist who saw many of his novels turned into major films – la ciociara became Vittorio De Sica’s Two Women, Il disprezzo became Jean-Luc Godard’s Contempt and Il conformista became Bernardo Bertolucci’s The Conformist. Continue reading

The Many Noses of Orson Welles

triple Orson Welles shot“When you are down and out something always turns up – and it is usually the noses of your friends.” – Orson Welles

When you’re a film actor, it’s easy to understand how one can obsess over some less than perfect facial or physical feature that is going to be magnified by the camera on the big screen. But in most cases these fears are usually unfounded and not even something the average moviegoer would notice or care about. Claudette Colbert and Jean Arthur both insisted on being shot from the left side for profiles; Colbert called the right side of her face “the dark side of the moon.” Fred Astaire used movement and positioning to distract people from what he felt were his unusually large hands and Bing Crosby dealt with his increasing baldness by wearing hats at all times (he refused to wear toupees). Orson Welles’ insecurity over the size of his nose, however, is probably the most baffling of the actor hangups I’ve read about.

*This is a slightly revised version of my post that originally appeared on TCM’s Movie Morlocks blog     Continue reading

A Train Wreck Called Poor Pretty Eddie

Poor Pretty EddieSometimes a movie goes so horribly wrong in so many ways that it ends up working on an entirely different level in spite of itself. Such is the case with Poor Pretty Eddie (1975), which is also known as Black Vengeance, Heartbreak Motel and Redneck County Rape, clear indications that this is a movie with a confusing production and distribution history. A sleazy exploitation thriller with artistic pretensions, the film manages to be offensive, crude and inept in equal measure while still succeeding as a compulsive viewing experience for connoisseurs of fringe cinema who think they’ve seen everything.   Continue reading

On The Road to Extinction

The End of August at the Hotel OzoneEver since I first saw a description for The End of August at the Hotel Ozone in the 16mm rental catalog from New Line Films I’ve wanted to see it. But this 1967 post-apocalyptic drama from Czechoslovakia, directed by Jan Schmidt, has remained an elusive feature for many years. New Line, which was started by Robert Shaye as a film distribution company in 1967, catered to art houses and colleges and universities with its eclectic mix of independent work (Eagle Pennell, Mark Rappaport, Jack Hazan), international fare (Werner Herzog, Lina Wertmuller, Claude Chabrol) and midnight movies (The Hills Have Eyes, Pink Flamingos). Eventually the company moved into producing films as well (such as the popular Nightmare on Elm Street franchise) but in 1994 New Line was acquired by the Turner Broadcasting System, which was then acquired by Time Warner in 1996 and later merged into Warner Bros. in 2008. Continue reading