By 1978 Burt Reynolds was approaching the peak of his popularity which would begin to taper off in the mid-eighties as he approached the age of 50. He had just completed two huge box office hits, Smokey and the Bandit and Semi-Tough (both 1977) and was in a position to choose and develop any project he fancied. But instead of rushing into a sequel to Smokey and the Bandit or some other big budget vehicle that exploited his good ole boy blend of machismo, charm and sex appeal, Reynolds chose to make a risky, offbeat black comedy about a man dying of a terminal condition who contemplates suicide as a solution to a slow, agonizing death. In addition, the popular leading man would direct and star in it and cast his girlfriend at the time Sally Field in a prominent role. Released as The End in 1978, the film was not what moviegoers or critics expected from Reynolds or even wanted.Continue reading
Tag Archives: black comedy
The Cult of Kaze
There are good cults and bad cults and the cult of Kaze is a bit of both worlds. Not really a recognized cult, it is instead an informal club of ten women who are united in sisterhood over a common cause which they hope will result in their liberation from a certain Mr. Kaze, a handsome, successful executive in the television industry. The bad part of their mutual solidarity is that the women want Kaze to die and they aim to kill him. Why? Because nine of the women have had affairs with and been discarded by this man and the tenth woman, Futaba Kaze, is his wife and has suffered from his serial unfaithfulness for years. As you would expect from this set-up, Kuroi jûnin no onna (The English title translates as Ten Dark Women or Ten Women in Black), directed by Kon Ichikawa in 1961, is a feminist revenge film but it is also so much more than that.Continue reading
The Worm Turns
The Glamorous Ghost (Japanese Title: Sanpo Suru Reikyusha, 1964) is something of a rarity in Japanese cinema – a noir comedy. This is the sort of twisty, convoluted farce in which all of the main characters are greedy, immoral and deceitful and you end up rooting for Asami (Ko Nishimura), the taxi driver protagonist, only because he is a pitiful underdog with a simple dream – to retire and run a pig farm in the country. His plan to accomplish that, however, involves blackmail and worse and before The Glamorous Ghost reaches its macabre but amusing climax, most of the major players have departed this mortal coil.Continue reading
Kill or Cure?
Most filmgoers who were born before 1965 know Paddy Chayefsky as the playwright who penned the teleplay Marty and later won an Oscar for the 1955 screenplay adaptation. Contemporary movie fans, however, remember him as the creator behind the 1976 media satire Network, which was nominated for 10 Oscars and won four including Best Screenplay, Best Actress (Faye Dunaway), Best Supporting Actress (Beatrice Straight) and a posthumous Best Actor Academy Award for Peter Finch as unhinged news anchor Howard Beale. (Bryan Cranston is currently playing Beale in a Broadway stage production based on Chayefsky’s film). What tends to get overlooked in Chayefsky’s filmography is The Hospital (1971), an equally audacious movie that prefigured Network’s outrageous blend of black comedy and social commentary and appeared five years earlier. Continue reading