His name was Woodrow Wilson Woolwine Strode and he was a football star, a professional wrestler, a WWII veteran and a famous Hollywood character actor who should have become a star. But the closest Woody Strode ever got to playing the leading role in an American film was Sergeant Rutledge (1960), in which he portrayed the title character but was fourth billed after Jeffrey Hunter, Constance Tower and Billie Burke. In an ironic twist that makes sense in a Pre-Civil Rights Hollywood, Strode had to travel to Italy to finally receive top billing and the only genuine leading role of his career in Black Jesus (1968) aka Seated at his Right (the Italian title is Seduto alla sua Destra). It is probably one of his least known films but easily his biggest role and possibly his best performance.
When a movie is released under various titles it usually means there are problems. It could be confusion over how to market it or a simple case of a movie that doesn’t fit clearly into any designated genre or maybe it’s a star-driven, major studio release that’s too quirky for the average moviegoer but yields enough curiosity value to inspire various promotional approaches to finding the right audience. All of these could apply to Joy House (1964), an international production based on a pulp fiction paperback by American author Day Keene and filmed on the Riviera near Nice. It stars English-speaking (Lola Albright, Jane Fonda, Sorrell Booke, George Gaynes of Tootsie fame) and French-speaking actors (Alain Delon, Andre Oumansky, Annette Poivre, Marc Mazza) and is also known as The Love Cage and Les Felins (the original French title). Joy House was not a popular success at the time (most critics were unkind in their coverage) but it is a favorite film of mine, flaws and all. Continue reading