In the many peaks and valleys of his long career the Mickster never shied away from taking on difficult or questionable roles in his relentless desire to perform and entertain. While this adventuresome spirit might alienate part of his fan base that prefers to remember him as Andy Hardy or Judy Garland’s musical partner, it has won him an entirely new set of admirers. I’m talking about those who have seen and been amazed by his participation amid those lost post-MGM years in such eclectic fare as The Private Lives of Adam and Eve (1960), Platinum High School (1960), Everything’s Ducky (1961 with Buddy Hackett and a talking duck), Roger Corman’s The Secret Invasion (1964), How to Stuff a Wild Bikini (1965), the Mafia-Hippie-LSD comedy Skidoo (1968), and 1971’s The Manipulator (aka B.J. Lang Presents), where he plays a psychotic former director living in an abandoned warehouse with a female captive.
Rooney’s energy, range and versatility are truly awe-inspiring from his desperate loser of Quicksand (1950) to his subtle, moving portrayal in Requiem for a Heavyweight (1962) to his unexpected cameo in Babe: Pig in the City (1998). But I’m willing to bet that La Vida Lactea (aka The Milky Life), made in Spain in 1992, is probably the weirdest thing he’s ever done and very few people have seen it. Continue reading →
When I think of LSD depictions in the movies, American International Pictures immediately comes to mind with actors like Peter Fonda (The Trip), Susan Strasberg (Psych-Out) and Mimsy Farmer (Riot on Sunset Strip) blowing their minds amid the counterculture of the sixties. Of course, other more unlikely actors have been dosed with the hallucinogen on screen such as Vincent Price (The Tingler), Lana Turner (The Big Cube) and Jackie Gleason (Skidoo) but probably the most unexpected one of all is Dirk Bogarde in Sebastian (1967), a fascinating curiosity released in the waning days of “Swinging London” cinema which has been unaccountably forgotten since its release. Continue reading →
The Hollywood film industry is usually a few beats behind the rhythm of any new emerging counterculture and by the time they try to capitalize on it the parade has usually moved on. Duffy (1968) had the misfortune to be released in the dwindling days of the swinging sixties when the mod look of films such as Blow-Up and Kaleidoscope (both 1966) was being edged out by an rougher, less glamorous subgenre of youth oriented movies about bikers, drug dealers and rebels giving the finger to the establishment. Continue reading →