Word: films
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Dates: during 1960-1969
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...chauffeur and his three partners (Richard Boone, Rita Moreno, Jess Hahn) hold her captive at a deserted seaside cottage while they approach her wealthy father about the ransom. The mechanics of the operation and, more important, the slowly disintegrating relationships between the kidnapers are the essence of the film...
...autumnal landscape, heavy with fear, that is the stuff that nightmares are made of. From the subdued hues of a beach at dawn to the bleached neon whiteness of a bathroom, colors serve both to establish the mood of each scene and underscore the precisely orchestrated tension. The film's ambiguous ending, which puts a parenthesis of fantasy around the action, may at first seem facile. On reflection, however, the viewer finds that a whole new range of interpretation has been opened with a single, clever stroke...
Richard Boone, Rita Moreno and Jess Hahn play their laconic roles with subtle variations of character that are worth pages of dialogue. But Marlon Brando draws them all together and establishes the tone of the whole film. Playing a kind of hipster-hood-hero, Brando can chill the blood with a smile or describe dimensions with a move of his hand. Since he provided the driving force behind One-Eyed Jacks, of which he was both star and director in 1961, Brando has essayed a series of character roles in a succession of failures: a brooding cowpoke in The Appaloosa...
...gets Dad done in, Susan-ravaged, and Susan's mom cut up like so much kindling. This exercise in Petit Guignol, called Twisted Nerve, has all the suspense of a marshmallow roast, and struggles to make itself more plausible by adding some genetic gibberish about chromosomal damage. The film even suggests that Mongolism and criminal behavior are somehow connected, an unconscionable lapse of taste that has justly outraged the National Association for Retarded Children, which has demanded that the producers add a postfactum disclaimer. It is doubtful that enough people will see Twisted Nerve for its distortions to make...
...People are always afraid of bad taste," says French Writer-Director Jacques Demy (The Umbrellas of Cherbourg). Demy certainly isn't. He sprinkles it like contaminated pixy dust over little film fairy tales. The Model Shop, Demy's first film made in the U.S., continues along in the same airy tradition...