70s Movies - Tumblr Posts
movie: Over The Edge
song: In The Forest // Screaming Trees
Isabelle Adjani
Le locataire (The Tenant) | 1976
sid and nancy photographed by watal asanuma at their flat in London on August 4, 1978. 🖤
What I expected, watching 'The Return of Sabata': a normal sequel to the movie 'Sabata'
What I got: the movie equivalent of 'never let them know your next move'
Movie number 59: The Neptune Factor aka The Neptune Disaster (Daniel Petrie, 1973). Bearing an uncanny resemblance to Hanna-Barbera’s 1972 animated tv series Sealab 2020, The Neptune Factor is a underwater adventure with an all star(ish) cast.
Subsurface research base Oceanlab is hit by an undersea earthquake, damaging the lab and leaving crew members stranded. Project head Walter Pidgeon enlists the help of submarine captain Ben Gazzara and chief diver Ernest Borgnine along with scientist Yvette Mimieux to survey for damage and rescue any survivors. However, the Oceanlab now lies at the bottom of an ocean trench and all manner of menacing sea creatures stand (swim?) between it and the rescue team.
Although partly filmed in the sea off Nova Scotia and in the Caribbean, it would appear that most of the trick photography was achieved in a studio; the effects are a mix of obvious model work and blown up footage of marine life. Edited in such a way that it is never completely convincing that men and monsters inhabit the same plane, as such, any sense of excitement that these sequences should have generated is lost.
Despite which, I feel it would be unfair to label the movie a total wreck. The earthquake scenes are impressive and Ernest Borgnine is always worth watching. As a whole, I did enjoy it but found parts of it rather dull, largely due to Daniel Petrie’s uninspired direction and a Jack DeWitt script which is short on thrills. This, more than anything, proves to be the movie’s undoing.
In an attempt to cash in on the then current craze for disaster movies the film was retitled The Neptune Disaster in some territories. However, it feels much closer to schlocky 70’s sci-fi than to the disaster genre. Sadly, The Neptune Factor is one of those movies where the poster art is more impressive than the actual movie; an ambitious underwater sci-fi ultimately waterlogged by a pedestrian screenplay and average special effects.
Movie number 67: City Beneath the Sea (Irwin Allen, 1971)
Originally made for US TV, City Beneath the Sea is an underwater sci-fi adventure from producer/director Irwin Allen, initially pitched as a weekly TV series in 1969. At first unsuccessful, Irwin was able to secure support for a TV movie based upon the idea and City Beneath the Sea duly premiered on the NBC network in January 1971, fulfilling its duel purpose as both a 'Movie of the Week' and as a pilot for a proposed series.
Set in the year 2053, City Beneath the Sea stars Stuart Whitman as commander of underwater city Pacifica. As storage for both the US gold reserve and the valuable yet highly unstable explosive H128, Pacifica is the target of an inside robbery from certain unsavory officials. However, this problem pales in significance to the imminent threat posed by an asteroid (or rather 'planetoid') on a direct collision course with the sub-aquatic metropolis!
A fairly impressive cast was assembled for the movie; joining the likeable, square-jawed Whitman are TV regulars Robert Wagner and Richard Basehart. A little extra cachet is added by blink-and-you-miss-them cameos from Joseph Cotton and boxer Sugar Ray Robinson. Of course it betrays its TV origins; the effects, largely utilising model work, are obvious but appealingly and in no way detract from ones enjoyment of the film. The colourful set design and costumes exhibit a nice 1970's futurist chic. Where the movie fails is in its narrative. The premise, while inherently silly, is a fairly strong one. But the screenplay, by John Meredyth Lucas, suffers from too much exposition and too little action. This, perhaps more than anything, sealed the fate of the property as NBC did not commission any further episodes. It did, however, secure release in UK cinemas retitled One Hour to Doomsday.
Over time City Beneath the Sea has attained a significant and deserved cult following and remains an entertaining kitsch treat, especially for fans of vintage TV sci-fi and of the Allen oeuvre in particular.
Visit my blog JINGLE BONES MOVIE TIME to read a longer, more in-depth review of CITY BENEATH THE SEA! Link below.
FREAKY FRIDAY (Dir: Gary Nelson, 1976).
Walt Disney Productions' Freaky Friday is an early example of the 'body swap' comedy.
It tells the story of frustrated housewife Ellen Andrews (Barbara Harris) and her daughter Annabel (Jodie Foster). Following an argument on the morning of Friday the 13th the pair wish to change places, both believing the other has the more desirable life. Magically their wish is granted. Mom has to try to make it through a school day, while daughter deals with the pressures of housework. Comedy high jinks ensue.
While its concept no longer seems original, Freaky Friday is still a fairly fresh and funny movie, largely due to the excellent performances from its leads. Jodie Foster is terrific as the 35 year old mind in the body of a 13 year old, but the real revelation is Barbara Harris. Playing baseball with a team of 8 year olds, flirting with a teenage neighbour, having a meltdown over household chores; Harris perfectly captures the manic mind of 13 year old let loose in the body of a grown woman, proving herself an adept comedy actress in a fairly demanding physical role. Solid support from John Astin as bemused husband/father Bill Andrews, Sparky Marcus as Annabel’s brother ‘Ape Face’, Marc McClure as neighbourhood crush Boris and Patsy Kelly as the Andrew’s boozy housekeeper round out an appealing principle cast.
For the most part director Gary Nelson avoids the formulaic, cookie-cutter approach associated with Disney comedy movies of the era, thanks to Mary Rodger's superior script which stays close to spirit of her book. The movie occasionally veers a little too far into slapstick but most of it works and there are more big laughs than not. The mother/daughter relationship at the movies core is completely believable, through the misunderstandings to the inevitable reconciliation. The denouncement is nicely handled, not too sentimental and quite touching.
Freaky Friday is a good natured romp, with plenty of big laughs and let's be honest, who among us hasn't wondered what it would be like to switch places with Jodie Foster?
Read a longer, more in-depth version of this review on my blog: jinglebonesmovietime.blogspot.com
CANDLESHOE (Dir: Norman Tokar, 1977).
Walt Disney Poductions' Candleshoe is a comedy crime caper based upon Michael Innes' novel Christmas at Candleshoe.
Leaving the mean streets of Los Angeles, Casey Brown (Jodie Foster) heads to England to hustle the elderly Lady St Edmund (Helen Hayes) out of her dilapidated stately home Candleshoe. Within Candleshoe lays the hidden treasure of pirate Captain St Edmund to which Casey holds the first clue. In cahoots are disgraced former Candleshoe employee Clara (Vivien Pickles) and her brother Bundage (Leo Mckern) who masterminds the misdemeanour. Welcomed into the Candleshoe family, Casey turns the tables on Bundage and sets about the treasure hunt with intent to save the debt racked estate from foreclosure.
A first rate cast was assembled for this production. 15 year old Jodie Foster was fresh from her Oscar nominated turn in Taxi Driver (Martin Scorsese, 1976). She does excellent work here too and it is to her credit that she is not overshadowed by the acting heavyweights in support. Most notably David Niven, donning multiple disguises as butler, gardener, chauffeur and a visiting Colonel, in what is perhaps his best late career role.
A neat premise also lifts the movie above the usual formulaic fluff the Disney Studios were producing in the late 70s. Rosemary Anne Sisson's and David Swift's screenplay mixes humour and excitement as the race is on to recover the spoils before the bad guys. Norman Tokar directs at a surprisingly steady pace, but one that allows the mystery to unfold and for characters to develop so that Casey's change of heart is completely believable.
Candleshoe’s view of a genteel England of stately homes and steam trains must have seemed downright archaic in 1977. However, in 2019 it feels innocent and charming; nostalgic for an idealised period in British history which never really existed.
With a superior story and a distinguished cast Candleshoe is easily a highlight of the Disney Studios' live-action catalogue. Equally entertaining for children and adults, this treasure hunt movie is a gem.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Candleshoe!
Alice, Sweet Alice (1976) dir. Alfred Sole
Young Frankenstein (1974)
“Oh, I am afraid our life must seem very dull and quiet compared to yours. We are but eight score young blondes and brunettes, all between sixteen and nineteen-and-a-half, cut off in this castle with no one to protect us. Oooh. It is a lonely life: bathing, dressing, undressing, knitting exciting underwear. “
Image of a topless woman inserted into two frames of the home video version of Disney’s 1977 film “The Rescuers”, presumably as an inside joke during production.
As a result, Disney announced a recall of the home video version on 8 January 1999. Until they did, no one had realised it was there.
Bloody hell it’s hot out there
Jenny Agutter - Logan’s Run (1976)
Anthony Daniels on the set of Star Wars (1976)
Sissy Spacek as Carrie White in Carrie (1976) directed by Brian De Palma