THE KING OF MARVIN GARDENS (1972)

Directed By: Bob Rafelson
Written By: Jacob Brackman
Story By: Bob Rafelson And Jacob Brackman
Cinematography: Laszlo Kovacs 
Editor: John F. Link II 

Cast: Jack Nicholson, Bruce Dern, Ellen Burstyn, Julia Anne Robinson, Benjamin “Scatman” Crothers, Arnold Williams, John Ryan, Sully Boyar, Josh Mostel 

A daydreamer convinces his radio personality brother to help fund one of his get-rich-quick schemes.


Will admit it took me quite some time to finally sit down and watch this film. Once I did it was probably brought upon by the director of the film. Which is a shame as this is a very powerful film. Not perfect but astonishing fun in what it achieves and also tries to do. 

Stories keep going on with no endings as they lead to another one. Yet never drop what came before. This film isn’t so much plot-oriented as character Oriented and the film allows for each of them to have their own little stories and dramas going along with one another and the narrative. 

Jack Nicholson here playing against type. As here he is more subtle, quiet, and sad as a character. He is the thinker of the two brothers. Even though they are both storytellers. Bruce Dern plays the more loud charismatic one. The problem is that they both tend to believe each other’s stories too much and soon find themselves in over their heads.

The film allows Jack Nicholson to show his range fully. 

Some might find this film slow or maybe even dull, but there are moments when the film comes alive. Though the other moments that are slower, bear more character building and help to build and showcase the characters’ dynamic. As well as illustrate the story. 

The film does offer an unexpected ending. Not much of it or the film is too predictable, at first but seems to like to throw misdirection.

Like Bruce Dern’s character. As none of the characters seems to really want to admit to what is happening or truly talk about it. 

This film is an increasing rarity of acting indulgence and taking chances with professional actors. Where they get to develop a character. As this film is more of a character study with a story to guide them to their fates. 

So that we can see their full emotional spectrum. As well as their true colors by the end. 

As the film is made up of simple moments that are lived in. 

A scheme that seems to be an ideal built of their mutual dreams. A palace or idea that they keep feeding into and want to control. A pipe dream to escape into to break up the monotony they are trying to escape.

Slowly getting seduced against better judgment and dragging two females along who are eye candy and intimates. Dangling sex and partnerships in front of the other brother, but have their own drama going on. So that the situation seems like a cult at times.

Ellen Burstyn’s Character slowly has a mental breakdown. As she realizes she might be being pushed aside for the younger model. 

The illusions drift, as both brothers are natural liars. Storytellers of some sort, one does professionally one does naturally to survive. Though all built on lies. Only one chooses to believe his own until the end. While others around them fall for it almost. As that is how charming and strong their devotion is.

The film is almost a ghost story. As these characters are free yet seem bound to their surrounding which is Atlantic City before it got renovated. So everything looks worn and beat down like the character’s Souls

An added bonus to The film is watching now legendary Actors we are used to seeing older in their younger days here.

Grade: B-

THE MECHANIC (1972)

Directed By: Michael Winner
Written By: Lewis John Carlino
Cinematography: Richard H. Kline and Robert Paynter (European Sequences)
Editor: Freddie Wilson and Arnold Crust Jr. (Michael Winner) 

Cast: Charles Bronson, Jan-Michael Vincent,  Keenan Wynn, Jill Ireland, Linda Edgeway, Frank De Kova, Tak Kubota, Celeste Yarnell, Enzo Fiermonte 

A professional hitman is planning to retire, always a difficult move for one in such a profession. A young apprentice appears to be eager to learn all the skills of the trade – but is that all he wants?


This was one of the Charles Bronson films I was looking forward to, as this is supposedly one of the classics for him. 

I will admit to seeing the remake with Jason Statham first. Though I enjoyed it. I thought it would be an overblown spectacle. Which it was but also improved on the material.

This, original has a great first half of the movie. As the opening 10 minutes alone are a silent masterpiece of suspense and reasoning. 

Then once he has to kill one of his friends out of duty. Even that makes sense, and with his expertise, he never makes it look like an assassination. It always looks natural or like an accident.

Though it seems in the second half of the film that is abandoned. Even when he has assistance on his assignment it is so big and doesn’t look like an accident. Then after that, his assistant who he takes on out of guilt is all of a sudden acting like an expert. When he has done one job.

The twists at the end are the only thing that saves the film. Though it is set in the 1970s at first we feel sorry for the kid but as heartless as he treats his girlfriend who is attempting suicide. Shows us how evil he is, though he passes no judgment it seems to be the quality that makes Bronson’s character accept him.

Thankfully the film is barely over 90 minutes. As whenever there is a scene with Bronson alone it becomes dull. Even though these as supposed to be moments where we get to know his character. Even though there isn’t much to be known. 

It still allows for Bronson’s charisma and Jan Michael Vincent to show off his chops early in his career. Though this film by the end felt like a disappointment for me. I can see why it has its fans. As it tries to set a tone and be moody while also having it’s Fair share of action 

Grade: C+

THE SEDUCTION OF MIMI (1972)

Written & Directed By: Lina Wertmuller
Cinematography: Daria DiPalma
Editor: Franco Fraticelli 

Cast: Giancarlo Giannini, Mariangela Melato, Agostina Belli, Luigi Diberti, Elena Fiore 

After voting against the powerful Mafia candidate in Sicily, in what seemed like a secret ballot, impecunious Mimì finds himself with his back to the wall. Desperate, and having no one to turn to, Mimì abandons his wife, Rosalia, and relocates to the bustling city of Turin, only to fall for the beautiful Trotskyist, Fiore. One child later, and as one thing leads to another, Mimì gradually realizes that he is not ready to accept the new social morals that prevail in the industrialized north, catching, once more, the Mafia’s attention. Now, political beliefs, loyalty, infidelity, and revenge become inextricably intertwined, and once again, Mimì is left with nothing, having no other choice but to return to Sicily. But, can he keep his life in Turin secret?


This film has the set-up of a comedy with a cowardly protagonist who it’s hard to feel sorry for as he keeps getting himself in trouble out of machismo, Revenge, and sex. Where somehow he usually fails up. Getting promotions and more money. Though supposedly anti-government.

Once he finds true love he works for it. But continues to fail. As he can’t even be loyal to a political party, but that is More due to pressure and assassination attempts. So that is understandable. This is truly the tale of a man who stands for nothing and pays the price for it.

I was introduced to the tale years ago watching it’s American remake “WHICH WAY IS UP?” Starring Richard Pryor abs tailor-made for his talents. Dipped into the politics at the time as background. The only difference is that Pryor played different characters In his version. 

This film is also dipped into politics. We watch as the main character gets what he wants but keeps messing. It up due to hubris and when threatened quickly shows how cowardly he is. Along the way, he is never truly satisfied.

The third act at first makes no sense but as you learn more about it, it feels ridiculous though also, in the end, feels like a punchline. As it is all about foolish pride. Which truly becomes his undoing and exposes his character losing all he has.

Mariangela Melato again is a screen goddess. Still as amazing and fiery as in SWEPT AWAY co-Starring with Giancarlo Giannini again. 

you can understand and see why he gets obsessed and tries to seduce her. Why he is willing to risk it all for her. Even as she makes her rules clear though amazed she stick by him. So thoroughly throughout and why she leaves after such a minor betrayal compared to his many others that She can forgive. He has no loyalty to anyone, including his family 

Some scenes seem there to just add to the artistic surreal quality of the film and while there are build-up and reasons for these scenes. They also feel like episodic escapes. 

The film is lively and ridiculous, but so artistic that it feels naturalistic and beautiful constantly and comes across deeper than it actually ends up being. Though it is heartbreaking. It is a comedy at heart, though so sad.

One of my favorite classic iconic directors to keep discovering her movies. Who might happen to be one of my favorite directors, who happens to be female (at least next to Nicole Holofcener) she has truly outdone herself here. 

In the end, the film plays off like a grand comedy of morals and cowardness. That feels gross and political all at the same time.

Grade: B-

THE BLOOD SPLATTERED BRIDE (1972)

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Directed By: Vincente Aranda
Written By: Vincente Aranda
Based on The Novella “Carmilla” By: Sheridan Le Fanu
Story By: Matthew Lewis
Cinematography By: Ferando Arribas
Editor: Pablo G. Del Amo 


Cast: Simon Andreu, Maribel Martin, Alexandra Bastedo, Rosa Rodriguez A young husband’s sexual fantasies frighten his new wife and cause her to seek advice from Carmilla, a descendent of Mircalla de Karnstein. Carmilla seduces the young bride and forces her to commit gory acts of mutilation.

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