Showing posts with label marlene clark. Show all posts
Showing posts with label marlene clark. Show all posts

Monday, 2 January 2023

Mubi Monday: Switchblade Sisters (1975)

The second last film from director Jack Hill, not counting his work as a writer, Switchblade Sisters feels like a shining beacon of brilliantly aggressive and confrontational exploitation fare. It is populated by strong and sexy women, potential good times are ruined by men being assholes, and authority figures are unable to find a way to communicate with a new generation that disrespects them at every turn.

Lace (Robbie Lee) is a leader of the Dagger Debs, a girl gang who end up arrested alongside a new girl in the neighbourhood, Maggie (Joanne Nail). Patch (Monica Gayle) takes an instant dislike to Maggie, but Lace thinks she could become a valued member of the gang. Things become complicated when Lace's boyfriend, Dominic (Asher Brauner), takes a liking to Maggie. Patch blames Maggie, but she doesn't know that Dominic raped Maggie because he is so used to being able to just take whatever he wants. Seeds of mistrust are sown, and a plan is hatched to deal with Maggie and restore the status quo of the gang. But it may be impossible to go back to how things once were, especially as Dominic and Hook (Don Stark) draw people into their chaos as they wage a turf war against a rival gang leader, Crabs (Chase Newhart).

The only film credited to writer F. X. Maier, Switchblade Sisters is, first and foremost, a gang film. It shows that lifestyle, for better and for worse, but also shows a few different hierarchies: the one within the female gang, the one within the male gangs, and the way the female gang members seem to be roped into service for the male gang members (sometimes literally). It often feels a bit ridiculous and hugely entertaining, but it also has moments that feel grounded in some kind of grimy reality (albeit one filtered through a filter of adult panic . . . an opening title card could have been placed here to state "it's eight o'clock, do you know where your kids are?"). The gangs are a bit risible, especially when they revert to acting like children having a tantrum, but that also just serves as a reminder that there ARE kids. They're play-acting tough, and some have been doing it long enough already that it's become a way of life for them. Wherever they are at right now, you can sense how they started on their path to full-time gang activity, whether it's peer pressure, problems at home, or just spying the opportunity to get what they want in life with minimal effort.

Hill keeps everything moving along at a decent speed, making more of his budget and resources than many other people would manage. The violence is well-staged, and numerous stunts feel dangerous and just one misjudgement away from going completely out of control, while the cast all get enough screentime to make each one of their characters eventually stand out from the group.

Lee and Nail are the leads, and both do decent work in their roles, but Gayle is excellent alongside both of them, and being named Patch because her character has an eyepatch, makes her arguably the most memorable of the entire cast. Brauner is enjoyably unpleasant, as is Stark, and Newhart is nicely (seemingly) antithetical to them. I could easily mentioned another four or five names here, various gang members who are directly involved with the action, but I don’t want to risk overstuffing a review for a film that is itself expertly crafted into something lean and mean.

Every time I see a new (to me) Jack Hill movie I seem to find myself with a new favourite from his filmography. This is no exception. I would nominate this as one of his very best.

9/10

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Thursday, 9 January 2014

The Beast Must Die (1974)

The film that anyone who has seen it remembers for one reason - The Werewolf Break - The Beast Must Die is a strange mix of whodunnit, lycanthropy and some funky blaxploitation from Amicus. Unfortunately, it doesn't get any of the elements right, leaving viewers with an amusing curio instead of a genuinely interesting, unique movie.

Calvin Lockhart plays a rich asshole who gathers a number of people to his home, with the express intention of revealing one of them as a werewolf. That's not WHY he's an asshole. No. That's just something that he's able to do because he has the money to set up a lot of surveillance equipment around his home, and he gets to invite some prime suspects. He's an asshole because of the way he then treats those guests (only ONE of whom should/could be a werewolf, bear in mind). Anyway, the guests (Peter Cushing, Charles Gray, Michael Gambon, Ciaran Madden, Tom Chadbon, and Marlene Clarke, as the wife of Lockhart's character) all get to know one another while waiting to see who gets hairy and howly because of a full moon.

Directed by Paul Annett, this is based on a story by James Blish, and it puts itself forward more as an interesting conceit than anything that can make for a fully satisfying movie. It all builds to that aforementioned werewolf break, a device that audiences are told about at the very beginning of the movie, and it's the mystery element that succeeds more than the werewolf side of things.

The wildly varied acting of the main cast doesn't really help, with the likes of Cushing and Gray acquitting themselves with aplomb alongside lesser performances from Chadbon, Gambon (he's not bad, but it's far from his best performance) and, crucially, Lockhart hamming it up in the lead role. Marlene Clark and Ciaran Madden don't really get a lot to do, although the former is suitably exasperated by her husband throughout.

Werewolf fans beware, there's also a big mark against the movie due to the fact that any shots of the titular beast are clearly just shots of a dog, and not even a big, scary dog. Nope, budgetary restraints meant that the closest thing to a werewolf would have to be . . . . . . . . . well, just see it for yourself. And have a chuckle.

The Beast Must Die remains worth a watch, especially for fans of Amicus or any of the cast members involved, but it's not one of the best werewolf movies ever made. Although it remains one of the most unique.

6/10
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