The Adulteress (1973)

The Adulteress is basically a Harlequin romance viewed through the fashionably downbeat prism of early-’70s cinema. The setup is a compendium of erotic-fiction clichés, and the payoff represents a laughable attempt at tragic heaviosity. What’s more, the acting is wildly uneven, no small problem seeing as how The Adulteress is an intimate character piece with only three major roles. One evening, middle-aged Carl Steiner (Gregory Morton) drunkenly stumbles out of a bar, so studly young drifter Hank Baron (Eric Braeden) drives Carl home. Carl’s decades-younger wife, Inez (Tyne Daly), insists that Hank crash on the couch as repayment. The next day, sobered-up Carl offers Hank a handyman job, and Hank learns that Carl and Inez lost a young son a while back in a car accident, hence Carl’s self-destructive drinking. Seeing shirtless Hank working hard gets Inez hot and bothered, so Carl, who is impotent, asks Hank to impregnate his wife. Predictably, lovemaking leads to feelings, and the resulting three-way relationship gets dangerously messy. Everything about The Adulteress is contrived and false. Braeden’s far too wooden an actor to portray a hip Vietnam vet, and Daly is too grounded and tough to play a woman who lets her life spin out of control. There’s also zero heat between the actors, no matter how many signifiers for virility co-writer/director Norbert Meisel throws onscreen. (At various times, Braden rides a horse and a motorcycle, because, you now, power between his legs and all that.) The film moves at a deadly pace, with innumerable scenes of pointless conversation, and the wannabe passionate high point—Daly straddling Braeden while he’s astride a horse—is like one of those Fabio book-cover paintings come to life.

The Adulteress: LAME

Angel Unchained (1970)

          Despite going slack for a while during the middle, Angel Unchained is a fair compendium of late ’60s/early ’70s signifiers thanks a plot that combines a biker gang, hippies living on a desert commune, and nasty rednecks who don’t like either of the preceding social groups. There’s not much in the way of thematic material, beyond the protagonist’s angst when he finds himself torn between the biker and hippie lifestyles, so it’s not as if director Lee Madden and his collaborators tried to reinvent the cycle-flick formula. That said, Angel Unchained has clearly defined characters, a paucity of seedy exploitation elements, and unhurried pacing, so it’s perhaps best described as a biker picture that people who don’t normally like the genre might find palatable. By the same measure, those who groove on wild scenes of scooter freaks unleashing mayhem would do well to get their kicks elsewhere, since Angel Unchained is tame by the genre’s normal standards. There’s a fair amount of brawling and drinking and riding, but the leading character is a thoughtful dude who takes a principled stand, rather than an outlaw who stirs up trouble by antagonizing authorities.

          The picture starts stylishly with a rumble at an amusement park, and then Angel (Don Stroud) says he’s ready to quit the biker-gang scene. He relinquishes leadership of his gang to Pilot (Larry Bishop), then hits the road until he encounters hippie chick Merilee (Tyne Daly). After Angel helps her out during a hassle with rednecks who dislike having a commune near their town, Merilee invites Angel to groove on their back-to-nature trip a while. Later, when the rednecks make serious trouble, Angel recruits his old biker pals for help, leading to an interesting strange-bedfellows passage during which the bikers and the hippies attempt coexistence. Nothing surprising happens in Angel Unchained, but the picture is shot fairly well, and the performances generally hit the right notes, although it’s peculiar to see Luke Askew—who usually played scumbags and thugs in the ’70s—portraying the leader of the hippie commune. That said, the scumbag quotient is more than amply filled by character actor Bill McKinney, who plays a violent biker named Shotgun with his usual gleeful menace.

Angel Unchained: FUNKY

Speedtrap (1977)

          Action-packed nonsense about an insurance investigator chasing a resourceful car thief, Speedtrap stars the jovial Joe Don Baker and features several noteworthy supporting players, plus oodles of ’70s trash-cinema texture. We’re talking artless photography, cheesy original songs, ghastly fashions, synthesizer-infused background music, and enough vehicular mayhem to fill a dozen Burt Reynolds movies. The characterizations are vapid, the story runs the gamut from stupid to trite to unbelievable, and the whole thing lumbers along for an unnecessarily long 113 minutes. In sum, if you take your ’70s exploitation flicks with a dollop of anarchy and a pinch of kitsch, Speedtrap might be your, well, speed. When the story begins, cops are baffled by a series of brazen car thefts, because the criminal uses a gadget to start car engines by remote, then steers them clear of prying eyes before hopping behind the wheel for high-speed getaways. Enter Pete Novick (Baker), a swaggering PI with adversaries and buddies throughout the police force. In particular, Pete shares a semi-romantic bond with a uniformed cop nicknamed “Nifty” Nolan (Tyne Daly). But never mind that, because like most of the story elements in Speedtrap, the relationship with Nolan is of little consequence throughout most of the film’s running time.

          After the usual predictable clashes with police-department boss Captain Hogan (Morgan Woodward), Pete chases a few cars to no avail before enlisting the aid of his buddy, ace mechanic Billy (Richard Jaeckel). Meanwhile, the mysterious thief pisses off a gangster named Spillano (Robert Loggia) by stealing a car containing a suitcase full of drugs. More car chases ensue, leading to a series of goofy plot twists during the final act. The scene-to-scene continuity of Speedtrap doesn’t merit attention, and in fact the overall palatability of the movie is dependent upon each viewer’s tolerance for repetitive car-chase sequences. On the plus side, the action is virtually incessant, zesty actors spew campy dialogue during the rare occasions when the movie slows down, and Baker makes the whole thing feel like a party by wearing a shit-eating grin in virtually every scene. Watching Speedtrap will almost certainly cost you a few hundred brain cells, but if you dig what this ridiculous movie is selling, that might be a fair trade.

Speedtrap: FUNKY

Dirty Harry (1971) & Magnum Force (1973) & The Enforcer (1976)

          In the years following the Supreme Court’s landmark Miranda v. Arizona decision, which laid out the rights of persons arrested by police, an outcry rose from crime victims and others incensed by what they perceived as kid-gloves treatment given to accused criminals post-Miranda. Hollywood responded with films including Dirty Harry, a powerful action movie about a vigilante cop who personifies the “shoot first, ask questions later” ethos. Pacifists hate the very idea of this franchise, maligning Dirty Harry’s violent exploits as fascist pornography, but despite the diminishing sophistication of later entries in the series, the first movie (and to a lesser degree the second) are as thought-provoking as they are exciting. Segueing gracefully from his triumphs in a string of European-made Westerns, ascendant star Clint Eastwood is unforgettable as San Francisco Police Inspector Harry Callahan, because his mixture of seething anger and swaggering confidence perfectly illustrates the film’s concept of an archaic gunslinger adrift in morally ambiguous modern times.
          Eastwood’s mentor, B-movie specialist Don Siegel, directs the first film, Dirty Harry, with his signature efficiency, briskly and brutally dramatizing Callahan’s pursuit of the “Scorpio Killer” (Andrew Robinson) as well as the policeman’s clashes with bosses including a politically opportunistic mayor (John Vernon). The legendary “Do I feel lucky?” scene is a perfect introduction to Callahan’s perverse attitude, and Eastwood and Siegel really soar in the climax of the film, when they reveal how little separates Callahan and the killer, ethically speaking; though the fine line between cops and crooks later became a cinematic cliché, it was edgy stuff in 1971. So whether it’s regarded as a social statement or just a crackerjack thriller, Dirty Harry hits its target.
          The first sequel, Magnum Force, features a clever script by John Milius, with Callahan facing off against a cadre of trigger-happy beat cops who make him seem tame by comparison. Milius’ right-wing militarism sets a provocative tone for the movie, forcing viewers to identify the lesser of two evils in a charged battle between anarchistic forces. Hal Holbrook makes a great foil for Eastwood, his chatty exasperation countering the star’s tight-lipped stoicism, and fun supporting players including Tim Matheson, Mitchell Ryan, and David Soul add macho nuances to the guns-a-blazin’ thrills. (Watch for Three’s Company starlet Suzanne Somers in a salacious bit part.)
          The last of the ’70s Dirty Harry flicks, The Enforcer, gets into gimmicky terrain by pairing Callahan with his worst nightmare, a female partner, but the producers wisely cast brash everywoman Tyne Daly (later of Cagney & Lacey fame) as the partner; since she’s not Callahan’s “type,” it’s believable that even with his Neanderthal worldview, he develops grudging respect for her once she holds her own in a series of chases and shootouts. The movie makes terrific use of Alcatraz as a location for the finale, but a bland villain and an undercooked plot make the film a comedown. After The Enforcer, Eastwood wisely took a break from the Dirty Harry character, returning several years later for a pair of uninspired ’80s sequels.

Dirty Harry: RIGHT ON

Magnum Force: GROOVY

The Enforcer: GROOVY