The Sheriff (1971)

          After opening with a moderately exciting bank robbery and chase, which introduces audiences to the title character of even-tempered Southern California lawman James Lucas (Ossie Davis), The Sheriff gets down to business with a creepy scene of White traveling salesman Larry Walters (Ross Martin) menacing young Black woman Janet Wilder (Brenda Sykes). The ensuing (offscreen) sexual assault triggers a crisis in the mixed-race town that Lucas polices, which in turn spirals Lucas toward a crisis of his own—not just because the rape victim’s boyfriend is the sheriff’s son, but also because Lucas’s deputy, Harve (Kaz Garas), is married to a racist. All of this is fairly lurid stuff, and The Sheriff has shortcomings common to ’70s telefilms. The standard 74-minute runtime necessitates obvious storytelling, the aesthetics are cheap (what’s with backyard scenes shot on a soundstage?), and the horn-driven score lends a distractingly upbeat quality to an otherwise a downbeat narrative. Nonetheless, a couple of elements make The Sheriff respectable. Arnold Perl’s sturdy script is humane and reasonably thoughtful, while leading man Davis imbues the whole piece with dignity, purpose, and restraint.

          Presumably designed as a pilot for a series starring Davis—who at the time enjoyed prominence as an activist, director, performer, and theater artist—The Sheriff announces its intentions fairly early. When Lucas identifies the rape suspect as Caucasian, he asks his deputy to join him for the suspect interview because Lucas knows his word won’t be enough to indict a White man. Similarly, the choice to center Lucas’s son pulls the story into predictable but useful thematic terrain; impassioned Vance Lucas (Kyle Johnson) is impatient for social progress, whereas his father has reconciled himself to achieving incremental gains whenever possible. Adding an X factor to this dialectic is the attitude of Cliff Wilder (Moses Gunn), the father of the rape victim—as the sheriff’s chronological peer, Cliff recalls the bad old days when White men abused Black women with impunity, leading Cliff to consider frontier justice.

          Although nothing in The Sheriff would have been groundbreaking in 1971, the way the movie blends multiple race-related provocations gives the piece a measure of validity. So, too, does the overall quality of the acting. Martin, best known as the comic-relief sidekick on ’60s series The Wild, Wild West, essays one of several odious villains he portrayed in ’70s TV movies, and it’s to his credit that he neither injects vulnerability into his character nor comes across as a cartoon—Martin’s performance captures the most infuriating type of morally bankrupt entitlement. Others appearing in the movie include Davis’s real-life partner, Ruby Dee; reliable character players Edward Binns and John Marley; and ’60s/’70s starlet Lynda Day George. Everyone delivers solidly professional work, even when Perl’s dialogue tips into melodramatic extremes, so it’s tempting to believe the cast perceived The Sheriff as a worthy endeavor instead of just another small-screen paycheck gig.

The Sheriff: GROOVY

The Trackers (1971)

          Apparently Sammy Davis Jr. spent some time looking for a project in which he could costar with John Wayne, leading to development of The Trackers. Somewhere along the way, the project lost Wayne, director Burt Kennedy, and the potential for a theatrical release, instead becoming an inexpensive telefilm directed by small-screen workhorse Earl Bellamy and costarring Ernest Borgnine. It’s probably for the best a glossier version of this project never materialized for two reasons: 1) Davis seems way out of his element playing a formidable lawman, and 2) the plot follows the familiar formula of Black and White characters who overcome racial animus when thrown together by circumstance. As a brisk TV movie with household-name actors, The Trackers makes for a pleasant 74 minutes of disposable entertainment—but stretching this content out to feature length would have brought its shortcomings into sharp focus.
          Sam Paxton (Borgnine) is an amiable rancher with a wife and two adult children until one day when raiders attack his property, kill his son, and kidnap his daughter. Initial efforts to find the evildoers prove fruitless, so Sam writes to a lawman friend who specializes in tracking. Unable to help because of an injury, the friend sends Ezekiel Smith (Davis), which aggravates Sam’s racism. (He fought for the South.) Nonetheless, once Ezekiel demonstrates his prowess, Sam agrees to ride with the Black lawman even as the trail leads closer and closer to the Mexican border. Since there have been roughly a zillion movies about men from different worlds forced to work together, you know how things go from there—Sam and Ezekiel vacillate between bonding and squabbling. In reflective moments, they share stories and find common cause. In combustible moments, they physically assault each other. A few beats are played for mild comic relief, but for the most part The Trackers aims for a serious tone.
          It’s tricky to buy Davis in his role, not just because he seems so modern but also because he’s so physically slight—in one particularly eye-rolling moment, Davis’s character holds his own in an extended brawl with Borgnine’s character even though Borgnine looks as if he could snap Davis’s spine like a twig. Related, Davis’s performance feels artificial and bland compared to the believable intensity Borgnine brings to nearly every scene. As always, Borgnine’s performance style is more about blunt force than nuance, but his animalistic approach suits the role and the storyline. He’s actually quite engaging here, so it’s moderately satisfying to watch his character describe an emotional arc, however predictable and trite.

The Trackers: FUNKY

Hardcase (1972)

          In the great 1966 Western The Professionals, mercenaries enter Mexico to rescue an American’s wife, who was supposedly kidnapped by a revolutionary, only to discover the wife has become romantically involved with the revolutionary. A twist on that premise drives the agreeable made-for-TV Western Hardcase, starring former Cheyenne star Clint Walker and Stefanie Powers. Ex-soldier Jack (Walker) returns from POW incarceration to discover that his wife, Roz (Powers), not only ran off with revolutionary Simon (Pedro Aremendáriz Jr.) but, thinking Jack dead, sold his ranch to buy supplies for Simon’s rebel band. Hardcase, titled for a nickname someone hangs on the stoic protagonist, dramatizes how Jack responds to this conundrum. This telefilm is so light on plot that it resembles an episode of some generic Western anthology; similarly, the piece has the over-lit aesthetic and unimaginative camerawork of vintage episodic television. Yet Hardcase boasts a reasonably intelligent script, by Hollywood veterans Harold Jack Bloom and Sam Rolfe, and the narrative successfully ensnares its protagonist in a fraught moral dilemma. As a result, the movie is simple without being wholly simplistic.
          Anyone who has encountered a Walker performance knows better than to expect nuance from his acting—his towering physicality and granite features lend so much visual impact that he if he aims in the general direction of a dramatic texture and doesn’t exert himself, he’s able to put across something adequate. Powers is similarly limited in her abilities. Perhaps that’s why they make a compatible duo in Hardcase—the boundaries of his skills suit a character who has difficulty expressing emotion, just as the boundaries of hers fit the character of a woman torn between conflicting loyalties. Meanwhile, Aremendáriz Jr. capably offers a frontier riff on the Paul Henreid role from Casablanca (1942) and former NFL player Alex Karras, in his first proper movie performance, lends a mix of amiability and grit. The dramatic beats these actors perform get plenty of screen time because the movie doesn’t have much action—or, for that matter, much tension. It’s tempting to guess that Hardcase is so gentle because it was the first live-action movie from kiddie-animation specialists Hanna-Barbera Productions. 

Hardcase: FUNKY

New Podcast Interview!

Thank you to North Carolina-based critic and podcaster Adam Long for inviting me to his corner of the Internet for a conversation about Every '70s Movie. If you have 40 minutes to spare, tune in for a chat about Earl Owensby, the 1976 version of King Kong, romantic melodrama The Other Side of the Mountain, and various other topics. Click here to listen to my episode of the Adam's Corner podcast.

Elmer (1976)

Calling Elmer a substandard example of the intrepid-dog genre requires giving the movie too much credit. Amateurish and dull, this early credit for director Christopher Cain—later to achieve minor success with Young Guns (1988)—is the least interesting sort of regional production, a vapid recitation of Hollywood clichés without the compensation of Hollywood gloss. At the beginning of the picture, aging hound Elmer lives with young Dean (played by Dean Cain, the director’s stepson and also destined for future success). Elmer has a habit of being in the wrong place at the wrong time, so Dean’s father arranges for the dog to live on a ranch with relatives. Alas, Elmer escapes on the way there. Meanwhile, young Jerry (Phillip Swanson) takes a ride on his uncle’s small plane, which crashes in the wilderness. Struck blind during the accident, Jerry struggles to find his way back to civilization until he encounters Elmer, who serves as a sort of guide and protector. The dramatic question, such as it is, concerns what Dean will do if and when he finds Elmer, who has bonded with Jerry. At best, this slim narrative could have sustained a half-hour episode of some children’s show, so even though it runs just 82 minutes, Elmer feels long and padded. Exacerbating the vapidity of the story are the film’s lifeless performances, moronic comic relief (think bumbling rural idiots), and treacly music. Still, all of this would have been more or less tolerable if Elmer (played, apparently, by a dog of the same name) was irresistibly adorable or trained to perform complicated tricks. No such luck. Elmer may have been a fun hang in real life, but onscreen he just sits there—as in, during many scenes, he literally just sits there. His lack of excitement is contagious.

Elmer: LAME 

Catch the Black Sunshine (1972)

The first of three schlocky movies directed by minor Hollywood actor Chris Robinson, this swampy adventure has such a problematic central element that it’s doomed from the start. Robinson, a White actor, plays an albino Black slave in 1859 Florida who finds a treasure map and flees a plantation to seek his fortune. Robinson’s casting is so offensive that it barely matters whether Catch the Black Sunshine is any good, which it is not. Nonetheless, attempting a complete survey of ’70s cinema requires giving Catch the Black Sunshine a view, so here goes. Sunshine (Robinson) searches for treasure with another runaway slave (Anthony Scott) while an overseer (Ted Cassidy) pursues them. The overseer joins forces with a group of backwoods thugs, and the runaways find companionship with a pretty widow (Phyllis Robinson) who, of course, falls in love with Sunshine. Robinson evinces little skill in multiple behind-the-camera jobs (writer, director, producer, and executive producer), so the first hour of the movie is thoroughly boring. Things perk up when the widow is introduced because she gets a smidge of characterization, and that’s also when tension between the overseer and his thugs nearly coalesces into drama. But then, inevitably, more dull scenes kill momentum—for example, Sunshine and the widow gaze at each other for several minutes while a gooey ballad plays on the soundtrack. Then the picture limps through a pointless climax. Robinson subsequently tested the world’s patience with two more features, first the atrocious Thunder Country (1974) and then The Intruder, which was made in 1975 but not released until 2017. Speaking of delays, Catch the Black Sunshine was shot in 1972 but didn’t reach theaters until 1974. At various times, the film has been retitled Black Rage and Charcoal Black—but by any name, it’s junk.

Catch the Black Sunshine: LAME

Cactus in the Snow (1971)

          It’s unsurprising this low-budget dramedy failed to make noise during its original release because even though the core of the piece is a tender exploration of friendship, the premise is so lurid that it promises viewers something quite different. Moreover, there’s a reason why A. Martin Zweiback only directed one movie despite enjoying a moderately successful screenwriting career—beyond his inability to conjure evocative visuals, he frequently loses control of tone. It’s also worth mentioning that the narrative of Cactus in the Snow is deliberately anticlimactic, so it would have been a tough sell even in the anything-goes ’70s. Viewed with the perspective of time, Cactus in the Snow is no lost classic, but it’s a gentle little picture with a brain and a heart.

          Richard Thomas, appearing a year before his breakout role in TV’s The Waltons, plays Harley, a young Army soldier on the verge of his first deployment. Hoping to lose his virginity before that happens, Harley gets drunk and propositions teenager Cissy (Mary Layne), who takes pity on Harley and brings him home while her parents are away. What ensues is best discovered by watching the picture, but the gist is that Cissy and Harley fall into what might be described as deep liking for each other—she’s as mature beyond her years as he is naïve, but they synchronize in unexpected ways. Interactions with supporting characters are fairly minimal since the focus is on dramatizing Cissy’s desire for new experiences and on revealing Harley’s lonely backstory.

          Despite Thomas being the more familiar actor, Layne’s performance drives Cactus in the Snow—her complex role allows Layne to convey empathy, toughness, vulnerability, and wit. (That said, Zweiback hit plenty of false notes while crafting the Cissy character, but false notes come with the territory here.) Thomas effectively blends wounded angst and youthful eagerness, in other words working very much in his comfort zone, though the stilted quality that impacts a lot of his early performances is quite evident here. As for the picture overall, Cactus in the Snow achieves a certain degree of poignance despite a handful of scenes that simply don’t work and a garish musical score that often strives, intrusively, to lighten the mood. Cactus in the Snow is also the sort of picture that hums along in one direction before pivoting hard at the end—depending on your sensibilities, the final scene will either edge the experience into a more substantial realm or tip the experience into melodrama.

Cactus in the Snow: FUNKY

Blood on the Mountain (1974)

          After the successful release of A Thief in the Night (1972), the Rapture-themed drama that launched his evangelical production company Mark IV Pictures, producer/director Donald W. Thompson continued his cinematic proselytizing with Blood on the Mountain, a mild-mannered thriller during which a prison break compels several characters to wrestle with faith. Shot in and around scenic Canon City, Colorado, the movie has competent production values and, at least during scenes featuring escaped convicts, acceptable pacing. Yet the usual problems associated with low-budget faith films manifest here. Narrative momentum takes a backseat to sermonizing, the plot sacrifices believability on the altar of heavy-handed religious symbolism, and the acting is weak. That said, appraising Thompson’s evangelical movies by normal standards misses the point—inasmuch as these pictures sometimes circumvented traditional exhibition by playing the church-and-mission circuit, generating conventional entertainment was never the primary goal. And since I can’t speak to whether Blood on the Mountain effectively spreads the gospel, I can only appraise whether it holds interest for those outside the target audience. The short answer is “probably not.”
          I say “probably” because Blood on the Mountain scratches a few ’70s-cinema itches thanks to location photography, period costuming, and so forth—the movie offers plentiful views of the Me Decade aesthetic in its raw form. Combined with the inherent zest of any story featuring an extended chase as its primary narrative engine, the ’70s-ness of the picture ensures a measure of watchability. Moreover, several scenes were filmed at Royal Gorge, a tourist-trap canyon, and one sequence takes place at an Old West re-enactment, so watching the movie is a bit like hopping in the family station wagon for a road trip to the Centennial State. As for the plot, set expectations low. After a killer strongarms an innocent convict into helping him escape, the killer tracks down a recently paroled accomplice in order to get revenge. (The accomplice’s wife found religion while her husband was incarcerated, so she spends the movie persuading him to embrace Jesus.) Meanwhile, the innocent convict finds God after the killer drags him into several dangerous situations. There’s also some business involving a cop with a vendetta chasing the killer, and everything resolves in a moderately violent climax at Royal Gorge.

Blood on the Mountain: FUNKY

A.W.O.L. (1972)

          Vietnam-era movies about young Americans illegally avoiding military service tended to be angsty dramas, so A.W.O.L. is an oddity not just because it has comic elements, but because it blends drama, farce, political violence, pornography, racial strife, romance, and even sci-fi. Given the film’s obscurity, it’s unsurprising to discover this patchwork approach doesn’t work. There’s a wispy central storyline, but after about 30 minutes the movie seriously loses its way. Although the main character’s journey is central to nearly every scene, the filmmakers lack a guiding aesthetic or a thematic destination—so despite some moderately distracting moments, the whole thing has the vibe of a freewheeling brainstorming session. This project badly needed a sure hand at the helm, which is ironic given that it bears a truly hubristic credit: “Entire Production Under the Supervision of Merrill S. Brody, Executive Producer.”

          After finding his way to Sweden, boyish redhead Willy (Russ Thacker) feels lonely until visiting a porno shop, where he’s recruited to act in a skin flick. This lands him in the orbit of fellow expat Mohammad G. (Glynn Turman), who’s part of a group of lefty radicals that includes lissome blonde Inga (Isabella Kaliff). After several heated exchanges about Che Guevara and the like, Willy and Inga become lovers. They also attend protests that devolve into brutal clashes with authorities. Meanwhile, CIA agent Cupp (Dutch Miller) lurks around the edges of Willy’s life, alternately cajoling and threatening the young man to return to the States. (In one of the movie’s broadest sight gags, Cupp tempts Willy by revealing a briefcase full of American candy bars and soft drinks.) Eventually, the story becomes absurd when the CIA uses futuristic technology, and then the story makes a whiplash turn into bogus heaviosity with a fashionably dark and ambiguous climax.

          Tonally, the movie is a mess, but minor amusements reside in this disjointed hour and a half. In terms of low pleasures, Kaliff has an extended topless scene and some of the CIA-related gags are jarringly goofy. As for incrementally more sophisticated elements, Turman has a couple of monologues in which he blends emphatic ’70s urban slang with counterculture-era political rhetoric, allowing him to chew scenery agreeably. The movie also provides a minor ’70s footnote inasmuch as the score was composed by Rupert Holmes, later to achieve soft-rock immortality with “Escape (The Pina Colada Song).” Alas, none of that tune’s smooth melodicism is evident here.

A.W.O.L.: FUNKY 

Brother of the Wind (1972)

          To the best of my knowledge, innocuous outdoor adventure Brother of the Wind was the first production from Sunn Classic Pictures, makers of such memorable low-budget ventures as the ’70s Grizzly Adams franchise and countless sensationalistic documentaries about pseudoscientific topics. As such, it’s interesting to note how many signature tropes were present at inception. The subject matter fits the back-to-nature ethos of the early ’70s, so that checks the box for pandering to popular trends. The picture combines competent imagery with dubious sound work (goopy music, wall-to-wall voiceover), so that checks the box for keeping production costs low by leaning on post-production flourishes. And Brother of the Wind stretches a threadbare story across nearly 90 minutes of running time, which checks the box for padding content to merit theatrical exhibition. At their best, Sunn made harmless schlock, and at their worst, they made embarrassing dreck. Brother on the Wind falls somewhere between those extremes, and it established the critter-centric pocket that proved so lucrative for Sunn throughout the ’70s. Like the company’s Adams adventures, Brother of the Wind has roughly the vibe of an overly earnest John Denver song.
          When the movie begins, aging mountain man Sam Monroe (Dick Robinson, who also directed) takes custody of four wolf cubs after their parents are killed. Sam nurtures the wolves until, with his guidance, they embrace their instincts by learning how to kill prey. Per the familiar Sunn style, audio was added after filming, so we never see Sam speak onscreen; instead, we hear folksy voiceover that functions like an aural diary. Some of the picture’s episodes go down smoother than others. It’s impossible not to be touched when the mother wolf crawls into her den so she can die with her offspring, and many shots of animals and nature are beautiful. Flip side, the sequence of the cubs interacting with a weasel—accompanied by musical quotes of “Pop Goes the Weasel”—seem designed to vaporize viewers’ brain cells. Open to more subjective appraisal are elements such as the cutesy names Sam gives to the cubs: Fire Eyes, Shy Lady, Sunkleep, and Timber. (He also names a raccoon Cheeky.) That said, applying critical rigor to something like Brother of the Wind is a pointless endeavor—discriminating viewers won’t and shouldn’t seek this out, while sympathetic viewers probably know what to expect. If you’re willing to endure mawkish presentation so you can look at animals and forest scenery, this is for you.

Brother of the Wind: FUNKY

Bog (1979)

I’ve long wondered why so many zero-budget filmmakers botch their attempts at creature features, given that the formula for these pictures is so well-established. Sure, lack of production resources makes it challenging to build convincing onscreen monsters, but inventive people have found ways to convey diverting narratives while minimizing critter footage. But I suppose the answer to this conundrum is obvious—filmmakers with greater aptitude also have greater ambition, meaning the folks who make anemic monster movies often lack the drive to attempt anything else. All of which is a lugubrious path toward discussing Bog, a thoroughly uninteresting horror flick about a supernatural creature issuing from a murky lake to bedevil locals and tourists. Think Creature from the Black Lagoon (1954) except set in America and bereft of everything that made Creature from the Black Lagoon exciting. Bog begins with a rural dimwit using dynamite to fish in a remote lake. Naturally, this activity rouses something deadly from down below. As the movie progresses, more people fall victim to the monster until the requisite duo of a policeman and a scientist join forces to tackle the crisis. These drab characters are played by actors late in their long careers, Gloria DeHaven and Aldo Ray, though it’s a stretch to say their participation gives Bog any patina of Hollywood gloss. While the narrative is coherent in an idiotic sort of way, everything about the movie is depressingly awful. The production values are weak, the thrills are nonexistent, and the monster suit is a joke—the costume is crowned by a giant fish head. The only novelty in Bog arises from DeHaven’s presence. Not only does she spew pseudoscientific gobbledygook about the creature’s reproductive habits, but she plays the second role of an aging backwoods mystic who may or may not have enjoyed relations with the creature. I suppose if you’re going to appear in a terrible movie, you might as well commit to the endeavor.

Bog: LAME

Blood Voyage (1976)

Mindless horror/thriller schlock that may or may not have slithered through theaters on its way to an ‘80s video release, Blood Voyage tells the dull story of a sailboat cruise during which crew members and passengers get murdered one by one. At no point do any survivors consider calling for help or turning the boat around, and for that matter nobody seems particularly concerned about what’s happening until the requisite climax during which the killer stalks the final victim. Yawn. If you must know the specifics, middle-aged shrink Dr. Craig (John Hart) sets out from LA for Hawaii accompanied by his decades-younger fiancée (Laurie Rose), his buxom daughter (Mara Modair), and a sexy patient with severe mental illness (Midori). The narrative function of these ladies is to model swimsuits, participate in nude scenes, and shriek when attacked. Three macho seamen run the ship for Dr. Craig, and the one who gets the most screen time is Andy (Jonathan Goldsmith), a Vietnam vet tormented by PTSD. Andy, by the way, is sleeping with Dr. Craig’s daughter, who wants him to kill Dad so she can inherit wealth. Listing the reasons why Blood Voyage is awful would be exhausting, but to name just one, a sailboat is an iffy setting for this sort of whodunnit—if you want to determine the killer’s identity, maybe just congregate on deck and wait for someone to reach for a knife? Although the acting in Blood Voyage is as bad as the storytelling, two players are somewhat notable—Hart briefly played the Lone Ranger on TV, and Goldsmith later portrayed “The Most Interesting Man in the World” in beer commercials.

Blood Voyage: LAME

7.5 Million Views!

Hey there, groovy people! Last time I posted one of these updates about viewership milestones, I offered my hope that readers had not grown bored with reports of this nature. And while I still hope that’s true, the process of watching the numbers increase over time has not lost its novelty for me, hence this message of gratitude for everyone out there diggin’ on the signals I’m sendin’. Of late, I’ve taken some time to revisit movies that were reviewed for this blog years ago as a means of reconnecting with reasons why the cinema of the ’70s is so endlessly fascinating. Whether I’m taking a fresh look at a stone classic (how’s it hangin’, The Exorcist), a minor hit from back in the day (lay it on me, Jesus Christ Superstar), or a cult favorite (gimme five, Time After Time), it’s been a kick to remind myself of the wonders associated with the New Hollywood era. Notwithstanding the much-discussed consideration of how tricky it is to lay my retinas on ’70s movies I haven’t yet reviewed, I feel like I’ve got a fresh tank of gas in the engine for the next leg of this trippiest of trips. So hang loose, because there’s more to come—and, as always, hope endures that I’ll discover some masterpiece that’s been unfairly overlooked since the ’70s. Until next time, thanks for reading, and keep on keepin’ on!

Lapin 360 (1972)

Watching a movie as muddled as Lapin 360, one can only marvel that anyone ever thought the piece would hold together. After all, it’s not as if Lapin 360 is some no-budget experiment by counterculture outsiders—this was rendered by experienced Hollywood professionals including a director with legit TV credits and a supporting actor with an Oscar on her mantlepiece. Here’s the head-scratcher of a story. Young rocket scientist Bernard Lapin (Terry Kiser) works for a military contractor. Returning home after a business trip, he discovers that attractive stranger Delia (Peggy Walton-Walker) broke into and stayed at his place while he was away. They become romantically involved. Bernard soon learns that Delia and a group of nefarious men are plotting some sort of illegal activity. Before the nature of that scheme is revealed, viewers learn that Bernard is the key man for a nuclear-missile project at work and that recurring migraines are driving him mad. Neither of those subplots goes anywhere. As for the mysterious scheme, the gist is that Delia carried a baby for a rich benefactor, and now she’s enlisted thugs to kidnap the baby—the thugs expect to collect ransom, but Delia wants to keep the kid. What does Bernard have to do with any of this? You guessed it—nothing! Aside from providing assistance during the climax, Bernard doesn’t matter to Delia’s narrative, and Bernard’s narrative is so underdeveloped that his positioning as the main protagonist feels arbitrary. Sure, the idea of Delia using a dude to get her baby could have made for an interesting-ish noir, but as executed, Lapin 360 is confounding and frustrating—or at least it would be if it elicited strong enough reactions for viewers to feel confounded or frustrated. Kiser, later to achieve notoriety playing a corpse in Weekend at Bernie’s (1989), gives an overly earnest performance while Walton-Walker bangs against the limitations of her skill set. As for the aforementioned Oscar winner, she’s Anne Baxter of All About Eve (1950) fame, and, wow, is she terrible in her scant screen time—by comparison, Norma Desmond seemed less desperate for attention. Lastly, details are murky on whether Lapin 360 played theatrically in the ‘70s, though the film’s final resting place (as of this writing) was a VHS release with the new title Always the Innocent.

Lapin 360: LAME

Pets (1973)

          Not too many T&A-driven grindhouse flicks stem from legit theater, but Pets has exactly that pedigree. However, it’s useful to note that the stage experience upon which Pets is based premiered in 1969—if not the white-hot center of the Sexual Revolution, then close enough—and that “legit” had an expansive meaning at the time. After playwright Richard Reich debuted an evening of three one-act plays called Pets at the Provincetown Playhouse, filmmaker Raphael Nussbaum directed (and co-wrote with Reich) a film adaptation converting the stage show’s thematically linked stories into a contiguous narrative. All of this is somewhat novel, but the movie of Pets suggests the source material was titillating at best, trashy at worst. The film’s first vignette concerns sexy hitchhikers robbing a dude with a little dog; the second vignette depicts a lesbian artist who becomes jealous when her female model gets hot for a man who breaks into the artist’s house; and the third vignette centers an art collector who lures women into his basement and keeps them as, you guessed it, “pets.” The connection between the first two sections is tenuous. Worse, because the third section is the most unusual, the movie should have gotten to the spicy stuff faster—and gotten more out of it than one extended scene.

          Pets is neither admirable nor awful. The scenarios mostly hinge on lengthy scenes of leading lady Candice Rialson displaying her breasts, so it’s difficult to perceive higher aspirations beyond the leering. Concurrently, the dialogue (credited to three writers!) is so arch and obvious and stilted that that the film’s sociocultural elements receive clumsy treatment. The movie primarily expresses a theme of people trying to possess other people, and only the first vignette—with the hitchhikers and the little dog—has anything resembling surprises and subtext. Adding to the general blandness of Pets is lethargic pacing, which makes the movie feel much, much longer than its 103-minute running time. Still, those who can’t resist should be advised what awaits them. Rialson, though charming in other B-movies (such as 1977’s outrageous Chatterbox!) is largely decorative here, while swaggering costar Teri Guzman flits in and out of the picture too quickly. Occupying the showiest role is prolific film/TV actor Ed Bishop, who plays the perverse collector—his performance approaches camp but always seems a bit too reticent, even when he’s abusing Rialson’s character with a whip.

Pets: FUNKY 

The Daredevil (1972)

          Watching The Daredevil, it’s tricky to parse whether the people involved with the project thought they were making a real movie. On the surface, the story of a stock-car racer whose life unravels after his involvement with a crash that kills another racer is a compendium of high-velocity episodes, from daytime races to nighttime chases. Yet the picture also tries, weakly, to present a character study of its self-destructive protagonist, a nasty jerk who treats everyone he meets with contempt. As a result, it’s hard to determine the intended audience for this thing. By the time this picture was made, the drive-in demographic’s appetite for stories about hard-charging rebels sticking it to the man was well-established, and The Daredevil does not scratch that itch. Similarly, downbeat tales of everyday people meeting grim fates for the temerity of expressing individualism were familiar to devotees of arty counterculture cinema, but The Daredevil lacks the sophistication needed to satiate that appetite. And while some distinctive flicks found a sweet spot between these extremes—the previous year’s Vanishing Point comes to mind—that’s yet another niche into which The Daredevil does not fit. For all these reasons and more, The Daredevil deserves its obscurity. Bad ’70s cinema gets much worse than this, but The Daredevil neither tries to do enough nor excels at what it actually attempts.

          Faded ’40s/’50s he-man actor George Montgomery plays Paul Tunney, an asshole with a winning record on the Southern stock-car circuit. Returning to his home track, he faces off for the first time against a Black racer, who dies during the event. (Adding to his charm, Paul is casually racist.) The dead man’s sister, Carol (Gay Perkins), puts a sort of hex on Paul, who starts losing races not long after the fatality. Then Paul starts a distasteful involvement with Julie (played by ’50s pinup Terry Moore) even though Julie is dating Paul’s friend Huck (Bill Kelly), a one-armed mechanic. Once Paul’s racing career hits the skids, he takes a gig running drugs for a local crime boss. These slender threads intertwine predictably as the picture zooms toward its bummer climax. Had the premise of Robert Walsh’s script found its way to a more adept filmmaking team and stronger actors, The Daredevil could have become something interesting—not only is the downward spiral of the leading character a serviceable plot device, but developing the idea of Carol employing supernatural means to exact revenge could have lent novelty to the endeavor. As is, the picture is a cheap-looking affair riddled with flat dialogue, stilted performances, unpleasant characters, and way too much stock footage.

The Daredevil: FUNKY