Count Yorga, Vampire (1970)

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Aka The Loves of Count Yorga, Vampire. Would you care now to see that which you don’t want to see? Conducting a seance at the home of his recently dead lover’s daughter Donna (Donna Anders), the suave Bulgarian emigré Count Yorga (Robert Quarry) is concealing a bloodthirsty secret at his secluded mansion. Unbeknownst to her husband Michael (producer Michael MacReady) and other guests, Donna succumbs to the vampire’s curse. Friends Paul (Michael Murphy) and Erica (Judith Lang) go to his house where they are eventually overcome – but not before enjoying a vigorous sex session in their VW camper van – and back at home Michael realises Donna is missing from their bed and he calls his friend Dr Jim Hayes (Roger Perry) a blood specialist and they undertake to rescue her from the man they believe is a vampire armed with broom handles and makeshift crucifixes … I’m the forty-seventh nut to report a vampire in the city in the past fourteen hours. Writer/director Bob Kelljan overcomes a low budget with a singularly stylish work which takes vampirism deadly seriously. From a nice overhead shot of a port in Southern California, where we presume this contemporary iteration of Count Dracula has entered the country in the manner of his predecessor at Whitby, we enter the suburban realm of a group of friends who just can’t behave themselves at a seance led by their suave guest. Once they figure out that Donna’s mom didn’t get pernicious anaemia by accident they reckon they’re onto something. And they think they can get the better of him. Thus begins a night of cat and mouse, but as he has to repeatedly tell them, vampires are more intelligent than humans. Long regarded as the epitome of the vampire cult movie, this has aged extremely well, as you would expect of the genus, with a really sincere performance by the witty Count. Its origins as a soft porn production are reflected in the undead lovelies who indulge an orgiastic bloodfeast with one unfortunate victim. The voiceover is by George Macready, father of producer and co-star Michael. If we do this we put our heads on the block

Local Hero (1983)

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How do you do business with a man who has no door?  Up-and-coming Houston oil executive ‘Mac’ MacIntyre (Peter Riegert) gets more than he bargained for when a seemingly simple business trip to Scotland changes his outlook on life. Sent by his colorful boss Felix Happer (Burt Lancaster) to the small village of Ferness, Mac is looking to buy out the townspeople and their properties so Knox Oil can build a new refinery. But after a taste of country life Mac begins to question whether he is on the right side of this transaction …  It’s their place, Mac. They have a right to make of it what they can. Besides, you can’t eat scenery!  Writer/director Bill Forsyth’s greatest work will remind you of Ealing Comedy and I Know Where I’m Going: wonderful antecedents and references but not entirely true to the atmosphere of this very magical film, operating with the underlying power of a fairytale. It’s primarily a film about characters and their interactions and it’s absolutely low-key and exact, sidelining whimsy for revelation.  This is truly a fish out of water scenario, about a man learning to live to a different beat in an utterly alien landscape. Lancaster’s inevitable arrival brings a sense of transcendence to the film, augmented by marvellous cinematography courtesy of Chris Menges and a legendary score by Dire Straits’ Mark Knopfler. I’ve been a fan of Forsyth since I nearly choked to death laughing at That Sinking Feeling so it’s sad that he never had the long career that would have been predicted. This is a romance between people and land and sky and the immensity of living a small life, alive to the wonder. The sun, moon and stars were aligned when they made it.

The Odyssey (2016)

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Aka L’Odyssée.  A whole world waiting to be discovered. I’m just old enough to remember re-runs of Jacques (-Yves) Cousteau’s TV show – a weekly adventure in the ocean depths with a vast array of colourful marine life on display. He was a superstar who has all but vanished from contemporary iconography: a diver, oceanographer, inventor and TV personality who demonstrated that we only know the surface of the world’s oceans – he brought us what lies beneath. Director Jérôme Salle and co-writer Laurent Turner take memoirs by Cousteau’s chief diver Albert Falco aka Bébert (Vincent Heneine) and his son Jean-Michel (Benjamin Lavernhe) and create a portrait of the life of this man over thirty years, from his days in the French Navy (and an accident preventing his continuing as a pilot) whose passion for diving became a way of life, a journey encompassing family, the co-invention of the aqualung, fame, world travel and the neverending desire to achieve more.  His groundbreaking film The Silent World was the first documentary to win the Palme d’Or. The tensions with his son Philippe (Pierre Niney plays him as an adult) are exacerbated first by boarding school and later at the caricature he feels his father has become.  JYC admits he should never have had children. His wife Simone (Audrey Tautou) is now old and alcoholic, just as she threatened years earlier when she discovered his philandering. When he arrives back at The Calypso (funded by his mother in law’s jewellery) wearing a red beanie, he announces It’s telegenic. Jean-Michel returns after years studying architecture but it’s the other relationships which dominate JYC’s life, principally with his financiers.  I feel like I’ve spent my entire life chasing money. His quest for money dominates his life while Philippe’s spirals in another direction – the environment, triggered when he sees the ship’s cook dumping the trash in the water and his own work as a cinematographer and filmmaker diverges from the family business. On this issue father and son finally come back together but only when JYC’s sponsorship dries up.  Inspired yet again by Jules Verne, they travel on a foolhardy mission to Antarctica and see the true wonder of the world:  from taking money to promote oil exploration, Cousteau starts the Society that bears his name and tries to save the oceans, bringing the attention of the world to the imminent tragedy of pollution. It’s handsomely photographed by Matias Boucard but finally the difficulty reconciling the father and son drama with the story of the ego that brought the wonderful world of the sea to the screen proves as challenging as it was in reality, even with that awesome cast: Wilson is terrific as the marvellously charismatic pioneer whose travels are finally brought to an end by a tragedy. It’s all about him, after all.

Odd Man Out (1947)

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If you get back to your friends, you’ll tell ’em I helped you. Me, Gin Jimmy. But if the police get you, you won’t mention my name, huh?  Johnny McQueen (James Mason) has been in hiding in Kathleen Sullivan’s (Kathleen Ryan) home for the past six months since his escape from prison. He’s the leader of a political group (the Organisation, code for the IRA) that needs funds although his compatriots think he’s not up to the task:  he believes negotiating with the other side might get them further than attacking them.  Nonetheless he takes part in a raid on a bank but it goes wrong and he’s shot as he kills a cashier. Pat (Cyril Cusack) drives off before Johnny can get into the getaway car and the gang are the subject of a manhunt while Johnny is left to struggle on his own relying on help from passing strangers …  R.C. Sheriff adapted F.L. Green’s novel and while it’s not named, this is clearly set in Belfast. Mason is rivetting as the terrorist who’s experiencing his delirious last long night of the soul in a film that is equal parts documentary and pretentious psychological thriller, with wonderfully atmospheric canted angles and shadows from Robert Krasker’s cinematography. The supporting players are largely drawn from the ranks of Dublin’s Abbey Theatre – including Robert Beatty, W.G. Fay, Joseph Tomelty, Noel Purcell, Eddie Byrne and Dan O’Herlihy. Albert Sharpe (presumably fresh off Finian’s Rainbow on Broadway, where he made his fortune) plays a bus conductor. Robert Newton impresses as the wild philosophising artist painting Johnny. While some exteriors were shot in Belfast it would appear a great many scenes were done in London including a reproduction of the famous Crown Bar, which was actually a set at D&P Studios. A powerful and gripping drama, this remains one of the great British films, an unconventional, potent and poetic treatise on compromise, brutality, daring and death centering on a passive protagonist around whom much of the plot revolves. Out of the ordinary. Directed by Carol Reed. MM #1800.