Tag Archive: Julie Christie


The British class system depends on its nation’s citizens knowing their place and not getting any fancy ideas above their station. Two films from the late 1950s and mid-1960s show what can happen to those who challenge this convention.

The image on the left is from Room At The Top (1959) directed by Jack Clayton. The second is  from John Schlesinger’s Darling (1965).  

The smarmy anti-hero of the first is Joe Lampton, a man on the make stylishly played by Laurence Harvey. This film is based on John Braine’s novel of the same title. Braine described his creation as a man who behaves “like a little boy with his nose pressed against the window of a beautiful candy store.”  Lampton is determined to defy those who label him as a small town nobody and savour the sweet stuff money can buy.  

Getting the girl (the boss’s daughter),  the top job in the company and a handsome salary would in other circumstances constitute a happy ending but here they are the ingredients of a personal tragedy. The look on Lampton’s face as he puts on his suit jacket is not that of a man happy with his lot.  

In Working Class Hero,  John Lennon sang  “There’s room at the top /They are telling you still/But first you must learn to smile as you kill. The Bible (Matthew 16:26) issues a similar warning: “What will it profit a man, though he should win all the whole world, if he loses his own soul?  Joe Lampton does not heed these warnings. The film shows that upward mobility is possible but breaking through Britain’s rigid class-bound barriers may come with increased riches but you must be willing to live with no peace of mind.

Julie Christie’s look of puzzlement in the image from Darling is also one of dissatisfaction. The unmade bed in the background is not the aftermath of a sexual romp but seems to symbolise one of many sleepless nights.

Christie plays Diana Scott, a glamourous model and free-spirit who seems to have the world at her feet. But like Room At The Top, Darling is a cautionary tale that shows the illusions and delusions surrounding material success.

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WRINKLES AND WEATHERMEN

THE COMPANY YOU KEEP directed by Robert Redford (USA, 2012)

It’s a measure of how unpolitical most American blockbusters are that this movie practically counts as a radical drama. It begins with archive footage of the Weather Underground Organization (WUO) and this left-wing group’s vain attempts to counter injustice, greed and warmongering in the late 1960s and early 1970s. The Weathermen’s opposition to US  military involvement in Vietnam was such a central part of their protest that it all but fizzled out when the war ended.

By choosing to direct an adaptation of Neil Gordon’s novel, Robert Redford is able to give work to fellow ageing actors like Julie Christie, Nick Nolte and Susan Sarandon. All these play ex-WUO activists. Redford is Nick Sloan, a widower and single dad hiding under a new identity as lawyer Jim Grant.

A younger upstart is Shia LaBeouf who plays Ben Shepherd, an increasingly irritating local reporter on the trail of a massive scoop who quickly blows Sloan’s cover. Using old school journalist methods like trailing through dusty archives, door-stepping and bribery he effortlessly joins the dots from A to B to C in a few days which begs the question as to why it took the FBI three decades before catching up with these fugitives. The incentive was quite high since the charge against them is the murder of a security officer during a botched bank robbery. Continue reading

LA RAGAZZA CON LA PISTOLA  directed by Mario Monicelli (Italy, 1968)

“All you need to make a movie is a girl and a gun”, said Jean-Luc Godard and Mario Monicelli set out to prove him right in this enjoyable comedy caper from the late 1960s.

This particular girl with a gun is Assunta Patanè, a beautiful young Sicilian woman who, having been seduced and abandoned by an oily Latin-lover sets out to murder him to restore her honour.

She is supported in this mission by the women in her community who are all dressed in black as if in mourning for the loss of her maidenhood.

They give her a gun, passport and a one-way ticket to pursue the philanderer who has fled to Britain.

Carlo Giuffrè is perfectly cast as the caddish Vincenzo Macaluso whose ‘wham bam thank you m’am’ seduction technique brings out the killer instinct in Assunta.

On first arriving in Scotland, the language problem is pronounced as is the cultural shock of seeing men in skirts for the first time.

Assunta knows only a few words of English but ,miraculously, even those who say they can’t speak Italian somehow transform into fluent speakers and soon everyone in England has mastered her mother tongue. Continue reading

DONALD CAMMELL’S DEMON SEED

220px-demon_seed_1977I’m currently on a Sci-Fi roll which drew me to the 1977  movie , Demon Seed,  based on a novel by Dean Koontz and directed by Donald Cammell.

The central paradox of the story is the dehumanization of the scientist, Dr. Alex Harris (Fritz Weaver) in direct contrast with the humanization of a recently invented supercomputer.

All of human knowledge is stored on Proteus IV  with the initial idea that its vast intellect will benefit mankind. The financiers and corporations see its potential in less altruistic terms. They want to exploit its knowledge to start mining for precious metals in the ocean. Proteus refuses to comply stating that it will not assist in the rape of the earth.

The machine has been programmed to think but what the boffins don’t foresee is that this will lead to it to making choices based on ethics and reason. Seeing that the plug is about to be pulled to end its ‘life’ in the box, Proteus takes over the computerised security and domestic service in the home of Harris’s estranged wife Susan (Julie Christie).  It devises a cunning plan to insert a synthetic sperm into her womb so she will give birth to the computer in human form.

The impregnation sequence is accompanied by a psychedelic montage which resembles a cheap Pink Floyd video. This is just one of the many scenes which date the movie. It is no masterpiece but the premise behind it is interesting and pleasingly subversive. Despite the title, the seed planted in the woman has no demonic purpose. The movie ends with the Proteus baby saying “I’m alive!” which made me think that this is a story that is crying out for a sequel.

Mick Jagger and Donald Cammell

It is one of only four full length movies the Scottish born director made; a short list which most famously includes Performance (1970), a film which is generally (and unjustly) credited to Nicolas Roeg.

Cammell was less than satisfied with Demon Seed which was based on a screenplay by Roger Hirson & Robert Jaffe , He vowed thereafter never to make a movie that he hadn’t also written. This uncompromising stance meant that the only two other full length films he completed were  White Of The Eye (1987) and Wild Side (1995) . He disowned the latter after it was re-edited by the studio and he committed suicide in April 1996 (Wild Side was posthumously restored by editor Frank Mazzola).

It’s tempting to regard Cammell as the victim of a narrow-minded, conservative system but he was a precocious talent who never made life easy for himself.  Keith Richards is particularly scathing in his autobiography, describing him as “a twister and a manipulator whose only real love in life was fucking other people up”.

Cammell came from a bohemian background (his father wrote a book about the controversial occultist Aleister Crowley) and this doubtless planted the (demon) seeds of his anti-establishment values. There’s a strong sense that he got a kick out of challenging what he saw as the hypocrisies of mainstream culture. He deliberately chose taboo subjects which led to his fascination with the gang violence, drug use and wild sex that we can see enacted in Performance.

A good insight into his life can be found on You Tube in the 1998 documentary: ‘Donald Cammell: The Ultimate Performance’ directed by Chris Rodley and Kevin MacDonald.  The revealing interviews in this include ones with Cammell himself, his widow China Kong , Mick Jagger, Anita Pallenberg, Nic Roeg, and , perhaps best of all, James Fox whose experiences seem to endorse the assessment of Keith Richards.