30 Days of Noir #13: Undertow (dir by William Castle)


In the 1949 film, Undertow, Scott Brady plays Tony Reagan.  Tony used to be a member of the Chicago mob but that’s all in the past now.  He served his country in World War II and now, as he tells his old racket friend, Danny (John Russell), all Tony wants to do is settle down and run a hunting lodge in Reno.

However, before Tony can forever abandon Chicago for Nevada, he has to make peace with his future in-laws.  He’s engaged to marry Sally Lee (Dorothy Hart).  In fact, he’s so in love with her that not even meeting a single teacher named Ann McKnight (Peggy Dow) can distract Tony from his plans.  The only problem is that Sally is the niece of a Chicago gangster named Big Jim Lee and, in the past, Big Jim and Tony haven’t always been the best of friends.  In fact, the Chicago police are constantly harassing Tony because they’re convinced that he wants to start a gang war with Big Jim.  Instead, Tony just wants to make peace with Big Jim before the wedding.

Tony goes to visit Big Jim and …. well, you can guess what’s going to happen, can’t you?  If you’ve seen enough film noirs, you know that no one is every totally out of the rackets.  No one believes an ex-mobster when they say that they’re no longer interested in making trouble.  Even worse, any murder committed with automatically be blamed on anyone who says that they’re no longer a member of the rackets.  That’s what happens to Tony.  Not only does he discover that Big Jim has been shot dead but everyone thinks that he’s the one who did it.  Fleeing through the shadowy streets of Chicago, Tony finds himself not only being pursued by the police but also by the murderers.  Everyone wants to either capture or kill Tony.

In fact, the only person who seems to be on Tony’s side is Ann McKnight.  Ann lets Tony hide out at her apartment while he tries to figure out what’s going on.  Of course, Ann does have a nosy landlady who has no hesitation about letting herself into the apartment whenever she feels like it….

The plot of Undertow isn’t going to win any points for originality.  It’s not going to take you long to figure out who is setting Tony up, if just because there really aren’t enough characters in the film for there to be much suspense about who is betraying who.  But no matter!  The film is still an atmospherically shot and briskly-paced thriller.  Undertow was directed by William Castle, who is probably best known for directing campy B-movies like The Tingler and Strait-Jacket.  There’s nothing campy about Castle’s direction of Undertow.  The majority of the film was shot on location and Castle makes great use of Chicago.  When Tony tries to lose the cops that are tailing him, it helps that he’s not running across a soundstage but instead down real city streets, ones that feels alive with tension and danger.  There’s also a great chase that takes place in a long and dark corridor in an underground garage.

Scott Brady (who was the brother of tough-guy actor Lawrence Tierney) gives a sympathetic performance as Tony and he and Peggy Dow have a really likable chemistry in their scenes together.  Dorothy Hart is also well-cast as the film’s femme fatale, while Bruce Bennett has a few good scenes as a detective who is an old friend of Tony’s.  Fans of “classic” matinée idols will want to keep an eye out for Rock Hudson, making a brief appearance in his second film and credited as “Roc” Hudson.

Youth Run Wild!: HIGH SCHOOL HELLCATS (AIP 1958)


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One of the most popular 50’s exploitation subgenres was the “Teenage Girl Gang” movie,  with titles like THE VIOLENT YEARS (script by Ed Wood ) and Roger Corman’s TEENAGE DOLL. The plots are pretty much interchangeable: rebellious high school chick, misunderstood by her parents, falls in with the wrong crowd. Soon she’s smoking butts, drinking booze, stealing, staying out late. There’s usually a wild party where something bad happens, and our heroine is placed in peril. If you’re into exploitation flicks, you’ll immediately recognize the storyline, and it’s reused again here to good advantage in HIGH SCHOOL HELLCATS.

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Our heroine here is Joyce, the new kid at High School USA. Joyce’s parents just don’t understand her: mom’s always out playing bridge, and dad is just a prick. Joyce longs to be accepted, and is invited to join the Hellcats by anti-social Connie, a rebellious vixen whose attitude seems to be fuck the adult…

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Embracing the Melodrama Part II #35: Cindy and Donna (dir by Robert Anderson)


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Mom, Donna, and Cindy

The 1970 film Cindy and Donna is yet another Crown International film about suburban malaise, out-of-control youth, hypocritical adults, and the difficulty of wearing a miniskirt without flashing the entire world.  In the grand Crown International tradition, it’s 65 minutes of nonstop sex and drugs, followed by 10 minutes of moralistic posturing and wrathful punishment.

Cindy and Donna tells the story of two half-sisters living in the suburbs.  Donna (Nancy Ison) is 17 and has several boyfriends.  Cindy (Debbie Osborne) is 15 and wishes that she had several boyfriends.  She both admires and resents her older sister.  Their mother (Sue Allen) spends most of her time drinking, which keeps her from noticing that her husband and Cindy’s father, Ted (Max Manning), is having an affair with a local stripper.

When the stripper leaves town, Ted gets drunk and ends up having sex with his stepdaughter, Donna.  Cindy happens to see this happen and, as a result, she decides that she’s going to stop worrying about being a good girl and instead, she’s just going to have a good time.  Soon, under the influence of her friend Karen (Cheryl Powell), Cindy is smoking weed and flirting with boys on the beach.  And, since this is a sexploitation film from 1970, marijuana leads to nymphomania.

Meanwhile, Ted is still trying to convince his stripper to come back home and Donna is posing for sleazy photographers and hey, it’s all a lot of fun, right?  No harm done, just a little experimenting, right?

THINK AGAIN!

This film is from 1970, after all.  And, as we all know from watching other films made around this time, there can be no pleasure without subsequent punishment.  Everyone’s fun is ruined when one of the sisters walks in on the other having sex with her boyfriend.

Needless to say, this all leads to someone getting tossed out into the street where they are promptly run over by a truck….

Plotwise, Cindy and Donna is your typical softcore exploitation film.  It’s better acted than most but otherwise, it’s fairly predictable.  And yet, I couldn’t help but enjoy it.  As I’ve stated many times in the past, I’m an unrepentant history nerd and everything about Cindy and Donna — from the clothes to the music to a few random comments about a protest on a college campus — screams 1970.  And, as a lover of melodramatic films, there was no way I couldn’t help but enjoy how every dramatic thing that possibly could happen in Cindy and Donna eventually did happen.

But, honestly (and perhaps surprisingly), the main reason that I enjoyed Cindy and Donna is because I’m the youngest of four sisters.  And, oddly enough, the sisterly dynamic between Cindy and Donna felt very honest and insightful.  Don’t get me wrong.  I’m not saying that Erin and I ever did anything close to what Cindy and Donna do in this film.  But still, once you removed the film’s more dramatic and sordid moments, there was so much about their relationship that felt real and true.

Like many films from Crown International Pictures, Cindy and Donna is available in a few dozen different Mill Creek compilations.   The next time that you’re feeling that you missed out on having a good time when you were in high school, watch Cindy and Donna and see what could have happened.

(Though, in all honestly, it probably wouldn’t have…)

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Back to School #9: The Young Graduates (dir by Robert Anderson)


I have to admit that, as someone who watches a lot of movies that were made before she was even born and who is just fascinated by history in general, I have often wondered what the 60s and the 70s were really like.  Oh, don’t get me wrong.  I know what everyone says they were like — hippies, disco, cocaine, Watergate, Jimmy Carter, Viet Nam, and all the rest.  But people’s memories usually fade with the passage of time and it’s always hard not to feel that whatever I’m hearing is either an idealization or an exaggeration.  That’s one reason why I like watching the often critically reviled, low-budget films of that period.  Since these films were usually made by people who didn’t really care what judgmental viewers like me would think 20 years in the future, they are usually far more accurate when it comes to portraying the world from which they came than a film that was by a big studio whose main concern was to present an idealized portrait of existence that would not alienate any potential ticket buyers.  Crown International Pictures may never have been an acclaimed film studio but, as one of the more prolific producers of 70s exploitation fare, their films now serve as a valuable historical record of the time in which they were made.

If I want to know what it was like to be young and perhaps stupid in the 70s, I go to Crown International Pictures.

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Take The Young Graduates for example.  First released all the way back in 1971, The Young Graduates was advertised as being “a report card on the love generation.”  The Young Graduates gives us a clue as to what it was like to be a teenager in 1971.  Judging from the film, it really sucked.

The Young Graduates tells the story of Mindy (Patricia Wymar), who is on the verge of graduating from high school.  She has a boyfriend named Bill (Gary Rist) but wow, is he boring!  All he wants to do is compete in drag races and it quickly becomes apparent that he’s incapable of expressing his emotions.  (Assuming that he has any.  The film is a bit ambiguous on this point.)  So, Mindy gets bored and has an affair with one of her teachers, the very married Jack Thompson (Steven Stewart).  Soon after realizing that Mr. Thompson will never leave his wife for her, Mindy suspects that she might be pregnant.  So, she and her friend Sandy (Marly Holliday) decided to take a road trip to Big Sur.  Along the way, they meet a sweet hippie (Dennis Christopher), a bunch of bad hippies, and some really bad bikers.  During their entire journey, they are pursued by Bill, Mr. Thompson, and Sandy’s boyfriend, Les (Bruno Kirby).

Though you wouldn’t know it from the film’s peppy soundtrack or Wymar’s cheerful performance as the continually put upon Mindy, The Young Graduates is actually a pretty dark movie.  With the exception of Pan, everyone that Mindy meets outside of high school is not to be trusted.  Essentially, she’s exploited by everyone that she meets and what makes it all the more disturbing is that Mindy smiles throughout the whole ordeal, almost as if Candide had been reincarnated in the form of a teenage girl.

So, The Young Graduates is really not much of a film.  Subsequent Crown International films would revisit high school and almost all of them would feature better acting and a far more interesting plot than the The Young Graduates.  No, the film does not work as a drama.  But as a documentary and as a time capsule, there’s a lot to enjoy about The Young Graduates.  The fashion, the haircuts, the music, and just the film’s general attitude are such relics of the late 60s and early 70s that the film is the next best thing to owning a working time machine.

That said, if The Young Graduates was an accurate picture of that time — well, I might not be asking for a time machine this Christmas after all!

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