RAGTIME

Howard E. Rollins Jr. as Coalhouse Walker

RAGTIME (1981). Director: Milos Forman. 

A well-to-do couple (James Olson and Mary Steenburgen) live with their young son and her brother (Brad Dourif) after the turn of the century. They take in a homeless black woman, Sarah (Debbie Allen), and her baby, and become friendly with the child's father, Coalhouse Walker (Howard E. Rollins Jr.). Dourif pursues a relationship with Evelyn Nesbit (Elizabeth McGovern), whose husband Henry Thaw (Robert Joy) shoots and kills her former lover, the architect Stanford White (Norman Mailer). Evelyn also encounters Tateh (Mandy Patinkin) and his little daughter, and winds up starring in the silent films he makes when he goes to Hollywood. When Coalhouse is humiliated by a bunch of Irish firefighters, feces dumped in his model T, he tries to get justice. Failing that, he somehow puts together a virtual militia with many weapons and begins bombing firehouses and shooting firemen. Dourif agrees to supply them with explosives. Nothing good will come of this ...  

Elizabeth McGovern as Evelyn Nesbit

For me Ragtime pretty much falls apart about this time as despite Coalhouse's understandable anger at his treatment, his murderous overreaction seems wildly contrived -- it's not as if these firemen killed anyone after all. (Besides, I have never found any kind of terrorism to be justifiable no matter how legitimate the grievances.) Dourif's character and his actions go undeveloped and unexplored, and the whole notion of mingling the Stanford White/Evelyn Nesbit story and its "trial of the century" with the Coalhouse Walker story (novelist E. L. Doctorow based all this on a German novella entitled Michael Kohlhaas, and claimed Ragtime is a homage to it) is perhaps ill-advised to begin with. What might have worked on the printed page doesn't always work in the cinema. 

Mandy Patinkin, Mary Steenburgen, James Olson

There are good performances in the film -- Rollins (who was Oscar-nominated and died of AIDS-related complications at only 46); an excellent Olson; James Cagney (at 81 playing a real-life police commissioner who was actually in his thirties at the time); Moses Gunn as Booker T. Washington trying to convince Coalhouse of the error of his ways --  and a notable score by Randy Newman. But as a whole I found the movie unconvincing and occasionally ridiculous. Other old-time stars in the film are Pat O'Brien and Donald O'Connor. Later this was turned into a Broadway musical. 

Verdict: Has its pleasures, but overall a misfire. **1/4. 

THE SPELL

Lee Grant

THE SPELL (1977 telefilm). Director: Lee Philips.

Rita Matchett (Susan Myers) is a slightly overweight 15-year-old girl who is cruelly taunted by the mean girls in her class. One of the meanest is in gym class when she falls off a rope doing a trick and breaks her neck. Rita has a younger sister, Kristina (Helen Hunt), a father, Glenn (James Olson of Crescendo), who's rather cold to her, and a mother, Marilyn (Lee Grant), with whom she seems to share a special bond. As more strange things begin to occur, Glenn wants to pack Rita off to a special school in London and Marilyn resists suggestions that Rita is not only different but dangerous ... The Spell is one of a long line of films made in the wake of Carrie, although this picture drops the strange-girl-vs-mean-girls storyline pretty early and turns into a domestic drama of sorts with two comparatively ineffectual parents trying to deal with their strange and rebellious daughter. Nothing much supernatural or especially weird happens until a friend and neighbor of the Mattchetts literally burns up from the inside out and becomes a ghastly corpse halfway through the movie, a literal cooked sausage. For the finale, the picture winds up back in Carrie territory. The Spell presents some intriguing situations, an interesting young heroine, and has a couple of twists, but it's also a little disjointed and confusing (one suspects scenes were left on the cutting room floor to make way for the commercial breaks), and there's no particular flair to the direction. If the film works at all it's because of the acting, with Lee Grant splendid as the mother, emoting with complete conviction as if she were in a serious drama and not a semi-schlocky made-for-TV suspense film. James Olsen and Susan Myers are also excellent, and a very young Helen Hunt already shows signs of the abilities that would eventually net her an Oscar. Brian Taggert, who also scripted the Lee Grant starrer Visiting Hours as well as a TV remake of What Ever Happened to Baby Jane? with the Redgrave sisters, seems to have grafted a not completely convincing horror story onto a tale of teenage angst in which the heroine discovers that she not only doesn't mind being "different" but actually prefers it. Director Lee Philips, who also helmed the interesting telefilm The Girl Most Likely To ..., was originally an actor in such films as Peyton Place and others. Years later Grant and Helen Hunt would both appear in Dr. T and The Women.

Verdict: Grant makes the most of a script that doesn't quite call for her talents. **1/2.

NOTE: This review is part of the "Lovely Lee Grant" blogathon co-hosted by Chris of Angelman's Place and Gill of Realweegiemidget Reviews. 

THE MAFU CAGE

James Olson and Lee Grant

THE MAFU CAGE (aka Deviation/1978). Director: Karen Arthur.

Ellen (Lee Grant) lives with her strange sister Cissy (Carol Kane of Annie Hall), who retains a love for all things African -- they once lived in Africa with their late father -- and who also seems to have incestuous feelings for her sister. Ellen is herself not too tightly wrapped, because she resists the notion of sending Cissy to a therapist for, among other reasons, her penchant for slaughtering her pet apes. Cissy, who is unraveling by the minute, chains up Ellen's boyfriend, David (James Olson of The Andromeda Strain), in the cage where the apes are kept, and you can probably guess what happens next. The Mafu Cage is a film so bad that it seems to exist in its own universe of awfulness, never coming close to a real world or even a cinematic equivalent. It just moves along, ploddingly, throwing idiotic scenes at the viewer, and providing embarrassment for all of its actors, all of whom should have known better. The film reaches its absolute nadir with its scene of poor Carol Kane exchanging sloppy mouth to mouth kisses with a champagne-guzzling orangutan. (I am not joking; this is not an old April Fool's post.)  Grant, Olson, and Will Geer [The Brotherhood of the Bell] as a friendly animal trainer all give good performances; Kane is like her character from the sitcom Taxi on uppers. The script was written by actor Don Chastain (from a play by Eric Wesphal), whose other writing credit was for an episode of As The World Turns. Karen Arthur primarily directed for television.

Verdict: Without a doubt, the worst movie Lee Grant ever appeared in. 1/2*.

NOTE: This review is part of the "Lovely Lee Grant" blogathon co-hosted by Chris of Angelman's Place and Gill of Realweegiemidget Reviews. 

THE ANDROMEDA STRAIN

"It's growing!" Kate Reid and Arthur Hill

THE ANDROMEDA STRAIN (1971). Director: Robert Wise.

Project Scoop, which collects organisms in space, crashes to earth  in a small town in New Mexico. Everyone is killed by a plague from an organism inside the scoop aside from an old man and a baby, both of whom are taken to a secret Nevada base known as "Wildfire," which was created to contain deadly biological alien entities. Inside the base several scientists try to figure out why these two particular humans survived, and to determine the exact nature of the organism that killed everyone else, and how it was transmitted. It is decided to wipe out the town with a bomb, but will that be such a good idea ...? The Andromeda Strain, based on a novel by Michael Crichton ["Micro"], was one of the first of the technological sci fi/medical thrillers, and it's a pip, well-directed by Wise and very suspenseful. [The movie Alien owes a lot to Andromeda's climax with its destruct mechanism that only allows a short time to cancel it]. Arthur Hill as the head of the team offers his usual competent if bland performance; James Olson, David Wayne and Paula Kelly are a bit more flavorful; and Kate Reid [A Delicate Balance] is simply outstanding as the grouchy, dyspeptic Dr. Ruth Leavitt -- she's a a real asset to the movie. Glenn Langan [The Amazing Colossal Man] has a small role as a politician and is fine. Remade as an A&E mini-series in 2008.

Verdict: Taut, creepy, and fascinating. ***1/2.