Battle of Britain (1969)

BATTLE OF BRITAIN (1969) One star
Never in the field of motion pictures were so few scenes owed by so few to so many.

— Harry Saltzman

As far as we know, Harry Saltzman never actually said that, nor did Winston Churchill or, for that matter, Yogi Berra and Yogi the Bear.

Anyway, that would-be quote came to mind several times during Battle of Britain and it’s been on my mind preparing this review inside my ripped, twisted brain.

Just look at the cast: Harry Andrews, Michael Caine, Trevor Howard, Curt Jurgens, Ian McShane, Kenneth More, Laurence Olivier, Nigel Patrick, Michael Redgrave, Ralph Richardson, Robert Shaw, Patrick Wymark, Susannah York, Michael Bates. Anyway, we get the point and to fill in the rest of the cast might take every bit as long as Battle of Britain.

Battle of Britain lasts approximately 2 hours, 12 minutes, and yeah, that’s exactly right, very little screen time for each actor since there’s so many of them.

Regardless, the planes get all the good lines in Battle of Britain.

Beyond the planes, though, Michael Caine’s dog gives the best dramatic performance. Unfortunately, I couldn’t even find the dog’s name in the seemingly neverending end credits.

Battle of Britain invested so much into the planes that it forgot about the characters, the people, you know, the reason why audiences engage with any successful motion picture spread. They spent so much on the planes, in fact, they couldn’t even afford subtitles for the German dialogue spoken often throughout Battle of Britain, for crying out loud.

I am not always the biggest fan in the world of these cast-of-thousands World War II epics and Battle of Britain joins The Longest Movie, Boring! Boring! Boring!, and A Movie Too Long in the cinematic wreckage of bloated, ponderous war movies.

It especially doesn’t help when the musical score for Battle of Britain has me thinking that’s what it must feel like to be trapped inside a tuba for a two-hour concert.

The Kinks’ incredible, indelible concept album Arthur (Or the Decline and Fall of the British Empire) came out two weeks before Battle of Britain in October 1969 and coincidentally, I put Arthur on almost immediately after Battle of Britain. Arthur provided the emotional and intellectual content missing from Battle of Britain, as well as a great sense of humor and sharp wit, not to mention tunes out the wazoo.

Arthur lasts all of 49 minutes, 17 seconds, and travels from the Victorian era to World War I to World War II to post-war England to Australia in a mere 12 songs. Ray Davies proved himself once again to be one of the great storytellers in popular music on this album, from opener “Victoria” and “Shangri-La” to “Mr. Churchill Says” and closer “Arthur.”

I get more from one song on Arthur than all of Battle of Britain; for example, these rather cinematic lyrics from “Some Mother’s Son,” Some mother’s son lies in a field / Someone has killed some mother’s son today / Head blown up by some soldier’s gun / While all the mothers stand and wait / Some mother’s son ain’t coming home today / Some mothers son ain’t got no grave / Two soldiers fighting in a trench / One soldier glances up to see the sun / And dreams of games he played when he was young / And then his friend calls out his name / It stops his dream and as he turns his head / A second later he is dead / Some mother’s lies in a field / Back home they put his picture in a frame / But all dead soldiers look the same.

The Swarm (1978)

THE SWARM

THE SWARM (1978) One-half star

Many comedies wish they could make me laugh as hard as I do at the ridiculous disclaimer at the end of the 1978 Irwin Allen film THE SWARM: “The African killer bee portrayed in this film bears absolutely no relationship to the industrious hard-working American honey bee to which we are indebted for pollinating vital crops that feed our nation.”

Were the folks at Warner Bros. seriously afraid of alienating the American honey bee?

I’ve read that the American Bee Association considered suing Allen for defaming the honey bee … and that must be why we ended up with that jive disclaimer right before the end credits. But, honestly, why stop there? The director, writer, and actor guilds should have sued Allen for defaming their respective trades, because this has to be the worst use ever of a $21 million production budget (reports vary on the $), seven Academy Award winning actors (Michael Caine, Olivia de Havilland, Ben Johnson, Jose Ferrer, Patty Duke, Lee Grant, and Henry Fonda, but none of them earned for this movie), and 800,000 bees with their stingers removed.

I’ll never forget THE SWARM because it’s not easy forgetting one of the worst movies ever made. I caught it (not all of it, though) for the first time in either late 1997 or early 1998, home alone late afternoon during my freshman year of college. I returned from class and found this disaster pic flipping channels. It was somewhere in the middle and I watched the rest. The lousy special effects, the cornball everything (premise, plot, dialogue, acting, title), and that darn disclaimer stuck with me. …

I’ve caught up with THE SWARM a couple more times or I’ve watched it at an interval of once every 10 years. It still rates about the exact same as the first time watching it, though, but I guess I have watched it a couple more times after the first as a honest reminder of what a bad movie’s truly like.

Guess we should give a lot of blame for THE SWARM to Allen (1916-91). The Master of Disaster produced THE POSEIDON ADVENTURE, THE TOWERING INFERNO, THE SWARM, BEYOND THE POSEIDON ADVENTURE, and WHEN TIME RAN OUT, the last three of which helped kill off the disaster films that were so popular in the 1970s. THE SWARM earned $7.7 million, BEYOND THE POSEIDON $2.1 million, and WHEN TIME RAN OUT $3.8 million.

Allen also directed THE SWARM and BEYOND THE POSEIDON. In THE SWARM, he kills two genres in one movie, combining disaster with the killer animal genre that became a dominant exploitation staple after the incredible success of Steven Spielberg’s JAWS in 1975.

It was David Hannum, not P.T. Barnum, who came up with the legendary quote, “There’s a sucker born every minute.” Should have been Irwin Allen, though, because his films really take us for suckers one and all. Fortunately, we are better (smarter) than that.

Stirling Silliphant (1918-96) wrote the screenplay for THE SWARM and he wrote both of Allen’s biggest hits, THE POSEIDON and TOWERING INFERNO. He also won an Academy Award for his screenplay for Best Picture winner IN THE HEAT OF THE NIGHT. (Silliphant’s erratic credits include VILLAGE OF THE DAMNED, SHAFT IN AFRICA, and OVER THE TOP.)

Unfortunately, his work on THE SWARM will go down in infamy.

Helicopter pilot: “Oh my God! Bees! Bees! Millions of bees … (later on) Bees! Millions of bees!” Of course, it does not help matters that the bees sometimes look more like painted-on black dots.

There’s some dynamite exchanges in THE SWARM. I’ll highlight just one.

Dr. Crane (Caine): Are you endowing these bees with human motives? Like saving their fellow bees from captivity, or seeking revenge on Mankind?

General Slater (Richard Widmark): I always credit my enemy, no matter what he may be, with equal intelligence.

“No matter what he may bee,” maybe they should have stripped Silliphant of his Academy Award for writing that one.

There’s more howlers in THE SWARM: “Houston on fire. Will history blame me, or the bees?”; “I know people look at me and think that I’m just the man behind the aspirin counter, but inside I love you”; “They’re more virulent than the Australian Brown-Box Jellyfish”; “By tomorrow there will be no more Africans … at least not in the Houston sector.” This dialogue indicts inself.

THE SWARM is one time where calling a film a train wreck is literal.

A train wreck, by the way, that kills Olivia de Havilland, Ben Johnson, and Fred MacMurray, two of the film’s seven Academy Award winning actors. Johnson (1918-96) fared better later as the conductor in the horror film TERROR TRAIN. I really did not want to mention that de Havilland, Johnson, and MacMurray form a romantic triangle in THE SWARM. Let’s just get past that and move on immediately, unlike the movie.

Having such an all-star cast, by the way, backfires miserably for THE SWARM, because I start thinking about movies like ZULU (Caine), THE ADVENTURES OF ROBIN HOOD (de Havilland), THE LAST PICTURE SHOW (Johnson), DOUBLE INDEMNITY (MacMurray), THE MIRACLE WORKER (Duke), and ONCE UPON A TIME IN THE WEST (Fonda), for example, rather than what I am supposed to be watching.

Some of the stars have smaller roles than others. Yeah, and I almost forgot about Richard Widmark, Richard Chamberlain, and Slim Pickens, though I mentioned the always skeptical, always boneheaded General Slater played by Widmark. How could I forget though about Mr. Pickens? According to Cinemorgue Wiki, Pickens died cinematic deaths in THE LAST COMMAND, A THUNDER OF DRUMS, DR. STRANGELOVE, MAJOR DUNDEE, ROUGH NIGHT IN JERICHO, PAT GARRETT & BILLY THE KID, BEYOND THE POSEIDON, THE BLACK HOLE, and THE HOWLING. They missed an opportunity in not killing Pickens in THE SWARM. I mean, his death scenes in DR. STRANGELOVE and PAT GARRETT & BILLY THE KID are legendary.

I am rambling, just like THE SWARM itself.

When you watch THE SWARM, please try and keep in mind that Paul Zastupnevich received a nomination for the Academy Award for Best Costume Design. Unbelievable, just unbelievable, like THE SWARM.

Jaws: The Revenge (1987)

JAWS THE REVENGE

JAWS: THE REVENGE (1987) No stars

Just when you thought it was safe to see a JAWS movie again.

In the JAWS III review, we discussed the Idiot Plot.

That’s when all the characters have to be idiots to propel the plot forward.

Now, with JAWS: THE REVENGE, we have under consideration another idiotic plot.

I mean, if you’ve never seen this one, you better get that suspension of belief ready for the workout of its life.

You will need every single bit of it for a plot where not only does a shark pursue revenge against a single family — them poor Brodys from Amity Island — but this shark follows said familial unit all the way from New England to the ol’ Bahamas after the shark dispatches widow Ellen Brody’s youngest son in the opening sequence.

Maybe it’s another shark who owes the New England shark something fierce and so he carries out the New England shark’s vendetta against one family. The New England shark just dials up the Bahamas shark and gives him the assignment over the phone.

Maybe the New England shark found the Bahamas shark’s number on a bathroom wall in a watering hole, a genuine dive.

Going back a couple paragraphs, yes, it’s true that our New England shark sets a trap for Sean Brody (Mitchell Anderson), who’s a policeman just like dear old Martin Brody. Sean survived a shark in three previous JAWS installments, but not in this one where he’s outsmarted by a (mechanical) shark. This is just plain ridiculous, but it does prepare us for the ridiculousness ahead.

On his JAWS Wiki entry, “Devoured by Vengeance” is listed as Sean’s cause of death.

Oh, by the way, we might as well get this bit of trivia out of the way before we move on to bigger fish, but four different actors play Sean and Michael Brody in the JAWS series.

Jay Mello played Sean in JAWS, followed by Marc Gilpin in JAWS 2, John Putch in JAWS III, and Anderson in THE REVENGE.

The higher-profile character Michael gets higher-profile actors for at least a couple movies in Dennis Quaid in JAWS III and Lance Guest in THE REVENGE. Chris Rebello and Mark Gruner had the honor in JAWS and JAWS 2, respectively.

Just some random thoughts:

— You might wonder how in the world Lorraine Gary could possibly get top billing. She’s terrible in this movie, for crying out loud.

Well, let’s see, she was married at the time to Universal Studios boss Sidney Sheinberg. (Gary, now 81 years old, and Sheinberg were married for more than 62 years, until he passed away March 7, 2019, at the age of 84.)

Gary came out of retirement for THE REVENGE. Her first feature was the first JAWS and her last was THE REVENGE.

Looking at her movie credits, an earlier role describes Gary’s acting in her last feature.

In CAR WASH, Gary played the “Hysterical Lady,” obvious training for THE REVENGE.

Of course, if you’re terrified by sharks like a curse down the generations, one might argue that it’s justification for being hysterical.

Nah, if the Brodys moved to Kansas, for example, their problem would be solved and their life expectancy would probably be elongated by many years.

Instead, they go back in the ocean. Every single time.

— We get a very awkward romance between Ellen and Hoagie, played by Michael Caine, so we have the first shark movie suitable for geriatric consumption.

Filming THE REVENGE caused Caine to miss the 1987 Oscar ceremony,  where he earned Best Supporting Actor for HANNAH AND HER SISTERS.

Caine did give us a great quote about THE REVENGE, “I have never seen it, but by all accounts it is terrible. However, I have seen the house that it built, and it is terrific.”

Hoagie, a charter pilot who carries Michael Brody and his dear friend Jake (Mario Van Peebles) to their shark rendezvous, crash-lands his plane late in the movie in the ocean and he’s submerged. Of course, for a split-second, we think he’s shark chow, especially when our great revenge seeker devours his plane.

Not only does Hoagie survive this close encounter of the shark kind, but when he climbs aboard the ship, he’s completely dry and looks freshly laundered.

Apparently, Caine’s explanation for this epic continuity error was that the filmmakers waited so long for the camera to turn over that Caine’s shirt and pants dried in the sun.

— Honestly, THE REVENGE plays like one continuous error.

I mean, what can you say about a movie where the best thing you can say about it is that the children’s choir gives a good performance. Oh, I forgot to mention, shame on me, THE REVENGE takes place around Christmas. Yeah, sure, it’s the gift that keeps on giving.

Mario Van Peebles chose a laughable accent.

THE REVENGE abuses “It’s Only A Dream” scenes.

Multiple endings exist for this movie, one where Van Peebles survives and the other where his character dies. I’ve seen both, and either way, it doesn’t really matter.

Characters have flashbacks to events where they were not present.

Back to the shark. This one is a doozy, and for even more reasons than what’s already been covered within this space. “Bruce the Shark” roars. Maybe he’s in pain. Maybe he couldn’t believe what he did for the money. Maybe he’s mad that he looks faker than ever before. He even swims backwards, probably in an effort to escape THE REVENGE. Isn’t that how one of the explorers went around the world?

Believe it or not, THE REVENGE finds an even more ridiculous way to kill the shark than the previous entries.

You know what, I do believe that we can believe it with this particular movie.

Victory (1981)

VICTORY

VICTORY (1981) Three stars
It’s hard to believe that any movie directed by the late John Huston (1906-87) and starring Michael Caine and Sylvester Stallone could possibly be a “buried treasure,” but that’s definitely the case for 1981’s VICTORY in North America or ESCAPE TO VICTORY in international markets.

Huston, born in Nevada, Missouri, to actor Walter and sports editor Rhea (who gave up her career after her son was born), debuted with THE MALTESE FALCON in 1941 and his distinguished directorial career included THE TREASURE OF THE SIERRA MADRE, THE ASPHALT JUNGLE, THE RED BADGE OF COURAGE, THE AFRICAN QUEEN, BEAT THE DEVIL, THE MISFITS, FAT CITY, THE MAN WHO WOULD BE KING, WISE BLOOD, ANNIE, UNDER THE VOLCANO, PRIZZI’S HONOR, and his final movie, THE DEAD, in 1987.

Huston directed four more films after VICTORY.

Huston previously directed Caine in THE MAN WHO WOULD BE KING (1975) and Caine’s an actor who has persevered through many a bad movie during his nearly seven-decade career, including such epic disasters as THE SWARM, BEYOND THE POSEIDON ADVENTURE, BLAME IT ON RIO, and JAWS: THE REVENGE. (Caine did not accept his Academy Award for Best Supporting Actor for HANNAH AND HER SISTERS in person because he was making JAWS: THE REVENGE, a role for which he famously stated, “I have never seen it, but by all accounts it is terrible. However, I have seen the house that it built, and it is terrific.” Honestly, Caine gave a better performance in the 1984 Madness song “Michael Caine.”)

Stallone has mostly struggled outside the ROCKY and RAMBO franchises.

If you’ve seen THE GREAT ESCAPE, THE LONGEST YARD, and ROCKY, for example, then you’ve basically seen VICTORY, a movie built along similar lines except for it substitutes fútbol for football (THE LONGEST YARD) and boxing (ROCKY). It leads up to both a big game and the great escape from Nazis in the grand finale, and it features several training sequences as this ragtag group of war prisoners takes on the German national team in a propaganda soccer match.

Although VICTORY is a very predictable movie, it’s a rousing crowd pleaser just like THE GREAT ESCAPE, THE LONGEST YARD, and ROCKY before it.

You do feel good watching it.

Normally, action movies with an international cast (like VICTORY) bite the big one. Not here and it’s not your average international action spectacular cast.

Here, we have soccer players Pele from Brazil, Bobby Moore, Russell Osman, and Mike Summerbee from England, Osvaldo Ardiles from Argentina, Paul Van Himst from Belgium, Kazimierz Deyna from Poland, Co Prins from Holland, John Wark from Scotland, Soren Linsted from  Denmark, Halivar Thoresen from Norway, and Kevin O’Callaghan from Ireland.

That’s just the Allied team.

Caine and Stallone play soccer in the movie, although we can be thankful Caine used a double, professional football player Kevin Beattie. Paul Cooper’s credited for being Stallone’s double, although Stallone insisted on his own work during the big match.

Stallone initially blew off training from England’s World Cup winning goalkeeper Gordon Banks. In a 2015 interview, Pele talked about Stallone and the movie.

“When I got the first script I was a goalkeeper and Stallone was a forward,” Pele said. “I said, ‘Listen, I can’t play as a goalkeeper.’ When we started training for the film, we saw Stallone knew nothing about football. We teased him because he didn’t even know how to kick a ball. Michael Caine was my teacher. He’d call me over and say, ‘Pele, you must be more patient — this is a film, not reality.’ He was fantastic.”

Stallone dislocated a shoulder and broke his ribs a couple times during filming.

Ardiles said of the 47-year-old Caine and his physical and soccer abilities, “Awful, and he couldn’t even run 20 yards.”

Acting wise, though, Caine blows Stallone right off the screen in VICTORY and gets us more from the beginning to the end of the picture than his American counterpart.

Stallone’s not very good in VICTORY.

Apparently, Stallone antagonized cast and crew by eating by himself and flying off to either London or Paris every weekend on his private jet.

Also, Stallone reportedly insisted that he end the film on the note of a game-winning goal. “A game-winning goal from a goalkeeper?” Ridiculous.

That’s why the match ends on a penalty kick where, you guessed it, Stallone makes the save that saves the day.

In “Booked! The Gospel According to our Football Heroes” by John Smith and Dan Treifer, Wark talked about the film with much praise for Caine and the opposite for Stallone.

“Stallone was nowhere near as sociable. He and his entourage, which comprised several minders, were even booked into a different hotel.”

Wark touched on Stallone and a prisoner shower scene in the movie, “We spotted that Stallone preferred to wear a pair of mini briefs and all these years later I still can’t help wondering what ‘Rocky’ wanted to keep hidden from us.”

In the same book, it’s said by Pele that Stallone refused to allow anybody else to sit in his chair on the set and by Ardiles that it took Stallone at least 17 takes before he could make the save on the penalty kick.

You can bet the film’s writers took it all hard.

Yabo Yablonsky, one of two screenwriters and one of three credited for the story, apparently hated the revisions so much that he contemplated taking his own life upon seeing the finished project.

Stallone later made OVER THE TOP, that 1987 epic combining arm wrestling, child custody, and truck driving.

That brings us to a story involving Stallone and professional footballer Beattie.

Beattie told the East Anglian Daily Times in 2008, “We had finished for the day and I was at the bar with Russell Osman and John Wark and we were winding each other up. Somehow we started chatting about arm wrestling and there was a lot of laughing and joking.

“I was just sitting there and Stallone came over and asked if I’d like to give him an arm wrestle. I said, ‘By all means, no problem.’

“He had muscles on his muscles but I don’t remember him being that tall. I just thought I’d give it a go — I’d always been quite strong. Anyway, I ended up beating him and I don’t think he talked to me again for the rest of the film!

“Stallone got a bit of a shock but it’s a good claim to fame. I guess I was naturally strong. I used to carry the bags of coal for my dad and when I was at the gym at Portman Road, I was one of the only ones who could lift all the weights.”

I’d prefer footage of Beattie and Stallone arm wrestling in a bar over all of OVER THE TOP.

That’s because I take my arm wrestling without child custody and truck driving.