Showing posts with label 1960s. Show all posts
Showing posts with label 1960s. Show all posts

Fathom

FathomUnited Kingdom, 1967
Director: Leslie H. Martinson
Starring: Raquel Welch, Tony Franciosa
IMDB: 5.7

Raquel Welch was perhaps the most popular female sex symbol of the 60s and 70s, and its not hard to see why. But because this was before my time, I've been searching for her defining moment - one that utilizes her considerable charms within the context of a great movie.

This is proving to be a challenge, as the films I've seen so far seem somewhat dated now, and whether they were ever regarded as 'quality' films to begin with is up for debate. However, the search continues, and if any readers have suggestions to make, please speak up!

Fathom is a James Bond style action parody, that seems to serve little greater purpose than as a vehicle to get Raquel into her bikini. In this regard, the film achieves its aims with considerable success. According to other reviewers more acquainted with her body of work, this movie was the most effective at showcasing the Welch phenomenon.



The film's original marketing displayed no great subtlety, and to their credit was pretty accurate in encapsulating its selling point. Words carefully tailored to hint at the attractions you would experience included - "The World's most uncovered undercover agent!", "She's a sky diving darling built for action!", 'There's two types of women - all the others, and Raquel Welch."

Admirably enough, the film wastes little time delivering on the promises made in its marketing. The very first thing we see after the studio logo is a slow horizontal pan close-up of Raquel (in bikini of course) from her toes up to her head. Followed soon after by a glamor shot as she tosses her windswept hair to the accompaniment of her name in extra large type. This must have been quite the impressive entrance when viewed on the big screen!



As for the rest of the film, well I guess it's of interest as an example of late 60s fluff. There's some nice locations (it was filmed in Spain), and the requisite action sequences featuring boats, planes, trains, helicopters, cars and even a bullfighting sequence. All of which are a pale imitation of the James Bond formula, although as a parody this can perhaps be justified.

Despite my overall impression of vapidity, there is actually a convoluted storyline involved, and the ever-present dry British humor helps things along, although its fairly tame by today's standards. Like when one actor pushes Raquel up against a tree and pulls her close she exclaims "Is that really absolutely necessary Merriweather?", to which he replies "Shhh, I'm protecting you."



However, and to be fair, the film's creators were no doubt concentrating more on their film's major asset. To this end, Raquel sports numerous sexy outfits, swans about in her lime-green bikini, gets to brandish a gun, and jumps out of planes and stuff. It goes without saying that the hair department earned their keep ensuring no strand of Raquel's hairdo was harmed during filming.




As also witnessed in Hannie Caulder (review here), there is not much effort to hide the movie's leering intent. Actors can at times be seen concentrating more on ogling Raquel's curves than on their lines, and the director is not shy of choosing the exploitational camera angle.

There's even a pretty funny moment when Raquel first appears in her green bikini - one of the actors exclaims something that sounds like 'Wa-pow!' - which I assume by the accompanying expression of the actor concerned roughly translates to 'Hubba Hubba'.




Overall, I found this a bit of a chore to sit through ... obviously there is the Welch factor to redeem it, but the rest of the movie I found dated and of no great interest. Not particularly bad, but not good either - and definitely not my style.

I'd say this movie would chiefly be of interest to fans of the actress, rather than any inherent qualities of the film itself. Raquel also gets more than her usual share of dialogue, and gets to show her value as a comedic actress (not bad), and an action star (not so much).

Rating: 4/10

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Candy

USA, 1968
Director: Christian Marquand
Starring: Ewa Aulin, Marlon Brando, Richard Burton, Walter Matthau, James Coburn
IMDB: 5.1

Candy is a sex comedy from the peace and love era of the late 60's that has a surprising amount going for it. The movie's cast features no less than four Oscar winners, the set design is by Oscar winner Dean Tavoularis (The Godfather, Apocalypse Now), and the score is provided by Grammy and Oscar winner Dave Grusin.

Add a psychedelic rock soundtrack by Steppenwolf and The Byrds, along with cameos from the likes of Ringo Starr, Sugar Ray Leonard, and Anita Pallenberg and the result is a definite step above the average guilty pleasure.

Despite all the talent on offer, the main attraction here is our perpetually perplexed heroine Candy - played by Miss Teen Sweden, Ewa Aulin - who has both the looks and the IQ of a barbie doll. (Her wide-eyed and breathless delivery surely must have inspired Anna Faris' character in the Scary Movie series).



As a naive and trusting coed with a heart of gold, Candy seems unaware of the effect she has on men, and each one she comes in contact with wastes no time in talking her out of her clothes and into a quick game of hide the salami - with Candy protesting less than half-heartedly.

Whether its the poet with his romantic metaphysical 'needs', the doctor with his 'examinations', the film-maker with his 'make you a star' routine, or the guru and his journey to a higher state of being (reached of course by working their way through the Kama Sutra), poor Candy seems like a bewildered Alice, in a Wonderland populated with horny men. However it seems she really doesn't mind all that much, after all.



While the men are portrayed without exception as sleazoids, they can't be entirely blamed - Candy's miniskirts and flimsy dresses show her barbie-doll figure to best effect, and her predilection for innocently speaking in double-entendres doesn't help matters.




There is no nudity to speak of, and the sex is never really shown in plain sight - nevertheless this is a very sexual film, without being explicit. The script is riddled with the aforementioned double entendres ... "please come inside", "we're going in all the way", and "there's more than one way to breathe, not just in and out, but up and down and back and forth. Lie down, we're going to breathe."

Adding visual metaphors such as a crowd pulsing back and forth in a sexual rhythm, and the way an onlooker's hand moves to her crotch as a doctor explains an exciting new penetrative procedure create a slyly pervasive sexual undercurrent.



When Candy finally reaches the last stage of enlightenment, the answer she finds in a Buddhist temple turns out to be disturbingly Freudian. Perhaps there's some hidden philosophical insight to be discovered here, but I'll leave that to you to discover.

All in all, Candy is light-hearted bawdy fun, and a worthwhile cinematic trip back to the 60's. It's a bit dated in parts, and more than a little silly in others ... but recommended for those interested in a different kind of comedy. And worthwhile if only to see Walter Matthau and Marlon Brando's performances.

Rating: 6/10

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Trailer


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