An weird night of moviewatching commenced with this...thing, which popped up on a lesser Showtime channel at four in the morning. (Really, how disparate was the collection of movies I saw last night? In order: Gerry, The Joe Torre Story, Cult Of The Damned, and Ghost Actress. Who needs Hollywood blockbusters to be entertained?)
I kept notes during CotD, but, uh, damned if I can codify them into something resembling a review. But I'll try. Prepare for a nonsensical commentary.
The movie opens with some hippie-dippy narration not unlike the voiceovers in, say, Radley Metzger's Score. (That's what it reminded me of, at least.) Or maybe CotD was trying to be like Valley Of The Dolls or something. Jeez, my mind's already wandering.
The only other movie I knew Jennifer Jones from was The Towering Inferno, and, yes, I agree with another user comment here: She's wearing, like, the same evening gown. Everybody: "We may never love like this again...." Okay, maybe this movie gave me a contact high.
The supposed fat girl here leans more toward Hollywood Fat like Bridget Jones, rather than Reality Fat like Tracy Turnblad.
The band's first number for some reason echoed early Pink Floyd (their "Piper at the Gates of Dawn"-era). I don't know now if that's true, but that's what occurred to me at the time. This movie wasted no time in making my mind all mushy.
Took note of the typical AIP production values: The stilted line readings, wobbly camera-work, slapdash editing, McScore, reliance on the zoom, muffled ADR, cheap Foley, and interest in brutish men and loose women.
The dialogue can be so hilariously bad that every other line could be used as a shining example of drug-infused hippie-era screen writing. My favorites:
"Your breath stinks. I dig it."
"You are a fat girl, idiot! I don't know why anyone would touch you."
"Fat girls are the remembrances of things past."
"I never really thought of having a profession, but, boy, have I dabbled."
Okay, that last one is classic; I'll have to add that to the numerous Showgirls quotes I can't help but slipping into conversation.
There was another line that was oddly familiar. One character uses the phrase "polymorphously perverse." Was this a popular way of describing someone back in the day? This is the third time this week I've heard this phrase (Annie Hall was on TCM again, and it was used in American Splendor, which I rented a few days ago), so what's the dealey-o?
Should I attempt to summarize the plot? About a half hour in I gave up trying to follow it. I don't think it matters. Digital cable's synopsis identified this movie as a crime drama. There may have been a crime, but I sure don't recall any drama.
What was up with the naked guy behind the pool table? Was there some correlation between the nudity and the balls being knocked around? I'm not complaining though; the movie seemed to have a surprisingly healthy interest in the male body and gay men, although the "homo S&M sex = death" scene at the end negated this supposed progressive depiction of alternative sexuality.
There's a user comment here that used Beyond The Valley Of The Dolls as a comparison, which was what got me interested in this movie in the first place. Alas, CotD lacked orgiastic pop bliss of the Russ Meyer classic; it instead had the pseudo-serious vibe of something like Psych-Out. Oh well. But this did have one or two things in common with BVD, like references to Naziism. But that's all I can say about that. And the lead guy was all Lance Rocke during a moment on the beach. Again, I don't remember how; at this point I'm just copying my notes.
So, back to Jennifer Jones. She had a Joan Collins thing going on for a bit there, but I zoned out through most of her scenes. When I re-engaged myself in the movie in a last-ditch, futile attempt to figure out what the hell was going on, she was pawning her bracelets to buy cotton candy. Which is when I realized either the movie left me behind or vice versa. Was she brainwashed into denouncing materialism? Was that the crime? IS that a crime? Beats me.
Hmm. I guess that's about it. If I ever watch this movie again, maybe I should either pay more attention or pack a bowl first.
I kept notes during CotD, but, uh, damned if I can codify them into something resembling a review. But I'll try. Prepare for a nonsensical commentary.
The movie opens with some hippie-dippy narration not unlike the voiceovers in, say, Radley Metzger's Score. (That's what it reminded me of, at least.) Or maybe CotD was trying to be like Valley Of The Dolls or something. Jeez, my mind's already wandering.
The only other movie I knew Jennifer Jones from was The Towering Inferno, and, yes, I agree with another user comment here: She's wearing, like, the same evening gown. Everybody: "We may never love like this again...." Okay, maybe this movie gave me a contact high.
The supposed fat girl here leans more toward Hollywood Fat like Bridget Jones, rather than Reality Fat like Tracy Turnblad.
The band's first number for some reason echoed early Pink Floyd (their "Piper at the Gates of Dawn"-era). I don't know now if that's true, but that's what occurred to me at the time. This movie wasted no time in making my mind all mushy.
Took note of the typical AIP production values: The stilted line readings, wobbly camera-work, slapdash editing, McScore, reliance on the zoom, muffled ADR, cheap Foley, and interest in brutish men and loose women.
The dialogue can be so hilariously bad that every other line could be used as a shining example of drug-infused hippie-era screen writing. My favorites:
"Your breath stinks. I dig it."
"You are a fat girl, idiot! I don't know why anyone would touch you."
"Fat girls are the remembrances of things past."
"I never really thought of having a profession, but, boy, have I dabbled."
Okay, that last one is classic; I'll have to add that to the numerous Showgirls quotes I can't help but slipping into conversation.
There was another line that was oddly familiar. One character uses the phrase "polymorphously perverse." Was this a popular way of describing someone back in the day? This is the third time this week I've heard this phrase (Annie Hall was on TCM again, and it was used in American Splendor, which I rented a few days ago), so what's the dealey-o?
Should I attempt to summarize the plot? About a half hour in I gave up trying to follow it. I don't think it matters. Digital cable's synopsis identified this movie as a crime drama. There may have been a crime, but I sure don't recall any drama.
What was up with the naked guy behind the pool table? Was there some correlation between the nudity and the balls being knocked around? I'm not complaining though; the movie seemed to have a surprisingly healthy interest in the male body and gay men, although the "homo S&M sex = death" scene at the end negated this supposed progressive depiction of alternative sexuality.
There's a user comment here that used Beyond The Valley Of The Dolls as a comparison, which was what got me interested in this movie in the first place. Alas, CotD lacked orgiastic pop bliss of the Russ Meyer classic; it instead had the pseudo-serious vibe of something like Psych-Out. Oh well. But this did have one or two things in common with BVD, like references to Naziism. But that's all I can say about that. And the lead guy was all Lance Rocke during a moment on the beach. Again, I don't remember how; at this point I'm just copying my notes.
So, back to Jennifer Jones. She had a Joan Collins thing going on for a bit there, but I zoned out through most of her scenes. When I re-engaged myself in the movie in a last-ditch, futile attempt to figure out what the hell was going on, she was pawning her bracelets to buy cotton candy. Which is when I realized either the movie left me behind or vice versa. Was she brainwashed into denouncing materialism? Was that the crime? IS that a crime? Beats me.
Hmm. I guess that's about it. If I ever watch this movie again, maybe I should either pay more attention or pack a bowl first.