Showing posts with label They Shoot Horses Don't They. Show all posts
Showing posts with label They Shoot Horses Don't They. Show all posts

Thursday, April 21, 2011

RIP Michael Sarrazin (1940-2011)

With an unassuming face, not so unworldly and yet not so evil, he sometimes seemed like a blank slate, and was often used as such. But Michael Sarrazin remains an interesting icon from the 1970s, even if he'd faded from view by the 1980s. For me, he'll always be the wide-eyed innocent caught in the middle of Depression-era misery, often at the mercy of the suicidal Jane Fonda, in Sydney Pollack's 1969 film They Shoot Horses, Don't They?




But he also hit another much different note on TV in 1973 as Frankenstein's slowly rotting creation in the most accurate telling of Mary Shelley's seminal horror tale, filmed as Frankenstein: The True Story (and co-starring Leonard Whiting, David McCallum, James Mason, Jane Seymour, Tom Baker, John Gielgud and Agnes Moorehead). Sarrazin's Creature actually steals the film; you cannot forget the sight of his high-cheekboned visage being ravaged into pulp by the elements, nor the Creature's reaction to his doom. I still think that, Karloff aside, Sarrazin might be the most perfect version of Mary Shelley's monster.



In the title role for the recession-tinged comedy For Pete's Sake, he held his own opposite the always overpowering Barbara Streisand:



He was the lead performer in The Gumball Rally, the original Cannonball Run, centering around a cross-country car race (it's a LOT more fun than the Burt Reynolds film). But no one can remember him in that because the movie features so many other, wilder characters (including an early but no less insane appearance by Gary Busey, who makes much noise in the film's trailer):



I haven't seen The Reincarnation of Peter Proud in a long time, and I'm just now discovering it's available on You Tube (I'll surely be watching it soon). I can't remember much about it, having seen it at a drive-in when I was seven, but I do recall that it frightened me deeply at certain points. It co-stars horror queen Margot Kidder, and has quite the denouement, if I remember correctly. Here's the film's first part:



After 1978's failed epic Caravans, Sarrazin's career burnt out big time, at least on the big screen. He spent the rest of his life doing guest appearances on shows like Murder She Wrote, while co-starring in low-profile films that often hailed from his native Canada. But I remember him in so many movies (including more obscure 70s fare as The Groundstar Conspiracy, Sometimes A Great Notion, and opposite James Coburn in Harry in Your Pocket) that I felt compelled to say goodbye to him here.

Tuesday, January 18, 2011

Cinema Gallery: 200 MORE Movie Images, Part 1 of 5

I am doing this only because (a) I enjoy it and (b) Movieman over at The Dancing Image let me know that I had a particular talent at this frame-grabbing business (he said that my previous 200 images in my Cinema Gallery were among his favorite movie blog posts ever, which is quite a compliment, coming from him). So, for 2010, I'm contributing 200 more entries towards my CINEMA GALLERY. I hope y'all find something fascinating about these images, and that they spur you on to watching the movies from which they hail. In the end, this is a deceptively simple post: you'll see only 40 frames here, but all are extremely indelible.

An innocent is fed in Au Hasard, Balthazar (Robert Bresson, 66)

The Color of Pomegranates. (Sergei Parajanov, 68)

Blue shadows on the trail in Three Amigos. (John Landis, 86)

A penguin's tears break into ice cubes in 8 Ball Bunny. (Chuck Jones, 50)

Kim Hunter, in all her backlit glory, reassuring David Niven in A Matter of Life and Death. (Michael Powell and Emeric Pressburger, 46)

A worthy woman's lowest point's hardly endured in The House of Mirth. (Terrence Davies, 2001)

"Satan?" The Iron Giant. (Brad Bird, 99)

A fan's disbelief's registered in A Hard Day's Night. (Richard Lester, 64)

The slap of righteousness in The Night of the Hunter. (Charles Laughton, 55)

A return to simpler times in The Deer Hunter. (Michael Cimino, 78)

The trapped witness the trapped in The Diary of Anne Frank. (George Stevens, 59)

Cozy couch play in Clueless. (Amy Heckerling, 95)

The marathon begins in They Shoot Horses, Don't They? (Sydney Pollack, 69)

Max's resume peaks in Rushmore. (Wes Anderson, 98)

Determining the depth of the Washington water in Being There. (Hal Ashby, 79)

"This Must Be The Place." Stop Making Sense. (Jonathan Demme and Talking Heads, 84)

A boy's nominally set for battle for Culloden. (Peter Watkins, 64)

Reaching for the meds in THX-1138. (George Lucas, 71)

The idyllic, yet somehow still scary opening shot to The Other. (Robert Mulligan, 72)

The Mercury '67 on the rise in Bullitt . (Peter Yates, 68)

The ultimate shot--the one that says it all--from Dazed and Confused. (Richard Linklater, 93)

Altered States: the beginning of a mind- and body-altering experience. (Ken Russell, 80)

In Barry Lyndon, a duel plays out. (Stanley Kubrick, 75).

Max Frost readies to address his young constituency in Wild In The Streets. (Barry Shear, 68)

Eggs broken, and situations assured, in Funny Games. (Michael Haneke, 97)

"You'll muck it up!" The Hill. (Sidney Lumet, 65).

Our hero faces our heroes in The Valley of Gwangi. (Jim O'Connelly, 69)

The play in the yard in Titicut Follies. (Frederick Wiseman, 67)

Fingers plink out a tune in Hausu. (Nobuhiko Ôbayashi, 77)

Fear of castration. After Hours (Martin Scorsese, 86)

Kristen's around the corner in Hardcore. (Paul Schrader, 79)

Many faces, one body, in Catfish. (Henry Joost, Ariel Schulman, 2010)

Touching up the twenty in To Live and Die in L.A. (William Friedkin, 85)

The last glimpse of home, from a far-up airplane, in American Graffiti (George Lucas, 73)

A deserted autumn street from Halloween. (John Carpenter, 78)

Notes for a film being made as we watch it. The Sea That Thinks. (Gert de Graaff, 2000)

The heady colors of Punch Drunk Love. (Paul Thomas Anderson, 2002)

A Texas drive-in sees no customers at the beginning of Midnight Cowboy. (John Schlesinger, 69)

That shiny dead hand breaking the overloaded waters of the once-raging Cahulawachee in Deliverance. (John Boorman, 72)

Still faithful, but disappointed, underneath West Virginia's Matewan. (John Sayles, 87)

Still to come: 40 more entries into 2010's Cinema Gallery pantheon.