Showing posts with label frank finlay. Show all posts
Showing posts with label frank finlay. Show all posts

Thursday, 26 December 2019

No.147 : The Key (1983)



Frank Finlay, best known for playing the annoying Irish priest in ‘The Wild Geese’, stars in this 1983 film directed by smut auteur Tinto Brass.

It is listed in some places as pornography but if that’s your thing don’t bother - ‘The Benny Hill Show’  is far racier.

We open at a  New Year’s party for 1940 in Venice. The fascists are on the rise, and so no slow viewers fail to follow this plot point, the party is attended by Mussolini himself. Frank is more interested in the booze however, and playing grab ass with his shapely, but slightly frigid, wife. She doesn’t like his public displays of affection and insists on being taken home. She’s not so shy however when she is caught short and raises the level of the canals with a street piss that would make a race horse blush.

Frank is quite excited by this and gets all affectionate when they get home. An efficient lover, Frank is five pumps and done. Elsewhere Frank’s daughter is joining the Fascists and her fiancé  is having designs on Franks wife, a situation that turns Frank on, and makes him jealous at the same time.

Too shy to talk of such matters Frank starts to write a diary about all his seedy thoughts and leaves the key to his desk lying about so the wife can have a look. Of course she does and soon she is losing her inhibitions as she acts out Filthy Frank’s fantasies. Frank also gets hold of the world’s first Instamatic camera and, after drugging his wife, he gets lots of candid shots of her for his diary. The beast.

The wife is horrified by this invasion but also happy that he’s using the photographic skills of her daughter’s fiancé to develop the photos - that instant camera film was seemingly too expensive for Frank. The wife starts to take control and writes her own diary which Frank laps up, amongst other things.

All the excitement is causing Frank medical issues and his doctor says he needs to knock off the sex and drinking. Poor Frank he’s a ten a day man - and he likes a drink too! Unfortunately for Frank his wife’s blossoming is almost complete and, when she starts ordering him to wear her underwear we know things aren’t going to end well for  him. Probably took the mortician half an hour to get the smile off his face though!

This was a strange film and you have to wonder what market it is designed for. Clearly the marketing is for those who like their erotica but it’s really tame stuff. I also doubt that those who want to watch a nuanced film about a woman’s sexual awaking set against the backdrop of war aren’t going to be reaching to the top shelf.

The dialogue is half in English and half in Italian so a lot of the time you have no idea what’s going on. You do get helpful narration from Frank but it’s hard to take that filthy bastard seriously - especially when he dons the suspenders.

The setting of Venice is well used and you see a lot of  the city and people pissing on it. There are no familiar faces in the cast apart from Frank and it’s hard to tell if anyone is any good given they are all horrendously dubbed.

It may be the version on Amazon Prime is heavily cut but if it saved me half an hour of my life I’m grateful to them - plenty of other places to find your smut without having to listen to earnest dialogue about feelings. So I’ve heard.

Overall it was a worthless piece of whimsy trying to be something meaningful and failing badly. That said, it rumbled along fine with a few unintentional laughs to keep you entertained.

THE Tag Line : Frank Finlay Does Rocky Horror 53%

Wednesday, 10 January 2018

No.133 : The Statement (2003)

He makes a lot of Definite Article  movies does Michael Caine and we thank him for that. Still we’ve yet to see ‘The Magus’!

This one opens with some captions to set the scene - it’s 1944 and the Nazis are occupying France with the help of the Vichy government. We cut to some scenes shot in black and white, which is no doubt helpful to people who can’t distinguish between the past and the present day. Anyway a young Frenchmen is helping the Germans round up some Jews who are then shot. This young man sounds like Michael Caine which is helpful as he doesn’t look anything like him. I quite liked this technique - at least it was different to the usual fade into the older version of the character ploy.

We then move to colour as someone types out ‘The Statement’ - a document naming Caine’s character and the reasons why he has been executed by some Jewish revenge seekers. If you doubted their motivation they have went the extra mile by getting a large STATEMENT stamp made which is used to emboss the document in bright red ink. The trick is how to get the document onto Caine’s dead body as the old boy is still kicking - and kicking hard.

We first meet him at a pavement café enjoying a beer. His idyllic lifestyle is soon to hit a few bumps however, as a man with a photo of Caine is eyeing him up. Unfortunately he’s not an autograph hunter and soon gets bumped off by the septuagenarian swastika wearer in a scene that was surprising to the victim, but not to anyone who’d been paying the least amount of attention.

We then move to Paris were a new judge (Tilda Swinton) has been appointed to investigate crimes against humanity - and Caine is top of her list. Strange the French gave this high profile job to a 30 year old Scottish woman but at least she has Jeremy Northam (Cyber) to give her a hand, but little else. The two take an age to make much progress, hampered as they are by the machinations of the catholic church and a shady organisation run by Baron Munchausen.

After the best part of two hours they eventually get close to their quarry - will the STATEMENT be delivered and will those responsible for letting Caine roam free for 40 years be brought to account?

For a film you probably haven’t heard of ‘The Statement’ has a great cast with recognisable names well down the list. Folk like Colin Salmon and Frank Finlay show up for five minutes and are never seen again. I guess shooting in the south of France did appeal!

Caine, who looks like Edward Woodward in ‘Common as Muck’ throughout this film, is pretty good as the conflicted collaborator and murderer. He’s conflicted in the sense he’s a devout catholic but doesn’t mind killing folk and threatening his wife‘s (Charlotte Rampling)  dog (Benni). He clutches his religious medal and prays at the drop of a body but it was hard to take to him despite his nifty shooting and roof running skills. If you don’t like Caine’s character much you don’t get much from the ‘good guys’ with Tilda Swinton and Northam not exactly setting the screen alight. A lot of the film is taken up with arguing and looking through records, and they could have trimmed 20 minutes from the middle third no bother at all.

That’s not to say it wasn’t a decent effort with a couple of exciting scenes and workmanlike, if unspectacular, acting throughout.

Some of it was a bit far fetched though - the Catholic church covering up decades of misdeeds? Surely not!

THE Tag Line - Deserves a Caineing 58%