jery-tillotson-1
Joined Dec 2007
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jery-tillotson-1's rating
A number of reviewers praise this very low budget production from Republic Studio as being unusually literate and serious. Okay, it is unusual in its unusual take on the origin of a vampire--but there's nothing remotely eerie or chilling or mysterious about the central figure who claims he's a vampire and that's that.
We see nothing to suggest this except he doesn't appear in mirrors. He comes across as just an ordinary guy who lives a long time and sometimes he bulges his eyes.
One of my fave Republiv heroines, Peggy Stewart, has the femme role but unfornately, doesn't do herself any favors. She's best in her cowboy and serial roles.
With a juicy title like this one, I expected a fun hour but instead nearly fell asleep.
We see nothing to suggest this except he doesn't appear in mirrors. He comes across as just an ordinary guy who lives a long time and sometimes he bulges his eyes.
One of my fave Republiv heroines, Peggy Stewart, has the femme role but unfornately, doesn't do herself any favors. She's best in her cowboy and serial roles.
With a juicy title like this one, I expected a fun hour but instead nearly fell asleep.
When we first meet Dr. Rose Cotter, she's dressed strangely in slacks that are too short, big shoes, an ill-fitting blouse and seems so nervous, hyper, breathless and scattered that we could easily mistake her for a patient in the hospital where she works.
As the movie progresses, her attire reflects her inner turmoil and fears so that she resembles a bag lady you might find in some alleyway. Ragged jeans, tattered tops, a wild disregard for her attire which may have been the point of her deteriorating wardrobe by director Parker Finn.
Right at the beginning she encounters two very disturbed patients that she doesn't seem to be able to treat, with one of them ending up in a horrific situation. As the story progresses, we learn that there are "smilers" who can devastate our world. But who are they and why are they doing this?
This VERY slow-moving story is technically well done: sharp photography, music, editing, acting. But you have to be in a certain mood to really stay with it to the end.
I, for one, have never understood the boyfriends in these horror flicks who always stick with these highly neurotic heroines who often go off the deep end, leaping from their beds, shrieking, quivering, gasping and who never verbalize to these close companions what's bugging them.
Now, that I've seen SMILE, i have no interest in re-watching it again but if you're looking for something just to fill up two hours of your free time, this might do the trick but as far as scares are involved, I've seen better.
As the movie progresses, her attire reflects her inner turmoil and fears so that she resembles a bag lady you might find in some alleyway. Ragged jeans, tattered tops, a wild disregard for her attire which may have been the point of her deteriorating wardrobe by director Parker Finn.
Right at the beginning she encounters two very disturbed patients that she doesn't seem to be able to treat, with one of them ending up in a horrific situation. As the story progresses, we learn that there are "smilers" who can devastate our world. But who are they and why are they doing this?
This VERY slow-moving story is technically well done: sharp photography, music, editing, acting. But you have to be in a certain mood to really stay with it to the end.
I, for one, have never understood the boyfriends in these horror flicks who always stick with these highly neurotic heroines who often go off the deep end, leaping from their beds, shrieking, quivering, gasping and who never verbalize to these close companions what's bugging them.
Now, that I've seen SMILE, i have no interest in re-watching it again but if you're looking for something just to fill up two hours of your free time, this might do the trick but as far as scares are involved, I've seen better.
Made in 1975, the creators of this film tried to present to your average movie goer of that very closeted era that a gay bath house rocked with laughter and edgy humor that didn't offend anyone.
Trying to watch THE RITZ today is an exercise in cringe-worthy futility. The cast isn't very attractive. The main character played by John Weston spends all his time in open-mouthed, eye popping expression--as if he can't believe he's actually in a--Gay Bath House. He wears a hideous wig that he keeps misplacing and we wonder why this is a sight gag exploited throughout the film.
The usually reliable Rita Moreno spits out every word of dialogue in high drama, rolling her eyes, gritting her teeth, twisting her mouth and wildly over-playing her role as an entertainer. She's like a cartoon character who you wouldn't want to be around after a minute or two in her arch and artificial company.
It's like everyone is silently screaming: Look at Me! I'm Brilliantly Funny! I visited several gay baths during that time. Even the smallest ones revealed handsome, well-muscled hunks from small towns. In this movie, even the extras look as if they'd never visited a gym. If looking for vintage beefcake, you won't see anything pulse pounding here.
Then there's the case of the handsome, talented Treat Williams. For reasons we don't know, he is forced to talk in a high infantile voice which the film makers probably thought hysterical--but it just becomes tiresome after awhile.
The gay house phenomena at that time is one loaded with story possibilities--from high drama to earthy humor. The AIDS epidemic closed most of them although urban areas now have them again but they've been drastically changed because of the Corona Virus and more attention paid to safe sex.
The humor here is heavy and witless and the drab, miscast performers certainly don't help.
THE RITZ is better appreciated as a relic of its time: seen once and then hopefully forgotten.
Trying to watch THE RITZ today is an exercise in cringe-worthy futility. The cast isn't very attractive. The main character played by John Weston spends all his time in open-mouthed, eye popping expression--as if he can't believe he's actually in a--Gay Bath House. He wears a hideous wig that he keeps misplacing and we wonder why this is a sight gag exploited throughout the film.
The usually reliable Rita Moreno spits out every word of dialogue in high drama, rolling her eyes, gritting her teeth, twisting her mouth and wildly over-playing her role as an entertainer. She's like a cartoon character who you wouldn't want to be around after a minute or two in her arch and artificial company.
It's like everyone is silently screaming: Look at Me! I'm Brilliantly Funny! I visited several gay baths during that time. Even the smallest ones revealed handsome, well-muscled hunks from small towns. In this movie, even the extras look as if they'd never visited a gym. If looking for vintage beefcake, you won't see anything pulse pounding here.
Then there's the case of the handsome, talented Treat Williams. For reasons we don't know, he is forced to talk in a high infantile voice which the film makers probably thought hysterical--but it just becomes tiresome after awhile.
The gay house phenomena at that time is one loaded with story possibilities--from high drama to earthy humor. The AIDS epidemic closed most of them although urban areas now have them again but they've been drastically changed because of the Corona Virus and more attention paid to safe sex.
The humor here is heavy and witless and the drab, miscast performers certainly don't help.
THE RITZ is better appreciated as a relic of its time: seen once and then hopefully forgotten.