Duke and Boots, two young thugs, hold up a California gas-station owner. Duke, viral and savage, taunts the slower and psychologically-confused Boots because he has never made a sexual ...
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Harry Dean Stanton
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Hoping to cure his violent seizures, a man agrees to a series of experimental microcomputers inserted into his brain but inadvertently discovers that violence now triggers a pleasurable response his brain.
In this sequel to "Knock On Any Door", the residents of a Chicago tenement building band together to insure that the son of Nick Romano does not follow in his father's footsteps...to the electric chair.
Duke and Boots, two young thugs, hold up a California gas-station owner. Duke, viral and savage, taunts the slower and psychologically-confused Boots because he has never made a sexual conquest. Duke offers to seduce a woman for Boots and the pair force a passing motorist to pursue a sports car driven by Ann Carlyle, the lustful wife of a insurance-company executive who has some desires of her own not being met by her husband. Written by
Les Adams <firstname.lastname@example.org>
Corey Allen and Warren Oates inveigle their way into private property
I rate "Private Property" (1960) as 3/4 or 7.5/10. This is a late noir, which I define as a noir in the 1960-1969 period. The movie is interesting in taking one premise and expanding it into an 80-minute story. The premise is that two drifters with a sexual motive have the goal of seducing a well-off and classy married woman for the sake of the virgin partner (Warren Oates) having his first experience with a woman. Corey Allen, who is experienced with women, does the seducing. They squat in a nearby house that's vacant, one invasion of private property, and they worm their way into the company of Kate Manx, married and the seduction target. Her husband, Robert Wark, and she are childhood sweethearts; but she's getting restless while his mind is on business deals and making money. Manx is private property too, so to speak, that of her husband. He provides and she goes along, swimming pool and all, but it's not enough. Will she be invaded too? Allen cleverly uses the difference in class to his advantage, generating guilt and sympathy from Manx. He carefully refrains from force, yet he's manipulating his target right along. Both men are armed with knives and dangerous. Mostly this is latent, but we see it clearly at the outset when they threaten a gas station owner and also Jerome Cowan.
The hardest part of the story to understand is Allen's feelings toward Manx as he begins to succeed. What was attraction turns to disgust and even hatred. A woman he seemed to have placed on a pedestal despite himself becomes a bitter disappointment to him. We suspect that he has been untruthful about his conquests and that his friendship with Oates, while not homosexual, does cross a line that is irking him. It's also the case that he is increasingly uncomfortable with Oates, perhaps because of Oates's leanings. Most of this is subliminal or subtle in suggestion.
The photography is excellent all the way through. The film is notable for that, and this contributes to its being a late noir. It's definitely a big plus to have the film in circulation again in this nice widescreen print.
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