The story of the rise and fall of the infamous Chicago gangster Al Capone and the control he exhibited over the city during the prohibition years. Unusually, briefly covering the years ... See full summary »
This is another story of the secret Coast to Coast auto race across America The only rule is, the first to finish is the winner. Naturally, anyone driving 55 isn't going to win. They'll ... See full summary »
Mike Vecchio and Susan Henderson are preparing for their upcoming wedding. However, they seem to be the only two people at the wedding that are happy. Mike's brother Richie and his wife ... See full summary »
This, the second adaptation of Raymond Chandler's novel, is much closer to the source text than the original - Murder, My Sweet (1944), which tended to avoid some of the sleazier parts of ... See full summary »
Johnny Kovak joins the Teamsters trade-union in a local chapter in the 1930s and works his way up in the organization. As he climbs higher and higher his methods become more ruthless and ... See full summary »
In New York in the late 60s, a politically motivated group of students plans bombings of company offices who do business with dictators in Middle American countries. But when they contact a... See full summary »
Robert Allen Schnitzer
Slave owner Warren Maxwell insists that his son, Hammond, who is busy bedding the slaves he buys, marry a white woman and father him a son. While in New Orleans, he picks up a wife, Blanche, a "bed wench," Ellen, and a Mandingo slave, Mede, whom he trains to be a bare-knuckle fighting champion. Angered that Hammond is spending too much time with his slaves, Blanche beds down Mede. Written by
The name of the Alabama plantation estate was "Falconhurst". See more »
About 18 minutes into the movie, when Dite tells Hammond that she's "knocked up", her leg changes position between shots. See more »
Cousin Charles, What the hell you doing, kissin on the mouth?
[Charles throws Katie to bed, removes his belt, and whips her with it]
What you doin that fer?
Makes a man feel good. She likes it too. Don't you pretty wench?
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Excellent disturbing film that violently polarizes audience
This is an underrated, truly great film on the subject of slavery, sexual hypocrisy and the haunted, hothouse atmosphere of generations of white bad karma in the 19th century deep south. There are some who've commented here who get it, others who don't want to get it because it's just too truthful and disturbing. These folks undoubtedly would prefer a TV sanitized version of slavery as in ROOTS. It's a testament to Richard Fleischer's integrity that he was able to pull this off. All performances are excellent (well, that's not strictly true as Ken Norton stumbles his way through but Fleischer, through his direction and editing gets an adequate job from him), including superb James Mason (one of his most brutally fearless roles as opposed to the nadir of his career as one IMDB commentator puts it). One of the things that's most disturbing about the film is the depiction of the consequences of slavery, racism and hypocrisy on the white race, how it warps son, Perry King's natural tenderness towards Brenda Sykes into a horrifying insecure paranoia that evolves into aberrantly exaggerated jealousy and sexually motivated violence by the climax. And poor Susan George's character is driven totally mad by her husband King's neglect and jealousy and the semingly contradictory tender erotic ministrations of slave, Norton. Mason reaps what he sows at the end and King's upbringing (and inferiority complex) is ultimately too much for him in the end, taking him down the same road to hellish oblivion.
If one wants to see a truly lurid, exploitive treatment of the same subject (although very entertaining also with a great cast -- Warren Oates, Isela Vega, Yaphet Kotto, et.al.) one should look no further than MANDINGO's sequel, DRUM. However, MANDINGO is different. It does contain some lurid, super charged sexual images and shocking cruelty and violence -- but Fleischer's treatment is matter-of-fact, in-your-face and ultimately totally unpretentious. It walks a tightrope but courageous director Fleischer never stumbles. The gritty, extremely realistic location and production design add to the disturbing ambience. Unflinching, beautifully shot (I saw this in the theater when it was released and at a rare revival screening in 2000) and undeserving of it's pariah reputation.
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