Cría Cuervos (1976)

 

In the twilight of Francisco Franco's dictatorship, an eight-year-old orphan and her two sisters find shelter in the house of their stern aunt, trying their best to acclimatise to a new reality.

Carlos Saura's film is told through the perspective of a young child (and her older self) and interweaves past, present and future​, but also includes imagined and surreal scenes, albeit staged so masterfully that it all remains stringent and comprehensible and the political implications are apparent; again, Geraldine Chaplin convinces in a double role (as the mother and as the adult child).

Halliwell*: "Elliptical story of childhood and of women trapped in a world dominated by men; it is ever less than watchable, but its meaning, possibly obliquely political, remains obscure." 

Ana y los lobos (1973)

 

A British governess comes to an isolated house to take care of the children of a convoluted family.

Another allegorical and surrealist tale typical of its director serves as a biting criticism of Franco-ruled Spain, at times irritating and disturbing and in the end devastating.

 

 

Peppermint Frappé (1967)

 

Julian, a physician, gets increasingly infatuated with Pablo's wife, Elena. Upon seeing her, he realises the striking resemblance she bears to his assistant, Ana. Subtly, he transforms Ana into Elena.

Intense psychological drama tells a slightly surreal, but also fascinating and creepy tale with a hint of both Bunuel and Hitchcock influence to it; Geraldine Chaplin is mesmerizing in a triple role.

A Wedding (1978)

The daughter of a Louisville truck driver marries the scion of a very wealthy family, but reception at the family estate is boycotted by the invited guests.

From memory: This biting satire is a good display of Altman's mastery at directing a massive cast in chaos, but it lacks cohesion - and humor.

Halliwell* "Wide-ranging satirical comedy which despite excellent moments goes on far too long, is rather too black, and is sabotaged by the director's penchant for having fourteen people talking at the same time. An exhausting experience."

Maltin**1/2: "Unfocused look...some amusing moments and pointed characterizations, but doesn't quite jell."

Remember My Name (1978)

Just released from prison, a young woman arrives in town to "start a new life", but soon begins stalking a married construction worker for no apparent reason, turning his life inside out and eventually terrorizing him and his wife.

From memory:  Left-field, idiosyncratic, but effective psychological thriller with Chaplin presenting a creepier performance than Perkins.

Halliwell*: "Basically reminiscent of a Barbara Stanwyck vehicle of the forties, this interesting film is finally too concerned to strike on all levels, including satire, social awareness and fashionable pessimism."

Maltin***: "Dreamlike film presents fragmented story...Moody, provocative film definitely not for all tastes..."

A Monster Calls (2016)

A boy seeks the help of a tree monster to cope with his single mother's terminal illness.

Finely directed drama interspersed with animated sequences is fascinating and hold's one's attention to its unbearably heartwrenching ending. 

The Wolfman (2010)

Upon his return to his ancestral homeland, an American man is bitten, and subsequently cursed by, a werewolf.

Nicely produced homage to the original horror classic, concerning atmosphere and the creature's appearance, offers great cinematography and period detail and a star cast, although it's a far cry from the original's impact.

Maltin**1/2: "Sober remake of the 1941 classic isn't bad but insists on expanding the story , to no good end. Del Toro's character is underwritten, while Hopkins (as his father) gets to chew the scenery. Still, Rick Heinrich's production design is handsome, Rick Baker and Dave Elsey's Oscar-winning makeup is effective, and the scare scenes are well staged, so it's not a total loss." 

Geraldine Chaplin

Geraldine Chaplin

(ph: David Bailey)

A Countess from Hong Kong (1967)

A White Russian countess, stows away on a luxury liner at Hong Kong, determined to seek a new life in America.

Remarkably unfunny comedy, Chaplin's very last work, is stagey, repetitive and somehow has the wrong pace, although the cast definitely must have had a good time.

Halliwell (no star): "Flatulent comedy with neither the sparkle of champagne nor even the fizz of lemonade: Chaplin's writing, direction and music are alike soporific, and commiserations are due to the cast."

Maltin*1/2: "...Chaplin's attempt to make old-fashioned comedy sinks fast, though everybody tries hard...Badly shot, badly timed, badly scored. A pity, because this is Chaplin's cinematic swan song."