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Cooley High 1975
It is fitting that a festival of Motown songs—a sound propelled by the click-clack rhythm of Detroit factories—should back this up. This isn’t Detroit, but Preach knows the factories are waiting for all of them when their time at Cooley High is up anyway. Class consciousness burbles beneath the narrative. See Preach’s mother fall asleep, for example, when she gets home from working three jobs. See the cops profile the kids. See the vocational school churn workers out one door…
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Don't Look Now 1973
A film meant to unsettle the viewer. From the first scene we are unbalanced by the contrast between the hypermodern typeface and the grandeur of Venice. From there it's all quick cuts, broken glass and electric lights, broken bodies, healthy bodies, snatches of things imagined, weird random noises in the background (is that an air raid siren?), paranoiac walks in the fish-smelling dark. It's a little too hip. Roeg likes expressive camera work here, and the visual metaphors come fast and heavy. Sometimes all of this style hurts the storytelling. Watch this and then watch The Omen, though, and you'll see how art becomes commerce.
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What Have They Done to Your Daughters? 1974
The poliziotteschi aspects of this film lack grace. The uniformed cops, in particular, come across like pawns in the deadly game between stylish opponents: Claudio Cassinelli's effortlessly cool detective and the anonymously leather-clad, motorcycle-mounted killer. The giallo parts play to the genre's strengths, however. The blood flows, the chase scenes ratchet up the suspense, and the soundtrack is a little too hip for its own good. This is a mid-'70s lookbook, a capsule of time and place. Not a bad way to spend a Tuesday evening.
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