And Soon the Darkness (1971)

Two British nurses have decided to bike through the France on holiday, taking less traveled routes to see the real France rather than tourist traps. Because one is a "stick to the plan" type and the other would prefer to be more spontaneous, they have an argument resulting in one pedaling on ahead while the other stays behind to sunbathe. When the more responsible friend decides to go back to collect her friend, she's nowhere to be found.

Though the atmosphere was effective and the language barrier added a believable dash of confusion, the script relied too heavily on red herrings. Since there are only about half a dozen people in the film, this means that everyone's a suspect. It stretched believability to the breaking point: I would've been frustrated if I'd been at all invested.

C

Bananas (1971)

We'd seen this early Woody Allen probably 30 years ago and I remembered it as absolutely hilarious. I guess that's proof that memory can't always be trusted! 

Though some of his one-liners and sight gags about sex (especially the one about child molestation, which made me gasp) feel weighted down by what we now know, that's not the only thing that tanks this experience. There is a story, but it plays out as a series of far-fetched bawdy little skits -- most of which don't really work -- that make it feel more like an extended Benny Hill episode than a movie. But, credit where it's due, there are a few bits that are truly funny and I'm forgiving my memory for focusing on those.

C-

Klute (1971)

Six months after a friend goes missing, private detective John Klute travels to New York to dig into the only clue: an obscene letter written to Bree, a prostitute who lives there. Though very good at her job, Bree is actively trying to quit what she considers a problematic compulsion, pursuing an acting career instead. Klute, despite an almost complete lack of charm, convinces her to help and they eventually begin an affair.

At the risk of sounding prudish, the "underbelly" vibe of this movie was offputting -- like, how do people live like this? What are they getting from it? There were also a few too many times that I was confused about what, exactly, was going on. But the acting is good and the story was interesting if a tad predictable.

B-

Walkabout (1971)

This is the fourth film directed by Nicolas Roeg that I've seen, and it keeps my "he's obviously not for me" streak alive. While I acknowledge that the outback landscape is beautiful -- it's almost more nature documentary than survival story -- the whole thing just made me borderline upset and, once the aboriginal teen shows up, extremely uncomfortable. I could not get on its wavelength. Or, quite possibly, I simply didn't want to get there. Ironically, nothing felt natural. From the weird cooking radio station that was playing (...then drown the bird in cognac) to the lecherous weather research group set up in the desert, it was just a pile of off-putting weirdness. 

Walkabout was included in the British Film Institute's 2005 list of "50 Films You Should See by the Age of 14" and, to that, I say "what in the actual fuck?" Well, wait. On second thought, I'm sure my boys would've LOVED this at 14. I mean, probably not the whole movie, but a few choice scenes for sure.

F

Let's Scare Jessica to Death (1971)

Jessica and her husband are relocating from the city to enjoy the quiet of the country, a move seemingly driven by her recent stay in a hospital for her mental health. But their new town is not at all welcoming and their home has a squatter. Since the squatter seems harmless, they decide to invite her to stay the night. This is what's known as a bad call.

We're often privy to Jessica's thoughts, things like "don't tell them, they won't believe you," which are obviously remnants of her recent mental issues. That device is really interesting as we're given insight into why she's not making the common-sense moves, which is usually lacking in other frustrating horror leads. But one good idea cannot save this movie. It's entirely obvious what is going on almost from the first 15 minutes and the rest of the time is just plodding toward the final reveal of what we knew all along.

D+

The French Connection (1971)

Though I know it was groundbreaking in its time, it's really only the car vs. train scene that makes this worth watching. The storytelling during the first half-hour or so is muddled by constant cross-talk and it boiled down to just a bunch of tough-guy police hassling everyone they encounter while the audience is left searching for meaning.

The big crime does, eventually, come together, but it's too little too late. Also, I'm pretty sure Popeye Doyle is the very worst person to put on a follow detail. Even if he didn't insist on getting too close and drawing attention to himself, that porkpie hat of his is identifiable from a block away.

C

Investigation of a Citizen Above Suspicion (1971)

On the last day in his position as the head of homicide, a man kills his mistress and makes no effort to hide his involvement. He actually leaves deliberate clues like bloody footprints and a thread from his tie under her fingernail. It's both a power play -- he is the law, so he is above it and will never be suspected of breaking it -- and a condemnation of the police who won't actually do their jobs.

Yes, it's very smart and meta, but it's also repetitive. I just got tired of the same point be hammered "he's obviously guilty, but no one even considers him a suspect." I saw a dubbed version, which I was originally blaming for the vibe... but maybe that was just the actual, intended vibe: desperate and histrionic.

C

See No Evil (1971)

Mia Farrow plays a woman who recently lost her sight in an accident and is just back from rehabilitation. She barely has time to acclimate herself before a killer in distinctive boots has dispatched her family. Not that she'd notice...at least not right away.

I saw this a long time ago -- probably as a teen -- and I'd remembered it as completely terrifying. And while it still got me a couple of times, it seems impossible that I'd ever lost sleep over it. Farrow is quite good at playing blind, though.

C+

Sometimes a Great Notion (1971)

Henry Fonda is the patriarch of a family of independent loggers in a town of union loggers on strike, effectively making them scabs. The townspeople are bullies and the family are holier-than-thou assholes.

I didn’t care what happened in this story, and the “climax” just left me as indifferent as before. The production value was about on the level of the after school TV specials about divorce I saw when I was in elementary school.

Clumsy direction, wooden acting, and no one to root for add up to a big fat nothin’.

F

The Go-Between (1971)

A real waste of time. It was painfully slow and seemed to be deliberately attempting to obfuscate what was going on (though what was going on was incredibly obvious). The score often went for suspense-type piano, when there was nothing suspenseful whatsoever happening onscreen. And, to top it off, the acting was stiff.

What a dud.

D-

The Abominable Dr. Phibes (1971)

This is one wacky revenge flick.

Dr. Phibes (Vincent Price), horribly disfigured in a car accident and thought dead, decides to dispatch with the nine medical personnel "responsible" for his wife's death on the operating table four years ago. Because he knows his Bible, he's decided to kill 'em plague style. Locusts, first-born son dead, rats -- they're all here.

When he's not actively carrying out his revenge, he spends time playing his ornate organ, accompanied by his life-size clockwork band. It feels like a fever dream and is supposed to be (I think, anyway) darkly comic. It didn't make me laugh, cringe, or tremble -- just sleepy.

D

The Beguiled (1971)

One of my favorite Clint Eastwood movies. I've never really gotten his appeal -- but here? Oh boy do I get it!

Clint's a wounded Union soldier in Confederate territory. A student at an all-girls school happens upon him and drags him back there for bandaging. All the girls are pretty excited about having an enemy soldier on the grounds -- some because they can't wait to do their duty by turning him over to the authorites, and some because...well...as I said: "oh boy!"

It doesn't take long for Clint to have almost every girl and woman at the school giddy at the sight of him. While that keeps him from being turned over to the authorities, lots of females and just one male makes for a dicey situation all its own.

B+

The Conformist (1971)

I admit it: I'm too stupid to understand this boring movie.

D

Kotch (1971)

I think there's a touching story here, but it just kind of ambles along without any urgency. The girl (Erica) is darling and I enjoyed her scenes. I think Matthau modeled his gait on a marionette. It's really weird.

C+

Sunday Bloody Sunday (1971)

Woman loves guy…man loves guy…guy flits from one to the other at his convenience. Good acting -- it effectively conveys the silent despair of lovers always in fear of not being enough for their beloved. I don't like that feeling.

C+

Summer of '42 (1971)

Supposedly "touching" -- but in reality just nasty. And NO ONE in this film could act worth a damn. What a waste of time.

F

Nicholas and Alexandra (1971)

Despite its interminable length, couldn't help being a wee bit interesting. I wonder how true-to-life it is.

C+