Joan could strangle Greenstreet

FLAMINGO ROAD (1949)

Reviewed by Jerry Saravia

It is odd to see Joan Crawford playing a carnival dancer who is stuck in a small Southern town. It is, however, sweet cinematic magic to watch Crawford combat the sinister Sydney Greenstreet in "Flamingo Road," an uneven yet fun little noir piece.

Crawford plays Lane Bellamy, the aforementioned carnival dancer who develops a liking to Fielding Carlisle (Zachary Scott), a mild-mannered deputy sheriff. Carlisle feels sorry for Lane who could do better financially, and gets her a job as a waitress at a local restaurant. Sheriff Titus Semple (Sydney Greenstreet), whose own girth drips with corruption, controls the town and dislikes Bellamy (actually, I think he dislikes everyone in town). Semple orchestrates a campaign to eject Lane from this peaceful town, mostly by making sure no one in town hires her. He also has her falsely accused of soliciting for sex. Semple merely fears that Lane can limit the political ambitions he has bestowed on Carlisle. Unfortunately for the sheriff, after serving a 30-day jail sentence, Lane finds work as a hostess at a road house, and is smitten with Dan Reynolds (David Brian), a high-powered political boss who gets drunk frequently and is a ruthless match for Semple. Lane sobers him up a little and they move to Flamingo Road, the place of dreams and, presumably, rich white people. Then more trouble brews between Lane and Semple when Carlisle comes back into town.

Stunningly photographed, "Flamingo Road" is an occasionally highly charged noir piece yet Joan Crawford, as equally tough and innocent as the character she plays is, feels older and more mature than the role requires. Crawford never struck me as vulnerable in any of the roles she has played ("Johnny Guitar" might be my favorite) and she looks ready to pounce as Lane Bellamy. When she threatens the odious Semple with the fantastic line, "You just wouldn't believe how much trouble it is to dispose of a dead elephant," you know Joan really means it. This is not sweet-tempered Joan Fontaine here, this is freakin' Joan Crawford, a madwoman of epic proportions who can ensnare, envelop, and threaten with nothing more than a stare.

The plot eventually derails a bit with the reappearance of a drunk Carlisle (the men in this movie drink and swear more than the women) and an ending that feels tacked-on by studio pressure. I don't want to give it away but let me say, I expected a less tawdry and sexist finale. Overall, "Flamingo Road" is worth seeing for Crawford and Greenstreet - their scenes are priceless, unnerving and intense. The bulk of the movie doesn't quite match up to them but it will not disappoint for fans of these two titanic actors.   

When the rivers of blood followed the sinner...

THE WORLD'S GREATEST SINNER (1962)

Reviewed by Jerry Saravia

I don't think I have seen or will see anything remotely like "The World's Greatest Sinner" again in my lifetime. This is one zonked-out, hyperactive, jumbled though very effective film that is hard to forget, and should be harder to resist. I don't know how else to describe it except if Elvis Presley had ever done a movie where he played a cult leader, it might have looked something like this.

The late Timothy Carey ("The Killing," "Paths of Glory") plays Clarence, an insurance agent who is sick of his job, gets fired and doesn't seem to care. He has a family to support but he gets a vision of being something more - a messiah for the masses where he can speak the truth, though what that truth is escapes me (something about how life is hell and how to become a superhuman being). He recruits anyone who is willing to join, regardless of race, creed or color, and goes so far as to call himself God! Sacrilege! Clarence goes even further by seducing an elderly woman to finance his group! All the great leaders must have some facial hair, so he adopts a fake goatee (and eventually grows his own). He sings rock' roll tunes (all written by the late Frank Zappa before he became famous) wearing a silver, glittery suit while he gyrates like Elvis and James Brown and screams, "Please, please, please!" He alienates his family when his developing cult group begin wearing arm bands with the letter "G" on them (uh, oh). And eventually, Clarence makes a deal with the Devil himself to break into politics and run for President of the United States. Things can only get worse in this Faustian tale.

I have heard of "The World's Greatest Sinner" for years - some have declared it awful and overly theatrical, while others see it as some sort of work of inspired genius. I agree with the latter. Timothy Carey's strange performance of histrionic body language, hypnotic drawl, and occasional trademark of closing his eyes while speaking and listening echoes an erratic energy that is tantalizing to witness (all I can say is that he is the precursor to Nicolas Cage). He is the star of this movie, and is about as berserk on screen as any actor can humanly be.

"World's Greatest Sinner" is haphazardly edited and directed by Timothy himself, but that is acceptable since the bizarre nature of the material go hand in hand with the filmmaking. If nothing else, this movie serves as an indictment of cultish leaders (we have seen our fair share since 1962 which is when this was filmed) and the corruption of the human soul where one thinks they can test God's will (that is the actual Almighty and not the main character). Love it or hate it, "World's Greatest Sinner" is unforgettable, riveting underground cinema.