CARAVANS (US/Iran - 1978) Directed by James Fargo. Written by Nancy Voyles Crawford, Thomas A. McMahon and Lorraine Williams. Cast: Anthony Quinn, Jennifer O'Neill, Michael Sarrazin, Behrooz Vosoughi, Joseph Cotten, Christopher Lee, Barry Sullivan, Mohammad Ali Keshavarz, Mohammad Taghi Kahnamooi, Jeremy Kemp, Duncan Quinn, Behrooz Gueramian, Parviz Gharib-Afshar, Parviz Jafari, Fahimeh Amouzandeh. (PG, 125 mins)
A costly flop for Universal in the fall of 1978, CARAVANS was based on a 1963 novel by James A. Michener and had been in development at various studios for well over a decade. Henri Verneuil, Richard Fleischer, and Herbert Ross were all attached to direct at different times, but the job ended up going to Clint Eastwood protege James Fargo, who had been part of the Malpaso inner circle for several years, serving as an assistant director on HIGH PLAINS DRIFTER, BREEZY, THE EIGER SANCTION, and THE OUTLAW JOSEY WALES. Eastwood eventually promoted Fargo to director on 1976's THE ENFORCER and 1978's EVERY WHICH WAY BUT LOOSE, and in between Eastwood gigs, Fargo also logged time as an assistant director and production manager for Steven Spielberg on DUEL, THE SUGARLAND EXPRESS, and JAWS. In short, two successful filmmakers could vouch for Fargo, which was probably the key to landing him the CARAVANS gig. But the film died instantly at the box office and Michener, whose novels were made into well-received films like THE BRIDGES AT TOKO-RI, SAYONARA, SOUTH PACIFIC, HAWAII, and the epic 1978 NBC miniseries CENTENNIAL, didn't hold back in expressing his dissatisfaction with the finished product.
Just out on Blu-ray from Kino Lorber (because physical media is dead), the almost completely obscure CARAVANS (there isn't even a trailer on YouTube) is beautifully shot by the great Douglas Slocombe (THE LION IN WINTER, THE ITALIAN JOB, RAIDERS OF THE LOST ARK), and as badly as it tanked, it still managed to nab one Oscar nomination for Best Costume Design, losing to DEATH ON THE NILE. A US/Iranian co-production, it was shot on location in Iran during the waning days of the country being a friendly place for a movie shoot, just before the overthrow of the Shah and the takeover by the Ayatollah Khomeini in 1979. In 1948 in the fictional Middle Eastern country of Zadestan, the US ambassador (Joseph Cotten) and a CIA official (Barry Sullivan) assign diplomat Mark Miller (Michael Sarrazin) to track down the whereabouts of Ellen Jasper (Jennifer O'Neill), the daughter of a powerful US senator. A free spirit, Ellen left her family and fled America, becoming one of the wives of feared Zadestan military figure Col. Nazrullah (famed Iranian star Behrooz Vosoughi), the nephew of the country's ruler Sardar Khan (Christopher Lee). Miller is granted permission by Khan to visit Nazrullah in his stronghold in the city of Bandahar, where the uncooperative colonel insists that Ellen is fine and that Miller will just have to take his word for it since she renounced her rights as an American and as her husband, he speaks for her. It turns out Ellen ran away from Nazrullah ten months earlier and he's been trying to find her as well. Following a lead on her possible location, Miller ends up crashing his Jeep in the middle of nowhere in the desert, where he's rescued by the Kochi, a nomadic tribe of gunrunners led by Zulffiqar (Anthony Quinn). Ellen has been hiding with the Kochi, who have welcomed her as one of their own and she has no intention of returning to either Nazrullah or her family in America. But Nazrullah, after learning Miller is traveling with the Kochi, correctly assumes Ellen is with them as well and leads his forces in hunting them down.
A tedious slog that feels twice as long as it is, CARAVANS ambles along with no momentum or sense of pacing whatsoever. An uncharacteristically blank Sarrazin is an unbelievably dull hero, and he's required to carry much of the film since Quinn and O'Neill don't even appear until 45 minutes in. Elsewhere, the other big names and familiar faces--Lee, Cotten, Sullivan, Jeremy Kemp--are relegated to cameos, but at least Lee gets to stroll around the visually stunning Shah Abbas Hotel, which was such a memorable location in the 1974 version of TEN LITTLE INDIANS and functions here as Sardar Khan's palace (this would also be the first of three big-budget international duds for Quinn and Lee in a short period of time, the pair also appearing together in 1979's THE PASSAGE and 1981's THE SALAMANDER). A loving father eager to help his kids, Quinn also scored a prominent supporting role for his son Duncan Quinn as Zulfiqqar's ambitious son, though Duncan didn't inherit his dad's talent or onscreen charisma and his acting career stalled after small roles in just four films. It doesn't get any better when Fargo tries to shoehorn in some comic relief in the form of an oafish Kochi tribesman fighting with a stubborn camel, complete with wacky music and a punchline shot of the camel eating the tribesman's pants. And that's before the film deploys a feel-good montage set to the overwrought CARAVANS theme song "Caravan Song" performed by Scottish singer Barbara Dickson, which became a hit single in the UK. CARAVANS made a hasty retreat from theaters and was enough of a bomb that Fargo's Dipshit David Lean aspirations only resulted in the stalling of his directing career. EVERY WHICH WAY BUT LOOSE was already in the can and about to be released, but Eastwood effectively played the "James Fargo? Never heard of him!" card after that and never utilized his services again, and amidst TV gigs (including episodes of SCARECROW AND MRS. KING, THE A-TEAM, HUNTER, and BEVERLY HILLS 90210), forgettable B-movies (his last credit to date is the 2011 Casper Van Dien DTV biker movie BORN TO RIDE), and uncredited reshoots on the 1981 hit PRIVATE LESSONS, the only noteworthy film Fargo subsequently directed was the 1982 Chuck Norris actioner FORCED VENGEANCE.
Anthony Quinn, Behrooz Vosoughi, and Michael Sarrazin
can barely contain their enthusiasm on the set of CARAVANS.
THE SEDUCTION (US - 1982) Written and directed by David Schmoeller. Cast: Morgan Fairchild, Andrew Stevens, Michael Sarrazin, Vince Edwards, Colleen Camp, Joanne Linville, Kevin Brophy, Wendy Smith Howard, Woodrow Parfrey, Betty Kean, Marii Mak. (R, 103 mins) Released by Avco Embassy in January 1982, THE SEDUCTION was supposed to be the big-screen breakout for Morgan Fairchild, who was having a bit of a moment throughout 1981 thanks to NBC's FLAMINGO ROAD, which began as a 1980 TV-movie before being spun off into a series in January 1981. It premiered just a week before ABC's DYNASTY, with both being respective network responses to the phenomenal success CBS was having with DALLAS (than at its peak following the "Who Shot J.R.?" season) and its spinoff KNOTS LANDING. The first season of FLAMINGO ROAD was a ratings hit, and in a cast that included familiar faces like Howard Duff, Stella Stevens, Kevin McCarthy, Cristina Raines, John Beck, and Mark Harmon, it was Fairchild who got all of the hype and attention with her portrayal of scheming, bitchy Constance Weldon Carlyle, essentially FLAMINGO ROAD's answer to J.R. Ewing, the character-you-love-to-hate--in this case, a serial adulteress and the cuckolding wife of aspiring politician Field Carlyle (Harmon). Born in 1950, Fairchild had been paying her dues for some time, starting with an uncredited gig as Faye Dunaway's double and stand-in on the 1967 classic BONNIE AND CLYDE. She first got attention during a 1973-1977 stretch on the daytime soap SEARCH FOR TOMORROW and picked up supporting roles in made-for-TV movies and had some TV guest spots along the way (most notably trying to seduce Mork on MORK & MINDY), but with FLAMINGO ROAD, Fairchild was suddenly everywhere. However, DALLAS, KNOTS LANDING, and DYNASTY proved to be too much competition. Viewers soon lost interest in FLAMINGO ROAD and NBC canceled it after its second season, at the same time that the much-hyped THE SEDUCTION was failing to make Fairchild a movie star.
At the risk of overselling it--and it's hard to just dismiss any movie that gives you a shotgun-toting Morgan Fairchild--THE SEDUCTION does a look a little ahead of its time in hindsight. While it owes a bit to Clint Eastwood's 1971 directing debut PLAY MISTY FOR ME, it also prefigures the post-FATAL ATTRACTION psycho-thriller craze as well as the Skinemax erotic thrillers that would be mainstays on late-night cable and in video stores in the 1990s. It also deals with the subject of obsessed fans while the murder of John Lennon by Mark David Chapman in December 1980 was still fresh in the public consciousness. And just six weeks after THE SEDUCTION's release, stalking became a subject of national awareness when actress Theresa Saldana barely survived being stabbed ten times in broad daylight by a crazed admirer who approached her outside her apartment. The assailant became obsessed with Saldana after seeing her in the 1980 films RAGING BULL and DEFIANCE, eventually getting the actress' address from her mother by posing as Martin Scorsese's assistant and claiming the director lost her contact info and needed her to replace another actress on his current film. THE SEDUCTION is never as grimly serious as those real-life examples, but it has one surprise up its sleeve with a legitimately creepy performance by Andrew Stevens as Derek, a photographer with a frightening fixation on his neighbor, popular L.A. news anchor Jamie Douglas (Fairchild). He pesters her with phone calls, flowers at the station, and even shows up in her dressing room with chocolates. Jamie writes him off as a harmless oddball, but her journalist boyfriend Brandon (Michael Sarrazin) isn't amused. Derek eventually forces his way into her house and gets his ass beat by Brandon, and even then, cynical detective Maxwell (Vince Edwards) insists there's nothing that can be done because Derek hasn't broken any laws, instead recommending Jamie and Brandon buy a gun and just blow the guy away the next time he shows up. It's advice that pretty much defines Plot Convenience Playhouse, as Derek has done almost nothing but break laws, and if Maxwell could be bothered to do his job instead of shuffling papers at his desk, ducking out to grab some breakfast at a greasy spoon, or using a Sharpie to write graffiti in a phone booth ("Cops do it better"), the movie would be over in 45 minutes.
There's no shortage of reasons why THE SEDUCTION is really impossible to take seriously (what high-end department store would hire Woodrow Parfrey as a salesman?), but that doesn't stop Stevens from giving a shit. He wisely never overplays Derek, and his relative calm and his generally upbeat and incredulous, "What are you talking about?" tone when confronted with his actions can be genuinely effective. The script by TOURIST TRAP and future Empire/Full Moon director David Schmoeller (CRAWLSPACE, PUPPET MASTER) initially portrays Derek not as slobbering slasher but rather, a functioning psychopath who blends right into society. He's a seemingly upstanding, professional guy with a career and an ability to afford a luxurious home, and he's even outwardly appealing enough to have a chance at a normal relationship, with his nice assistant Julie (Wendy Smith Howard) pining away for him with unrequited love. But he goes off the rails before long, thinking only of Jamie, staring at a Jamie shrine in his office, spending his free hours spying on her, sneaking into her house and hiding in her closet, and rejecting Julie's advances because he's "engaged to be married." But Schmoeller knows what THE SEDUCTION is and wastes no time delivering the goods with Fairchild skinny-dipping during the opening credits (accompanied by the theme song "In Love's Hiding Place" by Dionne Warwick). Edwards' character is ludicrous even by the standards of do-nothing movie cops, and is so preposterously useless that he probably could've been cut entirely with no damage being done to the narrative, and Derek sneaking into the TV station to put a secret message on Jamie's teleprompter causing her to have an on-air breakdown is a howler. The same goes for a scene where Jamie preps for her showdown with Derek by stripping nude and slinking into her bed by candlelight after luring Derek over (also, it's never really clear whether she knows Derek is her neighbor), only to have him enter her bedroom and pull back the sheets to reveal pillows, allowing her to sneak up on him from behind. Then why show her disrobing and getting into bed in the first place? I've seen plenty of pointless nudity throughout my movie-watching life but that's gotta be near the top. Again, Schmoeller knows what's important here.
After her Razzie-nominated performance in THE SEDUCTION, Fairchild went back to TV and ended up as another scheming temptress on ABC's short-lived PAPER DOLLS and spent a season on CBS' FALCON CREST before settling into TV-movies, miniseries (both NORTH AND SOUTHs), late '80s B-movies (RED-HEADED STRANGER, DEADLY ILLUSION, PHANTOM OF THE MALL: ERIC'S REVENGE), and Eurotrash (MIDNIGHT COP), recurring roles on popular TV shows (FRIENDS, CHUCK), self-deprecating cameos as herself (THE NAKED GUN 33 1/3: THE FINAL INSULT, HOLY MAN, WALK HARD: THE DEWEY COX STORY) and the world of DTV, eventually reuniting with Stevens on 1993's BODY CHEMISTRY 3: POINT OF SEDUCTION. Initially turning down THE SEDUCTION because he wanted top billing, Stevens later became synonymous with the DTV erotic thriller in the early-to-mid '90s with the NIGHT EYES franchise and several other pairings with Shannon Tweed. While THE SEDUCTION was not a success in theaters, it found a minor cult following throughout the '80s thanks to Fairchild remaining a recognizable celebrity and the film's constant airings on cable. It's just been resurrected on an extras-packed Blu-ray by Scream Factory (because physical media is dead), with a commentary track from Schmoeller (whose short film PLEASE KILL MR. KINSKI, chronicling his horrific ordeal trying to direct Klaus Kinski in 1986's CRAWLSPACE, is a must-see), and producers Irwin Yablans and Bruce Cohn Curtis, along with new interviews with Fairchild and Stevens. THE SEDUCTION is enjoyable 1982 trash all the way, and in retrospect, a film that had some minuscule degree of cultural relevancy with its stalking theme, as well as having a hand in setting the template for the types of exploitation thrillers that would provide Stevens with an unexpected new career direction a decade later.
THE REINCARNATION OF PETER PROUD (US - 1975) Directed by J. Lee Thompson. Written by Max Ehrlich. Cast: Michael Sarrazin, Jennifer O'Neill, Margot Kidder, Cornelia Sharpe, Paul Hecht, Tony Stephano, Normann Burton, Anne Ives, Debralee Scott, Steve Franken, Fred Stuthman, Addison Powell. (R, 105 mins) Gifted with a vividly distinctive title that's ultimately more memorable than the film itself, THE REINCARNATION OF PETER PROUD has become one of those horror movies from a bygone era whose scarce availability has led to somewhat of an inflated reputation that it's some mythical, lost masterpiece. Rarely seen since its 1980s VHS release and its long-ago days in regular rotation on late-night TV in what had to be a drastically-cut version, PETER PROUD was never released on DVD but is now reincarnated on Blu-ray courtesy of Kino Lorber (because physical media is dead). It's likely that some may find it a little too dry and too skimpy with the shocks, considering its contemporaries were the likes of THE EXORCIST and THE OMEN. In its own way, THE REINCARNATION OF PETER PROUD, from the masters of erotica-infused horror at Bing Crosby Productions, carved its own niche for hard-R notoriety with its then-copious amounts of nudity and occasionally explicit sex, particularly an extended Margot Kidder bathtub masturbation scene that's usually the first and only thing anyone who's seen the film can recall whenever it's mentioned. "The Bathtub Scene" is also the subject of two different extras on the Blu-ray, which may further contribute to the legend that it's the 1970s horror geek equivalent of the LAST TANGO IN PARIS butter scene. But while Kidder leaves little to the imagination, it's still not the quite the teenage spank bank fodder that time and three decades of limited accessibility have made it out to be.
Adapted by veteran TV writer Max Ehrlich (THE DEFENDERS, THE UNTOUCHABLES, STAR TREK) from his 1973 novel, THE REINCARNATION OF PETER PROUD managed to be modest hit in the summer of 1975, though it's almost certain that some of those movie tickets were purchased by people who couldn't get into a sold-out JAWS and were already at the theater anyway. Haunted by recurring dreams where he's someone he's never met being murdered by a woman he doesn't know, college professor Peter Proud (Michael Sarrazin) is referred to parapsychologist Dr. Goodman (Paul Hecht), who puts him in a dream study only to discover that his dream activity isn't even registering and that they may be psychic visions showing him events that took place 30 years earlier. Peter eventually concludes the town he sees in his visions is in Massachusetts, and with his skeptical and eventually unsympathetic girlfriend Nora (Cornelia Sharpe) in tow, Peter travels across the country and eventually finds the town, Crystal Lake (!). He seeks out Marcia Curtis (Kidder), the woman in his visions who he repeatedly sees kill her husband Jeff (Tony Stephano), and in time, he becomes increasingly unable to differentiate between his own memories and the memories of the dead Jeff, feeling certain that Jeff's spirit has been reborn in his body. To get to Marcia, Peter befriends her 30-year-old daughter Ann (Jennifer O'Neill), though Marcia rightly assumes that something is off about Peter, disturbed by the overwhelming sense that she's met him before.
With a bored Nora heading back to California, Peter is freed up, which inevitably leads to a romance with Ann, thus establishing an undeniable ick factor in the sense that Peter, his body slowly becoming the vessel for the murdered and reborn Jeff, is essentially sleeping with his own daughter, who was only three months old when her father was killed. With Jeff inside his head, Peter comes to sympathize with why Marcia did what she did (Jeff was abusive and a serial adulterer) and as his love for Ann grows (even though he occasionally slips and refers to her as "my daughter"), he doesn't want to return to his old life. It wouldn't take a whole lot of tweaking to turn this into a maudlin, supernaturally-skewed Nicholas Sparks story if it were made today. Of course, you'd have to factor out the incestous elements, along with the fact that the masturbation scene is intercut with Marcia fantasizing about a time when Jeff violently raped her, a juxtaposition that, coupled with the incest, would launch at least two weeks' worth of AV Club and Vulture thinkpieces.
Even without her showstopping bathtub scene, Kidder gives the showiest performance, even though half of it is under aging makeup that's passable but doesn't quite stand up in the age of high-definition. Quebec-born Sarrazin, best known for 1969's THEY SHOOT HORSES, DON'T THEY? and in the midst of his run as a '70s Hollywood leading man before heading back to Canada in the mid '80s (he was big enough in his day to host SNL in 1978), is fine as the troubled Proud, though his performance requires more reacting than acting and a lot of driving, as the first hour offers so much of Peter behind the wheel that it threatens to become a supernatural road movie. THE REINCARNATION OF PETER PROUD is a middling effort from journeyman director J. Lee Thompson, whose career ran that gamut from revered classics like 1961's THE GUNS OF NAVARONE and 1962's CAPE FEAR to later Cannon essentials like 1983's 10 TO MIDNIGHT and 1989's KINJITE: FORBIDDEN SUBJECTS. There isn't much in the way of suspense or scares as the story plays out, requiring Thompson offer a little more skin than usual for this sort of thing, but there is one of Jerry Goldsmith's most unusual scores, one that eventually turns distinctively Goldsmithian near the end but for the most part, is a lot of eeric electronically-based sounds and effects. The most effective scene isn't Kidder's much-ballyhooed adult bathtime, but an emotional and heartbreaking one where Ann introduces Peter to her dementia-addled grandmother (Anne Ives), whose mind immediately returns from wherever it was as she sees her long-dead son Jeff in Peter and asks where he's been all this time. Most horror fans satisfying their curiosity about PETER PROUD won't be asking that when this reaches its conclusion, but for cult movie connoisseurs and fans of the recently deceased Kidder and the somewhat forgotten Sarrazin (who died in 2011), it's at least worth a look.
