Soylent Green, completing the Charlton Heston dystopian future trifecta of Planet of the Apes and The Omega Man, may be spiritually closer to Douglas Trumbull's ecological space flick from 1972, Silent Running, and the much more recent gloomy Children of Men, than the flat out entertainment adventures of Chuck’s earlier walk down the roads of things to come. The film is based on the novel Make Room! Make Room! by respected sci-fi writer Harry Harrison, with a screenplay by Stanley R. Greenberg (who was a career TV scribe until he hit the big screen with another Heston flick, the less memorable Skyjacked). With Soylent Green underrated director Richard Fleischer continued to develop one of the most diverse film resumes ever. His bizarre career started in noir (Narrow Margin); included dramas (Compulsion); sci-fi (20,000 Leagues Under the Sea and Fantastic Voyage); some great little thrillers (The Boston Strangler, 10 Rillington Place and See No Evil); as well as a number of legendary misfires (Doctor Dolittle and the Neil Diamond opus The Jazz Singer). Fleischer manages to sprinkle a little of all of the above into Soylent Green.
If you already know the slight twist ending, Soylent Green can play like a long Twilight Zone episode, but beyond the Rod Serling influence (he came up with that great twist at the end of The Planet of the Apes), this is an interesting take on the future, which was certainly more fresh in 1973. It’s now 2022 in New York and the world is overpopulated (44 million in NY alone) and poverty stricken. Due to the “greenhouse effect” it’s awfully hot, the world is polluted, the oceans are dead, and food is scarce. The Soylent Corporation produces food wafers to feed the masses: soylent red, yellow, and the new and improved delicious green. But when one of the company's owners, William Simonson (Joseph Cotton), is murdered NYPD detective Robert Thorn (Heston) investigates. Thorn is lucky enough to have his own teensy tenement apartment he shares with his buddy Sol (Edward G Robinson in his last film role), one of the few old timers who remember how the world once was - he even once tasted a strawberry! Most of the masses live on the street (or his building’s stairs), but Thorn and Sol live not much better. Like a classic noir character, when Thorn investigates the wealthy man’s death he helps himself to his stuff (food, soap, booze, even the dead man’s hooker companion).Continue Reading
The Red House
Public domain film titles can be a great source of discovery for classic film buffs. There are some really weird movies that have made their way into Amoeba's DVD stock from companies such as Alpha Video which specialize in the obscure, the really terrible, and sometimes, a lost gem or two. But the experience of watching, even a good film, from a public domain copy can be pretty iffy. For one, their cover art is generally terrible. Poorly photoshopped images, terrible title fonts: on the whole, they are generally an affront to graphic design and good taste. This is why I had stayed away from The Red House, a not terribly well-known Delmer Daves noir starring Edward G. Robinson, made in 1947. Even when I finally relented, in search of more obscure noir thrills, the public domain copy I found looked and sounded awful. Whatever the filmmakers intended I could not see what it was because the sound and image were of such poor quality it was practically unwatchable.
But then a company I'd never heard of called HD Cinema Classics released a DVD/Blu-Ray combo of The Red House and once seen it was like a completely different film. What, in earlier editions, looked muddy and incoherent was now restored to its eerily gorgeous self. It's a beautiful and dark, dark, dark film and deserves high placement in the noir canon. This is a film that belongs in the same cinematic world of spooky, mysterious enchantment of The Night of the Hunter and Twin Peaks and, though it might be a stretch, The Innocents.Continue Reading