Reviews (38)

A Southern Gothic Treat
How could a movie fanatic go wrong with this one? Sidney Pollack directing, with Francis Ford Coppola helping out with the adaptation of a Tennessee Williams play? A great cast , with especially memorable performances from Natalie Wood, Kate Reid and Mary Badham (as younger sister, Willie Starr)? Roberts Redford and Blake and Charles Bronson thrown in for lagniappe? Sounds like great gumbo to me.

Natalie Wood is absolutely alluring in this one. She and Redford, who also teamed together in the memorable INSIDE DAISY CLOVER, did indeed appear to have a lot of screen chemistry. He is the cynical company man who appears like the Grim Reaper in a small, shabby, depression-era southern town, carrying pink slips with him, instead of a scythe. The role has a lot of resonance now, what with all the corporate downsizing currently going on. Needless to say, the townfolk don't much cotton to Mr Owen Legate, with his fancy suit and self-assured ways.

With a couple notable exceptions. Tom boyish Willie Starr is taken by him right away and the minute her big sister Alma sets eyes on him, she's putty. Wood's expression in that initial glance is part of film history.

Owen further antagonizes the townfolk because they see that Alma has taken a shine to an outsider. Alma's been something of a tramp up this point, givining it up to varying degrees to most of the men in the town. Several of them, including an old geezer with an invilid wife, have been fantazising about further adventures with Alma. And Alma's mother is upset with Owen, because she sees that he is going to take away her gravy train. Hazel Starr is one of Williams' great eccentric female characters, and perhaps his most unctuous (though Amanda Wingfield, in THE GLASS MENAGERIE, is no prize, either. Kate Reid is perfect in the role. This, to me is her most memorable performance, followed closely by her title role in AND MISS REARDON DRINKS A LITTLE, which unfortunatley appears to be impossible to find. It's hard to believe she never won an Oscar or a Tony.

This was only the second feature film that Pollock directed. He of course went on to great things with such films as THEY SHOOT HORSES DON'T THEY and TOOTSIE. He and Cinematographer James Wong Howe do a great job of capturing small southern town lethargy, as well as 30's New Orleans ambience. The print, unfortunately, could definitely use a full restoration. It's faded noticeably over time. The film certainly warrants the extra work. Yet time cannot wither Natalie Wood. She's still one of the most lovely women a camera ever made love to. This film definitely belongs near the top of the list for screen adaptations of Williams' plays.

BEK

Perfect but tragic
I feel that calling this movie tragic gives away too much of the plot. But (sigh) I did it. This film was not to me sulty, sexy or smoldering, and it lacked the scented decadence that I've come to associate with a Tennessee Williams play. (He was a hero of mine in high school.) However, Williams didn't write this screenplay, though it's from a shorter work of his. It was a wonderful movie, everyone acted it to the hilt. Redford was great, and had his usual inflections and mannerisms. Wood covered all the emotions exactly, from nervous anxiety at the start, though joy, grief and horror, indignant rage, dreamy fantasizing, the works. I thought she deserved an Oscar. The flick also had a very young shy Robert Blake in it. I never hated a character so much in my movie-going life as I did Kate Reid, Wood's mother in the movie. Shoot anyone who tells you how it ends, then watch it anyway (if this sort of thing is your sort of thing).

So Much Talent
Natalie Wood just never seemed to get a break. For an actress with an obvious talent, one that can usually carry a picture, her later career seems saddled with pictures that could have been good yet just do not come off. An excellent example is This Property is Condemned. Just a glance at the credits will convince you that the result of so many talents, (Tennessee Williams, Sydney Pollack, Robert Redford, Kate Reid, Francis Coppola, John Houseman, Ray Stark, James Wong Howe), the picture has got to be a classic. Unfortunately, this is far from the case. The result of so much talent ends up a mishmash of patched together themes, uneven editing and reactions that do not fit the characters. One problem is the fleshing out of the original one act play, pulling in additional material that does not seem to match the first half of the film. Laden with long drawn out pans of Wood wandering New Orleans, the movie stumbles to a clumsy ending made only worse by the "let's take care of all those loose ends" epilogue with Mary Badham as Wood's younger sister. What could have been a taut and emotionally devastating film results instead with the viewer wondering how could so many great talents create something so flat and lifeless? Natalie Wood however is wonderful and a joy to watch and makes the best of the poor script handed her. Equally good is Mary Badham, a special treat to watch in what I believe is the only film she made other than her amazing turn as Scout in To Kill A Mockingbird. If I had to pick just one thing that condemned the movie all together-the music. Some of the sappiest and inappropriate background soundtrack I have ever heard in my life. When the film cries out for a subtle dramatic score the viewer is presented instead with calliope tunes better suited for a circus themed comedy.

Wish me a rainbow, wish me a star ...
A year after Tennessee Williams's 1945 breakthrough success with "The Glass Menagerie," a collection of his then-existing one-act plays was published under the title "27 Wagons Full of Cotton." Included in that collection was "This Property Is Condemned," a two-person play describing a chance encounter between a boy named Tom and an orphaned school drop-out named Willie by the railroad tracks outside a near-abandoned, post-depression-era Southern town. During their conversation, Willie tells Tom about her sister Alva, who was once the town's "Main Attraction" with suitors galore, fancy clothes and always out to party; but died young when her lungs "got affected." Yet, everything about Willie already spells "doom" as well: Her dreaminess and lack of realism, her cheap rhinestone bracelet and raggedy old-fashioned party dress (which were once her sister's), her shabby doll, and of course the fact that she still lives in her family's old railroad-side boarding house, long-since shut down and bearing the sign "This Property Is Condemned," from which the story thus takes its symbolic title.

Inspired by Tennessee Williams's play, Francis Ford Coppola sat down with TV writer-producers Fred Coe and Edith Sommer (as well as uncredited David Rayfiel) and created a screenplay fleshing out the backstory; the story of Alva, who dreams of nothing more than getting out of her small backwater home town and seeing the world (or at least New Orleans, which is more or less the same thing), but is trapped between lack of money and prospects on the one hand and a mother heavily capitalizing on her physical attractions on the other hand. And both the screenwriters and Natalie Wood, who stars as Alva, did the famous playwright proud: Their heroine is as much an inhabitant of Williams's "Dragon Country" - that place too painful to live in, yet somehow endured - as are her sisters-in-spirit Blanche DuBois ("A Streetcar Named Desire") and Amanda and Laura Wingfield ("The Glass Menagerie"); like them hiding from a reality deemed intolerable behind a gauze veil of make-believe, and prone to immediate destruction when robbed of her illusions.

For Alva, however, doom doesn't come at the hands of a man: In fact, although she has acquired the reputation of the town's easiest girl, with suitors ranging from her own mother's boyfriend (a marvelously, tightly controlled Charles Bronson) to a wealthy old visitor from Memphis named Johnson (John Harding), railroad executive Owen Legate (Robert Redford), in town with a suitcase full of pink slips and thus the quickly-maligned catalyst of the railroad-dependent community's demise, falls for her when he begins to see through her easygoing facade. (She, of course, was smitten the minute she laid eyes on him ... and sister, I sure am with you there. We're talking about Redford in his prime, after all.) Owen and Alva are a classic case of "opposites attract" - he the realist who never dreams, dislikes his job but does it because someone has to, and tries to make her face the reality of her situation, albeit with the aim of empowering, not destroying her; and she the romantic, who can dream herself inside a snow globe when she wants to feel cold, believes that places vividly imagined are almost as good as places actually visited, and sometimes feels so suffocated by her town's encroaching atmosphere that she has physical trouble breathing (which of course also foreshadows other things). Natalie Wood and Robert Redford have incredible chemistry - their prior collaboration in "Inside Daisy Clover" quite obviously helped a lot - and truly bring to life the precarious, only seemingly carefree young Southern belle and her reluctant lover. But just as crucial is the relationship between Alva and her manipulative mother (Kate Reid), who stands for everything that her daughter is not and, although practically inexistent in Tennessee Williams's play, as an agent of destruction is a worthy peer to his most brutal characters, first and foremost "Streetcar"'s Stanley Kowalski.

While it can hardly be said that the movie is "based" on Tennessee Williams's play - the opening credits aptly use the term "suggested by" - the play itself remains largely intact as an outer frame; using Willie (Mary Badham of "To Kill a Mockingbird" fame) as a narrator and taking the majority of the dialogue between her and Tom ("Lassie"'s Jon Provost) straight from the play. Much the same is true for the Starr boarding house, which in the movie's opening and closing shots quite closely matches Tennessee Williams's (as always) elaborate stage directions, describing the building as "a large yellow frame house which has a look of tragic vacancy:" only one example of James Wong Howe's and Stephen Grimes's excellent cinematography and production design, complimented in turn by the great, venerable Edith Head's period-sensitive costumes.

For most of the movie's participants, "This Property Is Condemned" was a harbinger of even bigger things to come: Although Natalie Wood was a bona-fide star (and the only actor receiving "above the line" billing) and both child actors' parts did not come close to the earlier ones that had made them famous, Francis Ford Coppola was yet to create "The Godfather," Sydney Pollack would go on to direct the much-acclaimed "They Shoot Horses, Don't They?," Robert Redford's career would skyrocket with "Butch and Sundance," and for Pollack and Redford together this was only the first in a seven-film run, including blockbusters like "The Way We Were" and "Three Days of the Condor" and culminating in 1985's multiple-award-winning "Out of Africa." Thus, this is also an important testament to the level of work that facilitated their respective paths to glory. Conversely, in Natalie Wood's case this was probably her last truly great appearance, unmatched by any of her remaining work in the 15 years until her untimely death. For everybody involved, however, it was an important career milestone - and with its spot-on atmosphere, fine acting and all-around great production values it's a movie I'll take over many a more recent release any time; no questions asked.

This Property is Condemned
I was very disappointed by this movie. The only redeeming thing about it was Robert Redford and he couldnt even save this movie. First of all if you are looking for an uplifting movie with a happy ending, this one is not for you. Natalie Wood is gorgeous but I found her character to be so slutty that I did not like her at all and did not find her worthy of Robert Redfords character. All in all, I would suggest to Robert Redford fans to stick with some of his other great movies like Barefoot in the Park and The Way We Were-you can never go wrong with those movies, they are truly timeless. ... Read more

Amazon.com

The moment Village of the Giants opens, with sensual shots of slow-motion frugging, we know we've happened upon some Bad Teens. In search of kicks, the Bad Teens head into the village of Hainesville, populated by Good Teens, most of whom seem to be in their early 30s. The fun begins when a lovable tyke named Genius (an 11-year-old Ron Howard, by far the most assured actor in the cast) whips up some "goo," which makes anything that eats it grow really big and develop a rakish disregard for scale. Soon these wild Bad Teens, led by a deeply embarrassed Beau Bridges and wearing their rebellious cardigans and Sansabelt pants, get their hands on the stuff. They take over the town and celebrate with some giant slow-motion dancing, complete with lots and lots of footage of giant slow-motion cleavage to make sure we've taken in the full horror of the situation. There is not one disappointing moment in this entire movie: Just when you think it can't possibly get any more ludicrous, it comes through and surprises you with a giant spider in the basement or a plan to distract the teens with yet more sexy dancing. Absolutely not to be missed. --Ali Davis ... Read more

Reviews (21)

Excellent Camp/Features Vintage Beau Brummels
I first saw this great campy film 20 years ago on TV and its got a great mixture of INTENTIONAL camp, the beginnings of a pre-hippy teen rebelliousness (1965), and some great music from Beau Brummels. The key to this film is not to take it seriously...the cast and crew didn't. "Genius" (Ron Howard) invents "GOO", a substance that turns rebel teens into giants who take over a village and the only hope is for Genius to find an antedote. He does just in time and it all works out in the end. But not before we get some giant ducks dancing to BBs live perfomance of "Woman" and other great pre-psychedelic background music. It's a trippy comedy of it's era. You can trash it, but then you miss the point.
Also don't miss those ...giant teen girls; when they grow their bikinis pop off. And when they shrink their clothes are not quite as big as you'd think.

Village Idiots
Film notable for featuring a pre-teen Ron Howard (at the height of his "Opie" fame)and a young adult Beau Bridges (son of Lloyed, older brother of Jeff, THE FABULOUS BAKER BOYS). Howard as "Genius" (a child-scientific-chemistry-wiz)develops a potion to make humans and animals grow to titanic proportions. A bunch of delinquent teens (headed by Bridges) get a hold of the "Food of the Gods" (the H.G. Wells story upon which it is based) and terrorize the town. It is up to the local "good teens" (headed by Tommy Kirk of Disney fame: i.e. OLD YELLER, THE SHAGGY DOG) to stop them. The plot is basically very sophomoric with some social commentary of delinquent teens of the period, mixing the mentality and look of the "beach party" movies with very light sci-fi. The only thing missing is Frankie, Annette and Eric Von Zipper. The cheesy special effects fits the mentality of the film. One aspect of this are the giant animals superimposed on the screen with the human counterparts and a hilarious sequence in which Beau Bridges giant legs are being attacked by various characters: it looks totally fake and unrealistic. The film is fairly entertaining and their is a provacative sequence after the "delinquent teens" take the potion. As they grow, their clothes don't grow along with them (at least the filmakers showed some plausibility and logic in the film). Then they make some "revealing" makeshift clothing, and before they terrorize the town, they "go-go" dance in front of everyone. Overall, a brainless and harmless film with some some future stars in the cast. Note: Look for actress Joy Harmon in the cast as one of the delinquent teens. She was in the famous car-washing sequence in COOL HAND LUKE. Also, look for actor Johnny Crawford in the cast as one of the good teens. He was in tv's THE MICKEY MOUSE CLUB, THE RIFLEMAN and cult film, THE GREAT TEXAS DYNAMITE CHASE.

it took a village to raise these damn idiots
Beau Bridges leads a less than all-star cast of misfits in this flick that mixes H.G. Welles's "Food of the Gods" with the AIP bikini-beach movies. When Bridges and company (a group of like-minded delinquents) get into a fender-bender outside the mythical town of Haynesville, they decide to head in and party. These aren't the sort of kids to let a smashed car get between them and fun. Unbeknownst to them, a young kid named "Genius" and played by an Opie-era Ron Howard, toils away in his lab (beakers, Bunsen burners and all) on whatever young geniuses toil on, and accicentally creates the mysterious "goo". Whatever eats the goo grows to forced-perspective style gigantic size. (They test the stuff out on a couple of giant geese which promptly become the main course at a town BBQ; faster than you can say "shouldn't we test this stuff on laboratory convicts, Haynesville are munching on mutated foie gras.) Realizing the possibilities of the goo, Bridges and Co. steal the goo. Running out of ideas, they eat the goo and become the giants of the title - swelling out of their clothes in a scene that has become the stuff of MST3K. Exerting their will on the town, Bridges's gang enslave those who live there - forcing the diminutive population into serving them tons of fried chicken and cola. It's up to Genius and Tommy Kirk (who plays the guy putting the moves on Genius's big sister) to save the day. Will he succeed and cut Bridges down to size, or will Haynesville remain beholden to a gang of 90-foot teenagers in home made bikinis (made out of theater curtains?

Okay, you're thinking - who cares? As 60's fun, "Village" has less entertainment than say "Ghost in the Invisible Bikini" but doesn't go out for easy laughs. Most of the time you'll be watching the screen thinking "no way!" It's a thin flick with some re-play value (watching the younger Beau Bridges act horribly; watching Ron Howard in the script's least important role, knowing the bigger and better things he went onto) but would have done better with the Harvey Lembeck treatment. Also, watch out for a fiery-haired dancer played by Toni Basil of "Oh Micky" fame, and Joy Harmon, the car-wash girl from "Cool Hand Luke", as a fellow giant who thought she was big enough to begin with.

The DVD transfer isn't anything special - let's face it, this isn't the flick you got a DVD player for. There are no extras (this flick wasn't made with a "making of" documentary in mind) but the menu hearkens back to the go-go '60s and highlights that this is a fun light flick.

Hokey,silly film,but still fun to watch!
If you like bad movies with cheap effects and a poorly written script and plus,like to see what Ron Howard did after The Andy Griffith Show(as well as Beau Bridges;among others),then by all means check this out!! If you'd like to see what MST3K did to this,then find someone that may have a copy..Either way,you'll laugh!! Recommended....

Giant teenagers flex their muscles
Don't let the reviews scare you away: this isn't just a movie about jiggling girls. There's a lot of beefcake for the guys to look at, too.

Good teenager Tommy Kirk, recently outed and evidently taking any role, no matter how feeble, is the putative star, trying to stop a group of evil teenagers from running rampant in his small fifties town. His job is made harder when they ingest something called "goo" that makes them grow to giant size.

Now comes the part of the movie that everyone fast-forwards to: the evil teens are naked at first and then they wear makeshift togas, the boys displaying beautiful, athletic bodies, as they dance in slow motion in the town square. The female teenagers are all but ignored as director Bert I. Gordon (who had a keen eye for beefcake) lingers on the gorgeous Beau Bridges and Tim Rooney (Mickey's son), who is not quite as gorgeous but makes you wish he had appeared in more movies (or at least a centerfold or two).

The boy on the giant breast that everyone keeps mentioning is teen idol Johnny Crawford, recently graduated from "The Rifleman" and soon to display a magnificent physique of his own in "The Naked Ape"; but he's not dancing or being hugged, he's attempting to destroy the giants by catapulting at them with the antidote to the "goo."

The writers should have created a more logical, suspenseful plotline, or else they should have eliminated all pretense at a story and just had Beau Bridges, Tim Rooney, Johnny Crawford, and Tommy Kirk pose in swimsuits for 90 minutes. But it's worthwhile reminding ourselves that directors were making movies for guys long before "Risky Business." ... Read more

Reviews (1)

Wanting to become a success - at any price.
A local hypnotist is more than he seems as victims of a killer are found drained of blood. It's up to a corner-cutting cop to find the murderer.

This is an excellent, gripping and genuinely chilling film. Gustav Vintas plays the most blood-curdlingly memorable vampire in recent years and Jason Williams' cop makes a likeable hero. There are also plenty of imaginative sets and an unforgettably moody soundtrack (which, like the Black Hole score, ought to be released on CD/audio cassette). ... Read more

Reviews (2)

VERY GOOD MOVIE
i HAD RENTED THIS MOVIE ABOUT 5-6 YRS AGO BUT COULDNT FIND IT AGAIN--I JUST THOUGHT OF TYPING IT IN HERE TO THE BROWSER AND I FOUND IT--IM A CIVIL WAR RE-ENACTOR AND IT REALLY A WONDERFUL MOVIE THAT WALT DISNEY MADE--I ESPECIALLY LIKE THE PART WHEN MOSBY BROUGHT GEN STAUGHTON TO CONFEDERATE HEAD QUARTERS AND THE LOOK ON FITZ LEES FACE--YES IM VERY MUCH PLEASED WITH THE CONTENT ALSO--

OK, So I WAS Only 6 When I Saw This Movie (In 1966)
But, I've always remembered it - Kurt Russell was my fav boy actor for years after that. It was great fun - YaHoo for Walt Disney! ... Read more

Reviews (1)

Wanting to become a success - at any price.
A local hypnotist is more than he seems as victims of a killer are found drained of blood. It's up to a corner-cutting cop to find the murderer.

This is an excellent, gripping and genuinely chilling film. Gustav Vintas plays the most blood-curdlingly memorable vampire in recent years and Jason Williams' cop makes a likeable hero. There are also plenty of imaginative sets and an unforgettably moody soundtrack (which, like the Black Hole score, ought to be released on CD/audio cassette). ... Read more