Les Proies

I watched this at home on a DVD set of 7 Clint Eastwood movies from my public library. Seeing this was especially timely because 2017 saw the remake of this movie. Pretty much the same story in each, with minor character changes, with pretty much the same ending.

Having seen both of them within a month I can say this 1971 version is clearly the more interesting movie. Part of that is Eastwood as the injured Union soldier taken in by the ladies and girls of a school in plantation Louisiana. We've seen him in so many action roles we sometimes forget what a good actor he is.

The outdoor scenes were filmed south of Baton Rouge at Belle Helene plantation in Geismar, Louisiana, built in the 1840s. In more recent times, the 1990s, the plantation was bought by Shell Chemical Company and restored. Most interior scenes were filmed on a set in California.

Clint Eastwood is the injured Union soldier, John McBurney, a duplicitous man. By use of brief flashbacks we see that he lies to the ladies about his past. He is a coward and wants to heal and stay at the school as a handyman until the Civil War is over. He ends up leading most of the ladies and older girls on, pretending he loves each one.

Geraldine Page is really good as the school mistress, Martha. As well as Elizabeth Hartman who was the teacher, Edwina. (Tragically Hartman suffered from depression and killed herself not many years later by jumping off a building.) As well as Jo Ann Harris, about 20 during filming, as 17-yr-old vixen Carol, aggressively pursuing McBurney's affections.

This original version of the story is much more sinister and works better than the remake, but the ending is very similar in each.

Another well done moral ambiguity pieces where the anti-hero makes it hard to decide who to root for.

If nothing else "The Beguiled" silenced anyone who said there were no good parts for actresses in movies-at least in 1971. There were four excellent parts for actresses in this film and all were well cast and well executed.

Pamelyn Ferdin did a fine job as Amy and would go on to play "Wanda June". This must have been the first time an adult male box office star shared an extended kiss with a twelve-year-old girl on camera, wonder if there was much controversy about this at the time. It was probably Polanski's favorite scene. Given the fate of Amy's turtle "Randolph", it is no surprise that Ferdin grew up to be a hardcore animal rights activist.

Geraldine Page was likewise excellent, playing a complex character with just the right amount of restraint. It is interesting that she died just three days after Elizabeth Hartman committed suicide (throwing herself through a fifth floor window) as they had also worked together in "You're a Big Boy Now".

Hartman (who looks like she could be Blair Brown's sister) was wonderful as Edwina and should have gotten an Oscar (no other performance was even close that year), but given what we now know about her you wonder just how much of her performance was a studied effort and how much just came from inside her. Edwina shows such raw pain it is difficult to watch. Like Marilyn Monroe's incredible performance in "The Misfits", the viewer is probably seeing a whole lot of her own demons in the character she is playing.

Finally there is Jo Ann Harris who is stunningly perfect as the flirty Carol. For my money Harris was the sexiest actress of the 1970's, combining sensuality with intelligence and humor. She was the best reason to watch the "Most Wanted" television series and the only reason to watch "Wild Wild West Revisited". Hard to believe that someone who could bring all that to the screen never became a big star.

Anybody who hasn't seen this film is truly missing something special. Though it may not necessarily be for everyones tastes. This film may possibly break more 'sexual taboos' than any other, and it is another wonderful example of the early 70's trend of high creativity and barrier's being broken like no other time. It is haunting and unusual, both erotic and disturbing. Lalo Schifrin's music is superbly "dreamy" and dark, the photography and imagery are equally so. A very intelligent, groundbreaking inventive film.

Clint Eastwood in a soap opera? You bet! Gothic melodrama is what a real critic would most likely call it. Wounded Yankee soldier Eastwood is rescued from the field by several southern school girls. He finds himself in an isolated all girls school surrounded by young ladies from about 10 years old up to the middle aged school mistress. Kinky! Crushes and jealousy kick in as Eastwood attempts to get as much mileage out of his situation as he can. He's a nasty man, but these are some nasty girls. I remember when this came out at the drive-in. No one really knew what to make of it. A few months later "Dirty Harry" was released and this out of step Clint Eastwood movie just disappeared. That's a shame. It's something really different. Directed by Eastwood's longtime collaborater Don Segal, the film has a highly stylized look and feel to it. It's just plain creepy and that feeling never lets up. There are no good guys or bad guys, just nasty people trying to take advantage of other nasty people who in turn grow nastier and nastier as the movie progresses. It doesn't cover all the ground the book did. (I read it during a tour of jury duty some years ago.) But it moves at a good pace and it's sometimes complicated plot stays reasonable easy to follow. (The book was very hard to keep straight!) Creepy and nasty and very different. Well worth a look, especially by Eastwood fans.

During the brief period between Clint Eastwood's string of spaghetti westerns and his Dirty Harry films, he and director Don Siegel teamed up to make this unusual picture. Eastwood plays an injured Union Army corporal during the Civil War who is taken in by a southern school for girls until he recovers from his wounds. It has been a while since the young women (most of which seem to be teenagers) have had a man on the premises, so they are reluctant to turn him in to the local rebel soldiers. The resulting situations are often humorous, shocking, erotic, or even downright grotesque as Eastwood slowly regains his strength and begins to brood over the establishment.

The basic storyline almost sounds like the makings of a porno film. We have a masculine male suddenly surrounded by young nubile women. Most of them are sexually attracted to him. And he is more than willing to spread the love amongst them. The material never really slips down to the level of "tasteless", however. Eastwood, Siegel, and cinematographer Bruce Surtees are such skilled filmmakers, that the film always retains its dignity.

Eastwood's John McBurney is like no other character he has ever played. McBurney is an amoral, conniving, and lustful charlatan. He knows that most of the women, even the youngest want his bod, and he lets more than one of them have a shot at him. McBurney often uses flattery to butter the women up, then uses his rugged good looks to reel them in. He is like a drunken player at a cocktail party, often hitting on different women even in the same scene! Eventually, his lustful ways cause him great agony and loss in a way you must see for yourselves. This author would not dream of revealing the specific consequences of his actions, but there is little doubt he has them coming.

Eastwood gives a typically great performance. He seems to be having a blast with the role until things turn really ugly, then he turns mean and ugly. Geraldine Page is a treat as the steely B*tch who runs the school. We know she wants McBurney as much as the other girls, but with her checkered past shown to us in flashbacks, we find out that isn't all she's after! Mae Mercer as a slave belonging to the school gives a great performance, too. She obviously knows McBurney is a skunk from the beginning, and she never lets his phony charm bring her guard down. This is a character you will want to know more about after the film is over. She seems to have a greater knowledge of the world than anyone else in the film.

The Beguiled did poorly in its theatrical release. Nobody was quite sure what to make of it, and some of its content no doubt raised a few eyebrows in 1971. For example, in an early scene we see Eastwood romantically kiss a 12-yr-old girl. Is he just trying to keep her quiet when the rebel soldiers get close, or is he really enjoying it? Probably both! A fantasy sequence later on even shows Clint getting it on with not only Page, but her young assistant! Truly some interesting goings on in this one. It's a good thing Eastwood became the star he did, or this one might have been long forgotten.

Highly recommended. 9 of 10 stars.

The Hound.