O Estranho que Nós Amamos

This powerful drama centering around the effect which the arrival of a wounded civil war soldier has on a house full of women is probably Don Siegel's finest achievement, and is yet another example of Eastwood's willingness to break new ground and tackle new genres. It is also, perhaps, the finest acting performance of his career. His presence in the house releases not only deeply repressed sexual urges in the women who are helping him to recover from his wounds, but a sexually competitive frenzy which becomes ever more dangerous and frightening.

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.

"The Beguiled" is one of my favorite Clint Eastwood films, and a departure from his typical early roles. Directed by Don Siegel, with whom Eastwood collaborated on several films, it was made a year before Eastwood's directorial debut with "Play Misty For Me". An alternate title considered for the film was "Pussy-Footing Down At The Old Plantation", which thankfully was not used, otherwise I am sure raunchy jokes about the fact that it takes place at a girls' school would be difficult to avoid. I first saw this movie in one of my college film classes in the mid-1970's, and was immediately taken with it. I only had an old battered VHS tape of it until I recently purchased the widescreen DVD, which also includes the hilarious, awful trailer that makes the film come across as a "Peyton Place" soap opera, and conveys none of the creepiness of the film.

Interesting notes: Eastwood and Siegel had to battle with Universal Pictures to keep the original ending, and they won out; and, the film was billed as a standard Eastwood western, which it certainly is not. It is a Gothic tale of deception and horror set in the time of the Civil War, with an underlying tone of eroticism and sexual tension running throughout.

I'm not putting any spoilers in this review, and if you want to see the film as it should be seen, then be careful of looking it up on the internet, as spoiler reviews of it do abound.

Clint Eastwood portrays John McBurney, a Union soldier who is shot on Confederate ground and discovered by a young girl from a nearby girls' school. She rescues him and takes him back to the school, but instead of notifying the local patrol of his presence so that he will be taken to prison, the headmistress, Miss Martha (Geraldine Page), her assistant Edwina (Elizabeth Hartman), their black servant Hallie (Mae Mercer), and the mostly teenage girls take him in, heal him, and fall under his spell. The film sets its tone of creepiness and Gothic horror right from the titles, as it shows real battleground shots from the war, while Eastwood's voice is heard quietly singing a funereal song of the time.

The opening scene of his encounter with the little girl who saves him sets the tone of his character, and the tone of the entire movie. To say any more than that would spoil the surprises in that first scene. To say much more about the film itself might ruin it for anyone who hasn't seen it...if you are into creepy, Gothic tales, find it and rent it. Eastwood is excellent in the film, and it is interesting to see him in an early role, or any role, where he portrays a character that is for the most part very unsympathetic.

Geraldine Page had a plum role in the film as the headmistress, and I cannot imagine another actress of the time being as good in the role; a long shot could have been Piper Laurie, but I don't think Laurie could have embodied the role in the same manner as Geraldine Page.

Elizabeth Hartman (whose wonderful performance in the film "A Patch of Blue" as a blind girl who falls in love with Sidney Poiter's character is another high point in her short career) is at her prime here, delicate and masterful at the same time. Unfortunately, her delicacy on film was also a part of her real life; she committed suicide at age 45.

I end this review with this observation: one manipulative, lying Yankee man is no match for a houseful of deceptive and libidinous Southern belles.

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.