HOME |  CULT MOVIES | COMPETITIONS | ADVERTISE |  CONTACT US |  ABOUT US
 
 
Newest Reviews
Wind, The
Holly and the Ivy, The
Atlantique
Now, Voyager
Wolf's Call, The
Nostalghia
Nightingale, The
Eighth Grade
Irishman, The
Betrayed
Lords of Chaos
Operation Petticoat
Dead Don't Die, The
On the Waterfront
Last Faust, The
Moonlighting
Art of Self-Defense, The
Ironweed
Booksmart
Prisoners
Beach Bum, The
Kill Ben Lyk
Into the Mirror
Support the Girls
Werewolf
Little Monsters
Spider-Man: Far from Home
Horrible Histories: The Movie - Rotten Romans
Pentathlon
Anna
Moulin Rouge
Ray & Liz
African Queen, The
Helen Morgan Story, The
Golem, Der
Yentl
Finishing Line, The
Triple Threat
Mysterious Castle in the Carpathians, The
Driven
   
 
Newest Articles
Step Back in Time: The Amazing Mr. Blunden on Blu-ray
Crazy Cats and Kittens: What's New Pussycat on Blu-ray
No Place Like Home Guard: Dad's Army - The Lost Episodes on Blu-ray
A Real-Life Pixie: A Tribute to Michael J. Pollard in Four Roles
We're All In This Together: The Halfway House on Blu-ray
Please Yourselves: Frankie Howerd and The House in Nightmare Park on Blu-ray
Cleesed Off: Clockwise on Blu-ray
Sorry I Missed You: Les Demoiselles de Rochefort on Blu-ray
Silliest of the Silly: Monty Python's Flying Circus Series 1 on Blu-ray
Protest Songs: Hair on Blu-ray
Peak 80s Schwarzenegger: The Running Man and Red Heat
Rock On: That'll Be the Day and Stardust on Blu-ray
Growing Up in Public: 7-63 Up on Blu-ray
Learn Your Craft: Legend of the Witches and Secret Rites on Blu-ray
70s Psycho-Thrillers! And Soon the Darkness and Fright on Blu-ray
Split: Stephen King and George A. Romero's The Dark Half on Blu-ray
Disney Post-Walt: Three Gamechangers
But Doctor, I Am Pagliacci: Tony Hancock's The Rebel and The Punch and Judy Man on Blu-ray
Once Upon a Time in Deadwood: Interview with Director Rene Perez
Shit-Eating Grim: Salo, or the 120 Days of Sodom on Blu-ray
Stallone's 80s Action Alpha and Omega: Nighthawks and Lock Up
Python Prehistory: At Last the 1948 Show and Do Not Adjust Your Set on DVD
You Could Grow to Love This Place: Local Hero on Blu-ray
Anglo-American: Joseph Losey Blu-ray Double Bill - The Criminal and The Go-Between
Marvel's Least Loved and Most Loved: Fantastic 4 vs Avengers: Endgame
   
 
  Grasshopper, The Kisses From BissetBuy this film here.
Year: 1970
Director: Jerry Paris
Stars: Jacqueline Bisset, Jim Brown, Joseph Cotten, Corbett Monica, Christopher Stone, Ramon Bieri, Ed Flanders, William Callaway, Roger Garrett, Therese Baldwin, William Bassett, Kathalynn Turner, Stefanianna Christopherson, Marc Hannibal, David Ketchum
Genre: Drama, Romance
Rating:  5 (from 1 vote)
Review: Christine Adams (Jacqueline Bisset) was brought up in British Columbia, but by the time she turns nineteen she is sick of the place, so far away from what she thinks is a more exciting lifestyle elsewhere. Therefore, without informing her parents where she is going, she packs and sneaks out of the house one morning, driving south to Los Angeles in the hope she will find a better existence among the sunshine and beautiful people, where her boyfriend has moved with a banking job recently. If he can do it, so can she, is her belief, but she reckons without her car breaking down and stranding her on the desert highway. Now she has to hitchhike - all the way to Las Vegas?

There's a far more famous, not to say infamous, film that begins with the heroine hitchhiking to Vegas, and The Grasshopper might have been an inspiration for Joe Eszterhas when he penned the screenplay for Showgirls in the nineteen-nineties as it followed a similar, though not identical, plotline. It was the basic road to ruin yarn in a 1970s style, so while there were such degradations as rape, drugs and violence, the loosening censorship of the era meant filmmakers were not quite sure how to depict them for a mainstream audience. For every Midnight Cowboy that got a handle on the issues, there were plenty of clunky, would-be daring projects just like this one.

Bisset, stepping into a role vacated by the increasingly (and ironically) troubled Carol White, was the lead but while she had proven herself a very decent actress elsewhere, this was one of her more decorative parts, that in spite of the film setting out to be very serious indeed. You know what that means: sheer camp, yet with an edge of nastiness to make it clear this was intended for adult audiences, plus a smattering of nudity. Curiously, however, Miss Bisset obviously had a "no nudity" clause in her contract, which meant while Christine got into plenty of salacious situations, the actress remained very coy, betraying the film was nowhere near as near the knuckle as it intended.

Nevertheless, the bad things that happened to Christine were pretty awful, which strongly hinted at something else: the inspiration for this was not so much the novel by Mark McShane ominously titled The Passing of Evil, but more the works of Jacqueline Susann and Sidney Sheldon, those airport potboilers you could pick up for reading a long flight; highly popular, but nobody's idea of great literature. Not that a book has to be to make a great film, but The Grasshopper was nobody's idea of a great film, resembling what the sequel to the big screen version of Susann's Valley of the Dolls would have looked like had someone other than Russ Meyer and Roger Ebert got their grubby hands on the rights. In this instance, the name to watch in the credits was Garry Marshall, soon to be a powerful producer.

He illustrated his interest in this kind of material not with his comedy work, but with something like Pretty Woman, very much The Grasshopper for the nineties, except, you know, wildly successful and profitable. Here Bissett smiled through the tears as her life took a downturn, yes, there were occasional moments for optimism, but in the main you could tell it was prostitution that was in her future and not a glittering career. Technically, she had had a glittering career, but only because of what she was wearing as the only Vegas showgirl who doesn't get topless, but that was about as close to showbiz as she got. You can laugh at the absurd moves this had to shock the audience, but a couple were surprisingly progressive: white Christine marries black football player Jim Brown, and Roger Garrett played a gay best friend of hers who was supportive and reasonable, and crucially did not end up dead. Mind you, neither does Christine, her final statement on celluloid a memorable message for the world in sky-writing. Music (and ludicrously sentimental songs) by Billy Goldenberg.
Reviewer: Graeme Clark

 

This review has been viewed 373 time(s).

As a member you could Rate this film

 
Review Comments (0)


Untitled 1

Login
  Username:
 
  Password:
 
   
 
Forgotten your details? Enter email address in Username box and click Reminder. Your details will be emailed to you.
   

Latest Poll
Which star do you think makes the best coffee?
Emma Stone
Anna Kendrick
Michelle Rodriguez
Sir Patrick Stewart
   
 
   

Recent Visitors
Graeme Clark
Andrew Pragasam
Enoch Sneed
Darren Jones
Paul Smith
  Rachel Franke
Paul Shrimpton
  Desbris M
   

 

Last Updated: