By Raymond Benson

By Raymond Benson

Director Samuel Fuller is a controversial figure in American cinema history. Audiences either love him or hate him, and there is usually no in-between. Incorporating a style that is often over-the-top, no matter what the genre or story might be, Fuller’s films are very much in your face. Outspoken, opinionated, and an auteur who wasn’t afraid to stand on a soapbox and shout to the masses what he felt was injustice, bigotry, or hypocrisy, Fuller belongs in the camp of directors who attempted social change but never achieved popular success doing it. Today he is revered as a cult figure by such filmmakers as Martin Scorsese, Quentin Tarantino, Jim Jarmusch, and Tim Robbins (all who appear in the documentary, The Typewriter, the Rifle and the Movie Camera, a bonus feature on the Shock Corridor DVD). One can certainly see Fuller’s influences on the films of Scorsese and Tarantino. Scorsese admits “stealing” a sequence from an early Fuller war film, The Steel Helmet, and using it in Raging Bull.

The Criterion Collection has remastered and restored in high definition two of Fuller’s gems from the sixties—Shock Corridor (1963) and The Naked Kiss (1964) for DVD and Blu Ray. Anyone unfamiliar with the director’s work will do no better than to dive in to these powerful, dynamic dramas—or shall I say… melodramas. And that they are. In both pictures, the acting is heightened, the dialogue borders on the corny (some sequences are unintentionally funny today), and the subject matter is lurid. How these films were released in a time when the Production Code was still in effect is a mystery (they were issued “for mature audiences only,” several years before the ratings in America came about).

British director Peter Yates has died at age 82. Yates began his career as an assistant director for Tony Richardson and gained a reputation for action movies with his acclaimed 1967 film Robbery. His proficiency with handling large-scale car chase sequences in that film led to his being hired by Steve McQueen to direct Bullitt the following year. The San Francisco car chase sequence in that film is still regarded by many as the best in movie history. Yet Yates' talents were not just limited to action films. His work ranged from moving dramas such as Breaking Away, The Dresser and The Friends of Eddie Coyle to comedies such as The Hot Rock and the big budget 1977 adventure pic The Deep. for more click here

The Wrap reports that Jim Carrey and Sean Penn are officially out of the new Three Stooges project for the Farrelly brothers. One assumes that Benecio del Toro will follow suit. The brothers are courting Johnny Knoxville, Andy Samberg and Australian Shane Jacobson to star. Those names will be nil to retro movie lovers, but they have strong followings with younger audiences who are essential to woo for the new film. The Farrellys plan to divide the movie into three 27-minute long segments. The film is not a biopic, but will be introducing a new team of Stooges. For more click here

Natalie Wood in the 1962 original version of Gypsy

Barbra Streisand is considering remaking Gypsy for the big screen. The original film was based on the hit play by Arthur Laurents, who still controls rights. In the original film, Natalie Wood starred as stripper Gypsy Rose Lee and Rosalind Russell played her stage mother from hell. Streisand is interested in directing the film and playing the role of the mother, though Laurents says he has some concerns that Babs would not want to appear as unsympathetic as the role requires. Click here for more

Cinema Retro columnist Tom Lisanti pays tribute to his friend, actor Aron Kincaid, who starred in such cult movies as The Girls on the Beach, Beach Ball, Ski Party and The Ghost in the Invisible Bikini. Kincaid died earlier this week. Click here to link to Tom's tribute at his Sixties Cinema web site.

Ed Poole, who runs the superb web site Learn About Movie Posters, has released the 2011 edition of Movie Stills Identification Book, a meticulously researched volume that helps identify untitled movie stills based upon code numbers. Researchers, authors and collectors have long been frustrated by not being able to identify what movie a specific still is from. However, Ed has used the film code numbers on the bottom of the photos to amass a volume that helps identify these "mystery movies". For film scholars and publishers, such as Cinema Retro, the book is of great value, as it contains data on over 30,000 movie code numbers. The price is $45 and can be ordered through Ed's site by clicking here

Hereafter

In a candid and very interesting interview in the London Evening Standard, screenwriter Peter Morgan discusses his career, past present and future. He goes into detail about the mixed reaction he had when Clint Eastwood decided to make a film from his script for Hereafter. Morgan is used to working endlessly on rewrites of his own work and was caught off guard when Eastwood decided to film what Morgan considered to be a draft of the script. He also said that he had virtually no interaction with Eastwood during the course of making the movie, except for an enjoyable lunch in London - where Eastwood notably never discussed the film in any way. He also has reservations about some of the spiritual elements Eastwood introduced in the story about life after death, as Morgan is an avowed atheist. Nevertheless, he left the project with great respect for the Oscar-winning director and thinks it's kind of cool that Josey Wales brought one of his stories to the screen.

Of note to James Bond fans is Morgan's confirmation that he is "amicably detached" from the next James Bond movie due to the lingering delays in bringing the film into production. Morgan tantalizingly lets drop details to the reporter, who refers to the concept as a "brilliant central conceit", but refuses to make them public. For more click here

You asked for it, you got it! Following our successful Movie Magic Tour of British film locations in 2010, Cinema Retro and T.W.I.N.E. Tours will be announcing specifics pertaining to the September 2011 tour. This time, we'll be heading out West to visit film locations from classic movies. We'll be meeting up in Las Vegas then movin' on by deluxe motorcoach to such legendary sites as:

• Monument Valley, Utah- site of such films as Stagecoach, 2001: A Space Odyssey, How the West Was Won, Easy Rider, Once Upon a Time in the West, Forrest Gump, The Searchers, The Eiger Sanction and many more.
• Kanab, Utah- visit the sets from Clint Eastwood's The Outlaw Josey Wales and see where such films as Sergeants 3, Planet of the Apes, The Greatest Story Ever Told, Bandolero! and many others were filmed.
• Ride the legendary old-fashioned steam engine line from Butch Cassidy and the Sundance Kid
• Visit the quaint Colorado town where key sequences from the original John Wayne classic True Grit were filmed
• Join fellow classic and retro movie lovers from around the world on the film location tour event of the year - all personally guided by Cinema Retro publishers Lee Pfeiffer and Dave Worrall

Please note: this event has come about due to suggestions from attendees from our previous tours, many of whom have indicated they intend to join us. As in the past, priority will be given to previous attendees. Thus, there will be a limited number of seats available to the general public. They will be made available on a first-come, first-serve basis. Attendance is strictly limited to one motorcoach of travelers.

Details and dates coming soon-- meanwhile, make sure you sign up for the Cinema Retro E mail newsletter (see column on right for sign up link). You'll receive the latest updates as soon as they are released.

Haworth as Sally Bowles in the Broadway production of Cabaret

By Tom Lisanti

Over the past year, a number of 60s personalities have died, but the one that has most saddened me is Jill Haworth who died in her sleep earlier this week. She was one of my most favorite interviews, as she graciously invited me into her home in 1999. She was just so saucy and honest, holding nothing back. What makes it even sadder for me is that I am reading the new entertaining Sal Mineo bio by Michael Gregg Machaud and Jill is quoted extensively throughout as she had a long romance with the actor.

Petite blonde Jill Haworth made three movies while under personal contract to Otto Preminger--Exodus (where she received a Golden Globe nomination for Best Female Newcomer), The Cardinal, In Harm's Way--before going freelance. After starring in the British horror movie It! she landed the role of Sally Bowles on Broadway in Cabaret. The musical was a huge hit and Jill remained in the role for 2 1/2 years.

Surprisingly, when she returned to Hollywood in 1969 all she could get were TV guest spots and horror films, theatrical and made-for-TV, including one that gave me the creeps as a kid, Home for the Holidays. Though Jill never stepped on a Broadway stage again, she did do regional theater during the late 70s and 80s and then concentrated solely on voice over work. She did one last movie Mergers & Acquisitions in 2000 playing a loopy ex-hippie mother of two competing sons. She stole the movie.

Below are some of Jill's sassiest comments to me:

When asked what she thought of John Wayne from In Harm's Way.

"He was the meanest, nastiest man with the worst attitude I ever worked with."

Asked why she stayed in Cabaret so long, she jokingly replied:

"Just to spite Walter Kerr." (Who in his NY Times review said "the musical's one wrong note is Jill Haworth whose worth no more to the show than her weight in mascara.")

When asked if she ever had a chance to play Sally in the film version of Cabaret, she said:

"No, they always wanted Liza Minelli for the movie. She's still doing the movie!"

When Cabaret was revived on Broadway in 2000 with Natasha Richardson and Alan Cummings, Jill was miffed that she was not invited to the opening. When I said "maybe they couldn't find you", she snapped, "I have only been living in the same apartment since 1966!"

Jill never let her stardom go to her head. She was in awe of her Sutton Place neighbor Greta Garbo who walked her dog almost the same time Jill would walk hers. But Jill was too shy to ever say anything. After Cabaret opened, she passed the reclusive star who said, "Good morning Miss Haworth" to which Jill replied, "Good morning Miss Garbo." Jill told me that was worth more to her than anything.

Finally, I received one of the nicest compliments from her after my book Fantasy Femmes of Sixties Cinema (now available in soft cover at www.sixtiescinema.com) was released. She called to thank me for including her and told me that of all the interviews she had given, the piece I wrote really sounded like her and she appreciated that. Farewell dear Jill.

Stephen Bowie's excellent web site Classic TV History features in-depth examinations of many legendary shows including an exhaustive "everything-you-wanted-know-about" look at The Invaders, the cult 1960s sci-fi series starring Roy Thinnes. Click here to read

While playing Dr. Kildare in the 60s, Chamberlain became pin-up material for countless teenage girls - none of whom suspected he was actually gay.

For decades, Richard Chamberlain was the quintessential romantic leading man as well as a star of action films. He was the first actor to portray secret agent Jason Bourne and he made women swoon with his leading role in The Thorne Birds. There had been rumors in the industry for many years that Chamberlain was secretly gay but it wasn't until he was in his sixties that he confirmed that fact in his autobiography. In a revealing interview with the gay-themed web site The Advocate, Chamberlain discusses how progress has been made in some areas in terms of actors being able to come out of the closet. Tellingly, however, he still advises that it probably is a poor career move in terms of getting meaningful roles as a leading man. And by the way, Chamberlain is still offering a reward to anyone who can prove that his boyish good looks are the result of plastic surgery! Click here to read.

Dame Judi Dench is using the hiatus in between James Bond films to appear in Clint Eastwood's forthcoming biopic of legendary FBI director J. Edgar Hoover. For more click here

Character actor Bill Erwin has died at age 96. He appeared in countless TV series ranging from The Twilight Zone to Perry Mason and My Name is Earl. His portrayal of grumpy old man Sid Fields in a classic 1993 episode of Seinfeld earned him an Emmy nomination. Erwin also appeared in many feature films, most notably as the bellman in Somewhere in Time. For more click here

It's no secret in the film industry that animation and visual effects artists are among the most abused talents in the business. Their fields are not represented by unions, though efforts are underway to correct that. In the meantime, an antitrust case has been filed against animation giants LucasFilm and Pixar citing documents that seem to imply the two companies may have conspired to reduce the number of employment opportunities for their workers. Click here for the details

Pete Postlethwaite, the acclaimed British actor of stage and screen, has died from cancer at age 64. Postlethwaite had been nominated for Best Supporting Actor for his performance in the 1993 film In the Name of the Father. He was equally at ease performing Shakespeare on stage and appearing in commercial movie hits like The Lost World and Inception. Steven Spielberg, who directed him in the former, regarded him as "the best actor in the world." For more click here

Anne Francis, the sultry blonde actress who pioneered the image of women as action heroes in Honey West, has died at age 80 after battling cancer for several years. Francis entered show business at an early age, modeling as a child. She later performed on radio before landing roles in some high profile films such as Bad Day at Black Rock and the 1950s sci-fi classic Forbidden Planet. In the mid-60s, Francis broke new ground by starring as Honey West, the sexy private eye who solved cases while toting around a pet ocelot. The show only lasted a single season, but quickly developed a cult following that endures to this day. Francis was among the first actresses to portray a woman as credible hero in an era where most females were consigned to playing demure housewives. Francis also appeared in a classic episode of The Twilight Zone as a woman who finds herself trapped in a closed department store amidst some very lifelike mannequins. By the late 1960s, Francis was regarded as a supporting actress. She had roles in Funny Girl, Brainstorm and the Jerry Lewis comedy Hook, Line and Sinker, but she thrived through her work on television, where she remained active until her illness forced her into retirement several years ago. For more click here

CLICK HERE TO ORDER THE COMPLETE HONEY WEST FROM AMAZON

Grant McCune, who shared an Oscar for his ground-breaking special effects and miniature work on the original Star Wars has died at age 67. McCune was one of the most respected artists in his field. Click here for more about his life and career.

By Todd Garbarini

I first saw The Red Shoes on a PBS viewing 35 years ago on a Zenith black and white television.  My younger sister, who was taking dancing lessons at a nearby studio, seemed transfixed by Moira Shearer’s effortless moves.  While the Hans Christian Andersen tale of a ballerina who is danced to death went over my head, the images, even then, remained burned in my subconscious.  Such is the power of Michael Powell and Emeric Pressburger’s 1948 film, quite simply one of the most sumptuous color films ever photographed.  Shot in the original three-strip Technicolor dye transfer process, The Red Shoes was released by the Criterion Collection on laserdisc in 1995 and on DVD in 1999.  While those versions were a real eye-opener to those of us who were used to seeing the film on television, on 16mm, or on videocassette, the new 2010 Criterion Collection Blu-Ray and standard DVD releases of the film are a revelation.  These new transfers are the result of an extensive two-year, 4K digital restoration by the UCLA Film & Television Archive (headed by UCLA archivist Robert Gitt) and The Film Foundation, in association with the British Film Institute, ITV Global Entertainment Ltd and Janus Films.

Premiering at the Cannes Film Festival in May 2009, the restoration made its way to the Film Forum in New York City in February 2010 where film editor Thelma Schoonmaker, widow of filmmaker Michael Powell, introduced the film.  Isabella Rossellini was also in attendance of the film’s premiere to show her support of this great film. 

By David Savage

One of the most anticipated genre film festivals on the North American circuit is Noir City, the annual San Francisco Film Noir Festival, hosted at the glorious Castro Theatre – itself a cinematic landmark and “character” in countless movies filmed in the City by the Bay. This year’s edition, with the theme of “Who’s crazy now?” kicks off January 21^st and runs through the 30^th, 2011. Over the 10 day span, a tantalizing lineup of twenty-four films will be screened – including three brand new 35mm prints funded by the Film Noir Foundation, High Wall (1947); Loophole (1954) and The Hunted (1948).

“We show films you can’t see anywhere else,” said Noir City co-founder and noted film historian Eddie Muller over the phone from his Bay Area home. “We are the only festival that goes out of its way to preserve rare titles, then uses those proceeds to restore other rare titles.” Festival attendees regularly turn up in period dress, Muller says, as proof of their devotion to the genre. For the Castro Theatre, built in 1922 and seating 1,400 people, it’s one of the biggest draws of the year.

Citing an arrangement his Film Noir Foundation has with a major Hollywood studio, Muller’s organization agrees to fund preservation and restoration prints to be made if the studio will deposit a print with UCLA’s Film & Television Archive – the premiere restoration facility in the world. The studio retains ownership but allows UCLA to grant screening licenses, such as the wildly popular Noir City festival in San Francisco. It’s an agreement, says Muller, that provides ongoing proof that restoration and preservation of rare and endangered films is a worthwhile effort. Still, he allows, it’s always a hard case to make to the studios, which are forever looking into the future for new revenue streams and not into the past. Once in a while, Muller says, a studio will step forward to fund the full restoration of a print, which is what Paramount did recently with Strangers in the Night (1951) when their archive heard that Film Noir Foundation was prepared to shoulder the $27,000 restoration cost on their own.

Other highlights include The Stranger on the Third Floor (1940), considered by critical consensus to be the first American film noir, starring Peter Lorre; Don’t Bother to Knock (1952) with Marilyn Monroe in one of her strongest performances of her young career; and a handful of films not available on DVD, such as 1946’s The Dark Mirror, with Olivia de Havilland (directed by noir master Robert Siodmak), Beware My Lovely with Ida Lupino, and a bizarre puzzler from 1948, Fritz Lang’s Secret Beyond the Door starring Nightmare Alley’s Joan Bennett and Michael Redgrave. According to the program literature, it’s a Noir City tradition to show one incomprehensible film each year – and this year this is it. Apparently Lang’s off-the-rails Freudian blowout is a cross between Rebecca and Bluebeard. Muller calls it “ridiculous but visually stunning.” Funded by The Film Noir Foundation, it was restored by the UCLA Film & Television Archive.

Like a grim-faced police lineup, most of noir’s beloved Usual Suspects are to be found in 2011’s edition, like Barbara Stanwyk, Ida Lupino, and Humphrey Bogart. However, audiences will also appreciate some surprising names – actors, screenwriters and directors – not usually associated with noir, notably French director Jean Renoir’s The Woman on the Beach (1947); Otto Preminger with his Angel Face (1952) and A Double Life (1947), directed by George Cukor and starring an Ronald Colman in a dual role which won him an Oscar. The script was written by screwball comedy veterans Ruth Gordon and Garson Kanin.

For Noir City 9’s complete 2011 festival lineup and more information on how you can join and contribute to The Film Noir Foundation, visit http:/www.noircity.com.

Black Swan

By Lee Pfeiffer

Jon Burlingame, music critic for Variety, reports that the scores for for high profile films- Black Swan, The Kids Are Alright, The Fighter and True Grit -have been excluded from Oscar consideration by the Academy because each score relies on pre-existing music to comprise much of the music heard in each film. A.M.P.A.S. rules mandate that scores must be predominently original in order to qualify for Oscar consideration. The ruling only emphasizes the dreary state of film scores today. Unlike decades ago when even B movies seemed to boast memorable soundtracks, today's movie music is largely comprised of non-descript soundtracks that rely on "golden oldies" ranging from rock songs to classical tracks to compensate for the lack of originality. Like the Best Song category, the Academy should consider retiring the competitive Oscars for film compositions and only award those movies that occasionally boast real achievements. For more click here

The concept sounds like the premise for black humor in a Mel Brooks movie. However, there is nothing remotely funny about the paradox found in unpublished photographs unveiled by Life magazine of Nazi Christmas celebrations, including those attended by Adolf Hitler. At the same moment the Nazis were engaging in genocide and the murder of entire families, they took time to indulge in traditional Christmas activities. Click here for the chilling photos