Blu-ray/DVD/Streaming Reviews & News
Entries from January 2012
By Lee Pfeiffer
Joshua Logan's 1955 screen adaptation of William Inge's Broadway sensation Picnic has been released on Blu-ray by the excellent Twilight Time label as a 3,000 unit limited edition. The play helped boost Paul Newman to stardom but amazingly he was excluded from the film version, along with most of his fellow cast members. Inge's play presented an unusually frank examination of repressed sexual frustration in a small Kansas town. That tension boils over with the arrival of Hal Carter (William Holden), a charismatic drifter whose arrival in town sets off a combustible tinderbox of emotions among the residents. Hal is a magnet for women of all ages, but he sets his sites on Madge (Kim Novak), a vulnerable teenager from a broken home who is looking for a white knight to deliver her from the boredom of her small town life. Hal fills the void but brings to mind the old adage "Be careful what you wish for- you just might get it." Hal's presence unleashes long suppressed rivalries and jealousies and he goes from hero to cad in the eyes of many.
It's long been said that Holden was too old for the leading role, but nothing could be further from the truth. He's at the top of his game and exudes raw sexuality. He benefits from an outstanding supporting cast, each of whom is seen at their best: Novak; Susan Strasberg as her catty, envious sister, Betty Field as the frustrated mom who advises her girls that sex may be an unpleasant chore for a woman, but if it allows you to nab a handsome husband, it's worth it; young Cliff Robertson as an insecure local hunk who comes to regret Hal's presence, and wonderful turns by Arthur O'Connell, Nick Adams and others. Among the many memorable scenes are Holden and Novak's slow dance to Moonglow, which drips eroticism and plays like a mating ritual. All of this is set to James Wong Howe's glorious cinematography which improbably manages to "open up" a rather claustrophobic storyline written for the stage.
The Twilight Time Blu-ray looks great and includes the original trailer, an informative booklet written by Julie Kirgo and an isolated track for George Duning's terrific score.
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The once-defunct Hammer Films is not only making movies again but they are aggressively moving to upgrade their horror classics for Blu-ray. The releases will include new interviews with cast members. The studio is also appealing to the collector's circuit to help provide prints that may have scenes deleted from theatrical versions. For more click here
By Lee Pfeiffer
The Scorpion DVD label has released the notorious 1976 British horror flick I Don't Want to Be Born under its American title, The Devil Within Her (It was also known as Sharon's Baby). It's easy to see why this cult movie has gained its reputation, as its a real hoot. Joan Collins stars as Lucy, a one-time London stripper who gives up her wild lifestyle in favor of a more sedate life. She marries a successful Italian businessman, Gino (Ralph Bates) and finds herself pregnant immediately after their wedding night. Trouble is, she suspects the real father is actually her sleazy ex-boyfriend Tommy (John Steiner), who she slept with the night before her wedding in order to have one final fling. Things are moving along swimmingly with the happy couple living the good life in a tony section of London. However, when Lucy goes into labor, the process of giving birth proves to be particularly agonizing, causing speculation that it was almost as if the baby did not want to be born. Nevertheless, she takes home a healthy, if robust 12 pound baby boy. Immediately strange and disturbing things start to happen. Visitor are injured and Lucy herself is scratched severely by the baby. Strange noises come from his nursery and furniture in the room is inexplicably tossed about.Before long, the mayhem results in people disappearing while others are killed under strange circumstances. Lucy is terrified to be alone with her own baby, as she is convinced he is possessed by the devil. The fear is not unwarranted, as she recalls having her pregnancy cursed by a sex-crazed dwarf whose attentions she once spurned. (I'm not making any of this up, folks.) The film borrows so heavily from two horror classics it should have been titled Rosemary's Exorcist. Yes,
there is an exorcism performed by Lucy's sister-in-law, an Italian nun
(Eileen Atkins).
Veteran Hammer films director Peter Sasdy
throws in every cliche the genre has to offer, although he does do a good job of maximizing actual locations in London, which at least lends some atmosphere to the production. His biggest challenge is insurmountable in that, while you can coach even an angelic child actor to appear menacing (a la The Omen), you can't give direction to an infant. Thus, Sasdy has to resort to some unintentionally funny gimmicks such as showing a glimpse of the super-tyke's arm as he assails innocent people who are only trying to "koochy koo" him. Meanwhile, when the camera comes back to focus on the baby, he looks as menacing as a coffee table. What makes the film so much fun is the determination of the cast to play it straight, as though they were performing in an erstwhile production at the Old Vic. Collins is gorgeous, of course, but has to contend with a deadlier enemy than her demonic baby: the styles of the 1970s. Thus, she goes through the proceedings often sporting a hair style that appears to emulate that of George Washington. Sasdy does, however, provide the prerequisite Collins scene in which she is shown in "stockings and suspenders", as the Brits would say and we do get a gloriously torrid and superfluous love scene between her and Bates. Sasdy also breaks up the laughs by centering other scenes at a strip club as an excuse to show plenty of T&A. Joining Collins onscreen is an impressive cast that occasionally manages to make the viewer begin to take the proceedings somewhat seriously. Donald Pleasence, cast as Lucy's sympathetic but bewildered doctor, is as compelling as ever, managing to steal every scene even while underplaying. Eileen Atkins also delivers a fairly admirable performance as the much-troubled nun trying to save her sister-in-law and ultra sexy Caroline Munro makes a few welcome appearances as Lucy's best friend. Cult favorite John Steiner is amusingly over-the-top as the villainous boyfriend who may have sired the son of Satan.The film's appeal as a camp classic remains intact and despite its flaws, remains a thoroughly enjoyable romp- if even for the wrong reasons.
Scorpion's DVD edition includes an original TV spot and a very entertaining recent interview with Steiner, who tells funny stories about the legions of B movies he has starred in. (He even gets a plug in for his new career as a real estate agent). Unfortunately, Steiner doesn't remember much about the making of this film, but he does render some fascinating anecdotes about others he has appeared in. The DVD also has an optional introduction by Katarina Leigh Waters, who I understand is a professional wrestler. I'm not sure how this qualifies her to introduce a horror film, but she does a fine job, providing some interesting facts about the production as well as some eye candy. In the tradition of Elvira, Waters also hosts other horror films for the label. The DVD also features a trailer gallery of other Scorpion releases.
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By Lee Pfeiffer
Not for the weak-stomached or faint of heart, Living in
Emergency: Stories of Doctors Without Borders, available now on DVD from First Run Features, offers excellent insights into
the highly-touted humanitarian organization and the individual doctors who keep
it afloat. The documentary follows volunteer doctors in war-torn Liberia and
Congo, not only detailing their “typical†work day activities (in often bloody
detail), but also delving into their motivations for joining the organization,
their means of coping with high-pressure situations, and their opinions of the
humanitarian assistance field.
While just watching the documentary, which includes
footage of crude amputations and a hernia the size of a beach ball, can make
your blood pressure rise, Living in Emergency is also strangely refreshing.
While most documentaries focusing on humanitarian assistance often turn into
love letters to specific organizations or individuals, Living in Emergency
avoids all-out hero worship in favor of a nuanced view that encompasses both
the successes and the shortcomings of the organization and its volunteers. While
the positive impact of Doctors Without Borders is certainly the focus of the
movie, concerns about its support of new staff members and premature decisions
to pull out of certain areas are also expressed. Similarly, while anyone
watching the film cannot help but admire the courage and commitment of the
organization’s volunteers, the movie also illustrates their humanity by showing them
at their best (in surgery) and their worst (drunk and argumentative).
The only real shortcoming of the film is its failure to
give a sufficient voice to the over 20,000 local staff that make Doctors Without
Borders run. As Americans, it may seem more captivating to watch our Western
counterparts delve into both a physical and metaphorical heart of darkness.
However, it is extremely important to recognize the role played by local
volunteers, who sacrifice their time, safety, and energy to help their own
communities without the promise of leaving after six months. While the
documentary does feature one local doctor, more interviews with healthcare
providers, patients, and community members would have greatly enriched the
documentary and provided a more balanced perspective on the organization.
Despite this weakness, Living in Emergency is an
excellent and thought-provoking film that anyone interested in the field of
humanitarian assistance should take the time to watch.
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Reader Bill Parisho alerted us to this unusual DVD that will appeal to all John Wayne fans:
"In this behind-the-scenes documentary, Ethan, Patrick and Marisa Wayne
share their memories of growing up with a Hollywood legend, and reveal
why the time is right for the auction of the personal property of their
movie-star father. Includes an exclusive look at the one-of-a-kind items
from Wayne's extraordinary life featured in the Heritage Auctions
event. A must-have collector's DVD for all Wayne fans. DVD sales benefit
the John Wayne Cancer Foundation."
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Film Chest, a film archive based in
Bridgeport, CT that manages and restores several major motion picture libraries, is
introducing a boutique home video division, American Pop Classics. The have
recently remastered several of the Basil Rathbone/Nigel Bruce Sherlock Holmes
classics of the 1940s that were originally released theatrically by
Universal. The titles will be available on burn-to-order basis through the
Allied-Vaughn company, the industry leader in the technology. Film Chest
executives joined Cinema Retro editor-in-chief Lee Pfeiffer for a Holmes
screening at New York's legendary Players club at Gramercy Park where DVDs of
the new line were given away as raffle prizes. The crisply remastered prints
represent the first time that these Sherlock Holmes films are available as
burn-to-order editions. They are available through major on-line retailers.
Film Chest offers many classic movies, rare television shows, and cult film
classics now available on demand. Stay tuned for further info.
By Lee Pfeiffer
Lafayette Escadrille, the final film of esteemed director William A. Wellman, comes to DVD through the Warner Archive. The B&W film's main point of interest is that it proved to be a rather inglorious close to an otherwise glorious career. Wellman, who directed the first Oscar-winning film Wings, wanted to pay homage to the Escadrille (pronounced "Escadree"), a unit of American flyers who fought for France prior to America's entrance into WWI. The volunteers were essentially the forerunners of the far better known Flying Tigers who fought on the side of China against Japan in the second world war. The men of the Lafayette Escadrille were considered national heroes in France and for years Wellman insisted he had served with them. He would later admit he had actually served in a less illustrious French flying unit. The movie, released in 1958, is an uneven, uninteresting bore that focuses on a handsome young man, Thad (Thad???) Walker, played by Tab Hunter, who joins the Escadrille in order to escape some problems with the law in America. His motivations for joining the Escadrille as opposed to, say the circus, are never even discussed, a plot hole that seems bizarre since Thad has absolutely no knowledge of planes or flying. He bonds well with his fellow American flyers in training, but soon his wayward ways result in him deserting. He shacks up with a a French prostitute, Renee (Etchika Choureau), with whom he falls madly in love. The two tire of their Paris love nest primarily because Thad can't risk being seen in public. Making matters more difficult, Thad doesn't speak French and Renee can't speak English, but, hey, when it comes to love, "Viva la difference!" Out of desperation, he takes a job pimping for a bordello but is shamed by this "career". When America enters the war, he spills his story to a sympathetic American general and - presto!- he is not only forgiven for desertion, but is allowed to fly for the U.S military as a sergeant. If all of sounds ridiculous, it plays even worse on the big screen. By the time Wellman lumbers to an impressive, but all-too brief dogfight sequence in the skies of France (photographed by the great William Clothier), you'll probably have nodded off an hour before.
Hunter may be impossibly good-looking, but makes for a bland leading man. The director tries to compensate for this by working in any number of scenes that require him to strut around without his shirt. Wellman's sense of period details also leaves a lot to be desired. Most of the Yanks sport contemporary late 1950s haircuts and speak in modern vernacular. The film's primary asset is that it provided an early showcase for some up-and-coming talents such as David Janssen, Tom Laughlin, Brett Halsey and Clint Eastwood, who is largely relegated to window dressing. Perhaps most brazenly, Wellman presents himself as a character in the Escadrille and he is portrayed by his son Bill Wellman Jr. (I'll bet he really had to sweat out the screen test for that role...) The movie also suffers from unconvincing studio sets and locations that don't remotely suggest France (the movie was shot entirely in California). Additionally, Wellman presents a series of dreadfully unfunny sequences in which the French characters are presented as idiots and buffoons and he seems to find it positively hilarious that these people don't speak English, even though they are in their native country. The story crawls to a presumably touching happy ending, but it emerges as possibly the least moving love story ever committed to films during this era.
Clint Eastwood fans will be happy the movie is available on DVD to fill a hole in their collections, but the average viewer will probably agree with the general perception of critics that the movie is a misguided story about flyers that never gets off the ground.
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