By Todd Garbarini

One of the most iconic of all monster movie images is most certainly Universal Pictures’ Creature from the Black Lagoon, as depicted by numerous actors in the film of the same name. Although Universal’s previous monsters – the Frankenstein monster, Dracula, The Wolf Man and The Mummy – all had their genesis in the world of literature, the Gill Man, as the Creature is alternatively known, is largely a cinematic concoction and his story is no doubt patterned after the King himself, Kong. While the similarities between the largest inhabitant of Skull Island and the Gill Man are undeniable, the method of bringing these two nightmare-inducing monsters to the screen is not. While the former was a combination of stop-motion animation and large-scale mechanics, the latter is the cinema’s first depiction of a monster in a beautifully-designed, full-body suit inhabited by an actor, most notably swimmer Ricou Browning in the underwater scenes of not only the original film, but in two sequels.

In 1954, Dragon Books in the United Kingdom published the novelization, or movie “tie-in,” of Creature from the Black Lagoon (1954), written by John Russell Fearn under the pseudonym of Vargo Statten. It featured colorful cover art by artist John Richards and is very rare, commanding between $1K and $6K dollars depending upon its condition. Now, DreamHaven Books has reprinted this tie-in here in the United States with a beautiful cover by Bob Eggleton. What you will find in this beautifully designed new book, in addition to the novelization, is an excellent introduction by David J. Schow, himself a Creature historian. He provides not only a valuable look into the making of the film, but also the procedures that were in place at Universal Pictures and the team of artists who were tasked with designing, creating and building a suit that would look like a living, breathing creature, under the supervision of make-up head Bud Westmore. The more that I read about this, the more I wished that Creature had been filmed in color; unfortunately, Universal wouldn’t spend the additional $100K required to do that. This is a shame as the Gill Man is a truly beautiful creation.

Mr. Schow also illustrates the finer points of writing a movie tie-in, and how authors of such materials were generally hired on a contractual, per-project basis, and were based upon drafts of the script that were often changed later on thereby making the novelization radically different than its usually far superior cinematic counterpart. Such books were produced within a quick timeframe, and one can only imagine the possibilities today of utilizing a dictation software package to bang out a few of these books on a laptop in a matter of months, technology only dreamed of fifty years ago.

The novelization of Creature goes a few steps further than the film by not only introducing further dialog into the mix to pad out the story and flesh out the characters, but also brings the reader inside the Gill Man’s head and gets inside his thoughts, especially in his captivation of Kay Lawrence, portrayed in the film by Julie Adams, and his desire to win her over. There are also 57 beautiful behind-the-scenes shots of the making of the film and, as a bonus each, of the book’s nine chapters is prefaced with a publicity still.

The book is rounded out with a terrific afterword about author Fearn, written by Philip Harbottle, chronicling Mr. Fearn’s early life in the cotton business, which he abandoned after two years to pursue writing. It also covers his stint as a motion picture theatre projectionist.

This is a must-have for Creature fans and is highly recommended for horror fans who want to broaden their knowledge of this fascinating progenitor of many subsequent man-in-the-suit horrors, Dan O’Bannon’s titular Alien being the most obvious and arguably the most frightening in the cinema.

Click here to order.

The ghoulish folks at the great  Learn About Movie Posters web site presents a video tribute to classic horror movie posters with illustrations provided by Bloody Rare Books and Posters. Click here to view.

If you're a Superman fan, make sure you click here to visit the Superman Homepage, an amazing  collection of reviews, facts and news pertaining to the Man of Steel's comic books, TV series and feature films.

SKYFALL GOES STRAIGHT TO THE TOP OF THE UK BOX OFFICE WITH THE BEST BOND OPENING EVER

London, October 29th – Eon Productions, Metro-Goldwyn-Mayer Studios and Sony Pictures Entertainment are delighted to announce that Skyfall made history this weekend as it opened to an incredible £20.1 million at the UK box office, making it the biggest Bond opening weekend of all time.

SKYFALL, the 23rd James Bond adventure, continuing the longest running and most successful franchise in film history, opened in 587 cinemas across the UK and Ireland on Friday 26^th October. It will release in the US on November 9^th.

In response to the #1 UK opening, producers Michael G. Wilson and Barbara Broccoli said "We are absolutely overwhelmed with the reaction to Skyfall this weekend. It is particularly thrilling as the UK is home to James Bond and it being the 50th anniversary year."

“This staggering box office result clearly demonstrates that the filmmakers behind SKYFALL, director Sam Mendes and producers Michael Wilson and Barbara Broccoli, have delivered a film that the fans have been eagerly awaiting,” said Gary Barber, Chairman and CEO of Metro-Goldwyn-Mayer. “We are proud to be partners with EON and Sony on SKYFALL and look forward to sharing the movie with audiences across the globe.”

“Sony Pictures is proud of its part in bringing this great film to audiences around the world and to have Skyfall embraced at such unprecedented levels is tremendously exciting,” said Jeff Blake, Chairman of Sony Pictures Worldwide Marketing and Distribution.

Daniel Craig is back as Ian Fleming’s James Bond 007 in SKYFALLâ„¢, the 23rd adventure in the longest-running film franchise of all time.  In SKYFALL, Bond’s loyalty to M is tested as her past comes back to haunt her.  As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost.  The film is from Albert R. Broccoli’s EON Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment.  Directed by Sam Mendes.  Produced by Michael G. Wilson and Barbara Broccoli.  Written by Neal Purvis & Robert Wade and John Logan.

Thirty years after its initial blockbuster release, Steven Spielberg's E.T. The Extraterrestrial remains one of the most beloved films of all time. Spielberg and cast members look back on the making of the movie and the Oscar-winning director recalls the delightful effect the film had on President Ronald Reagan. To read click here

By Lee Pfeiffer

MGM has released director Lewis Gilbert's 1964 film The 7th Dawn on DVD- albeit, through their new burn-to-DVD program. Gilbert discusses the movie in an exclusive interview with Matthew Field in Cinema Retro issue #18. The movie has long been on the "wanted" list of retro film fans who had to be satisfied with trying to catch it on periodic showings on Turner Classic Movies. This is a thoroughly engrossing, adult drama with an unusuial setting and story background. The movie begins on the final day of WWII and centers on three disparate friends: an American named Ferris (William Holden), a French woman, Dhana (Capucine) and a Malaysianm, Ng (Tetsuro Tamba) who have led guerilla forces against the Japanese occupation in Malaya. The three close friends a jubilant in victory, after having suffered from fighting in the jungle for extended periods. At the end of the war, Ng goes off to Moscow to pursue communist political training. The apolitical Ferris stays behind, with Malaya now under British occupation. He thrives as a local rubber plantation owner, and Dhana is his lover, despite her frustration with Ferris' womanizing. The story advances to 1953, with Malayans now impatient for independence from England, which is easing toward granting their demands, but at a snail's pace. Ng returns to Malaya to try to instigate communist-inspired violent uprisings. To his sympathizers, he is a freedom fighter. To the British, he is a terrorist and the most wanted man in the nation.

By Doug Gerbino

Warner Archive has  released three classic silent (or part-silent) films. The Merry Widow (1925), Don Juan (1926) and Noah's Ark (1929). These three films are among the best-remembered hits of the late silent, early sound era. First, let's start with The Merry Widow (1925, MGM). This film stars Mae Murray and John Gilbert and was directed by Erich von Stroheim. Much has been documented about von Stroheim's excesses as a director. This was his first film after the infamous debacle known as Greed. Hollywood legend has it that while going through the daily rushes of this film with MGM chief Irving Thalberg, von Stroheim showed a single 10-minute take of one the character's shoe closet. When Thalberg questioned the 10 minute shot of shoes, von Stroheim said, "This is to establish that the character has a foot fetish." Thalberg supposedly replied, "And you have a footage fetish!" Loosely based on the Lehar operetta of the same name, this film casts Mae Murray as the widow in question who is being courted by silent screen lover John Gilbert. Murray was a quirky, tempestuous silent screen star who, according to legend, was the real person Gloria Swanson's character, Norma Desmond, was based on in Billy Wilder's Sunset Boulevard (1950). The image quality is quite acceptable, but sadly the grand two-color Technicolor finale no longer exists (at least in this print).

The next film in this series of releases is Don Juan (1926, Warner Bros. & The Vitaphone Corp.) Starring John Barrymore, Mary Astor, and Warner Oland, this grand swashbuckler is about the greatest lover in the world. This film is a lot of fun, but it is made even more exciting (to film historians, at least) by the knowledge that this was the first movie to utilize the Vitaphone sound-on-disc system that brought the silent era to an end. Don Juan is a silent film with a synchronized music and sound effects track recorded by The New York Philharmonic Symphony. What sets it apart is the Warner’s inclusion of the short-subject program that accompanied the premiere of this movie – eight short films that were live action sound. First we have Will Hayes, the then-president of the Motion Picture Producers & Distributors of America (and later head of the infamous Hayes Office censure board), giving a very stiff and stilted address of welcome to Vitaphone. What follows is seven shorts devoted to some of the most famous classical musical artists of that day: Mischa Elman, Efrem Zimbalist Sr., Marion Talley, Anna Case and Giovanni Martinelli, the great tenor from the Metropolitan Opera Company. Martinelli, who took over from The Great Caruso and sings "Vesti la giubba" from Pagliacci, is the one who brought the house down; it was his short that all the critics wrote about in their next-day reviews. It was Martinelli – a year before Jolson – who said (in Italian) "You ain't heard nothing yet!" Still electrifying after almost 85 tears.

Last, we come to Noah's Ark. This 1929 "part-talkie" was directed by Michael Curtiz, who would later go on to have one of the most eclectic directorial careers of anyone in Hollywood. Mystery of the Wax Museum, The Adventures of Robin Hood, Yankee Doodle Dandy, Casablanca (best director AND best picture of 1943), Mildred Pierce, and White Christmas are but a few of the many pictures from this Hungarian director. This film is an epic in the grandest scale. It is one of those Hollywood spectacles that used a Biblical story to tell a modern morality tale. Set in Europe at the outbreak of World War I, this film stars Delores Costello (Mrs. John Barrymore at that time), George O'Brien (of Sunrise fame) and Guinn "Big Boy" Williams. This film is infamous for causing a number of costume extras to be killed during the deluge sequence of the great flood: director Curtiz did not tell the extras what to expect because he wanted to capture true horror and surprise on their faces. He got his shot… and then some. This is one of those hybrid films that is mostly silent with a couple of talkie sequences tacked on. It is all synchronized with a Vitaphone music and sound effects score that was originally on 16-inch phonograph discs.

These films are a valuable window into our past, which give us an idea of what was happening in this tumultuous period in Hollywood when movies were learning to talk.

Click here to order from the Warner Archive

RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES

By Lee Pfeiffer

One of a seemingly endless number of films that tried to capitalize on the success of the 1974 "art house" softcore porn flick Emmanuelle, the 1983 Canadian movie Joy has been released to DVD by Severin Films. Emmanuelle was especially influential because it broke barriers by playing in neighborhood theaters where couples could view the film in a respectable environment and not be bothered by the raincoats-on-the-lap crowd. Joy, directed by Serge Bergon, follows in the tradition by stressing a story of romance over overt sexual acts. The movie benefits from its considerable budget and boasts some outstanding cinematography in such far-flung locations as Mexico, Paris, Montreal and New York City. It's like a National Geographic special with orgasms. Claudia Udy, a stunning Canadian actress, is more than competent as the title character, a free-spirited model who is searching for true love amidst the hectic pace of her thriving career. She seems to be attracted to suave, older men and believes she's found true love in Marc (Gerard Antoine Huart). However, the romance is on-and-off as she discovers he insists upon carrying on a simultaneous relationship with another woman (He is French, after all...)  Joy also experiments with other men before returning to Marc, who expands her sexual freedoms by exposing her to group sex in a bizarre sequence that seems like an inspiration for Kubrick's Eyes Wide Shut.

London  - Wednesday 19^th September 2012

For the first time in a generation the BFI will present a major project celebrating the historic output of one of Britain’s best loved and most influential studios with a two month retrospective at BFI Southbank Ealing: Light and Dark from 22 October to 30 December 2012. This is a chance to enjoy the great classics and comedies but also to discover the little known and unheralded more serious side of Ealing Studios during the 1940’s and 50’s, with its rich vein of challenging, provocative and sometimes subversive films, often surprisingly radical in their implications. 

The project will include a national re-release of It Always Rains On Sunday (1947) and a new digital clean-up of the neglected They Came to a City, a major new book of essays Ealing Revisited, and special guests and events including an exhibition of Ealing posters, stills and memorabilia drawn from the BFI National Archive’s rich holdings and a new collection in the BFI Mediatheques. A parallel season celebrating director Alexander Mackendrick will feature all of his Ealing films from October 22 to November 30 at BFI Southbank.

Ealing Studios has a unique place in the history of British cinema and it has become a byword for a certain type of British whimsy and eccentricity. But the studio's films boasted a surprising variety. Many of the films of Ealing rank among the undisputed classics of the period, among them Dead of Night, The Blue Lamp, The Cruel Sea, The Man in the White Suit and Passport to Pimlico.

The theme of Ealing: Light & Dark is a rich and revealing one. Even the renowned comedies have a dark side within them: Kind Hearts and Coronets is a wittily immoral tale of a serial killer in pursuit of a dukedom;Whisky Galore! has a mischievous approach to law and order as a Scottish island population attempt to beat the Customs men to the free whisky washed ashore from a shipwreck; in The Ladykillers a sweet old lady proves more than a match for a gang of brutal bank robbers.

Part of the enduring appeal of Ealing is its witty challenging of authority in films such as Passport to Pimlico and The Lavender Hill Mob, which touched a nerve with audiences eager for social and political change faced with the austerity of the immediate post-war era.

Beyond the apparent frothy entertainment, Ealing's darker side dares to show wartime failures, imagine the threat of invasion or to contemplate the unsavoury after-effects of the war in the subtly supernatural The Ship That Died of Shame or the European noir Cage of Gold, in which Jean Simmons is lured by the charms of an homme fatal. Another pan-European story, Secret People (featuring an early appearance for Audrey Hepburn), contemplates the ethics of assassination, while in Frieda, Mai Zetterling faces anti-German prejudice in a small English town.

There are treats for even the most thoroughgoing Ealing aficionados in our programme of the studio's barely known wartime propaganda shorts, many of them unseen and inaccessible for decades. BFI curators will tell the untold story of Ealing's short-lived documentary unit, overseen by the great Alberto Cavalcanti, and its importance to Ealing's feature films. Ealing was presided over by Michael Balcon, a towering figure in British cinema who was an early supporter of Alfred Hitchcock. He gathered around him a band of talented collaborators including the very influential Cavalcanti and directors Charles Crichton, Robert Hamer, Basil Dearden and Alexander McKendrick. All of these remarkable filmmakers were born within a few years of each other, around 100 years ago. The posters for Ealing Studios films feature artwork by many of the era’s greatest artists including John Piper, Edward Bawden, Eric Ravilious, Edward Ardizzone and Mervyn Peake, while the acting talent is a roll-call of many of Britain’s greatest performers, among them Alec Guinness, Stanley Holloway, Margaret Rutherford, Joan Greenwood, Dennis Price, Jean Simmons, Googie Withers, Michael Redgave, John Mills, Thora Hird, Diana Dors, James Fox, Virginia McKenna (who will introduce a screening of The Cruel Sea), Herbert Lom, Maggie Smith, Jack Warner, Alastair Sim, Will Hay and many more.

Join in the conversation at #bfiealing.

We are grateful to STUDIOCANAL for their support and collaboration across the BFI’s Ealing project. They will be releasing The Man in the White Suit and It Always Rains on Sunday on DVD and Blu-ray in December 2012.

See attachment for full film programme and further details of the BFI’s Ealing project.

By Todd Garbarini

Poor Pretty Eddie is a bizarre concoction, the sort of movie that they just don't make anymore, and certainly not in the way in which this politically incorrect creation from 1974 was made. Released on DVD in 2006 with a fairly lousy and dark transfer, the film has been issued in a Blu-ray and DVD combo pack by the fine folks at HD Cinema Classics. Remastered in high definition by Film Chest, Inc. from a 35mm theatrical print, Poor Pretty Eddie concerns an African-American singer, Liz Weatherly (Leslie Uggams), who ends up stranded in the woods after her car breaks down and encounters a bizarre group of characters. Where is a cell phone when you need one? Due to the presence of the newly-built interstate (have you ever noticed how all of these characters’ ills are attributed to government highways?), the remote southern town that she stumbles across is on its last legs. It would be impossible to discuss this film without making a mention of John Boorman’s Deliverance made two years prior to it, and all of the backwoods redneck jokes that probably popped into the audiences’ minds while viewing the film.

Weatherly takes a room at an inn that is home to a group of show business wannabes, most notably Bertha (the always reliable nutcase Shelley Winters, fresh from her turns as Mrs. Armstrong, Auntie Roo and Helen Hill), Bertha’s lover Eddie (Michael Christian) who has patterned himself after Elvis and sees Bertha as his ticket to fame, Keno (Ted Cassidy) the handyman, and Sheriff Orville (Slim Pickens). Dub Taylor even shows up! The Charlie Williams Pinecrest Lodge in Athens, GA doubles as the inn (it was closed in early 2004) where 90% of the action was filmed. The film appears to have a look and feel that seems to almost be drug-induced, with a strange array of characters and big colors as part of the set design. It is an unpredictable hodgepodge of weirdness and must be seen to be believed.

Cinematographer David Worth provides a very interesting and entertaining commentary along with cult film historian Joe Rubin. Mr. Worth’s loquacity is matched only by his erudition of the film business, and for a film made nearly 40 years ago he speaks with tremendous flair and great recollection, despite his claims to the contrary. In the early 1970s, aspiring editors and directors generally cut their teeth in what was then known as the porn industry (now called the “adult film industry” – it has become more respectable I suppose!). They rarely had their names appear in the credits of such fair. Poor Pretty Eddie was no stranger to controversy, as it contains a rape scene involving Eddie and Liz; the scene juxtaposes images of dogs mating in slow motion. Make of that what you will!

The transfer is in high definition, although the print is not completely free of lines and scratches, particularly just after the head of the reel changes. This is a minor complaint, however.

In addition to the feature audio commentary, the package contains the following extras:

• - Theatrical Trailer
• - Production Stills
• - A historical essay
• - A neat postcard featuring the original poster art
• - A restoration demonstration

I personally love HD Cinema Classics. They package their films as a combo pak, which gives the viewer the opportunity to see that Blu-ray is definitely the way to go.

CLICK HERE TO ORDER POOR PRETTY EDDIE FROM AMAZON.COM

Original Hirschfeld sketch of a scene from Dr. No.

Political analyst William Bradley calls the first James Bond movie, Dr. No, "a time capsule from the early Mad Men era." Click here to read his article tracing the history of the film and its impact on cinema and British society. 

By Lee Pfeiffer

MGM's burn-to-order DVD program has released Billy Two Hats, a rather obscure 1974 Western starring Gregory Peck and Desi Arnaz Jr. The movie was produced by Norman Jewison and directed by Ted Kotcheff. It's one of those horse operas that was dismissed as run-of-the-mill at the time of its release but now plays like a real gem. Peck gives a fine performance as Arch Deans, an aging Scottish bank robber who is wanted for accidentally killing a man during the commission of a crime. Speaking with a broad and convincing Scottish brogue, Peck is wonderfully charismatic and appealing. Arch's accomplice in the crime is Billy Two Hats, an half-breed Indian who has led a tormented life because of his mixed race. The sullen and quiet character is played with conviction by Desi Arnaz Jr, for whom this film represented a rare starring role in a major studio production. The two men are relentlessly pursued with Javert-like determination by Sheriff Henry Gifford (Jack Warden), who is determined to see them tried and hanged. When Arch is wounded in flight, he  and Billy try to make for the Mexican border with Gifford and an eccentric saloon owner (David Huddleston) in hot pursuit. Along the way, Arch and Billy seek help from a farmer, John Spencer, well played by John Pearce - a man who shakes them down for money in return for helping them seek safety. In the process, Billy has an affair with Spencer's abused wife (a wonderful turn by Sian Barbara Allen).

The film is far from a classic, but it is the type of good, solid filmmaking we used to take for granted back in the day. Director Ted Kotcheff keeps the action flowing with nary a wasted frame and the characters are richly defined and very interesting. Although the film is a tour de force for Peck, he gets solid support from Warden and Huddleston, two of the most reliable character actors of the period. Arnaz acquits himself quite well among these heavyweights, which leads to the puzzling question of why his big screen career fizzled so quickly.

The film contains the original theatrical trailer.

Click here to order discounted from Oldies.com

Now that the Governator has returned to acting, he's finding a somewhat rocky road. Arnold Schwarzenegger does have his first film since leaving politics - The Last Stand- slated for release next year. However, plans to revive his most famous character for Terminator 5 appear to be falling apart. Schwarzenegger says there is no script and the director who had been hired has moved on to other things. Meanwhile, Schwarzenegger is planning to develop a sequel to his 1980s hit comedy Twins, but the original film's director, Ivan Reitman, has publicly denounced the project as being crassly commercial. For more click here

 By Todd Garbarini

One of the great joys of going to the movies as a child was seeing Walt Disney films in a movie theater. I saw many of the live-action variety, but there were instances of Disney's classic cartoons being reissued on double bills with other Disney fare. One such film was 1950’s Cinderella, a movie that my mother had seen when she was about ten. I recall, even as a child, having a deep appreciation for the art of animation and, in the early 1990s, a woman who attended one of my classes in college was buying up the Disney films on VHS. I remember thinking how much better the films fared on laserdisc, but I never said anything for fear of sounding like a snob. All of those previous analog technologies, which were passable at the time, pale in comparison to the new Blu-ray of Cinderella. Disney has been doing an extraordinary job with their animated features in terms of high definition, sparing no expense at bringing their classic library one film at a time to home video. If you don’t see Cinderella on Blu-ray, I can honestly say that you really haven’t seen it, nor is it possible to fully appreciate the artistry that went into the making of this classic film. Nuances that were never before seen in analog format (even the high-end laserdisc editions) are now breathtakingly clear, colorful and robust. All of this has been made possible thanks to the folks who have given Cinderella a much-needed digital facelift and overhaul.

By now, the story of Cinderella is so familiar that it would be difficult indeed to find anyone unfamiliar with it. The story of a young girl forced to work as a maid for her evil stepmother and two wicked stepsisters and her turn at the ball have become so much a part of our lexicon and culture that even those who have not read the story or seen the film knows exactly what one is talking about merely through reference. If you’re one of those who have not seen the film yet, there is no better way to get acquainted with the story than with the new Blu-ray.

The extras include:

Tangled Ever After animated short which is a lead-in to the film (also on the DVD)

Never-Before-Seen Alternate Opening Sequence in storybook form

Personalized Digital Storybook: Bibbidi-Bobbidi-You – “Disney Second Screen” technology which permits viewers to experience a virtual storybook addendum to the film on an electronic device such as a computer, an iPod Touch, or an iPad.

Behind the Magic: A New Disney princess Fantasyland (about 8 minutes and also on the DVD)

The Real Fairy Godmother – a 12-minute tribute to Walt Disney’s wife

The film is available in several different flavors:

a 2-disc set which is comprised of one Blu-ray and one DVD

a 3-disc set which is comprised of one Blu-ray and two DVDs

a 6-disc set which includes Cinderella (1950), and the made-for-video productions Cinderella II: Dreams Come True (2002) and Cinderella III: Twist in Time (2007) on Blu-ray, DVD, and a Digital Copy of Cinderella. All six discs reside in a Cinderella Picture Storybook that sits inside a jewelry box.

The sound is also much improved and a far cry from the low-fidelity, hiss-y sound that was so prevalent on the VHS version of the film.

Cinderella has never looked like this before. This Blu-ray is a must-own.

Click here to order from Amazon

Cinema Retro contributor James Sherlock, James Bond star George Lazenby and long time partner and publicity assistant Jennifer Adeney next to the original On Her Majesty's Secret Service James Bond 007 Aston Martin DBS.

On the 50th anniversary of James Bond, one-time 007 On Her Majesty's Secret Service star George Lazenby flew into Melbourne, Australia, for the recent Armageddon Expo and a special appearance at Melbourne's premiere picture palace The Astor Theatre followed by a special screening of On Her Majesty's Secret Service. Another Bond guest included Die Another Day girl Rachel Grant. For the first time since filming, George Lazenby was reunited with the original On Her Majesty's Secret Service Aston Martin DBS used in the film, which is privately owned by a Melbourne collector who purchased it in 1978 and restored it to pristine condition (complete with the rifle handle and telescopic sights seen in the film, which are still in the glove compartment of the car.) Following media appearances, the stage show and Q&A, hosted by semi-retired cinema industry publicist, film historian, presenter and Cinema Retro contributor James Sherlock, was a near sell-out as Lazenby captivated the audience on his experiences as James Bond 007 in his 50th Anniversary celebration year.

By Tim Greaves

July 1973. The Gaumont, Southampton. If someone had whispered to the boy sitting in that cinema waiting for Roger Moore’s debut performance as James Bond to unfurl before his excited-beyond-measure eyes, that he would one day be seeing the man himself within the walls of that same building...well, he’d probably scarcely have believed it. His fascination with 007 would continue and thrive throughout the ensuing years (indeed, he would catch The Man With the Golden Gun, The Spy Who Loved Me and Moonraker at the Gaumont during their first run).

October 2012. The Mayflower, Southampton (formerly The Gaumont). The years have flown by and that little lad, now sharing his 50th year with the cinematic incarnation of his favourite fictional spy, is spending “An Afternoon with Sir Roger Moore”. It’s one of a small number of stage appearances (also taking in Malvern, Kingston, Bournemouth, Bath, Basingstoke and Norwich) that give the legendary actor an opportunity to promote his new book, “Bond on Bond”, and share his captivating memories of over six decades working in the entertainment industry.

The pleasantly informal show is presided over by Sir Roger’s assistant and friend (not to mention “Cinema Retro” scribe) Gareth Owen – an endearing warmth emanates from their jovial repartee – and Sir Roger proves to be not only a natural raconteur, but a true gentleman, as his response to a question about an actress with whom he didn’t get along so well testifies: “If you can’t say something nice about someone, don’t say anything at all.”
For the next couple of hours the packed auditorium is regaled with tales – from his early days working in Hollywood to his most famous screen roles in The Saint, The Persuaders (his impression of co-star Tony Curtis is a delight) and, of course, the James Bond films; from his glowing opinion of Daniel Craig’s portrayal of 007 to his collaboration with Moonraker co-star Irka Bochenko for the anniversary tribute single “Happy Birthday, Mr Bond”; from his gleeful ribbing of Desmond Llewelyn over Q’s complicated dialogue in the Bond films to his harrowing, often heart-breaking experiences as an ambassador for UNICEF. Two hours has never passed so swiftly.

It’s hardly a startling revelation that the boy so utterly beguiled by Live and Let Die back in 1973 was this reviewer. And I’m sure my younger incarnation would have been thrilled to know that one day his 40 odd years older self would have the chance to extend a personal thank you to the man whose work has given countless hours of pleasure to him and millions of others around the globe.
Sir Roger, you are one of the few remaining true gentlemen of the silver screen and it was an incomparable privilege to spend time in your company.

For official Moore appearance web site click here

By Todd Garbarini

The 1970s were an unorthodox time in American cinema. It was an era in which an actress like Jodie Foster could play a 12-year-old prostitute one year and appear in a family comedy about switching bodies with her mother the following year. I can honestly say that's not something you would ever see today.

In early 1978 my parents took me to see Disney's Pete's Dragon (1977). Before the movie started, the trailer for the R-rated Straight Time starring Dustin Hoffman was shown. I distinctly recall the scene of Hoffman doing an embarrassing number on M. Emmet Walsh and stranding him on the highway. Crazy! The experience did not detract from the fact that Pete’s Dragon, a live-action film mixed with animation and the most expensive that Disney made up to that point (roughly $8M, which is about $32M today), is a charming family film that arrives on Blu-ray with a beautiful transfer. The story of a young orphan named Pete (Sean Marshal who has since left acting for other pursuits) and his inarticulate, grunting sidekick Elliott (an animated and sometimes invisible dragon) set in the 1920s features Shelley Winters as Pete’s abusive adoptive mother trying to get him back; Mickey Rooney as Lampie, a drunken lighthouse keeper who sees Elliott and tries to convince his doubters; Helen Reddy as Nora (Lampie’s daughter) who thinks that Elliott is just an imaginary friend; Jim Dale as Doc Terminus, a snake oil salesman and his sidekick Hoagy (Red Buttons); and Jim Backus as the Mayor. The action is punctuated by a good number of musical interludes, and the film was nominated for Best Original Song (“Candle on the Water”) and Best Original Score. It won the Golden Globe for Best Original Score for Al Kasha and Joel Hirschhorn.

The mixture of animation and live action cannot rival that of today’s computer technology, but it doesn’t detract from the film, either. The performances and the musical numbers are what really propel the story and make it a fun-filled viewing until the end when it gets a tad elegiac as Elliott must move on.

The set design is also fairly spectacular, including a full-blown lighthouse that was built (and subsequently torn down) for the film in San Luis Obispo, CA which doubles as the tongue-twisting Passamaquoddy, Maine.

Disney is really getting it right by releasing combo DVD and Blu-ray sets. I wish that more studios would adopt a similar method of releasing films. Judging by the side-by-side comparison, it is obvious that Blu-ray is the best method to watch the film. The clarity is far better than standard DVD, and the sound is a lot richer than the previous VHS and DVD releases. I am hoping for a Blu-ray of One of Our Dinosaurs is Missing (1975), which I saw at a drive-in when I was seven.

The Blu-ray features the following extras:

Brazzle Dazzle Effects: Behind Disney’s Movie Magic which illustrates the history of Disney’s mix of live-action and animation. Narrated by Sean Marshall (Pete), the featurette runs just over 25 minutes and has a lot of nice behind-the-scenes footage during the film’s production in 1976. It also compares the technology of then to the computers of today.

Deleted Storyboard Sequence: “Terminus & Hoagy Hunt Elliott” which presents a rare, demo dialogue track set to visual storyboard sketches and runs two and-a-half minutes.

Original Song Concept: “Boo Bop Bopbop Bop (I Love You, Too)” which is a first demo recording from 1976, with early story sketches of Pete singing to Elliott and runs two and-a-half minutes (this is included on the DVD).

Click here to order from Amazon

Below are the contact details for Cinema Retro's UK office. Please do not use any E mail address other than the one listed below.  The Firenet E mail address is no longer valid.

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By Todd Garbarini

Bye Bye Birdie (1963) is an exuberant, squeaky clean musical comedy from Columbia Pictures that is based upon the 1960 Broadway musical of the same name. It is also extremely dated by today’s standards and flat-out corny at times. Overall, however, it is a fun ride that sports a good number of memorable musical interludes, the title song easily giving the viewer a severe case of earworm. Director George Sidney was no stranger to musicals as he was also responsible for Ziegfeld Follies (1945), The Harvey Girls (1946), Holiday in Mexico (1946), Annie Get Your Gun (1950), Showboat (1951) and Scaramouche (1952). Here, he brings to the screen the story of Kim MacAfee (twenty-two year-old Ann-Margret in her breakout performance) as a high school girl who becomes the envy of her peers when she is given the opportunity to kiss teen rock idol Conrad Birdie on the Ed Sullivan Show in front of the whole nation- a development that leads to a rift with her boyfriend Hugo ( real-life teen idol Bobby Rydell in a passable performance). Inspired by the military drafting of Elvis Presley in December 1957 (he went on to co-star opposite Ann-Margret in 1964’s Viva Las Vegas, also directed by George Sidney), Bye Bye Birdie possesses an infectious energy with its smile-inducing attempts to curtail the ever overflowing zeal of female fans who cannot get enough of the titular singer (Jesse Pearson). That fervor for Elvis would soon be eclipsed by something even more radical: Beatlemania. Why girls would be expected to swoon over the less-than-stellar looks of Birdie is anyone’s guess but in this film fantasy we are also expected to believe Paul Lynde could have fathered Ann-Margret. Lynde is actually very funny in his role (with his quirks and mannerisms that made him literally the center of attention on Hollywood Squares), especially in his rendition of “Kids,” a song about annoying offspring.

The film opens with a tantalizing rendition of the title song by Ann-Margret set against a bright blue screen, and this illustrates that this is primarily a star-making showcase for her. Although she appeared previously in smaller roles in Pocketful of Miracles (1961) and State Fair (1962), the vivacious actress shines in this film. The aforementioned sequence is a powerful and memorable enough showcase to have influenced an entire episode of AMC’s fine series Mad Men and reportedly was shot after filming wrapped specifically to promote her. Ann-Margret’s singing bookends the film as Albert Peterson (Dick Van Dyke, as his usual and likeable self) tries to write a song that Birdie will sing on the TV show. Albert’s girlfriend Rosie DeLeon (Janet Leigh, in a musical performance I would never have expected from her) wants his domineering mother (Maureen Stapleton) to butt out of his business and marry Albert. As a Hollywood musical, everything turns out for the best in the end, but not before the lead characters belt out a few songs of their own.

Bye Bye Birdie was the first movie that I ever rented from West Coast Video in the fall of 1987 on VHS. The Columbia Home Video tape was even produced in the old oversized clamshell box and the picture quality was absolutely horrendous. Twilight Time’s brand-new Blu-ray blows all previous home video incarnations of this film out of the water. Retaining the film's original anamorphic 2.35:1 Panavision aspect ratio, the image is head and shoulders above the Pioneer special widescreen laserdisc edition from the 1990’s and the DVD from 1999. The Blu-ray contains an isolated music and sound effects track and has been pressed in a limited number of 3,000 copies, so click here to pick one up from Screen Archives Entertainment. They also offer the infectious soundtrack album which can be purchased here.

ORIGINAL BOND SKYFALLâ„¢ STUNT VEHICLES TO BE UNVEILED AT FREE LONDON EXHIBITION

Vehicles to be exhibited alongside vintage James Bond artwork

• Double cab Land Rover Defender, one of the star vehicles of new James Bond movie SKYFALL™ to feature in Jaguar Land Rover car exhibition alongside Ms Jaguar XJ Long Wheel Base and MI6 Range Rover

• Also exhibiting original James Bond watercolour set design artwork, cinema posters, lobby cards from as early as 1967

Original Jaguar Land Rover vehicles used in the upcoming James Bond film SKYFALL will be revealed at an exhibition to mark the general release of the latest installment of the iconic film franchise from 25-30 October at The Hospital Club in Covent Garden.

Fresh off the set and still with all the stunt bumps and bruises, the iconic Land Rover Defender, which features in the opening chase sequence as the brawny vehicle of field agent Eve (played by Naomie Harris) will be on show at the exhibition. The grey Defender with external driving pod will be exhibited along side M's chauffeur driven Jaguar XJ Long Wheel Base, and the black Range Rover driven by Bill Tanner, M’s Chief of Staff.

For more about The Hospital Club click here

NBC will air the pilot episode of Mockingbird Lane on October 26. The show is a reboot of the 60s sitcom The Munsters. Most of these ventures are ill-advised. We'll have to reserve judgment on this one, but just take a look at the characters-- we routinely see far stranger looking people on the New York subway system every day. Herman looks like a Wall Street stock broker and the character of Grandpa, played by Eddie Izzard, resembles Truman Capote at one of his famous dinner parties. Is this really how these characters will look throughout the series? Herman Munster with no bolts from his head? For more click here

This is the first photo released from Hitchcock showing Scarlett Johannson as Janet Leigh, filming the legendary shower murder in Psycho. The film stars Anthony Hopkins as the famed director and tells of his uphill battle to bring the the classic thriller to the screen. Click here to view trailer

(For full coverage of the making of Psycho, see Cinema Retro #18)

On tonight's broadcast of 60 Minutes, Anderson Cooper takes us behind the scenes in the world of James Bond and interviews Daniel Craig, Barbara Broccoli and Michael G. Wilson about the legacy of the series. Cooper also visits Pinewood Studios and sees one of the original Aston Martin DB5 cars from Goldfinger. He also visits an old friend of Cinema Retro, Eon archivist Meg Simmonds, who takes Cooper inside a top secret warehouse filled with original Bond props including Oddjob's hat and the deadly attache case. Click here for link to page that allows you to view the segment. Make sure you also view the bonus Becoming Bond segment, as well.

Here's a curiosity brought to our attention by reader Mike Boldt...a 1986 Sunday comic strip tribute to the career of Clint Eastwood by artist John Roman. 

By Dave Worrall

I went to the media screening of the new James Bond film SkyFall last night at the "home" of 007 - the Odeon Leicester Square. All 1600 seats were taken, and the buzz of anticipation in the auditorium was overwhelming. They were not disappointed, as this 23rd film in the series unfolded in spectacular fashion.

I'm not one for revealing story lines, and I'm not about to change that habit here. However, press releases have disclosed the story (a simple one at that) of Bond being sent in pursuit of a stolen hard drive that contains the names of secret agents around the world who have infiltrated terrorist organizations. We soon discover the nemesis behind the plot, which leads to a vendetta against Mi6 and 'M' - and a scenario that Bond has to resolve.

All the "elements" of a big-scale James Bond film are here: stunning locations, beautiful women, action set-pieces, grand sets, and gadgets and gimmicks - oh, and characters from the past. This film is director Sam Mendes’ tribute to the 007 films he grew up with, and he delivers big time. For me, after the disappointment of the lack lustre Quantum Of Solace, it was a welcome back to the world of Bond of the past - but only the 21st century past. You cannot compare this film to the Connery or Moore eras; that would be ridiculous. Times have changed. Audiences have changed - and so have expectations of a new generation of movie-goers - and quite rightly so. Bond has changed, too, and is all the better for it.

Producers Broccoli and Wilson have brought together a brilliant team of craftsmen for this production, and everyone delivers. From the stunning photography of Roger Deakins (probably the best-looking Bond film ever), to the superb pacing of editor Stuart Baird (a joy to behold after the computer game- style cutting of Quantum) and the dazzling set designs of Dennis Gassner, this really is the "David Lean" of Bond films. Daniel Kleinman's titles are fantastic, and the Adele title song is the best since Tina Turner's GoldenEye. The action set-pieces are spectacular, and handled by past "Bond veterans" Gary Powell (stunts) Alexander Witt (2nd unit director) and Chris Corbould (special effects).

The stellar cast is impeccable. Craig is in top form, as is Judi Dench. Javier Bardem makes for a menacing and memorable villain, and co-supporters Ralph Fiennes, Ben Wishaw, Naomie Harris and Rory Kinnear come together as a believable "team" who assist Bond with his mission. Bérénice Marlohe, who looks stunning, is under-used (when you see the film you will see why). However, that is due to the script and not a reflection on her ability as an actress.

Which brings me around to the script. As I said earlier, the plot is fairly simple, but the dialogue is superb, and there are some excellent humorous one-liners that had this audience laughing out loud. There are also some "nods to the past" which the audience loved - with one scene getting a round of applause and cheering. The violence is pretty full-on and dramatic. It's definitely not a film for kids.

Are there any flaws? Yes. But only noticeable to Bond die-hards, not a general audience of movie-goers. Is it the best Bond film ever? No, but it's up there in the top five. Would I see it again? I can't wait - and most Bond fans will feel the same after experiencing Skyfall.

By Doug Gerbino

The beautiful Rita Hayworth shines in her first Technicolor© film-COVER GIRL (1944). The beautifully restored transfer co-stars Hayworth with Gene Kelly (on a loan out from M-G-M) and a young, pre-Sgt. Bilko Phil Silvers. This lighthearted musical boasts a score by Jerome Kern and Ira Gershwin (the great standard, “Long Ago, and Far Away” comes from this score) and was directed by Charles “King” Vidor.

Twilight Time has done a terrific great job presenting this film on Blu-ray and ANYTHING that presents classic 1940s TECHNICOLOR© is a must for me. There was never anything like it (and never will be.) Actresses like Rita Hayworth were made for TECHNICOLOR©. This one is a backstage musical with Rita rising to the top as a nightclub performer. Gene Kelly is there to love and support her. Phil Silvers and Eve Arden are along for laugh-support.Talk about star power… This was the first film in which Kelly was allowed to design and stage his own musical numbers. His home studio, M-G-M, had never given him that kind of control until he returned to the studio with significantly more clout. Why didn’t Metro learn NOT to lend their stars out to Columbia? It didn’t work back in ’34 when they loaned-out Clark Gable. Like Kelly, he returned to MGM a much bigger name and was consequently able to make far greater demands.

Calendar Girl is yet another worthy release by Twilight Time, which is fast becoming one of the premiere distributors of fine retro movies that would otherwise undoubtedly remain in studio vaults.

107 minutes. 1080p HD/ 1.33:1 Limited Edition of 3,000 units / Informational booklet with liner notes by Julie Kirgo included.

Click here to order from Screen Archives.

It's doubtful that Hitchcock, the much-anticipated film about the making of Psycho, will set boxoffice records with the same audiences that flocked to see the Hangover movies. But for anyone hooked on classy, art house films this is looking to be as good as it gets, based upon some new photos released by Fox Searchlight. They depict Anthony Hopkins in the titular role, Helen Mirren, virtually unrecognizable as his wife and collaborator Alma, James D'Arcy as Anthony Perkins and Scarlett Johannsson, who bears an uncanny resemblance to Janet Leigh. To view click here

Joe Dante's Trailers From Hell presents the original theatrical trailer for Clint Eastwood's moody and ominous 1973 Western High Plains Drifter. You can watch the trailer in its original format or watch it with an audio commentary from writer/director Edgar Wright, who gives his opinion of the Eastwood-directed flick. Click here to view 

The new book Elizabeth Taylor: A Shining Legacy on Film pays tribute to the screen legend through publication of some rare photos highlighting her in key roles and behind the scenes on film sets. Click here to view slideshow.

Click here to order book discounted from Amazon

By Lee Pfeiffer

The new romantic comedy ("romcom" for you hipsters) Excuse Me for Living represents the first feature film by Ric Klass, at least in terms of getting any meaningful distribution. (His prior excursion into filmmaking was the little-seen Elliott Fauman, PhD. back in 1990.)  The indie movie goes into theatrical release in select theaters nationwide this week. The film traces the tangled relationships between young New Yorkers, with the emphasis focusing on Dan (Tom Pelphrey), a privileged Gen X'er who nonetheless suffers from severe depression and a penchant for self-destructive behavior. When the film opens, we find him about to leap to his death from a bridge. Saved by a cop, he is "sentenced" to a rehab clinic run by a strict, but compassionate psychiatrist (Robert Vaughn), who attempts to form a personal bond with the troubled young man. Dan agrees to join a therapy group comprised entirely of elderly men, each of whom reveals their own personal demons. Dan is accepted by the group, but his rebellious nature gets the better of him. Before long, he's being lured back to his old ways. He sneaks out to attend wild parties at the home of a snobby friend and even starts an affair with his own psychiatrist's daughter. The episodic nature of the film provides both strengths and weaknesses. On the plus side, we're introduced to some interesting characters, well played by a talented cast of largely unknown actors and actresses. Pelphrey is especially good in the lead role, but he gets able assistance from Melissa Archer and Ewa Da Cruz as the femme fatales who wreak havoc on his his troubled mind by offering a continuous string of sexual temptations.  On the other hand, Klass, who also wrote the screenplay, introduces so many characters and relationships that the viewer sometimes can't follow who is doing what with whom. Klass doesn't strive for belly laughs, instead concentrates on amusing situations and poignant and often moving dramatic aspects to the storyline. Best of all, he brings together some terrific veteran actors, all seen in their largest big screen roles in years. Vaughn, in particular, makes the most of his considerable screen time, bringing grace and dignity to a complex role. It's great to see him in a lead role on the big screen again.  Seinfeld almuni Jerry Stiller (playing a relatively subdued and realistic character) and Wayne Knight are also on hand, along with Christopher Lloyd, whose usual crazy guy shtick is quite amusing. There is also enough mildly kinky sex and scantily-clad women to appeal to guys who might otherwise think this is a chick flick. In fact, it's a smart, witty comedy that should have special appeal to young, urban audiences. The movie also has a rich look to the production design and is crisply photographed and impressively edited.

Excuse Me For Living makes for a fine directorial debut for Klass. Here's hoping he has a second act in the works. 

Click here to visit the official web site for the film

By Todd Garbarini

Mad Monster Party is a relatively obscure stop-motion animated musical treat from 1967 that many non-genre fans are unaware of. Aimed at children, it is the creation of Rankin and Bass, the production team responsible for so many holiday television specials including Rudolph the Red-Nosed Reindeer, Santa Claus is Comin’ to Town, The Little Drummer Boy, and The Year Without a Santa Claus. Unlike these specials, however, Mad Monster Party made the rounds to movie theaters as a feature-length film for Saturday and Sunday matinees. It’s the obvious inspiration for Tim Burton's The Nightmare Before Christmas (1993), boasting an infectious musical score that sticks in your head long after the movie is over.

Baron Boris von Frankenstein, the lead character who is voiced by Boris Karloff in one of his last roles, decides to hang up his lab coat and hand his castle and duties over to his less-than-capable nephew Felix Flankin (Allen Swift) who can’t seem to do anything right. He plans to make this announcement at a gathering of monsters that includes a dim-witted monster of his own creation, the monster's mate (voiced by Phyllis Diller), his lab assistant Francesca (Gale Garnett), Dr. Jekyll & Mr. Hyde, Dracula, the Werewolf, the Creature from the Black Lagoon, The Invisible Man, The Hunchback of Notre Dame, the Mummy, a King Kong-like ape, and a creepy-looking Peter Lorre look-alike. Naturally, Felix goofs up everything, which causes the monsters to conspire to eliminate him and find out the secret that Baron Frankenstein his unearthed.

Mad Monster Party was originally released on Embassy Home Entertainment in the mid-1980s and was sourced from a dark 16mm print, much like its rare television airings. The opening credits referred to the availability of a soundtrack album, however one was never released at the time. It took nearly 20 years for a now-defunct record company, Percepto Records, to finally issue the music on compact disc, which is now long out of print but can be found if you look hard enough on eBay. Unfortunately, the film's original camera negative was reportedly water-damaged many years ago, rendering it unusable. Whether or not it still exists is anybody's guess, but fortunately a pristine 35mm print, which possesses a minimal amount of dirt and scratches at the head and tail of each reel, has survived and was used for the new Blu-ray/DVD combo release which is now available from Lionsgate. The Blu-ray is a revelation and the film has never looked this good before. It is framed in the 4 x 3 (1.33:1) ratio, but on widescreen monitors and televisions the image can easily be expanded to 16 x 9 (1.78:1) without looking contorted.

Both the Blu-ray and the DVD have the following extras that have been ported over from the Lionsgate DVD-only release from 2009:

"Mad Monster Party: Making of a Cult Classic" featurette (14:47)

"It's Sheer Animagic! Secrets of Stop-Motion Animation" featurette with Mark Caballero and Seamus Walsh (9:35)

"Groovy Ghouls: The Music of Mad Monster Party" featurette with Maury Laws (3:45)

Two bonus sing-along tracks for kids of all ages: "Our Time to Shine” and "One Step Ahead"

Trailer (1:29)

The new Blu-ray is a worthy step up from the standard DVD and worth the purchase. This will make a great addition to one’s collection, especially for Halloween.

Click here to order from Amazon.com.

BY ADRIAN SMITH 

Retro Screams: Terror in the New Millennium by Christopher T. Koetting

(Hemlock Books, Paperback, £18,95)

392 Pages, ISBN#978-0955777462

When Texas Chainsaw 3D is released early next year it will simply be another film in a long line of remakes, re-imaginings, sequels or prequels that Hollywood appears to be churning out non-stop these days. For many this production line of remakes represents a dearth of originality in the mainstream studios. Hollywood has become a corporate entity afraid of anything but the safest possible bet, turning in on itself and it's back-catalogue of recognisable titles which still have some form of cultural recognition amongst potential audiences today.

In his new book Christopher T. Koetting catalogues many of this recent spate of remakes, comparing their origins and productions to those of the originals. It is somewhat alarming to be be reminded in print form just how many remakes there have been. Retro Screams covers eighteen different films in detail dating back to 2003, when the first Texas Chainsaw Massacre was released, which seemingly opened the remake floodgates. Since then we have had classics like The Fog and Halloween (both 2005) revisited, along with lesser-known slasher titles like Prom Night (2008) and Black Christmas (2006).

Whole chapters are dedicated to John Carpenter, Wes Craven and George A. Romero respectively, whose works have been ruthlessly plundered with varying degrees of success. Koetting documents how little or how much involvement these original directors had this time around (Craven has acted as producer on The Hills Have Eyes (2006) and The Last House on the Left (2009) for example). The author proposes to demonstrate whether these new versions are justified by comparing plot details and development information, along with extensive quotes from writers and directors. Due to a lack of footnotes or references it is difficult to ascertain how many of these were from interviews he conducted himself, or whether they are simply cribbed from articles and press releases. This lack of referencing is one of the book's most serious commissions, as it makes it difficult to judge for oneself how seriously to take some of these quotations.

The book makes interesting reading if you have seen either the originals or the remakes being discussed. However, if you are a fan of these films the chances are that you will already know most of the stories surrounding the productions, particularly as Koetting appears to have mostly gathered this information from sources already easily available. He also appears to sit on the fence regarding the need for remakes, and this lack of a satisfying conclusion leaves the reader wondering just exactly what the point of this book is.

Although the idea of the horror film remake is not a recent phenomenon (let's not forget that the best of the Hammer horrors were all remakes of Universal), Retro Screams reminds us that for better or worse, Hollywood is going to keep plundering titles with any sort of recognition, and it is a minor miracle when ideas with any originality make it into production.

To buy this book CLICK HERE

By Lee Pfeiffer

Twilight Time has released writer/director Ken Annakin's whimsical homage to the daredevils of early flight, Those Magnificent Men in Their Flying Machines, as a limited edition (3,000 units) Blu-ray. Typical of Twilight Time releases, the transfer is gorgeous. The only previous attempt to do justice to this gorgeous-looking 1965 film was Fox's ancient laser disc edition. Annakin channeled his boyhood fascination with flying into something constructive: an ambitious, big-budget movie. He was not only a talented director of actors, but he could also direct traffic, too, as evidenced by his admirable work on such epic movies as The Longest Day and Battle of the Bulge. The story is set in 1910 England and finds Robert Morley as a pompous millionaire who offers a sizable sum for the first international flyer who can soar from London to Paris. The 22-mile  Channel crossing is considered to be death-defying but nevertheless attracts fearless flyers from across the globe. Part of the fun in watching the film is in Annakin's good-natured tweaking of cultural stereotypes. The British are stiff traditionalists, the Frenchman is an inexhaustible lover, the manic Italian copes with Waltons-size family and nagging wife, the German is a humorless bureaucrat and the American a swaggering cowboy. Each of these daring young men has constructed his own aircraft and they make for a very erratic and often humorous sight. Yet, the claptrap creations manage to get into the air, though with decidedly mixed results. Annakin actually had these Rube Goldberg contraptions built from scratch and they actually did fly, resulting in some of the most spectacular aerial footage ever filmed. He is aided an abetted by a wonderful international cast. The leads are Stuart Whitman, James Fox and Sarah Miles, but the real fun comes from the spirited group of second bananas: Gert Frobe, Alberto Sordi, Terry-Thomas, Robert Morley, Jean-Pierre Cassel, Eric Sykes, Benny Hill and Red Skelton among them. The film boasts a marvelously catchy theme song and wonderful score by Ron Goodwin, as well as the creative titles sequence by artist Ronald Searle. The Blu-ray preserves the original intermission and provides a number of original trailers and TV spots as well as an informative commentary track by Annakin that has been salvaged from obscurity from the laser disc release. Julie Kirgo provides the informative liner notes in the accompanying, well-illustrated booklet.

They don't make aircraft like this any more and they certainly don't make enjoyable epics like this, either.

Click here to order from Screen Archives

RAY HARRYHAUSEN:

.
SPECIAL EFFECTS TITAN

Written and directed by Gilles Penso

Produced by Alexandre Poncet, Co-produced by Tony Dalton

Featuring Ray Harryhausen, Tony Dalton, James Cameron, Terry Gilliam, John Landis, Nick Park, Steven Spielberg, Peter Jackson, Tim Burton, Joe Dante, Guillermo Del Toro

Release date: At cinemas from 9^th November 2012

Certificate: tbc

Running time: 94 mins

“I think all of us who are practitioners in the arts of science fiction and fantasy movies now, all feel that we’re standing on the shoulders of a giant. If not for Ray’s contribution to the collective dreamscape we wouldn’t be who we are.” James Cameron

The remarkable career of the movie industry’s most admired and influential special-effects auteur, the legendary Ray Harryhausen, is the subject of Gilles Penso’s definitive documentary Ray Harryhausen: Special Effects Titan.

Leaving no doubt as to Harryhausen’s seminal influence on modern-day special effects, the documentary features enlightening and entertaining interviews with the man himself, Randy Cook, Peter Jackson, Nick Park, Phil Tippet, Terry Gilliam, Dennis Muren, John Landis, Guillermo Del Toro, James Cameron, Steven Spielberg and many more. These filmmakers, who today push the boundaries of special effects movie-making, pay tribute to the grandfather of Stop Motion animation and films such as ‘The Beast From 20,000 Fathoms’, ‘It Came From Beneath The Sea’, ‘The 7^th Voyage Of Sinbad’, ‘Mysterious Island’, ‘Jason And The Argonauts’ and ‘The Golden Voyage Of Sinbad’ – the films that enthralled them as children and inspired them to become filmmakers in their own right.

The interviews are combined with archival footage and contemporary clips plus the added delight of behind-the-scenes footage, stills and original drawings plus recently discovered unseen takes of tests and experiments. The filmmakers were granted unprecedented access to film all aspects of The Ray Harryhausen Collection including models, artwork and miniatures as well as Ray's private study, where he designed most of his creations, and his workshop where he built them.

This story of how a hobby became a profession, from Ray’s first childhood experiments with dinosaurs made in his parents garage, to the ground-breaking techniques he developed to intricately interweave Stop Motion animation with live action and the birth of Dynamation is essential viewing for any fan of science-fiction, fantasy and adventure filmmaking.

Ray and his movies transport us to the magical other worlds of ancient mythology in the company of fantastical creatures such as the Talos, the Cyclops, the Skeletons and the Kali without which the likes of Avatar, Jurassic Park, Star Wars and The Lord Of The Rings would not even have been imagined. The documentary reveals the painstaking detail, concentration and patience required to do by hand, what a computer now creates artificially in seconds, and it was all one man. A lost art, perhaps, but Ray Harryhausen’s influence will resonate for many generations to come.

Ray Harryhausen: Special Effects Titan (Arrow Films) is released at cinemas from 9^th November 2012.

Further information from The Ray and Diana Harryhausen Foundation can be found at http://www.rayharryhausen.com/

By Todd Garbarini

E.T. The Extra-Terrestrial (1982) opened on Friday, June 11, 1982 and was considered to be a small and personal film by director Steven Spielberg. It was also the first movie that I recall being released on multiple screens at the same theater simultaneously and this widespread exhibition of the film, in addition to word-of-mouth, was no doubt partially responsible for making E.T. the top-grossing film of the year.

Filmed under the original title of A Boy’s Life in late 1981, E.T. was written by screenwriter Melissa Matheson of The Black Stallion (1979) fame, and the fact that the title was changed illustrates the switching of focus from Elliott (Henry Thomas) to the little alien creature whose plight captured the world. A beautifully crafted story about childhood, loneliness and growing up was brought to life by perhaps the only filmmaker who could have done it justice. Mr. Spielberg had been fascinated by outer space since the night he and his father looked up at the stars in his backyard. As a teenager, he made an ambitious, 140-minute film called Firelight (1964) about UFOs. Years later, his own Close Encounters of the Third Kind (1977) acted as a sort of follow-up to it, and E.T. was inspired by the idea of one of the aliens at the end of this film being left behind. The product of divorced parents, Mr. Spielberg has claimed that E.T. is the only script he has read and wanted to make immediately without major changes.

The performances by everyone involved are wonderful. Mr. Spielberg always manages to get authentic reactions from his child actors. Who can forget Barry Guiler’s (Cary Guffey) look of wonder (accomplished by Mr. Spielberg dressing up as a rabbit off-screen) in Close Encounters when aliens raid his mom’s kitchen? Here, the director really shines, especially with Elliott’s little sister Gertie, played by six year old Drew Barrymore.

E.T. has not lost any of its original charm or wonder, nor does the film feel dated in any way. In 2002, the director made significant changes to the original version by adding an additional scene with E.T. in the bathtub by way of computer-generated imagery. He also removed the guns from the hands of the men seen near the film’s end who take over Elliott's house. He replaced the guns with walkie-talkies, thus outraging purists. Fortunately, the Blu-ray is the original 1982 version without these changes.

The film would not have made the impact that it had were it not for John Williams’ wonderful score. He has created a main theme for E.T. that simply makes the onscreen action soar. The special effects team is to be commended as well for their ability to take a rubber and mechanical puppet and turn it into a living, breathing creature with emotions.

If there is a drawback to the Blu-ray set, it is the exclusion of Harrison Ford's role as Elliott's school principal. The director had shot a scene where Elliott is sent to the principal’s office following the frog dissection fiasco sequence, and Elliott’s principal (Ford) asks him why he behaved the way he did. Since E.T. is a film about children and how they see the world, adults (with the exception of Dee Wallace as Elliott’s mother) are seen in synecdoche, their faces obscured. The principal was filmed this way, but the director cut the scene feeling it was extraneous. The only time this footage ever surfaced to my knowledge was in the deluxe CAV laser disc edition that was produced in limited quantities in 1996. As far as I know, no VHS, DVD, or any other video format has ever offered up this footage, but you can see a low resolution transfer of it here on Youtube.

The Blu-ray comes with a standard DVD and a digital copy of the film in addition to these extras:

Steven Spielberg & E.T. (HD, 13 minutes)

The E.T. Journals (HD, 54 minutes)

Deleted Scenes (HD, 4 minutes)

A Look Back (SD, 38 minutes)

The Evolution and Creation of E.T. (SD, 50 minutes)

The E.T. Reunion (SD, 18 minutes)

The 20th Anniversary Premiere (SD, 18 minutes)

The Music of E.T. (SD, 10 minutes)

Designs, Photographs and Marketing (SD, 45 minutes)

Special Olympics TV Spot (SD, 1 minute)

Theatrical Trailer (SD, 2 minutes)

This is clearly one of the best Blu-ray releases this year, as the carefully orchestrated color palette of Allen Daviau, the film’s Director of Photography, has never looked better on home video.

Click here to order from Amazon.com.

There were plenty of heavy-hitters bidding in the James Bond charity auction at Christie's, London, last night. Organised in conjunction with EON Productions, the event was an invite-only affair with 50 high-entry items donated by the filmmakers up for grabs. An Aston Martin DBS from Quantum of Solace sold for £241,250, and Bond's infamous swimming shorts from Casino Royale went for an amazing £44,450!

Props and costumes from the new film SkyFall included a signed script (£13,750), an Omega watch worn by Daniel Craig (£157,250), a one-third scale model of an Aston Martin DB5 (£61,250), and a suit and Dinner Jacket worn by Craig (£30,000 and £46,850, respectively). UNICEF, Childline and Barnardo's were amongst the charities benefitting from the proceeds of the sale.

-Dave Worrall

The first unit of the Blu-ray boxed set was packaged in gold and featured a timing device to measure the hours until it arrived in London.

In September, all stops were pulled out to promote the UK release of the James Bond Blu-ray boxed set, the first unit of which traveled from Scotland to London, "escorted" along the way by various 007 dignitaries.  Cinema Retro photographer Mark Mawston provides photos and coverage of its arrival at the final destination.

The Journey of the Bond 50 Blu-ray box reached its final destination of HMV Oxford Street, London.

The ever glamorous Britt Ekland, resplendent in gold herself, pulled up outside the London flagship store in a celebratory Bond 50 Aston Martin holding the famed golden attache case holding the collection of 007 Blu-ray discs. After posing on the rain-drenched street, she was interviewed inside by many media outlets. Asked if being a Bond Girl was similar to being the President of the United States, as both are forever named as such, Britt said she loved being a Bond girl, with her quintessential Bond "The tall and handsome Roger Moore". Not seeming too impressed with Daniel Craig ("he drinks beer- sorry Heineken!") she went on to describe how she heard she had the role of Mary Goodnight in Roger Moore's second 1974 outing as 007, The Man With the Golden Gun: "I was really trying for the part and got on with Cubby and Harry very well. I REALLY wanted the part as a Bond Girl. I was on holiday when I got the call from a friend to say I got the part, as the friend had seen a headline in the paper that had read "Swedish Beauty gets Bond role". When I finally got it, I found out that it referred to Maud Adams! But I still got the part I wanted in the film."

As we stood by as Britt was interviewed, the clock on the boxed set ran down to nought, in the Bondian tradition (I thought it would have stopped at 007...), thus ending its journey which began in Scotland with a launch from Britt's leading man and a generation’s 007, Sir Roger Moore.

(All photos copyright Mark Mawston. All rights reserved.) 

On Global James Bond day, Eon Productions has released the first film clip from Skyfall that features a spectacular action sequence involving Daniel Craig's assault with a bulldozer on a speeding train. The scene has a nice Bondian touch: 007 adjusting his cufflinks after enduring some death-defying stunts. It reminds us of Bond calmly adjusting his necktie after the brutal battle to the death with Red Grant in From Russia With Love. Best of all, the score features strands of the James Bond Theme, which has been all-too elusive in recent 007 flicks.

Cinema Retro congratulates James Bond, Agent 007 on this milestone achievement! We look forward to the next half-century. Don't forget to celebrate Global James Bond Day- check your local news for events that may be going on in your area.

Well, they finally made another good James Bond theme song. Adele's main theme from Skyfall is a welcome throwback to the glory days of Bond music, with lush orchestral accompaniment and even hints of the James Bond theme interwoven. Kudos to all...it will help us all get over that "song" that played over the titles of Quantum Of Solace. Click here to watch a music video with song lyrics.

By Todd Garbarini

As Rush is now on tour in support of their Clockwork Angels album, I thought it would be fitting to have another look at their latest DVD and Blu-ray concert release, Rush: Time Machine Tour 2011 – Live in Cleveland, in addition to some truly nifty releases of their back catalog.    

Rush has always been a band that never took themselves seriously, despite what their most ardent detractors have vehemently suggested.  In retrospect, I still cannot understand what the music critics have been griping about all these years when it comes to Rush’s unique sound, which itself has gone through so many changes from one album to the next.  As far as playing live is concerned, Rush is truly mystifying to watch as I can never quite figure out how just three people are making this music which sounds so epic and grand in scope.  Yes, they have an entire group of behind-the-scenes experts making sure that the show goes smoothly, but the band sounds as though there are six people playing instead of just three.   

I recall seeing Rush’s first concert video released to the masses, Exit…Stage Left, on video in 1983 and being completely wowed by the boys.  Subsequent concert videos followed, but they never included the full concerts that they showcased, which was always frustrating as the tracks I really wanted to hear were invariably dropped.  Thankfully, that practice has gone by the wayside, and now Rush’s concert videos are always presented in their complete form (except for the initial release of R30, which was re-issued in toto on Blu-ray).   

I always wanted Geddy Lee, Alex Lifeson, and Neil Peart, the triumvirate that comprises Rush, to come out on stage prior to a concert’s start and have them all go to the wrong instruments by “accident” and attempt to play them, only to correct themselves and start off in their respective positions.  The closest that we have gotten to seeing this happen is in the videos that appear on their most recent tour in which they do just that.  Whether you watch Rush’s Time Machine Tour 2011 – Live in Cleveland on DVD or Blu-ray, you can appreciate the hard work that goes into making a show.  What is really nice about this release is that this is the first time that a concert video is featuring Rush playing on U.S. soil, and they chose Cleveland as this was the city that really put them on the map in terms of radio airplay thanks to then-disc jockey Donna Halper, author of 2001’s Invisible Stars: A Social History of Women in American Broadcasting.  

By Lee Pfeiffer 

As a political junkie, I didn't think anything would tempt me to miss last night's much-anticipated first debate between President Obama and former Gov. Mitt Romney, but an invitation from Eon Productions to attend the New York premiere of the acclaimed documentary Everything or Nothing: The Untold Story of James Bond proved too tempting to resist. The film is a triumph for director Stevan Riley and his team, who worked for over a year and a half to put together the most unique look at the longest-running series in cinema history. The event took place at the Museum of Modern Art. The screening itself, in digital format, was enthusiastically received by all including some people who profess not to be particularly enamored of the films themselves but who felt the angle of covering the human side of the producer's stories was successful and engrossing on all levels. 

Cinema Retro editor-in-chief Lee Pfeiffer with Barbara Broccoli and Hilary Saltzman.

The unique aspect of Everything or Nothing is that Riley avoids the generic, bland format of simply retelling anecdotes about how the films were made. In fact, there are virtually no such stories related. Instead, he concentrates on the stories of people whose lives were personally impacted by the films and, more specifically, producers Albert R. Broccoli and Harry Saltzman. These stories aren't told in linear fashion, as the narrative bounces back and forth through the decades, interwoven with the personal experiences of the actors who played Bond (all are interviewed except - predictably- Sean Connery, who is nevertheless represented through vintage interviews.) One must acknowledge the courage of the Broccoli and Saltzman family for refusing to sanitize the subject matter. Director Riley was given no restraints regarding the content. The result is a warts-and-all human saga of two remarkable men and their achievements and foibles. There is triumph and tragedy as the ever-escalating popularity of the series puts increased strain on all those involved. There are some revelations that will surprise Bond scholars. For one, Broccoli and Saltzman were not at odds from day one, despite their different personalities. Their differences only became increasingly acerbic with the hiring of Roger Moore, who - it is revealed- Broccoli was not keen on hiring. Saltzman's notorious penchant for bad investments and reckless gambling on dubious ventures led him to fall into severe debt. His daughter Hilary recounts how his decision to sell his half of the series to United Artists brought immediate financial devastation to the family, resulting in personal effects having to be sold to raise money.  The Saltzman fall from grace is a sad chapter in the saga, especially when the Broccoli  and Saltzman "kids" recount how their fathers' fractured relationship almost destroyed their relationships as well. (The families do remain close today with Hilary and her brother Steven Saltzman are often invited as honored guests to Bond-related events.) Perhaps most moving is the revelation that, once apart, Harry and Cubby truly missed each other. Cubby's gregarious decision to invite Harry to the 1981 premiere of For Your Eyes Only marked Harry's emergence from self-imposed isolation and seclusion. Hilary recounts how nervous he was to attend the event. When she recalls how the two men ended up embracing, it's enough to bring tears to your eyes. Similarly, Roger Moore's anecdote about his ill-fated attempt to heal the wounds between Broccoli and Connery is offset by Barbara Broccoli recounting a particularly touching phone call Cubby received from Connery when when the producer was virtually on his death bed. I won't ruin the impact by recounting it here, but it is moving beyond words. 

Hilary Saltzman with Joseph Caroff and his wife Phyllis. The 90 year-old Caroff designed the legendary 007 logo, as well as many other classic film logos.

The film is interspersed with personal reflections from Roger Moore, Pierce Brosnan, George Lazenby, Timothy Dalton and Daniel Craig. All avoid the cliched stories they have told so many times before. Moore speaks frankly about his old friend Connery's obsession with money. Dalton is far more engaging and animated than when he promoted the Bond films he starred in. (Refreshingly, Barbara Broccoli admits Dalton's films were ahead of their time and not want audiences wanted to see in the late 1980s.)  Brosnan speaks candidly about the strained phone call he received from Barbara Broccoli and Michael G. Wilson in which he was told he was fired. Lazenby, in a surprisingly upbeat mood, inexplicably reinforces the notion that he was fired when he says "the producers let me go". In fact, he quit the role, much to their chagrin. There are rare film interviews with Ian Fleming, whose life and work is given significant screen time. He is recalled by his friends and colleagues, who shed some new light on the Fleming persona. A significant amount of screen time is devoted Broccoli's decades-long legal battles with producer Kevin McClory over screen rights to the character of Bond. McClory is presented as a lazy opportunist whose obsession in life was to live off the 007 legacy built by Fleming and the filmmakers. (He does have a defender, however : actress Judy Geeson). 

One of the photos on display shows Pierce Brosnan (seen here with Cubby Broccoli and Michael G. Wilson) when he originally got the role of James Bond in 1986. Brosnan talks candidly about his heartbreak when a contractual clause with NBC for Remington Steele ruined his chance to be Bond, seemingly forever.

There is a candid conversation with Skyfall director Sam Mendes, who admits he thought the casting of Daniel Craig would be disastrous. Former United Artists production chief David V. Picker bluntly says that he agrees with Sean Connery that he was underpaid for his contributions. Picker recounts that, while Broccoli and Saltzman routinely renegotiated their own compensation, they never looked after Connery on the early films, meaning that he was stuck with the salary he had original contracted for.  Such honesty is generally eschewed in such "tribute" documentaries, but it is what makes this one unique and refreshing. What does emerge primarily, however, is that, despite their personal flaws, both Cubby and Harry were devoted family men and loving fathers and husbands whose primary goal was to provide for their loved ones.

The film contains some tantalizing snippets of rare early behind the scenes footage and interviews that will leave Bond scholars aching to see them in their full context. I should also mention that the movie is exceptionally well-edited and photographed, beginning with a stunning opening sequence that presents the Bond actors walking into the famed gun barrel simultaneously.  

After the film, I spoke with Stevan Riley, who expressed frustration that he has a tremendous amount of interview footage that couldn't be squeezed into the 90 minute film. These include comments from Prime Minister David Cameron, the head of MI 6, actors Eva Green and Richard Kiel and (full disclosure), this writer as well. However, I have to confess that the overall feature probably works better without such interviews because it concentrates on those people who lived through the emotional rollercoaster of making the Bond films, primarily Barbara Broccoli, Michael G. Wilson, Steven and Hilary Saltzman. Riley will attempt to use the unseen footage in a future DVD release.  One non-"insider" who did make the final cut is President Bill Clinton, who not only confesses to being a life long Bond fan but also provides some interesting perspectives on Bond's role in the Cold War and post-Cold War periods. If there is one flaw with the film it is the fact that, while the narrative covers Broccoli's independent films, it never mentions Saltzman's. In fact, Saltzman was reinventing British cinema with "kitchen sink" dramas like Saturday Night and Sunday Morning, Look Back in Anger and The Entertainer. He also produced the successful Harry Palmer films and the epic Battle of Britain, none of which merit a mention here. Nevertheless, the film is the most significant effort yet to present Saltzman as a important figure instead of someone who lived in his partner's shadow. 

Maud Adams and Hilary Saltzman

Following the screening, invited guests migrated to the palatial Metropolitan Club in the shadow of Central Park. As with all Eon-sponsored events, it was a party to remember. Upon entering, you were greeted by a string quartet playing themes from the Bond films. The party, which was co-sponsored by the American cable TV channel Epix and Vanity Fair (the latest issue of which features a Bond cover), was set in an ornate room that made one feel they were in the Louvre. Liquor flowed freely from tuxedo-clad bartenders and the lobby featured giant, impressive boards each featuring a Bond actor that made for tempting photographic backdrops for seemingly everyone with a camera.

During the course of the evening, I ran into some old friends including David V. Picker, the seemingly ageless Maud Adams and Robert Davi. I also introduced legendary graphic design artist Joe Caroff to both Barbara Broccoli and Hilary Saltzman, who delighted in finally meeting the man who created the 007 gun logo. In all, it was a night to remember. 

Everything or Nothing is receiving a theatrical release in the UK and is being shown on the EPIX cable TV channel in America. 

(All photos copyright Cinema Retro. All rights reserved.)

By Adrian Smith

Although we mainly stick to the golden age of movies here at Cinema Retro, occasionally a new movie does grab our attention. This summer saw the release of The Expendables 2, a creaking collection of aging action stars desperate to get one last gasp out of a tired genre. It could have at least been a comedy, about the relevance of the muscular Eighties hero in the 21st century, but sadly it failed on all levels. One look at The Expendables 2 would lead you to believe that the action genre needs a bullet in the head to put it out of its misery. Thankfully a film has come along that firmly blows away the cobwebs and kicks those geriatrics back to the retirement home they belong in. The Raid (known as The Raid: Redemption in the US), is a film which so utterly revitalises the action genre that you will feel like you have never actually seen people fighting in a movie before.

Shot in Indonesia with mostly non-professional actors, The Raid is the first major release from Welsh director Gareth Evans. A thirty story building is home to gangsters, murderers, drug dealers and thieves, with one major crime lord overseeing it all. The police, armed to the teeth, are sent in with the express purpose of clearing the building and taking him down. Outnumbered, outgunned and double-crossed, they find themselves trapped and almost certain no to make it out alive. The plot of the film is mainly an excuse for some phenomenal martial arts fighting which is photographed in such inventive, bone-crunching and frenetic style that each scene feels fresh and exciting. At the heart of the film is Iko Uwais, playing a rookie cop desperate to make it out alive to get back to his pregnant wife. Incredibly he has only acted once before, and he has terrific screen presence, balancing charisma and vulnerability with the absolute assurance in his own skills. Discovered by Evans in a Silat martial arts class just five years ago, he is clearly going to become a major star, and it is no exaggeration to compare him with Bruce Lee or a young Jackie Chan.

The Raid will make you look at action cinema with raised expectations from now on, and many films are going to struggle to make an impact in its wake. It is now available on both DVD and Blu-ray, and is certainly worth seeing as soon as possible. There are plenty of features which take you further into the story behind the film, which will make you want to jump up from your armchair and get straight to your nearest self-defense class. 

(Note: Smith's review is of the UK Blu-ray release)

Click here to order the American Blu-ray special edition  

Press release from  Sony:

Friday, October 5th, 2012 will be Global James Bond Day, marking the 50th anniversary of the James Bond film franchise.  It was Albert R. Broccoli and Harry Saltzman who adapted Ian Fleming’s books and brought Dr Noto the screen in 1962.  The 007 franchise today is the longest running in film history with twenty-three films produced.  The latest James Bond adventure is entitled SKYFALLâ„¢ and will be released in the UK on October 26^th and in the US on November 9^th.

In the UK, an auction of James Bond memorabilia is taking place at Christie’s with all proceeds going to UNICEF and a number of charitable causes.  In the US, events for Global James Bond Day include a film retrospective at The Museum of Modern Art in New York and a Music of Bond Night hosted by the Academy of Motion Picture Arts and Sciences in Los Angeles.  In other countries around the world, special events have been planned.  In Belgium and South Africa, offices will celebrate with Bond-themed Casual Fridays, where people will turn up to work dressed in gowns and tuxedos.  In addition, EVERYTHING OR NOTHING: The Untold Story of 007, the feature documentary,  will be released on 5^th October through Sony Pictures Releasing UK on an exclusive basis with Odeon Cinemas in selected locations.  Radio stations around the world are planning to play Bond theme songs. In addition, pre-sale tickets for Skyfall will be available in most locations on Friday, October 5.  Moviegoers may check with their local cinemas for details.

ABOUT SKYFALLâ„¢

Daniel Craig is back as Ian Fleming’s James Bond 007 in SKYFALLâ„¢, the 23rd adventure in the longest-running film franchise of all time.  In SKYFALL, Bond’s loyalty to M is tested as her past comes back to haunt her.  As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost.  The film is from Albert R. Broccoli’s EON Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment.  Directed by Sam Mendes.  Produced by Michael G. Wilson and Barbara Broccoli.  Written by Neal Purvis & Robert Wade and John Logan. 

About Albert R. Broccoli’s EON Productions

EON Productions Limited and Danjaq LLC are wholly owned and controlled by the Broccoli/Wilson family. Danjaq is the US based company that co-owns, with MGM, the copyright in the existing James Bond films and controls the right to produce future James Bond films as well as all worldwide merchandising.   EON Productions, an affiliate of Danjaq, is the UK based production company which makes the James Bond films.   The 007 franchise is the longest running in film history with twenty-two films produced since 1962.  Michael G Wilson and Barbara Broccoli succeeded Albert R ‘Cubby’ Broccoli and have produced some of the most successful Bond films ever including CASINO ROYALE and QUANTUM OF SOLACE. They are currently producing the 23rd film, SKYFALL.

About Metro-Goldwyn-Mayer Inc.

Metro-Goldwyn-Mayer Inc. is a leading entertainment company focused on the production and distribution of film and television content globally.  The company owns one of the world’s deepest libraries of premium film and television content.  In addition, MGM has investments in domestic and international television channels, including MGM-branded channels. For more information, visit www.mgm.com.

About Sony Pictures

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America, a subsidiary of Tokyo-based Sony Corporation. SPE's global operations encompass motion picture production and distribution; television production and distribution; home entertainment acquisition and distribution; a global channel network; digital content creation and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of entertainment in 159 countries. For additional information, go to http://www.sonypictures.com/

Daniel Craig hosts SNL this weekend and has filmed some very amusing promo spots that not only spoof James Bond but his own image as a stoic man of few words. Click here to view

It's a long tradition for Harrods in London to dedicate their display windows to celebrate the release of the latest James Bond film. This year is no exception, as evidenced by these photos snapped by Cinema Retro's Dave Worrall. They tie in to the release of Skyfall and if you're in London, the promotion extends to the interior of the store as well with displays of high end Bond fragrances designed to bring out your inner 007. 

(All photos copyright Dave Worrall/Cinema Retro. All rights reserved)  

(L to R): Cinema Retro's Ajay Chowdhury, Matthew Field, Dave Worrall and Mark Mawston.

By Matthew Field

Last night Cinema Retro attended the world premiere of Everything Or Nothing: The Untold Story of OO7 in London. Bond alumni were out in force as many faces from in front and behind the camera attended the Leicester Square screening. The film was followed by a fascinating Q&A with Michael G. Wilson, Barbara Broccoli, Steven Saltzman and Hilary Saltzman. They spoke affectionately about growing up together on the set of the early Bond movies, as well as the challenges faced by their fathers Cubby Broccoli and Harry Saltzman in bringing and keeping James Bond on the screen. They were joined by director Stevan Riley who discussed the daunting task of navigating a story through 60 years of Bond heritage.

Guests included Charles Dance, Maryam d’Abo, former EON publicist Jerry Juroe, Fiona Fullerton, Shirley Eaton, Samantha Bond, Vic Armstrong, Eunice Gayson, Madeline Smith, Martine Beswick, Caroline Munro, Shane Rimmer, John Glen, and Sir Ken Adam. Following the screening, guests relocated to The Naval and Military Club (In & Out) for a wonderful reception.

Everything Or Nothing is one of the finest documentaries ever made about James Bond. It doesn’t attempt to cover every angle, but instead Riley has focused on the human story to be found in the subject - the emotional and personal journeys of Bond creators: Ian Fleming, Cubby Broccoli and Harry Saltzman. Not only have EON opened up the archives to the filmmakers, they’ve bravely allowed Riley to tell the story the way he wanted – documenting both the rough with the smooth. It’s an important piece of work that will continue to inform and educate many generations to come as to how one of the 20^th Century’s most popular cultural icons, came to be.

This film undoubtedly deserves a solo home entertainment release. Fingers crossed it does.