On the heels of his outstanding success with the 1953 3-D horror film House of Wax, Vincent Price would be heretofore known primarily as a giant of this film genre. That may have been unfair to Price, who was an outstanding actor able to play diverse roles in diverse films, but it did cement his stature as a Hollywood legend. The studios immediately wanted to capitalize on this new horror star and Columbia quickly signed Price to star in The Mad Magician, which was also presented in the short-lived 3-D process. The film has none of the production values of House of Wax: it was shot in B&W and, aside from an establishing opening scene, every sequence in the movie was (very obviously) shot in a studio. The plot finds Price in what would become a familiar scenario for his characters: a likable, honorable man driven to madness and murder by the unscrupulous people in his life who have betrayed him. The story is set in the early 1900's (people have telephones, but still travel via horse and buggy). Price is Don Gallico, as aspiring magician who is frustrated by the fact that he creates all of the amazing tricks and hardware that other magicians then utilize to gain fame and fortune. He decides to perform on stage with his own inventions under the name of Gallico the Great (okay, so he doesn't get an "A" for creativity when it comes to marketing). As he about to utilize his most ambitious achievement- the"beheading" of his lovely assistant Karen (Mary Murphy) via a buzz saw device, the show is abruptly closed down. Gallico's employer has received an injunction based on an obscure point in a contract that states that any and all inventions belong to the company, not Gallico. The situation deteriorates further when Gallico learns that his great achievement is to be given to a rival magician (John Emery), who he despises. Gallico ends up murdering his employer and enacting an outlandish scheme in which he adopts his identity, using skillful makeup. (In actuality, the film's makeup team's achievements are indeed impressive.) Soon, things begin to go wrong even as Gallico, now free to perform on stage, is finding enthusiasm for his shows. Matters become even more complicated when his floozy, ex-wife (Eva Gabor), who had married his employer, reappears on the scene and threatens to reveal his scheme.
The Mad Magician is a modest but fun film that would resonate even greater today if Columbia had afforded the production something other than threadbare production values. The performances are all enjoyable (including young Patrick O'Neal as the romantic lead) and the sheer predictability of the events that unfold add to its many pleasures. Primarily, of course, there is Price, who would continue to dominate the screen in every role, making so many minor films such as this highly entertaining experiences.
Sony has released The Mad Magician as burn-to-order DVD title. Quality is excellent. There are no extras.
"WE WANT OUR DVD AND BLU-RAY!" - It always frustrates retro movie lovers when a film becomes unavailable in a home video format. Even "B" movies deserve a better fate. Sometimes this is due to contractual and licensing reasons. Nevertheless, we always want to be on the tip of the spear in lobbying for unavailable movies to be brought back to the home video market. In that regard, we are running our previously published review of "Clarence, the Cross-Eyed Lion", a minor effort, to be sure, but one that we hope will be available again on DVD or Blu-ray. It is presently available for streaming rental or purchase on Amazon.)
BY LEE PFEIFFER
The Warner Archive has released a number of films made by Ivan Tors' production company during the 1960s. Tors specialized in underwater and animal-themed adventure movies and TV series and he had a number of major successes including Sea Hunt, Flipper and Gentle Ben. Tors also had a knack for turning feature films into TV series. Flipper began as a theatrical released and morphed into a TV show. Gentle Ben began as a TV show and later inspired the feature film Gentle Giant. The Warner Archive has released another of these cross-over productions, Clarence the Cross-Eyed Lion which would serve as the feature length pilot for the TV series Daktari. Marshall Thompson stars as Dr. Marsh Tracy, a veterinarian who works in the jungles of Africa to aid injured animals and help thwart poachers with the aid of local government authorities. The film's subject matter has something in common with John Huston's 1958 film The Roots of Heaven (click here for review) in that both were extolling the merits of conservation in an era before environmental protection had become mainstream. All other similarities between the films end there, which should be obvious from the title of the Tors movie. The plot finds Dr. Tracy as a widower trying to raise a teenage daughter, Paula (Cheryl Miller, who would reprise her role in Daktari), in a dangerous environment while also training her as his assistant. There is some flirtation with a local widow, Julie Harper (Betsy Drake), who undertakes dangerous solo missions into the jungle a la Jane Goodall to observe and photograph gorillas. The titular beast, Clarence, is indeed an amusing oddity, as no camera tricks have to be employed to obtain the effect of his being cross-eyed. However, the furry protagonist is sort of the Col. Kurtz of the animal kingdom- making only fleeting appearances in the heart of darkness until the end of the movie. The script is so squeaky clean it makes The Brady Bunch look like a Bergman movie and the only real danger comes near the end when a virtual army of ruthless poachers are thwarted by Dr. Tracy and his allies, including local police authorities, a chimpanzee and Clarence himself, who somehow commandeers a jeep for a wild ride through enemy forces. (You have to see it to believe it.) There are also fleeting appearances by noted character actor Richard Haydyn, mercilessly going over-the-top as a dapper English tutor who fears the local environment and Clarence. Predictably, the two are constantly encountering each other in rather silly comical sequences. (It's never explained why a man who fears the jungle and animals would decide to reside in the wilds of Africa.)
The film was designed strictly for the younger crowd. Thompson makes for a sufficiently stalwart hero, Drake (in her last film role before retiring) provides the chaste love interest and the overly-perky Miller does get to toss in a bit of sex appeal by slinking into a party dress in a scene designed to keep awake older brothers who had to bring younger siblings to the film. The best performance comes from Alan Caillou as the charismatic leader of the poachers. The film is directed by Andrew Marton, who was primarily known for presiding over major action sequences in films such as Ben-Hur and The Longest Day. He would go on to produce and direct the far superior Around the World Under the Sea for Ivan Tors. Clarence has a rather chintzy feel to it, owing to the fact that the film was all-too-obviously shot in an American game preserve (in Florida). Second unit footage from Africa is rather unconvincingly blended in to give the movie an exotic appeal. Nevertheless, the movie is likable enough and will probably be most appreciated by Daktari fans who can now enjoy the series' origins as a feature film. An original theatrical trailer is included.
When
I walked out of the New York cinema in 1983 after viewing Koyaanisqatsi for the first time, I overheard someone say, “That
was the trippiest movie since 2001.â€I had to agree.I’d never seen anything like it, but it was a
feast for the eyes and ears.I’d been
mesmerized for 86 minutes, lost in a swirling and exhilarating journey through
North American landscapes of deserts, canyons, skies, and big cities.Using slow motion and time lapse photography
by Ron Fricke, director Godfrey Reggio presented a feature-length music video
that defied categorization.Accompanied
by the vibrant score by Philip Glass, the film seemed to be saying that man was
screwing up nature and that we’d better watch out.Life was “out of balance,†as the Hopi Indian
one-word-title of the movie meant.Koyaanisqatsi was one of the most moving
cinematic experiences I’d encountered.
Powaqqatsi
(Image courtesy of Criterion.)
Two
sequels followed—Powaqqatsi (1988)
and Naqoyqatsi (2002)—produced in the
same non-verbal style but with successively more challenging thematic
content.Powaqqatsi concentrated on the Southern Hemisphere and third world
countries, emphasizing how the more “modern†parts of the world fed upon the
poorer and harder-working civilizations.Naqoyqatsi went deep into the
computer, re-imagining the globe’s landscapes, people, and especially armies
into digitally-altered and enhanced imagery that suggested we’ve become an artificial
mechanization of our former selves.While
powerful in their own right and certainly worthwhile, it is Koyaanisqatsi that will always be the
ground-breaking piece of the trilogy, as well as the most effective.
Koyaanisqatsi
(Image courtesy of Criterion.)
Given
the deluxe Blu-ray treatment by the Criterion Collection, all three films are
presented in new restored digital transfers, approved by director Reggio, with
5.1 surround DTS-HD Master Audio soundtracks.The results are amazing.Each of
the three disks also comes with an abundance of extras—vintage and current
interviews with key creative personnel; an early demo of Koyaanisqatsi shot in the 70s with music by Allen Ginsberg; Reggio’s
rare 30-minute short Anima Mundi, with
music by Glass; a thick booklet of essays, and more.
Wow.Turn out the lights, get comfortable, and
trip out.The Qatsi Trilogy will change your life, man.