never had a chance to see these two legendary westerns that were made
back-to-back in the mid-1960s, presented by Roger Corman, directed and
co-produced by Monte Hellman, and starring a young Jack Nicholson (among
others), for they were elusive. I’d heard they were quirky, moody, and very
different takes on the western genre, so I was excited to hear that The
Criterion Collection was releasing both pictures as a double-bill on one
Blu-ray disc. Now you, too, can view these strange little movies in all of
their high definition glory.
was one of the few directors that producer Corman would let helm pictures for
his studio, which at that time was famous for low-budget horror films,
youth-in-rebellion pictures, and, later, rock ‘n’ roll counterculture flicks.
Jack Nicholson was also involved with Corman since the late fifties, doing much
of his pre-Easy Rider work for the
producer as an actor and sometimes writer. In this case, Nicholson served as
co-producer (with Hellman) on both pictures and wrote the script for Ride in the Whirlwind. At first, Hellman
presented Corman with the script for The
Shooting, written by Carole Eastman (using the pseudonym “Adrien Joyce” and
who would later write the screenplay for Five
Easy Pieces). Corman suggested that Hellman shoot two westerns at the same
time to get more bang for the buck, so to speak. Therefore, Nicholson came up
with Whirlwind and both movies were
shot together in the Utah desert with the same crew and most of the same cast.
The two motion pictures were seen at several film festivals in 1966 and the
distribution rights were bought by the Walter Reade Organization, which
promptly sold them to television. They were broadcast sometime in 1968 and were
then lost in limbo.
The Shooting and Ride in the Whirlwind could be called “existential westerns” because
they are indeed philosophical, atmospheric, and, well, arty. Very arty. Corman
had insisted that Hellman and Nicholson add more action to both scripts—which
they did—but you still can’t say these are in any way typical westerns. At a
time when Sergio Leone was tearing up the genre Italian-style, it’s no wonder
that the two pictures slipped into obscurity.
the one hand, both films are interesting simply because it’s fun to see the
young actors that appear in them—Nicholson, Warren Oates, Millie Perkins (the
original Anne Frank from the 1959 The
Diary of Anne Frank, now a grown up and a babe), Harry Dean Stanton (billed
as “Dean Stanton”), and a not-so-young Cameron Mitchell. No one in the films,
except maybe Mitchell, looks particularly comfortable on a horse; it’s rather
obvious that these actors are “playing at” being in a western. Other positive
aspects include the cinematography—by Gregory Sandor, for both pictures—and the
strange musical scores—by Richard Markowitz (The Shooting) and Robert Jackson Drasnin (Ride in the Whirlwind).
the other hand, as narrative westerns, they don’t measure up. The acting is,
for the most part, pretty bad. Nicholson is the heavy in The Shooting, and he spends most of the time sneering. The
higher-pitched voice of the young Nicholson doesn’t really work for the
character; he is much better in Whirlwind
as one of the good guys. Oates is suitably ornery but not much else. Perkins
seems like a fish out of water in both films. Will Hutchins, who plays Oates’
simple-minded sidekick, straddles a fine line between being quite effective and
incredibly annoying. Mitchell is forgettable. Stanton is—well, Harry Dean
If there’s one overriding reason to view “The Lords of
Flatbush”, it is to watch a young Sylvester Stallone steal every scene he’s
in.This was two years before his star
making turn in “Rocky”, but there’s a sense that Stallone knew his career was
at a crossroads and he needed to turn in a command performance.The joy in watching him, though, is because
he doesn’t take focus by chewing the scenery.No, Stallone is downright subtle in this movie.To watch him here is to see a smart young
actor at work, not a bloated movie star.
Stallone, along with Henry Winkler, Perry King, and
Paul Mace, star as “The Lords,” (comically misspelled as “Lord’s” on the backs
of their leather jackets), a gang of shiftless teens in late 1950s
Brooklyn. High school is almost over,
though, and the boys are beginning to understand that the future looks awfully
big and empty.
King is “Chico”, the inarticulate lover boy. Stallone is “Stanley,” the group’s muscle.
Winkler and Mace are “Butchey,” and “Wimp,” the wise guys of the group. The gang’s life consists of hanging out at
the pool hall, or the all night malt shop. At one point they steal a car, but they aren’t bright enough to be
competent criminals. They like to talk about “busting heads,” but in the
movie’s single fight scene they don’t seem to be particular handy with their
fists. These photogenic losers find their uneventful existence interrupted by
two things: Chico falls hard for a new girl in school (Susan Blakely), and
Stanley learns that his mouthy girlfriend is pregnant. Though Chico and the new girl provide the
traditional “nice girl/bad boy” love angle, it’s the plot about Stanley that
provides the film with its heart.
Stallone is a whirling dervish of activity in this
movie. He’s constantly cracking his knuckles, slapping his hands together, or
craning his neck, as if he’s simply too dynamic to be contained in a movie frame. Watch him in scenes where the group is
walking together. He’s continually in
motion, hitching his shoulders, munching a toothpick, reaching up to knock a
leaf from an overhead branch, doing
anything to take attention from his co-stars. And it works. He’s the guy we
watch. The scene where Frannie (Maria
Smith, looking like a pint sized Fran Drescher) enters the pool hall and
demands Stanley marry her is mesmerizing. Not believing she’s pregnant, he kneels by a table and grabs a cue ball.
He plays gently with it, listening to her describe their future together. There
is anxiety on Stanley’s face, but also resignation. He cracks a few jokes, but we can see him
sweating. Childhood’s end is near. He is
about to walk stoop shouldered into adulthood, complete with screaming babies
and talky wives.
Nostalgia pieces about the ‘50s were big business in
the ‘70s (think “American Graffiti”, “Grease”, “The Wanderers”, etc). Audiences
paid good money to see flashy old cars, greased pompadours, and hear some
period music. As one critic noted in his
review of “Lords”, “by conjuring up the
magic appearance of that era, a kind of off-beat joy fills the theater,” and
that the gang’s striving for coolness was “perversely thrilling.” “The Lords of Flatbush” rode the nostalgia
wave and was a surprise hit, but it had plenty working against it, not the
least of which was that the four male leads and Blakely were too old to be
playing high school kids. Also, the
ersatz rock and roll score by Joe Brooks and Paul Jabara pales next to the
soundtrack of “American Graffiti”. (In fairness, many people are fond of the
“Lords” soundtrack, and Brooks and Jabara did go on to become successful
an animal energy in the movie, particularly in scenes involving Stallone. I loved how a friendly punching game with
King escalates into sudden, explosive violence. The two also have a scene on a
rooftop where Stallone offers a bizarre monolog about pigeons. Stallone allegedly wrote some of his own dialog
for the movie, and his rooftop prattle sounds a bit like something Rocky Balboa
might say a few years later.
Though many reviewers appreciated the film as a sort of
pop artifact, not everyone was impressed. Jay Cocks of Time magazine pronounced
it “pretty flimsy stuff.” Others, like
John Simon of the National Review, described it as “a film awful enough to
strangle talent in the cradle.” William
Sarmento , the curmudgeonly critic of the Lowell Sun, was so annoyed by the
film’s grainy look that he derided “Lords” as “an amateurish home movie,” and
“exasperatingly inept.” Meanwhile, Roger
Ebert wrote that the film “did a good job of seeing past its black leather
jackets and into the hearts of the essentially immature and unsure people who
wore them.” Oakland critic Robert
Taylor may have given the film its most accurate notice by writing that it was
like “a quick flip through a fat ‘50s wallet crammed with snapshots.”
Co-director and producer Stephen Verona spent three
years putting "The Lords of Flatbush" together. Inspired by the foreign films he’d seen
during the 1960s, Verona set about making his own statement about the life he’d
known. He had the idea to revisit the
1950s long before it was fashionable, but it took so long to fund his production
that the 1950s craze began without him. Raising money by putting the squeeze on “friends, family, and crazy
people,” Verona gathered $50,000, and shot the film in five weeks in 1972. Verona and co-director Martin Davidson shot
some more scenes and fiddled with the ending before selling their feature to
Columbia. When it became one of the sleeper hits of the season, Verona claimed that the simpler codes of
the 1950s were a key to the movie’s success.
"You knew the good guys from the bad guys by the
way they cut their hair, and the clothes they wore,” Verona said in a 1974
interview. “But what we tried to get across in this picture was that we all had
the same problems. We all wanted the girl, and the car."
Verona certainly had an eye for new talent. Along with
Stallone and Winkler, Verona also chose a very young Richard Gere to be part of
the original cast as Chico. According to ‘The Making of The Lords of Flatbush’,
Verona’s 2008 memoir, there was “a glitch in the chemistry” between Stallone
and Gere. Much of the script was written
through improvisations involving Gere and Stallone, but Verona knew that Gere
had to go. “Here they were supposed to be best friends” Verona wrote, “and in
real life they didn’t like each other.” Pointing to Stallone’s “immense imagination and focus,” it wasn’t a hard
decision to keep Sly and give Gere the boot. With a bit of amateur psychology, it’s easy to see why the two young
actors didn’t get along. Like Stallone, the young Gere was another twitchy
scene stealer. One can imagine Stallone
seeing Gere and thinking, Here’s a guy I might not be able to upstage. Hence,
friction. That’s my hunch, anyway. Perry King, destined for a long TV career
but not movie stardom, had a less showy acting style, so Stallone was probably
less threatened by him.
Click here to view the long-awaited teaser trailer for "Star Wars: The Force Awakens". Fans hope that more than the Force will be reawakened with this film, which they hope will restore the franchise to its former glory.
Fans of legendary director Brian De Palma
lovingly recall how the auteur’s early thrillers contained at least one sequence
which employed the split-screen technique (a device by which two moving images
are projected simultaneously onto separate parts of the screen). This
technique, when used properly, is capable of generating extreme suspense and
involvement in an already enthralled audience. De Palma masterfully used the
split-screen in his still-underrated, 1973 debut thriller, Sisters (as well as in many of his later cinematic masterpieces
such as Carrie and Dressed to Kill), milking certain scenes
for every bit of tension and suspense possible. Now, if the split-screen was
that effective in just a few sequences, wouldn’t using it throughout an entire
film cause maximum suspense and entertainment? That’s the question the
filmmakers of Wicked, Wicked not only
asked, but bravely attempted to answer.
Writer-director Richard L. Bare came up
with the idea of filming an entire movie in split-screen (here dubbed
Duo-Vision) while simply driving home one day. Bare, who is best known for
directing most episodes of the 1960s sitcom Green
Acres, saw the line that divided the road and realized that he was viewing
one side of the freeway and the other simultaneously. He immediately decided to
shoot an entire movie this way. The idea proved to be quite a Herculean
undertaking as Bare had to first write a script which constantly contained two
separate scenes side by side where, normally, there would be only one. More
than up for the challenge, Bare came up with a story involving a disturbed,
young man (Randolph Roberts from Happy Days)
with a mommy fixation who murders any blonde-haired women that happen to be
staying at the old hotel where he’s currently employed. (The young madman also
lives inside the walls of the hotel where he can easily spy on all the guests,
making the plot a fun combination of The
Phantom of the Opera and Psycho.)
The hotel detective (Another World’sDavid Bailey) races against time while
desperately trying to find and stop the masked lunatic before he can reach his
next target: the beautiful hotel lounge singer (played by the always welcome
Tiffany Bolling from Kingdom of the
Spiders who belts out all of this film’s many tunes herself). The unique
movie also features several highly recognizable faces from 1960s/70s cinema and
television such as Scott Brady (The Night
Strangler), Edd Byrnes (Grease),
Madeleine Sherwood (The Flying Nun),
Diane McBain (Spinout), Roger Bowen (M.A.S.H.,1970) and Arthur O’Connell (Fantastic
Voyage). Due to the split-screen
process, the actual filming took double the time it normally would have and the
film’s budget doubled as well. It also took a whopping 32 weeks to edit Wicked, Wicked which is about five times
the amount it would have taken to edit a standard film.
So, was Duo-Vision worth it? Overall, I
have to say no. I think the film would have worked just fine without it (as
well as saved a lot of time and money) because the split-screen really doesn’t
accomplish all it should in terms of suspense here. Also, seeing two actions
simultaneously may be interesting at first, but, after about ten minutes, you
get used to it and it feels just like any other movie. This process really only
works when it heightens the suspense, a la De Palma, and, unfortunately,
Richard Bare, although more than competent, is not in the same league as the
master filmmaker. That being said, I enjoyed the film itself. Sure, the story
is derivative and a bit (intentionally) silly in spots, but it’s still an
entertaining enough psychofilm with a solid, likeable cast and a fun hotel
setting. I also recommend checking it out in order to see the results of the
time and effort the filmmakers put into this extremely ambitious project.
Wicked, Wicked has been released
as a DVD-R from Warner Archive. The film is presented in its original 2:35:1
aspect ratio and, although the colors seem a bit washed out, the movie is more
than watchable. It’s also the only way you may be able to see this film at the
moment due to the fact that Warner most likely has no plans to release it in a
re-mastered version. (Most titles released in the DVD-R format aren’t really in
high enough demand, so money won’t be spent to re-master them properly.) The
audio is terrific and the disc also contains the original theatrical trailer
(which isn’t in Duo-Vision, but, color-wise, is actually much more vibrant than
the film itself) as well as the eye-catching, original poster artwork which is
featured on the DVD’s sleeve, menu and disc itself.
We all think we know what goes into staging a major
theatrical production. There is a writer and a script. There are actors, a
director, scenery and props. We realize that there are people behind the scenery
and props and probably a few other people whose responsibilities we can’t be
certain of. "Theatreland", from the people at the educational DVD
company, Athena,fills us in on all the things between the lines, between the
words and between productions at the same theatre, thus affording us an inside
look at the staging a major theatrical event..
Filmed over the course of six months at the Theatre Royal Haymarket Theatre in
London's West End "Theatreland" follows Sean Mathias as he begins his
term as Artistic Director of the esteemed venue. He has two high profile
productions he is preparing: Samuel Beckett's "Waiting for Godot" and
a new play based on Truman Capote's "Breakfast at Tiffany's". There isn't anywhere the camera doesn't take us. From rehearsal space to stage,
from designing a set to dismantling it, from the dressing rooms to the lobby
bar, we get a look at everything and everyone that makes a theatre production
run. We follow the actors through rehearsals. We follow the carpenters and
painters who build the sets. We follow the theatre manager and staff, from
backstage to front of house and learn just how much goes into putting a
production together. We are treated to all this in one of London's theatre
jewels, first built in 1720, moved to the south side of the street 100 years
later and said to be haunted by the
ghost of one of its former managers. Renovated over 100 years ago, the Theatre Royal Haymarket is in constant
need of maintenance. We watch repairmen work. We watch ushers work. We watch,
well, you get the idea. The delight of it all is we also get to observe such
talented actors as Ian McKellen and Patrick Stewart in "Waiting for
Godot" and Anna Friel and Joseph Cross in "Breakfast in
Tiffany's" as they prepare and perform.
We learn how a set goes from an artist's model
through its off-site construction and rebuilding at the theatre. It's a
wondrous process to see. Especially when the Theatre Royal Haymarket stage
switches out from the sparse, barren set of "Godot" to the
three-story, colorful and rotating set of "Tiffany's." If this
documentary had been written by Dr. David Reuben in the 1960s it may have been
titled "Everything You've Always Wanted to Know About Theatre: But Were
Afraid to Ask." Don't be afraid of this DVD, though; it is both highly
educational and entertaining. Hopefully you won't need the subtitles; some of
the Cockney accents can be difficult!
about domineering fathers and neglected offspring are at least as old as the
Bible and Shakespeare. Gilles Legrand’s
“You Will Be My Son” (2012) is a worthy addition to the genre.
de Marseul (Niels Arestrup) is distressed to learn that his friend Francois
Amelot (Patrick Chesnais) has been diagnosed with pancreatic
cancer. Paul is the wealthy owner of a
French vineyard, and Francois has served for more than 30 years as his estate
manager: “a fancy name for winemaker,” Francois comments. When Francois announces that he’s too weak
from his illness to begin the new production season, Paul’s son Martin (Lorant Deutsch) steps up,
eager to take on the responsibility. He
handles sales for the company, and he knows Francois’ routine through years of
observation. But Paul has no faith in
Martin’s abilities as a vintner, and the two men moreover have a strained
personal relationship. Paul instead
gravitates to Francois’ son Philippe (Nicolas Bridet), who has returned from
America after hearing of his father’s illness. To Paul, Philippe is everything that his own son isn’t -- charming,
self-confident, and by instinct and experience, a promising winemaker. As Paul begins to displace Martin with
Philippe, symbolically at first and then with the idea of making Philippe his
son through legal action, resentments seethe and eventually explode.
In an American version 50 or 60 years ago, Paul would have been
played by a powerhouse like Rod Steiger, Lee J. Cobb, Karl Malden, or Spencer
Tracy. Niels Arestrup (who may be
familiar to U.S. audiences from roles in “War Horse” and “The Diving Bell and
the Butterfly”) invests the role with comparable ferocity. Deutsch and Bridet (who would have been
Anthony Perkins and Ben Gazzara opposite Steiger or Cobb back in the day) offer
solid support. The scenes between
Arestrup and Deutsch are so raw and real that the confrontations are almost as
painful for the viewer as for the emotionally starved Martin. Equally fine performances are provided by
Chesnais as the ailing Francois and Valérie Mairesse as his outspoken spouse
Madeleine, who watch the situation with growing dismay, and Anne Marivin as
Martin’s supportive wife Alice.
As Paul confronts Martin, Martin confronts Philippe, and Alice
confronts Paul, you’re initially inclined to regard Paul and Philippe as the
villains and Martin as the victim with whom you should sympathize. However, as the story progresses, Legrand
begins to paint the characters in more ambiguous shades. A development late in the movie seems like a
macabre twist out of a Guy de Maupassant tale, setting up what would appear to
be a happy ending for some of the characters. But is it a happy ending?
Cohen Media Group’s classy Blu-ray includes a sharp transfer in
French with English subtitles, deleted scenes, interviews with Deutsch and
Legrand, the theatrical trailer, and a handsome inset booklet with credits and
stills from the movie.
Dr. Mark Davidson (John Neville) comes back to the Space research lab with a
new wife, his government superiors want to know more about her. And why are
scientists all over the world who are also working on the same equation as his
collegues - the ability to use mental projection to travel to the other side of
the galaxy - dying in the exact same way? Could the fact that his wife appears
impervious to pain and unable to blink be a clue as to her potential
extra-terrestrial origins? These are the questions Unearthly Stranger
raises and then sets out to answer in a fairly breathless fashion. Although a
considerable amount of time is spent on men in suits talking to each other in
offices, the film represents the power of a good idea. As Dr. Davidson
gradually comes to learn the truth about his wife it is truly heartbreaking.
Great performances and excellent black and white cinematography give the film a
power it may have lacked in the hands of a more pedestrian filmmaker.
John Krish was best known for his work on 1960s British television including The
Saint and The Avengers, and he packs a lot of plot into the film's
brief running time. Unearthly Stranger most closely resembles an episode
of The Twilight Zone or The Outer Limits, if it was scripted by
John Wyndham (author of 'The Midwich Cuckoos' and 'Day of the Triffids'). In
actual fact the film was written by Rex Carlton, whose best known credit is the
infamous The Brain That Wouldn't Die (1962). Where that film fails on
virtually every level, Unearthly Stranger was produced by Albert Fennel
who was also responsible for The Innocents (1961), Night of the Eagle
(1962), and later on Legend of Hell House (1973), all now considered
classics of British horror cinema. His experience, also honed in television,
helped Unearthly Stranger share a similar level of quality.
many other black and white British science fiction films of the period, this
film depicts a 'cosy apocalypse'. The world could potentially come to an end,
but we can be damned civilized about it. As such it would make a good companion
film to The Earth Dies Screaming (1964) or Invasion (1965), the
latter also shortly receiving a DVD release from Network.
British Film' collection was launched by Network Distributing last year and
they plan to release over 450 vintage films on blu ray or DVD over a five-year
period. From classics such as Victim (1961) and Countess Dracula
(1971) to long-unavailable shockers like Baby Love (1968) and The
Nightcomers (1971), and with plenty of other rarities in-between, it is a
project for retro movie fans to keep a close eye on.
Unearthly Stranger can be ordered from Network Distributing here.
first time a comedy swept the Academy Awards was in 1934, when Frank Capra’s It Happened One Night took home the
prizes for Best Picture, Best Director, Best Actor (Clark Gable), Best Actress
(Claudette Colbert), and Best Screenplay. (The next time all five major awards
were snagged by one picture was in 1975 for One
Flew Over the Cuckoo’s Nest.)
was the beginning of the screwball comedy movement. It Happened One Night may not have been the first screwball comedy,
and it may not even really be a
screwball comedy (according to critics Molly Haskell and Phillip Lopate, in a
video conversation supplement in which they discuss screwball comedies, Happened is lacking in the chaotic
elements that one would find in, say, Twentieth
Century, which came out the same year, or even Bringing Up Baby, perhaps the quintessential screwball comedy). But
while Capra’s beloved film is often lumped into the category of screwballs, one
thing is certain—it’s the archetype for the modern American romantic comedy. And Hollywood keeps
remaking it, so to speak, over and over.
picture came out in early 1934 when the movie business was still in the
“pre-Code” era (the Hays Code didn’t kick in full-force until July 1 of that
year), so Capra and company were able to get away with some rather risqué
elements, such as two unmarried people bunking up in a motel together with only
the “wall of Jericho” between them. Or Clark Gable demonstrating the fine art
of how men remove their clothes. Or Claudette Colbert revealing her shapely
gams in order to catch a ride on the road. Yes, that’s one thing we learn from It Happened One Night—how to hitchhike.
Capra was hired by the poverty-row studio, Columbia, as the talkies began, and
in a few short years the director elevated the company to the majors. He then
began a hugely successful run, winning three Best Director Oscars in five
years. His pictures later became known as “Capra-corn,” for their idealistic
and sometimes sentimental look at Americana. But, as pointed out in the
excellent supplemental documentary included on the disc, Capra’s films
definitely had a dark side to them. Perhaps not so much in Happened, but the evil that men do is certainly present in, say, Mr. Smith Goes to Washington or It’s a Wonderful Life.
It Happened One
an excellent lesson in screenwriting, structure, dialogue, and pacing. It’s a
near-perfect picture, and it’s still funny today. Gable is at his most winning.
Colbert is terrific, although it’s stated several times throughout the
supplements how much of a snooty b*tch she was during filming—she didn’t want
to make the picture, complained the entire time, insisted on twice her normal
salary to do it, and told friends after its completion that she’d just made the
worst movie in her career. She changed her tune after winning the Oscar, and
then she had nothing but praise for Capra and the film. Those fickle movie
does their usual bang-up job. The new 4K digital restoration is gorgeous.
Extras include the previously mentioned Haskell/Lopate video; the
feature-length documentary on Capra, Frank
Capra’s American Dream; an interview with Frank Capra Jr. from 1999; a new
digital transfer of Capra’s very first film, the silent 1921 Fultah Fisher’s Boarding House, with a
new score by Donald Sosin; and—the most interesting—the hour-long televised AFI
tribute to Capra from 1982 (it’s great fun playing spot the celebs!). An essay
by critic Farran Smith Nehme fills the glossy booklet.
of Menace: The Business of Horror Cinema
by Richard Nowell
229 x 152 mm
REVIEW BY ADRIAN SMITH
Many books have been written about
the horror genre, from almost every conceivable perspective. Here however, is a
somewhat different approach: the horror industry as an economy. Films, after
all, require finance, and whilst artistic decisions are usually at the
forefront of analysis, without the money men in the background cinema as we
know it would not exist today.
Menace, with a
tribute to William Castle on its cover, attempts to give the reader a history
of the horror genre from the 1930s Universal cycle through to the American
remakes of today. A collection of essays on the horror genre, one will also
find an in-depth look at the re-launch of Hammer as a brand and business
entity, the zombies of Poverty Row and many more. It is a fascinating approach
to the subject and causes the reader to ponder issues in a way they were
probably not thought of before, such as the economic power of atmosphere; what
exactly is atmosphere and how is it defined and turned into a commodity by
filmmakers? Using the unsettling British horror City of the Dead (1960,
U.S. title Horror Hotel) as an example, Robert Spadoni discusses how the
film foregrounds atmosphere over narrative and how the two are often in
conflict with each other.
This collection helps redress the
balance between an understanding of the horror film as an entertainment medium
and as a business. This will be of great interest to fans of the genre, but
also points out wider issues that go beyond horror into the film industry as a
whole. It is often said that you will always make money in the film business
from horror and sex. Perhaps this suggests an obvious direction for Nowell's
It's always fun to look back on how retro films were regarded by critics at the time of their initial release. Here is the evaluation of Frank Sinatra's 1967 hit "Tony Rome" as written by a new, upcoming film critic named Roger Ebert!
Intrada has released a new, definitive CD of Henry Mancini's classic score for Howard Hawks' "Hatari!". See below for description from Screen Archives:
World premiere release
of actual Henry Mancini soundtrack to terrific Howard Hawks adventure film set
in Africa, starring John Wayne, Elsa Martinelli, Red Buttons. Wayne and company
capture rare animals for various world zoos. Some species are easier to catch
than others. Elephants inspire Mancini to create legendary tune "Baby
Elephant Walk", available for first time ever in its original soundtrack
guise. Famous swaggering tune for high register Eb clarinet also figures during
climactic "Search For Dallas". Leopard, buffalo, monkey, giraffe,
ostrich all get their say but incredibly dangerous rhino sequences are what
bring out Mancini's equally legendary main theme, often heard on choir of
French horns in unison. In 1962, Mancini re-recorded just 30 minutes of
highlights for admittedly sensational RCA album. Now enjoy Mancini's complete
original recordings, presented mostly in stereo from Paramount Pictures scoring
session elements. A few sections required use of mono stems to allow restoration
of complete soundtrack. This new hour long release carries landmark
significance: every Mancini album during this most famous period of his career
(Breakfast At Tiffany's, Hatari, Charade, Experiment In Terror, The Pink
Panther) was heavily truncated and completely re-arranged with emphasis on
dance mood. Along with new release of Charade, this marks exciting debut of an
actual Mancini soundtrack from the era! Danger, romance, thrills, comedy, all
getting rich Mancini melody! Unforgettable original campaign artwork is icing
on the cake. Henry Mancini conducts. Available while quantities and interest
remain. - Douglass Fake Intrada Producer
01. The Sounds Of Hatari 4:17
02. Main Title 2:35
03. Safari Bar Piano Blues 1:24
04. Giraffe Country 1:34
05. Just For Tonight (Instrumental) 2:10
06. Paraphrase I 1:40
07. Night Side 2:35
08. Dallas Has A Plan 1:31
09. Trip To Masai Wells 1:06
10. Indian Comes Home 0:58
11. Just For Tonight (Solo Piano) 2:24
12. Swift Animal Chase 0:49
13. Dead Elephant 0:37
14. Night Side (Record Player) 2:19
15. Leopard And Buffalo 1:51
16. The Crocodile 1:08
17. Your Father’s Feathers 1:50
18. Baby Elephant Walk (Short) 1:57
19. Crocodile, Go Home! 1:10
20. Big Band Bwana 1:46
21. Paraphrase II 1:26
22. Wildebeest Hunt 2:36
23. Brandy Sniffer 2:09
24. Ice Bucket Blues 1:42
25. Monkey Suits 2:04
26. Baby Elephant Walk (Long) 3:14
27. Elephant Scare 0:49
28. More Rhino 0:53
29. Burnt Fingers 2:59
30. Search For Dallas 4:23
31. Just For Tonight (Chorus) 2:10
32. Finale 0:19
Timeless Media has reissued it's massive set "M Squad: The Complete TV Series Special Edition" containing all 117 episodes of the gritty show that ran for three seasons on American TV commencing in 1957. The series was known for its hard-hitting and realistic look at crime in and around Chicago. Lee Marvin starred as Lt. Frank Ballinger, a no-nonsense cop assigned to crack down on organized crime in the vicinity. Like "The Naked City", "East Side, West Side" and "The Untouchables", the show was credited for having intelligent, believable scripts and fine performances from the cast and guest stars. The program's success helped to pave the way for Lee Marvin to be a major presence on the big screen.
The initial Timeless Media release of this set was released in 2008 and contained a special bonus soundtrack CD (Count Basie and young John Williams were among the legends who performed on the score and title theme.) That disc has been dropped in favor of a bonus DVD that presents Lee Marvin in early TV appearances on "Wagon Train", "Checkmate", The Virginian" and "Lee Marvin Presents Lawbreaker", an obscure 1963 telecast. They are manna from Heaven for Lee Marvin fans (and who isn't?)
One minor gripe: the photo on the box cover is not Marvin in "M Squad": it's actually a well known publicity still from John Boorman's 1967 big screen crime classic "Point Blank". Also, the quality of the "M Squad" episodes varies quite a bit, as they were taken from the best elements available. Purists may be critical of the transfers but the bottom line is that this is a highly impressive boxed set that presents an American acting legend at his very best. Now all you'll need is 117 hours of free time to enjoy the entire experience.
Here is the official press release:
of the most memorable of the early television police dramas,M Squaddebuted in 1957 and ran for
three seasons on NBC. Lee Marvin, a decorated WWII Marine veteran of the South
Pacific, where he received the Purple Heart in the Battle of Saipan, stars as
Lt. Frank Ballinger, a no-nonsense Chicago plainclothes cop in the elite M
Squad Division. On November 4th, 2014, Timeless Media Group, a
division of Shout! Factory LCC, will releaseM
Squad: The Complete TV Series-Special Editionon DVD. All 117 episodes of the
television series as originally aired, as well as a brand new bonus disc
featuring Lee Marvin guest star appearances inWagon Train, Checkmate, The
Virginianand as the host ofLawbreaker)
Squad's (M-for Murder) task is to root out organized crime and corruption in
America's Second City. Marvin's portrayal of a tough undercover officer, whose
perseverance and potential for violence, but with utter cool, permeates each
gritty episode, gave Marvin name recognition with the public, and did much to
make him a star.
Director Mike Nichols, one of the most influential artists of his generation, has passed away at age 83. Nichols is one of the few people who could claim to be the winner of the Oscar, Emmy, Grammy and Tony awards. Nichols rose to fame with his comedy act in which he teamed with Elaine May. He made a successful transition into feature film with his 1966 screen adaptation of Edward Albee's "Who's Afraid of Virginia Woolf?", a triumphant film debut that starred Elizabeth Taylor and Richard Burton. The following year he won the Oscar for his 1967 classic "The Graduate". Other films over the decades included "The Birdcage", "Working Girl", "Charlie Wilson's War" and "Silkwood". His plays include "Barefoot in the Park", "Death of a Salesman" and "The Odd Couple".
Burton and Taylor on the set of Nichols' 1966 triumph "Who's Afraid of Virginia Woolf?"
If you're pondering what to get your significant other for a holiday gift, look no further than "Sherlock Holmes: The Complete Granada Television Series", which has been released in a boxed set by MPI Home Entertainment. For many, series star Jeremy Brett was- and remains- the definitive interpretation of Sir Arthur Conan Doyle's legendary detective. There have been countless actors who have provided wide-ranging performances as Holmes and most of them are commendable in their own way. However, Brett's debut as Holmes in this classic British TV series met with instant international acclaim even among the notoriously fussy Holmes scholars who never seem to be pleased with screen presentation of their literary hero.
The MPI set contains:
Every episode of the series (41 episodes on 12 DVDs)
Includes the five feature film-length adventures
Profusely illustrated collector's guide booklet with extensive essays by film historian Richard Valley
Interview with director John Madden and screenwriter Jeremy Paul
Interview with series co-star Edward Hardwicke
"Daytime Live" show with guest stars Brett and Hardwicke
Sherlock Holmes Museum short
Vintage Sherlock Holmes series promo
In all, a superb and irresistible release that will allow you many hours of matching wits with the world's greatest sleuth. What do you get for that special person for the holidays? The answer should be elementary.
CLICK HERE TO ORDER DVD SET FROM AMAZON AND TO VIEW PROMOTIONAL CLIPS FOR MANY EPISODES.
CLICK HERE TO ORDER THE SET FROM AMAZON ON BLU-RAY
have been entire books dedicated to the cinema of Dutch director Paul Verhoeven
and with good reason. Known for pushing the envelope of what is acceptable
onscreen in both sexuality and violence, his movies have been celebrated and
condemned - often by the same critic at different times! To one degree or another
I have enjoyed every Verhoeven film I've seen all the way back to the brilliant
Soldier of Orange (1977) but it was RoboCop (1987) that stomped across the
world and made it possible for the madman to make nearly anything he wanted. I
wonder what would have happened if this film - his first English language
effort- had not been a huge financial success. Would we have had a series of
progressively worse sequels with Rutger Hauer ravishing maidens and slaying
nobles for gold? Maybe in a better world.....
+ Blood (1985) takes place in Western Europe in 1501 and begins during an
attack on a small Italian city by a group of mercenaries employed by the city's
rightful ruler Arnolfini (Fernardo Hilbeck). These soldiers have been promised a
full day of consequence free looting if they succeed in retaking the city
but once the job is done Arnolfini soon reneges on this offer when he sees them
destroying the place. The commander of the troops, Hawkwood (Jack
Thompson), is heartsick over a nun that he mistakenly harmed during the attack
and Arnolfini promises to get medical attention for her if the commander will
use the cavalry to eject the mercenaries from the city without their loot. This
betrayal is not taken well, especially by Hawkwood's former lieutenant Martin
(Rutger Hauer). Soon after the group is run off, Martin is burying his
stillborn child when he unearths a wooden statue of Saint Martin of Tours. This
saint with a sword is seen by the mercenaries' cleric as a sign from God
to follow Martin as their new leader.
in the retaken city Arnolfini's son Steven (Tom Burlinson) has been betrothed
to Lady Agnes (Jennifer Jason Leigh). They meet for the first time when Steven greets
her caravan on the way to their wedding and love seems to blossom between the
two. But then the entourage is attacked and robbed by Martin's group. Arnolfini
is seriously injured during the raid while Agnes is carried away concealed
among her valuable dowry. That night Martin discovers Agnes and, although the other
men desire to gang rape her, Martin claims her for himself. He first rapes her
but then Agnes starts flirting with him, hoping to gain his protection. She
becomes his concubine after a fashion and is dragged along on the mercenaries'
travels. She easily convinces Martin that he is in love with her and works carefully
on the other members of the band to get them to accept her. She appears to have
completely given up on her former life and forgotten her betrothal.
enough the mercenaries come upon a castle where, unknown to them, the
inhabitants are infected with the Black Death. The group captures the
castle with the help of Agnes, who proves herself very resourceful in many ways.
But Steven is determined to reclaim his bride to be and turns to Hawkwood for
help. Hawkwood only wants to live a quiet life caring for the former nun he had
injured but Steven uses force and threats against the nun to coerce the old
soldier to help in his pursuit of Martin. Once they locate the mercenaries they
realize that they don't have sufficient force to take the castle and lay siege to
it. Inside the castle Martin asks Agnes where her true loyalties lie but she is
ambiguous hinting that she will be happy with whoever wins. Outside the castle,
the dreaded Plague spreads among Steven's forces and even infects Hawkwood. After
an impressive battle with an incredible siege engine built by the well-educated
Steven, the mercenaries capture Steven and shackle him in the castle's courtyard.
Here Agnes feigns hatred of her ex-groom and even has sex with Martin in front
lancing his boils, Hawkwood is able to cure himself of the plague but he cannot
continue the siege alone. Instead, he catapults pieces of an infected dog over
the castle walls and when one chunk lands near the chained Steven, he flings it
into the place's water well. Agnes sees this happen and Steven tells her that
she can decide whether or not to tell the mercenaries.
fears of the Black Death creeping into the castle, the band of mercenaries want
to leave the place but Martin persuades them to stay. Agnes does not warn them
about the well and watches as they drink infected water. However, when Martin begins to drink, she slaps the cup
from his hand. As several of the group start to show signs of the sickness,
they hurl Martin into the tainted well and, as she did after Steven's capture,
Agnes joins in the abuse of Martin. At this point Hawkwood and Arnolfini return
to the castle with an army and attack. Inside the castle, Steven and Martin cooperate
to save each other, but with a fresh siege underway there is no way to know who
will live and who will die.
looking for a sweet natured adventure film with noble knights and derring-do would
do well to back slowly away from this movie. Vicious, nasty, violent and cruel
are just a few of the words I would use to describe both the story and the
characters in this brutal medieval epic. All of the people in this story act in
selfish, ruthless ways at almost every turn and only seem driven by the most primitive
of emotions. Even the very few acts of kindness can be seen as self-serving in
a world where everyone is fighting just to survive. That's not to say the film
is not entertaining. Indeed, I would say Flesh + Blood is supreme fun for fans
of the harsher kinds of cinema. The film is one part exploitation, two parts
graphic violence, one part costume drama and one part historical romance - as
long as you don't need the romance to be the chaste kind!
enthusiasts (Godzilla fans in particular) can join Cinema Retro’s Rod Barnett
along with Troy Guinn as they start a new series of podcasts entitled “Controversial
Kaiju”. The first episode focuses on “All Monsters Attack” (1969) (aka “Godzilla’s Revenge”). The broadcast can
be downloaded through this link.
George A. Romero didn’t invent the concept of zombies.
They’ve had a spot in Haitian folklore for years (as explored in older films
like White Zombie and more
contemporary films like Wes Craven’s The Serpent and the
Rainbow ). There was also the French World War I reactionary J’Accuse(1919) by Abel Gance,
which featured actual footage from the battleground. Some horror enthusiasts
might even argue that Mary Shelley’s Frankenstein and H.P Lovecraft’s
story Herbert West: Re-Animator were also
significant early entries in the zombie canon.
What Romero can be credited with, however, as the recent
documentary Birth of the Living Dead examines, is the
mainstream popularity of zombies. It all began when he made the film Night of the Living
Dead (1968). It features a group of wayward strangers who’ve found
themselves stuck in an old farmhouse in the middle of a zombie apocalypse. The
film is remembered for its poignant critique of the 60s, when the Vietnam war
was raging, home televisions were still new, and race relations were tenuous at
best (the film was notable for featuring African-American actor Duane Jones as
the male lead). The movie was filmed on a shoestring budget but didn’t stop it from
becoming a cult success that’s still beloved by countless legions of dedicated
A decade later, he came back and made Dawn of the Dead in 1978. It had a
similarly modest budget as his first movie. This film takes place during a
zombie outbreak and centers on a group of survivors who’ve taken up shelter in
the town’s shopping mall. Like the first, it’s full of a ton of symbolism and
was a timely commentary on the day’s rampant consumerism. Despite its highly
graphic content, it became a humongous success both financially and critically,
as it’s almost universally praised by all major movie critics, and it saw its
own re-make in 2004.
Day of the Dead came seven years
later in 1985 and featured a battle between the United States military and a
horde of zombies. Viewers weren’t sure exactly which side to take, as this
installment was pretty ambiguous and caused some watchers to root for the
zombies rather than their very military. Unfortunately, this wasn’t as big of a
commercial success as Dawn was, but it’s a much beloved cult film that
has become a staple of “Grindhouse
Fridays” on El Rey Network, is streamable through some websites, and not only was it remade a few
decades later on, but there is yet another remake in the works.
The trilogy garnered a humongous fan base and inspired many
subsequent movies, but George Romero himself kept quiet on the zombie front for
the rest of the 80s and all throughout the 90s. It was a bit of shock when he
released another zombie flick in the 2000s.
Land of the Dead was released in 2005
in the midst of the Bush administration and featured an opportunistic
politician who tries to use the zombie crisis outlined in the movie as a means
to achieve his own agenda. It was a modern day commentary on war and
xenophobia. Land of the Dead became a great success and grossed over
$46,000,000. It wasn’t considered as good as the movies Night or Dawn, but
critics thought it was an overall decent addition to the Romero library.
Diary of the Dead was the next step
for Romero in 2007. It’s a fictional documentary similar to other cult-hits
like Cannibal Holocaust or The Blair Witch
Project. The film was made to look like amateur footage and makes liberal
use of the shaky-cam technique. This movie strayed rather far from the original
trilogy through its heavy use of CGI but still enjoyed some positive reviews,
although it wasn’t quite as well received as Land.
The final Romero zombie-film was Survival of the
Dead, released in 2010. It took place on a zombie-infested island just
off the coast of North America. This film was both a box-office bust and a
critical failure. It was panned by critics and hardcore Romero fans alike as
being stale and an overall disappointment. This movie alone has likely caused Romero
to lose any future financial investments for a new zombie film down the road,
but luckily it wasn’t bad enough to tarnish the reputation that Romero gained
for his work in the original trilogy.
Apart from his own directorial work, Romero has had a positive and
lasting impact on today’s culture and has inspired a new generation of
directors and filmmakers who grow up enchanted by his work. Zombies have
infected every level of pop-culture from books, to television shows, to movies,
to art, and even to real world events like zombie walks and horror conventions.
He’s inspired many directors to create their own vision of the zombie
apocalypse in new and interesting ways. Danny Boyle, the creator of 28 Days Later, is one of the most
critically acclaimed new director of zombie flicks, and there have been a ton
of other successful zombie stories made that have spanned multiple genres and
George Romero is very much like a modern day Bram Stoker, who took
the old myth of vampires and turned it into a modern day cultural success, and,
like Stoker, his legacy will live on as his movies continues to inspire legions
of fans and newer work based on his original films.
Shout! Factory will re-issue the entire series of "Secret Agent" (aka "Danger Man") starring Patrick McGoohan as a 17 DVD set. This edition will feature new extra features. See press release below:
“Every government has its secret service branch. America,CIA; France,Deuxième Bureau; England,MI5.NATOalso
has its own. A messy job? Well that's when they usually call on me or someone
like me. Oh yes, my name is Drake, John Drake.” So begins the dramatic 1960s
British spy seriesSecret
Agent. On December 9th, 2014 bring home the adventures of John
Drake with the complete series set of this classic spy show. The 17-DVD box set
also contains a number of bonus features, including audio commentaries and a
brand new interview with Catherine McGoohan.
McGoohan (The Prisoner) stars as John Drake inSecret Agent, the popular
television series from the Golden Age of Spy Thrillers, the 1960s. Travelling
the world to capture international criminals, John Drake rarely solved problems
with a gun, preferring to use charm and wit over violence to bring in the bad
Wednesday night, Hollywood took a step back in time and it was a beautiful
thing.Italy’s most glamorous export,
the lovely Sophia Loren, made a rare visit to screen two of her films to an
adoring crowd at the Dolby Theater.The
movie legend was greeted with a standing ovation when she walked out in a
shimmering gown, escorted by director Rob Marshall who was clearly in awe of
the star he cast in Nine, her last Hollywood
film.Settling into two plush seats
separated by a mountain of roses, Marshall introduced her as “A woman with a
heart as big as all of Italy.”Loren
opened up about her life, career and leading men in a 45 minute Q&A,
punctuated by frequent laughter and some poignant moments when she remembered how
movies offered an escape from the misery of post-WWII Italy.
came across as the most humble of stars – illustrated the moment she stepped
onstage when a fan approached from the audience and began speaking directly to
her! Loren told the audience she felt
she “owed” her fans so much and that she never forgot where she came from, “…
Naples and the war and terrible things.” Marshall deftly got the program back on track and Loren was off, talking
about starting off as an extra in Quo
Vadis, connecting with director Vittorio De Sica who cast her in a number
of films which made her a huge star in Italy – attracting the attention of
Hollywood (and a 1962 Best Actress Oscar for her role in Two Women, making her the first actress to win for a foreign
age 80, Loren showed the style, charm and humor that captivated audiences for
over five decades. When Marshall queried
her about her leading men, she remembered Cary Grant (her Houseboat co-star) as being “a special person” and Daniel Day
Lewis, who worked with her on Nine,
as “one of the best alive”. Marlon
Brando’s name elicited a dramatic pause – which had the audience laughing. She related how Brando pulled a diva move on
the first day of production of A Countess
From Hong Kong, showing up hours late to the set. The film’s writer/director, the legendary
Charlie Chaplin had some strong words with Brando and from that point on he
behaved. She also enjoyed making It Started In Naples with Clark Gable,
but remembered he had a watch that would ring at exactly 5 PM every day and
then he’d leave. Done. No late hours for him!
(Photos copyright Mark Cerulli. All rights reserved.)
Marshall also brought up the world-famous photo of Loren ogling Jayne
Mansfield’s generous cleavage. Loren’s
rationale? “I thought everything was
gonna fall out.”
of Loren’s two sons, Edoardo Ponti, came out to introduce The Human Voice, a 26-minute short he directed and co-wrote, based
on the 1930 Jean Cocteau play. Ponti’s version features his mother in virtually
every scene, delivering a rambling, heartfelt monologue to an unseen lover
about to marry another woman. This tour
de force would be daunting for a young star, but for a woman on the cusp of
80? Loren crushed it, as they say,
exhibiting a wide range of emotion from desperation to giddy delight, proving
her acting chops are still gloriously intact. Ponti noted that, “In an age when we idolize the wrong person, tonight
it’s the right person.” The crowd
short was followed by a restored print of Loren’s 1964 film, Marriage Italian Style, directed by
fellow Napolitano, Vittorio De Sica. Loren’s performance earned her a 1965 Oscar nomination for Best
Actress. The film was also nominated for
an Academy Award as Best Foreign Language Film in 1966.
more than three hours of film and conversation, Ms. Loren wisely skipped the
after-party, no doubt preferring to get her beauty sleep. Who can blame her? Molte Grazie!
few weeks ago, I posted a review of The Criterion Collection’s excellent
Blu-ray release of George Sluizer’s 1988 Franco-Danish film, The Vanishing. This excellent thriller
was well-received by critics and the public alike, prompting Hollywood to step
forward and produce an American remake in 1993. The screenplay, based on Tim
Krabbé’s novel Het Gouden Ei (as was the original), was written by
actor/screenwriter Todd Graff. Sluizer returned to direct the remake, which in
many cases is practically a shot-by-shot repetition. However, there are differences.
not sure who at the conference table decided that the American remake of The Vanishing should have a happy
ending, as opposed to the more-terrifying, bleak finale of the original, but it
happened. Perhaps the studio figured that U.S. audiences would not accept the
earlier culmination, in which the villain triumphs and we realize that the
movie was about him all along. This
time around, the bad guy gets his comeuppance and our heroes win the
cat-and-mouse game that was set in motion at the picture’s beginning.
if you’ve seen the original 1988 version, then you’ll most likely be
disappointed with the 1993 edition. However, if you haven’t, then you may very well enjoy the remake for what it is,
and especially for the extremely bizarre performance by Jeff Bridges as the
creep. And creepy he is. Speaking with a strange accent (or is it merely an odd
elocution?—hard to say), Bridges steals the movie (as did Bernard-Pierre
Donnadieu in the original role). A young Kiefer Sutherland is our hero this
time, and his vanishing girlfriend is played by Sandra Bullock (pre-Speed) when she was relatively unknown.
That said, the real heroine of the remake is Nancy Travis, as Sutherland’s new girlfriend, and this is where the
new movie differs the most from its predecessor.
takes charge of the story in the last act and, without providing too much of a
spoiler, brings a more feminist take to the tale. Is the new ending satisfying?
Sure, from a Hollywood by-the-book standpoint. The problem is that the picture
loses what may have been the point of the original story—that evil can lurk
where you least expect it, and it can, more often than not, win.
Time’s limited edition (to 3,000 copies) high definition Blu-ray looks fine and
dandy; the only extra is the theatrical trailer. Fans of the film may want to
pick this up; but in my book, the 1988 original is still the more effective
Intrada has released both of Jerry Goldsmith's superb soundtracks for "Our Man Flint" and "In Like Flint" in a CD set. The albums were available on vinyl when the films were originally released in 1966/1967. The new remastered recordings are enhanced when compared to any previous CD releases. Below is the official blurb from the Screen Archives site.
Finally! Two great
sixties albums by Jerry Goldsmith make their debut on CD, mastered from the
recently discovered original 20th Century-Fox stereo album session masters!
Preserved in pristine condition in the vast UMG vaults, Our Man Flint and In
Like Flint were short but exciting LPs that came out in 1966 & 1967
respectively. Both movies featured James Coburn as secret agent Derek Flint.
Daniel Mann directs the former, Gordon Douglas directs the latter. Not to be
confused with the Varese Sarabande release of soundtrack highlights, this
Intrada CD offers both classic original albums exactly as Goldsmith recorded
them, in crisp stereo with vivid orchestral color. Cool action, tuneful
adventure and one of the composer's most famous themes all have their say. Included
are authentic reproductions of both Bob Peak album jackets, classics in their
own right, presented in our flipper-style CD cover. Choose your own favorite!
These two albums have been amongst the most requested for CD release in our
label's history. Wait no more, they're yours to spin! Jerry Goldsmith conducts
both scores. Intrada Special Collection release available while quantities and
interest remain! -INTRADA
OUR MAN FLINT
01. Our Man Flint (1:46) 02. Never Mind, You'd Love It (2:09) 03. It's Gotta Be
A World's Record (2:20) 04. Man Does Not Live By Bread Alone (2:16) 05. Take
Some Risks, Mr. Flint? (1:40) 06. Tell Me More About That Volcano (2:44) 07.
You're A Foolish Man, Mr. Flint (1:46) 08. In Like Flint (1:57) 09. Doing As
The Romans Did (2:11) 10. Galaxy A Go-Go! -Or- Live It To Flint (2:15) 11. All
I Have To Do Is Take A Bite Of Your Apple? (2:13) 12. Stall! Stall! Flint's
Total Time: 25:57
IN LIKE FLINT
13. Where The Bad Guys Are Gals ("In Like Flint" Theme) (2:38) 14.
Ladies Will Kindly Remove Their Hats (2:45) 15. Lost In Space (2:36) 16. Odin,
Dva, Tri, Kick! (3:07) 17. No Rest For The Weary (2:27) 18. Your Zowie Face
(Vocal) (2:34) 19. Mince And Cook Until Tender (2:33) 20. Ahh, Yer Father's
Bob-Lip (2:20) 21. Who Was That Lady… ? (2:11) 22. Westward Ho-o-o! (5:37) Lyrics By Leslie Bricusse
Total Time: 29:14
many people in the general public of the USA today know who Jacques Tati is?
Film buffs, certainly, but not many others. It’s a shame, for in the 1950s and
60s, Tati was world famous and well known for his on-screen persona, the
bumbling but well-meaning Monsieur Hulot. After all, one of the Hulot pictures,
Mon Oncle, won the Oscar for Best
Foreign Film of 1958. Jacques Tati was once a big deal. The Criterion
Collection’s new release on Blu-ray of a boxed set containing Tati’s entire
catalog should provide sufficient firepower to make Jacques Tati a big deal all
short, The Complete Jacques Tati is a
magnificent package. The Frenchman’s genius is well documented, not only in the
six feature films and seven shorts included in the set, but in the multitude of
excellent extras—documentaries, vintage footage, and visual essays that
Criterion has assembled. The collection could easily be one of the best Blu-ray
releases the company—or any home video label—has ever done. It’s that good.
are seven discs—one for each of the six features and one for the shorts. A 62-page
booklet containing essays by critics James Quandt, Jonathan Rosenbaum, Kristin
Ross, and David Cairns completes the package.
those unfamiliar with the artist, Jacques Tati (1907-1982) was a comedian and
mime who drew his influences from the old school—Keaton, Chaplin, Lloyd—and
thus created a comic style highly dependent on visual sight gags. But what Tati
did beyond the three silent film stars was incorporate the use of sound effects
for humor. The features are full of odd and funny aural jokes—the thoink of a swinging door as it opens
and closes, the ridiculous beeps and blurts of a machine, or the
mumbling-style dialogue of eccentric characters (it doesn’t matter what they’re
saying, it’s more about the sound of their speech). Tati made some shorts in
the 1930s; after the war, he formed his own company with a fellow producer and
began his journey into making movies. Tati, in his later works, liked to
explore the theme of how “modern” technology is taking over a purer essence of life.
Most of all, Tati himself, as an actor, is a wonderfully physical comedian.
Just the way he appears as Mr. Hulot—with trademark hat, pipe, raincoat, and
entire book could be written about Tati’s work, herewith is a brief description
of each of the films.
Jour de Fête (aka The Big Day),
1949. Tati’s first feature film is a disarming comedy in which the super-tall
actor portrays a postman. Very different from the Mr. Hulot character, Tati’s
postman is fussy, ornery, and prone to “lose it” when a traveling fair comes to
town and messes up his route. It’s an affectionate look at French rural life.
The 2K digital restoration is in black and white, as was the original
theatrical release—however, Tati always meant for the picture to be in color.
He therefore revisited the film later in order to make it so. Extras include two alternate versions of the film on
the same disc—Tati’s own 1964 re-edit featuring hand-colored objects and newly
incorporated footage, and a full-color 1995 re-release completed from Tati’s
original color negatives. Stéphane Goudet, a
Tati expert, presents a 2013 visual essay that tracks the evolution of Tati’s
comedy. A 1988 documentary traces the restoration of the film to Tati’s color
1953. Mr. Hulot is introduced in this charming look at how the French often
took holidays at a seaside resort. Well-choreographed sight gags dominate the
free-flowing, plotless narrative that features many odd characters, dogs,
boats, and drooping taffy. The main version on the disk is a 2K digital
restoration of Tati’s 1978 re-release. Extras include the original 1953 version;
an introduction by Terry Jones; another visual essay by Stéphane
Goudet about the debut of Hulot; an interview with Tati from 1978; a new
interview with composer/critic Michel Chion on Tati’s use of sound design; and
an optional English-language soundtrack for the re-release version.
Mon Oncle, 1958. Tati’s
Oscar-winner could very well be his best work. This one, in color, is the story
of how Mr. Hulot becomes the relative-of-choice for his young nephew, whose
parents are too caught up in being “modern” (their house, car, automatic garage
door, and that awful fish fountain) to properly pay attention to their son. The
garden party sequence and the plastic hose factory scene are timeless. The new
2K digital restoration looks fabulous. Extras include another introduction by
Terry Jones; My Uncle—the English
language edit of the film; a documentary from 2008 on the making of the film; a
2005 program on the film’s fashion, architecture, and furniture; a Stéphane
Goudet visual essay comparing the film to other Hulot pictures; and a 1977
French TV episode featuring Tati.
Playtime (also written as Play Time or PlayTime), 1967. What an amazing, highly original film! Francois
Truffaut once said that Playtime is a
movie that might have been made “on another planet where they don’t make films
like we do here.” Hulot is one of many characters in this collage about the
clash of modernity and humanity. At the time, it was France’s most expensive
production—and all the money is there on the screen in the form of an entire downtown with streets, buildings, and
traffic that Tati had built outside of Paris. “Tativille,” as it was known, is
a remarkable accomplishment in set design. It forecasted the use of office
cubicles at least ten years before they became a reality. Very funny stuff, but
at the time audiences were confused by the lack of a story and the differences
between it and previous Hulot features. Tati insisted on the film being
released in 70mm; thus there is something going on in every corner and space on
the frame. It’s a picture that demands to be viewed more than once. The new 4K
digital restoration has a 3-0 DTS-HD Master Audio soundtrack. Extras include
another introduction by Terry Jones; three selected-scene commentaries; another
Goudet visual essay; a 1967 TV program on Tativille; a 2002 documentary
featuring behind-the-scenes footage; an interview with script supervisor
Sylvette Baudrot; an audio interview with Tati from 1972; and an optional
Trafic, 1971. The final
Hulot film features the character working for an auto manufacturer whose
employees must get its latest creation—designed by Hulot—to an auto trade show
in Amsterdam on time. As the title suggests, they run into some traffic.
Terrific sight gags abound, as well as Tati’s ever present discourse on how
technology is ruining our world. Along with the 2K digital restoration, the
extras include a 1976 Omnibus episode
from British TV featuring an interview with Tati.
Parade, 1974. Tati’s
final film does not feature Hulot. It’s actually a performance piece in front
of an audience, in which Tati teamed up with a circus of clowns, jugglers,
acrobats, and contortionists—but the great thing about it is that we can see
Tati perform mime acts. The picture was originally made for Swedish television
(!) and is a delightful cap to Tati’s career. The disk sports a 2K digital
restoration, along with extras such as a two-part 1989 documentary on Tati’s
life and career, made by the director’s daughter, Sophie Tatischeff; another Goudet
visual essay about Tati’s appreciation of the circus and clowns; and a 1982
French TV episode featuring a tribute to Tati by his friend and set designer
Tati Shorts. 2K digital
restorations of the following shorts are presented: On demande
une brute (1934); Gai dimanche (1935);
Soigne ton gauche (1936); L’école
des facteurs (1946)—which
features the postman character Tati played in Jour de Fête; Cours de soir (1967); Dégustation
and Forza Bastia (1978). Tati wrote
and starred in the first three. He wrote, directed and starred in the next two.
The sixth short is a César-winning piece by Tati’s daughter; and
the seventh is a soccer documentary started by Tati and completed by his
daughter after his death. Extras include a 2002 short film about Tati’s career;
and a lecture program by Goudet on Tati’s cinema.
will take many hours to get through this marvelous set. The Criterion
Collection has outdone itself with The
Complete Jacques Tati, and any of you out there who is interested in the
history of cinema must purchase it immediately. It will be an education.
There is a frightening scene in “Prince of The Night” when
Klaus Kinski chases a woman through the streets of Venice. She runs into
an empty building, but like a jungle cat bringing down an impala, Kinski catches
her and smashes her to the stone floor. Actresses Barbara De Rossi and Elvire Audray
complained that Kinski was too rough on them during the making of this 1988
Italian production, but when Kinski is hired to play Nosferatu, a creature
“belched forth by the Devil,” one can’t expect the off-screen neck nibbles of
Bela Lugosi. As he did throughout his hellacious career, Kinski played the role
with an utter lack of restraint. De Rossi and Audray were lucky he
didn’t actually tear open their jugulars.
It turns out that Kinski’s untamed acting had a payoff.
As we can see in the recently released DVD from One 7 Movies, Kinski outshines
the rest of the cast, including such gallant journeymen as Christopher Plummer
and Donald Pleasence. If a few
actresses got scuffed up along the way, so be it.
The cast should have known what to expect when, on his
first day of shooting, Kinski and director Mario Caiano got into a violent
argument. Part of the beef was that Kinski was reprising his character
from Werner Herzog’s 1979 picture “Nosferatu the Vampyre” and was supposed to
wear the same bald head, and corpse-white makeup. However, the petulant
Kinski arrived on the set wearing long hair and asserting that he had no intention
of enduring another painful make-up sessions. This is why Nosferatu of
the 1988 film looks like Aguirre and nothing like the original character
from the Herzog movie (or for that matter, the F.W. Murnau silent
film). Kinski’s only nod to tradition was that he wore the same rodent teeth
he’d worn for Herzog.
Waylaid by Kinski’s bellicose attitude, Caiano left the
production after being paid his full salary. Caiano’s departure wasn’t a
surprise, since the film had already been through several personnel changes.
Producer Augusto Caminito had already hired and fired directors Maurizio Lucidi
and Pasquale Squitieri before hiring Caiano. When Kinski forced Caiano off the
set, Caminito decided to direct the film himself. Since Caminito had little directing
experience, he enlisted the help of Luigi Cozzi, a veteran of many Italian
horror films (as well as the Lou Ferrigno “Hercules” of 1983). Not
surprisingly, even Kinski is alleged to have directed a few scenes.
Somehow, this debacle of a production yielded a highly
watchable movie (originally titled “Vampire In Venice”). I imagine some
of the credit must go to cinematographer Tonino Nardi, who lovingly feeds us
one eye-popping scene after another. It’s as if Nardi knew, while
chaos swirled all around him, that all one needed to make this vampire movie
was Kinski, a few beautiful women, and the gorgeous scenery of Venice.
One can almost turn the sound off, ignore the rickety plot, and simply
enjoy the movie for its visual delights.
The movie is supposed to take place in 1780s
Venice, a time of plagues and death. The
streets are a weird mix of the morbid and the frivolous. You’re as likely to
step over a corpse as to be pestered by a dancing harlequin. Yet, one of my
favorite moments is when an extra steering a gondola is not in period costume,
but is instead wearing a denim jacket and tight fitting jeans, as if a member
of The Doobie Brothers had been somehow teleported into the 18th century.
Caminito was probably so sick of reshoots that he hoped no one would notice the
(Photos copyright Mark Cerulli. All rights reserved.)
By Mark Cerulli
Last Wednesday, the
red carpet was rolled out on Hollywood Boulevard, the paparazzi were out in
force and the Spiderman and Wonder Woman impersonators had been pushed aside,
at least momentarily, for American Film Institute’s annual film festival.
Retro was in da house for writer/director J.C. Chandor’s new crime drama, A Most Violent Year, this year’s opening
night selection. The director introduced
his third film onstage at the Dolby Theater, joined by his distinguished cast
and crew, including Jessica Chastain and DP Bradford Young. Chandor also pointed out where he was sitting
when his screenplay for “Margin Call” (which he also directed) lost out to
Woody Allen’s “Midnight In Paris” in the 2012 Oscar race.
the film’s setting – the cutthroat world of home heating oil doesn’t sound
exciting, it provides the backdrop for Abel Morales, a principled young businessman
(the excellent Oscar Issac) to reach for the American dream – if his
competitors don’t ruin him first! Chandor,
a NJ native, perfectly captured the bone-chilling winter of 1981 as well as the
underbelly of this unglamorous but essential trade. Jessica Chastain was a scene-stealer as Abel’s
beautiful but hard-edged wife, willing to reach into her mob past to protect
their business. Screen veteran Albert
Brooks gives a steady, understated performance as their business partner, totally
unfazed by the industry’s corruption even as the violence starts to spiral out
A bit drawn out at times,
the film’s strong performances and meticulously crafted early 80s look more
than make up for the slow pace. One
stunning shot occurs early on when the main character looks out over a grimy
industrial property he’s desperately trying to acquire and across the East
River is the 1981 New York skyline complete with the Twin Towers; a sight many a
New Yorker took for granted until they were gone.
the credits it was on to the famous Roosevelt Hotel – where Charlie Chaplin and
Mary Pickford used to down cocktails - for an after-party complete with open
bar and unlimited schmoozing but curiously no food. It was a headache-inducing combination that
sent this CR scribe heading off to see another acclaimed Hollywood star, In
& Out Burger!
At the time of its release in 1962 critics treated director J. Lee Thompson's "Taras Bulba" as just another action epic. Well, back in those days, every week seemed to see the release of a worthwhile action epic. However, retro movie fans have long held this film in a place of honor. It has an intelligent script, fine performances and sequences that are truly magnificent in their scope- all set to the legendary Franz Waxman's superb, Oscar-nominated score. The film is unusual on many levels beginning with the period of history it covers: the battles between the Cossacks and Poles for control of the Ukraine Steppes in the early 16th century. When the film opens, the Cossacks are fighting with the Poles to thwart an invading Turkish army. However, the Poles double-cross their allies after victory has been achieved, slaughtering many of the Cossacks, whom they fear will be a future threat. The mantle of Cossack leadership falls to the courageous warrior Taras Bulba, who vows revenge against Poland no matter how long it takes. The Cossacks spend many years rebuilding their strength. During this time, Bulba fathers two sons: Andrei (Tony Curtis) and Ostap (Perry Lopez), both of whom do instill him with pride for adapting the rough-and-tumble ways of the Cossack warriors. When tensions ease with the Polish government, Taras instructs his sons to attend university in Kiev, ostensibly to get an education. In reality, he wants them to study Polish customs and habits, all the better to serve in the forthcoming war against them that he is planning. While in Kiev, the boys suffer the indignities of ridicule, beatings and hazings. (There is an amusing, if unintended,homo erotic aspect to some of these scenes, with sweaty, shirtless men whipping each other.) Andrei finds it's all worthwhile when he catches a glimpse of Natalia Dubrov (Christine Kaufmann), a beautiful young Polish girl who is from an influential family. Against all odds, he manages to catch her eye and ingratiate himself to her. The would-be lovers find ways to secretly meet to carry out their forbidden romance. (The notion of a Polish noblewoman carrying on a love affair with a crude Cossack warrior may seem far-fetched, but if the Cossack is Tony Curtis, I guess anything is possible.) When Andrei's interest in Natalia is discovered by her brother, a sword fight ensues in which Ostap mortally wounds the Polish army officer. The brothers escape back to the Steppes and the arms of their mother and father but Andrei still pines away for his lost love. Taras rallies the various Cossack tribes to join him in an assault on a city held by Poles. After a vicious battle, he bottles up his enemies inside the walls of the town and begins to starve them out. However, Andrei learns that Natalia is within the city and when plague breaks out, he makes an ill-fated decision to attempt to rescue her. This leads to the film's dramatic and very emotional climactic seen between Taras and Andrei.
"Taras Bulba" has been released on Blu-ray by Kino Lorber Studio Classics. The transfer is outstanding and is so clear that some of the film's technical weaknesses appear more prominent than they probably did on the big screen. The scenes within Kiev are clearly achieved through the use of studio sets and matte paintings. Some scenes have a noticeable graininess to them and in certain cavalry charges, you might observe horsemen moving at sped up motion in the manner of the Keystone Cops. Nevertheless, this is an epic film indeed when it comes to the action sequences. One scene in particular is literally thrilling: the joining of the Cossack warriors on the open plain, all galloping at high speed to Franz Waxman's addictive musical score. The performances are also first-rate with Brynner giving a larger-than-life interpretation of Bulba in manner that no other actor of this era could achieve. Tony Curtis once again overcomes a New York accent (as he did in "The Vikings") and somehow appears completely credible. (An interesting footnote: Bulba's right hand man Shilo is played by Brynner's "Magnificent Seven" co-star Brad Dexter.) Christine Kaufmann was only 16 years old at the time of filming and the on-screen love affair with Tony Curtis replicated itself in real life: they began dating on the set and ended up getting married, though they divorced in 1968.
The Blu-ray disc includes an original trailer that absurdly proclaims, in the typical hyperbole of the day, that the film should be added to the list of "Wonders of the World"! Not quite. But say this for "Taras Bulba": it represents the kind of first rate action adventure epic of which it is often said "They sure as hell don't make 'em like that anymore."
THIS SET SHIPS ON NOVEMBER 11! REMEMBER, THE BLU-RAY SET IS A LIMITED EDITION. ORDER NOW!
"Batman", the classic 1960s TV series, is finally coming to home video after years of legal complications. Warner Home Video will release on Blu-ray and DVD on November 11.
The set will contain all 120 remastered episodes of the the three seasons the show ran and will contain a Batcave full of extras. Among them: a Hotwheels replica of the Batmobile, a letter from Adam West and photos derived from his personal scrapbook and replicas of vintage trading cards.
For more, including a promotional preview, click here.
“If a movie makes you happy, for whatever
reason, then it’s a good movie.”
REVIEW CONTAINS SPOILERS*******
BY ERNIE MAGNOTTA
If there’s one thing I love, it’s 1970s
made-for-TV horror films. I remember sitting in front of the television as a
kid and watching a plethora of films
such as Gargoyles, Bad Ronald, Satan’s School for Girls, Horror
at 37,000 Feet, Devil Dog: Hound of
Hell, Scream Pretty Peggy, Don’t Be
Afraid of the Dark, Moon of the Wolf
and The Initiation of Sarah just to
name a few. Some of those are better than others, but all were fun.
When I think back, there have been some
legendary names associated with small screen horrors. Genre masters John
Carpenter (Halloween), Steven
Spielberg (Jaws), Wes Craven (Nightmare on Elm Street), Tobe Hooper (Texas Chainsaw Massacre) and Joseph
Stefano (Psycho) all took shots at
television horror and created the amazing films Someone’s Watching Me!, Duel,
Summer of Fear, Salem’s Lot and Home for the
However, there was one man whose name
became synonymous with 1970s made-for-TV horrors. When it came to scaring the
living daylights out of people in the privacy of their own homes, producer/director
Dan Curtis was king.
Curtis’ first foray into television
horror was as a producer of the 1960s classic, gothic soap opera Dark Shadows, which ran successfully
from 1966-1971. Then, in 1968, he produced his first TV horror movie The Strange Case of Dr. Jekyll and Mr. Hyde
which starred the late, great Jack Palance (Shane,
Torture Garden, Alone in the Dark, City
Slickers) in the title role.
In 1972, Curtis would team with
legendary author Richard Matheson (I Am
Legend, Twilight Zone, Incredible Shrinking Man, Duel) and, over the next five years,
they would create a series of unforgettable made-for-TV horror films. Their
first collaboration is, arguably, their best. The two genre masters would bring
author Jeff Rice’s original novel The
Kolchak Papers to the small screen. Curtis would produce while Matheson
adapted Rice’s story. The film, now retitled The Night Stalker, was directed by John Llewellyn Moxey (City of the Dead aka Horror Hotel) and starred the great
Darren McGavin (Mike Hammer, Airport ’77, A Christmas Story) as intrepid reporter Carl Kolchak hot on the
trail of a nightmarish modern day vampire who’s stalking the back alleys of Las
Released to ABC-TV on January 11th,
1972, The Night Stalker became the
highest rated television film at that time and it would hold that title for
many years. The film’s enormous success led to an immediate sequel titled The Night Strangler. This time, Curtis
would not only produce, but also direct from an original script by Matheson. The
film was another huge hit, so, naturally, ABC wanted a third Kolchak adventure.
Matheson wrote a script entitled The
Night Killers, but unfortunately the movie was never made. The Night Stalker instead became a
weekly television series.
Unconvinced that Kolchak could be done
properly on a weekly basis, Dan Curtis decided to bow out of the series.
Instead, in 1973, he produced and directed another great made-for-TV horror
film titled The Norliss Tapes. This
ABC Movie of the Week was very similar to The
Night Stalker in that it involved a writer investing the occult. The movie,
which was set in California, also served as the pilot to a series that,
unfortunately, was never produced. Written by William F. Nolan (Logan’s Run, Burnt Offerings), the film starred Roy Thinnes (The Invaders) and Angie Dickinson (Rio Bravo, Police Woman, Dressed to Kill).
1973 would see three more TV horrors
from busy producer/director Curtis. The
Invasion of Carol Enders which starred Meredith Baxter (All the President’s Men, Family Ties, Ben), The Picture of Dorian
Gray starring Shane Briant (Frankenstein
and the Monster from Hell, Captain Kronos
– Vampire Hunter, Demons of the Mind)
and Frankenstein starring Robert
Foxworth (Death Moon, Damien: Omen 2, Prophecy, Falcon Crest, Transformers), Bo Svenson (Walking Tall, Snowbeast, Inglorious
Bastards, Night Warning, Heartbreak Ridge, Kill Bill Vol. 2) and Susan Strasberg (Picnic, Scream of Fear, Rollercoaster, The Manitou, Bloody Birthday,
Sweet Sixteen, Delta Force).
In 1974, Curtis and Matheson would
reunite for two more made-for-TV films which Curtis would once again produce
and direct. Scream of the Wolf,
starring Peter Graves (It Conquered the
World, Mission: Impossible, Airplane), Clint Walker (The Dirty Dozen, Killdozer, Snowbeast) and
Jo Ann Pflug (M.A.S.H.,The Night Strangler, The Fall Guy), and the excellent Bram Stoker’s Dracula starring Jack
Palance, Simon Ward (Frankenstein Must Be
Destroyed, The Monster Club),
Nigel Davenport (Chariots of Fire, A Man for all Seasons) and Fiona Lewis (Fearless Vampire Killers, Dr. Phibes Rises Again, Dead Kids, The Fury). Curtis’ last television horror film of 1974 would be Turn of the Screw. William F. Nolan
adapted the classic Henry James novel which Curtis produced and directed.
In 1975, Curtis scored big once again
by producing and directing an amazing made-for-TV anthology film titled Trilogy of Terror. The movie, again
written by William Nolan from a collection of short stories by Richard
Matheson, starred the always wonderful Karen Black (Easy Rider, Five Easy Pieces,
Airport 1975, Family Plot, Burnt Offerings,
House of 1000 Corpses) who headlined
all three tales. The final segment, entitled Amelia, is the most remembered due to Black’s horrifying battle
with the now iconic Zuni fetish doll. Curtis would produce and direct another
made-for-TV horror anthology called Dead
of Night. Released in 1977, the film was once again scripted by Richard
Although 1977 would see the last of Dan
Curtis’ 70s horror creations, there was still one more film to go. Curtis’ 1970s
horror swan song would be the ABC made-for-TV chiller Curse of the Black Widow.
I was recently fortunate enough to make an
acquaintance with Jason Lee Lazell of Moochin’ About Records which is earning kudos for releasing some high
profile film-related recordings. The latest box set in their Jazz on Film
series – ‘Crime Jazz’- willbe featured
in our upcoming print edition of Cinema Retro. Another of their impressive
releases, Film Noir, is a superb 5 CD
box set featuring seven fantastic scores including Alex North’s A Streetcar Named
Desire (1951), Leith Stevens’s Private Hell 36 (1954), Elmer Bernstein’s The
Man with the Golden Arm (1955), Elmer Bernstein and Chico Hamilton’s Sweet
Smell of Success (1957), Henry Mancini’s Touch of Evil (1958), Duke Ellington’s
Anatomy of a Murder (1959) and John Lewis’s Odds Against tomorrow (1959). I
must admit, I initially thought these releases were just going to be another in
a long line of reissues, but how wrong I was…
I can’t emphasise enough just how classy these releases are. In terms of audio
quality alone, they are undoubtedly the best I have ever had the pleasure of
hearing. Sonically, they are simply outstanding, revealing a sharpness which no
other label has seemed to achieve. The recordings are so clean; they almost offer
a vibrant new listening experience.
of this release is also first class; its sturdy hard box contains a 52 page
book with extensive liner notes, full personnel details, recording history and
full colour reproductions of film posters from around the world. Each of the 5
discs are housed in beautiful card sleeves, each with a generic b/w brick wall
design from which the relevant soundtrack’s film poster is pasted. It’s a very
nice touch, providing a charming film noir feel to eye as well as the ear.
Noir offers a fabulous set of quality sounding soundtracks at an extremely good
price. Don’t hesitate to check out this beautiful set. It might be hiding in
the shadows, but it’s well worth pursuing.
The Huffington Post unveils 5 plot holes they claim you never noticed in the original "Star Wars" trilogy. However, we're not naive enough to believe there aren't many scholars of the film who haven't already discovered these. Nonetheless, for those who aren't as well versed in the "Star Wars" universe, this article may be illuminating and amusing. Click here to read.
(Photo copyright Dollie Banner/Cinema Retro. All rights reserved.)
By Lee Pfeiffer
If you've been a serious collector of movie memorabilia over the last 40 years or so, you will know the name Jerry Ohlinger. He has long been the king of selling vintage and current film posters, photos and other rarities. Ohlinger has operated out of several New York City stores since the 1970s. However, earlier this year, Ohlinger closed down his mid-town store because of increasing rent costs. He relocated to a smaller store where he sees customers by appointment only. However, in 2003 Ohlinger partnered with a New Jersey-based married couple who run their own movie memorabilia business. They jointly market and sell Ohlinger's materials via on eBay, with Ohlinger receiving 75% of the sales revenue. The bulk of Ohlinger's inventory is stored in a warehouse in Paterson, New Jersey. Now the business partners are embroiled in a law suit filed by Ohlinger, who states that the couple has illegally appropriated his inventory, which is estimated to be worth as much as $8 million. Ohlinger has apparently fallen behind on his obligation to pay for most of the rental costs on the Paterson warehouse, but says he had an agreement with the couple that, should such a circumstance arise, such costs would be deducted from his share of on-line sales revenues. Ohlinger also claims that his former business partners are maintaining that they actually purchased the entire inventory years ago for a mere $70,000. In a lawsuit filed in Newark on October 22, Ohlinger is seeking possession of his warehouse inventory and $5 million in damages. Neither party would comment to Northjersey.com reporter Hugh R. Morley, stating that they were acting on advice from their attorneys. Click here to read.
(For previous coverage about Jerry Ohlinger, click here)
Twilight Time has released a limited edition (3,000 units) Blu-ray of John Wayne's late-career detective flick "Brannigan". The 1975 film takes Wayne out of the saddle and deposits him squarely in central London ("The Duke's in London. God Save the Queen!" read the tag line on the film poster.). The "fish-out--of-water" crime thriller concept began with Don Siegel's outstanding "Coogan's Bluff" (1968), which inspired Dennis Weaver's hit rip-off TV series "McCloud". Still, the premise works well with Wayne's tough Chicago Irish cop Jim Brannigan sent to London to extradite a top crime figure, much as Clint Eastwood's Coogan was shipped to New York to bring a criminal back to Arizona. Wayne had gone the detective route the year before in "McQ". He had originally been offered the role of Dirty Harry but correctly assumed his fans would not stand for him playing such an anti-Establishment character. Still, the phenomenal success of that movie made him realize that the Western genre was in decline and that he'd better switch gears occasionally to keep his loyal fans on board. Wayne was said to loathe "McQ". It was a downbeat, cynical look at corruption in the police force. Ironically, for many of his fans, it is regarded as one of the best films from the latter part of his career. Teaming Wayne with an ace director, John Sturges, the film provided the Duke with an intelligent script, surprising plot turns and a less-than-larger-than-life character to portray. The movie did fairly well despite Wayne's reservations so perhaps that is why he immediately returned to the crime film genre with "Brannigan". In reality, Wayne had planned to do a detective film with this title for at least a decade. A 1964 trade industry story announced he would begin filming it in "the near East". The project never happened. When it was dusted off a decade later, it was temporarily titled "Joe Battle" before mercifully assuming its original title.
Like "McQ", "Brannigan" is a crime thriller but the two films are far apart in terms of style. "Brannigan" is directed by the underrated Douglas Hickox ("Theatre of Blood", "Zulu Dawn") with emphasis on humor, as we see Wayne immediately learn that the crime kingpin he is to escort home (John Vernon) has been allowed to escape. His counterpart is Scotland Yard Inspector Swan, played by Richard Attenborough. This "Odd Couple"-like teaming of two radically different acting styles is one of the true delights of the film. Both Wayne and Attenborough are clearly enjoying each other's company and their good natured "one-upmanship" provides plenty of genuine laughs. As the two detectives relentlessly track down their man, there are plenty of memorable action highlights including a well-staged car chase that includes a jump over the rising Tower Bridge. There's also a major, well-staged pub brawl that's right out of the John Ford playbook. Director Hickox makes the most of London's fabulous sites, which adds immeasurably to the film's pleasures. (This is only one of two movies to be shot in London's ultra-exclusive private Garrick Club and Hickox makes the most of it, showing off the elegant facility for a sequence in which Brannigan and Swan debate police tactics over lunch.) There is also a spirited, lively performance by Judy Geeson as a young Scotland Yard detective who enjoys a playful but platonic relationship with Brannigan. The supporting cast is a strong one with John Vernon and Mel Ferrer providing the villainy. Ralph Meeker gets relatively prominent billing but his on-screen appearance lasts little more than a minute, indicating some of his footage may have been left on the cutting room floor. The film climaxes with an assassin trying to gun down Brannigan from a speeding car at the old Beckton Gasworks, a ghastly-looking industrial facility that was memorably used for the pre-credits sequence of the 1981 James Bond film "For Your Eyes Only". All of this is set to a zippy jazz score by Dominic Frontiere that is off-beat for a film in this genre. "Brannigan" is not a late-career Wayne classic in the way that "The Cowboys" and "The Shootist" can be regarded. But it is a hell of a lot of fun and provides Wayne with a role that fit him like a glove. Nearing seventy years old, he could still at this point carry off the action sequences credibly.
Original Italian poster
Thankfully, Twilight Time has put some of its considerable artistic resources into this Blu-ray edition, which typically features a superb transfer. The bonus extras include an audio commentary between Judy Geeson and Twilight Time's Nick Redman that is breezy, fun and informative. (Geeson clearly adored Wayne, even though she overheard him refer to her as "an old bag of bones" after she auditioned for her role!) Geeson also provides some silent on set footage taken during the filming of the climax at Beckton Gasworks, which will delight Wayne purists who are anxious to see any previously unreleased footage of the Hollywood icon. There is also an original trailer that amusingly plays up Wayne being out of place in London. Julie Kirgo provides excellent analysis in the accompanying collector's booklet. Highly recommended (even for liberals!).
Even major stars are subject to the Rubik's Cube system of finding financing for major films. The studio has pulled the plug on "Idol's Eye" starring Robert De Niro, Robert Pattinson and Rachel Weisz after producers failed to find adequate funding to begin production. The aborted project is an indication that, despite the presence of major names, film budgets have skyrocketed to such an extreme that funding often evaporates before a movie can even begin shooting. For Variety report click here.
Probably no genre illustrates the rapid advance of cinematic screen freedoms than the biker movie. The genre debuted in 1953 with Marlon Brando in "The Wild One". The film, which chronicled the virtual takeover of a small California town by a wild motorcycle gang, was considered extremely controversial at the time. The biker film remained largely dormant until the release of Roger Corman's "The Wild Angels" in 1966, which became a surprising boxoffice and media sensation. Only a year or two before, teenage audiences were being fed a steady diet of white bread rock 'n roll films that bore little resemblance to real life. Suddenly, the biker film blatantly presented raging hormones, gang wars, drug use and group sex without apology. Young people patronized these films in droves. With social constraints falling by the minute, the biker films- cheaply made as they were- spoke to the emerging generation that would be defined by hippies, drop-outs and protesters. Suddenly, Elvis movies seemed like entertainment for their parents and grandparents. With the success of "The Wild Angels", imitators galore sprang onto drive-in movie screens across America. The biker films were like any other genre in that some of the entries were poorly done efforts designed to reap a few fast bucks at the box-office, while others had a certain crude efficiency about them. Such a film was "The Glory Stompers", one of the better entries in the biker movie genre. Made in 1967, the film was released by (surprise!) American International, which reaped king's ransoms by producing low-budget exploitation movies. Make no mistake, "The Glory Stompers" is indeed an exploitation movie with little redeeming value beyond it's interesting cast. Dennis Hopper, in full psycho mode, top-lines as Chino, the leader of a brutal biker gang known as The Black Souls. After being dissed by members of the rival Glory Stompers gang, Chino and his posse track down a Glory Stomper, Darryl (Jody McCrea) who is with his gorgeous blonde girlfriend Chris (Chris Noel). Chris is badgering Darryl to leave the biker lifestyle and do something meaningful with his life. They are interrupted by the arrival of the Black Souls, who beat Darryl mercilessly. Believing him to be dead, Chino orders the gang to kidnap Chris to prevent her from filing murder charges against them. Chino advises the group that they will transport her by bike several hundred miles into Mexico, where he has arranged to sell her into white slavery. Unbeknownst to them, however, Darryl recovers from his wounds and immediately sets out to rescue Chris. Along the way he meets a former fellow Glory Stomper, Smiley (former Tarzan star Jock Mahoney), who agrees to join the rescue effort. The eventually pick up one other ally and his girlfriend and head into Mexico in hot pursuit of the Black Souls.
The film features a good deal of padding with extended shots of the bikers cruising down highways or navigating over sandy desert roads. There's also a good deal of footage devoted to sexploitaiton, with topless biker women riding rampant through drug-fueled orgies and the requisite cat right between jealous biker "mamas". This was pretty shocking stuff back in the day and gives the movie a relatively contemporary feel (even though today's Hell's Angels are primarily known for organizing charity fund raisers.) The cast is rather interesting and it's apparent that Hopper's presence in films like this clearly gave him street cred when he decided to make "Easy Rider". Chris Noel is quite stunning as the kidnap victim who must use psychology to avoid frequent attempts by her captors to rape her. She's also a good actress who brings a degree of dignity to the otherwise sordid on-goings. Jock Mahoney is the grizzled biker veteran who puts loyalty above his personal safety and it's refreshing to see him wearing attire that goes beyond a loin cloth. Jody McRae, son of Joel McRae, is a bland but efficient hero. The supporting cast includes ubiquitous screen villain Robert Tessier and future music industry phenomenon Casey Kassem (!), who co-produced the movie. The direction by Anthony M. Lanza is uninspired but efficient and the cinematography by Mario Tosi (billed here as Mario Tossi) is surprisingly impressive, which explains why he became a top name in "A"-grade studio productions. The rock music tracks, produced by Mike Curb, are awful. Curb was a Boy Wonder at the time, producing memorable music scores for American International films such as "The Wild Angels" and "Wild in the Streets". Here, he's clearly slacking. Curb composed the score with Davie Allan but the duo insert jaunty, upbeat tunes during moments that call for suspense-laden tracks. Nevertheless, the film remains consistently entertaining and stands as one of the better entries in this genre.
MGM has released "The Glory Stompers" as a burn-to-order DVD. Despite some initial artifacts present in the opening sequence, the print is crisp and clean. There are no bonus extras.
("Casting By", the acclaimed documentary by director Tom Donahue, has been released on DVD by First Run Features. Below is our original review from November 2013 of the film's theatrical release.)
By Lee Pfeiffer
"Casting By" is an extraordinary new documentary by filmmaker Tom Donahue who spent years accumulating interviews and archival materials for this look at the contributions of casting directors to the motion picture business. Most people are well aware of the important roles that composers, costume designers, editors and production designers play in the creation of movies-- but if you say "casting directors", the average person's eyes glaze over. Sounds boring, doesn't it? Donahue's film sets the record straight, pointing out that casting directors are often responsible for bringing to life some of the film industry's most memorable characters. So important is their contributions that Donohue found enthusiasm among esteemed filmmakers and actors to participate in his documentary even among those individuals who are not prone to generally giving interviews. In the film Woody Allen, Clint Eastwood, Robert De Niro, Martin Scorsese, John Travolta, David V. Picker, Robert Redford, Al Pacino, Norman Jewison, Norman Lear, Peter Bogdanovich, Robert Duvall and Robert Redford, to name just a few, all extol the virtues of casting directors. Woody Allen readily admits that he hates the process of casting because he can't bring himself to choose one actor over another...and that his instincts are often wrong. He credits his long-time casting director, Juliet Taylor, with force-feeding certain actors like Meryl Streep into Allen's films when he didn't see the wisdom of casting them. The film's genesis was as a tribute to Marion Dougherty, a woman whose name won't ring bells with most movie fans, but who was a legend in the industry. It was Dougherty who elevated the status of casting directors when she first went into the profession in 1949. Her keen eye and insightful instincts quickly made her the "go to" person for top directors and studio executives. Dougherty soon became indispensable and set up an office in New York City where she often nurtured talent such as "up and comers" Christopher Walken and Al Pacino. Soon, she had a virtual monopoly on high profile casting assignments for films. She acted as mentor for young women who would go on to become successful casting directors and inspired another legendary person in the profession, Lynn Stalmaster. It was Dougherty who fought to get Jon Voight the role of Joe Buck in Midnight Cowboy after it had been decided that the role should go to Michael Sarrazin. She gave many other future superstars their first major break when she was casting director for the hit TV show The Naked City in the early 1960s. These actors have never forgotten what they owed her. Dougherty is seen throughout the documentary through interviews Tom Donahue conducted with her in 2007. She passed away in 2011, not having seen the completed film- but her sassy nature and independent outlook on the role of women in the film industry come through loud and clear despite her advanced age.
The film is peppered with relevant film clips throughout and countless other prominent talking heads. The movie has set off a bit of a firestorm in the film industry because of its outright advocacy for the position that casting directors should receive recognition from the Academy at Oscar time. (It is the only single-card credit in the film industry to not have an Oscar category.) Clearly, the filmmakers seen here support such a move but there are some exceptions. Oscar winning director Taylor Hackford, who is President of the Directors Guild of America, vehemently argues against Academy recognition for casting directors because they are not really "directing" anything and that the final casting decisions always rest with the director themselves. Others argue that this in an invalid justification for his position because, in the end, every aspect of a movie needs the director's approval...so why give Oscars for editing, cinematography, costumes, etc? The film points out that casting directors are recognized by the Emmys so there is precedence for this idea. Yet, as far back as 1991, esteemed actors and directors pleaded with the Academy to at least grant a special Oscar to Marion Dougherty, but their efforts failed. As for Ms. Dougherty, she was elevated to VP levels at major studios only to be fired for the crime of having aged in a business in which seniority is frowned up. Other veteran casting directors lament the present state of the industry, saying that too many roles are awarded to flash-in-the-pan celebrities who are ill-suited to play the parts. There are exceptions, of course, and most of them can be found in acclaimed TV series where casting directors are proving to make all the difference when it comes to finding the right actor for the right role.
Casting By is a very unique look at the aspects of the film industry that are not widely discussed and it blows the lid off the dirty little battles that have been going on in terms of trying suppress a key branch of the business from receiving appropriate recognition. No matter where you stand on the subject, you'll be fascinated by this look at film history. The movie is superbly edited by Tom Donahue's wife Jill Schweitzer, who had the unenviable task of culling through 250 interviews with prominent people (only about 50 ended up in the final cut.) The movie is justifiably being touted for a nomination for Best Documentary. It deserves the honor- but one hopes that the criticisms of the very Academy that would make that decision won't render yet another shameless snub, this time because director Donahue has dared to go after some sacred cows.
Joe Dante's "Trailers from Hell" web site features another esteemed director, John Landis, providing commentary and observations about Roger Vadim's wacko 1971 sexploitation/comedy/murder mystery "Pretty Maids All in a Row". Landis points out that MGM was at death's door from a financial standpoint and to stay alive, the studio started grinding out exploitation films that were given a glossier look by the casting of reputable big names in the lead roles. "Pretty Maids" finds Rock Hudson, giving a terrific performance, as a lecherous high school coach who systematically beds seemingly every good looking, under-age female student he comes in contact with. There is no shortage of them, either. Vadim's cinematic wet dream finds every girl to be a sex-crazed, jaw-dropping beauty. That can also describe Angie Dickinson, a cougar teacher with a habit of seducing under-aged male students. Things start to go awry when some of the girls start turning up dead. Telly Savalas is the L.A. police detective assigned to crack the case. The inspired supporting cast includes Roddy McDowell and Keenan Wynn. As Landis observes, the film is outrageously sleazy and politically incorrect and it would be inconceivable for any major studio to even consider releasing it today. (Needless to say, we love it.) However, back in the crazy '70s, both studios and filmmakers were far more daring and far less apologetic about their undertakings on screen. Bizarrely, the film was written and produced by Gene Roddenberry. Go figure.
Click here to view the trailer with or without the Landis commentary.
The 8mm stag movie "loops" that defined the pornography industry until the advent of home video were generally considered to be the Rodney Dangerfields of the cinematic medium in that they didn't get no respect. Of late, however, a number of niche DVD labels have turned to exploiting this sexploitation. The latest is Cult Epics which has released "Vintage Erotica anno 1970", a somewhat unusual collection of 8mm porn shorts that that were defined by the fact that they had longer running times than the loops shown in "private viewing booths" in porn palaces located in red light districts in major cities around the world. The films included on this DVD have some degree of production values and make at least a feeble attempt to present a narrative. These short films have running times between 15 and 30 minutes. All were titles and scripted and some had recorded sound while others were shot as silent movies with a musical soundtrack added later. The shorts presented here are all from Europe and were filmed in the early 1970s. The initial offering features a couple of dozen hippies converging on an isolated wilderness area. They are carrying signs indicating that they are engaging in a "Love-in". They don't waste any time, either, getting down to having an orgy in between strumming folk music on guitars. This was a silent film and a perky, upbeat light rock score has been added. Other segments presented vary from serious attempts to present erotic situations to the age-old tradition of including slapstick comedy in the various scenarios.
Cult Epics has presented these films via a new transfer but there is still varying color quality, blotches and other imperfections. Somehow such deficiencies only add to the enjoyment of watching such fare. As lighthearted as some of the films are, keep in mind these are hardcore productions that leave nothing to the imagination. The clothing may be from the garish 1970s but there are certain consistencies with today's erotic movies, given the fact that no matter how imaginative the participants are, there is still only a finite number of acts that can be performed by men and women (and, given the genre, women and women.) There is a certain innocence to this type of erotica, however. Unlike much of today's porn, which is often defined by acts of violence or outright perversions, these films recall a more -shall we say "wholesome"?- era for the genre. The participants are all happy-go-lucky, the sex is innocent and guilt-free and the scenarios recall an era in which Jerry Lewis-like comedy could actually be combined into hardcore films. Quite obviously, such films are not everyone's cup of tea. However, if you have fond memories of sneaking a peak at such "forbidden fare" when you were young, the Cult Epics release merits "must see" viewing status.
Don't you hate it when you're at an elegant cocktail party on Park Avenue or in Mayfair, and that inevitable snob arrives who starts informing everyone that he or she knows absolutely everything about "The Brady Bunch"? Like you, it's happened to us dozens of times....But the good news is, we can now provide some facts about the cheesy classic that will allow you to take the air out of that know-it-all's balloon. For example, the actresses who played Cindy and Marcia apparently still can't stand each other in real life (who knew they were "Method" actors?); the exterior of the Brady house was a real home; you never saw a toilet despite all the scenes set in the bathroom and although the show has gained status as a legendary "guilty pleasure", it wasn't a demonstrable hit when if first aired. Click here to read.