BFI - Palgrave MacMillan

ISBN: 9781844577910

Paperback

Published October 2014

£12.99

REVIEW BY ADRIAN SMITH

The British Film Institute recently sponsored a major science fiction festival entitled Sci-Fi: Days of Fear and Wonder. Alongside the many film screenings and DVD releases they have also published several new volumes in their Film Classics series. These are smaller volumes, around 100 pages in length, with each focused on one specific film. Included are books on The War of the Worlds (the 1953 version), Solaris (concentrating mainly on the 1972 Russian classic, but also touching on Steven Soderbergh's 2002 adaptation), Silent Running, Alien, Dr. Strangelove, Quatermass and the Pit and more.

Quatermass and the Pit (1967) is seen as the high watermark of Hammer's science fiction output. A belated follow-up to their two 1950s Quatermass films, themselves based on a hugely successful BBC TV series penned by Nigel Kneale, the film works better as a standalone story than as a direct sequel. Unlike those stark monochrome films, which were shot mostly on location, Quatermass and the Pit is colourful, studio-bound and uses a completely different cast. Brian Donlevy had previously played the eponymous Professor Quatermass as a gruff, no-nonsense American who had stepped straight from the pages of a Raymond Chandler novel, the total opposite of Andrew Keir's bearded Scotsman. In this film what appears to be an unexploded WWII bomb is uncovered during tube-tunnel digging under London. Quatermass soon realises that this "bomb" is actually a Martian spacecraft, crashed to Earth millions of years ago. These aliens had come here to interfere with human evolution, meaning, as Barbara Shelley's character puts it, "We are the Martians now."

Kim Newman is one of Britain's finest genre commentators, and his writing here is illuminating as he discusses all incarnations of Quatermass, from the first BBC series in 1953 through to the John Mills-starring The Quatermass Conclusion in 1979. Even the ill-conceived 2005 remake gets a mention. He goes into great depth on Pit itself, discussing the production and the themes of the movie. The book is crammed with footnotes, each of which is worth reading as they often contain more tidbits of information or humorous asides. Newman may be a genre fan but he is not above sarcasm where it is warranted.

This book demonstrates that although Hammer films must have more books written about them than any other British studio's output, there is still room for indepth analysis and commentary on individual significant titles. This BFI Classics entry is a shrewd and penetrating introduction to Quatermass for the uninitiated, and a must-have for those who think they already know everything there is to know about Quatermass and his infernal pit.

You can order from the BFI Classics sci-fi range here: http://shop.bfi.org.uk/sci-fi/sci-fi-books.html

DVD Review: Out of the Unknown

7-disc Region 2 DVD box set from the BFI

By Adrian Smith

Famously, or rather, infamously, the BBC took a rather cavalier approach to the preservation of its television output in the 1950s and 1960s. Due to the cost of videotape, once pre-recorded programmes had been broadcast,the tape was wiped and used again. For programmes to be kept for repeat use or to be sold to other territories around the world, the episode would be transferred to film, and it this process we have to thank that any television from this period has survived at all.

Out of the Unknown was an attempt to present serious, adult science fiction on television, adapting well-known and important authors like John Wyndham, Ray Bradbury, Isaac Asimov, J.G. Ballard and E.M. Forster. The single play was a tradition by this point, with popular series such as Armchair Theatre (1956-74) demonstrating the legacy of television's theatrical origins in live drama. Although largely neglected as a format today in favour of long-running series, both the BBC and independent television in the 1950s through to the 1970s ran hundreds of single dramas. Out of the Unknown presented a different adaptation every week. Commissioned by Sidney Newman, the man responsible for both Armchair Theatre and Doctor Who (1963-89; 2005-), the series took the BBCs remit to educate and inform very seriously. Producer Irene Shubik, quoted in the booklet accompanying this release, explained:

"Good science fiction is a way of saying something you can't say in straightforward terms... I tried to get [stories] that had some sort of message."

Like any anthology, some of the episodes here work brilliantly, others less so, but they are always interesting and prove the potential that science fiction has to provide a commentary on the human condition; our fears, concerns and hopes. From speculations on the potential of robotics to disastrous space missions and mind-altering technology, Out of the Unknown provided ample food for thought for its audience on a regular basis and is still fascinating.

The series began in 1965 in black and white on the BBC, and ran for four series, finally ending in colour in 1971. Twenty-eight episodes are completely missing from the archive. This new box set contains the remaining twenty-four complete episodes and five incomplete or reconstructed episodes, using a mix of clips, still images and sound. Fans and amateur archivists have played a major role in assisting the BFI to gather every remaining element so that this set represents the entire sum of what has survived. Along with this Herculean effort a wealth of extra features have been created including audio commentaries with historians, experts and cast members, filmed interviews and a forty-minute documentary. The accompanying booklet features in-depth essays and a complete episode guide with cast and crew listings.

Out of the Unknown is a compelling glimpse into the television production of the past, when commissioning editors like Sidney Newman were prepared to take risks and assume a higher level of intelligence in the audience than one feels is assumed by TV executives today.

Out of the Unknown is released on 24 November 2014 and can be pre-ordered by clicking here. 

BY DEAN BRIERLY 

Although the term “Eurocrime” can be applied to films from any European country, it’s most closely associated with 1970s Italian crime films, aka poliziotteschi, poliziottesco or poliziesco. The last term is (in Italian) the grammatically correct moniker for a politically incorrect genre that was hugely popular in its day, thanks to a sensory overload of stylish ultra-violence, insane car chases, buckets of sleaze, almost-human bad guys and renegade cops with big guns, bad attitudes and badder mustaches.

Controversial during its heyday and critically marginalized in ensuing decades, the Eurocrime flame has been kept alive by a sizeable and devoted fan base, periodic DVD releases, various websites and online forums. Another shot in the arm was provided by Roberto Curti’s invaluable book, Italian Crime Filmography 1968-1980 (McFarland & Co Inc), an in-depth listing and analysis of more than 200 films.

Now, poliziesco junkies have even more reason to celebrate with the recent DVD release of Eurocrime! The Italian Cop and Gangster Films that Ruled the ’70s, writer/director Mike Malloy’s documentary homage to the genre that illustrates why these testosterone-fueled thrillers deserve their place in the cinematic pantheon.

To that end, he rounded up the appropriate subjects to tell the Eurocrime story—the surviving actors, writers and directors who created these gonzo films from the ground up. It’s a cast list that would do any current action film proud: Franco Nero, John Saxon, Henry Silva, Antonio Sabata, Richard Harrison, Fred Williamson, Luc Merenda, Tomas Milian, Leonard Mann, Michael Forest, John Steiner, Joe Dallesandro and Chris Mitchum. Not to mention directors Enzo G. Castellari, Claudio Fragasso and Mario Caiano.

All of these iconic figures obviously retain deep-seated affection respect for the Eurocrime genre. There’s zero condescension and little posturing, and all seem grateful for the exposure these films brought them. In separate interviews, each relates his particular history with Eurocrime films; Malloy edits their individual stories into a collective portrait of the genre that’s as enlightening as it is fascinating.

Malloy gets them to talk about Eurocrime’s antecedent genres (peplums, giallos, spaghetti westerns); the influence of Hollywood’s Dirty Harry and The French Connection (both from 1971), which introduced a grittier ethos and more conflicted protagonists to crime cinema; and the social and political turmoil in Italy during the 1970s, which helped the poliziesco chart its thematic identity through a critical focus on the country’s political corruption, pervasive crime (organized and otherwise) and terrorist activity. While Eurocrime films were initially derivative of the American version, Italian filmmakers quickly stamped them with a unique identity, one that in turn influenced crime and action films the world over.

In addition to such broad-outline topics, the Eurocrime veterans expound on what it was like to work in a new genre that was literally being invented on the fly. Low budgets and short shooting schedules necessitated a guerilla approach to filmmaking. Directors often shot without permission on the streets, especially when staging chase scenes, which sometimes led to policemen pursuing stuntmen on motorcycles in the belief they were actual criminals. The emphasis on speed and economy led to an insane number of daily setups. Richard Harrison still laughs at the memory of doing 120 setups in a day.

Like virtually all Italian films of that era, the films were shot without direct sound. This allowed for smaller crews, less equipment and less need for retakes, but initially proved disconcerting for American actors used to quieter, more-ordered sets. Henry Silva and John Saxon recall their bemused reactions to the on-set noise and tumult during takes, countered by the Italian film crews’ bewilderment at their pleas for quiet.

Live ammunition was sometimes used during filming (Saxon still seems a little freaked out recalling it decades later), and most of the leading actors did their own stunts. Leonard Mann recalls: “We’d do them so fast, you know. We’d be out there just running around and doing our own stunts. I did almost all of them…The things we did, I’m surprised we didn’t get killed.”

Speaking of stuntmen, one of that noble breed is represented in this documentary. Ottaviano Dell’Acqua, who worked on Enzo G. Castellari’s The Big Racket (1976) and Heroin Busters (1977), wryly contrasts the approach of Italian and Hollywood stuntmen: “We were a little more adventurous. We made things a little more ‘homemade.’” That DIY ethos contributed to the rough-edged spontaneity that gave the films a sense of gritty realism, no matter how outlandish the scenarios, action or performance.

BY MARK CERULLI 

Blake Edwards’ 1965 comedy epic, The Great Race, has been out in various formats for years, but the Warner Archive has finally given it the royal Blu-ray treatment that’s as immaculate as the dazzling white car Tony Curtis drives in the film.

The Great Race was loosely based on the 1908 New York to Paris race and Edwards and screenwriter Arthur Ross threw everything but the kitchen sink at it. Originally developed at United Artists, the project was picked up by Warner Bros when UA balked at the rising cost – which eventually hit a then-unheard of $12 million, making it the most expensive comedy made at that time. Clocking in at two hours and forty minutes, it was also one of the longest running. (Unless compared with Stanley Kramer’s classic It’s A Mad, Mad, Mad, Mad World, which ran over three hours in its original roadshow presentation.)

The story follows two bitter rivals, “The Great Leslie”, suavely played by Tony Curtis and his evil nemesis, “Professor Fate” (a first-rate, over the top performance by Jack Lemmon) as they race across three continents from New York to Paris. The Leslie character and his sidekick “Hesekiah” (Keenan Wynn) take the high road while Fate and his bumbling henchman “Max” (Peter Falk) use an array of dirty tricks to cheat their way to the finish line. Achingly beautiful Natalie Wood plays a reporter gamely trying to cover the race. Comedy set pieces abound, most notably a saloon brawl that must have used every working stuntman in Hollywood and the ultimate pie-fight, which cost over $200,000 to film. Beautifully shot by Cinematographer Russell Harlan (Hatari) in locations like Austria, Paris, Death Valley and no less than eight WB soundstages, no expense was spared… and yet the film never received the love it deserved. Critics considered it “overdone”, missing that the film was Edwards’ homage to outrageous slapstick. Although it earned a respectable $25 million, it wasn’t a breakout hit. (In contrast, our beloved Thunderball, which was released the same year, cost $5.6 million to produce and raked in over $140 million. Talk about a great ROI!)

Natalie Wood in some blissfully skimpy attire.

Box office math aside, as pure cinematic fun, The Great Race delivers in spades. Lemmon’s work as the evil villain and a drunk lookalike prince was brilliant, full of manic energy and a real showcase for his skill and range as an actor. Tony Curtis gave another strong performance as the stoic hero who can do no wrong, unfazed by any mishap, including finding a huge polar bear in his back seat! It’s rumored that co-star Natalie Wood didn’t want to make the film and had to be persuaded by WB brass, but she seemed to be having fun and could throw a pie with the best of them. She lit up the screen as an intrepid writer/photographer trying to break free of early 20^th century stereotypes of what a woman could and could not do. Seeing her in the various Edith Head-designed costumes reminds one of what a stunning young woman she was.

As to be expected, the image quality is nothing short of pristine in 1080p, with scenes looking almost three-dimensional in their clarity. The audio was bumped up to DTS-HD 5.1 so all of Lemmon’s agonized cries of “Maaaaaaax!” sound great, as does Henry Mancini’s gentle score. The only nitpick is the lack of any new extras – the disc contains “Behind the Scenes With Blake Edwards’ The Great Race” - the vintage studio featurette and a theatrical trailer; both of which were on the 2002 DVD release. They are most welcome, but it would have been even more beneficial if, some years ago,  someone had interviewed Edwards, Curtis and Lemmon about the making of this epic comedy. I would have produced those gratis, just to hear more about this wonderful, if overlooked film. Sigh.

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BY ERNIE MAGNOTTA

These days, cinema buffs searching high and low for a lost, early work of a modern filmmaker is almost unheard of , as most everything is readily available on DVD or Blu-ray. However, back in the day, this was far from the case. Way back when, many early efforts from then current directorial masters were extremely hard to find. For example, throughout the 1980s, I can remember looking everywhere for a copy of George A. Romero’s third film Season of the Witch aka Hungry Wives (1972) as well as Martin Scorsese’s debut feature Who’s That Knocking at My Door? (1967) just to name a few. Another movie I always longed to see was a strange, little action film called Fast Company. The reason I use the word strange is because the movie was directed by the enormously talented, Canadian born David Cronenberg. Although he is now known for masterpieces such as A History of Violence (2005) and Eastern Promises (2007) , Cronenberg once carried the moniker “The King of Canadian Horror” (due to his unique series of “Body Horror” films such as Shivers aka They Came from Within (1975), Rabid (1977) and 1979’s The Brood), so, in the mid-80s, it was quite a surprise for me to learn that not only was there a lost Cronenberg film out there which was made in between all these underground genre classics, but also that the movie was a mainstream action flick!

Fast Company tells the story of aging drag racer Lonnie “Lucky Man” Johnson (Rich Man, Poor Man’s William Smith) and his struggles with cutthroat manager Phil Adamson (John Saxon from Enter the Dragon) whose underhanded actions affect Lonnie’s long distance girlfriend, Sammy (Deathsport’s Claudia Jennings), Lonnie’s protégé, Billy “The Kid” Brocker (Nicholas Campbell from Da Vinci’s Inquest), Billy’s girl, Candy (One Night Only’s Judy Foster) and their chief mechanic, Elder (Don Francks from 1981’s My Bloody Valentine).

Sort of a slick combination of drag racing docudrama and exploitation action film, Fast Company, which was co-written by Cronenberg, is an extremely interesting and entertaining (not to mention accurate) look at life in the fast paced, blue-collar world of professional drag racing. By mounting his camera on and inside the race cars, Cronenberg tells a great visual story while, at the same time, placing the viewer right into the center of the action. There’s also solid performances from the top notch cast (it’s great to see Saxon in another villainous role after watching him play countless cops over the years, while the usually intimidating William Smith shines as good guy Lonnie), and the film itself, with its fitting, hard rock soundtrack by musician Fred Mollin (Friday’s Curse aka Friday the 13^th: The Series), has a light, fun and enjoyable feel to it.

If you’re like me and you’ve been waiting years to see this lost film, you’ll be happy to know that the wait was well worth it as Blue Underground has pulled out all the stops to bring us an absolutely beautiful transfer presented in its original 1:85:1 aspect ratio. The Blu-ray is also jam packed with special features (all of which are ported over from the 2004 Blue Underground DVD with the exceptions of a poster and still gallery, and bios of both Cronenberg and Claudia Jennings). Along with the original theatrical trailer, we have a fantastic twelve minute documentary titled Inside the Character Actor’s Studio which features interviews with acting heavyweights William Smith and John Saxon (appearing here together) who not only recall their roles in the film, but also talk about what it means to be a character actor as opposed to being a leading man. It’s a real treat to see these two B-movie icons reminiscing and joking about their amazing careers and my only complaint is that the documentary isn’t longer, as I could listen to these guys talk for hours. Next, we have a second documentary about famed cinematographer Mark Irwin (There’s Something About Mary). Here, Irwin fills us in on, amongst other fascinating things, how some of the more complicated night shots were achieved, and he also talks about the five “Body Horror” classics he went on to shoot for Cronenberg.

For most viewers familiar with the director’s work, Fast Company may seem out of place in his filmography, but to David Cronenberg, it’s simply another one of his many cinematic children. On the audio commentary track of this Blu-ray, the director tells us how he himself is a huge sports car enthusiast as well as a former road racer and, therefore, this film fits right in with the rest of his works as it has to do with just another one of his many interests. He also affectionately goes into detail about a plethora of subjects such as how Fast Company is really a modern western (another thing that attracted him to the project), how this is the first time he ever shot a scene on a film set as opposed to shooting entirely on location, and the importance of this film due to the fact that he met many members of his future filmmaking crew (and cast) here. Cronenberg also explains the state of the Canadian film industry in 1979, recounts a great story about how John Saxon praised his direction, and talks briefly about the lovely and talented drive-in movie queen; the late, great Claudia Jennings who, sadly, died in an auto accident shortly after completing this film. It’s a very interesting and informative commentary that, just like the film itself, will appeal to Cronenberg fans, race car aficionados, budding filmmakers and B-movie buffs alike.

As if all this wasn't enough, the disc also features Cronenberg’s first two, seldom seen features, Stereo (1969) and Crimes of the Future (1970), making this Blu-ray an absolute must for Cronenberg completists; highly recommended.

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By Mark Cerulli

LA’s long awaited rain couldn’t keep Sony Pictures Home Entertainment from celebrating the DVD release of Woody Allen’s Magic In The Moonlight with a vintage-themed party at The Crocker Club in downtown LA on December 2nd.

Allen’s whimsical 2014 romantic comedy stars Colin Firth as a magician on a mission to debunk a professional clairvoyant played by Emma Stone. The film was well received during its theatrical run with reviewers noting the strong performances of Firth and Stone as well as cinematographer Darius Khondji’s excellent work capturing the French Riviera of the 1920s. (The two are already collaborating on Allen’s next film.)

At the party, guests could circulate among screen-used costumes from the film as a tarot card reader and astrologer worked their, um, magic. There was also a hip, young stylist on hand for guests who wanted a quick touch up. (Unfortunately she didn’t have the many hours this CR scribe would have needed!)

Woody Allen’s Magic In The Moonlight is available on digital HD on December 2, with the Blu-ray and DVD release on December 16^th.

(PHOTOS COURTESY OF SONY PICTURES HOME ENTERTAINMENT. ALL RIGHTS RESERVED.)  

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