By Lee Pfeiffer

Warner Archive has released the 1968 thriller Kona Coast, based on the novel Bimini Gal by popular mystery writer John D. MacDonald. The modestly-budgeted production reminds one of John Ford's Donovan's Reef in the sense that one suspects both movies were primarily used as justifications for cast and crew to take a nice vacation in Hawaii. Boone plays Sam Moran, a charter boat captain living the good life in Honolulu, where he routinely indulges in drinking binges and womanizing. When his teenaged daughter falls in with a local high living drug peddler named Kryer (Steve Inhat), she is accidentally given a heroin overdose at a drug-fueled party. Rather than deal with the consequences, Kryer orders her to be murdered. When her body washes ashore, the police think it's a drowning but Sam suspects foul play from the beginning. As he begins his own investigation, he is severely beaten, his boat is destroyed and his first mate murdered. Nevertheless, he vows to soldier on and bring the killers to justice. Sam must have the same bizarre methods of investigation that O.J. Simpson had used to track down "the real killers": his path never seems to wander very far outside of seedy bars and strip clubs. For a man obsessed with avenging his daughter's death, he seems pretty open to distractions. In between downing bottles of booze, his roving eye is attracted to a sexy young bikini-clad girl (Gina Villines) and resurrecting a relationship with an old flame (Vera Miles, looking gorgeous), who - in psychological terms- is carrying more baggage than a cruise ship. There's also a testy relationship with a local businesswoman (Joan Blondell, refreshingly not cast as a bordello madam, for once). Sam interrupts the drinkin' and screwin' long enough to administer the occasional Hawaiian punch to some stock company villains, but finding his daughter's killer doesn't seem like a great priority.

The screenplay by Gilbert Ralston (who wrote the original Willard) is a tepid and under-written and the usually reliable Lamont Johnson is asleep at the wheel in terms of direction. The film lumbers from scene to scene until the painfully anemic climax in which Sam and Kryer square off in a sequence that seemed to take five full minutes to conceptualize and film. (Yes, it's even weaker than that other anemic mano-a-mano duel between hero and villain in The Man With the Golden Gun). The film is not without its modest pleasures, however. Boone is, as always, a forceful and charismatic screen presence. Although he was a TV icon, one wishes he was more selective about his big screen roles. For every good movie (The War Lord, Hombre), he would counter by appearing in several duds. His scenes with Vera Miles are well-acted but the weak dialogue can't be overlooked. There were no professional film studios in Hawaii at the time the movie was made, and indeed it would take another couple of years before the success of Hawaii 5-0 would convince Hollywood to invest in some production facilities on the islands. Consequently, most of Kona Coast utilizes actual locations and this is the film's single greatest asset. The film feels like a TV movie masquerading as theatrical feature, but one could do worse than spending 90 minutes with Richard Boone under any circumstance.

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By Lee Pfeiffer

Twilight Time has released the 1960 comedy High Time  starring Bing Crosby as a limited edition (3,000 units) Blu-ray. Crosby's career as an actor has largely been neglected over the decades despite the fact that he was one of the most enduring boxoffice giants of his time. Perhaps the reason is that, unlike Frank Sinatra, who took on dramatic and challenging roles, Crosby was largely content to stick with playing amiable crooners in glossy, feel-good musicals. One such film is High Time, which was originally developed as a comedy titled Big Daddy for Gary Cooper. However, when Cooper became terminally ill, Crosby's production company picked up the option as a starring vehicle for Crosby himself. Der Bingle plays Harvey Howard, a 51-year-old self-made businessman who owns a national chain of popular smokehouse restaurants. Harvey decides to fulfill his dream of becoming the first family member to obtain a college degree. He is met with derision by his spoiled son and daughter, both of whom feel his decision will result in them being mocked in their snobby social circles. Nevertheless, Harvey enrolls in Pinehurst College (actually U.C.L.A) and predictably is met with incredulity by both administrators and his fellow freshmen. In short order, however, Harvey earns their respect by participating in activities with the younger set including salvaging their quest to build the biggest bonfire in school history. He also fits in well with his three roommates and proves to be an inspiration when it comes to taking studying seriously. Along the way, he flirts with a sexy French teacher, Helen Gauthier (Nicole Maurey), and the resulting "scandal" of a potential love affair between teach and "student" causes students to march on the dean's office in protest. That's about the dramatic highlight of the film, which concentrates purely on a viewpoint of college life that, even in 1960, must have seemed ludicrously sanitized. Let's face it: even the era of powdered wigs, students used dorm rooms for all sorts of illicit activities ranging from sex to drugs and drinking. In High Time, Harvey and his roommates toast the beginning of every year with grape juice, soda and milk. Even when Howard is alone with his would-be paramour in the privacy of her own home, it's about as exotic as dining with your sister.

For all of its faux atmosphere of youthful activities, however, High Time is an enjoyable romp. Crosby seems to be genuinely enjoying himself and shares some good on-screen chemistry with three Fox up-and-coming contract players: Richard Beymer, Tuesday Weld and Fabian. Since the film is not a musical, both Crosby and Fabian have scant opportunities to croon but there are some nice songs by Sammy Cahn and James Van Heusen, including the now-classic "The Second Time Around" which was nominated for an Oscar. There's also a jaunty, enjoyable score by Henry Mancini. The film was directed by Blake Edwards, who was just coming off his great success with Operation Petticoat. In those days, Edwards was far more subdued in his use of slapstick and the comedic situations in High Time are relatively low-key and benign compared to Edwards' later work. The film's primary value is that is serves as a view into social mores from a by-gone era. There is one minority character featured in the film, a student from India, but at least he is portrayed in a dignified manner and not made the butt of jokes. In the closing graduation sequence, the camera pans around the auditorium to reveal precisely one other minority student- a black kid sitting next to the Indian kid. (Hey, if you're the only two on campus, you'd better stick together.) The inclusion of these minorities was probably considered progressive in an era in which African Americans were literally relegated to the back of the bus in some states. Then there is the view of young women, as evidenced by Weld's character who says she is only going to college in order to hunt for a husband. Gavin McLeod plays an obviously gay professor, complete with stereotypical fussy mannerisms that are played for laughs. The film's final sequence is rather touching, as Crosby addresses his fellow graduates and tells them that age isn't defined by years but by every person's outlook on life and their determination to pursue their dreams. The notion that a man in his fifties would be considered "over the hill" may sound ludicrous today, but that was not necessarily the case when the average man's life expectancy was in his sixties. The film concludes with Crosby performing a surprising, attention- grabbing stunt that is designed to please the audience even if would seem to be impossible from a technical standpoint.

High Time, which served as the unofficial inspiration for Rodney Dangerfield's Back to School, is a pleasant time-killer and a fine late career vehicle for Crosby. The Twilight Time release looks sensational (as expected) and features the original trailer and the usual informative liner notes by Julie Kirgo, whose work on these projects adds immensely to the enjoyment of every Twilight Time release.

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By Lee Pfeiffer

I hadn't seen Hotel since it opened in theaters in 1967 and I was a tender lad of 9 years-old. I thought it was talky and somewhat boring at the time, but upon viewing the DVD release from Warner Archives, I have to say that I relished every minute of it. This is do in no small part to the fact that the film is packed with great actors that audiences used to take for granted, but whose presence is now sorely missed. Hotel follows the pattern of those all-star dramas that were so popular in the 60s and 70s. It traces the relationships between a disparate group of glamorous types who intermingle over the course of a few days at the elegant St. Gregory Hotel in New Orleans. (Envision The V.I.P.S - with room service.) Melvyn Douglas (who must have excelled at playing doddering old men when he was still in grade school) is the proud owner of the once great hotel that will be forced into foreclosure unless he can find either an investor or a buyer. Enter Kevin McCarthy as a deceitful real estate magnate who wants to con the old man into making a deal to sell him the property so he can turn its elegant aspects into a crass commercial joint. Mediating all of this Douglas' right hand man, hotel manager Rod Taylor, who has to solve the financial crisis, handle McCarthy's seductive mistress (Catherine Spaak) who he is having an affair with, cope with a civil rights scandal when a black couple are denied a room, and try to locate a brazen cat burglar (Karl Malden) who is robbing rooms- while their occupants are asleep. And you thought your life was busy.

BY LEE PFEIFFER

Having grown up in the 1960s I can recall the "sword and sandal" rage that swept the cinematic world during that era. Modestly budgeted Italian epics thrilled young audiences with tales of Hercules and other mythical heroes. The king of this short-lived genre was American body builder Steve Reeves, who became synonymous with these films based on his highly successful starring role as "Hercules". Producer Joseph E. Levine had the foresight to release the film in American and British cinemas and reaped phenomenal profits. Like the spaghetti western fad that would come a few year later, the sword and sandal flicks varied widely in terms of quality. I'll admit I had little interest in revisiting these films of my childhood until I edited writer Denis Meikle's article "Blood, Sweat and Togas" in issue #30 of Cinema Retro. Meilke gave the most honest and objective appraisal of the films imaginable and pointed out that many of these movies were drastically underrated in their day. I thought I'd form my own opinion by checking out one of Reeves' films that I had very vague memories of seeing way back in '62. "The Slave" was also known as "Son of Spartacus" largely because the Italians were masters at capitalizing on whatever big movies had been recently released in the English language cinema. With Kirk Douglas' acclaimed epic still playing in theaters, director Sergio Corbucci quickly started his production with Reeves in the title role. 

The story centers on Randus (Reeves), a loyal army commander to Julius Caesar (Ivo Garrani). Caesar is at the height of his power but he fears an attempted coup might be in the works due to the opportunistic Crassus (Claudio Gora), who administers the Roman Empire's control over Egypt. Randus is sent on what is supposed to be a good will mission to serve under Crassus. However, Crassus immediately suspects the truth: that Randus is there to spy on him and inform Caesar of his activities and any suspicious behavior. The tension and false politeness between the two men is broken when Randus decides to return to Rome to report to Caesar. En route, however, his galley encounters a disastrous storm and Randus and an Egyptian slave girl, Saide (Ombretta Colli) are washed overboard and presumed dead. They manage to get to shore only to captured by a passing group of sadistic slave traders. They mock Randus for his claim that he is Caesar's right hand man and subject him to humiliation and punishment. The miserable cargo of slaves is forced to march under the desert sun, all the while being beaten and abused by their captors. Randus is shocked when one of the older slaves recognizes an amulet around his neck. Randus says it was inherited by him from the father he never knew. The older man informs him that the amulet was worn by Spartacus, the great hero who led a doomed but noble slave rebellion against Rome. Randus now realizes that he is the son of Spartacus. He uses his incredible strength to escape from his chains and lead the other slaves in killing their captors. However, he is now faced with a moral choice: does he return to Rome and serve the empire that continues to oppress his own people and who crucified his father? He opts to serve the slave population against Rome, adopting a plan whereby he returns to Crassus but uses inside information to launch successful attacks against Roman forces. Wearing a mask and keeping his identity secret, he becomes a legend among the slaves for his daring military strategies. He arranges for Saide to become handmaiden to Crassus's demanding wife, thus sparing her from possible execution. In the course of carrying out attacks against Roman forces, Randus inspires a new uprising, just as his father did. However, he is ultimately captured and faces certain death- unless the slave population can save him first.

I was genuinely surprised at how well made and accomplished this production is. The sets are impressive and the script is compelling and exciting, even if Reeves becomes an Egypt-based predecessor of the Scarlet Pimpernel. The action sequences are extremely well-staged and there is genuine tension in several key scenes. It's impossible to gauge Reeves' skills as an actor because his voice is dubbed despite speaking English as his native language. (The same awkward fate befell Todd Armstrong, star of "Jason and the Argonauts".) Nevertheless, Reeves more than fits the physical requirements of the role and when Saide ends up inevitably swooning over him you can understand why. The direction by Sergio Corbucci is especially impressive and he would fittingly go on to make major contributions to some of the more memorable spaghetti westerns.

"The Slave" is surprisingly effective throughout. Highly recommended.

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BY DARREN ALLISON

Hellraiser: The Scarlet Box Limited Edition Trilogy 1987-1992 Directed by Clive Barker, Tony Randel, Anthony Hickox, Starring Doug Bradley, Andy Robinson, Ashley Laurence, Claire Higgins, Kenneth Cranham, Terry Farrell, Kevin Bernhardt. Arrow Blu-ray 4 Disc, Released on 26th October 2015.

Stephen King was once quoted as saying: “I have seen the future of horror… his name is Clive Barker.” The future became a reality when, in 1987, Barker unleashed his directorial debut Hellraiser, launching a hit franchise and creating an instant horror icon in the formidable figure of Pinhead.

Arrow’s beautifully produced Hellraiser: The Scarlet Box, has arguably for the first time, been afforded the prestige it fully deserves. The collection works very nicely in deed, mainly because its focus revolves around creator Clive Barker’s involvement in the franchise. Whilst Barker had a small interest in the fourth instalment Hellraiser IV: Bloodline, it would be the last in which he would have any official involvement.

Fans of the franchise will be all too familiar with the first three movies, which are by far the best of the series. Barker’s original Hellraiser, based on his novella The Hellbound Heart, follows Kirsty Cotton (Ashley Laurence) as she comes head-to-head with the Cenobites, the demonic beings from another realm who are intent on reclaiming the soul of her deviant Uncle Frank.

Picking up immediately after the events of the original Hellraiser, Hellbound: Hellraiser II finds Kirsty detained at a psychiatric institute and under the care of Phillip Channard, a doctor who abuses his position to realise his own dark aims.

In Hellraiser III: Hell on Earth, a reporter investigating a mysterious death in a nightclub finds herself in the way of Pinhead and the Cenobites, who plan to bring their horrifying world into our own.

It has to be said, Arrow have really gone above and beyond with this superb set. The films have never looked better, all three movies now benefit from a brand new 2K restoration with Hellraiser and Hellraiser II being approved by director of photography Robin Vidgeon. The visual presentations are as close to pristine as you are ever likely to see. Barker’s original Hellraiser does display a varying amount of grain (especially in some of the interior house scenes), but the high level of fine detail and vivid colour (especially in those fleshy, blood soaked scenes) is exceptional. The Hellraiser series of films has never leaped out as the sharpest of films. Hellraiser in particular, has often appeared a little diluted or desaturated, even in its theatrical presentation, it looked rather dull upon the eye. However, there is now a genuine freshness to the films, a new edge to them which makes the whole viewing experience something quite different. The audio elements are also bound to please with uncompressed PCM Stereo 2.0 and Lossless DTS-HD MA 5.1 sound for Hellraiser and Hellbound: Hellraiser II, while Hellraiser III: Hell on Earth sounds pure and clean with a Lossless DTS-HD MA 2.0 soundscape, all of which works very adequately. Each film also boasts multiple audio commentaries which hardened fans will recognise from the Anchor Bay 4 DVD box set released in 2004. However, Arrow’s box of goodies does secure a brand new additional audio commentary (on Hellraiser III) and provided by writer Peter Atkins.

All three movies are presented in their uncut versions, alongside a bonus presentation of the unrated cut of Hellraiser III: Hell on Earth. Running some four minutes longer than the theatrical cut, this includes bonus unrated footage (in standard definition) which has been inserted into the 2K high definition version of the film. It may not be ideal, but Arrow have again been up front and honest, and assured us that the bonus footage has been ‘sourced from the best available material.’ The material in question is actually from the video master that was used for the U.S. panned and scanned laserdisc, therefore expect a slight drop in quality and a change in the aspect ratio for these particular scenes. Arrow should of course remain free of criticism for their decision to include this, remembering that these scenes were never included or intended for the theatrical version. Accepting it purely on the basis of a bonus feature should leave everyone feeling satisfied, and yes, grateful for Arrow’s foresight.

On the subject of bonus material, Arrow’s Scarlet Box is packed and practically bursting at the seams. One of the main bonus elements includes the comprehensive fan-made docs, Leviathan: The Story of Hellraiser and Hellbound: Hellraiser II. These were previously released as an individual 3 DVD set with a mammoth running time, (Disc 1: The Story of Hellraiser approx. 4 hours 37 minutes), (Disc 2: The Story of Hellbound approx. 3 hours 19 minutes) and (Disc 3: Bonus Features approx. 3 hours). Arrow has (perhaps wisely) taken the opportunity to present this fascinating documentaries as ‘brand new versions’, split into two parts and making the whole story of these two films much more presentable and tighter in the process. It’s a decision that arguably works to their advantage. The original (very long) documentaries have received negative criticism in the past, particularly for their pacing and structure. However, Arrow’s re-edits could hardly be considered as thin and without substance with running times of 90 minutes and 120 minutes respectively, there is still ample material here to be enjoyed and appreciated.

BY LEE PFEIFFER

The Italians have always loved sex comedies and after the restraints of censorship began to lift in the 1960s and 1970s, the nation's film industry exploited this genre to the max. Case in point: "The Real Decameron", released in 1973 in an attempt to capitalize on the controversy that stemmed from Pasolini's 1971 cinematic adaptation of the legendary collection of erotica that was written centuries before by Boccaccio. (As you can see, very famous Italians don't require first names.) "The Real Decameron" (also known as "The Sexbury Tales") opens in Medieval times with a group of bored wash women who pass the time of day by telling stories of erotic gossip and fantasies. The film is broken into various short comedy segments that are unrelated other than the fact that they center on the sexual frustrations of the protagonists. In one tale, a young virginal male is persuaded by a woman to marry her daughter even though the girl's face is kept hidden under a veil. Upon tying the knot, he's stunned to find that she gives a new definition to "ugly".  When he is unable to summon the interest to consummate the marriage with his sex-starved bride, mom comes to the rescue and begins to give him under-the-covers lessons in lovemaking. In another story, a would-be Romeo is banned from seeing his Juliet by her overly-possessive father who locks her in a room inside the family castle. The labored segment focuses entirely on the bumbling young man's ill-fated attempts to secretly gain access to her room. In another sketch, a homely middle-aged farmer is unable to persuade his beautiful young wife to have sex. She's terrified of the act until he persuades her to give it a go. The big payoff here is based on the old adage "Be careful what you wish for- you just might get it", as he learns she is now addicted to sex and wants to make love morning, noon and night. Now the tables are turned and he becomes the intimidated partner. Another "gem" centers on an ugly husband and his nagging but attractive wife who can't stand the idea of consummating their marriage. She concocts a wild tale about seeing a ghost in their house (actually her real lover in costume) to induce her cowardly spouse to run from the premises so she can enjoy an erotic evening. Then there is a tale of a highway man who masquerades as a priest to evade the authorities who are pursing him. Due to his disguise, he is welcomed into the home of  a man who is desperately trying to find a cure for an ailment that has kept his wife bedridden. Needless to say, he takes one look at the beauty and bans the hubby from the boudoir so he can administer some "religious rites".  In the film's most bizarre story line, a teenage girl claims that her virginity was stolen when a prawn entered her body while she was swimming. A kooky doctor prescribes sex as the only way to mitigate the prawn's nasty effects- which of course leads to her being the most popular girl in town as many young men volunteer to minister to her needs. 

If you are wondering how scenarios as lame as these could be funny, the answer that they aren't. The film, directed by Renato Savino (using the nom de plume Mauro Stefani) features frantic and sometimes manic over-acting and some of the weakest payoffs in the history of cinematic comedy. All of this would be excusable if there was an abundance of nudity and sexual content but, alas, the movie is about as erotic as "Monkeys, Go Home!". There is some fleeting T&A to keep male viewers marginally awake but even back in the day, this must have been a pretty limp cinematic biscuit. The film does have some decent production values, costumes and sets for a low-budget flick and the DVD transfer is fairly decent- and we love the stylish original poster art used on the sleeve. Ironically, the bizarre English sub-titles end up providing most of the laughs, though it is purely unintentional. 

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BY DIANE RODGERS 

“What’s got four eyes and can’t see?...  Mississippi!”, quips Gene Hackman as FBI Agent Anderson in Alan Parker’s Mississippi Burning, a cynical joke about racist attitudes of the backward-looking American south.  This heavyweight dramatic crime thriller, based on one of the most notorious race-related murder investigations in U.S. history, gets its first ever UK Blu-ray release courtesy of Second Sight.

Set in 1964, endemic racism and race-related violence throughout the southern states is scrutinised to an uncomfortably realistic degree, as Roger Ebert wrote: “More than any other film… this one gets inside the passion of race relations in America”; the film understands and explains events, whilst Parker’s direction criticises and highlights prejudice without undue sensationalism.    The plot revolves around the historical events related to the murders of three civil rights activists (two white and one black) who go missing deep in the heart of Ku Klux Klan territory.  The FBI are called in to investigate, headed by Agent Ward (Willem Dafoe), very much representing Kennedy’s America; a progressive, forward looking country of freedom and equality, with zero tolerance for racist violence and beliefs but believing in his by-the-book methodology and Bureau protocol.  Agent Anderson is partnered with him, much more cynical with age and willing to take unconventional steps, by any means necessary, to bring injustice to light.   Facing uncooperative local police and a community too afraid of the consequences to talk to the FBI, the murder investigation sparks repercussions of national significance in an era when segregation was still commonplace.  

It is obvious to see how Mississippi Burning won a number of accolades including an Oscar, a number of BAFTAs and a best actor award for Hackman (at Berlin International Film Festival).  And it is indeed Hackman’s portrayal of Anderson that is the heart and soul of this film - his warmth and depth of character, his past as a small southern town Sheriff to his current, cosmopolitan, FBI post illustrates a shift in American values and the possibilities of a more inclusive future.  He understands the (shockingly prejudiced) beliefs and attitudes of many white southern locals towards the black population, but does not for one second, as his partner perhaps mistakes him for early in the film, sympathise with the locals’ attitude in the slightest. In fact, his past allows him to speak to the locals in a language they understand - violence - to let them know racist actions are intolerable.  He clearly expresses his outrage in a very open and human manner with which the audience can identify; violent beatings of innocent and peaceful members of the community from old men to women and children simply for the colour of their skin or cooperating with the law is extremely upsetting to witness, as shocking today if not moreso than when the film was released.  

Ward is played subtly by Dafoe, leaving centre stage to Hackman, but his performance is vital to the success of the film.  The audience’s absolute belief in his resolute determination to solve the case, refusing to give in to the stonewalling by the local community, and using all means at his disposal is what drives the film along.   For example, a colleague informs Ward that the local motel owner wants the FBI out as they are ‘bad for business’, to which Ward coolly but firmly tells him to “Buy it”. Anderson advises Ward that FBI methods won’t work, knowing that conflict and violence will arise from outside intervention and will bring a warlike atmosphere to this small town America which, indeed, escalates to the KKK carrying out violent beatings and relentless petrol-bomb attacks on houses and churches.  Ward, however, sees the value in setting a precedent here, to make a stand to show there is no place for racial intolerance in the America of the future, he recognises an era that needs to be brought to an end: “...it was a war long before we got here.”

Other than these central performances, what really strengthens the film is the impressive supporting cast; not one single character is made two-dimensional here, however small a role.  Brad Dourif plays vicious Deputy Sheriff Pell as cruel but with a twinkle in his eye, Frances McDormand is his resigned but proud wife.  R. Lee Ermey plays Mayor Tilman, parochial and angry, with earnest concern.  Even Stephen Toblowsky, perhaps most recognisable for small but perfectly-pitched apathetic comedy roles (such as Ned Ryerson in Groundhog Day) is, in a few short minutes, able to deliver an impassioned and genuinely chilling speech here as a KKK leader.  Every character feels like a real person; however distasteful their opinions or actions are within the film, they are still presented as believably nuanced and rounded human beings rather than caricatures in broad brush strokes, which could be all too easy to fall back on with such politically charged subject matter; much credit is due to both performers and director here.

The Blu-ray itself is excellent quality, transferred well without losing the textured grain of the original film, pleasantly noticeable in places.  Bonus features are few but fascinating; separate interviews with Dafoe, writer Chris Gerolmo and a 20-minute interview with Alan Parker.  There is also a feature audio commentary with Alan Parker. It would have been fascinating to have some of the lesser-featured supporting cast mentioned above involved, perhaps, but the simple and straightforward style of the menus and the extras presented suit to tone of the film well.

"Get Mean" (1975), the most obscure and final entry in the series  of "Stranger" Westerns starring Tony Anthony is getting a long-awaited release in North America thanks to the new deluxe edition Blu-ray that is jam-packed with extras including an insightful collector's booklet written by Cinema Retro columnist Howard Hughes.

Here are the details from the official press release:

The Stranger’s Thrilling Final Adventure!

When an American cowboy stumbles upon a gypsy family in a wind-swept ghost town, they offer him a fortune to escort a princess back to her home in Spain. But this silent Stranger finds himself in over his head (and strung up by his feet) when he gets caught in the middle of an epic battle involving Vikings, the Moors, brutal barbarians, evil spirits, a raging bull, and a diabolical Shakespeare-quoting hunchback. Tired of their never-ending attempts to kill him, the cowboy arms himself to the teeth with guns, dynamite and a special surprise. Now it’s the Stranger’s turn to GET MEAN!

Tony Anthony (COMIN’ AT YA!), Lloyd Battista (BLINDMAN), Raf Baldassarre (THE GREAT SILENCE), Diana Lorys (THE AWFUL DR. ORLOF), and Mirta Miller (EYEBALL) star in this explosive ‘Spaghetti Western’ directed by Ferdinando Baldi (TEXAS, ADIOS). Now Blue Underground is proud to present GET MEAN in this 2-Disc Limited Edition, featuring a brand-new High Definition transfer along with exclusive Extras for the first time ever in North America!

Extras:

Audio Commentary with Producer/Star Tony Anthony, Co-Writer/Star Lloyd Battista, and Executive Producer Ronald J. Schneider

The Story Of The Stranger - Interview with Producer/Star Tony Anthony

Looking For Richard - Interview with Co-Writer/Star Lloyd Battista

Beating A Dead Horse - Interview with Executive Producer Ronald J. Schneider

Tony & I - Interview with Director Ferdinando Baldi

Deleted Scenes

Theatrical Trailer

French Trailer

Radio Spots

Poster & Still Gallery

BONUS Collectable Booklet featuring new writing by Spaghetti Western expert Howard Hughes

·

Check out this Q&A session with Tony Anthony from a recent screening of "Get Mean" at the Cinefamily theatre:

Critics have favorably compared GET MEAN to Sam Raimi’s ARMY OF DARKNESS: “Just like Ash, The Stranger unloads a huge can of whoop-ass on an army of foes. If you’ve enjoyed ARMY OF DARKNESS, you should definitely enjoy this one!” - IMDB

“The Stranger Is One Of The Coolest Spaghetti Western Characters!” – Spaghetti Western Database

“Lives In Its Own Little World Of Surreal Weirdness… A Must For Those Who Enjoy Tony Anthony’s Stuff!” – Video Junkie

“More Fun Than Any Other Baldi/Anthony Collaboration!” – The Spinning Image

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(This review pertains to the UK Region 2 release)

BY TIM GREAVES

There are some films that you just know can only ever have been greenlit and bankrolled because the directors were riding on the success of recent projects – which was precisely the case with esoteric chunk of dystopian fiction, Zardoz. John Boorman may have been revelling in the plaudits afforded him following the release of 1972’s Deliverance when he began touting around his script for Zardoz, but even so it wasn’t an easy sell. The problem was that no-one could really get a handle on what it was about; years later cameraman Peter MacDonald jokingly suggested that Boorman was the only person who actually understood it. That may not in fact have been so far from the truth, but in any event it was finally picked up by 20th Century Fox. All the same, Zardoz is certainly one of the strangest films ever to snare a position in mainstream cinema. Upon its original release it was critically mauled and left audiences around the globe scratching their heads. More than 40 years on it may have reached an unpredictable plateau of respect, but its power to baffle hasn't diminished one iota.

The year is 2293 and what we bear witness to is “a possible future”. In the wake of an apocalyptic event, the world’s population has divided. There are the Elite, blessed with immortality and psychic powers, who inhabit the tranquil paradise of The Vortex. Then there are the Exterminators, a band of savage warriors who patrol Earth’s wastelands; worshipping a huge flying stone head – an effigy of the deity from which the film’s title is derived – their raison d'être is to restrain the starving populous (known as Brutals), safe in the belief that when their time is over they will cross over into The Vortex. When the Exterminators aren’t busy ravaging and slaying Brutals, they enslave them for the cultivation of food. Zed (Sean Connery) is a rarity: an intelligent Exterminator. He cunningly manages to gain entry to The Vortex, determined to learn of Zardoz’s secrets, but his arrival is greeted with mixed reaction. Immortal May (Sara Kestelman) is keen to study him and, much to the annoyance of Consuella (Charlotte Rampling) who sees the savage as a dangerous influence on their society, the senior Friend (John Alderton) permits Zed to remain among them, if for no other reason than to relieve the boredom born of immortality. There also appears to be hope in the community that Zed may hold the secret to the blessed release of death.

Or something like that.

First up let’s address the elephant in the room: Leading man Connery’s frankly bizarre attire. Throughout the first half of the 1970s the actor took on a number of roles that would distance him from his James Bond persona, including an unhinged police detective with possible latent paedophile tendencies (The Offence) and an elderly Robin Hood (Robin and Marian). But with his portrayal of Zed in Zardoz he hit the motherlode. Ponytailed and clad for much of the film’s runtime in little more than a scarlet diaper – the publicity stills providing car crash visuals that are still mocked today – I’d posit that he actually pulls off ‘the look’. (Just.) If nothing else, I’m sure the skimpy outfit appealed to the actor’s female fanbase. Appearance aside though, in the role originally earmarked for Burt Reynolds, Connery delivers a terrific performance and his rugged screen presence keeps one engaged even when the narrative veers off into the profoundly confusing – which it does on more than one occasion.

There’s strong support meanwhile from Charlotte Rampling, Sara Kestelman, TV favourite John Alderton and Niall Buggy as rapscallion Arthur Frayn.

Produced as well as written and directed by Boorman, Zardoz is a triumph in both style and substance (if you can at least partially get your head around it). The plot may be something of a conundrum, but there’s a great deal to admire here. It’s certainly beautifully mounted; gorgeous location work (lensed in Ireland’s County Wicklow) set to the music of Beethoven combines with Christel Kruse Boorman’s economical but impressive costume designs to deliver a captivating aesthetic that ably compensates for some of the cheaper looking ‘plastic bag’ – quite literally – visuals. There’s also a very satisfying reveal as to the source of the titular God’s name, a twist capitalised on in Star Trek: The Motion Picture a few years later.

I've seen Zardoz several times over the years and still find it a challenge to endure. Yet the fact I find myself drawn to return to it says a great deal. It’s indisputably a peculiar one, but never less than intriguingly so. 

Okay then, enough beating about the bush. Is Zardoz a load of old nonsense (as so many profess), or a sublime masterpiece (as equal numbers make claim)? 

The opportunity for doubters to reappraise Boorman’s film (or indeed, for those who’ve always had their tent pitched in the pro camp, to simply re-indulge) has arrived in the form of Arrow’s scintillating new Blu-ray presentation. The transfer of the film itself is outstanding – I’ve certainly not seen it looking quite so beautiful before – and it’s accompanied by an appreciation piece from director Ben Wheatley, an original 1970s trailer (even more bemusing than the film it was attempting to cultivate an audience for), radio spots, plus short but valuable on-camera reminiscences from Boorman, Kestelman, production designer Anthony Pratt, special effects technician Gerry Johnston, camera operator Peter MacDonald, assistant director Simon Relph, hairstylist Colin Jamison, production manager Seamus Byrne and assistant editor Alan Jones. The icing on the cake is an informative commentary from the eminently likeable Boorman. Of course, the cherry on the icing would have been input from Connery, Alderton and Rampling, but they’re all conspicuous by their absence (rather inevitably where Connery was concerned, one supposes).

A nicely illustrated 40-page booklet comprising interview material and articles makes for a very handsome finishing touch.

BY LEE PFEIFFER

By the 1920s there was already a fear that the age of great adventure and adventurers was rapidly coming to a close. Flight had been conquered and lands that seemed mythical were rapidly being explored by white men. The great white whale that had remained unconquered was the summit of the world's tallest mountain, Everest. Today, the mountain is scaled almost routinely but it still is underestimated by climbers who lose their lives it their quest to ascend it. As late as the 1920s, many considered it be an impossible quest to reach the summit. However, courageous (or foolhardy) souls are often drawn to such seemingly quixotic goals, and so it was that in 1924 a major British expedition was formed with the intent of achieving what many felt was the last great challenge: to reach the summit of the fabled mountain. The expedition was headed by George Mallory and Andrew Irvine. Typical of the Brits, the venture was undertaken on a grand scale with a small army of participants, including Tibetan sherpas. Captain John Noel asked if he could accommodate the expedition so that he could document it on film. Mallory and Irvine were reluctant to do so, reminding Noel that they were motivated by scientific exploration, not becoming Hollywood stars. Nevertheless, Noel was given permission to join them- on the proviso that he minimize filming of the people involved and concentrate on the landscapes. Thus, Noel- armed with an amazing array of state-of-the-art film cameras of varying sizes- did indeed spend most of his energies shooting the spectacular scenery. Although there are only fleeting glimpses of the British members of the expedition, Noel did have the foresight to realize how exotic images of the local Tibetan culture would be for Westerners. Fortunately, he had the presence of mind to film tribal members and their customs, thus providing the most complete depiction of Tibetan life seen by the outside world.

One of the most impressive aspects of the documentary is Noel's seemingly superhuman ability to keep cameras steady in dangerous situations. The vast regions of ice and sky look just as beautiful and intimidating today as they must have when he filmed them. The movie has an almost mystical quality to it that sets it uniquely apart from any other documentary I have seen. Noel captures the mundane and boring aspects of the expedition as well as its most majestic moments- all leading up to a failed quest and a tragic loss of life. The final images of doomed men setting of to reach to the summit was captured on film by Noel, who kept shooting them even as they faded into figures in a landscape, never to be  seen again and whose precise fate remains unknown to this day. Noel successfully marketed his film to appreciative worldwide audiences, but upon his death the elements were allowed to deteriorate. The British Film Institute was given the raw materials by Noel's daughter Sandra and a major restoration project was undertaken that saw the movie returned to its original glory, including some very impressive color tinting. The newly-commissioned score has been brilliantly realized by Simon Fisher; it is both beautiful and occasionally eerie and foreboding. Kino Lorber has imported the BFI restored print for the American Blu-ray release. Extras include interviews with Sandra Noel and other scholars and featurettes about the restoration of the film and the scoring process.

"The Epic of Everest" is a landmark film that has retained all of its emotional power thanks to a brilliant restoration. 

CLICK HERE TO READ ABOUT THE RESTORATION.

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BY DOUG OSWALD

Released by Universal in 1967, “Tobruk” opens with the feel of a 1960s spy thriller. Rock Hudson is Major Donald Craig, a Canadian prisoner of war on board a German transport ship anchored somewhere off the North Africa coast in late 1942. A group of frogmen surface near the ship and sneak on board with silencers fixed to their guns in order to capture Craig. The frogmen are led by Captain Bergman (George Peppard) who reveal themselves to be part of a team of German commandos.

The commandos take Craig to a German airfield and fly him to a desert landing strip. They’re unexpectedly greeted by a group of British soldiers led by Colonel Harker (Nigel Green). It’s revealed that Bergman is the leader of a German-Jewish commando unit attached to a group of British commandos operating in North Africa. They secured the rescue of Craig due to his expertise as a map maker needing his expertise in navigating a mine field and access to the German occupied port at Tobruk, Libya, so they can destroy it in time for a British sea invasion.

The movie is based on an actual, although unsuccessful, attack on Tobruk in September of 1942 which did include German-Jewish soldiers and fake British POWs. Just like the actual events, the British commandos in the movie pretend to be POWs in order to get to their ultimate destination undetected... or at least in an inconspicuous way that will arouse little attention. During the journey through the Sahara, the group encounters the German and Italian Army as well as local horseman seeking money for captured British hostages and aerial staffing from British aircraft.

Directed by Arthur Hiller, the movie appears at first glance to be an unusual choice for the director who would be synonymous with message movies and romantic comedies. However, interspersed between the usual action and military battle scenes, the British and German-Jewish commando team deal with serious issues of bigotry and anti-Semitism with Hudson caught between the two camps as the outsider caught in the middle as they make their way across the desert.

Hudson is very good in “Tobruk” and broke away from being stereotyped as a leading man of about a half dozen very popular romantic comedies to star in more serious films including heroic military parts in “Tobruk,” “Ice Station Zebra,” “The Undefeated” and “Hornet’s Nest.” In the 1970s he settled into a hybrid role which combined elements of his romantic comedies and the heroic leading man as San Francisco police commissioner in the popular TV series “McMillan & Wife” which ran from 1971 to 1977.

Peppard, no stranger to tough guy roles, plays a German soldier for the second time in “Tobruk” following his performance as aviator Bruno Stachel in the WWI classic “The Blue Max.” Prior to this he appeared in the WWII adventure “Operation Crossbow” which was preceded by a string of high profile big budget movies. Like Hudson, Peppard found success in television with the TV series “Banacek” which ran from 1972-1974. His acting career was hit or miss in the late 1960s until he landed the lead in “Banacek” and faltered again in the 1970s until he found success in the popular TV series, “The A-Team,” which ran from 1983-1987.

Nigel Green is a standout as Col. Harker, the leader of the commando unit. One of the great character actors of British cinema, Green is memorable in just about everything he appeared in a career cut short by an accidental overdose of sleeping pills. He played a similar character in another North Africa set WWII movie, “Play Dirty,” as Col. Masters.

“Tobruk” features a cast filled with many of the great British character actors including Jack Watson, Percy Herbert, Norman Rossington and Leo Gordon as well as American Guy Stockwell and Irishman Liam Redmond included in the mix. Gordon did double duty in “Tobruk” as screenwriter as well as a rare good guy role.

Released early in 1967, “Tobruk” is overshadowed by the blockbuster success and popularity of “The Dirty Dozen” which premiered that summer. “Tobruk,” like “The Dirty Dozen,” falls into the genre of “Men on an Impossible Mission,” but doesn’t pack quite the same punch as movies like “The Dirty Dozen” and “Where Eagles Dare.” The movie comes close with a satisfying plot, terrific performances and plenty of action. It is violent, to be sure, including an abundance of graphic deaths via flame thrower which become more a convenient distraction to move the story along.

“Tobruk” is made-to-order via Universal’s Vault Series and has a run time of 110 minutes. The DVD offers no extras, but the movie sounds and looks very nice preserving the Techniscope widescreen image. The movie is a welcome addition for fans of 60s war movies.

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BY LEE PFEIFFER

It's rare that a feature included as a bonus in a Blu-ray release of a classic movie would rate having us provide a separate review. However, director Richard Shepard's acclaimed documentary "I Knew It Was You: Rediscovering John Cazle" merits exceptional treatment. The 2009 movie gained considerable praise when first released but suffered the fate of most documentaries in that it was not widely seen outside of the art house circuit and a DVD release the following year. Fortunately, Warner Home Video had the good instincts to include it in their 40th anniversary Blu-ray release of "Dog Day Afternoon" (click here for review) , a film in which Cazale stole the show despite sharing the screen with some of the most talented actors on the planet.  The documentary packs a great deal into it's all-too-brief 40 minute running time and sheds much light on the career of Cazale, perhaps the least-heralded main cast member of "The Godfather" and "The Godfather Part II". The "Godfather" saga saw the resurrection of Marlon Brando's career and made top stars of Al Pacino, James Caan, Robert Duvall and Diane Keaton. Not so with Cazale, who in many ways played the most interesting character in the story lines. As Fredo, the much-beloved underachiever of the Corleone crime family, Cazale gave performances for the ages. This is especially true in "The Godfather Part II", my personal choice for the best American movie of the sound era. It was here that the brilliant screenplay gave the character - and Cazale- the opportunity to dominate key scenes.  The results need not be described here if you are a classic movie lover. Yet, Cazale never achieved fame except among film historians and trivia experts. His chameleon-like qualities enabled him to bring remarkable characters and performances to the screen but also resulted in his remaining anonymous to the public. In many cases, movie- goers failed to realize that the edgy and dumb bank robber of "Dog Day Afternoon" was the same actor who had played Fredo. To prove the point, director Richard Shepard stops people on the street and shows them a photo of cast members from "The Godfather": Brando, Pacino, Caan and Cazale. No one can identify Cazale's real name, although most realize he was the actor who portrayed Fredo. (One person assertively insists that "Fredo" was not only the name of the character but the actor who portrayed him, which for a method actor like Cazale might be considered a compliment.) 

Shepard became fascinated by Cazale after seeing him in a reissue of "The Godfather". Despite all the enormously talented actors on screen, it was Cazale's non-glam, hangdog look that resonated with him. After becoming a successful director in his own right, Shepard was disturbed that, while the characters he portrayed were still very much a part of pop culture, Cazale's name had virtually vanished from the landscape. Determined to put him back in the spotlight, he and his producing partner Stacey Reiss  decided to film a feature length documentary about Cazale- a man who only made five movies, each of which either won or was nominated for the Best Picture Oscar: "The Conversation", the first two "Godfather" films, "Dog Day Afternoon" and "The Deer Hunter". Cazale died in March, 1978 at age 42, having barely been able to complete the latter film due to his battle with lung cancer. Like most great actors who died young, Cazale's image is frozen in time. Unlike most of those who shared his fate, however, his name never became legendary.  In his audio commentary for "I Knew It Was You" (a pivotal line of dialogue from "The Godfather Part II" spoken by Michael Corleone to Fredo in regards to his ultimate betrayal of Corleone family loyalty), Shepard relates the almost insurmountable challenge of finding financing for the documentary. Everyone thought it was a great idea but, in true Hollywood fashion, no one was willing to put up any money. Ultimately, producer/director Brett Ratner backed the project and succeeded in getting funding from HBO. The only downside was that HBO insisted on limiting the running time to 40 minutes, thus dashing Shepard's original plan to make a feature length film. Nonetheless, he was grateful to the network for financing the project at all and he set to work lining up possible interviews with those who knew or admired Cazale. He succeeded admirably.  The documentary boasts an impressive line-up of talent who pay tribute to Cazale and acknowledge his influence. Chief among them is Al Pacino, who knew Cazale during their days as struggling actors in New York City. They both would run into each other occasionally and went on to work in several plays together before being reunited for "The Godfather" and "Dog Day Afternoon". Pacino's affection for Cazale is such that he admits he idolized him. He and others express the belief that Cazale was one of the most intelligent- if eccentric- people they ever knew. Cazale's appeal was that he was no matinee idol. He looked like the guy next door (assuming you lived in a blue collar area of the Bronx or New Jersey.) Others who extol his value as an actor and human being are Richard Dreyfuss, producer Fred Roos,  Olympia Dukakis, Sam Rockwell, Francis Ford Coppola (who directed Cazale in three of his five films), Carol Kane, Steve Buscemi, John Savage and playwright Israel Horowitz, who worked with Cazale on ten plays in the 1960s. Shepard even managed to get interviews with such press-shy titans as Gene Hackman, Robert De Niro and Meryl Streep, who discusses her intense love affair with Cazale on camera for the first time. There are also moving comments from Cazale's brother Steve, who relates a sobering story about how he found out that his brother was suffering from lung cancer. There also interviews with two other show business legends who themselves have now left us: Sidney Lumet and Philip Seymour Hoffman. The entire film is filled with sincere, sentimental tales about Cazale that are both touching and humorous. 

The "Dog Day Afternoon" edition of "I Knew It Was You" features some excellent extras pertaining to the documentary. Richard Shepard's audio commentary is truly fascinating, as he relates the trials and tribulations of bringing the project to the screen and how he had to shame the rights holders to Cazale's movies into allowing him to use extensive film clips for virtually no fees. There are also extensive outtakes of the interviews with Al Pacino and Israel Horowitz that contain some of the most interesting revelations and stories. A pity they couldn't have been included in the final cut of the movie itself. In one sequence, Pacino is overcome with emotion discussing his friendship with Cazale and comes close to breaking down.  He also expresses frustration that Cazale was never even nominated for an Oscar. Horowitz ends his segment in a most unforgettable fashion by reading verbatim the beautiful eulogy he wrote in praise of Cazale for The Village Voice. The extras also contain two short early career films that Cazale was involved with. "The American Way" is a zany, Monty Python-like comedy made in 1962 in which Cazale is seen as an inept anarchist.  Cazale doesn't appear at all in the  1969 film "The Box", but served as the credited cinematographer. The comedy involves a guy who finds that his new television set seems to be possessed and determined to drive him insane through playing practical jokes on him. 

The fact that "Dog Day Afternoon" is itself a classic of American cinema is reason enough to add this anniversary Blu-ray edition to your library. However, the addition of "I Knew It Was You" would merit the purchase alone.

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By Jeremy Carr

The name may not resonate with the same sort of pop culture familiarity as Shaft (1971) or Super Fly (1972), but Slaughter (1972) looms large as a striking film in the annals of Blaxploitation cinema. As his theme song proclaims (yes, he too has a theme song, courtesy of Billy Preston), Slaughter is "big, bad, black and bold," every bit as much as the protagonists of these more iconic titles, perhaps even more so. If Slaughter embodies the no-nonsense toughness seen in characters like Shaft, Priest from Super Fly, Goldie from The Mack (1973), and Tommy Gibbs from Black Caesar (1973), as well as their canny suavity and bravado, his next closest filmic kin might be Rudy Ray Moore's Dolemite (1975). With this outlandish character, Slaughter shares a penchant for exaggerated movements and posturing, and as such, he is as unsubtle as Dolemite, though he and the film in general are far more serious. Or, at least it takes itself more serious.

Available now on a bare-bones Blu-ray from Olive Films, Slaughter was released in 1972 by American International Pictures and was produced by the legendarily eclectic Samuel Z. Arkoff, who in the months immediately to follow would continue in the Blaxploitation vein, with Blacula (1972), Coffy (1973), Hell Up in Harlem (1973), and the Slaughter sequel, Slaughter's Big Rip-Off (1973). Penning the script was Mark Hanna, the scribe behind 1957's The Amazing Colossal Man and 1958's Attack of the 50 Foot Woman, along with Don Williams, whose sole credits include this film, its sequel, and Blood, Black and White (1973), all three of which he had a hand in producing. Slaughter was also the fifth feature film directed by Jack Starrett, who would compile quite the roster of titles as director and actor, in both film and television. But the star of the show, of course, is Jim Brown, the great NFL fullback (Cleveland Browns, 1957-1965), in this, his twelfth film role, just a year after his induction into the Pro Football Hall of Fame.

As the film gets started, former Green Beret Captain Slaughter seeks to uncover the mystery of who ordered a recent hit on his father. Given that the senior Slaughter had questionable underworld connections, the investigation inevitably leads to some unsavory associations and the suggestion that his fate was, in a sense, unavoidable. When Slaughter seeks information from family friend and apparently shady acquaintance Jenny (Marion Brash), before she is likewise violently dispatched, she barely consuls him with, "It comes with the business." Slaughter then takes matters into his own hands, hunting down the probable mastermind, crashing a stolen car into the villain's taxiing plane, and coming out of the wreckage guns blazing. The attack is only partly successful, though, and the hitman, Dominic Hoffo (Rip Torn), manages to escape. What is more, Treasury Department officials who were also after the same man call Slaughter for interference. Since he interrupted their operation, Slaughter is recruited to assist the feds in order to avoid prison time. He agrees, and it's off to South America.

There he wastes no time landing smack in the middle of a preexisting power struggle between the bizarrely captivating Mario Felice (Norman Alfe—his lone acting credit), who reigns supreme in the regional drug enterprise, and up-and-coming underling Dominic, who has resentfully had enough of playing second fiddle. First, the two men enlist arm-candy Ann (Stella Stevens) to sway the meddlesome stranger, but Slaughter promptly beds the beauty, compounding the animosity and stealing the girl for good. More drastic measures thus become necessary.