Columnists
Entries from September 2017
HUGH M. HEFNER
1926-2017
A TRIBUTE
By Raymond Benson
A
true American innovator and icon has left us.
While
I would never claim to be one of this brilliant man’s inner circle of close longtime
friends or family, I was privileged to know him for nearly three decades. I was
a guest at the Playboy Mansion in Los Angeles on numerous occasions, many times
along with my wife and even my son, who first visited when he was eight years
old! Hef was always a generous host—kind, warm-hearted, and full of
conversation. He also had integrity. His championing of civil rights and First
Amendment freedoms is legendary. He gave us the permission to embrace the
sexual revolution—and, believe it or not, he was a strong advocate of women’s
rights. The women who truly knew him loved
him.
We
first “met†through correspondence after the publication of my 1980s book, The James Bond Bedside Companion. I had
been a Playboy reader and subscriber
since I was old enough to be one (and was sneaking it into the house before
that!), so I knew the magazine well, its philosophy, and its impact on popular
culture. I also was well aware that Hef was a James Bond fan. Playboy was the first American
periodical to publish fiction by Ian Fleming. Beginning with the March 1960
issue, Playboy published several of
Fleming’s short stories and excerpts from his novels during that decade. The
magazine also featured pictorials from the films that lasted into the 80s.
I
sent Hef a copy of the Bedside Companion and
I was surprised and pleased that he wrote me back, thanking me for the book and
relating a little of how he first screened Dr.
No at the Chicago Playboy Mansion in 1962, months before its official ’63 release
in the U.S. Additional occasional correspondence between us ensued over the
next few years, and then, in 1994, I was invited to visit Playboy Mansion West
on “movie night†while I was attending a James Bond convention being held in
Los Angeles. A year later, I landed the gig to become the first American author
to pen official 007 novels. I suggested to the Ian Fleming people that we
approach Hef to do an exclusive short story for the magazine and re-establish
the Playboy/Bond connection. The
result was the publication of my Bond fiction in six issues of Playboy between 1997 and 2000.
One
of the more memorable weekends I spent in Hef’s company was during the “Playboy
Expo,†held in L.A. in 1999 for the 45th Anniversary of the
magazine. I was invited to be a guest speaker at the expo, which ran for two
days and featured the appearances of around 300 Playmates, past and present. I
was on the sidelines when the iconic photograph was taken at the Mansion of Hef
and all the women present who had graced the centerfold since the 1950s. That
was surely a “pinch me†moment.
I
normally visited the Mansion on “movie nights.†These were held on Sundays,
when up to fifty guests were invited for a buffet dinner and the screening of a
current film. When no other events were happening, Hef had “classic†movie
nights of old movies on Fridays and/or Saturdays. Hef was a serious movie buff!
In
fact, Hef made many contributions to the world of cinema. He was one of the
movers and shakers (and financiers) for the restoration of the famous “Hollywoodâ€
sign that had come into disrepair by the 70s. Playboy Enterprises had a working
film production company during that decade and made a few memorable pictures.
For example, the first Monty Python film, And
Now for Something Completely Different (1971), was a Playboy production.
Roman Polanski’s Macbeth (also 1971)
was executive produced by Hefner.
His
work in television was also pioneering. His Playboy’s
Penthouse, that aired for two seasons in 1959-1961, was the first variety
show to break the “color barrier†by ensuring black performers mingled with
white ones.
The
impact that Hef’s magazine had on the world cannot be capsulized in this short
tribute. I will leave that task to others. Just know that a young Hugh Hefner
created Playboy on his kitchen table
in a modest Chicago apartment with very little money. Now the rabbit logo is
one of the most widely recognized symbols around the world. Hef is a perfect
example of someone who pursued the American Dream and achieved it.
Rest
in Peace, Hef, and thank you.
Cinema Retro extends its deepest
condolences to Hugh Hefner’s family—Crystal, Cooper, Marston, Christie, and
David.
(For Raymond Benson's exclusive interview with Hugh Hefner about the films he produced, see Cinema Retro issue #5)
“LOVE AND ANGSTâ€
By Raymond Benson
Woody
Allen came off an incredible run of five superior films released between 1983
and 1987 (Zelig, Broadway Danny Rose, The
Purple Rose of Cairo, Hannah and Her
Sisters, and Radio Days) and then
delivered one of his occasional “serious†pictures (without his presence as an
actor) in late ’87 that was so dire that it only grossed approximately $500,000
in its initial run.
Basically
a six-character “play†that takes many cues from the works of Anton Chekhov, September is set in a Vermont country
house where depressed Lane (Mia Farrow) is recovering from a suicide attempt.
Her best friend Stephanie (Dianne Wiest) is there for moral support. Lane is in
love with tenant/writer Peter (Sam Waterston), and neighbor/teacher Howard
(Denholm Elliott) is in love with Lane. She doesn’t share Howard’s affections,
but Peter, however, is in love with Stephanie. Coming to visit into this
quartet of woe is Lane’s extroverted mother, a former actress named Diane
(Elaine Stritch) and her second husband Lloyd (Jack Warden). Diane and Lane
have a complicated relationship. When Lane was young, she found her mother
being abused by a man and she killed him (shades of the infamous real-life case
involving Lana Turner, her daughter, and a mobster).
Doesn’t
sound like one of Woody Allen’s laugh-fests, does it?
September was a problem project
for the writer/director from the beginning. He had originally cast Christopher
Walken as Peter, started shooting, and then decided that wasn’t working. He
recast the role with Sam Shepard. Maureen O’Sullivan was playing Diane, and
Charles Durning had the part of Howard. Allen shot the entire movie and edited
it. He was unhappy with it for some reason, so he decided to recast the
roles of Peter, Diane, and Howard, and remake
the entire movie. I’m sure the studio, Orion Pictures, loved that
prospect—but at that time Allen’s stock was uncommonly high and he had the
clout to do it.
The
acting is good enough, I suppose. Elaine Stritch, in particular, shines in the
showy role of the crazy show biz mom. The problem is that these are people we
can’t really care about. The love and angst on display quickly becomes
tiresome.
While
no one has ever seen the first version of September
that Allen shot, I can’t imagine that the picture we saw in the cinema in
December ’87 was any better. For the record, I will state that Woody Allen,
with nearly fifty titles under his belt, is one our national treasures as a
filmmaker…but September ranks as one
of the worst five movies he ever made. Luckily, he followed the picture with
one of his best “serious†titles—Another
Woman (also available from Twilight Time).
It
looks gorgeous, though! The cinematography
by the late, great Carlo Di Palma emphasizes the autumn colors of Vermont with
a pastel palette that is very pleasing to the eye. Twilight Time’s Blu-ray
1080p High Definition transfer is admirable, accompanied by a fine 1.0 DTS-HD
Master Audio. The only supplements, however, are an isolated music and effects
track (the music consists of Allen’s typical Great American Songbook jazz
standards), and the theatrical trailer.
September—a nice product of
only 3,000 (limited edition) units—will appeal to Woody Allen completists.
Only.
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“THIS IS A HOLDUP?â€
By Raymond Benson
Woody
Allen’s very first directorial effort (not counting What’s Up, Tiger Lily? from 1966, which was, in actuality, a
Japanese spy movie that Allen rewrote, dubbed, and re-edited into a comedy) was
the low budget, no frills Take the Money
and Run, released in the summer of 1969 to an unsuspecting audience. While
Allen was already somewhat familiar to the public via his numerous television
talk show and stand-up appearances, as well as his small roles in three late-60s
motion pictures, no one was quite prepared for the zany, nebbish onscreen
persona that Allen debuted in Take the
Money. It was a cinematic guise he would keep to the present day.
The
intellectual Jewish nerd that Allen presented (here his character’s name is
Virgil Starkwell) quickly became the guy whom we all thought Woody Allen really
is. Some folks might have said, “Oh, he’s just playing himself.†Perhaps
certain characteristics of the real Woody Allen may have been a part of Virgil
Starkwell, or Fielding Mellish, or even Alvy Singer, but like Groucho Marx and his onscreen persona, we now know that Woody
Allen is not that guy. In truth, he tends to be surprisingly shy, quiet, and
introverted. This revelation makes the performances in his movies that much
more remarkable.
Take the Money and
Run is
also a milestone because of its “mockumentary†format, a comedy sub-genre that
had been rarely explored up to that point. Something like A Hard Day’s Night might be called a mockumentary, but it wasn’t
until Allen’s landmark unveiling of his first feature that we saw the comedic
possibilities of presenting a story as if it were real news—complete with
documentary-style narration (provided in this case by veteran Jackson Beck).
The
movie is the tale of a common serial thief, and how his love life and eventual
marriage (to Louise, played by Janet Margolin) affects his “career.†The
hilarious biographical narrative includes wacky robberies, failed attempts to
go straight, and numerous stints in the pen. One cannot easily forget the
classic bank holdup scene in which Allen passes a note to the teller, who can’t
read the handwriting. Before long, the entire staff of the bank is attempting
to decipher whether Starkwell wrote “gub†or “gun.†“Is this a holdup?†one guy
asks.
Made
for roughly $1.5 million, the picture looks, well, cheap, and it has that 1960s
shot-on-newsreel-cameras feel, which of course is entirely appropriate. The
direction is competent; Allen has long acknowledged the contribution of editor
Ralph Rosenblum to his early comedies. It’s not unfair to say that Rosenblum
may have taught Allen essential lessons in directing. That said, it’s also no
small feat to act in, direct, and co-write (with Mickey Rose) a movie. Despite
the low rent vibe of the picture, the jokes really do come every few seconds,
and this is worth the price of admission. It is a very funny movie.
The
Kino Lorber Blu-ray transfer looks fine, although the video quality of the
original picture wasn’t particularly great to begin with. Unfortunately, like
with most Allen Blu-ray releases, there are no supplements other than trailers
for other Kino Lorber releases.
Nevertheless,
Take the Money and Run is a
worthwhile examination of a genius artist’s baby steps. There’s no question
that Allen’s career began with an impressive laugh riot—and things would only
get better.
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BY ADRIAN SMITH
“Only one thing counts: either you have money and
you’re someone, or you don’t have any and you’re a doormat.†So states Giulio
Sacchi (Tomas Milian), as he plans to kidnap the beautiful young daughter of a wealthy
business-owner. Together with two small-time hoods, who are more accustomed to
snatching purses than snatching rich girls, Sacchi hopes to take 500 million
lira, enough never to have to work again. Having grown up on the streets with
no parents or opportunity, Sacchi constantly rails against the system. He
believes he is a genius and can commit crime because the world owes him a
living; in reality he is short-tempered, dangerous and cowardly, as he proves
when he guns down a traffic officer whilst acting as getaway driver for a bank
robbery. This hasty murder brings swift police attention and the gang are
nearly caught, leading them to beat Sacchi and reject him from their organised
crime ring. This spurs him on to plan his perfect big score, but his short
temper causes him to leave a string of dead bodies in his wake, which soon
brings tough cop Walter Grandi (Henry Silva) hot on his trail.
Almost
Human fits what the Italians called the poliziotteschi, a genre which depicted
corrupt or inept cops and violent criminality. The 1970s was an incredibly
violent period in Italy’s history, often referred to as Anni di piombo, or the Years of Lead, when both left- and
right-wing extremists engaged in acts of terrorism including bombings and
political assassinations. The authorities seemed unable to bring any form of
control to this unstable and terrifying situation and the Italian films of the
period charted this chaos and mistrust through explicit depictions of crime and
horror. Although Milan is now a popular tourist destination for its important
art and architecture, Almost Human
depicts it as a city which looks more like the mean streets of 1970s New York,
filled with crumbling buildings, ugly apartment blocks, abandoned quaysides and
patches of rubbish-strewn wasteland. This comparison is surely no coincidence,
as the poliziotteschi, as well as
addressing issues of contemporary Italy, borrows heavily from the tough
American crime thrillers of the period like The
French Connection (1971) and Dirty
Harry (1971). The film’s original Italian title, Milano odia: la polizia non puo’ sparare, translates as “Milan
hates: the police can’t shootâ€, which sounds as if it is criticising the
targeting abilities of the local constabulary. What is actually implied by this
is that the bureaucracy means that the police are powerless to stop the
criminals. Even if they are caught and arrested, as Grandi complains, they are
released again twenty-four hours later to go out and steal and kill again.
Sacchi is so blasé about killing people because he believes no one will notice
another body in Milan.
Almost
Human may be derivative of the American cop thriller,
but it is also an exciting and shocking political critique of Italian society,
where women and children can be gunned down in cold blood and the police are
powerless to stop it unless they step outside the law they are sworn to
protect.
Director Umberto Lenzi is a legend of Italian
cinema. Like many who worked outside the arthouse or neo-realist traditions of
Visconti or Fellini, Lenzi made films within every popular genre from
sword-and-sandal to giallo, from sex comedies to cannibal horror. Like his
contemporaries he made whatever was popular, whether for the local or
international audiences, so his name can even be found on spy films like 008: Operation Exterminate (1965),
spaghetti westerns such as Pistol for a
Hundred Coffins (1968) and zombie splatterthons like the deliriously
ridiculous Nightmare City (1980). Shameless sat him down for an exclusive
interview for this new Blu-ray, which features an HD restoration from the
original negative. He is a fascinating figure whose career spans over fifty
years and he has plenty of stories to tell about his time in the film industry.
Also included are some archival interviews with Lenzi, co-star Ray Lovelock and
writer Ernesto Gastaldi, himself legendary in the Italy with over 100 film
credits. Tomas Milian, a Cuban-American who had a tremendous career both in
Europe and in the U.S, and who passed away earlier in 2017, is also interviewed
and proved himself to be equally entertaining as he was in his movies.
The Blu-ray comes in the traditional Shameless
yellow case with both original and alternative artwork. With a terrific
heavy-rock score from none other than Ennio Morricone, Almost Human is an exciting film from the golden period of Italian
exploitation cinema and is not to be missed.
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BY TODD GARBARINI
The
plot of Dario Argento’s 1985 thriller Phenomena
has long been the subject of ridicule and derision by critics and fans alike
since its initial release. The inevitable complaints about the film range from
the bad dubbing and stiff performances to the ludicrous notion that insects can
be employed as detectives in a homicide investigation (this is true and has
actually been done, providing the inspiration for the film). If the film does
not sound familiar, that could be attributed to the fact that Phenomena was severely cut by 33 minutes
and retitled Creepers when it opened
in the States on Friday, August 30, 1985.
Jennifer
Corvino (Jennifer Connelly) is a fourteen year-old student attending an
all-girls school in Switzerland while her movie star father is away for the
better part of a year shooting a film. Her mother, who left the family when
Jennifer was a child, is merely mentioned but never seen. Unfortunately, her
roommate Sophie (Federica
Mastroianni) has just informed her that the school is
beset by a killer who stalks girls their age and kills them. Well, that’s unfortunate! You would think that
someone would order the school closed and the girls sent away. As you can
imagine, this doesn’t sit too well with Jennifer who suffers from a bad case of
sleepwalking and manages to find herself embroiled in the very murders she was
hoping to avoid. She meets entomologist John McGregor (Donald Pleasence), a
wheelchair-bound Scot who lacks a Scottish accent but possesses an avuncular
disposition that endears Jennifer to him and his chimpanzee Inga who doubles as
his nurse. Fortunately for Jennifer, he is aiding the police in their
investigation into the murder of a Danish tourist (Fiore Argento, the
director’s eldest daughter) and the disappearance of McGregor’s former aid.
Together with the help of McGregor, Inga (yes, the chimp!) and a very large
fly, Jennifer sets off to locate the murderer. When she does, she nearly
regrets it.
Jennifer
Connelly was chosen by Mr. Argento to play the lead as he had seen her in
Sergio Leone’s Once Upon a Time in
America (1984). His decision to set the film in the Swiss Alps is
unorthodox but provides the perfect backdrop to the story as the scenery is
utterly breathtaking. He also makes terrific use of the Steadi-cam and it never
feels over-used.
Phenomena has been released on home video more times than I can
count, but the new Blu-ray from Synapse Films is gorgeous and has completely
different extras than the 2011 Arrow Video release which had the more
well-known 110-minute cut and an array of then-newly-produced extras. Phenomena has more detractors than
admirers if you believe what you read, and even staunch proponents of Mr.
Argento’s vision (Maitland McDonagh and Alan Jones) have written off the film
as silly. However, the amount of love and dedication that has been lavished
upon this film restoring it to its former glory on Blu-ray says volumes about
those who cherish it. This set is absolutely beautiful and definitely worth the
price of an upgrade as it sports the following:
The
set comes with two Blu-rays which consist of three (3) different cuts of the
film, all available in high-definition for the first time ever in one
collector's edition package:
the 83-minute United States Creepers cut in HD
the 110-minute International Phenomena cut in HD
the 116-minute English/Italian hybrid
audio Phenomena cut in HD
Continue reading "REVIEW: DARIO ARGENTO'S "PHENOMENA" (1985) STARRING JENNIFER CONNELLY; SYNAPSE FILMS BLU-RAY SPECIAL EDITION"
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