the old saying goes, “You can’t go home again.”Having seen Scream And Scream
Again decades ago, I remembered it as being thrilling and suspenseful... now,
47 years (!) after its release, not so much.The story is a hodgepodge of sci-fi and social commentary as a brusque
police inspector (Alfred Marks) and a curious doctor (Christopher Matthews)
investigate the brutal deaths of several young women, eventually connecting them
to a scientist (Vincent Price) who is creating synthetic humans using body
parts from unwilling live donors.Christopher Lee is the head of British Intelligence, whose agency is – I
think – secretly funding the experiments.A subplot with a sadistic official (Marshall Jones) from a fictional Eastern
European nation (think East Berlin) in collusion with the Brits is also in the
mix. (In an interview years later, even Vincent Price admitted he didn’t know
what the film was really about!)
directed by Gordon Hessler, who made a number of Price Edgar Allen Poe films
including The Oblong Box; Scream And Scream Again is a time
capsule of late 60s England:there are
several nightclub scenes featuring the then-popular Welsh band Amen Corner
singing away, with audience members gamely trying to look hip… one guesses the
object here was to contemporize things: “Look
Kids! No more stodgy castles!” Still,
there is a lot to recommend the film – the opening sequence of a hapless jogger
running through London, waking up several times to find more and more of his
limbs being removed is as effective now as it was in 1970, and Hessler’s use of
hand-held camera to put the audience IN the action was innovative for its time.Another standout sequence is a wonderful
faceoff between a nattily dressed Lee and Jones in Trafalgar Square. (Jones’
knit pom-pom cap remains a bold wardrobe choice for a hulking villain!)
Price and Lee are at the top of their game and if you’re a Christopher Lee fan,
there are many loving close-ups of his sneering visage. Unfortunately the
wonderful Peter Cushing is used in only one scene – blink and he’s gone.According to filmmaking lore, Vincent Price
insisted on doing his death scene (sinking into a vat of acid) himself.The harsh chemicals used in the fluid caused
him serious sinus problems for years.
Twilight Time DVD release is welcome for overcoming some longtime rights issues
and returning the original music to the film. The colors are crisp in 1080p HD
and the DVD is loaded with extras including a 23-minute documentary, Gentleman Gothic: Gordon Hessler At AIP, which
features an interview with Hessler, who passed in 2014, as well as film historians
discussing his work.There is also a
still file, radio spot, original trailer (which erroneously identifies actor Marshall Jones as the iconic Peter Cushing!) and a subtitled interview with German
actress Uta Levka, who played the impersonal “composite” nurse in the
film and an illustrated booklet with liner notes by historian Julie Kirgo.It’s safe to say, this will
forever be the definitive release of Scream and Scream Again!.
This is a region-free, limited edition of 3,000 units. Click here to order.
Gilbert on the set of the 1977 James Bond blockbuster The Spy Who Loved Me with production designer Ken Adam and producer Albert R. Broccoli at Pinewood Studios, London.
BY LEE PFEIFFER
Cinema Retro mourns the news of director/producer Lewis Gilbert's death in London at age 97. Gilbert was a good friend to our magazine and gave what is probably his last interview to our correspondent Matthew Field several years ago. It ran in three consecutive issues of Cinema Retro (#'s18, 19 and 20).
Gilbert had a remarkable career that began early in life as a music hall performer and an actor in small roles in British films. During WWII he served in the RAF, producing and directing documentaries for the military. His first feature film as director was "The Little Ballerina", released in 1947. Gilbert toiled through directing low-budget, often undistinguished films, honing his craft along the way. He earned praise for his 1958 WWII-themed espionage film "Carve Her Name with Pride" and had a major hit in the WWII genre with the release of the 1960 film "Sink the Bismarck!" As Gilbert's clout in the industry rose, so, too did his production budgets. He directed the 1962 adventure film "Damn the Defiant!" (UK title: "H.M.S. Defiant") starring Alec Guinness and Dirk Bogarde followed by the 1964 Cold War thriller "The 7th Dawn" starring William Holden. He rose to even greater prominence by producing and directing the 1966 anti-Establshment comedy "Alfie", a major early hit for Michael Caine that was accorded great critical praise and numerous Oscar and BAFTA nominations. Gilbert proved to be eclectic in his abilities to move between genres. He was a seemingly unlikely choice to direct the 1967 James Bond epic "You Only Live Twice" starring Sean Connery, which was set in Japan, but the film was an enormous boxoffice success. Ten years later Gilbert returned to the Bond genre to direct Roger Moore in two back-to-back 007 films, "The Spy Who Loved Me" and "Moonraker". Both films were major international hits. Gilbert had also directed the 1970 big-budget screen adaptation of Harold Robbins' bestseller "The Adventurers", but it was a troubled production that flopped with critics and the public. In 1971 he directed a popular, small-budget teenage love story, "Friends" which featured original songs by Elton John early in his career. Four years later he directed the film's sequel, "Paul and Michelle". In 1980 he directed the sophisticated comedy "Educating Rita" which won Oscar nominations for Michael Caine and Julie Walters, followed by "Shirley Valentine" in 1989.
A LOOK AT 2017 FILMS NOMINATED FOR PROMINENT OSCARS
BY LEE PFEIFFER
Stephen Spielberg directs another winner with "The Post", which covers in spellbinding detail the legal and political intrigue leading up to the publication of the Pentagon Papers in 1971. Then, as now, the New York Times and the Washington Post were locked in a professional competition, as the two symbols of the gold standard of American newspapers. The film begins with a brief segment set in 1966 in the battle zones of Vietnam as we watch military analyst Daniel Ellsberg (Matthew Rhys) on a Pentagon mission to personally evaluate how the war is unfolding on the ground. Ellsberg is reporting to President Lyndon Johnson's Secretary of Defense Robert McNamara (Bruce Greenwood). The U.S. military presence which began modestly under presidents Eisenhower and Kennedy has been ratcheted up to new heights, with LBJ's administration pouring increasing numbers of troops and resources into beleaguered South Vietnam to thwart the invasion from the communist north. Ellsberg shares his findings with McNamara and they are not encouraging. He sees the U.S effort as stymied and incurring increasing costs in blood and treasure with only incremental, temporary gains on the battlefield. McNamara informs Ellsberg that he shares his conclusions but continues to assure the American public that things are going swimmingly and that victory is inevitable. Disillusioned, Ellsberg continues his services to the Pentagon while stateside and contributes to the massive study of the war that ultimately became known as the Pentagon Papers. He concluded that while the Johnson administration concurred the best America could hope for was a costly stalemate in Vietnam, the American public would continue to be mislead by the president and his key military personnel. Ultimately, Ellsberg- at great personal legal risk to himself- managed to photocopy the massive report and leak it to the New York Times, which began printing key aspects of the papers. The publication became an international sensation but the Times was served with an injunction by a judge to cease publication while the courts considered whether further aspects of the papers could be suppressed due to the fact that they were considered Top Secret documents by the Nixon administration.
With the Times fighting the administration in court, Washington Post editor-in-chief Ben Bradlee (Tom Hanks) senses an opportunity to capitalize on his rivals' court-imposed inertia. The Post's assistant editor Ben Bagdikian (Bob Odenkirk) suspects the leaker was Ellsberg, an old acquaintance. He gets Ellsberg to photocopy the papers he had originally given to the Times and turn them over to the Post- but this puts in play a legal and ethical dilemma. The Post is owned and run by Katharine Graham (Meryl Streep), a Washington socialite and heiress who inherited the newspaper from her revered late husband. The unspoken feeling among even her staffers is that a woman is not fully capable of running such a business. Indeed, the Post is facing financial hardships and Graham makes the difficult decision to raise capital by selling shares in the company. Bradlee imposes on her to take the moral initiative and allow the Post to print excerpts from the Pentagon Papers while the Times is precluded from doing so. The brilliant script by Liz Hannah and Josh Singer follows in painstaking detail the risks that Graham had to evaluate by doing so. The threat of inevitable legal action by the Nixon administration to keep the Papers suppressed might scare away investors and lead the Post into insolvency. Against this is Bradlee's compelling argument that a free press must reveal the lies that the American people have continued to be told by the current president and his military brass. (Note: although Nixon wasn't president when the Pentagon Papers were completed, he had good reason to keep them under wraps because he was continuing to follow the same practices as Johnson's administration and had made a campaign promise that he had a "secret plan" to end the Vietnam War when, in fact, he intended to keep escalating it).
Spielberg manages the difficult task of turning "The Post", which is enhanced by a typically fine score by John Williams, into a suspense-packed Cold War thriller despite the fact that we already know the outcome. It's no small feat and he's enabled by superb performances by Hanks and Streep, who plays Graham as a woman on the razor's edge of landmark historical decision. Ultimately, she decides to go for broke and defy the president by publishing the Papers in the hope that the Supreme Court will side with the Post on the basis that the American people have a right to know when they are being lied to by their elected officials. Nixon is only seen as distant figure through the White House windows but his presence looms large over the drama. When Graham finally gives permission to get the presses rolling with the story, it's the kind of rousing scene that draws cheers from audiences. Nixon would survive this scandal and go on to win a massive re-election victory the following year, but the publication of the Papers forced him to ultimately sue for peace and begin withdrawing American troops. Ironically, he would lock horns with the Post once again when the Watergate scandal unraveled in its pages- and lead to his political demise. It's all hinted at in the film's poignant epilogue.
At a time when the bastion of America's democracy- its free press- is once again under intense attack by politicians who may have a lot to hide, Spielberg's big wet kiss to the nation's "fourth estate" comes as a welcome reminder that real heroes aren't confined to battlefields but also can be found in the mundane settings of newsrooms.
"The Post" has been nominated for Best Picture and Best Actress (Meryl Streep).