BY LEE PFEIFFER

The James Bond films may represent the longest-running movie series produced by the same company, but ol' 007 doesn't hold a candle to the longevity of Sherlock Holmes as a big screen hero. Holmes has been a cinematic staple since the silent era and though his popularity has soared and waned over the decades, he has remained a presence in popular culture throughout the world. In recent years, younger people have embraced Holmes as a hero thanks to hip, updated interpretations of the character on television and the big screen. However, there were long periods in which Holmes had disappeared from motion pictures. The films starring Basil Rathbone and Nigel Bruce were enormously popular from their first appearance in 1939 through their final cinematic adventure in 1946. Holmes and Watson would not re-emerge on the big screen again until Hammer Films produced the first color Holmes movie, "The Hound of the Baskervilles" in 1959. The plan was to launch a Holmes series for the studio starring Peter Cushing and Andre Morrell. Although the film is very well regarded today, it was not a financial success and the series never materialized. The next major studio release of a Holmes adventure was "A Study in Terror", which has been released on Blu-ray by Mill Creek. The movie starred John Neville as Holmes and Donald Houston as Watson- and both of them performed admirably in the handsomely-mounted 1965 production. The concept of Holmes facing off against Jack the Ripper has been done numerous times to date both in literature and on the screen, but "A Study in Terror" was the first Holmes property to exploit the duel-of-wits between the fictional detective and the real-life serial killer.

"A Study in Terror" has the look and feel of a Hammer Studios film of the period and one expects Peter Cushing or Christopher Lee to pop up somewhere along the line, but we must console ourselves with a very fine cast of character actors, each of whom is used well thanks to the intelligently-written screenplay by Donald and Derek Ford and the assured direction of James Hill, who would go on to direct "Born Free".  Among the standout appearances: John Fraser, Barbara Windsor, Adrienne Corri,  Anthony Quayle as a seemingly devoted surgeon who might just be the killer, Georgia Brown as a beer hall singer, Peter Carsten as a shady pub owner, Robert Morley as Mycroft Holmes- and keep an eye out for young Judi Dench. Frank Finlay appears as Inspector Lestrade, but his role is frustratingly underwritten. The film has a lush production design that masks the fact that virtually all of it is shot in the studio, with the exception of some exteriors of stately mansions, and the score by John Scott is appropriately atmospheric.  The story opens with the horrendous murders of prostitutes in the Whitechapel district of London, a seedy place in the Victorian era where pollution was often so bad that one could barely see across the street, a factor that aided Jack the Ripper in escaping justice for his crimes. When police can't solve the string of murders, Holmes and Watson take up the cause and, as one might expect, the list of suspects includes a number of red herrings. This was the first Holmes movie to benefit from the new-found screen liberties. Thus, there is a blatant sexual element that would have been unthinkable a decade before. In addition to plenty of heaving bosoms and boisterous bar girls, there is also more violence and gruesome elements than had ever been seen previously in a Holmes feature film. It also features Holmes and Watson demonstrating their prowess with fisticuffs.  As with most Holmes mysteries, the fewer details divulged, the better the element of surprise for viewers. Suffice it to say that the story moves at a brisk pace and that Neville and Watson both give spirited performances that should have led to sequels. Alas, "A Study in Terror" was not a boxoffice hit. The lack of marquee names along with a preposterous marketing campaign that emulated the "Batman" TV series (referring to Holmes as "The Original Caped Crusader!") seemed to ensure that the film would not be a popular success. However, that doesn't dilute its many qualities. The Mill Creek Blu-ray has an excellent transfer that does justice to the rich color schemes and fine set designs. Unfortunately, there are no bonus extras. Do we recommend it? The answer should be elementary: of course.

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BY LEE PFEIFFER

The early-to-mid 1970s was the heyday of grungy cop thrillers. Films exploring the seamier side of police work arguably got its biggest boost from the 1968 release of "Bullitt", which dared to show cops intertwined with ethically-challenged politicians in their common quest for career advancement. With the release of "The French Connection" and "Dirty Harry" in 1971, the genre kicked into high gear. In these films, the anti-hero disregards constitutional protections to take the law into his own hands. With America reeling from soaring crime rates, audiences cheered on these dubious symbols of our justice system. It's safe to say that watching these films from today's standpoint, one might have a different reaction to the tactics used by Popeye Doyle and Harry Callahan. However, there were more nuanced looks at modern urban police departments in films that explored corruption without the benefit of an superhuman anti-hero. Sidney Lumet's "Serpico" certainly exemplifies this type of film, with the protagonist being an every day cop who suffers terribly for calling out the blatantly criminal acts being committed by his peers. Similarly, a lesser-known film dealing the same subject matter- "Report to the Commissioner"- took a cynical look at the NYPD and found a nest of bribery, payoffs and other illegal methods used by many cops. This was not just some left-wing fantasy. The experience of Frank Serpico and fellow whistle-blower cop David Durk had blown the lid off massive corruption in the NYPD. The result was the formation of the Knapp Commission which uncovered widespread graft in the department and instituted radical changes to clean up the NYPD. A number of criminal indictments were handed down. "Report to the Commissioner" was released in 1975, well after the Knapp Commission had released its findings but during a period when faith in the NYPD remained weak among the citizens, who were shocked at the level of corruption unveiled in the Knapp probe. Adding to the public paranoia was the recent Watergate scandal. The film went into production shortly after President Nixon resigned in disgrace just two years after being re-elected in the biggest landslide in American history.

The story centers on the experiences of rookie undercover cop Bo Lockley (Michael Moriarty), who from the get-go seems too naive and sensitive to fit in with the hard-boiled detectives he's been assigned to work with. They cruelly subject him to hazing and never stop mocking him for looking like a hippie, even though he's not supposed to look like a cop since he works undercover. Lockley is shown the ropes around the Times Square district by fellow officer "Crunch" Blackstone (Yaphet Kotto), a hard-bitten veteran who strolls through the grimy neighborhood like a king, routinely abusing its denizens by words and physical actions. Lockley is appalled but Crunch warns him that survival in this part of the city depends on being feared, not being admired. The script introduces a parallel story line in which a young female undercover cop, Patty Butler (Susan Blakely) comes up with a dangerous plan to bring down local crime kingpin "Stick" Henderson (Tony King), who has evaded being arrested despite being the area's most feared pimp and drug dealer. Patty requests permission to pose a teenage runaway, seduce Stick and ultimately become his "old lady" with the intent of being able to witness his day-to-day operations and gather enough evidence to arrest him. The plan obviously violates departmental regulations but both Patty and her two superiors are eager for the promotions that would result from bringing Stick to justice so they approve her plan. Patty makes good on reeling in Stick and before long she's shacking up with him. Lockley, doggedly trying to find and rescue her on the assumption she is a runaway in distress, manages to trace her to Stick's apartment where the two men engage in a gun battle. Patty is tragically killed in the incident, and Lockley pursues Stick in a wild foot chase that includes Times Square before culminating in the men encountering each other inside an elevator in Saks Fifth Avenue. This is the most suspenseful sequence in the film. The police shut the power off, stranding Lockley and his prey in a sweltering, confined space with both men pointing guns at each other. Over time, they engage in a conversation in which Stick tries to persuade Lockley that they are both doomed because if they are allowed to live, their stories will bring disgrace to higher-ups in the NYPD. The conspiracy aspects of the script reflect the mood of the era. Nobody in the film is a traditional good guy except Lockley and he's treated like a fish-out-of-water.

"Report to the Commissioner" succeeds in presenting a gritty, realistic view of New York City during its decline in an era when crime was soaring, the streets were dirty and the future looked grim. Anyone visiting Gotham today would surely pronounce the city's turn-around as a miracle but there is no doubt that New York went through some difficult years and these were reflected in the movies of the era. However, the film is flawed in some key areas. Director Milton Katselas, who was revered as a playwright and academic more than a filmmaker (he directed only a handful of movies), is saddled with an erratic script by old pros Ernest Tidyman and Abby Mann, based on a novel by James Mills. The story isn't told in a linear fashion and instead jumps back and forth from present to past and vice-versa, making for an occasionally confusing experience for the viewer. Consequently, while some scenes are highly engaging, the film never gels satisfactorily as a whole. Not helping matters is the performance of Michael Moriarty as Lockley. We know he is supposed to be a naive rookie but at times Moriarty plays the part like he just stepped off a turnip truck and is seeing New York for the first time. His wide-eyed innocence often strains credibility. More convincing is Yaphet Kotto, who commands the screen in every scene in which he appears. Sadly, he vanishes from the middle section of the film, much to its detriment.  Tony King is excellent as "Stick" and young Bob Balaban excels as a double-amputee who acts as a police informant. The scene in which he uses his crude, wooden wheeled "dolly" to hitch a ride on a speeding car makes for a thrilling experience. However, certain other cast members over-act and dilute the impact of their scenes. Even the great Elmer Bernstein's score seems unusually mediocre. 

The Kino Lorber Blu-ray is a very fine transfer that captures the glitter and the gutters of New York during this period. The Blu-ray includes the original theatrical trailer. 

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BY LEE PFEIFFER

Like Marlon Brando, director John Huston was often considered to be a has-been during much of the 1960s into the early 1970s. He worked steadily, but- like Brando- it was assumed his glory days were behind him simply because most of his films during this period didn't generate sparks at the boxoffice. (The success of his 1975 film The Man Who Would Be King would temporarily restore his luster.) His acting career got a boost from his great performance in Chinatown, but even some of his directorial flops look far better today than they did at the time of their theatrical release. One major disappointment, artistically as well as financially, was the seemingly sure-fire hit The Life and Times of Judge Roy Bean, made in 1972 and starring Paul Newman fairly fresh from his triumph in Butch Cassidy and the Sundance Kid. The movie is a whimsical tale that is nevertheless loaded with violence and gallows humor (literally). The story is (very) loosely based on the real Roy Bean, an outlaw who became a self-appointed judge who called himself the "only law West of the Pecos" at a time when parts of Texas were a no-man's land of thieves, murderers and swindlers. Bean became known as a hard-ass judge who dispensed lethal justice. In reality, he only sentenced two men to be hanged and one managed to escape. Nevertheless, his colorful background provides screenwriter John Milius with plenty of imaginative fodder for fictitious encounters and incidents. We first meet Bean when he ambles into a remote outpost where he is robbed and beaten mercilessly by the denizens. He returns shortly thereafter and single-handed kills them all, thus instantly making him a local legend among the peasants who live in the area. Bean becomes obsessed with studying the law and showing mercy on the poorest elements of society. He even takes a lover, a young Hispanic woman (Victoria Principal, in her screen debut). Bean appoints himself as a "judge" despite not having any legal authority to do so. He enlists a group of slovenly "deputies" to dispense justice in his courtroom, which is the bar in which he was robbed. Before long, Bean is holding kangaroo trials and routinely lynching anyone who incurs his wrath. Despite this, he gains a reputation for being fair and defending the defenseless.  He adopts a bear and the movie presents some amusing sequences of Bean and his friends interacting with this over-sized "pet". The film traces his experiences over a period of years as the remote outpost becomes a bustling town. Bean is gradually sidelined as a force of influence. The death of his young wife during the birth of their daughter depresses him further and he rides off into oblivion. Twenty years later he returns to find that oil has been discovered on his property and that the corrupt mayor (Roddy McDowall) is using legally questionable methods to displace Bean's 20 year old daughter (Jacqueline Bisset) so he can control the oil on her land. Bean's reappearance causes a sensation as he rounds up his motley, aging group of former deputies to help his daughter fight for her rights. A fairly spectacular battle climaxes the film.

Bean offers many pleasures, not the least of which is a terrific supporting cast that includes cameos by Anthony Perkins, Tab Hunter (surprisingly good in an off-beat role), Anthony Zerbe, Stacy Keach (wonderful as a crazed, albino gunslinger), Ava Gardner as the legendary Lily Langtree, the object of Bean's romantic obsession even though he never meets her, and John Huston himself in an amusing appearance as Grizzly Adams. There are also plenty of familiar faces in the supporting cast including Ned Beatty, Bill McKinney (reunited from Deliverance with happier results) Richard Farnsworth and stuntmen Dean Smith and Neil Summers. The attempt to capitalize on the success of Butch Cassidy is fairly apparent, as evidenced by a fairly sappy love song and romantic montage that is obviously meant to emulate the famed Raindrops Keep Falling on My Head sequence from the former film. Nevertheless, Bean is a consistently enjoyable, rousing Western that probably plays much better today, when we can realize just how special acting ensembles like this truly are. Maurice Jarre's fine score adds immeasurably to the the enjoyment of the experience. 

The Warner Archive has released the film as fine-looking Blu-ray. The only bonus extra is the amusing original trailer. 

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BY TIM GREAVES

It was arguably the success of A Fistful of Dollars that really set the ball rolling on the slew of shameless spaghetti western rip-offs and cash-ins that proliferated throughout the 1960s, as film-makers jostled to get a taste of the sauce and chow down on a cut of the rewards from what quickly became a very profitable arena in which to be operating. 

Sartana rode into town a little later than popular gunslingers such as Sabata, Django and Ringo, but he made enough of an impression to warrant a number of official sequels – and several unofficial ones too. Just five legitimate Sartana films were lensed, with Gianni Garko (billed as John Garko) headlining in four of them and George Hilton just one. Cucumber cool antihero Sartana was notably more dapper than most of his mud-spattered box office rivals, a real snappy dresser in fact; with his black cape lined in red silk, sharp matching cravat and crisp white shirt, he cut a fine figure riding through desolate wasteland, deck of cards in one hand, natty miniature four-shooter in the other, always ready to spit out a death sentence when the moment was called for. In the first film he even retrieved a musical pocket watch from a corpse and proceeded to use its tinkly chime to taunt his nemesis.

The fabulously contrived titles of the five films belied a series of enjoyable enough but not exactly top-tier western actioners. Dripping with all the requisite tropes of the genre, and occasionally sprinkling a few unexpected condiments into the pot, they’re perfectly watchable fare, but it’s unlikely many would favour any of them over a Sabata instalment or, indeed, an Eastwood classic. If, for this writer, there’s any problem at all with the Sartana series – and it’s one that prevents them from residing up there among the genre’s finest – it’s that in every instance a plot suited at best to the 50-minute TV episode format was, out of necessity, stretched to feature length, the resultant slightness of narrative rendering them all far too leisurely paced.

The five official Sartana films have now been issued on Blu-ray by Arrow Video in an impressive collectors’ box set. Accompanied by an illustrated book, each film is individually packaged and boasts reversible sleeve art, and the entire collection is housed in an attractive slipcase.

The series kickstarter was 1968’s If you meet Sartana pray for your eath (O.T. Se incontri Sartana prega per la tua morte), directed by Frank Kramer, a.k.a. Gianfranco Parolini. (Note: in Italian film titles, only the first word is capitalised.) Among the most enjoyable of the quintet, the plot concerns a pair of dodgy bankers who hire a group of Mexicans to steal a strongbox filled with gold, subsequently allowing them to claim on the insurance. In fact, the precious cargo has been substituted with rocks, the valuable contents having already been squirrelled away in a coffin. Following the heist, the Mexicans are quickly eliminated to wipe out any evidence of the scam. It’s up to Sartana to uncover the truth and retrieve the gold. Any anticipation engendered by the opening credit “with the special participation of Klaus Kinsky” (sic) is swiftly quelled; it’s anything but special, for the A-class actor – who possessed one of cinema’s most expressive faces (and intimidating grimaces!) – is relegated to sideline status for much of the action. At least any disappointment on that score is appeased by the presence of a satisfyingly formidable bad guy in the shape of wild-eyed, buttercup-chewing William Berger as Lasky, who, when he’s not gleefully massacring bandits with his hand-cranked Gatling gun, proves to be a single-shot marksman, planting bullets centre-forehead in more unfortunates than it’s possible to keep tally of. An ace cardsharp, Sartana makes a fast enemy of Lasky when he cleans him out at the poker table. Despite the paucity of plot, director Kramer manages to sustain interest, layering in double and triple crosses as Sartana gently manipulates the wrong-doers into turning on each other. There’s a stab at comic relief too in the form of Franco Pesce as the town’s undertaker, but for this writer his theatrical gurning and cartoonish mannerisms eclipse the intended amiable quirkiness to become distractingly irksome.

Arrow’s 2K restoration from the original film materials displays a fair amount of grain, but aside from one brief moment of picture damage at the outset and a slightly protracted patch of vertical scratching further along, the print is in very respectable shape. The film can be viewed in either an English dub or its original Italian with newly translated English subtitles. Supplements comprise a commentary from film historian (and Cinema Retro contributor) Mike Siegel, an interview with director Kramer, a helpful guide to the characters in the Sartana universe, and a gallery of artwork and stills.

A year later, in 1969, I am Sartana, your angel of death (O.T. Sono Sartana, il vostro becchino) was unleashed. In this one our man (Garko again) appears to have been involved in a bank robbery and finds himself at the top of the most wanted list, with a $10,000 dead or alive price on his head. He didn’t do it, of course, so has to hunt down the real perpetrator to clear his name, whilst evading bounty hunters hot on his trail and intent on bagging the reward. It’s a decent enough follow-up from director Giuliano Carnimeo (credited as Anthony Ascott), which showcases another fine Garko performance (with Sartana now displaying a knack for sleight of hand card tricks) and the return of Klaus Kinski (spelt with the “I” this time) in a meatier, albeit less threatening role, that of a gambler-cum-bounty hunter with the best character name of anyone in the entire run of Sartana pictures: Hot Dead. Unfortunately, Franco Pesce (uncredited this time) is also back, now promoted to town mayor, fortuitously only briefly on screen but every bit as annoying. The story unfolds at a sedate price, but Ascott and cinematographer Giovanni Bergamini keep things percolating with some stylish set-ups, the camera lurching sideways whenever bodies spin and hit the dust. One brief scene stands out for this writer, if not for the right reason; when Sartana dodges a spray of bullets from a trio of pursuing gunmen by zigzagging left and right, any sense of suspense is undermined by spurred memories of the amusing Peter Falk/Alan Arkin ‘serpentine’ sequence in 1979’s The In-Laws!

Arrow had access to the original camera negative for this one and the 2K restoration is very nice indeed. Again sound options are English and Italian. Extras comprise a commentary from historian and filmmakers C Courtney Joyner and Henry Peake, interviews with screenwriter Ernesto Gastaldi and stuntman Sal Borgese, plus a gallery of European poster art and German lobby cards.

BY LEE PFEIFFER

My only memory of "Swashbuckler" was seeing it for the first time when it was already in release for a year. The occasion was that this was an in-flight movie on my first trip to Europe in the summer of 1977. In those ancient times, films were still shown on 16mm projectors on pull-down screens in the main cabin. I remember being unimpressed with the film but the distraction of the  (then) free liquor service might have affected my opinion. As Cinema Retro's latest issue features coverage of the 1977 film "The Deep" starring Robert Shaw, I decided to revisit "Swashbuckler" largely because it also stars the estimable Shaw, who never gave a bad performance. I found my opinion of the pirate tale had improved considerably since the first viewing. It's a raucous, old-fashioned yarn that perhaps too earnestly tries to recapture the vim and vigor of those old screen adventures that would star Errol Flynn or young Burt Lancaster. Ably directed by James Goldstone, who takes full advantage of the lush Mexican locations (representing old Jamaica), the film opens in the court of Lord Durant (Peter Boyle), the corrupt British governor of Jamaica who rules the island like a tyrant. When honest nobleman Sir James Durant (Bernard Behrens) runs afoul of him, Durant has him arrested and imprisoned to await execution of a death sentence. He also commands that Durant's wife (Louisa Horton) and daughter Jane (Genevieve Bujold) be evicted from the family estate and forced to live in a tenement. Durant's main nemesis is the pirate Ned Lynch (Robert Shaw), who- along with his merry men- acts as a sort of Robin Hood, stealing from the corrupt rich and dispensing much of their fortunes to the poor. Predictably, Jane has an encounter with Ned and professes to loathe him, but as these things inevitably play out, we know the two are attracted to each other. After much griping and fighting that literally includes a duel between Jane and Ned, she implores him to come to the aid of her father, who is facing imminent execution. Ned and his men launch a full-throttle attack on Durant and- if you haven't guessed it- save the day.

"Swashbuckler" is undistinguished on most levels except for the fact that it is exciting and lives up to its title by including an abundance of terrific sword fights. Kudos to all the actors, who performed these extended and exhausting duels with great professionalism, including Bujold, whose slight build must have certainly posed an obstacle in filming these scenes. The supporting cast includes some esteemed names including Geoffrey Holder (in full "Live and Let Die" Baron Samedi mode) and Beau Bridges as a bumbling British army officer appropriately named Major Folly. The action is impressively filmed by cinematographer Philip H. Lathrop and it's all set to a lively score by John Addison. Shaw seems to be having the time of his life in what must have been a physically taxing role for him. Although the stuntmen are in abundance, it's quite clear he did many of his own action scenes. (Shaw says in the production featurette on the DVD that the film was more physically challenging than "Jaws"). Bujold does well as the gutsy young woman who defies sexual stereotypes and Peter Boyle is a great deal of fun as the evil Durant, even if he is miscast as a British nobleman. James Earl Jones has a prominent role as Ned Lynch's right-hand pirate. "Swashbuckler" wasn't designed to win awards or become a boxoffice blockbuster. It represents the kind of modest production that was designed to entertain and make a quick profit in an era before every release represented a major financial risk for the studio.

The Universal DVD features a very nice transfer and some welcome extras including an interesting original production featurette about the making of the film, cast and crew biographies and production notes and the original trailer. Recommended.

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Cinema Retro has received the following press release:

Available for the Very First Time at Retail, the 6-Disc Set Features 24 Complete, Remastered Episodes Loaded with Classic Sketches and Incredible Guest Stars Including Raquel Welch, Steve Allen, Johnny Cash, Bing Crosby, Gene Hackman, Rita Hayworth, Hugh Hefner, Bob Hope, Liza Minnelli, Carroll O’Connor, Carl Reiner, John Wayne, Henny Youngman and Many More!

PROGRAM SYNOPSIS

Political correctness met its match with Rowan & Martin’s Laugh-In, NBC-TV’s groundbreaking variety series that became a cultural touchstone and part of the fabric of ‘60s-‘70s era America. Every Monday night at 8pm from 1968-1973, straight man Dan Rowan and wisecracking co-host Dick Martin led a supremely talented comic ensemble through a gut-busting assault of one-liners, skits, bits and non sequiturs that left viewers in hysterics and disbelief. ROWAN & MARTIN’S LAUGH-IN: THE COMPLETE FIFTH SEASON, from the award-winning TV DVD archivists at Time Life, makes its retail debut on July 10 in an uproarious set featuring all 24 re-mastered episodes from the fifth season (September 13,1971-March 20, 1972).

In THE COMPLETE FIFTH SEASON, after years of shameless name dropping, Dick finally gets his wish when bombshell Raquel Welch kicks off the new season with her first and only appearance on the show. Former Hogan’s Heroes POWs Richard Dawson and Larry Hovis escaped CBS to join the cast. And, along with alumni Judy Carne, Arte Johnson, Henry Gibson, Jo Anne Worley and Teresa Graves, they help to celebrate Laugh-In’s landmark 100^th episode (September 1, 1971). THE COMPLETE FIFTH SEASON also trots out many of the 20th century’s greatest talents, including Steve Allen, Johnny Carson, Johnny Cash, Carol Channing, Charo, Petula Clark, Bing Crosby, Tony Curtis, Henry Gibson, Gene Hackman, Rita Hayworth, Hugh Hefner, Bob Hope, Arte Johnson, Paul Lynde, Liza Minnelli, Agnes Moorehead, Joe Namath, Carroll O’Connor, Vincent Price, Carl Reiner, Debbie Reynolds, Sugar Ray Robinson, Bill Russell, Vin Scully, Doc Severinsen, Jacqueline Susann, Tiny Tim, John Wayne, Raquel Welch, Henny Youngman, and more!

THE COMPLETE FIFTH SEASON also includes such classic features as “Cocktail Party,” “Fickle Finger of Fate,” “Joke Wall,” “Gladys and Tyrone,” “General Bull Right,” “Big Al,” Lily Tomlin’s legendary “Ernestine” and “Edith Ann,” “Tasteful Lady,” and “Ruth Buzzi’s Hollywood Report”. Additionally, Mod, Mod World takes on sports, toys and games, families, politics, nutrition, leisure, year’s end, Manhattan, television, small towns, crazy people, and the theater, Robert Goulet, Charo, and Three Dog Night perform the Laugh-In news song and there’s a hilarious “Salute to Santa” and a very modern Christmas Carol.

CAST:

Dan Rowan, Dick Martin, Lily Tomlin, Ruth Buzzi, Arte Johnson, Gary Owens, Alan Sues, Ann Elder, Dennis Allen, Barbara Sharma, Johnny Brown, Larry Hovis, Richard Dawson

PROGRAM INFORMATION

Format: DVD/6 Discs

Running Time: 1239 minutes

Genre: TV DVD/Comedy

Aspect Ratio: 1.33:1

Audio: Stereo

About Time Life

Time Life is one of the world's pre-eminent creators and direct marketers of unique music and video/DVD products, specializing in distinctive multi-media collections that evoke memories of yesterday, capture the spirit of today, and can be enjoyed for a lifetime. TIME LIFE and the TIME LIFE logo are registered trademarks of Time Warner Inc. and affiliated companies used under license by Direct Holdings Americas Inc., which is not affiliated with Time Warner Inc. or Time Inc.

BY LEE PFEIFFER

Sam Spiegel was one of the most revered and accomplished producers in Hollywood history. His achievements included such classics as "On the Waterfront", "The African Queen", "The Bridge on the River Kwai" and "Lawrence of Arabia". His body of work, though not nearly as extensive as that of some other producers, was notable in the sense that Spiegel thought big and shot for the moon when it came to bringing to the screen stories that spoke to the human condition. Following the triumphant release of "Lawrence" in 1962, Spiegel did not make another film for four years. When he did, the movie - "The Chase"- turned out to be a star-packed drama that won over neither critics or audiences. Spiegel had a more ambitious idea for his next production, a screen adaptation of the best-selling WWII thriller "The Night of the Generals" by Hans Helmut Kirst. Spiegel had the inspired idea of reuniting his "Lawrence of Arabia" co-stars Peter O'Toole and Omar Sharif. They  were reluctant to take on the project, but they certainly owed him. Both were virtual unknowns until Spiegel gave them the roles that made them international stars. Spiegel also added to the mix an impressive cast of esteemed British actors ranging from veterans such as Donald Pleasence and Charles Gray to up-and-coming young actors Tom Courtenay and Joanna Pettet. He chose Anatole Litvak to direct. Litvak had been making films for decades and had a few notable hits such as "Sorry, Wrong Number", "Anastasia" and "The Snake Pit". Spiegel being Spiegel ensured that the production benefited from a large budget and an appropriate running time (148 minutes) that would allow the story to unfold in a measured process.

"The Night of the Generals" is certainly a unique spin on WWII films. There are no battles or major action sequences, save for a harrowing sequence in which the German army systematically destroys part of the Warsaw Ghetto. Instead, it's very much a character study populated by characters who are, indeed, very interesting. The film opens with a tense sequence set in occupied Warsaw. The superintendent of an over-crowded apartment building accidentally overhears the brutal murder of a local prostitute in a room upstairs. From a hiding place he witnesses the killer walk past him. He does not see the man's face but recognizes his uniform: he is a general in the German army. The man keeps this information to himself on the logical assumption that divulging it might mean his death sentence. However, under questioning from the army investigator, Major Grau (Omar Sharif), he tells the shocking details of what he witnessed. From this moment, Grau becomes obsessed with finding the killer. Grau may be a German officer, but he is a pure cynic when it comes to the Nazi cause and the brutal methods being employed to win the war. He can't control the larger picture of how the war is being waged but he can control what is in his jurisdiction: bringing to justice the man who committed this one especially savage murder. Grau soon centers on three suspects. The first is General von Seiditz-Gabler (Charles Gray, channeling his future Blofeld), an effete, well-connected opportunist who is in a loveless marriage to his dominating wife Eleanore (Coral Browne). Then there is General Kahlenberg (Donald Pleasence), a man of slight build and low-key personality who has some eccentric personal habits that may include murder. Last, and most intriguing, is General Tanz (Peter O'Toole), a much-loathed and much-feared darling of Hitler's inner circle whose ruthless methods with dealing with civilian populations disgust his colleagues. Tanz has been sent to control or obliterate the Warsaw Ghetto.

The screenplay (which includes contributions by an uncredited Gore Vidal) is a bit disjointed and cuts back and forth to the present day in which we see a French police inspector, Morand (Phillippe Noiret), investigating the case twenty years later as he tries to tie together Grau's findings with dramatic developments that occurred during his handling of the case. Morand also appears in the war era sequences, having befriended Grau, who does not seem at all disturbed when he learns that Morand is actually a key figure in the French Resistance. Grau becomes particularly intrigued by General Ganz. He is an elitist snob who is devoid of any humor or compassion. A workaholic with seemingly no human weaknesses, Tanz is ostensibly under the command of his superior officer, Gabler, but it becomes clear that his political connections make him the top general in Warsaw. Major Grau interviews all three suspects and finds that any of them could be the murderer. When he becomes too intrusive, he is conveniently promoted and transferred to Paris, presumably to shut down his investigation. However, as the fortunes of war decline for the Third Reich, the top brass is eventually  moved to Paris and Grau resumes his investigation when he discovers that prostitutes are being brutally murdered there as well. There is a parallel story that accompanies that of the murder investigation. It centers on Corporal Hartmann (Tom Courtenay), a young soldier who has been reluctantly acclaimed to be a national hero. It seems he was the last surviving member of his unit after a bloody battle. The brass used him as a propaganda tool, bestowing medals on him for heroic actions. In fact, he is a self-proclaimed coward whose only goal is to stay alive through the war. Hartmann confesses this to his superior, General Kahlenberg, who is amused by his honesty. He assigns him to be General Tanz's personal valet and orders him to show Tanz the history and sights of Paris. Neither he nor Tanz wants to partake in the venture, but Gabler orders Tanz to take a few days vacation, largely because he despises the man's presence. The scenes in which Hartmann tries to appease the mercurial Tanz without making any missteps are fraught with tension and suspense. Tanz is a fascinating character, presumably devoid of the vices most men have. However, in the course of their time together, Hartmann realizes that Tanz is somewhat of a fraud. He surreptitiously drinks to excess and changes into civilian clothes in order to meet with prostitutes in seedy bars. Although Tanz chews out Hartmann for every minor infraction, he seems to come to respect the younger man's professionalism. This sets in motion another complex plot development that also involves Hartmann's secret romance with General Gabler's free-spirited daughter Ulrike (Joanna Pettet). 

Just trying to summarize the various plot strands of "The Night of the Generals" in this space is fairly exhausting. Oh, did I mention that another subplot involves Field Marshal Rommel (a cameo by Christopher Plummer) and the July, 1944 plot on the part of rebellious German officers to assassinate Adolf Hitler? Nevertheless, although the various story lines become quite complex, they are all tied together eventually in clever and compelling ways. The film is part "Whodunnit", part political statement and part war movie. The movie moves back to the present for its intense conclusion as Inspector Morand is finally able to solve the crime and attempt to bring the culprit to justice. When the killer is revealed it's about as shocking of a development as the revelation that the butler did it in one of those old British film noir mysteries. Still, director Litvak (who shares the producer credit with Sam Spiegel because he owned the screen rights to the novel) keeps the action flowing briskly running time and elicits outstanding performances from his cast. O'Toole, who would later capitalize on playing larger-than-life characters, was at this point in his career still very immersed in portraying introspective, quiet men. He is quite mesmerizing as General Tanz and quite terrifying as well. Sharif is, at least on the surface, badly cast. I'm not aware of any Egyptians who became prominent German officers. Sharif has the map of the Middle East on his face and lingering remnants of his native accent. It's to his credit that he overcomes these obstacles and gives a very fine performance as the charismatic investigator who doggedly pursues his suspects with Javert-like conviction. All of the other performances are equally outstanding, with Courtenay especially impressive- and one has to wonder why the very talented Joanna Pettet never became a bigger star. The international flavor of the cast gives the film a Tower of Babel-like effect. Some of the actors attempt to affect a quasi-German accent while others speak with British accents, and then we have the French and Poland-based sequences with even more diversity of languages. Still, if you could accept Richard Burton and Clint Eastwood speaking "German" in their native tongues in "Where Eagles Dare", you won't find this aspect of "The Night of the Generals" to be particularly distracting. I should also mention the impressive contributions of composer Maurice Jarre, cinematographer Henri Decae and main titles designer Robert Brownjohn (remember when films even had opening titles?) In summary, the film-which not successful with critics or the public- is a  thoroughly intriguing experience and affords us the joy of watching some of the best actors of the period sharing the screen.

"The Night of the Generals" has been released as a limited edition (3,000 units) Blu-ray from Twilight Time. The transfer is gorgeous, giving full impact to the impressive cinematography and lush production design. There is also an isolated score track, the original trailer and an informative booklet by film historian Julie Kirgo, who examines Sam Spiegel's attempts to rebuild his career in subsequent years only to find that he was out of place in the new Hollywood.

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BY FRED BLOSSER

Kino Lorber has released the obscure 1969 Western “More Dead Than Alive” in a Blu-ray edition. Discharged from prison in 1891 after serving an eighteen-year sentence for murder, legendary gunslinger Cain (Clint Walker) determines to stay away from firearms, find honest work, and save enough money to buy a ranch. But his reputation as “Killer” Cain precedes him, and chances for employment are slim until he encounters conniving showman Dan Ruffalo (Vincent Price). “People would have something to talk about, if they could see you using this notched Colt of yours,” Ruffalo chortles. He encourages Cain to cash in on his notoriety and join Ruffalo’s traveling show as its star sharpshooting attraction, relegating the show’s current marksman, Billy (Paul Hampton), to a subsidiary role. Monica, a free-spirited artist (Anne Francis), strikes up a friendship with Cain and thinks it’s a bad idea for him to pick up a gun again, however limited his options. Meanwhile, the reformed pistoleer’s old enemies hope to see him dead, including outlaw Santee (Mike Henry), who carries a grudge from a botched jailbreak.

Given the sheer number of Westerns produced in 1969, it’s a sure bet that some pictures released in the shadow of that year’s Big Four -- “The Wild Bunch,” “Once Upon the Time in the West,” “True Grit,” and “Butch Cassidy and the Sundance Kid” -- deserve rediscovery and reappraisal. In the case of “More Dead Than Alive,” fans will welcome the chance to see Clint Walker, Vincent Price, Anne Francis, and Mike Henry again in prime form. Script and direction, not so much. The action-packed poster, reprinted as the sleeve art for the Kino Lorber Blu-ray, would lead you to expect a gritty, violent movie along the lines of “A Stranger in Town,” “God Forgives -- I Dont!,” and other Italian Westerns that were beginning to play widely that year in the U.S., following the breakout success of Sergio Leone’s three “Dollars” movies. Instead, the gunplay and blood squibs are confined to the opening scene and two sequences near the end. Otherwise, it’s a plodding, talky production that ambles from one situation to the next without building up much momentum, like an episode from one of the sedate television Westerns of the late ‘60s. The direction by TV veteran Robert Sparr is dutiful but listless. Characters are introduced whom we think will have major roles in the story (like a lady saloon owner played by Beverly Powers), only to have them soon drop out of sight, never to be seen again. Mike Henry’s Santee is a terrific bad guy who stacks up believably against big Clint Walker’s hero in size and macho presence, but he’s missing in action for most of the picture. Once the script remembers to bring him back, a well-staged, knock-down fistfight between the two characters near the end of the movie injects a welcome jolt of energy that the rest of the film could have used.

The Kino Lorber Blu-ray offers “More Dead Than Alive” in an acceptable, 1920x1080p encoding. As a bonus feature, the disc includes an interview with the late Clint Walker, recorded in 2014. In discussing the film, his colleagues, and his career in Hollywood, Walker is modest, dignified, and thoughtful -- qualities sadly lacking in today’s media parade of rancorous politicians, Reality Show exhibitionists, and Internet provocateurs.

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