BY NICK ANEZ

Newman’s Law, the 1974 movie starring George Peppard, contains a revealing scene about the central character. Sergeant Vince Newman of the LAPD comes home from a dangerous but satisfying day’s work to his apartment. He is half-shaven and looks exhausted. He avoids looking at his wedding photo, perhaps because it is apparent that his wife has left him. His movements are sluggish as he takes a frozen dinner out of the freezer. He makes his way to a chair, takes his shoes off and slowly lowers his injured foot into a pale of hot water. Then he puts on his glasses and starts to read the newspaper without much enthusiasm. It is a lonely life for Newman. It is the penalty he must pay for being an honest cop. At least he can feel proud of the bust he made earlier in the day that could lead to the arrest of a crime lord. Unfortunately, he doesn’t know that that the bust will set in motion a chain of events that will destroy him.

Universal released Newman’s Law without much fanfare. It deserved better promotion because it is a unique film that stands apart from the numerous “honest lone cop” movies that began with Bullitt (1968) and reached its peak with The French Connection and Dirty Harry (both 1971). The movie begins with an action-packed sequence as Newman and his partner Garry arrest a drug dealer and uncover a huge stash of illegal narcotics. While in the dealer’s apartment, Newman answers a phone call from a man whose voice he identifies as crime kingpin Frank Falcone. District Attorney Eastman and Newman’s superior, Lieutenant Reardon, express an eagerness to finally nail Falcone with Newman as the chief witness. But something doesn’t smell right to Newman. After he arrested the dealer, the perp seemed to think that his arrest was a game and waved at Newman as he ran away. Then he seemed shocked when Newman put a bullet in his leg. Newman is equally surprised when the dealer dies while in custody. He begins to suspect that he is up against more than Falcone’s mob. This is confirmed when cops from Internal Affairs find a sack of illegal drugs in his apartment and arrest him. It is a perfect frame because it not only gets Newman off the force and gets Garry reassigned but it terminates the case against Falcone. Newman suspects that Falcone could not have arranged the frame without the collusion of personnel in high positions of law enforcement. But the plotters made one mistake; they have made Newman angry. And the movie isn’t half over.

Vince Newman may on the surface sound similar to his cinematic predecessors but he is quite different. Frank Bullitt, Popeye Doyle and Harry Callahan had a certain degree of calculated charisma due to their crowd-pleasing exploits as likeable maverick detectives who might just break a few rules to get the job done. Newman has no charisma at all. He is not particularly likeable and has a disagreeable disposition. He presents the appearance of a cold, detached and sullen outsider. He only has two close relationships. One is with Garry, whose happy family life with wife Edie and their children contrasts with Newman’s isolated life. The second is with his ailing father who is in a nursing home and can barely acknowledge his son’s presence. Otherwise, Newman has no personal life. He devotes his life to his job. He believes in justice and follows the rules that have been established by the bureaucracy – until that same bureaucracy breaks the rules and turns against him. Newman’s subsequent insolence provokes the wrath of his former superiors while his actions invite a death warrant from Falcone.

As Newman’s Law progresses, it becomes evident that Newman’s public persona is in part a pretense to conceal his sensitivity which makes him susceptible to emotional anguish. His vulnerability had previously been implied by his limp and his glasses but it is confirmed when he is reduced to tears. This will ultimately foretell his status as a loser along with his ultimate fate. Newman is not a loser because of any inherent deficiency but because the surrounding corruption is so pervasive. In a world in which conventional morality governs, a straight arrow like Newman would be a winner. But he cannot win in an environment characterized not only by rampant criminal activity and bureaucratic corruption but by legal plea bargaining and moral compromising. The ending of Newman’s Law is downbeat. After losing everything that is meaningful to him, Newman implements his personal law because the proponents of official law have proven to be incapable or unwilling to enforce justice. This leads to highly dramatic events.

BY TIM MCGLYNN

Kino-Lorber has released a Blu-Ray edition of the 1959 musical comedy, Never Steal Anything Small starring James Cagney, Shirley Jones, Roger Smith and Cara Williams. If it doesn’t sound all that familiar it’s because this movie is a very odd duck. A musical without songs and dances, and a Damon Runyon type plot with characters that get a little nasty at times.

James Cagney, in his final musical performance, plays Jake MacIllaney, a crooked dockworker and steward for the local stevedore’s union in New York City. He cheats, he schemes and he occasionally embezzles funds, but he is somehow still a lovable chap who is well liked by the rank and file. He dreams of becoming the union president and hires a straight-laced lawyer, Dan Cabot (Roger Smith), to help him keep one step ahead of the law. Dan is married to the lovely Linda Cabot (Shirley Jones) whom Jake covets badly enough to enlist the aid of his sometimes girlfriend, Winnipeg Simmons, a gorgeous redhead played by Cara Williams. Why Jake isn’t satisfied with Winnipeg is a mystery, but he manages to convince her to seduce Roger away from his wife so Jake can move in.

Meanwhile, Jake is also plotting with his fellow longshoremen to remove the current union boss, Pinelli (Nehemiah Persoff), and his stooge Sleep-Out Charlie Barnes (Jack Albertson). Jake wheels and deals his way through the union election and always manages to stay out of harm’s way from the cops, Pinelli’s thugs, his lawyer and the two women in his life. He borrows freely from the chapter’s treasury and manipulates both friend and foe to achieve his dream position with the union.

Jake is likeable simply because James Cagney is so charming at playing the small-time crook with a heart of gold. He prances and hoofs his way through scenes even though there is no dance music. In current movies this type of character would be considered a total cad. Cagney, however, cons and bamboozles his underlings and has everyone convinced that he is their best friend. He demonstrates his musical prowess in the wonderful number I’m Sorry, I Want a Ferrari sung with Winnepeg. In this tune, composed by Allie Wrubel and playwright Maxwell Anderson, he convinces Winnipeg to put the make on Dan in return for a new car.

Shirley Jones, looking terrific as a blonde bombshell, gives a spirited performance despite not having much to work with in this script. Jones had established her place in Hollywood with leading roles in the film versions of Rodgers and Hammerstein’s Oklahoma and Carousel. Elmer Gantry and The Music Man were yet to come for this multi-talented actress. She is allowed only one chance to showcase her wonderful voice in this film with the cute number I Haven’t Got a Thing to Wear.

Roger Smith, as lawyer Cabot, was actually a protégé of James Cagney and appeared in the Lon Chaney biopic Man of a Thousand Faces. Later on, television viewers knew him as Jeff Spencer in the popular series 77 Sunset Strip. During the mid 60s Smith suffered a blood clot in his brain and was eventually diagnosed with myasthenia gravis, which cut short a promising acting career. He then went to work behind the scenes as a manager and producer for several actors including his second wife, Ann-Margret.

Cara Williams began her career at age 16 at 20^th Century Fox and eventually worked her way into feisty leading roles in films such as Born Yesterday, The Girl Next Door and The Defiant Ones. Her beautiful red hair is a delight in the restored Technicolor print used for this Blu-Ray release. Also look for the great character actors Nehemiah Persoff, Royal Dano and Jack Albertson in small, but memorable roles as union stewards and enemies of Jake.

Based upon a play by Maxwell Anderson, the direction by Charles Lederer of his own script is crisp and funny with more than a passing nod to the stories and characters of Damon Runyon. There is, however, a bit of ugliness included when, for example, Jake and Linda have acid thrown at them by two of Pinelli’s hoodlums. Also, the whole idea of Jake pimping out his girlfriend to help him steal the wife of his young attorney is a plot line that will not go down well with modern audiences.

At some point director Lederer must have planned for this to be a Guys and Dolls type musical. Why hire noted choreographer Hermes Pan if there wasn’t going to be some spectacular dancing sequences? The finished product, however, is instead a comic drama with two songs and a bit of a male chorus number to bookend the story. There doesn’t seem to be any clues in the script where other songs and dances may have been featured.

The Cinemascope photography by Harold Lipstein and William H. Daniels is gorgeous, and the color is heavily saturated with skin tones just a bit on the orange side. The colorful costumes and set designs fill the wide screen image beautifully. Since this film has only been seen during infrequent television broadcasts and a 1980s pan and scan VHS release, this is probably the first chance we have to see the full 2.35 aspect ratio since the original theatrical screenings. Movies should never be judged unless they are viewed in the proper screen width.

Kino Lorber’s Blu-Ray boasts a clean, unscratched film source with the usual Technicolor softness. The mono sound is cold and crisp, and voices are presented at the proper volume. Extras on the disc include a theatrical trailer and audio commentary from film historian Daniel Kremer and author Lee Gambin. Both are knowledgeable and amiable while providing extensive backgrounds on both performers and crew.

If you are expecting a song and dance film like The Seven Little Foys or Yankee Doodle Dandy you will be most disappointed. But an opportunity to see a charming James Cagney film that might be unfamiliar is worth the purchase price, especially when presented in such a handsome edition.

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BY LEE PFEIFFER

Olive Films has released the now obscure 1941 British film noir "Pimpernel Smith" starring Leslie Howard, who also directed. The movie (known as "Mister V" in  the United States) was released in 1941 at a time when England was hanging on by a thin thread as Hitler dominated most of Europe. As with all of the countries involved in WWII, the British film industry relied heavily on top stars appearing in inspiring movies that would boost public morale. This was especially true in England which saw its major ally, France, capitulate to Hitler in a matter of weeks, leaving the island nation standing alone against the Nazi menace. . At the time "Pimpernel Smith" was released in July 1941 (American would not enter the war until the bombing of Pearl Harbor in December of that year),  the Brits were enjoying a spate of good news. After the disastrous experience of the British expedition force in Dunkirk, the nation had been subjected to the Blitz, the daily bombing by the Luftwaffe. London was especially hard hit in what Hitler had hoped to be a strategy that would have destroyed the RAF and led to his massive invasion of England. Instead, after a year of bitter fighting, the RAF had defeated the Luftwaffe and Hitler put his invasion plans on hold as he dealt with the consequences of his misguided incursion into the Soviet Union. With the Battle of Britain now over, the Brits could catch their breath and resume normal activities such as attending the cinema without worrying about being bombed into oblivion. Apparently "Pimpernel Smith" was an especially popular boxoffice hit in 1941, though the film's reputation as faded into oblivion in the decades since.

Howard's film production is a modern, loosely-based version of the classic "The Scarlet Pimpernel"- one of the first famous tales in which the dynamic hero hides behind a meek and mild alter ego to keep his identity secret.  The story is set in the months before England went to war with the Axis powers following Germany's invasion of Poland. Howard plays Prof. Horatio Smith, a tweedy, eccentric academic who teaches at Cambridge. He arranges to take a group of his male students on a field trip to Germany ostensibly to undertake an archaeological expedition to prove that an ancient Aryan culture had once existed there- a notion that appeals to the xenophobic Nazi establishment. In reality, Smith is the unlikely anonymous hero whose exploits are filling the newspapers with tales of adventure, much to the delight of the British and the consternation of the Germans. Through daring schemes that border on the outrageous, Smith has been able to rescue important political prisoners from jails and concentration camps. His latest foray into Germany is designed to rescue Sidmir Koslowski (Peter Gawthorne), a Polish intellectual who is of value to the Allies. He has been arrested by the Germans on suspicion of being a spy. As the field trip gets under way, Smith plays up his role as an absent-minded professor, much to the amusement of his students. However, when he receives a flesh wound during one of his nocturnal secret missions, the boys catch on and insist that they be enlisted into helping Smith free Koslowski. Smith reluctantly concedes to accept their help. On the surface, Smith is treated as an honored guest by the Germans but the local military commander, General von Graum (Francis L. Sullivan) strongly suspects he is actually the "Pimpernel" and is determined to prove it and arrest him before any more prisoners can be freed. Von Graum forcibly enlists the services of Koslowski's beautiful daughter Ludmilla (Mary Morris) and makes her serve as a spy, holding her father's well-being over her head as collateral. Her mission is to seduce Smith if necessary in order to get proof of his extracurricular activities. Predictably, the two fall in love and Smith now not only has to rescue Koslowski, but his daughter as well. 

Despite the fact that Leslie Howard was at the height of his career coming off of his role as Ashley Wilkes in "Gone with the Wind", "Pimpernel Smith" is a low-budget film that resembles a Poverty Row production. Perhaps resources and funding for films in wartime Britain were scarce even for a movie with strong propaganda value such as this. Virtually the entire film was shot on soundstages- and rather claustrophobic ones at that. City views glimpsed through windows are represented by low-grade matte paintings and there are only a few fleeting shots of actual exteriors. It's to Howard's credit as star and director as well as the screenwriters that the movie overcomes these distractions with a highly engrossing story line that builds in interest and suspense during the two-hour running time. Howard is in top form and he is more than matched by Francis  L. Sullivan who makes for a larger-than-life villain in both the figurative and literal sense of the term. Sullivan uses his considerable girth and wry delivery to channel the best characteristics of Charles Laughton and Sydney Greenstreet. The witty script allows some wonderful byplay as Smith and von Graum maintain a superficial politeness even though they both regard each other as mortal enemies engaged in a cat-and-mouse game of strategy. Mary Morris makes for a lovely leading lady though the male actors who play Smith's students are so wholesome as to come across as absurd. It doesn't help matters that the styles of the era make them appear to look older than Smith. 

It's a pity that there were no further adventures of Pimpernel Smith. However, real-life tragedy intervened when Leslie Howard was flying back to England from neutral Portugal in 1943 aboard a civilian aircraft. The plane was shot down by German fighters and all aboard were killed. Germany claimed the tragedy was an error but theories persist that his may have been targeted because of rumors that Churchill was aboard. Another theory was that the Germans wanted Howard dead in retribution for an Allied propaganda campaign he had been carrying out in Spain and Portugal. (For full analysis of the conspiracy theories behind Howard's death, read this entry on Wikipedia.) Thus, one of the film industry's most popular leading men had his life cut short due to the war even though he wasn't serving in combat."Pimpernel Smith" is a modest film but one that resonates very well today and gives us a full appreciation of Howard's talents as both actor and director. The Olive Blu-ray is sans any extras, which is a pity because of the aforementioned dramatic elements of Howard's life that would make for a good commentary track. However, the picture transfer is very impressive and does justice to the fine cinematography of Mutz Greenbaum.

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BY LEE PFEIFFER

Acorn Media has released a Blu-ray edition of the 2004 TV adaptation of Agatha Christie's "Death on the Nile". The feature film-length episode ran as part of the popular British series, "Poirot" and stars David Suchet as the legendary Belgian detective. Numerous actors have portrayed the sleuth on the big screen and television. They include Peter Ustinov, Albert Finney, Kenneth Branagh and even Tony Randall. However, Suchet takes the prize for playing Poirot the most times, having done so in 70 episodes spread out over a 24 year period commencing in 1989. The role also fits him like a glove, as he keeps intact the basis persona of the character. He's very much a dandy, who dresses to the nines. He enjoys fine dining in opulent settings and pays an inordinate amount of time tending to his trademark mustache. He also possesses a dry wit and calm nature even in the midst of murderous goings-on.

In "Death on the Nile", which had been filmed previously with Ustinov and an all-star cast as a theatrical feature film in 1978, Poirot finds himself on holiday aboard a cruise down the Nile. The plot takes place in the mid-1930s before the outbreak of WWII. (We know this because of a single reference to concerns over Hitler's rising power in Germany.) On board are the usual assortment of eccentrics, snobs, losers and charmers. The plot opens with penniless British lovers Simon Doyle (JJ Feild) and Jackie De Bellfort (Emma Griffiths Malin) paying a visit to Jacqueline's best friend, Linnet Ridgeway (Emily Blunt), an heiress who is one of the richest young women in England- and also one of the most selfish and detested. (It isn't explained how such different people would have forged such a strong friendship and why Linnet allows her friend to suffer in poverty instead of offering her some financial assistance.) Simon and Jackie have come to visit to introduce Johanna to Simon and to announce their engagement. Once Linnet's eyes set upon the hunky Simon, we know there's going to be some trouble. The scene cuts to a few months later with Simon, having been seduced by Linnet, having ditched Jackie. He and Linnet are now happily married and are aboard the same Nile cruiser that Poirot has booked a room on. Their honeymoon is less than blissful due to Jackie having stalked them across Europe (it isn't explained how the poor woman can afford to do this, which is a plot hole.) She is also on the Nile cruise, much to the couple's disdain. She quietly but sarcastically confronts them at every opportunity. Poirot and the other passengers are aware of the spectacle, which Jackie causes in order to shame the newlyweds. Poirot is joined on board by an good friend, Colonel Race (James Fox) but their hopes of having an enjoyable holiday are dashed when a sensational murder occurs.

In reviewing any Agatha Christie mystery, the less said, the better. Suffice it to say that Poirot and Race are investigating the murder when two more occur within the tight group of suspects he has been acquainted with. The three murders are clearly connected and, in true Christie tradition, examination of the passengers reveals that each member of the disparate group had a motive for carrying out the killings. The fun of it all always culminates in the "A ha!" moment in which Poirot announces he has cracked the case. This version of "Death on the Nile", being a television production, has a more restrained budget than the Ustinov big screen feature, but the fact that key scenes were shot on location elevates it to a posh level. The explanation for the mysterious murders is clever enough, even if the execution that supposedly enabled them seems a bit of a stretch. The cast is first rate and includes David Soul as Linnet's rather grungy American financial adviser who joins the cruise with some pressing business to discuss. Director Andy Wilson keeps the pace brisk but never too hurried and remains true to the spirit of the traditional Poirot mysteries. Acorn Media's Blu-ray edition boasts a terrific transfer but no bonus extras. Christie fans will want to experience this impressive version of "Death on the Nile" before yet another version comes to the screen next year, this time from director/star Kenneth Branagh. Recommended.

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BY LEE PFEIFFER

Way back in ancient times when I was majoring in Sociology in college, a professor pointed out some salient points regarding cults and the people who choose to belong to them. Top of the list is the fact that virtually all cults are centered around a single charismatic leader. There are other constants as well, namely, that people who comprise the membership of cults tend to be dealing with a life crisis. They feel ignored or rejected by society in general. They believe they are odd ducks and they naturally seek out the company of others who feel the same way. Another key factor is that, once immersed in a cult, members are loathe to believe anything negative about the great leader they idolize.  They actually welcome an authoritarian presence to do the thinking for them. This characteristic isn't limited to cult members, of course...it extends to larger-than-life political figures as well. Even when confronted with hearing the great leader say something shocking on video or audio, they still choose not to believe it- or at least pretend they don't in order to justify their continued allegiance to a scoundrel. Indeed, most cult leaders turn out to be self-aggrandizing scoundrels who enrich themselves financially, sexually or otherwise by exploiting the  loyalties of the followers. Ultimately, most cults dissolve under negative circumstances over a period of years. By then, the damage is done. Members have become so dependent on the cult that they scarcely know how to survive in its absence.

The consequences of cult worship are laid out in a fascinating six-part Netflix series, "Wild Wild Country" that is currently a streaming sensation. The series, superbly constructed by co-directors Chaplin Way and Maclain Way, revisits a scandalous situation that took place in the early to mid 1980s in rural Oregon and went on to be the subject of international scrutiny. An Indian guru, Bhagwan Shree Rajneesh found himself under legal duress in his native country. Indian authorities had accused him of numerous instances of unethical behavior and some activities that might have been illegal. Not wishing to chance being arrested, the Bhagwan instructs his major domo, Ma Anand Sheela, to find a place in the United States where the Bhagwan and his growing international cult of followers could relocate. The ever-reliable Sheela studies the U.S. Constitution and discovers that he group can exploit loopholes to establish a thriving cult community in the hills of Oregon. Unfortunately, for the 40 inhabitants of the serene and sleepy hamlet of Antelope, the Bhagwan's purchase of a massive amount acreage adjoins their town. Overnight, aging cowboys and their wives find themselves surrounded by hundreds of cult members who dress in signature red clothing. The perpetually joyful members become elated when the Bhagwan himself arrives. A lineup of his personally owned 90 Rolls Royces is there to greet him. Before long, the cult members are singing loudly, swaying wildly and engaging in orgies, much to the disgust of the neighbors in Antelope. Soon, tensions boil over as the locals insult and harass the cult members. Sheela, who carries out the wishes of the Bhagwan (who rarely speaks), is charismatic young woman who uses an iron fist when it comes to using the law to outwit her opponents. Soon, the Bhagwan actually buys the town of Antelope and installs a puppet city council to carry out his instructions. The cult members also arm themselves for potential gun battles and establish what amounts to an estimable militia. 

The show becomes increasingly engrossing as it proceeds, aided immeasurably by the abundance of video segments culled from the international media coverage. The program is also supplemented by contemporary interviews with veterans of the conflict on both sides. The cult members are sympathetic figures at first, as their peaceful nature was inflamed by provocations of their neighbors. However, by the time the series reaches its sixth episode, you'll find yourself on a dizzying path of deceit, greed, theft, manipulation, a mass poisoning, murder attempts and advanced spy tactics that one federal official describes as being straight out of a 007 movie. Ultimately, the Reagan administration sends in Justice Department officials to use legal methods to thwart the cult and prosecute the members for various crimes. (The cult leaves plenty of bread crumbs for the feds to work with.) The victims in all this are the naive cult members who seem to represent the dying embers of the 60s hippie generation. Their devotion to Bhagwan is unquestioning, even when confronted with evidence of his less-than-ethical behavior. No one emerges from the show in a very good light. The cult members look like impressionable idiots (some still profess allegiance to the dear departed Bhagwan) while the Oregonian locals come across like comically stereotypical versions of God fearin' white conservatives.

I won't say any more about "Wild Wild Country" other than you are likely to find yourself instantly engrossed. As you stick with the show, be prepared for a binge-watching session, as you will be eager to see how it all turns out.

RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES

BY LEE PFEIFFER

In the early 1970s producer and director Bob Chinn was one of the most prolific and profitable names in the adult film industry. Chinn's productions may have had skimpy production values but he generally made them look more grandiose than anything competing erotic film producers were able to offer. Like many filmmakers in this bizarre genre, Chinn aspired to do films that were more mainstream and meaningful. He entered a collaboration with Alain Patrick,  a young hunky actor in the Jan-Michael Vincent mode who had his own aspirations to become a respected star. By 1971 Patrick had accumulated some legitimate film and TV credits but always in "blink-and-you'll-miss-him" roles. Like Chinn, he drifted into the adult film industry where he established some credentials as a director. He and Chinn teamed up that year in an attempt to make a mainstream movie about the porn film business. The result was "Blue Money", which has just been rescued from obscurity by Vinegar Syndrome, which has released the film as a special edition Blu-ray/DVD.

"Blue Money" suffers from the same limitations as Bob Chinn's other productions in that it was financed largely by people who expected to get a hardcore porn flick. Thus he was given a budget of $35,000, which was a pittance even in 1971, and a very abbreviated shooting schedule. Under Alain Patrick's direction, however, the movie went in a different direction and became a hybrid between the mainstream and porn film genres. Patrick gives a very credible performance as Jim, a 25 year-old surfer dude type who lives an unusual lifestyle. On the surface he leads an unremarkable existence: he has a pretty wife, Lisa (Barbara Mills) who is a stay-at-home mom who devotes her energies to raising their young daughter. Like most fathers, Jim is a dad who goes off to work every day...except that his "work" is directing pornographic feature films.  Shooting in a seedy makeshift studio, Jim and and his partner sell the finished product to shady distributors who pay them premium prices for master prints of their latest 16mm productions. Because Jim is considered one of the top talents in the industry, theaters are always hungry for his latest films. Ironically, although Jim's career is filming people having sex, he prides himself on remaining loyal to his wife and resists the occasional overtures of his female stars. Jim and Lisa have a joint dream: they are renovating a schooner-type yacht with the quest of quitting the adult film industry and sailing around the world as free spirits.  All of this is put at risk when Jim casts Ingrid (Inga Maria), an exotic European beauty who is desperate for money, in his latest production. Against his better judgment, Jim begins an affair with her- thus endangering his marriage after Lisa starts to become suspicious. At the same time the government is cracking down on the porn business. Suddenly, there is a dearth of distributors to take Jim's films. He is being paid far less than usual- and the entire industry is paranoid about the number of high profile arrests of performers, producers and directors in the porn business. Lisa begs Jim to quit but he wants to take his chances in the hopes of making enough money to finally finish the schooner's renovations and allow him to take his family on their-long planned journey.

"Blue Money" is an interesting production that never found acceptance by any audience. The film received some limited release in mainstream theaters but, although not quite hardcore, it is far too sexual for most general audiences. Conversely, people expecting to see a movie packed with gratuitous sex acts would also have been disappointed. Director Patrick has plenty of sex scenes and full frontal nudity but they are generally confined to the sequences in which we watch the actual filming of porn productions. In that respect, Patrick strips away any glamour or thrills from the process. Bored performers must enact explicit acts under hot klieg lights manned by total strangers. Jim must contend with moody actresses and actors who sometimes loath each other but who must engage in kinky sex. Every time Jim yells "Cut!", arguments can break out or the male leading man finds himself unable to perform on cue. Where the film excels is as a time capsule of sexual mores at the time of its production. There is much talk about the Nixon administration's Commission on Pornography report which had recently been released. Initiated by Nixon's predecessor, President Lyndon Johnson, the report came out during Nixon's first term in office. Nixon was confident that the report would legitimize his belief that pornography had a devastating effect on society- a talking point that would play well with his arch conservative base. Instead, the report basically said that there was no such evidence. Enraged, Nixon denounced the findings of his own commission and set about a crackdown on pornography. Countless man hours and millions of dollars were spent going after theater owners and people who made the films. In "Blue Money", when Jim is eventually arrested, the cops admit that the First Amendment would almost certainly ensure that he would win the court case- but the real strategy is to financially ruin those accused by having them spend their life savings on defending themselves. This gives the movie a hook that extends beyond the soap opera-like storyline centered on Jim's fragile relationship with his wife. The movie has a polished look to it and most of the performances are quite credible, with Patrick and Barbara Mills very good indeed.

BY DARREN ALLISON

In 1965, maverick British producer and writer Harry Alan Towers (The Bloody Judge) scored a hit with The Face of Fu Manchu, a thrilling revival of Sax Rohmer’s super-villain imperiously portrayed by Christopher Lee. Powerhouse/Indicator have lovingly brought together all five films in the series and in the process produced a rather spectacular collection.

Christopher Lee was of course no stranger to playing maniacal, Asian characters. He had already played Chung King, leader of the Red Dragon Tong's in Hammer’s movie The Terror of the Tongs (1961) directed by Anthony Bushell. Tall, dark and menacing in his stature, Lee was perfect casting for novelist Sax Rohmer’s notorious Chinese criminal mastermind. Produced by Harry Alan Towers and Oliver A. Unger, The Face of Fu Manchu was a British / West German co-production. Behind the camera was Australian-born British film director Don Sharp, a man who had made some fine film’s for Hammer including The Kiss of the Vampire (1961) and The Devil-Ship Pirates (1964) also starring Christopher Lee.

The film sets out in rather unusual style with the apparent beheading of Fu Manchu. Where do we go from here one might ask? Back in London, his nemesis Nayland Smith (superbly played by Nigel Green), becomes increasingly concerned that Dr. Fu Manchu is not only still alive – but also back and operating in London. The kidnapping of Professor Muller (German actor Walter Rilla) unravels a plot involving a potentially lethal solution created from the seeds of a rare Tibetan flower: the Blackhill poppy. Fu Manchu learns that the poppy seed's poison can be used as a weapon and that just a pint of this solution is powerful enough to kill every person and animal in London. And so begins the classic encounter between good and evil.

It is naturally a perfect example of pulp fiction in its purist form. Producer Towers (as writer Peter Welbeck) seems to relish in his comic book approach, and in fairness, it all works incredibly well and to great effect. One has to remember that these films were made as family-orientated adventures, although some minor cuts were made in order to retain its ‘U’ certificate which obviously made good business sense. Unlike the ‘X’ certified Terror of the Tongs which contained much darker, adult themes, Fu Manchu, in its context is more like a Bulldog Drummond mystery or perhaps a Charlie Chan adventure from the forties or fifties. It succeeds in creating a perfect balance of dramatic excitement and a sense of innocent, harmless fun – all of which is indicative of its period.

Powerhouse/Indicator has produced a wonderful presentation of the film. Restored from a 4K scan of the original negative, the Techniscope frame and Technicolor print has never looked so good, revealing sharp detail and a rich, vibrant colour palette. Blacks are deep and solid and work especially well in contrast to the silky fabrics of Lee’s costuming. The audio (its original mono) is also clear and clean without any evidence of hiss or pops. It’s clear that these films have been worked upon with a great degree of love and care. Powerhouse has also offered a choice of two versions of the film. It was revealed at the time of production, reel 3 of the original negative contained a degree of damage to the left side of frame. This was dealt with at the time by zooming in on certain shots for the cinema prints and thereby eliminating the damage from view. Subsequent prints (for TV and other media formats) have always used the same ‘fixed’ theatrical version. However, for the first time, Powerhouse has offered the option to view the original print in its uncorrected version. Whilst the damage is of course still evident, it does however provide the opportunity of viewing the film without the use of panning or the post-production corrective fix. It’s a nice little touch on the part of Powerhouse and one which is bound to please the purists.

The wealth of bonus material is also very impressive. Firstly, there’s an enjoyable, fact-filled audio commentary with genre-film experts, critics and authors Stephen Jones and Kim Newman recorded in 2020. Other bonus extras include an archival Interview with Don Sharp – Part One: From Hobart to Hammer (1993, 96 mins) made as part of the British Entertainment History Project, featuring Sharp in conversation with Teddy Darvas and Alan Lawson; the BEHP Interview with Ernest Steward – Part One: The BIP Years (1990, 96 mins): archival audio recording of an interview with the respected cinematographer, also made as part of the British Entertainment History Project. There’s a b/w archival interview with Christopher Lee (1965, 4 mins); an extract from the Irish television programme Newsbeat, filmed during location shooting in Dublin. Vic Pratt Introduces ‘The Face of Fu Manchu’ (2020, 7 mins), an appreciation by the BFI curator. Underneath the Skin (2020, 49 mins) in which broadcaster, educationalist and author of The Yellow Peril: Dr Fu Manchu & The Rise of Chinaphobia, the wonderful Sir Christopher Frayling examines the origin, history and reputation of Sax Rohmer’s works. There are also a few alternative titles and credits sequences. For those of a certain age, there are Super 8mm versions: cut-down home cinema presentations which provide a nostalgic trip down memory lane. Original UK, German and French theatrical trailers and a generous image gallery featuring promotional posters, photos and publicity material round off this impressive world premiere on Blu-ray.

Due to the success of The Face of Fu Manchu – especially in America- producer Harry Alan Towers wasted very little time by setting the wheels in motion for a hasty sequel. Hoping to achieve the same success, Towers again pulled in West Germany’s Constantin Films along with his own Hallam Productions to co-finance the next project, The Brides of Fu Manchu (1966). Regardless of a very busy 1966, (a year that also included Hammer’s ‘back-to-back’ productions of Dracula: Prince of Darkness and Rasputin, the Mad Monk), Towers nevertheless managed to secure his leading man Christopher Lee. He was also fortunate enough to have original director Don Sharp sign again on the dotted line.

The story once again revolves around world domination, this time through the use radio waves which can carry destructive blast frequencies. In order to carry out his plan, Fu Manchu has kidnapped the daughters of prominent scientists whom he blackmails into helping him create his deadly transmitter. It was a simple enough narrative, written again in easy, comic book style by Harry Alan Towers. The great loss to this particular film is that of Nigel Green as Nayland Smith. Smith is this time played by Douglas Wilmer, an actor that had just played Sherlock Holmes in the TV series of 1965. Wilmer fits the role perfectly well and proves he can handle himself when it comes to the obligatory fist fight with the dacoits. However, he doesn’t quite possess the same regimented and commanding drive displayed by that of Nigel Green. As with his later portrayals of Dracula, Lee also has far less demanding role in The Brides of Fu Manchu. His presence is still dominating but he has far less to do. Here he seems more comfortable behind a control or instrument panel. In fact, it’s his depraved daughter Lin Tang (Tsai Chin) who this time takes a far more active role alongside lead henchman Feng (played wonderful by Burt Kwouk) who almost steals the show. Everything here though is all sufficiently menacing and a great deal of fun.

Powerhouse has again delivered where it counts. Creating a newly restored transfer from a 4K scan of the original negative, the film looks beautiful and includes the original BBFC theatrical card. Director Don Sharp this time opted to drop the Techniscope process (probably due to Towers ever tightening of the budget) and instead chose to use a standard 1.85:1 lens – but thankfully this never distracts or lessons the overall viewing pleasure or impact. The rich greens, golds and pinks of the costuming again appear so rich. The restoration also reveals a much greater depth, particularly those cantered in the subterranean chamber; another beautifully lit set which looks far greater on screen than in probably was in reality. Every element of these scenes is greatly enhanced and benefit hugely from the new restoration. Powerhouse has also satisfied the purists by sensibly utilizing the cleaned original mono audio.

The disc’s bonus material is also impressive and contains a full audio commentary, this time provided by film historians Kevin Lyons and Jonathan Rigby (2020). Then there is a continuation of the BEHP Interview with Don Sharp – Part Two: A Director of Substance (1993, 95 mins) and Part 2 of the BEHP Interview with Ernest Steward: From Teddington to ‘Carry On’ (1990, 93 mins). Then there’s a real treat in the shape of The Guardian interview with Christopher Lee (1994, 87 mins): a wide-ranging onstage interview with the legendary actor, conducted by the film critic David Robinson. Lee was renowned as a great talker, and this is no exception. The iconic actor delves deep and concise providing the audience with a rare insight of the business and a feast of industry stories. BFI curator Vic Pratt provides another unique and newly filmed introduction to The Brides of Fu Manchu (2020, 7 mins). Pages of Peril (2020, 21 mins): has genre-film expert, critic and author Kim Newman discuss Sax Rohmer and the Fu Manchu novels. The film’s original theatrical trailer, a b/w TV spot and an Image gallery containing production photos, promotional and publicity material round off the world premiere Blu-ray very nicely.

Cinema Retro has received the following press release: 

Kino Now Celebrates its First Anniversary with Free Movie Binge

A Special Selection of Eight Films Available to Rent Free Through November 15th

Featuring:

Beanpole

Boy

The Complete Metropolis

It Felt Like Love

Dawson City: Frozen Time

Variety

The Hitch-Hiker

Walk With Me

https://kinonow.com/series/anniversary-binge

Redeem coupon code KNBDAY

Free Sign-Up, No Subscription Required

Kino Lorber celebrates the one-year anniversary of its digital streaming platform, Kino Now, with a selection of its most essential films. To mark the anniversary, Kino Lorber is making available for a limited time eight films to rent for free, reflecting a mix of award-winning international, documentary, American independent, and classic cinema. The coupon can be redeemed through November 15, and once redeemed will be active for 15 days. Sign-up for Kino Now is free, no subscription required.

Click here to view the full lineup of the Kino Now Anniversary Binge.

Included in the free binge are recent international hits like Taika Waititi's heartwarming coming-of-age family drama Boy, and Oscar® shortlisted Russian WWII drama Beanpole. Kino Lorber's slate of critically acclaimed documentaries is represented by Dawson City: Frozen Time about the discovery of a treasure trove of lost films in Northern Canada. Fans of Eliza Hittman's new film Never Rarely Sometimes Always will want to check out her Brooklyn-set indie debut It Felt Like Love, while classic film buffs can enjoy restorations of Fritz Lang's silent masterpiece Metropolis, and fresh from their repertory re-releases, Ida Lupino's Film Noir thriller The Hitch-Hiker, and Bette Gordon's Variety, a feminist time capsule of seedy early-'80s Times Square. Finally, those looking for spiritual calm in these tumultuous times can find it in Walk With Me, a Benedict Cumberbatch-narrated portrait of Thich Nhat Hanh, who helped popularize the teachings of mindfulness in the Western world.

Since its launch last fall, Kino Now has grown to more than 1000 titles individually offered for digital rental or purchase -- no subscription necessary -- culled from the rich library of Kino Lorber and its partner labels. Additionally, a new selection of approximately 50 titles are added to the platform each month.

Kino Now brings movie lovers the masterworks of yesterday and new films destined to be the classics of tomorrow. Available a click away for rental and purchase all in a one-stop shop, this superbly curated digital library brings new convenience to savoring great cinema at home, as well as allowing film lovers to build permanent digital collections of their favorites to watch whenever they want on any device from portable handhelds to large home theater screens.

Richard Lorber, President & CEO of Kino Lorber, said, "As a distributor we launched Kino Now as a fresh channel focused on the groundbreaking narratives and documentaries we offer. The anniversary binge was curated as a snapshot of the great works in our library and offered as a 'thank you' to our most loyal customers and a 'welcome' for newcomers wishing to experience cinema."

Cinema Retro has received the following press release:

The beloved anvil-armed sailor of the seven seas comes magically to life in POPEYE, arriving on Blu-ray for the first time ever December 1, 2020 from Paramount Home Entertainment.  Starring the incomparable Robin Williams in his first big-screen role and Shelley Duvall as his devoted sweetie, Olive Oyl, the delightful musical celebrates its 40^th anniversary this year, having debuted in theaters on December 12, 1980.

The new Blu-ray includes access to a Digital copy of the film, along with nearly 30 minutes of all-new bonus content featuring excerpts from one of Robin Williams’ final interviews, an archival interview with director Robert Altman, as well as a newly conducted interview with Stephen Altman.  The full list of bonus features is below:

• · Return to Sweethaven: A Look Back with Robin and the Altmans
• 
  
• · The Popeye Company Players
• 
  
• · Popeye’s Premiere
• 
  
• · The Sailor Man Medleys
• 
  
• · Theatrical Trailer

Legendary producer Robert Evans and screenwriter Jules Feiffer worked for nearly three years to get POPEYE into production.  The film combined the talents of Robert Altman, composer and lyricist Harry Nilsson, numerous filmmaking artisans, and an outstanding cast of actors, mimes, athletes and street performers to bring the world of the beloved character to life.  The result is an uplifting and visually delightful film that celebrates the magic of what Altman called “a genuine American hero.”

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