Just
before the Covid veil descended, this Cinema Retro scribe traveled to Texas to meet
up with the unstoppable Allen Danziger, an entrepreneur and actor who parlayed
a friendship with the late Tobe Hooper into roles in two of his films.Always fast on his feet, Allen basically
improvised his way through Eggshells, Hooper’s 3rd film in 1969… five
years later he got the call for a role in Hooper’s next project, The Texas
Chainsaw Massacre. He landed the part of “Jerryâ€, the van driver
transporting his college friends to their doom – and into cinema history. “I
think he liked my look,†Danziger says of Hooper, “I was a munchkin with
Leatherface towering over me.â€(Leatherface was played by 6’4†Gunnar Hansen, who passed in 2015.)
The
Texas Chainsaw Massacre was a genre film destined for drive-ins and grindhouses,
then something magical happened – audiences connected with its raw power and
gritty filmmaking.TCM (as fans refer to the film) became a surprise hit, grossing
over $30 million in 1974 dollars (around $150M today).Like bit players in Star Wars, anyone
who had anything to do on the film was in demand at conventions and autograph
shows.The surviving cast members have
all become close friends, “We’re like a vanishing Band of Brothers,†Danziger
notes wryly.And while he happily rode
the autograph wave, he was always open to doing more...
He
and a couple of friends were having a plate of barbecue at The Gas Station – a TCM location, now a horror museum/BBQ
joint run by super fan Roy Rose - when they said, “Hey Allen, you’re an
icon…â€Danziger laughed it off saying,
“Well, an icon should have his own bobble-head and it has to talk!†In short order, his buddy John (aka “The Wizâ€)
found a company in China able to manufacture them.“We sent them pictures of me from the movie
and they did a prototype which I loved.â€The first order of them arrived in January “on a slow boat from Chinaâ€,
Allen laughs.The response has been
impressive, “Everybody’s who’s seen one, wants one.â€Although sales are certainly a consideration,
Danziger notes another reason for their creation – “If it gets people smiling
and laughing, that’s what it’s all about.This has been a tough year for everybody.â€
(Allen Danziger at The Gas Station, March 2020. Photo: Mark Cerulli.)
The
Nodder should be a strong seller when fan conventions can safely resume and
Danziger has a couple of other ideas in the hopper saying, “If it (the doll)
takes off, I want to do a Chainsaw
Jerry Chia Pet and beef jerky.â€After
all, it really IS about the meat…
Francis Ford Coppola's "The Godfather" won the Best Picture Oscar in 1972. Two years later, the first sequel "The Godfather Part II" also won Best Picture- and with good reason. Coppola overcame expectations and delivered a richly textured film that in many ways was even more impressive than the original movie. Watch this scene from the finale, with an impressive flashback cameo by James Caan as the doomed Sonny Corleone.
CLICK HERE TO ORDER "THE GODFATHER COLLECTION" ON BLU-RAY FROM AMAZON
Actress Cicely Tyson has died at age 96. Ms. Tyson was a groundbreaking influence in both feature films and television, rising to fame and acclaim with her signature performance in "The Diary of Miss Jane Pittman", the 1974 television production that brought her two Emmy awards (Actress of the Year and Best Actress in a Drama). Ms. Tyson was also nominated for a Best Actress Oscar for the 1972 film "Sounder". Click here for more about her remarkable life and career.
I first saw The Window as a kid in the 1960s when it was shown as part of New York's legendary Million Dollar Movie broadcast. I can't recall seeing it many times since then, so I was all the more astonished at how well I remembered virtually every scene when I viewed the DVD release through Warner Archive. The film must have made a tremendous impression on me to have an impact that has lingered so long. What also strikes me is that the impact has not been diminished at all. The low-budget RKO release was shot on location in Brooklyn and conveys a real feel for life in the tenements during one particularly scorching summer. The 1949 movie stars Bobby Driscoll, a Disney discovery, as Tommy, a small boy with a penchant for telling tall tales. His loving, but frustrated parents (Barbara Hale and Arthur Kennedy) are exasperated by their inability to teach Tommy about the dangers of crying wolf. One night when Tommy seeks to nullify the searing heat by sleeping on the fire escape, he looks through the window of a neighboring apartment- and witnesses the resident husband and wife (Paul Stewart and Ruth Roman) murdering a man in a bungled robbery attempt. Because of his constant fabrications, Tommy finds no one believes him. An ill-advised trip to the police station only results in sullying his reputation even further. When the murderous couple learn that Tommy has witnessed their crime, he realizes it's only a matter of time before they kill him, as well. The opportunity presents itself when an emergency requires that Tommy be left alone in the apartment. This sets the stage for a nail-biting confrontation in which the murderers kidnap Tommy and attempt to do away with him.
The film's lack of a major budget actually works to its benefit.
Director Ted Tetzlaff optimizes the use of actual Brooklyn locations,
accentuating what it was like to grow up in tenements where children's
playgrounds were traffic-clogged streets and dangerous, abandoned
buildings. Best of all are the performances. Driscoll was so convincing
that he earned a special Academy Award for his performance. Barbara Hale
and Arthur Kennedy are completely convincing as a hard-working couple
dedicated to providing a good home for their son, despite their
impoverished conditions- and Paul Stewart and Ruth Roman are excellent
as the outwardly pleasant husband and wife who moonlight as murderers.
The film exemplifies Hitchcock's theory that there isn't always safety
in numbers. Young Tommy is surrounded by hundreds of neighbors, but when
he needs help, he finds himself in complete isolation.
The Window, originally released by RKO and now presented by
Warner Brothers, is classic American film noir, a top-notch thriller
that will have you on the edge of your seat.
Cloris Leachman, the seemingly invulnerable veteran of television and film, has died from natural causes at age 94. Leachman, a former Miss America contestant, gravitated to acting and launched a remarkable career that saw her win an Oscar for Best Supporting Actress for the 1972 classic "The Last Picture Show" and enjoy an Emmy-winning legacy on television. Her comedic talents were the stuff of Hollywood legend and she memorably collaborated with Mel Brooks on two comedy classics, "Young Frankenstein" and "High Anxiety" in which she stole every scene she appeared in. She would also collaborate with Brooks on "The History of the World, Part 1". Click here for coverage of her remarkable life and career.
The Warner Archive has released a Blu-ray edition of the beloved 1952 Spencer Tracy/Katharine Hepburn romantic comedy "Pat and Mike". Tracy and Hepburn had gelled with critics and audiences in their previous teamings. The film was directed by the estimable George Cukor, who Tracy and Hepburn had teamed with previously with great success. The screenplay is by Ruth Gordon and her husband Garson Kanin, who also provided the script for the earlier movie. Gordon and Kanin were close friends of Tracy and Hepburn and were inspired by the offbeat nature of their relationship. (Tracy remained married throughout his lifelong romance with Hepburn and he was noted for being short-tempered but charismatic.) They were also impressed by Hepburn's athletic abilities, especially in golf and tennis, and this formed the basis of the screenplay for "Pat and Mike". Indeed, Hepburn performs all of the sometimes incredible athletic feats seen onscreen.
Hepburn plays Pat Pemberton, an athletic coach at a college who also moonlights by developing her own career as an up-and-coming athlete who is making a name for herself on the golf and tennis circuit. She's engaged to Collier Weld (William Ching), a fellow college employee who has looks and charm but tends to be a bit bossy in his treatment of Pat. Worse, although he attends tournaments in which she competes, he seemingly does so out of politeness more than enthusiasm and let's Pat know that after they wed, he would prefer to live the life of a typical housewife. This doesn't fly very well with Pat, who is too intimidated to argue with him. Instead, she abruptly runs away temporarily to contemplate her future. Ultimately, she meets Mike Conovan (Spencer Tracy), a sports manager and promoter who talks big but who is barely hanging on by his fingernails. His sole remaining client is Davie Hucko (Aldo Ray), a beefy but simple-minded boxer who shows potential. Upon witnessing Pat's abilities on the tennis and golf courses, coupled with her abilities to excel at other sports, Mike believes she will be his dream ticket to success. With his savvy promotional abilities, Mike helps increase Pat's name recognition and acclaim. Amusingly, he plays a mother hen figure in her life, keeping her on a strict daily schedules of work outs and proper diets. Despite this paternal attitude, it's clearly he's becoming romantically enticed by her. The slow-rolling coupling of Pat and Mike is the heart of the story. We know they are falling in love even before they do. However, one obstacle remains: every time Collier attends one of her competitions, she becomes intimidated and loses. In a lively romance in which there are no major crisis, this is presented as the only roadblock standing in the way of Pat and Mike becoming a pair.
The doesn't strive for big belly-laughs and must rank as one of the most low-key romances ever filmed but the witty screenplay allows Tracy and Hepburn to banter, argue, talk over each other and provide plenty of amusing moments. Aldo Ray impresses with his first major screen role and there are fine contributions by familiar supporting actors including up-and-comers Jim Backus, Charles Bronson and Chuck Connors (in his screen debut). The movie also features a number of real-life legendary athletes of the period who appear as themselves. "Pat and Mike" is a true gem largely because it showcases two American acting legends at their best.
The Warner Archive Blu-ray is right up to the company's high standards and features the original trailer.
Here is the trailer for John Frankenheimer's underrated 1969 film "The Gypsy Moths", which reunited Burt Lancaster and Deborah Kerr, who had previously co-starred in "From Here to Eternity" and "Separate Tables". The movie features a fine supporting cast that includes Gene Hackman and Scott Wilson.
In March of 2019 I took a drive to the Hudson River town
of Nyack, New York, for a rare public screening of Bob Dylan’s ill-fated
cinematic opus Renaldo & Clara.The film, originally released to art
houses in New York City and Los Angeles January of 1978, was mercilessly panned.The movie – shot during Dylan’s fabled autumn
1975 tour with his ragtag Rolling Thunder Revue – all but disappeared from
cinemas and, mostly, from public consciousness within the span of a few
weeks.The original cut of the film was,
let’s charitably say, a rambling affair, clocking in at just under four hours.
There’s one aspect of the original production that’s
pretty remarkable.In the torrent of old
releases that would flood the market following the advent of home video, Dylan never
chose to green-light an official release of Renaldo
& Clara.The notes to this set suggest
one reason this might be so:the
original negative of the musical
portion of the Rolling Thunder Revue tour footage seems to have been lost.The dazzling tour footage offered here on
this new Criterion release - material mostly culled from vintage Renaldo & Clara footage in strikingly
gorgeous quality, all things considered – is the result of a pristine 4K
transfer from a surviving 16mm workprint.
But I’m getting ahead of myself.The reason behind my traveling to Nyack in
2019 was two-fold.The screening of Renaldo & Clara that afternoon was
to be hosted by Rob Stoner, the bass player and bandleader of the Rolling
Thunder Revue, Bob Dylan’s backing ensemble in autumn 1975.I was hoping that since Stoner was a central
figure in Dylan’s inner circle (at one time), we might – at long last – experience
the film in better resolution.The only
copies of Renaldo and Clara that
circulated through “underground†channels amongst collectors had allegedly been
sourced from a couple of one-off European TV broadcasts.Since the videotapes of those broadcasts
varied wildly in picture and sound quality, the caliber of the bootleg sourced
was dependent upon what generation a copy had been mastered from.
So it was with some surprise and disappointment when I discovered
that Stoner’s personal copy was hardly better than any of the several rather ropey
dupes that found their way into my own collection over the years.What didn’t disappoint were the memories and asides
that Stoner would re-live and share as the near four-hour epic that is Renaldo & Clara unspooled, once
again, before our eyes.
The old saying suggests “truth is stranger than fiction.â€I personally believe that truth is, more
often than not, actually far more interesting
than fiction as well.Which leads me
into this discussion of Martin Scorsese’s Rolling
Thunder Revue: A Bob Dylan Story, newly released as part of the white-glove
Criterion Collection series.There were
plenty of reasons to be excited by this release.Scorsese is an unabashed Bob Dylan fan.Anyone who saw “Life Lessons,†the director’s
segment of the 1989 anthology film New
York Stories, will recall Nick Nolte’s emotionally-wrought artist fiercely thrashing
away at his canvas as Dylan’s “Like a Rolling Stone†plays angrily on the
stereo in his studio loft. More
importantly, it was Scorsese that also gave us – via a PBS broadcast in 2005 -
the celebrated and highly recommended 207 minute long two-part documentary film
Bob Dylan: No Direction Home.
So when it was announced in 2018 that Scorsese would be
tackling a film recounting Dylan’s legendary Rolling Thunder Revue tour for
Netflix, my expectations ran pretty high.But on the evening of the film’s streaming premiere, I switched off the
TV at the program’s conclusion with, at best, a sense of
half-satisfaction.The footage of
Dylan’s musical performances was stunning, an affirmation of the legendary
status long affixed to these shows.On
the other hand, I admit to being totally dismissive of the film’s faux
documentary aspects.As a huge admirer
of Dylan’s music and career, it only took a few minutes in to see that the
feature’s sub-title “A Bob Dylan Storyâ€
was a literal one.It was exactly that,
a story: an uneasy blending of factual items with fantasies and outright
deceptions.
The problem with the folks who involve themselves on Bob
Dylan’s various film projects is that they allow themselves to get personally sucked
into his personal orbit of playful disinformation and obfuscation.His film collaborators become, in effect, coconspirators.The reason that D.A. Pennebaker’s seminal
documentary of Dylan’s 1965 tour of England, Don’t Look Back (1967), will very likely remain the most honest
portrait of the artist is that this director didn’t allow himself to be
manipulated by the bard - to any great degree, at least.I’m not of the camp to pretend that the
Dylan we’re introduced to in Don’t Look
Back (magnetic, abrasive, playful, rude, gifted), is the “real†Bob
Dylan.Once Pennebaker’s cameras begin to
roll, Dylan may or may not have consciously play-acted before them.But at least audiences were allowed to decide
for themselves whether or not Dylan was the ultimate brat or a musical genius
or, perhaps, a confusing and peculiar mix of both.
Danny
Kaye was not only a brilliant triple-threat (actor/singer/dancer), but he was a
stand-up comic, an expert chef, a writer, a pilot, a baseball enthusiast (and,
for a short time, co-owner of a team—the Seattle Mariners), a notable
philanthropist, a UNICEF ambassador, and an honorary member of the American
College of Surgeons and American Academy of Pediatrics (!). His decades-long
career on stage, in film, and on television speaks for itself, but one of his
most beloved screen vehicles was The Court Jester, a 1956 picture that
was shockingly ignored at the Oscars that year (Kaye, who never won an Academy
Award, was nominated for a Golden Globe for his performance).
Even
more disturbing is the fact that it was allegedly the most expensive comedy
film ever produced up to that time and was a box office failure (perhaps that’s
the reason there was no Oscar love). Nevertheless, time has been extremely kind
to the movie through revivals and television broadcasts. Now it’s perhaps the
movie one thinks of when considering Danny Kaye starring vehicles.
The
Court Jester was
written, produced, and directed by the team of Melvin Frank and Norman Panama,
who carved out a comedy-niche in Hollywood beginning in the 1940s by penning
some of Bob Hope’s early classics together. Their White Christmas (1954,
directed by Michael Curtiz) was a massive hit, and it paired Danny Kaye with
Bing Crosby. They had directed Kaye that same year in Knock on Wood… so
they were a good match for the actor on a musical-comedy send-up of The
Adventures of Robin Hood.
Hubert
Hawkins (Kaye) is the affablebut non-heroic member of a band of Merry
Men-like rebels led by Robin Hood-like “The Black Fox†(Edward Ashley). King
Roderick (Cecil Parker) has usurped the throne from its rightful heir—the only
survivor of the royal family, a baby with a peculiar birthmark of a “purple
pimpernel†on his tuchus. The Black Fox’s band of brigands are keeping
the child safe from the king’s men, led by chief antagonist Lord Ravenhurst
(Basil Rathbone). Hawkins is in love with Maid Jean (Glynis Johns), a “captainâ€
in the group, and she reluctantly admits she has affection for him as well.
When the opportunity arises to plant a mole inside the castle to steal keys to
an underground passage that will allow the Black Fox and his men to take
control of the palace and restore the land to its true monarch, Hawkins is
apparently the right man for the job—to impersonate Giacomo the Jester (John
Carradine), who is on his way from Italy to receive employment. Once Hawkins is
ensconced in the castle, the king’s daughter, Gwendolyn (Angela Lansbury) is
told by her confidante and “witch,†Griselda (Mildred Natwick) that “Giacomoâ€
is to be her true beloved and not the king’s ally Sir Griswold (Robert
Middleton). Needless to say, complications arise.
Yes,
it’s a twisty-turny plot with many instances of mistaken identity and
characters intentionally posing as people they are not. There’s romance,
slapstick, clever wordplay, swashbuckling swordplay and action sequences—and
there are song-and-dance musical numbers written by Sammy Cahn and Sylvia Fine
(Kaye’s wife).
The
dialogue is especially witty and fun—what movie buffs have not attempted
to memorize the classic tongue-twister, “The pellet with the poison’s in the
vessel with the pestle; the chalice from the palace has the brew that is true�
(Or the follow-up which replaces the chalice from the palace with the “flagon
with the dragonâ€).
Kaye
is marvelous throughout the picture, of course, and his supporting cast are all
splendid, too. Rathbone, at this point in his mid-60s, still manages to swashbuckle
with skill. Johns and Lansbury, as the dual love interests, are both fetching
and charismatic.
The
new ParamountMovies/Paramount Presents Blu-ray release beautifully shows off the
VistaVision widescreen Technicolor cinematography by Ray June. The images are
absolutely gorgeous. For this alone, the new release is worth the upgrade from
the older DVD edition. The only supplements are a short featurette of critic
Leonard Maltin talking a bit about the movie’s history and influence and the
theatrical trailer.
The
Court Jester is
still funny, still thrilling, and still entertaining today. Is it one of the
best comedies of the 1950s? The answer to that is a resounding YES.
Cinema Retro has received the following press release:
In
2017, after ten years of service, MI6 Confidential introduced a new special
format: a limited-run 100-page perfect bound issue of the magazine taking a
deep dive into one particular facet of the franchise. The fourth release hands
the microphone to long-serving Bond director, John Glen taking a look back at
his favourite film as helmsman, Octopussy.
The idea for this
issue came together as we were finishing work on Peter Lamont's Live And Let
Die portfolio. We approached someone who had a equally profound effect on
the trajectory of modern Bond. John readily agreed to work with us and we gave
him free choice of the film he wished to profile. He chose Octopussy -
the colourful, adventurous, flamboyant and darn-right-lucky 13th Bond outing.
With help from editor Bill Koenig, John walks us through pre-production,
scripting, casting and then narrates the film for us, in his famous
conversational style.
In This Special Issue
100 page special magazine;
professionally printed; perfect bound
John's memories of Sir Roger
Moore, Maud Adams, Kabir Bedi, Louis Jordan, and more
Rarely-seen concept art from
pre-production
Dozens of behind the scenes stills
The casting of Octopussy,
including the girls who were considered for the titular role
John's personal memories from the
taxing multi-continental shoot
Cinema Retro has received the following press release:
Celebrate the 50th
Anniversary of One of the Most Romantic Films of All Time
with a Newly Restored
Presentation of the Classic LOVESTORY
Limited-Edition
Blu-ray™ Arrives February 9, 2021, Just in Time for Valentine’s Day
The timeless classic LOVE STORY celebrates its 50th
anniversary with a brand-new Blu-ray in the Paramount Presents line, debuting
February 9, 2021 from Paramount Home Entertainment.
Newly restored from a 4K film transfer, this new presentation
beautifully captures the highs and lows of young love in a film that remains as
impactful as ever. Based on Erich Segal’s best-selling novel, LOVE
STORY was nominated for seven* Academy Awards®, including
Best Picture, and became a cultural phenomenon, earning over $100 million at
the domestic box office. In 2002, the AFI named it as #9 on its list of
the 100 greatest love stories of all time.
The limited-edition Paramount Presents LOVE STORY Blu-ray
includes the newly restored film, a new Filmmaker Focus with film
historian Leonard Maltin, plus previously released content including a
commentary by director Arthur Hiller, an introduction by film critic Ben
Mankiewicz, Love Story: A Classic Remembered, and the theatrical
trailer, plus access to a Digital copy of the film. The disc is presented
in collectible packaging that includes a foldout image of the film’s theatrical
poster, and an interior spread with key movie moments.
Ryan O’Neal and Ali MacGraw both received Oscar® nominations*
for their starring roles in the timeless, unmatched tale from the heart.
Harvard students Oliver (O’Neal) and Jenny (MacGraw) come from opposite
backgrounds, but they share a chemistry they cannot deny—and a love they can’t
ignore. Despite Oliver’s wealthy father threatening to disown him, the young
couple marries and begins to build their new life together. But fate has other
plans, and soon Oliver and Jenny face a crisis only the strongest of loves can
endure.
About Paramount
Presents
This collectible line spans celebrated classics to film-lover
favorites, each from the studio’s renowned library. Every Paramount
Presents release features never-before-seen bonus content and exclusive
collectible packaging. Additional titles available in the Paramount
Presents collection on Blu-ray include: Fatal Attraction, King Creole,
To Catch a Thief, Flashdance, Days of Thunder, Pretty
In Pink, Airplane!, Ghost, Roman Holiday, The Haunting, The
Golden Child,Trading Places and The Court Jester.
If absence makes the heart grow fonder, James Bond fans will surely love "No Time to Die" The release date of the much-delayed, highly anticipated 007 film has been pushed back again, this time to October 8 due to factors concerning Covid-19, which is still wreaking havoc around the globe. The film was originally slated to open in March, 2020, then was pushed back to November of last year. That, too, was canceled with a new opening date of April, 2021 announced. Now, it has been announced that the new opening is anticipated to be October 8, but depending upon the virus situation, we would not be surprised if this, too, turns out to be tentative. Click here for more.
The
Thin Man,
released in 1934, was such a success (and Oscar nominee) that Hollywood decided
to make a sequel (and, in fact, several of them). After the Thin Man,
released in 1936, reunited stars William Powell and Myrna Loy as Nick and Nora
Charles, the Wire Fox Terrier-actor Skippy as “Asta,†director W. S. Van Dyke,
writer Dashiell Hammett (who wrote the original novel and supplied story ideas
for the sequels), and screenwriters Albert Hackett and Frances Goodrich. The
result is a thoroughly enjoyable follow-up, if not quite as brilliant as the
original (sequels seldom are).
One
of the more striking elements of After the Thin Man is the presence of a
young James Stewart in a supporting role. It is one of his earliest screen
appearances, and he displays the charisma that would suit him well for the next
several decades.
The
picture brings back all the trappings of the first movie—the chemistry between
husband-and-wife Nick and Nora, their penchant for cocktails (especially his
penchant), their precocious dog, and the couple’s ability to outsmart the
cops and effortlessly solve a crime. The plot is complex, has many twists and
turns, and keeps an audience guessing (the screenplay received an Oscar
nomination). The big reveal of who the murderer really is may come as a
surprise to most.
Nora
has some troublesome relatives. Her Aunt Katherine (Jessie Ralph) has to be the
most annoying shrew on the planet. However, her daughter, and Nora’s cousin,
Selma (Elissa Landi), is pleasant enough but is married to a scoundrel, Robert
(Alan Marshal). Robert has run off, infatuated with a nightclub singer/dancer,
Polly (Penny Singleton, credited here as Dorothy McNulty). Friend of the family
David (James Stewart) provides support for Selma and wants to pay off Robert
$25,000 (!) to grant Selma a divorce and leave for good. David, perhaps, has a good
reason to do so—he has always carried a torch for Selma. The co-owner of the nightclub,
a guy named Dancer (Joseph Calleia), is shady and schemes with Polly to steal
David’s money from Robert. Added to the mix is Polly’s brother?/boyfriend?/husband?
Phil (Paul Fix), who wants money from Polly, too. When Robert is shot to death
on the street in San Francisco, Selma is arrested and blamed for the murder.
Enter Nick and Nora. Aunt Katherine reluctantly asks the Charles couple to
investigate and clear Selma’s name.
What
follows is the kind of intrigue with laughs that one would expect from a Thin
Man sequel (note: there is no “thin man†character in this one). Also
amusing is the subplot involving Asta and “Mrs. Asta,†another Wire Fox Terrier
who has had Asta’s puppies. There’s a problem, though—one of the pups is all
black, and Asta discovers an all-black Scot Terrier sneaking into the yard and
visiting Mrs. Asta! Uh oh! Asta must continually send the interloper on his way
and chastise the missus. What isn’t explained is why Nick and Nora allow Asta
inside their house all the time and take him around town with them, and yet
Mrs. Asta and the puppies must remain outside in a pen and a doghouse. Doesn’t
seem right, does it?
Powell
and Loy are marvelous in reprising their roles. Stewart is engaging, and Ralph
is hilariously exasperating. The writing is brisk and full of terrific
one-liners. Van Dyke’s direction is breezy, and he handles the complicated
mystery with aplomb. Perhaps the picture is ten or fifteen minutes too long,
but that’s a quibble.
Warner
Archive’s new Blu-ray restoration of an earlier DVD release looks superb.
Supplements include a vintage MGM cartoon short by Hugh Harman and Rudolf
Ising, “The Early Bird and the Worm,†and a 1936 comedy short, “How to Be a
Detective,†starring Robert Benchley. Also included is the LUX Radio adaptation
starring Powell and Loy, an MGM radio promo, and the theatrical trailer. All
good stuff.
After
the Thin Man is
a welcome high-definition addition to sit on the shelf with the earlier release
of The Thin Man. Here’s hoping Warner will issue the remaining titles in
the series on Blu-ray. So, grab your martini shaker, put on your pajamas, settle
back, and have a good time at the movies!
Cinema Retro has received the following press release from Flicker Alley:
Laurel or Hardy: Early Films of Stan Laurel and
Oliver Hardy traces the roots of the legendary comedy duo by
offering fans a two-disc set of 35 newly restored films starring either Stan
Laurel or Oliver Hardy—all produced before the two genius talents ever joined
forces.
Laurel
and Hardy became cinematic legends together, but before they were ever hauling
pianos or throwing pies as a hilarious and unforgettable comedic duo, each had
to develop as an individual artist and performer.Laurel or Hardy: Early Films of Stan Laurel and Oliver Hardy, as proudly presented by Flicker
Alley, the Library of Congress, and Blackhawk Films®, offers fans new and old
the rare opportunity to track the early solo careers of two comedy icons.
Featuring all new 2K restorations sourced from materials contributed by
archives and collectors around the world, this comprehensive 2-disc Blu-ray
collection features 35 films and includes new scores from some of the best
silent film composers working today.
Arthur
Stanley Jefferson comes from the British vaudeville scene, and was at one time
Chaplin's understudy. Oliver Norvell Hardy, a comedian born on film, worked
steadily for years in Hollywood and built his notoriety in over 300 roles.
Although the two had different styles and came from distinct backgrounds, they
followed similar creative paths, each marked with trials, errors, successes,
and the occasional strokes of genius. Along the way, they made millions of
people laugh, offering ample evidence of the incredible individual talents that
would eventually merge together to create one of the greatest comedy duos in
all of film history.
Stan
Laurel Films:
Bears and
Bad Men
(1918); The Egg (1922); A Weak-End Party (1922); The Pest
(1922); When Knights Were Cold (1923); The Handy Man (1923); Pick
and Shovel (1923); Collars and Cuffs (1923); Gas and Air (1923);
A Man About Town (1923); The Whole Truth (1923); Brothers Under
the Chin (1924); Zeb Vs. Paprika (1924); Wide Open Spaces
(1924); Detained (1924); Twins (1925); Pie-Eyed (1925)
Oliver
Hardy Films:
Mother's
Baby Boy
(1914); The Servant Girl's Legacy (1914); An Expensive Visit
(1915); A Lucky Strike (1915); The New Adventures of J. Rufus
Wallingford: The Lilac Splash (1915); The Serenade (1916); Hungry
Hearts (1916); The Candy Trail (1916); The Chief Cook (1917);
Hello Trouble (1918); Married to Order (1918); He's In Again
(1918); The Rent Collector (1921); The Bakery (1921); The Show
(1922); Rivals (1925); Wandering Papas (1926); Say It With
Babies (1926)
BONUS MATERIALS
INCLUDE:
Image Gallery — Slideshow
presentation featuring photographs from the Library of Congress
collections.
Collector’s Edition
Souvenir Booklet — Limited edition booklet with film notes from film historian
Rob Stone, as well as notes on the restoration from Lobster Film’s Serge
Bromberg.
If you had been reading the Hollywood trade paper Variety in the early winter of 1942, you
would have expected that the screen rights to the popular Inner Sanctum radio series had gone to 20th Century
Fox.In early March of ’42, the paper reported
“20th Century Fox was assuring
itself of a mystery story backlog by closing a contract with the Inner Sanctum
publishing outfit.â€On 22 March, the
paper reported that Fox would shoot three Inner
Sanctum films a year.The studio’s
deal with the publishers of Inner Sanctum,
Simon and Schuster, was a cool $100,000.Variety reported that Ralph
Dietrich – a reliable producer with no directing credits - was set to helm the first
Fox feature “The Creaking Door.â€It all
sounded pretty exciting… except, of course, for the fact that none of this
would actually happen.It wasn’t until a
year later, March of 1943, that Variety
would make small mention that Universal Studios would be producing a series of Inner Sanctum films.What happened to 2oth Century Fox’s
involvement would be, much like the tales spun on the popular radio show, a
mystery.
If Lon Chaney Jr. wasn’t the star of the six Inner Sanctum films that Universal churned
out between 1943 and 1945, I doubt the series would have ever received the
white-glove Blu ray treatment they have received on Mill Creek’s Inner Sanctum Mysteries: The Complete Film
Collection.It’s mostly the devoted fans
of Golden Age Horror movies that have embraced this rickety series as part of
the studio’s canon.Few could deny that all
six of the films fall far short of classic
status, but there’s still a lot here for one to enjoy.That is, as long as you keep your expectations
relatively modest.If you’re a fan of
Universal’s second-tier monster movie franchises from this same time period,
you will undoubtedly find comfort in watching a score of familiar faces parade
across the screen: Lon Chaney, Evelyn Ankers, Ramsey Ames, Fay Helm, J. Carrol
Naish, Acquanetta, Martin Kosleck, Anne
Gwynne and Ralph Morgan, just to name a few.The names, if not the faces, of the folks working behind the camera will
also be familiar to fans of low-budget 1940s films, horror and otherwise:Reginald LeBorg, Ben Pivar, Edward Dein and
Wallace Fox.
For my part, I personally get a kick out of seeing the
ever-lovely - and often victimized - Evelyn Ankers slip easily into the role of
villainess in one episode.Ankers had been
famously terrorized by Chaney Jr.’s cursed Wolfman and his foot-dragging Mummy
Kharis.Here in Weird Woman (1944), the second Inner
Sanctum mystery, the actress shines as Ilona Carr, a manipulative, conniving
and jilted ex-lover of Chaney’s.On one
level, one can understand her jealously-fueled rage.Prior to setting off on a research expedition
to an island in the South Seas, Chaney’s Professor Reed and Ankers’ college
librarian Carr had been romantically engaged.Upon his return to the U.S. with sultry and exotic child-bride Paula (Anne
Gwynne) at his side, Chaney coldly dismisses Ankers feelings for him.Chaney probably had it coming when he
dismisses his and Ankers’ earlier romantic entanglement as a mere “pleasant
flirtation.â€
Though one could hardly describe Weird Woman as a lost cinematic gem – nor a surviving one - it
might very well be the most fun entry of Universal’s Inner Sanctum series.It’s
not a great film by any means, but it’s a mystery chock full with superstitious
nonsense.The film’s South Seas scenes
are memorable – if, perhaps, for all the wrong reasons – as the setting is
decorated with carved spooky totems, drum-thumping tribal dances, death chants,
enchanted medallions, witchcraft and voodoo practices.
Technically, describing this film as a mystery might be something of a stretch:
the audience is oddly allowed to follow each step of Carr’s bitter plan of
revenge as it unfolds.Much as in the
case with Calling Dr. Death (1943), the
first Inner Sanctum, the movie is not
so much a whodunit? but rather an
obvious exercise in “Who else could have
done it?†There’s no reason to involve
Sherlock Holmes to unravel the mysteries presented in this series. The clues are all but telegraphed.
So where did the series go wrong?There have been no shortage of criticisms in
scholarly journals and film books that hulking Lon Chaney was ill-suited to be
cast as such cerebral types as doctors and college professors.Upon the release of Calling Dr. Death, even the critic from Variety noted that the brooding actor, “from a marquee standpoint
isn’t ideally cast.â€There’s more than a
kernel of truth to the charge. But in Chaney’s defense I’d submit that - in
some manner of speaking - the actor was perfectly
cast.Like his anguished Lawrence Talbot,
Chaney is left completely unsettled by mysterious circumstances (mostly) not of
his own doing.In the case of the Inner Sanctum, Chaney’s troubles are not
brought on by an unforgiving cycle-of-the-moon calendar nor by an ancient
Egyptian curse.In all honesty, it’s mostly
the crazy women in his life that bring him to the brink of mental and emotional
collapse.
I’m sorry, ladies, but it’s true.The sultry women featured in the series are,
on four occasions at least, the root cause of Mr. Chaney’s angst.And, boy, does he suffer at their hands:In Calling
Dr. Death he’s a neurologist who suffers the ignominies of a selfish,
cold-hearted and unfaithful shrew of a wife.In Weird Woman, he’s a member
of Monroe College’s Department of Ethnology, an esteemed author of the ground-breaking
sociological work Superstition vs. Reason
and Fact.Following that expedition to
the South Seas, Chaney’s suffering balloons twofold: he now must contend with both
an unreasonable child-bride who clings to her native occult superstitions and,
secondly, from a jealous ex-paramour with plans to derail both his marriage and
his career.In Dead Man’s Eyes (1944), he’s a gifted portrait artist blinded by
the carelessness of his female modeling subject who inadvertently switches bottles
of eye wash and acid on the studio’s shelf.In the series sixth and final entry, Pillow
of Death (1945), Chaney plays the unfaithful married lawyer Wayne Fletcher…
who may or may not have murdered his spiritual medium of a wife.
Here's Rod Steiger and Marlon Brando in director Elia Kazan's 1954 Oscar-winning classic "On the Waterfront". The scene is still cited as a prime example of what brilliant screen acting is all about.
During the production of "2001: A Space Odyssey", director Stanley Kubrick commissioned musician Mike Kaplan to compose a song for the film. Kaplan complied, titling the offbeat creation "2001: A Garden of Personal Mirrors". Kubrick liked the title but shelved the idea of using the song. He also decided not to use the score for the film written by noted composer Alex North, opting instead to rely on classical music. Now Kaplan's "lost" song has been located by British film historian and critic Mark Kermode and it has recently been given air play, much to the 77 year-old Kaplan's delight. Click here to read more.
In the 1960s, enterprising producers James H. Nicholson and Samuel Z. Arkoff were riding high through their production company American International Pictures. They specialized in making low-budget crowd pleasers that ranged from "B" horror and science fiction films to zany "beach" comedies. They had established a stable of stars who they could depend on to top-line these movies, none of which were blockbusters, but most of which turned a decent profit in an era in which a decent profit was sufficient to please studio bosses. There was no greater star for American International than Vincent Price, who had often teamed with producer Roger Corman for a number of highly successful film adaptations of Edgar Allan Poe's literary works. When Corman and Price had exhausted most of the more promising Poe works, Corman moved on to other projects, establishing himself as a legend in the movie industry. Price, however, remained at the disposal of American-International. He was never overly-selective about the films he agreed to star in, though even the worst of them benefited from his presence. Nicholson and Arkoff kept mining the Poe pot of gold by the weakest of links, as evidenced by "War-Gods of the Deep", of which it has been said that Price didn't even read the script until a week before filming had commenced. Nicholson and Arkoff had authorized a film inspired by Poe's poem "City in the Sea", with Dan Haller and George Willoughby producing. The movie was directed by Jacques Tourneur, who had brought to the screen at least two films that are now regarded as classics: "Cat People" and "Out of the Past". However, throughout most of his career, Tourneur did not enjoy the appreciation retro movie fans now show for his work. Instead, his talents were considered workmanlike and he was largely relegated to directing mediocre and forgettable films. ("War-Gods" would prove to be his final movie.)
"War-Gods of the Deep" (released in some countries as "City Under the Sea" and "City in the Sea") was a production fraught with problems from the very beginning. Charles Bennett, who wrote the first draft of the screenplay, was disheartened when Louis M. Heyward was hired to significantly rewrite his concepts to add some humor to the movie. Heyward's contributions included introducing a major comedic character, Harold Tufnell-Jones, played by David Tomlinson and the inclusion of a pet hen which he absurdly carries with him throughout the film. This was enough to make Bennett disown the final version of the movie. Similarly, there was also a falling-out between producers Haller and Willoughby. The production also lost some luster when plans to cast Boris Karloff in a key role fell through and he was replaced by John Le Mesurier. Filming took place at Pinewood Studios outside of London, with the movie's few exterior shots filmed on the Cornwall Coast. The film seemed to capitalize on audience fascination during this era with science fiction stories that were set in underground lairs or cities (i.e. "20,000 Leagues Under the Sea", "The Time Machine", "First Men in the Moon", "Journey to the Center of the Earth" and "Mysterious Island.") However, "War-Gods" pales in comparison to those similarly-themed films.
The movie, which is set at the beginning of the 20th century, opens in a British coastal town where strange occurrences have the inhabitants in distress. People are mysteriously disappearing and in one case, a missing man turns up dead in the surf. Ben Harris (Tab Hunter) is an American mining engineer working in the area. He makes the acquaintance of Jill Tregillis (Susan Hart), the American daughter of a local hotelier. When Jill vanishes, Ben and quirky local artist, Harold Tuffnell-Jones (David Tomlinson) launch a search only to accidentally be sucked into a whirlpool that deposits them in a secret underground city beneath the sea. It is ruled over by an aristocrat known as The Captain (Vincent Price), who overseas a civilization that has existed here for over a hundred years. The Captain informs them that, due to atmospheric conditions, the inhabitants never age and will enjoy eternal life. The city is guarded by the Gill Men, who are half-human, half-fish, who are the remaining survivors of a once thriving neighboring city that has that been all but obliterated. The Captain and his followers have installed an elaborate system of pumping air into their water-tight bubble that prevents them from drowning. They exist in apartments and rooms that have been carved into undersea caverns. He rules with an iron fist and sends the amphibious Gill Men to procure needed equipment from the local village and to occasionally kidnap people for various reasons. It becomes clear that he thinks Jill is the reincarnation of his beloved late wife. The Captain explains that an once-dormant undersea volcano is now activated, which is all-too-apparent to his captives. The seabed rocks with explosions and the Captain is desperate to find someone who can stem the inevitable destruction of his city. Ben buys time by pretending to be a scientist but with the clock ticking down, he knows he and his friends must escape before the ruse is discovered and they are sentenced to death.
Issue #49 is the first edition of Cinema Retro Season 17. It has now shipped to all subscribers worldwide.
Thanks to all of our subscribers who have renewed for this season. If
you haven't done so (or if you want to subscribe for the first time),
please do so below to receive issues #49, 50 (in April/May) and 51 (in September/October).
For issues mailed from our U.S. office, please continue to be patient in terms of possible delays in delivery due to the current on-going crisis in the U.S. Postal Service that has resulted in backlogs of mail. However, with the end of the holiday season and increased pressure on the controversial Postmaster General to implement new policies, it's possible the situation may improve soon. The vast majority of mail is getting to customers in a timely manner, but the backlog of delayed mail remains substantial. In any event, we think you'll find our new season worth having a bit of patience for, as we have some great articles in store for you during 2021. Thanks for your continued support as we enter our 17th season!
Kino Lorber, in its relentless effort to make forgotten,
hard-to-find films available in superior, like-new condition, has released a
Blu-Ray edition of the 1959 Weird Western, “Curse of the Undead,†the first movie ever
to mix cowboys and vampires. The Weird Western, in case you’re not aware, is a
sub-genre that combines the traditional western with elements of the
supernatural, horror, or science fiction. They’ve been around for about 90
years, first appearing in print in the 1930s when Robert E. Howard, a pulp
fiction writer from Texas, best known as the creator of Conan the Barbarian,
wrote several short stories for Weird
Tales and Argosy magazine that
combined the traditional western with supernatural horror. Today a number of
authors including Joe Lansdale, Heath Lowrance, Jonathan Mayberry, David West
and even yours truly, have turned out Weird Western novels and short stories, creating
a Neo-Pulp Revolution of sorts.
In films, one of the earliest examples of the Weird Western,
surprisingly, was a serial starring singing cowboy Gene Autry. “Phantom Empireâ€
featured Gene battling the strange inhabitants of Murania, a city hundreds of
miles below the surface of the earth. It’s a wild combination of western and sci-fi,
with Gene contending with robots and Tika, the mysterious queen of Murania. Other
Weird Western movies have since followed, including “The Beast of Hollow
Mountain†(1956), “Billy the Kid vs. Dracula†(1966), “Jesse James Meets
Frankenstein’s Daughter†(1966), “The Valley of Gwangi†(1969), “Alien Outlawâ€
with Sunset Carson (1985), Kathryn Bigelow’s “Near Dark†(1987), “Jonah Hexâ€
(2010), “Cowboys and Aliens†(2011), and others.
In 1958, writer/director Edward Dein and his wife Mildred
decided, almost as a joke, to collaborate on a screenplay called “Eat Me,
Gently,†a horror/western combo about a vampire out west. Ed Dein had already
established himself as a B- movie director with works that included “Shack Out
On 101,†(1955) and “Seven Guns to Mesa†(1958). Earlier he had written screenplays
for “The Soul of a Monster,†(1944), “The Cat Creeps†(1946), and “Jungle
Woman†(1944), among others. Word got out that the Deins had a script they
wanted to sell and Universal International’s music director Joseph Gershenson,
trying his hand at being a producer, bought it. The first thing he did, of
course, was change the title. It was first retitled “Affairs of a Vampire,†then
“Mark of the West,†and finally “Curse of the Undead.â€
Australian character actor Michael Pate, who appeared in
hundreds of television shows in the 1950’s and 60’s, and as Chief Vittorio in
John Wayne’s “Hondo,†(1953), plays Drake Robey, a mysterious gunman who offers
his services to ranch owner Dolores Carter (Kathleen Crowley), after her father
and brother are killed. Her father, Doctor Carter (John Hoyt), died mysteriously,
perhaps the victim of a plague that had already killed others (mostly young
girls) in the area. Her brother, Tim (Jimmy Murphy) is gunned down by a land
baron named Buffer (Bruce Gordon), who dammed up a stream, leaving Dolores with
no water for her livestock.
There’s some weird connection, between all the deaths and
Robey’s sudden arrival in town, but the only man in town who appears suspicious
of the stranger is preacher Dan Young (Eric Fleming), who warns Dolores to stay
away from Robey. Fleming who had just begun filming the “Rawhide†television
series for CBS has a thankless role in “Curse of the Undead.†As film historian
Tom Weaver notes in his audio commentary for the disc, Fleming’s part is
written in such a way that he seems like either a total bore or a complete
idiot. For instance, when Robey tells Dolores he’s going to protect her and put
a stop to the evildoings going on ‘round here (wink, wink), the sanctimonious preacher
pipes up, saying he’ll do everything he can to make sure he doesn’t! So who’s
side is he on?
The Deins seem to have drained the script of all logic
almost as efficiently as Robey drains the blood out of his helpless victims.
For example, despite the preacher’s protests, Dolores invites Robey to spend the
night in her home in a spare bedroom. She tells the preacher she’ll be
chaperoned by the ghosts of her dead father and brother! That night Robey gets
into her room and does the Fang-dango on her neck (despite the fact that
Robey’s fangs are never shown—maybe they couldn’t afford them in the budget).
The next day, after having fought with the preacher over Robey the night
before, Dolores sweetly acquiesces to the reverend’s request to send the
vampire packing. Makes no sense. After Robey’s sunk his bicuspids into her
jugular, she should be more unwilling to resist him, not less, and more
antagonistic toward the Preach, wouldn’t you think?
Dein’s plodding direction is another problem, with too
many scenes shot in one take that seem to go on forever, leaving the viewer feeling
nearly as trapped and helpless as Robey’s victims. A scene where Robey enters a mausoleum and
lifts the lid on Dr. Carter’s coffin, is either unintentionally hilarious or
hilariously intentional, when it ends with Robey lowering himself down out of
sight behind the lid, and letting the lid close, presumably with him inside the
box lying on top of the deceased physician. So what’s going on there, huh,
booby? According to Weaver, the original script contained a lot of inside gay
jokes. Most of them were excised by Gershenson. But apparently some of them got
through.
Also in the cast is character actor Edward Binns (“12
Angry Menâ€), another familiar face to TV watchers of the sixties. Binns plays the
town Sheriff who tries to talk sense to everybody but keeps getting ignored. In
another one-take scene following a battle for survival with Robey, he becomes
the heaviest-breathing corpse in movies.
Kino Lorber’s 2K transfer of “Curse of the Undead†is
flawless. Ellis W. Carter’s black and white cinematography presented in 1.85:1
aspect ratio looks sharp and clear, with excellent black levels for the many
night scenes. The mono soundtrack provides a full-bodied presentation of Irving
Gertz’s film score. The use of an electric violin, instead of the Theremin
usually employed in horror movies, is another unique distinction. Extras on the
disc include Tom Weaver’s excellent commentary and trailers for other KL
releases.
While “Curse of the Undead†is no classic, it is unique
and worth a look at least as the first of its kind. The fact is there haven’t
been too many vampiric westerns made over the years. Maybe it’s time for
someone to turn out the classic we’ve been waiting for. There are some good
stories that have been turned out by the writers listed at the beginning of
this review just waiting to be adapted for film. Just saying.
Throughout motion picture history, there have always been "disaster" movies. From Clark Gable and Spencer Tracy facing the great earthquake in "San Francisco" to John Wayne trying to rescue an airliner in distress in "The High and the Mighty". However, the disaster movie didn't emerge as a genre until the 1970s. Most people credit "The Poseidon Adventure" (1972) with being the first major entry among these kinds of films during that era, but arguably the genre began two years earlier with "Airport". That blockbuster flick set the standard for all of the disaster movies to follow:
An all-star cast ranging from top boxoffice attractions to respected veteran stars and popular character actors
Big production values
State-of-the-art special effects
Majestic musical score (and, if possible, a Top 40 hit shoe-horned into the proceedings)
A well-regarded director at the helm to preside over the mayhem
For the most part the formula worked fairly well. "Poseidon" was a major boxoffice smash and that film begat the short-lived genre's best year, 1974, which saw the virtual back-to-back release of "Gold", "Earthquake" and "The Towering Inferno", the latter being the "Citizen Kane" of disaster movies. However, the genre was to burn brightly but briefly. In the wake of "Inferno", there was nowhere else to go. The 1977 film "Black Sunday" was excellent, but despite a blimp crashing into the Superbowl stadium, it is not a "disaster movie" in the traditional sense. Most of those films that were, flopped badly. Producer Irwin Allen, who struck pay dirt as the producer of "Poseidon" and "Inferno" found the formula had grown stale by the late 1970s. His 1978 release "The Swarm" is generally referred to as the worst "Bee" movie ever made. His 1980 anemic attempt to blend cast members with elements of "Poseidon" and "Inferno" was released as "When Time Ran Out", an appropriate enough title for the flop that ended his big screen career. Another costly casualty of the disaster genre ebb was "Meteor", a 1979 production that top-lined an impressive cast: Sean Connery, Natalie Wood, Brian Keith, Karl Malden, Martin Landau, Trevor Howard and Henry Fonda. It was produced by Gabe Gatzka and Sandy Howard (among others), two veterans with very respected backgrounds in the film industry. The film was directed by another highly respected individual, Ronald Neame, the man who had helmed "The Poseidon Adventure". On paper, the project must have looked like a "can't lose" proposition. Yet, "Meteor" turned out to be a major flop at the boxoffice as well as a critical disaster. What went wrong? To start with, it was probably ill-advised to entrust the production to American-International Pictures which specialized in making low-budget horror and teeny bopper exploitation films. The AIP association branded "Meteor" with a "cheesy" stigma even before cameras rolled.
Connery stars as a cynical, world-respected scientist whose warnings about the possibility of earth being hit by a destructive meteor have largely gone ignored. When the film opens, he is summoned to Washington by government officials who tell him the top secret bombshell disclosure that his worst nightmare is about to come true. A gigantic meteor is racing towards earth and there is only one way to stop it: by having the USA and Soviet Union join forces to synchronize their nuclear missiles in the hopes of blasting the meteor out of the sky. Brian Keith plays the Soviet foreign minister who meets up with Connery and his colleagues at a secret underground New York City command center located adjacent to the subway system(!) Natalie Wood is his gorgeous interpreter, which allows for some mildly suggestive byplay between Connery and her. There's little time for romance, however, as advance particles from the meteor are already hitting earth and causing widespread damage. With time running out, the U.S, and Soviet technicians scramble to employ their nuclear arsenals in a last ditch attempt to save earth. This scenario might seem stale today, but it was a relatively fresh concept back in '79. However, the film was undermined by the apparent shortage of production funds for use in the special effects. The sets are elaborate and impressive but the key sequences showing the missiles in action are laughably poor. Equally bad are the shots of the presumably menacing meteor hurtling towards earth. No matter how much the filmmakers try, it never looks much more terrifying than a large rock you might encounter in your garden. (Sean Connery once referred to the meteor special effects as making the titular objects resemble "little balls of shit".) The screenplay is a scatter shot affair. Apparently concerned that concentrating on the key characters who are locked into an underground command center might prove to be too claustrophobic, the decision was made to "open up" the scenario by showing various international locations being destroyed by meteor fragments. In doing so, the screenwriters cram in completely extraneous characters who are given approximately ten seconds each to develop personalities in the hope we can sympathize with them when they are pulverized. Thus, we see a young father in Hong Kong scrambling to get his child before a tidal wave engulfs the city. People in a ski resort in Switzerland are given equal opportunity for brief character development before they are buried under an avalanche. The sin of it all is that the production company really did film on location in these places but, aside from a few impressive snippets of crowds running frantically through the streets of Hong Kong, there is limited to value to the expenses incurred in shooting in such disparate areas of the globe.
Yet, for all its cheesiness, "Meteor" somehow plays better today than it did at the time of its initial release. This is primarily due to the fact that we can appreciate seeing the great cast members interacting on the big screen. Connery, middle-aged and handsome, makes for a fine leading man. Natalie Wood is given little of substance to do here but, given this was one of her last films, it gives us a precious opportunity to at least see her natural beauty. Brian Keith, long underrated as a leading man in feature films, steals the show, playing against type as a witty and funny Soviet diplomat. Only poor Martin Balsam comes across awful in an unintentionally funny performance as a fussy U.S. general who refuses to trust his Soviet counterparts (Fritz Weaver played essentially the same role very well in "Fail Safe" fifteen years earlier.) The finale of the film is truly impressive as a sea of mud descends upon the underground command center. The sequence was indeed a challenge to film and, if it looks like it was dangerous for the actors, it indeed was: several cast members were injured during this elaborate sequence.
The Kino Lorber Blu-ray is superb in terms of overall quality. As with so many special effects-laden films of the past, today's technology tends to expose the shortcomings in this pre-CGI era, but that only adds to the charm of watching a flick like this. The only bonus extra is the original theatrical trailer.
CLICK HERE TO ORDER FROM AMAZON AND TO WATCH ORIGINAL TRAILER
Dwight Chapin was the Appointments Secretary to President Richard M. Nixon when he helped arrange the now legendary, if bizarre, meeting between Elvis Presley and the President. Elvis had made an impromptu appearance at the White House entrance and presented a hand-written letter (on airline stationary), respectfully requesting an audience with the President. Chapin didn't automatically dismiss the request and sent it up through the chain of command, eventually getting approval for the King to visit the President on that December day in 1970. In a way, Nixon and Elvis had some things in common. Both of them had revived their flagging careers through remarkable comebacks. Nixon had been in the political graveyard before being elected to the presidency in 1968, thanks in no small part to the fractious state of the Democratic party. Elvis had been mired in mediocre movies before he decided to get back to the basics by honing his craft with the intention of playing before live audiences once again. The strategies proved to be successful for both men, giving them a common bond even though Nixon was hardly a fan of Elvis or rock 'n roll music in general. Nixon did love movies and had recently praised "Patton" and "Chisum" as examples of his kind of Hollywood productions. However, the President loathed the hippie culture and the youth-driven anti-Vietnam War movement. Thus, when Elvis offered to use his influence to bring a social message of healing to young people, Nixon felt he had nothing to lose.
Click here to read Chapin's first-hand account on Politico.
RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES
BY DOUG OSWALD
I’ve
come to the conclusion that there’s rarely been a bad submarine movie. The typical
film in this peculiar genre has a little something for every movie fan: action,
adventure, suspense, drama, claustrophobia, torpedoes, mine fields, depth
charges and silent running. The plot structure is similar to that of aircraft
disaster movies except submarines have to navigate the aforementioned mine
fields and depth charges and get to fire torpedoes.
“Torpedo
Run†is no exception to my rule. The movie features Glenn Ford as skipper of
the Greyfish, Lt. Cmdr. Barney Doyle, and Ernest Borgnine as his executive
officer and best friend, Lt. Archer “Archie†Sloan. Like most submarine movies,
the action takes place within the narrow passageways of the sub and we get to
see a few underwater model shots of the Greyfish diving, navigating a mine
field and surviving depth charges.
We
do get a change of scenery throughout the movie, primarily in flashbacks of the
two friends during happier times just prior to the attack on Pearl Harbor. They’re
stationed in the Philippines when Ford receives orders to set sail. Ford’s wife
and daughter are captured by the Japanese a short time later and sent to Japan
on a POW transport ship.
The
transport ship travels along side the aircraft carrier Shinaru, a fictional
stand-in for one of the Japanese carriers that launched the air attack on Pearl
Harbor. Ford receives word of the Shinaru’s location as well as word that his
wife and daughter are being used as human shields along with 1,400 other allied
prisoners onboard the transport ship. Sinking the Shinaru will be a huge
propaganda boon and moral booster, but launching torpedoes is tricky business
and one may hit the transport ship.
Ford
fires on the carrier, but hits the transport ship, killing everyone on board including
his wife and daughter. Ridden with guilt and filled with vengeance, he’s
obsessed with the single minded purpose of destroying the Shinaru. The rest of
the movie takes a Melvillian turn with Ford as Ahab seeking out his white
whale, the Shinaru.
Ford
is terrific as the Greyfish skipper. He’s earnest and believable as Barney
Doyle and calls upon his trademark ability
to play tough, yet compassionate good guys, as he had in scores of westerns, dramas and light
comedies as well as grittier fare such as “Blackboard Jungle,†“Gilda†and “The
Big Heat.â€
Speaking
of earnest, Ernest Borgnine is equally good as Archie Sloan. Borgnine and Ford
play off each other rather well in what would be an otherwise routine action
movie. Borgnine is one of the great Hollywood character actors known primarily
for playing heavies, tough guys and nut-burgers in scores of movies on the big
screen. However, he was versatile enough to play the occasional lead and the
rare nice guy such as in his Oscar winning turn in “Marty†from 1955.
Retro
TV fans will undoubtedly be slightly distracted- as I was- seeing Borgnine in
naval uniform. It’s a minor and unintentionally humorous issue because Borgnine
is so closely identified as Lt. Cmdr. Quinton McHale, a role he would make his
own a few years after the release of this movie in the popular TV comedy
series, “McHales’s Navy,†from 1962 to 1966 and in one spin-off movie. I’m
almost expecting Borgnine to say, “Okay you guys, knock it off!†and, “Stall ‘em!
I don't care how you do it but stall ‘em!†Fortunately, Capt. Binghamton does
not turn up shouting, “What is it McHale, what do you want? What, what, what?â€
Diane
Brewster appears in the only major female role as Ford’s wife Jane Doyle in the
flashback scenes. Dean Jones appears as a young officer, Lt. Jake “Fuzzyâ€
Foley. LQ Jones and Don Keefer play crew members and Robert Hardy is on hand as
a Royal Navy liaison officer observing the use of the sub’s new sonar equipment.
According
to IMDb, there are a couple of uncredited “blink and you’ll miss themâ€
appearances in the movie by retro TV stalwarts Frank Gorshin and Robert Reed
who appear as sub crewmen. Virginia Gregg, Maj. Edna Heywood RN in “Operation
Petticoat,†provides the voice of Tokyo Rose.
The
movie was produced and released by MGM in CinemaScope making good use of the
widescreen, with nice model sequences and well integrated stock footage. The
movie is based on stories by Richard Sale who co-wrote the screenplay. A
prolific writer and sometimes director, Sale is best known as the author of
“The Oscar†and “White Buffalo,†both of which were adapted as movies.
Released
in October 1958, “Torpedo Run†also oddly played on a double bill with “Fiend
Without a Face†in November of that year. March 1958 saw the release of the
similarly themed submarine movie, “Run Silent, Run Deep,†with Clark Gable and
Burt Lancaster. While “Torpedo Run†is a good WWII drama, Ford and Borgnine
can’t quite compete with the performances of Gable and Lancaster and Robert
Wise’s gritty direction.
“Torpedo
Run†is a burn to order region-free DVD released as part of the WB Archive Collection. The
movie looks terrific and sounds good. The only extra on the disc is the
theatrical trailer. This is a movie that rarely made the rotation on local TV in
my area when I was a kid, so it was very refreshing to watch it again after so
many years. The film is a welcome addition for any fan of military adventure movies.
Silva Screen Records kicks off 2021 with this
super new 7†vinyl release and serves as a reminder of their forthcoming double
album featuring Barry Gray’s classic TV soundtrack.
“Fireball†(Don Spencer and the XL5) and
“Zero G†(Barry Gray and his Spacemakers) is available on transparent orange 7″
vinyl (SIL71633).
Barry Gray’s soundtrack LP to the 1962 series
“Fireball XL5†from Gerry and Sylvia Anderson will be released on vinyl early this
year on Silva Screen Records, the next in a wonderful series of Anderson
releases which has so far featured UFO, Supercar and Thunderbirds, all of which
have been covered here at Cinema Retro.
Don Spencer’s original 7†single release on
His Masters Voice in 1962 reached number 32, remaining in the UK charts for
twelve weeks. The original B side was another Don Spencer track, “I’m All Alone
Againâ€, replaced on this release with “Zero Gâ€.
"Fireball XL5" was set in 2062 and followed the
exploits of the eponymous spaceship commanded by Colonel Steve Zodiac of the
World Space Patrol. It was produced, like most other Anderson productions, in
Supermarionation, using puppetry techniques that captured the imagination of a
generation. Barry Gray collaborated with the Andersons on all the
Supermarionation series, his jazzy style supplemented by the use of an
electronically augmented keyboard, the Ondes Martenot creating the
other-worldly atmosphere which became synonymous with the sci-fi series.
The single is beautifully packaged in a
thick, retro glossy card sleeve. Containing an excellent colour image to the
front, the style is perfectly in keeping with a classic 1960s design.
We look forward with great anticipation to
the full album!
If you're a Cinema Retro reader, chances are you've already seen director Stanley Donen's 1963 comedy caper film "Charade", which boasts a stellar cast: Cary Grant, Audrey Hepburn, James Coburn, Walter Matthau, George Kennedy and Ned Glass. There's also that marvelous Henry Mancini score. Even if you've seen the film previously, it never wears out its welcome, so indulge yourself by watching it again now. You'll see why we call it "The Best Hitchcock Movie Hitchcock Never Directed!".
Kino-Lorber
has released a Blu-ray edition of 1971’s The Deadly Trap starring Faye Dunaway
and Frank Langella.Helmed by famed
French director Rene Clement, this film is a nifty thriller with more than a
few surprising plot twists.The 1980s
VHS release of this film carried the incredibly inappropriate title of Death
Scream which may be the reason you never heard of this more reserved story.
Written
by Sydney Buchman and Eleanor Perry with a little help from an uncredited Ring
Lardner, Jr., this film requires some patience on the part of the viewer as the
characters are introduced thoroughly before events are set into motion.
Faye
Dunaway, looking gorgeous as a brunette, and Frank Langella play Jill and
Philippe, American ex pats living in Paris where they raise their two
children.Philippe is a successful book
editor who has a mysterious past as a member of a the “Organization.â€It is revealed that he previously was an
expert at industrial spying and has moved his family to France to start a new
life.
Odd
things begin to happen that suggest that Jill may be suffering a nervous
breakdown as she has recurring lapses in memory.These lapses are becoming more noticeable to
her husband, daughter and downstairs neighbor Cynthia (Barbara Parkins), who
seems just a bit too helpful to Jill in caring for the children, who are
superbly played by Michelle Louire and Patrick Vincent.Lourie, as young Cathy, has an extremely
expressive face that conveys both joy, and later on, disappointment as she
begins to realize that all may not be well with her mother.Patrick Vincent is a cute, rambunctious sort
that you just know is going to get into trouble.But you love him anyway.
Philippe,
much to his surprise, is contacted by the Organization and offered another
assignment with a hefty paycheck as incentive.Not wanting to sacrifice any more time away from his family, Philippe turns
down their generous offer.As it turns
out, his former employers are not accustomed to taking no for an answer.
More
strange events ensue as Philippe’s publisher is mistakenly informed that his
star editor is tendering his resignation.Jill continues to experience more lapses in memory that cause her
husband and neighbor to become concerned for the safety of the children.These events culminate one afternoon when
Jill loses track of her kids while on an outing in a busy plaza.
Jill
at first is suspected of foul play as young Cathy and Patrick’s belongings are
found by the river’s edge.After intense
questioning by Commisaire Chameille (marvelously
played by Raymond Gerome), it is becomes apparent that the children have been
kidnapped by the Organization in an attempt to force Philippe to accept their
assignment offer.
The
kidnapping is the point where the tempo picks up and all of the characters
we’ve met so far begin to reveal themselves in this mystery.We have also learned about the habits of the
kids and in particular the toy gun young Patrick plays with constantly. This
will become part of a shocking plot twist later on.
Reviewers
in Europe have referred to Rene Clement as the French Hitchcock and elements
from the master’s playbook are present in this film.We have mistaken identities and wrongly
accused characters struggling to prove their innocence to doubting authorities.
Faye
Dunaway is somewhat restrained in her performance even as her character, Jill,
begins to doubt her own sanity.We
experience one session with her psychiatrist that adds to her insecurity.It is the eventual support of her husband
that gives her the strength to become more rational and aid the police in the
search for the children. Frank Langella, fresh from Mel Brooks’ The Twelve
Chairs, is handsome and somewhat awkward as the book-smart Philippe.He loves Jill, but has trouble expressing his
affection.Barbara Parkiins, as helpful
neighbor Cynthia, is very good at balancing between being truly helpful and a
bit mysterious.She seems to have
feelings for Philippe, but we’re not quite sure.
Gritty
cinematography portrays Paris as less-than-beautiful in the winter.The locations look brown and a bit bleak with
the usual amount of 70s grain.There are
some soft focus shots particularly during the opening scenes of Jill and
Patrick riding on a barge one misty gray morning.The New Wave editing style may feel abrupt
and clumsy to some viewers, as transitions are not always obvious.After a time, it feels like a technique to
move the story along at a faster clip.There is careful attention paid to the color scheme of Jill and
Patrick’s clothing and this is discussed in some detail during the commentary
track.
The
Kino-Lorber Blu-ray is sharp and has clear mono sound with just a few picture
flecks at reel changes.The main
characters speak in English while most of the minor cast converse in French
without the benefit of subtitles.It is
fairly easy to deduce what is going on in these scenes, however.
There
is an incredibly informative commentary track provided by entertainment
journalist and author Bryan Reesman.Discussed are director Clement’s role in the French New Wave movement
and comparisons to his previous film Rider on the Rain.Reesman notes that while the story is set in
Paris, we are not shown any typical landmarks such as the Eiffel Tower or the
Notre Dame Cathedral.A very ordinary-looking
city is pictured for this story of marital discord and an eventual kidnapping.
One
curious note is that some of the music during the kidnapping and investigation
sequences seems oddly out of place.The
score by Gilbert Becaud begins innocently enough, especially during a circus
setting with the children.However, as
the drama becomes more intense near the conclusion, the music is more jovial
and almost comical.
As
with most Kino-Lorber editions, there are trailers for several of the company’s
current offerings.If you enjoy a film
that takes the time to properly introduce the characters before developing the
story, then you will enjoy The Deadly Trap.It is not a high-octane thriller, but it does contain twists, turns and
a satisfying conclusion.
Founded by producers James H. Nicholson and Samuel Z. Arkoff, American International Pictures (A.I.P.) hit upon a formula of financing and releasing low-budget exploitation films for non-discriminating audiences (translation: the youth market). Specializing in horror films and goofy comedies, A.I.P. occasionally strayed into other genres. In 1963, the company capitalized on the always-popular WWII genre with the release of "Operation Bikini". Ostensibly, the movie's title referred to the obscure atoll in the Pacific where atomic bomb tests were conducted during the Cold War era. However, in true A.I.P. style, the advertising campaign was designed to imply that the title might also refer to the fact that the bikini bathing suit was popularized here by a French designer who conducted a photo shoot on the atoll just days after an atomic blast. (Ignorant of the risks from radiation poison, he merrily pronounced that "Like the bomb, the bikini is small and devastating!") Still, the sexploitation angle in "Operation Bikini" was saved for late in the film. What precedes its appearance is a fairly routine combat flick made somewhat more interesting by the obvious attempts of the filmmakers to disguise the movie's very limited budget.
Tab Hunter, one of the top heart throbs of the era, had by this point seen his popularity in decline. He nonetheless received top billing over charismatic crooner Frankie Avalon, whose career was ascending and who would find great popularity as the star of several A.I.P. beach movies over the next few years. Hunter plays Lt. Morgan Hayes, the leader of a secret commando team that has been ordered to rendezvous with a U.S. submarine that has been ordered to transport them on a secret mission. The team is supposed to locate and destroy the wreckage of an American sub that was recently sunk off the coast of Bikini by the Japanese. Seems the wreckage contains a prototype of a top secret sonar device that the Allies can't afford to fall into enemy hands. From minute one, Hayes' small group of rough house land-lubbers rubs the Captain of the submarine, Emmett Carey (Scott Brady) and his crew the wrong way. Hayes's men resent being cooped up in a floating "tin can" and the naval crew resents the presence of these brash soldiers who seem to be perpetually eager to provoke a fight. Carey gives Hayes a dressing down about keeping the tension levels low and the two men ultimately gain mutual respect for one another. Upon arriving at Bikini, Hayes and his men must sneak ashore and traverse the dense jungle in search of the area where the sunken submarine is located. They are guided by local partisans who conveniently include a stunning beauty named Reiko, played by Eva Six, a recent winner of the "Miss Golden Globes" honor. (I will refrain from making any tasteless jokes.) Reiko takes a shine to Hayes and gets his mind temporarily off his troubles by seducing him. When Hayes and his men finally arrive at their destination, they are dismayed to see a virtual fleet of Japanese vessels guarding the coast line where the sub is already being salvaged by the enemy. Hayes realizes that they are now probably on a suicide mission. Nevertheless, they persevere courageously, dodging and sometimes engaging Japanese patrols before sending in Hayes and some fellow scuba divers to attach time bombs to the hull of the sunken sub. (The sequence is rather absurd because the team accomplishes this in the dead of night despite not being able to employ any lighting equipment whatsoever.) Detected by the Japanese, Hayes and his heroes take some casualties in their desperate attempt to make it back to Capt. Carey's submarine.
During
the pre-video/broadcast television era of the mid-seventies, college campuses
were teeming with movie offerings on a weekly basis.It was the only way to see older theatrical
titles in their uncensored form.My own
experience at the University of Illinois provided 8 to 10 films per weekend
with recent Hollywood hits, classic revivals and the occasional porn flick
being the usual choices.Lecture halls,
auditoriums and even church sanctuaries were converted to temporary cinemas
that offered a cornucopia in 16mm. These
were quality exhibitions with twin projectors, external speakers for clear
dialogue and anamorphic lenses when needed.It seemed a little odd that one could view a somewhat racy movie in the
same space that would be used for worship the next morning.I would often take in several titles on
Friday and Saturday nights for the bargain price of $1.00.
Agatha
Christie’s Death on the Nile was one such movie that I chose to see on a snowy
evening in January as it played right in the lobby of my dorm.John Guillermin’s star-studded whodunit was
the follow up to the hugely successful Murder on the Orient Express from
1974.Once again we find Belgian
detective Hercule Poirot, played this time by the wonderful Peter Ustinov,
matching wits with a collection of suspects in the killing of heiress Linnet
Ridgeway.A running gag throughout the
film concerns Poirot having to remind everyone that his is not French.
The
setting this time is 1937 onboard a luxury steamer, the Karnack, navigating the
Nile where Poirot is on an Egyptian holiday before being drawn into the case of
the murdered newlywed.Linnet’s husband,
Simon, had recently ended an engagement with Jackie, former best friend of the
victim.Jackie has been stalking the
couple as she was still in love with Simon.
Poirot,
with the assistance of his good friend Colonel Race, begins to investigate the
murder and soon discovers that everyone on board the Karnack has a motive for
Linnet’s murder and Jackie appears to have an airtight alibi.We have Linnet’s maid, an American lawyer, a
romance novelist and her daughter, a jewel thief, a medical doctor and a
communist agitator whom all have ties to Linnet and her money.
The
tale becomes more twisted as the detective interviews all of the passengers
during the voyage hoping to ferret out the guilty party before the steamer
arrives at the final destination.Poirot
is able to create scenarios where everyone had access to the victim and could
have been the perpetrator.Soon,
however, several of the suspects are themselves murdered adding a sense of
urgency to the case.
Following
the usual format of Ms. Christie’s famous novels, Poirot assembles the
remaining passengers in the onboard saloon and, one by one, eliminates suspects
while revealing the identity of the killer.
Director
John Guillerman, an experienced, gentlemanly director, was experienced at
handling ensemble casts made up of international stars.His previous efforts included Skyjacked, The
Towering Inferno, The Bridge at Remagen and The Blue Max.His cast in Death on the Nile featured Bette
Davis, Maggie Smith, Angela Landsbury, David Niven, Jack Warden, George
Kennedy, Mia Farrow, Olivia Hussey, Jane Birkin, Simon MacCorkindale and future
Bond girl Lois Chiles.Cameo appearances
were provided by Harry Andrews and L.S. Johan.
The
star-studded cast was a 1970s marketing gimmick that began with disaster epics
such as Airport and Earthquake and then spilled over to whodunits and
television mini-series.Print ads and
trailers would play up the star attractions without revealing much about the
plots.Television anthology series made
a success comeback as well with the likes of Fantasy Island, The Love Boat and
Night Gallery. The “stars†featured in
these programs were often second tier, but still recognizable to viewers.
Director
Guillerman, along with producers John Bradbourne and Richard Goodwin, also
assembled a stellar crew behind the scenes starting with a script by Sleuth
author Anthony Shaffer.Aside from some
witty dialogue, Shaffer makes clever and veiled references to Maggie Smith’s
maid character being a lesbian as she seems to express total disdain to the
idea of a man and woman united in marriage.
Director
of Photography Jack Cardiff gave a bright, open and colorful look to the warm
weather cruise, which was the opposite of the dark, confined setting of Murder
on the Orient Express.An especially
beautiful scene is set at the Great Pyramids near Cairo as Linnet and her
husband climb to the top of one of the epic structures.It seems surprising that the production crew
would have access to this site as it was devoid of tourists at the time of
filming.
We regret to report that actor John Richardson has passed
away this week, just two weeks before what would have been his 87th
birthday.
John found fame in the 1960s via
films such as Mario Bava's Black Sunday and Hammer Film's remakes
of She and One Million Years B.C., wherein he co-starred alongside
many of the most beautiful actresses of the era, such as Ursula Andress,
Barbara Steele and Raquel Welch who famously bemoaned, on first being
introduced to John, that her new leading man was more beautiful than she
was!
John's role in One Million Years B.C. (1966), Ray Harryhausen's prehistoric
animated cult classic, led to a long relationship with his co-star Martine
Beswick and a move to Hollywood, where he landed roles in big budget
Hollywood productions such as Vincente Minnelli's On A Clear Day You Can See
Forever with Barbra Streisand.
Not a fan of Hollywood, John began
working in his beloved Italy, starring in low-budget thrillers such as Torso
and Eyeball, which he was surprised to find had a larger following
than some of his more mainstream features. Some of these films he hadn't seen since
he made them and which I had the pleasure of finding and giving them to him to
watch. John famously used to ask for the car he drove in these films to be
included in his fee and he also informed me that he once bought a vehicle that took his fancy from Steve McQueen.
Cars may have been a passion but his
first real love- bar his partner Helen- was photography. We were introduced via
a mutual friend, and from this, our shared passion for film and photography led
to the interview that subsequently appeared in Cinema Retro (Vol. 15: issues 45
and 46). John discussed his life both in front of and behind the camera, his first career-spanning interview since retiring from the film world, as he
preferred to remain out of the limelight and to spend most of his days walking
and taking photographs.
John may have battled dinosaurs and vampires
on screen but the current real-life horror of Covid took from us one of the true
gentlemen of cinema whose love for life was obvious through the twinkle in his
famously blue eyes. The eternal flame that John entered in She is true
in a way; for as long as the amazing genre films in which he starred continue
to flicker on screen, John will always be with us.
John’s partner Helen thought it would
be fitting that this announcement came via Cinema Retro and myself, as I'd
become very close to John after our interview, catching up with each other most
weeks via the phone. In his usual down-to-earth way, he initially said "no
one would be interested in hearing my stories". They were- and John was
shocked to learn that they had been nominated in last year's Rondo Awards. His
experiences pertained to a golden age when stars really were just that. Now, another
real star is shining in the heavens.
John's time as a movie star led to
several iconic roles on screen but it was his work as a photographer that he
was most passionate about and through this he has left us with many more iconic
images that he took from behind a lens.
John M. Richardson January 19th 1934-
January 5th 2020.
Here is a TV interview from the archives of "The Tonight Show Starring Johnny Carson" from May, 1968 that presents a rare chat show appearance by Marlon Brando, who was motivated to appear in order to discuss the recent assassination of Dr. Martin Luther King, Jr. (Apparently only a B&W video exists of the appearance.) Brando discusses the fact that he had been looking forward to reuniting with director Elia Kazan to star in "The Arrangement". However, King's assassination motivated him to back out of his film career temporarily in order to launch a charitable drive with the goal of bringing about racial equality. He and Carson have a somber discussion about the state of race relations in America and both agree that if people don't learn to coexist peacefully, then extremists from both sides of the political spectrum will fill the void. Their observations are thoughtful and prescient, and unfortunately could easily be deemed as relevant for current day America. Looking at the video today, there is a haunting aspect to it. We know that as dire as the nation's situation was in May, 1968, it was about to get a lot worse with the assassination of Sen. Robert F. Kennedy just one month later, something that Brando and Carson probably couldn't even conceive of in those dark days.
When
Silent Running was released in 1972 as a somewhat “experimental†venture
from Universal Pictures, a studio that had decided to give a handful of new
filmmakers a million dollars each to make whatever they wanted, it flew under
the radar of most folks who weren’t into science fiction. After all, it was a
tough challenge to come up with anything to compete with 2001: A Space
Odyssey (1968), which was still playing on second and third runs around the
world. Silent Running did okay at the box office, but it wasn’t a
runaway hit.
Nevertheless,
Running, which was directed by one of 2001’s visual effects
supervisors, Douglas Trumbull (it was his debut as a director), became a cult
movie that has played revival houses and did good business on home video years
later in multiple formats.
Now,
the excellent outfit Arrow Video has released an outstanding Blu-ray
presentation of the film, and it is cause to re-examine this unique, oddball
little gem. In retrospect, after 48 years, Silent Running has many
positive elements that warrant it as a “must-see,†and yet there are indeed
flaws that perhaps stand out more today than they ever did in the past.
The
screenplay is credited to three men. Deric Washburn (who later penned The
Deer Hunter) and Michael Cimino (!) (who later directed The Deer Hunter,
here credited as “Mike†Cimino) wrote the first few drafts of the script. Then
Steven Bochco (who later was a huge success in television with shows like Hill
Street Blues and NYPD Blue, here credited as “Steve†Bochco), came
in to polish/re-write. Thus, there is some excellent pedigree in the
screenplay, and yet this is perhaps where Silent Running has the most
problems.
Sometime
in the future, plant life is extinct on earth, so American Airlines (American
Airlines??) has outfitted several spaceships to carry domes of “forestsâ€
into space to cultivate them with the intention that one day they will return
and repopulate the planet with vegetation and the wildlife that goes with it.
These spacecrafts are orbiting near Saturn and are manned by a small crew of
four. On one ship, the Valley Forge, Freeman Lowell (Bruce Dern in an
early starring role) takes the job seriously. He is a conservationist, loves
taking care of the plants and animals, and wants to protect them at all costs.
His three crew members (played by Cliff Potts, Ron Rifkin, and Jesse Vint) are
jerks who could care less about the domed forests—they just want to go home. When
the orders come through for the crews to destroy the domes and return to earth,
Lowell, well, becomes incensed and sabotages this plan to save at least one
dome. Assisting Lowell are three “drones†(robots) named Huey, Dewey, and
Louie. What happens next would be a spoiler—let’s just say things don’t work
out quite how Lowell envisions.
The
three drones are portrayed by four bilateral amputee actors—Mark Persons,
Cheryl Sparks, Steven Brown, and Larry Whisenhunt—and they absolutely steal the
movie. Even inside the small, R2D2-like enclosures, they manage to convey
emotions and feelings. They communicate with Lowell, and much of the wonder
of the film is centered around the three drones.
The
visual effects are marvelous. After all, Trumbull is at the helm, and he oversaw
the effects with none other than John Dykstra and Richard Yuricich, who went on
to oversee the visual effects of the likes of Star Wars, Close
Encounters of the Third Kind, Blade Runner, etc. While the budget
didn’t allow for the Grade-A perfect effects of 2001, Running’s
effects are darned good, certainly the landmark of science fiction that
appeared between the releases of 2001 and Star Wars.
The
drawbacks include the decidedly weak story and its logic. Why are the ships all
the way out at Saturn? Couldn’t they be orbiting earth, allowing for a quick
return? What wiped out the plant life on earth? Why does American Airlines
decide to scrap the mission? Who made the boneheaded decision not to
re-cultivate the earth? Isn’t that, well, essential, to sustain all
life?
The
casting of Bruce Dern is also unfortunate. He’s a terrific actor, but his
character and the manic intensity in which he plays it ultimately makes him
unsympathetic. His actions in the story—especially regarding his fellow
crewmembers—do him no favors with the audience. In the end, it’s difficult to
be on his side, even though he is perhaps “doing the right thing.†Alas, the
way he goes about it is simply the wrong thing.
Finally,
the early-70s conservation theme coupled with songs sung by folk artist Joan
Baez in the movie infuse it with something of a “hippie†vibe. Does it seem out
of place today? Perhaps.
Arrow’s
Blu-ray, however, is top-notch. The new 2K restoration is approved by Trumbull for
the release and comes with two audio commentary tracks—one new one with critics
Kim Newman and Barry Forshaw, and an earlier one by Douglas Trumbull and Bruce
Dern. There is an isolated music and effects track, which is welcome because of
the marvelous score by Peter Schickele (the man behind P.D.Q. Bach!) and the
Baez songs. There are also optional English subtitles for the hard of hearing.
Supplements
abound. New to the disk is an interview with film music historian Jeff Bond on
the score, and a superb visual essay by writer/filmmaker Jon Spira that
explores the evolution of the screenplay. Archival supplements from previous
home video releases include a 1972 on-set documentary on the making of the
movie, two archival features on Trumbull and the film, an interview with Dern,
and the theatrical trailer. The first pressing of the release comes with a
beautifully illustrated collectors’ booklet with text by Barry Forshaw and
Peter Tonguette. The jewel case features a reversible sleeve with original
poster and newly commissioned artwork by Arik Roper.
Despite
its flaws, Silent Running is a fascinating look at what Hollywood was
doing in the early 1970s regarding the little-touched genre of science fiction,
and Arrow’s release is an aficionado’s dream.
It’s not very often that one gets the opportunity to
review a film one hundred year’s old.But such is the case with the Tod Browning crime-melodrama Outside the Law, a Universal-Jewel
photoplay first released in January of 1921.Now offered on Blu-ray for the first time from the folks at Kino-Lorber,
the film is presented here in as a “sensational-as-can-be-expected†transfer.The picture quality of the last two reels of
this eight-reeler suffers from considerable damage due to the deterioration of existing
elements, but considering the staggering number of Chaney’s films that are - sadly
- believed lost for all time, we’re lucky to have this one at all.If the elements suffer badly toward the end,
this should hardly be a concern to admirers of the Tod Browning and Lon Chaney
collaborations.We’re lucky to have the
film to enjoy at all.
This is not a lost film that recently resurfaced.If I don’t count the several bootleg VHS
versions of Outside the Law that have
sat on my collection shelf since the 1980s, this is my third dip on subsequent official releases of this title.The first was the 1995 VHS release by Kino
Video, one volume of their eight title (and handsomely packaged) Lon Chaney Sr.
silent series.Image Entertainment and
Blackhawk Films would offer the best of the DVD versions that were to later emerge,
but this new Blu-ray from Kino Lorber has made these earlier digital versions
as redundant as… well, as my early collection of Chaney VHS bootlegs.
Chaney was not yet one of Hollywood’s major players when Outside the Law was released.His iconic roles as Quasimodo in The Hunchback of Notre Dame and as Erik
in The Phantom of the Opera were
still a few years away.Though he is not
the bona fide star of this melodrama, in a film that lists only seven actors in
its credits, Chaney is twice billed.He’s
fourth billed as Ah Wing, the devoted servant of Chang Low, a servant and “ardent
disciple of the ancient creed.†(Chaney is one of two Caucasian actors
portraying Asian characters in the film: the other is Virginian actor E.A.
Warren as Low). Chaney is additionally billed in the fifth credit as the
villainous “Black†Mike Sylva, a particularly villainous thug. Sylva is described
on an introductory inter-title as “A rat, a vulture, and a snake.†I’m guessing
the card was added should anyone confuse his sly, conniving smile as suggestive
of anything otherwise.
This film was the first that Chaney would, through the
magic of his famed make-up kit, transform himself into a character of Asian
features.He would do so again in any
number of subsequent films such as Bits
of Life (1921), Shadows (1922)
and Mr. Wu (1927).Chaney does a convincing job it, though one
has to accept that in 2020 such ethnic appropriation would be frowned upon. Some
of the old inter-titles might also make some contemporary viewers groan, such
as the one that describes the city of San Francisco - circa 1920 – in the
“Crest of a Yellow Torrent.â€
Despite his working dual roles throughout Outside the Law, Chaney is really not
the principal star of this vehicle.That
honor would go to the beautiful actress Priscilla Dean.Dean plays “Molly Madden,†a tough, no-nonsense
dame and the daughter of underworld mastermind “Silent†Madden (Ralph
Lewis).Molly’s father, who operates a
gambling parlor in San Francisco, is trying to go straight, having accepted to
receive the moral tutelage and philosophical wisdom dispensed by the benevolent
Low Chang.Madden’s rehabilitation is thwarted
by the evil machinations of Chaney’s Sylva.The thug deviously frames the underworld kingpin on a phony murder
rap.There’s a lot of double-crossing in
play throughout Outside the Law.Hoping to see her father exonerated, Molly
puts her trust in a former compatriot and c-conspirator of Sylva’s, “Dapperâ€
Bill Ballard (Wheeler Oakman).But Ballard’s
a softie: he immediately takes a shine to Molly and regrets his role in Sylva’s
heartless set-up of the father.
Dean was a formidable motion-picture star of her time,
often playing rough girls with hearts of gold.This is the second film she would make with Chaney who, again, was cast
as the villain in Browning’s The Wicked
Darling (1919).“I shall go down in
the annals of the Dean’s as the family crook,†Dean would laughingly tell Picturegoer magazine in January of
1922.She went on to offer, “The Los
Angeles Detective Bureau took a print of my fingers when we were filming.â€Dean’s dubious remembrance ties in with a similar
tidbit shared by Chaney biographer Michael F. Blake.The author recounts a similarly doubtful news
item that Chaney had been arrested by a San Francisco policeman during the
filming of Outside the Law.The officer was reportedly convinced that the
actor - still mostly unknown and uncelebrated - was somehow mixed up in some
real-life mischief.That story was also
likely untrue, especially when coupled with Dean’s fanciful “fingerprinting†anecdote.Such myth-spinning makes one suspect that these
tales were merely examples of early Hollywood ballyhoo, both items intended to bolster
a sense of credible realism to what’s an otherwise pretty stagey criminal drama.
Browning’s film (the scenario is penned by Lucien Hubbard
from a Browning original story) admittedly doesn’t make great use of San
Francisco’s gritty exteriors.This is
disappointing as such visuals would surely have enhanced the gritty atmosphere
of the film.Most of the film’s segments
are shot in such interior locations as gambling parlors and the claustrophobic
apartments of Nob Hill.That said, Browning’s
film is still somewhat successful in conveying some of the seedier elements
surrounding the San Francisco underworld.There are several suspenseful, well-edited sequences, and most of the contemporary
reviews suggested the film’s realistic plot line was its primary asset.In fact, the film was a bit too real for one Billboard critic who would lament upon its release, “Crime, CRIME, CRIME!Here is a picture that simply reeks with
lawlessness and is a poor example to set for the young and impressionistic…
Delicate women and children should not be permitted to see it.â€
Putting aside the film’s effect on delicate women and
children, Outside the Law actually works
as a morality play of sorts: there’s a moment of Christian imagery that allows
for the possibility of salvation for anyone who chooses to walk the righteous
path, even if belatedly. One introductory inter-title even offers a pretty
liberal view on crime and punishment circa 1920.The card suggests that corrupt lawmakers are as
much part of the problem as the criminals themselves:“If a
country had none but good rulers for a hundred years, crime might be stamped
out and the death penalty abolished.†Amen to that, Mr. Browning.
This Kino Lorber Studio Classics Blu-ray of Outside the Law is presented here in a
1.33:1 aspect ratio and in 1920x1080p with English intertitles.The set also includes several bonus features
including an audio commentary by American Film Institute archivist and historian
Anthony Slide, a fresh musical score by Anton Sanko, footage comparisons, and
even Browning’s alternate ending to the film which has also somehow survived
the rages of nitrate and time. This set
is an essential package for aficionados of Browning, Chaney, Dean and American
silent films.
UPDATE: The absurd victimization of Tanya Roberts continues. After it was announced she had passed away, her representative retracted that remark. We published that news yesterday. Now comes word from TMZ that her doctor has indeed confirmed her death. Click here for update.
Earlier:
Actress Tanya Roberts has passed away at age 65 from unspecified causes. She had been hospitalized on December 24 after collapsing at her home in California. The cause of death has not been announced but her representative said it was not due to Covid-19. Roberts, a former model, transcended into acting in the 1970s. She landed her most prominent big screen role as the female lead of Stacey Sutton, a geologist, in the 1985 James Bond film "A View to a Kill" opposite Roger Moore in his final appearance as 007. She went on to enjoy popularity in the final season of "Charlie's Angels", replacing actress Shelly Hack who had left the series. She also found success in more recent years in the sitcom "That '70's Show". For more, click here.
British actress Barbara Shelley has passed away from Covid-19 related ailments. She was 88 years-old. Shelley became popular with horror movie fans in the 1960s when she became one of the resident leading ladies at the legendary Hammer Films where she made several movies with another studio legend, Christopher Lee. Among Shelley's Hammer films were "The Camp on Blood Island" (a rare non-horror entry), "The Gorgon", "Dracula: Prince of Darkness", "Rasputin: The Mad Monk" and "Quatermass and the Pit". Shelley played the lead female role in the 1960 MGM cult classic "Village of the Damned" opposite George Sanders. She also played a recurring character in the 1984 "Doctor Who" television series. She appeared in other iconic British television shows including "Blake's 7", "The Avengers", "EastEnders", "Danger Man", "The Saint" "Man in a Suitcase" and "The Two Ronnies" as well as international favorites including "The Man from U.N.C.L.E." and "Route 66". For more, click here.
Dan Blocker was one of the most beloved TV stars of the 1960s. He played the gentle giant "Hoss" Cartwright on the long-running TV show "Bonanza". But there was much more to his life than most of his fans realized. He was a decorated war veteran and had a previous career as a schoolteacher. Also, he co-starred with Frank Sinatra in two hit feature films, "Come Blow Your Horn" and "Lady in Cement". Blocker died from medical issues in 1972 at age 43. This short documentary presents interesting facts about his life and career.
"Sweet November", released in 1968, came and went without generating much enthusiasm from critics or the public. Produced the estimable team of Jerry Gershwin and Elliott Kastner, who would go on to make "Where Eagles Dare", the film is a romantic comedy set in Brooklyn Heights, just across the river from Manhattan decades before the area was deemed to be hip. Anthony Newley is Charlie Blake, a stuffy British import to Gotham who is the workaholic president of a company that manufactures cardboard boxes. You know the type: no time for love or laughs and just perfect to be taught a life lesson by the right girl, who, in this case, happens to be Sara Deever (Sandy Dennis), a 23 year-old independent young woman who meets cute with Charlie while they both are taking a test to renew their driver's licenses. As in all such scenarios, the small talk is awkward and Charlie finds Sara to be wacky and annoying- before discovering that her bizarre conversations are somewhat intoxicating. Before long, they are pals and Sara brings him to her apartment. She explains she's an artist who has found a way to act as a de facto repair woman for other apartment dwellers, thus supplementing her income. She also has unusual living arrangements. Every month, she "adopts" a new man with emotional needs who gets to live with her for a full month, during which time she serves as an amateur psychiatrist who documents the progress (or lack there of) in bringing the temporary man of the house to a better status than she found him in. At the end of every month, the male tenant must leave to make room for his replacement. Sara can discern that Charlie is an uptight nerd who is also frustrated poet at heart. She convinces him to be her tenant for November. Since Charlie owns his company, he's able to take the time off, which serves as a reminder of nice things were before E mails and text messages came to rule the lives of executives.
Sara's modest flat provides some amusing sight gags: her bed is located on a shaky platform accessible only by a even shakier ladder. However, the perks of being her "Tenant of the Month" are that you don't have to pay rent and you get to sleep with her, though the sexual aspect of the relationship is only hinted at. Charlie finds Sara to be a handful in terms of personality quirks. She has an opinion on everything and likes to play "Mother Hen", advising her tenants about how to improve their lives. Gradually, Charlie becomes intoxicated by her innocence and good nature. She's Holly Golightly on steroids, as she inspires him to explore his creative impulses, shed his business attire and dress in the currently mod styles. Sara introduces Charlie to her best friend, Alonzo (nicely played by Theodore Bikel), an artist and local activist who serves as a father figure to her. Before long, Charlie is madly in love with Sara and dreads the day when his eventual departure will have to occur in order to accommodate her next tenant. Until this point, "Sweet November" plays out like a sitcom of the era, albeit with some nice footage of Brooklyn. Director Robert Ellis Miller often encourages his stars to overplay the "cutesy" elements of their characters. Sara is almost pretentiously quirky and Charlie displays a fey personality and habits that were mostly associated with stereotypical gay characters of the era. However, Herman Raucher's script takes a somber turn in the last third of the film as Charlie desperately convinces himself that Sara loves him as much as he loves her. A dramatic twist is introduced that leads to a genuinely touching, if unexpected finale. As the script grows darker, the two leads have more to work with. Dennis brings a sensitivity to her performance as the ultimate liberated woman and Newley (who generally displays more ham than your local supermarket) eventually reigns in his comedic mannerisms and redeems himself by making Charlie a more sympathetic figure.
"Sweet November" has all the trappings of a stage play that was adapted to a film. In fact, it is not, although one can easily see it translated into a theater production, as most of the scenes take place in an apartment. The script was considered to be a hot property back in the day and Audrey Hepburn was said to have been interested in starring in the film. It enjoyed a prestigious opening at Radio City Music Hall but critics were dismissive of the movie, though the influential New York Times almost begrudgingly acknowledged a positive recommendation. The film quickly disappeared until 2001 when it was remade starring Keanu Reeves and Charlize Theron, though that film failed at the boxoffice as well. Despite its unenviable legacy, "Sweet November" is a touching film that will probably please most retro movie lovers. It is currently available on DVD through the Warner Archive.
CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE
Cinema Retro has received the following press release:
Newly Restored and Remastered, Madcap Musical
Starring Danny Kaye Celebrates Its 65th Anniversary
Latest
Addition to the Paramount Presents Line Arrives on Blu-rayâ„¢ for the
First Time January 26, 2021
The hilariously zany classic THE COURT JESTER celebrates
its 65th anniversary with a brand-new Blu-ray in the Paramount
Presents line, debuting January 26, 2021 from Paramount Home Entertainment.
Originally released in 1956, THE COURT JESTER was
shot in Paramount’s trademark “VistaVision†widescreen format, capturing a
grander scope of information on the film negative. For this new restoration,
the original negative was scanned at 6K and one of the “separation masters†was
also scanned and recombined with the negative scans to address color fading in
the negative. The result is an incredibly vibrant picture that faithfully
captures the colors and textures of Edith Head’s sensational costumes and Hal
Pariera’s sparkling art direction.
Danny Kaye earned a Golden Globe® nomination for Best Actor –
Comedy or Musical for his leading role in this comic farce, which was added to
the National Film Registry in 2004 and included on the AFI’s list of the 100
Funniest American Movies of All Time.
The limited-edition Paramount Presents Blu-ray Discâ„¢ is presented
in collectible packaging that includes a foldout image of the film’s theatrical
poster, and an interior spread with key movie moments. THE COURT
JESTER Blu-ray also includes a new Filmmaker Focus with film
historian Leonard Maltin, access to a Digital copy of the film, and the
theatrical trailer.
Synopsis
Kaye is kind-hearted entertainer Hawkins who disguises himself as
the legendary king of jesters, Giacomo. Hawkins infiltrates the court of an
evil villain (Basil Rathbone), but when a sorceress hypnotizes him, royal chaos
ensues. Alternating identities at the snap of a finger, between swordplay and
wordplay, Kaye’s comic genius shines through. The stellar supporting cast
includes Glynis Johns, Angela Lansbury, Mildred Natwick, Cecil Parker, and John
Carradine.
About Paramount
Presents
This collectible line spans celebrated classics to film-lover
favorites, each from the studio’s renowned library. Every Paramount
Presents release features never-before-seen bonus content and exclusive
collectible packaging. Additional titles available in the Paramount
Presents collection on Blu-ray include: Fatal Attraction, King Creole,
To Catch a Thief, Flashdance, Days of Thunder, Pretty
In Pink, Airplane!, Ghost, Roman Holiday, The Haunting, The
Golden Child and Trading Places.