Treasure this classic scene from Stanley Kubrick's "Paths of Glory", perhaps the greatest anti-war movie ever made. Here, Kirk Douglas, in one of his greatest performances, has the unenviable task of defending ordinary soldiers in a court martial in which the men have been chosen at random to be executed to cover up a military mishap that resulted in the needless deaths of hundreds of troops in an unnecessary battle. Small wonder the French government prohibited the film being shown in France for many years. 

Cinema Retro's Dave Worrall attended the Royal World Premiere of No Time To Die at the Royal Albert Hall in London last night highlighted by the attendance of the Prince of Wales, the Dutchess of Cornwall and the Duke and Duchess of Cambridge. Due to the world pandemic this was a tough event to organise, but EON pulled it off big time, with cast members Daniel Craig, Rami Malek, Lea Seydoux, Lashana Lynch, Ben Wishaw, Naomie Harris, Jeffrey Wright, Rory Kinnear, Ana Armas, David Denik, Dali Benssalah, director Cary Joji Fukunaga, writers Neal Purvis, Robert Wade and Phoebe Waller-Bridge, composer Hans Zimmer, performers Billie Eilish and Finneas O'Conell, and producers Michael G. Wilson and Barbara Broccoli, arriving on the red carpet and with some of them greeting the audience in the auditorium, who responded with rapturous applause, especially for Daniel Craig.

This event kick-starts a series of premieres in 57 countries, including 10 in the UK and Ireland to which health care workers will be invited as special guests in celebration and gratitude of their extraordinary work during the pandemic. Last night's performance raised over 1 million pounds for charities supporting serving and former members of the three intelligence agencies (the Secret Intelligence Service, the Security Service and GCHQ). The evening also assisted charities supporting past and present members of the United Kingdom Special Forces, and invited health care workers and members of the armed forces, joined the cast and other guests inside to watch the film.

Despite guests having to have had a lateral flow test beforehand, wear a face mask, and being a little more cautious than usual, it was a spectacular and welcome experience for everyone who attended, and a great release after being restricted by the various lockdown situations of the last eighteen months - thanks to Bond. James Bond.

Here are Dave's thoughts on the film (No spoilers):

Planes, boats and automobiles - Daniel Craig's final mission as James Bond is an emotional rollercoaster of a ride that twists and turns in many directions, culminating in a finale that left me both exhausted and, dare I admit, in tears. For many reasons, this 25th chapter in the EON-produced film franchise has taken six years to reach cinema screens which, interestingly, continues directly after where Bond and Madeline Swann (Lea Seydoux) drove off in the agent's fabled Aston Martin DB5 at the end of Spectre in 2015, and then continues five years later. No Time To Die ties up a lot of loose ends relating to Craig's tenure as Bond, and features many subtle elements relating to films, and novels of the past that will please both Bond fans and the general public alike.

Like Sean Connery's You Only Live Twice (1967), Craig's fifth and final film is also a spectacular adventure boasting some outstanding set pieces, stunts, stunning sets and lavish location photography that are now synonymous (and expected by audience) of a Bond film. However, none of this distracts from the main aspect of the film - Bond and Madeline's relationship. Like Casino Royale, this entry is a love story. One with a difference, but definitely a love story - and Bond is left hurting once again, but not as you would expect. It is also the most sinister Bond film I've ever seen, with several very tense and eerie scenes.

Directed by Cary Joji Fukunaga (who gave us the magnificent first series of the TV show 'True Detective' 2014, Beasts of No Nation 2015, and 'Maniac' TV mini-series 2018), his creative vision shines through in every scene, especially those with the main characters, who are played by a cast that excel themselves. From Rami Malek to Lashana Lynch, Lea Seydoux to Ana de Armas - and not forgetting old stalwarts Ralph Fiennes, Ben Wishaw, Naomie Harris, Rory Kinnear and Jeffrey Wright - no one is wasted. They are cherished and welcomed back as much as Craig.

As promised, no plot spoilers, and unlike a lot of the cynical die-hard fans out there in the Bond community, I am not an overtly critical person. I was just happy to see his return in this big screen adventure that delivers the goods in spectacular fashion - which it does in bucket loads. Was there anything that disappointed me? Yes - the fact that we shall not see Daniel Craig in the role again, as he delivers big time in No Time to Die. Definitely his finest hour.

I've booked my tickets to go and see it again tomorrow, when the film opens to the public. Yes, it's that good.

Dave Worrall (29/9/2021)

Photos: Dave Worrall and Joe Osuch.

No Time To Die opens in the UK and Ireland from 30 September, and in the U.S. on 8 October.

NOTE: THERE ARE NO "SPOILERS" IN THIS REVIEW.

BY LEE PFEIFFER

Well, it's finally here. Perhaps the most eagerly-awaited James Bond film ever, "No Time to Die", had its world premiere in London earlier this evening. Simultaneously, MGM and Eon Productions invited journalists to view the first screening of the film simultaneously in other parts of the globe. Cinema Retro was invited to attend the New York IMAX screening at the AMC theater at Columbus Square. Upon entering the theater, attendees were presented with official 007 studio swag followed by free popcorn and drinks. Thus, it wasn't just the popcorn that was buttered up by the time the film began. After a wait of six years since the release of the prior film, "Spectre", I must say that when the gunbarrel opening appeared, I was reminded of New York Times film critic Vincent Canby who wrote of Sean Connery's return to the role of Bond in "Diamonds are Forever" that it was enough to make a viewer weepy with gratitude.

Because of MGM and Eon's impressive achievement in keeping key plot surprises secret, I will not divulge them here. Instead, I'll give a bare-bones breakdown of important elements.The film finds Bond living blissfully in self-imposed retirement with the love of his life, Madeleine Swann (Lea Seydoux in a marvelously understated performance), with whom he rode off into the sunset at the end of "Spectre". However, their seemingly perfect existence is torn apart by developments that cause Bond to reject her and promise he will never see her again. When they are reluctantly reunited later in the film, it opens a Pandora's Box of disturbing revelations with the fate of the world hanging in the balance.

The Pre-Credits Sequence: Probably the longest such segment in any Bond film. If you walked in a minute late, you would be forgiven for suspecting it was the wrong theater. We find a mother and her young daughter living in isolation in a barren wasteland when a mysterious, unnamed villain arrives and puts into motion the basis of the story line in a chilling and disturbing fashion. The scene is disturbing and highly effective.

The Credits: Daniel Kleinman comes through again with the traditional style that was pioneered by such geniuses as Maurice Binder and Robert Brownjohn. Billy Eilish's crooning of the haunting title song works very well indeed in conjunction with the title credits' images. 

The Script: Eon wisely enlisted the services of veteran Bond screenwriters Neal Purvis and Robert Wade, who initiated the Daniel Craig era with "Casino Royale". They know the character intimately, and with an assist from Phoebe Waller-Bridge and director Cary Joji Fukunaga, they deliver the goods with a complex but highly intelligent script. No other Bond actor has had the luxury of having a script specifically tailored to be his final Bond movie and the writers have come through impressively for Craig.

The Direction: Fukunaga distinguishes himself very well indeed in the action scenes but he is an actor's director and he gets the most out of his distinguished cast, with Daniel Craig giving what is arguably his best performance as Bond.

The Villains: It helps when you have two Oscar winners as your main villains. Rami Malek is superb as Safin, a creepy, aristocratic type who lives large and recalls the images of classic Bond villains of years past. Christoph Waltz's Blofeld appears primarily in only one scene, but it's pivotal to the plot and the interplay between him and Bond is riveting.

The Score: Another Oscar winner, Hans Zimmer, provides a highly impressive score that includes John Barry's "We Have All the Time in the World" from "On Her Majesty's Secret Service". He also doesn't stint on using "The James Bond Theme" often and in its original format without any modern "improvements".

The "New" 007: When Bond returns from retirement, it's well known through press leaks that he finds there is a new Agent 007: the young female agent Nomi. As played with gusto and wit by Lashana Lynch, the character trades humorous barbs with Bond but the situation is never overplayed and the two make a good team when the going gets rough. As for criticisms that it was a politically correct move to introduce this character, remember that Bond has often been teamed with kick-ass female agents going back to the early days of the series. However, the female agent winningly played by Ana de Armas does seem superfluous and appears to have been inserted just to showcase a somewhat humorous action scene. The character is then all but retired without any further development.

The film is peppered with appearances by the usual reliable players: Ralph Fiennes, especially good as a deeply troubled "M", Rory Kinnear as his Chief of Staff, Tanner and, of course, Naomi Harris as the ever-present Moneypenny. Ben Wishaw's "Q" has a major role this time around and the film is all the better for his portrayal of the quirky gadgets genius. Jeffrey Wright reappears as Felix Leiter, Bond's CIA colleague, and for once, he is given a meaty role of great relevance to the plot.

There have been concerns over the film's lengthy running time of 163-minutes but it never sags, although the sheer number of action scenes become repetitive despite the fact that they are all exciting and thrillingly staged. I've also never warmed to seeing Bond running about mowing people down with machine guns and that remains the case with "No Time to Die". By the time the movie ends, the body count rivals the climax of "The Wild Bunch". I always look to the earlier Bonds wherein 007 was somewhat judicious in his killing. (I believe in "Goldfinger", he only shoots one henchman in the course of the entire film.)

There are wonderful homages to past Bond films and literature and literature strewn throughout the movie from portraits of prior "M"s to a reading by the current "M" of words written by Ian Fleming. Bond purists will love it. I also enjoyed the fact that Safin lives like the Bond villains of old. He has a private island complete with a poisonous Garden of Death (inspired by Fleming's novel "You Only Live Twice"). He also has a big operation complete with an army of henchmen just as some of his predecessors did.

Since the script continues on from events seen in "Spectre", I would suggest revisiting that film before seeing "No Time to Die". I didn't and because I hadn't seen "Spectre" since the premiere in London in 2015, I was a bit rusty on some of the interactions with the characters. For those less acquainted with the Craig Bond films, it would also do to watch "Casino Royale" again, as elements of that plot are also relevant. I would also advise everyone to stay to the very end of the credits for reasons that will become apparent after the film's emotional ending.

"No Time to Die" is perhaps the most ambitious Bond film in terms of character development. It succeeds on every level and really should be seen in its dynamic IMAX presentation. It is a fitting finale to the Daniel Craig era and when the theater lights went on at the conclusion, I was missing him already.

(The film opens in the U.S. on October 8 but there are advance screenings on October 6 and 7.)

By Mark Cerulli

Thanks to the Ian Fleming Foundation (IFF,) this scribe was invited to the opening night party for the massive Bond in Motion exhibit at LA’s world-famous Petersen Automotive Museum, co-sponsored by EON Productions. You’ve seen the vehicles on screen, but nothing compares to getting up close and personal with over 34 production-used vehicles from the 1960s right up to No Time To Die. It’s a collection representing almost 30 years of sleuthing by the IFF’s co-founder Doug Redenius and other IFF members.

 

L007K UP – Bond’s hang-glider from Moonraker, the Vulcan Bomber model from Thunderball, an Osato chopper model from You Only Live Twice and a full-size Cessna from Licence to Kill.

L007K OUTSIDE – Visitors are greeted by the From Russia With Love chase copter.

L007K OVER THERE – The V8 Volante from The Living Daylights, the (huge) sub from For Your Eyes Only, an Octopussy Tuk-Tuk, the AMC Hornet from The Man With The Golden Gun and a badly damaged Aston Martin DBS used in a record-breaking stunt from Casino Royale.

LOO7K AROUND – At the Jaguar XKR from Die Another Day, a MINT 1964 Aston Martin DB5 (seen in five Bond films), the 1971 Mach 1 from Diamonds Are Forever, Blofeld’s escape sub from Diamonds, the Glastron from Live & Let Die’s iconic boat jump and so many more – all lovingly restored by the IFF.

The evening started with a rooftop cocktail party where the NEFT vodka flowed like Tracy’s dress as invited guests mingled and toasted the night’s VIPs – five, count ‘em, FIVE Bond Girls – Maud Adams (The Man With the Golden Gun, Octopussy), Luciana Paluzzi (Thunderball), Gloria Hendry (Live & Let Die), Lynn-Holly Johnson (For Your Eyes Only) and Mary Stavin (Octopussy, A View To A Kill). They all seemed delighted to see each other and were up for a big night out.

Doug and fellow IFF co-founder Michael VanBlaricum gave a discussion on their acquisition of screen-used vehicles, many found in total disrepair across the globe. Then they shared the spotlight with the Bond actresses for some Q&As. Next, the 00 VIPS cut the red ribbon, officially opening the exhibit and crowds swarmed the cars – all artfully arranged by the Petersen staff in unique dioramas. Even the event’s official car transport – DHL – got into the spirit by positioning their 007-branded yellow vans around the Museum. Bond truly is back – and right now, he’s at the Peterson Auto Museum in LA.

Want to support the IFF’s Bond restorations? You can donate to them at: www.ianflemingfoundation.org

(Special thanks to Stockholm own Double-0, Anders Fredjh.)

For information about the Bond in Motion exhibition, click here. 

BY LEE PFEIFFER

Universal has released the 1967 Don Knotts comedy "The Reluctant Astronaut" as a Blu-ray release. The film was Knotts's second feature film for the studio following the surprise success of "The Ghost and Mr. Chicken". This time Universal raised the production budget, thus allowing director Edward Montagne to shoot on location at both the Johnson and Kennedy Space Centers. Knotts again recreates what is essentially his Emmy-winning portrayal of Deputy Barney Fife from "The Andy Griffith Show", complete with that character's requisite "salt-and-pepper" suit. When we first see his character, Roy Fleming, he's a 35 year-old nervous type whose "career" is playing an astronaut on a rocket ship ride in a children's amusement park. He still lives at home with his doting mother (Jeanette Nolan) and his overbearing father, Buck (Arthur O'Connell), who keeps bragging about his heroics in WWI and instills military discipline in the household. ("Well, he was a corporal, and you know how bossy they could be!" explains Roy's mom.) Buck wants his son to live up to his own self-proclaimed achievements in the Great War and without Roy's knowledge, sends in an application to NASA under his son's name. The goal is to get Roy into the astronaut training program. When an acceptance letter to report to NASA arrives in the mail, Roy goes into panic mode at the prospect of being an astronaut. He's suffered from a fear of heights since childhood and he reminds his mother that he can't even bring himself to get on the step stool to reach the marmalade jar. Attempts to share his fears with his father fall on deaf ears as Buck is a big-mouthed blowhard who immediately starts bragging to the entire town about his son's achievement. Soon, Roy is the reluctant guest at a party in which he is already cited as a local hero. Not wanting to humiliate himself or his father- not to mention local girl Ellie (Joan Freeman), who is trying to impress- Roy leaves for the NASA training center. (An amusing, on-going gag finds Roy pretending to board planes but secretly slipping away so he can take a safer mode of transportation: a Greyhound bus.)

Once he reports to NASA, Roy is both relieved and bemused by the fact that he has not been accepted for astronaut training but, in fact, is a janitor-in-training. When his father and his friends make a surprise visit to the facility, Roy tries to cover up his shame by dressing as an astronaut and demonstrating a new rocket sled with predictably disastrous results. Upon being fired and unmasked as a fraud, he returns to his hometown in shame, leaving his father heartbroken. However, this familiar dilemma in all of Knotts's feature films is resolved in predictable fashion by fate allowing him a chance to redeem himself. NASA learns that the Soviets are about to demonstrate the effectiveness of their new automated space capsule by launching a dentist who has no experience with astronaut training. NASA is eager to beat them to the punch and decides to ask Roy to volunteer. The scenes of the panic-stricken nerd trying to cope with space travel are among the funniest bits in the film. Naturally, a disaster occurs and Roy saves the day by summoning hidden courage that even he didn't know he possessed. 

"The Reluctant Astronaut"  doesn't have the cult following that "The Ghost and Mr. Chicken" has built but it's equally good and at times laugh-out-loud funny thanks to Knotts' comedic genius and an inspired supporting cast that includes Leslie Nielsen (still trapped in pre- "Airplane" mode when studios didn't realize his comic potential), Arthur O'Connell, Jesse White, Jeanette Nolan, Frank McGrath and Paul Hartman. There are other familiar elements of the Knotts feature films: a good script by Everett Greenbaum and Jim Fritzell (head writers of "The Andy Griffith Show") and fine direction by Knotts's frequent collaborator, Edward Montagne. Naturally, there's also a zippy and amusing score by Vic Mizzy.

Universal has once again provided a terrific Blu-ray transfer with eye-popping colors. Not to sound like an ingrate, but I feel compelled to repeat my only criticism of these Knotts releases, which is their complete lack of bonus materials, especially since the DVD editions contained the original trailers which are easily available for the Blu-ray releases. However, even if you have the DVD editions in your library, the quality of the Blu-rays releases merits upgrading if you're a true Knotts fan.

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In this early 1970s's interview with Dick Cavett, director Robert Altman discusses his personal demons, philosophy of filmmaking and a bit about "M*A*S*H".

Remember when the Oscar ceremonies considered it to be a highlight to present a lifetime achievement Oscar to a legendary veteran of the industry? Those were before such wonderful moments were excluded from the broadcast in favor of cramming in time-wasting comedy bits that would be more appropriate for the late-night talk shows. Today, the awards are presented at a separate ceremony and the broadcast treats viewers to a few cursory seconds of the recipient's acceptance speech. At least the great moments live on via YouTube, as evidenced by this wonderful presentation to Peter O'Toole in 2003. As Meryl Streep points out in her marvelous introduction, O'Toole had been nominated for the Oscar seven times, but never received one. O'Toole is the epitome of grace, humility and class in his acceptance speech, much to the delight of the legendary actors in the audience, including his old pals Sean Connery and Michael Caine. - Lee Pfeiffer

BY LEE PFEIFFER

The first "biker" movie to click with the public was "The Wild One" starring Marlon Brando in one of his most iconic roles. Released in 1953, the film set the template for the biker films that would follow: the motorcycle gang was rebellious and sometimes violent. They ignored laws and looked on young women as prey. But the script would usually provide a sympathetic side to them, as well, just so the audience didn't find itself cheering for protagonists who were irredeemable cretins. Despite the success of "The Wild One", it took until 1966 for the next major biker movie to emerge with the release of Roger Corman's "The Wild Angels". The success of that film shocked the movie industry and before long studios were churning out low-budget copycat productions. Most were crudely made and  instantly dispensable but one of them, "The Born Losers", would introduce the character of Billy Jack, played by Tom Laughlin, who took on a gang of cutthroat bikers. Dennis Hopper's "Easy Rider" became a landmark film in 1969 but it was unique in that it centered on two individual bikers and didn't involve the traditional Hell's Angels clones.  The biker movie fad was popular and profitable but by the early 1970s it had already pretty much burned out. One of the last films in the genre, "J.C.", was unknown to me until a screener copy turned up. The film was the brainchild of one William McGaha, who I was equally unfamiliar with. McGaha, who obviously thought of himself as the Orson Welles of the dying biker film cycle, directed, produced, wrote and starred in the film. What emerged was one of the most bizarre biker films imaginable.

McGaha plays the title character J.C., a troubled young man who is trying to live down the shame of his father having been a fanatical preacher. There are instant analogies to Jesus Christ aside from his initials. He is an avid biker who has a group of dedicated followers who he regards as his disciples. Get it? When we first see him, he's working as a carpenter until he quits the job after being bullied by a hippie-hating foreman. In some reviews of the film, it has been speculated that he's supposed to be Jesus Christ himself reincarnated as a hippie. I don't recall that being spelled out specifically and besides, those who believe in Jesus Christ being the son of God would find it difficult to fathom that a man who would willfully endure the horrors of crucifixion would, in his modern guise, throw in the towel on his profession because his boss tossed a few insults his way. Early in the film, J.C. announces that he suddenly has a desire to visit his small hometown in Georgia with the intention of seeing his estranged sister, Miriam (Joanna Moore). As J.C. was despised by the redneck townspeople many years ago, he's advised that the visit will be ill-fated. However, during a drug-fueled hallucinogenic "trip", he announces that God has spoken to him and he is an all-knowing prophet. That's all it takes for the disciples to follow him on his dramatic bike journey home. At first, things go well and J.C. enjoys catching up with his sister. But pretty soon, the town's bigoted sheriff (Slim Pickens) and his deputy (Burr DeBenning) decide to show those hippies they aren't welcome in a traditional "family values" community of racists. They arrest a black member of the gang, David (Hannibal Penney) on a trumped-up drug charge and beat him to a pulp while he is in jail. When word gets to J.C. that a committee of good citizens intends to lynch David, he rallies his disciples like John Wayne did his ranch hands in "Chisum'" and they engage the locals in a battle royale. 

By any measure, "J.C." is an unsatisfying film. The cinematography and editing are erratic and the script is choppy and episodic. But for all its flaws, you have to admire the fact that McGaha got the movie made despite having only two even more obscure films to his credit. He shot largely on location, eschewing studio sets for obvious budget reasons. It would be easy to mock his efforts, but I have great admiration for aspiring filmmakers from the pre-digital era in which shooting even a low-budget movie required financing clunky equipment and expensive film stock that left precious few opportunities for retakes. As an actor, McGaha is adequate at best but he does get a terrific performance from Slim Pickens in a refreshingly non-comedic role. Equally good are Hannibal Penney and Burr DeBenning, especially in a tense jailhouse discussion in which the tortured man and his torturer almost reach a level of humanity between them. McGaha's budgetary problems are all-too-apparent in the climax of the film when action scenes are cut abruptly and the lack of coverage makes it appear as though he barely had enough film stock to complete the scene.

The Kino Lorber transfer is as good as one could expect, given the surviving elements it was mastered from. The bonus extras consist of the trailer and an assortment of trailers for other KL releases.

"J.C" is not a film that merits a recommendation, but it is one I have to admire for simply never being as bad as I had expected. For that, Bill McGaha (who seems to have vanished from society) deserves praise. If he is still alive and well, I hope he enjoys seeing his film get the Blu-ray treatment. (An amusing aspect of the movie's packaging is the use of the original poster art that proclaimed "J.C. and his disciples were a gang of broads, bikes and blacks", which was obviously meant as an inclusive message in 1972.)

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Melvin Van Peebles, the iconic African-American director of influential independent films, has died at age 89. Van Peebles, the father of director Mario Van Peebles, was at the forefront of the counterculture movement among filmmakers in the 1970s. He hit his stride with films such as "Watermelon Man" and"Sweet Sweetback's Baadasssss", an X-rated racially tinged satire in which he also starred. Van Peebles, along with Gordon Parks, made vital inroads in advancing the Black point-of-view in films. He was also a playwright and social activist who dedicated his life to the cause of racial justice. Ironically, Criterion has just released a boxed set of his films as a tribute to his contributions to cinema.

For more about his life and career, click here. 

BY LEE PFEIFFER

For a film critic, mocking Elvis Presley movies is like reaching for the low-hanging fruit. There's plenty to disparage. Most of the films are predictable and follow a formula that finds the rock 'n roll idol who started off his career as a rebel being morphed into a clean-cut guy whose most threatening behavior is trying to convince a girl who has caught his eye to make out with him. It wasn't always this way with the cinematic Elvis. There were some rare occasions in which he was cast in compelling dramas and acquitted himself very well indeed (i.e "Flaming Star", "Wild in the Country"). However, it didn't take long for the studios and the dictatorial Colonel Tom Parker to realize that those films didn't gross anywhere near Elvis's feel-good, empty-headed musicals. One major factor was the inevitable accompanying soundtrack album which could be used to cross-promote the movie to great success. Thus, by 1963, attempts to build on Elvis's acting talents went by the wayside and he was cast in essentially the same role in each of his films, albeit with the caveat that his characters would have different background stories. He was generally a genial if somewhat flirtatious and mischievous young guy who was sometimes carrying some troublesome personal baggage from his past. He would meet cute with the film's leading lady (who sometimes was initially resistant to his charms) and the romance would brew in between spontaneous musical numbers that were so numerous, it ensured that a compelling screenplay had to be sacrificed on the alter of the soundtrack album. Yet, Elvis was such a charismatic screen presence that even the least of his films still provide some pleasures and what is arguably his best film, "Viva Las Vegas" rose above the mediocrities because he had genuine and sizzling on-screen chemistry with Ann-Margret. But that was the exception. It's safe to say that beginning with "Girls! Girls! Girls!" in 1962, Elvis's films seemed to be produced on a production line. 

"It Happened at the World's Fair", released in 1963, is typical of the watered-down image of Elvis on the big screen. The film plays it safe throughout. Elvis is Mike Edwards, who along with his troublesome best friend Danny Burke (Gary Lockwood), owns an old-time crop dusting bi-plane. Business is grim, however, and when they can't pay their bills (thanks in part to Danny's obsessive gambling habits), their plane is repossessed and the two gravitate to Seattle to explore other opportunities. The city is hosting the 1962 World's Fair with the expected accompanying fanfare as thousands of people crowd into the attraction to get a view of what life in futuristic America will supposedly be like. Once in Seattle, Mike and Danny have a chance encounter with Walter Ling (Kam Tong), who is the caretaker of his adorable little niece Sue-Lin (Vicky Tiu). After Walter is unable to fulfill his promise of bringing Sue-Lin into the fair, Mike reluctantly agrees to be her chaperone for the day. Mike spies Diane Warren (Joan O'Brien), an attractive nurse who works in the first aid office at the fair. In an amusing scene, he pays a little kid (Kurt Russell in his big screen debut) to kick him in the shin so that he can justify having Diane treat him. The ruse works and Mike turns on the charm and finds Diane responsive- until a second encounter with Russell results in Mike's scam being revealed. There's also a cumbersome late sub-plot introduced in which Mike and Danny are hired to run a flight to Canada.Their benefactor pays to get their plane freed up but it soon becomes apparent he wants them to engage in illegal smuggling.

"It Happened at the World's Fair" is a middling but watchable Elvis vehicle. Much screen time is accorded to Vicky Tiu's charming Sue-Lin but does anyone really want to watch Elvis relegated to the role of babysitter for an entire film? Gary Lockwood breathes some life into the film with periodic appearances as the reckless gambler but the lovable rogues he associates with overact under the uninspired direction of Norman Taurog, who had already collaborated with Elvis on three films and would go on to direct five more. Taurog's workmanlike capabilities were generally of the autopilot variety and one can only assume he was greatly responsible for not capitalizing on Elvis's big screen potential to a greater degree. By contrast, George Sidney brought out the best in the King for "Viva Las Vegas" the following year. "World's Fair" also suffers from the fact that Joan O'Brien's character is somewhat less than fun-loving. She treats Mike more like a scolding mother than a potential lover and there is little chemistry between Elvis and O'Brien. Early in the film, Elvis has a romantic encounter with Yvonne Craig and in those couple of minutes there is more sexual chemistry than he demonstrates with O'Brien throughout the rest of the film, as evidenced by the fact that Elvis and Craig had a real-life fling. Elvis gamely sings an interminable number of songs and the scenario isn't helped by the fact that, while they are all pleasant enough, none of them are memorable. What does set the film apart from other Presley films is that the King is seen on location at the World's Fair, though the footage is somewhat limited because MGM found there were so many people crowding around him that private detectives had to be hired to help Elvis shoot his scenes and afford him protection. Indeed, most of the fair scenes were shot in the studio but the brief glimpses afforded here present an interesting time capsule including the introduction of Seattle's iconic Space Needle.

"It Happened at the World's Fair" isn't the worst Elvis movie and it has its moments but it serves primarily as a reminder of how disinterested Hollywood was in developing his skills as an actor. By the time Elvis put his foot down and broke out of the musicals for the 1969 Western "Charro!", it was too late. Despite his good performance in a dramatic role, the film was met with a yawn by critics and the public. If only Elvis had asserted himself a few years earlier...

The Warner Archive Blu-ray is up to the company's high standards. The only extra is a trailer and a menu that allows the viewer to skip ahead to specific musical numbers.

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BY LEE PFEIFFER

I have a passion for Westerns of the 1960s, especially those mid-range productions that weren't designed to win awards but, rather, produce a decent profit on a modest budget. A typical example is director Burt Kennedy's 1969 film "The Good Guys and the Bad Guys" starring Robert Mitchum and recent Oscar winner George Kennedy.  Burt Kennedy had no pretensions of being placed on the same pedestal as John Ford and Howard Hawks, but when it came to making fun, whimsical Westerns, he was among the top talents in the industry. Kennedy was coming off the recent success of "The War Wagon" and "Support Your Local Sheriff!", two fun-packed Westerns that proved to resonate very well indeed with the intended audiences. "Good Guys" doesn't work as well due to a weaker script that sees it play out like a TV Western. Still, it has the central ingredients to make for an enjoyable romp: the presence of two popular leading actors, a supporting cast peppered with marvelous players, plenty of scenery of the great outdoors and even an intentionally hokey ballad sung by Glenn Yarbrough that is played throughout the film to serve as a narrative device. (Shades of "Cat Ballou"!). The film was originally developed by Kirk Douglas and director Martin Ritt but they could never bring it to fruition in a manner that was mutually satisfactory.

The story opens in the booming town of Progress, New Mexico. The local, long-serving marshall is Jim Flagg (Robert Mitchum), who is all-too aware of the fact that he's nearing the end of his career. Yet, he still remains devoted to serving the citizenry with honesty and dedication. He learns that his old nemesis, Big John McKay (George Kennedy) has been seen in the area with his gang and they are planning to rob a train that's due to arrive in a few days that is carrying $100,000 in  bank funds. Flagg notifies the town mayor, Wilker (Martin Balsam), who dismisses the concerns by saying train robberies are a relic of the distant past. Wilker is consumed with running for re-election and is bribing the population with free drinks and closing down the bordello, which delights the local women. (However, he privately assures the men that it will reopen right after the election.) He's also devoting his time to seducing a local, married beauty (Tina Louise). The unscrupulous mayor lures Flagg to a podium at one of his campaign rallies and shocks him by announcing Flagg will be retiring.  The mayor summarily appoints his right hand "yes man" to take over as marshal. He gives Flagg a gold watch and a pension then sends him off to a round of applause. Ever-dedicated to his profession, however, Flagg tracks down McKay and is shocked to find that the once-notorious outlaw is now being bullied by the cutthroats in his gang. Flagg manages to put handcuffs on McKay and bring him to town with the intention of delivering him to a federal marshal in a different territory, given Mayor Wilker's indifference to the train robbery plot. You can predict where this is all going. Flagg and McKay wax nostalgic about the good old days when there was some honor and respect between lawmen and thieves. Flagg enlists his aid to help him prevent the train robbery which leads to a chaotic conclusion with the new partners boarding the train and being mistaken for gang members, the townspeople forming a massive posse in pursuit of the out-of-control train and everyone fighting each other in comic shoot-outs.

There's a lot of violence in "The Good Guys and the Bad Guys" but none of it is gory. In fact, there's only one dramatic shootout in which a sympathetic character is murdered. There are plenty of women of loose morals but they all have the requisite heart of gold. The byplay between Mitchum and Kennedy is fun but it's Martin Balsam who steals the film in a rare comedic role. Among the familiar faces who contribute to the yucks: young David Carradine and his father John (though they don't share a scene together), Marie Windsor, Kathleen Freeman, Douglas V. Fowley and Lois Nettleton as a widow with a young son who is in a flirtatious relationship with Mitchum. Harry Stradling,Jr.'s cinematography is a quite impressive, capturing the grandeur of the New Mexico and Colorado mountain locations and the miniature work seen in the spectacular train crash is also very good. Critics were anemic at best when it came to reviewing the film. The New York Times dismissed it as "a dinky prairie oyster" while a few other outlets at least acknowledged it was fun family entertainment. Mitchum would later say he regretted being in the film, stating ""How in hell did I get into this picture, anyway? I kept reading in the papers that I was going to do it, but when they sent me the script I just tossed it on the heap with the rest of them. But somehow, one Monday morning, here I was. How in hell do these things happen to a man?"

The Warner Archive region-free DVD features the original trailer (which gives away some spoilers) and a lengthy featurette which covers the making of the film in the small railroad town of Chama, New Mexico through the eyes of a local young boy who gets to meet the stars and director and appear as an extra in the film.

"The Good Guys and the Bad Guys"  didn't rank high on the list of career achievements for anyone involved in it but it provides enough fun moments to merit recommending.

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Cinema Retro has received the following press release: TCM To Celebrate Legendary Musical Actress Jane Powell Turner Classic Movies (TCM) will celebrate the life and career of iconic Hollywood Golden Age actress Jane Powell with a programming tribute on Saturday, October 16. Powell, who passed away on September 16 at the age of 92, was known for her roles in mid-century movie musicals. At the age of 25 she starred in Seven Brides for Seven Brothers (1954), named as one of the greatest American musicals of all time by the American Film Institute. Powell was a great friend of the late TCM Host Robert Osborne and was with Osborne in Times Square when Turner Classic Movies was launched as a network in 1994. The following is the complete schedule for TCM's on-air tribute to Jane Powell: TCM Remembers Jane Powell – Saturday, October 16 12:00 p.m. Luxury Liner (1948) – The daughter of a ship's captain becomes a sea-going cupid. 2:00 p.m. Small Town Girl (1953) – A sheriff's daughter falls for a playboy arrested for speeding. 4:00 p.m. Royal Wedding (1951) – A brother-and-sister musical team find romance when they tour to London for Elizabeth II's wedding. 6:00 p.m. Seven Brides for Seven Brothers (1954) – When their older brother marries, six lumberjacks decide it's time to go courting for themselves. (All times Eastern)

Here's a rarity: a behind-the-scenes production featurette for director Gordon Douglas's terrific 1966 remake of the John Ford classic "Stagecoach". There are some interesting views of the all-star cast including Van Heflin, who provides the narration for the featurette. You'll also see legendary American artist Norman Rockwell on the set, as he was enlisted to provide cast member paintings for the marketing campaign.

Blast from the past: here are some of the films playing in Canadian theaters in 1966. Whatta lineup: "The Silencers", "Our Man Flint", "The Sound of Music"....those were the days!

BY EVE GOLDBERG

The Twelve Lives of Alfred Hitchcock is not a traditional biography; it’s not even chronological. Instead, the book is a multi-themed, multi-layered exploration of the relationship between Hitchcock’s personality and his art. Each of the twelve chapters looks at the man and his films through a different lens: The Boy Who Couldn’t Grow Up, The Murderer, The Auteur, The Womanizer, The Fat Man, and so on.

White’s take on Hitchcock feels very contemporary. No punches are pulled when it comes to his treatment and abuse of the actresses in his movies, or his issues around gender, sexuality and body image. On the other hand, the tone of the book is even-handed; it’s neither hagiography nor tear-down, but rather a clear-eyed look at a fascinating filmmaker who has given the world a treasure-trove of complicated, entertaining films.

If you’re like me—intrigued by the creative process, interested in how and why films are made— this book is for you!

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Cinema Retro has received the following press release: Elvira’s back and she’s fabulous! On October 5, 2021, Scream Factory proudly presents the camp classic Elvira’s Haunted Hills from the iconic horror host in a Collector’s Edition Blu-ray release. The Blu-ray features a brand-new 4K scan of the original camera negative and comes loaded with bonus features including a new introduction by Elvira, Mistress of the Dark, all housed within limited-edition collectible slipcase packaging, while supplies last. Fans who order their copies from shoutfactory.com will also receive an exclusive poster featuring brand-new artwork, while supplies last.   With her voluptuous figure, voluminous black hair and hilarious one-liners, the essence of camp oozes from her pores. Elvira’s Haunted Hills culls its outrageousness from the classic Vincent Price/Edgar Allan Poe/Roger Corman films of the early 60s, along with a little Rocky Horror Picture Show and Fearless Vampire Killers. The tale begins in 1851, when Elvira and her maid Zou Zou are en route to perform in the Parisian Revue “Yes I Can Can,” but inadvertently end up at the sinister Lord Vladimere Hellsubus’ medieval castle. Bearing an uncanny resemblance to Vladimere’s long-dead wife, Elvira learns of the Hellsubus curse and finds her life in danger. Will she escape the family curse and the evil Vladimere? And can she keep her hands off of the stable hand long enough to save the day? Special Features: NEW Restoration from a 4K Scan of the Original Camera Negative NEW Introduction by Elvira, Mistress Of The Dark Audio Commentary with Actors Cassandra Peterson, Mary Scheer, Mary Jo Smith And Scott Atkinson, and Director Sam Irvin Making-Of Featurette “Transylvania Or Bust” Featurette Elvira in Romania Featurette Interview with Actor Richard O’Brien Outtakes Photo Gallery CLICK HERE TO ORDER FROM AMAZON

Cinema Retro has received the following press release:

LONDON, 16^th September 2021 â€“ Eon Productions, MGM Studios and Universal Pictures International are delighted to announce the World Premiere of No Time To Die on 28^th September, at the Royal Albert Hall in London, will be attended by the film’s leading actors Daniel Craig, Rami Malek, Léa Seydoux, Lashana Lynch, Ben Whishaw, Naomie Harris, Jeffrey Wright, Rory Kinnear, Ana de Armas, David Dencik and Dali Benssalah. The cast will be joined on the red carpet at the Royal Albert Hall by director Cary Joji Fukunaga, producers Michael G. Wilson and Barbara Broccoli, screenwriters Neal Purvis, Robert Wade and Phoebe Waller-Bridge, composer Hans Zimmer, and “No Time To Die” performers Billie Eilish and Finneas O’Connell.

The event will lead a series of premieres in 57 cities across the globe, including 10 in the UK and Ireland to which health care workers will be invited as special guests in celebration and gratitude of their extraordinary work during the pandemic.

The World Premiere will benefit charities supporting serving and former members of the three intelligence agencies (the Secret Intelligence Service, the Security Service and GCHQ). The evening will also assist charities supporting past and present members of the United Kingdom Special Forces. 

At the Royal Albert Hall in London, there will be viewing areas on the red carpet for invited health care workers and members of the armed forces. They will join the cast and other guests inside to watch the film.

Please note there is no public access on the day to the red carpet or viewing areas. Highlights from the event will be available to view via the official 007 social media channels. A limited number of tickets have been made available for public purchase via the Royal Albert Hall website. (Note: The Royal Albert Hall web site indicates the public allocation of tickets has sold out.)

Following the World Premiere, No Time To Die will release in the UK and Ireland from 30^th September 2021 through Universal Pictures International and in the U.S on 8^th October through MGM via their United Artists Releasing banner.

BY LEE PFEIFFER

If you're like most retro movie lovers, you're addicted to some degree to tuning into Turner Classic Movies. TCM fans are also fans of the knowledgeable team of hosts and one of the most prominent is Eddie Muller, the network's "go to" guy for all things relating to the Film Noir genre. In fact, Muller has become synonymous with noir largely due to his informative and stylish segments that bookend the telecasts of the films he introduces. Muller has released a new edition of his acclaimed book "Dark City" through TCM and Running Press publishers. The book has been indispensable over the last twenty years for Noir fans. Having been suitably impressed by a review copy I had received, I thought it would be appropriate to reach out to Muller and get insights on the Noir genre, the Film Noir Foundation, which he founded,  TCM and, of course, "Dark City".

At what point in your life did you discover the Film Noir genre and was there a specific film that especially influenced you?

In my early teens I became aware that there was a similarly shadowy, sexy, and sinister look to Hollywood movies of a particular time. I picked them out of TV Guide by looking for the words Night, Big, City and Street in the titles. I’m surprised no studio made a picture called “Big City Street at Night.” “Thieves’ Highway” (1949) put the hook in because it was set in my hometown, San Francisco.

The constant debate question concerns what defines Film Noir. The "rules" seem rather fluid. From your perspective, what are the essential ingredients?

The protagonist isn’t a hero. He or she wants something they can’t have and they’ll compromise themselves to get it. That’s the premise for lots of drama, but in noir that usually means committing a crime. That’s looking at it thematically. Stylistically, it’s the look: a largely nocturnal, sinister world. Alluring but dangerous. The look of classic noir inspired filmmakers just as Impressionism or Cubism influenced painters at a certain time.

There have been many films in the modern era that have elements of Film Noir: the Philip Marlowe movies with Robert Mitchum, "Chinatown," "Body Heat," "Mulholland Drive," etc....can any of these be considered to be Film Noir- and if not, why?

Since I’m a writer, I first look at things from that perspective, so to me noir extends beyond the boundaries of the visually oriented movement. I’m always intrigued by its influence on a later generation of filmmakers, like Scorsese, Schrader, Lynch, the Coens, Chris Nolan—and dozens of lesser known filmmakers who get into the game by trying their hand at a noir—because they are by nature so minimalist. They can be made on a shoestring. To me, there is the film noir movement, generally 1941-1952 (when Hollywood was pumping out dozens every year) and then there’s just Noir—which to me denotes a particularly dark and dire kind of crime story in which survival is probably the best you can hope for.

Explain why cinematography plays such an important element in the Noir genre.

Because that’s what gave the films such a distinctive look. That’s why it’s an “artistic movement.” There was no inherent reason the films had to look like this. Most Hollywood trends are driven by economics—this one was driven by the artists, doing things they found fresh and compelling.

How did you decide on what films and stars to concentrate on for your book "Dark City"?

The core idea was that “Dark City” was an actual place. I was inspired by these being contemporary films at the time they were made and taken together they presented a coherent vision of a mythological American city—one that was the complete antithesis of what the establishment wanted us to believe. So I divided this city into neighborhoods that reflected essential subsets of the “genre.” That meant leaving out some favorites, Gothic noirs like “Hangover Square” and “The Suspect.” But with this revised and expanded version I got to include a few chapters I’d had to leave out of the original release—The City Desk (newspaper noirs), The Big House (prison noirs) and The Stage Door (show biz noir).

Who is your favorite Noir actor and actress and why?

I feel obligated to say Humphrey Bogart because his persona was so essential to the public’s acceptance of the noir anti-hero. He’s the guy who made darker stories and more cynical characters palatable to the public. Honorable mention to Robert Mitchum. And Dana Andrews. And Robert Ryan … the list is long. Easier with the actress: Gloria Grahame. She was totally unique—funny and dangerous and vulnerable and tough as nails. I love Claire Trevor, Marie Windsor, Jane Greer, Audrey Totter … an equally long list, I guess. But Gloria was one-of-a-kind.

What is your favorite Noir film and why?

“In a Lonely Place.” Because it stars Bogart and Gloria Grahame, their only film together. And it’s the most adult movie I’ve ever seen from the period. Its more than a crime movie; it says profound things about the psyche of artists and about painful relationships between men and women.

What are the most underrated Noir films and who would say are the most underappreciated stars?

“Criss Cross” (1949) is probably the most underrated. Robert Siodmak is my favorite director of noir and I think this is his masterpiece, even better than “The Killers” (1946). Another is “99 River Street,” which is like a 1950s pulp paperback come to life. The film is not profound or particularly meaningful in any way, but if you love crime movies it fires on all cylinders. So I might as well cite its star, John Payne, as one of the most underrated performers in noir. I don’t think he’s a great actor, but he understood this kind of material and worked within it perfectly. He’s also great in “Kansas City Confidential.”

Do you think the films would have benefited if they had not been subjected to the Production Code? For example, there always had to be a prevailing message that crime doesn't pay and the sex scenes had to be compromised.

I actually think the Code was beneficial to creativity, if artists were sharp and had their wits about them. Writers like Dalton Trumbo were geniuses are writing “around” the Code—look at “Gun Crazy,” as sex-charged and amoral a movie as was ever made in this country, right under the nose of the censors. I don’t belief in censorship, but I do believe in restraint and good taste. It pains me that today it’s so hard to for filmmakers to do things tastefully. But maybe its just because we’ve become a distasteful culture.

Please describe how this updated edition of "Dark City" differs from the previous edition.

I’ve added three new chapters and included lots of material that was unavailable to me 20-some years ago. In a nutshell, I’d say this edition is more “wised up” than the previous one. And the package itself is exceptional. Running Press, the publisher, did right by me, enhancing my original design concepts and ensuring that the book had maximum visual allure.

How did you get involved with TCM?

Somewhere along the line they heard me say, “Film noir is the gateway drug to classic cinema.” And they saw first-hand how many young people were drawn to the noir film festivals I stage around the country. Being able to entice younger viewers into the fold is essential to the survivial of these films. TCM felt I could help do that for the network.

Please let our readers know about the Film Noir Foundation.

The Film Noir Foundation was created in 2005 to find, rescue and restore noir films that were in danger of being lost. Typically, that means independently financed films distributed but not owned by the major studios. Restorationists call them “orphaned films.” So far we’ve restored or preserved more than 30 titles, with more to come. It was born out of the financial success of the Noir City film festivals I produce. I couldn’t justify keeping all that profit for myself. Since the films had given me so much, I decided to give something back to those filmmakers by making sure their work survived. Many of the films we’ve rescued, “Woman on the Run,” “Too Late for Tears,” “The Prowler,” “Trapped”—are now included in the narrative of “Dark City: The Lost World of Film Noir.” The world may be lost, but not the films.

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(Thanks to Taryn Jacobs of TCM for helping to arrange this interview.)

BY TODD GARBARINI

Although Yves Boisset’s 1972 French political thriller The French Conspiracy boasts an international cast of heavyweight actors, the film moves at a snail’s pace and is chock full of schematic dialog and little in the way of the suspense promised in the ads. The film opened on Wednesday, November 14, 1973 at the long-gone 68^th Street Playhouse and The Eastside Cinema, both in Manhattan, and on Tuesday, December 25, 1973 at the ABC Century City Theatre 2 in Los Angeles. My guess is that this film, originally titled L’Attentat which translates to The Assassination in English, was so named in the hopes of capitalizing on the success of Constantin Costa-Gavras’s Z (1969 and winner of the Oscar for Best Foreign Language Film and also nominated for Best Picture) and William Friedkin’s highly lauded The French Connection (1971 and winner of the Oscar for Best Picture). In contrast, both of those films were riveting and shot in a documentary style. The French Conspiracy has so many characters and so much exposition that one can only wonder what film Judith Crist saw when she proclaimed it as “one of the best post ‘Z’ political thrillers to come our way” in her New York Magazine review of the film. The convoluted plot, penned by screenwriter Jorge Semprún of Z and L’Aveu/The Confession (1970, also directed by Constantin Costa-Gavras) fame, is based upon the true-life events of the October 29, 1965 “disappearance” of Moroccan left-wing politician Mehdi Ben Barka who, as finally explained in a 2018 book, was kidnapped by Israeli intelligence operatives and killed by Moroccan agents and French police. Pretty awful!

In the film, Sadiel (Gian Maria Volontè of A Fistful of Dollars (1964) and For a Few Dollars More (1965) fame) is a Geneva-exiled Organisation Armée Secrète (OAS) terrorist originally from Algeria who is returning to France. This fact grabs the attention of the French Secret Service, the Central Intelligence Agency, and a dictator named Kassar (Michel Piccoli from Jean-Luc Godard’s Le mépris/Contempt (1963) who also wants Saidel dead. François Darien (Jean-Louis Trintignant from the aforementioned Z and Bernardo Bertolucci’s The Conformist (1970) is a French journalist, allegedly an informer during the Algerian War, who has been blackmailed by these two organizations into luring Saidel back to Paris under the guise of being given the chance to speak openly on television. The actual goal concerns Saidel being assassinated, a plan that Darien learns of early on. He tries to avoid the assassins and blow the whistle publicly. Another journalist, Michael Howard (Roy Schieder of The French Connection), learns of the double-cross, too, but is warned by the CIA not to interfere – though he may even be a member of the CIA. In films like this, no one is to be trusted. The CIA does their best to tie up any loose ends by the film’s conclusion but by that point, we are just grateful that the film has finally come to an end.

The French Conspiracy is not a terrible film, it’s just not a particularly good film either, which is a shame considering the presence of Jean Seberg (Jean-Luc Godard’s À Bout de Souffle/Breathless, 1960), Bruno Cremer (William Friedkin’s Sorcerer, 1977), and Phillipe Noiret (Giuseppe Tornatore’s Cinema Paradiso, 1988), in addition to the main cast who have all appeared in films that I have loved over the past few decades. Composer Ennio Morricone, who was also scoring Dario Argento’s first three films at this time, does what he can to lift the action, however there isn’t much of it to be lifted. Ninety-four minutes into it there is a foot chase that fizzles out, which is a shame as by this point the audience is pleading for the men to do anything except sit, stand, walk around, and talk.

The film is now available on Blu-ray courtesy of Code Red and released by Kino Lorber and the transfers are beautiful. I say transfers, plural, as there are two separate versions of the film on the dual-layered Blu-ray. There is an English dubbed cut that runs 98 minutes in length and a longer French-spoken with English subtitles version that runs 123 minutes. The film is a lot to take in, especially with the additional 25 minutes. The 123-minute cut with subtitles is the version that played here in the States theatrically, so perhaps the 98-minute cut played in Great Britain, or on television? The longer cut features Roy Schieder in a total of four scenes whereas the shorter version features him in only two.

Unfortunately, there are no extras on the disc, except for a trailers section consisting of The Hunter Will Get You (1976), And Hope to Die (1972), Max and the Junkmen (1971), Last Embrace (1978), Caravan to Vaccares (1974), The Eiger Sanction (1975), The Tamarind Seed (1974), OSS 117: Mission for a Killer (1965), The Violent Professionals (1973) and Puppet on a Chain (1970). I would have loved a film historian’s commentary to explain the movie’s conception and behind-the-scenes tidbits, but perhaps there just wasn’t enough time to include it. If you’re somehow a fan of this film, this Blu-ray is a definite purchase.

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“THE WORLDS OF DARKNESS AND LIGHT”

By Raymond Benson

The year 1951 was an exceptional one for movies, among them Best Picture Oscar winner An American in Paris; the classic drama A Streetcar Named Desire; two of the best science fiction pictures ever made—The Day the Earth Stood Still and The Thing from Another World; the Bogart and Hepburn adventure, The African Queen; the historical epic Quo Vadis; plus Decision Before Dawn, Death of a Salesman, Detective Story… and that’s counting only Hollywood titles.

And then there is A Place in the Sun, George Stevens’ adaptation of Theodore Dreiser’s 1925 novel, An American Tragedy. The film managed to win the Oscars for Best Director (Stevens), Screenplay, Black and White Cinematography (William C. Mellor), Black and White Costume Design (Edith Head), Film Editing, and Scoring (Franz Waxman). Montgomery Clift and Shelley Winters were both nominated for Actor and Actress, respectively, and the production was nominated for Best Picture.

Interestingly, A Place in the Sun was a remake of the 1931 picture An American Tragedy, which was directed by Josef von Sternberg. Since this earlier adaptation received mixed reactions from audiences and critics alike, the original novel was ripe to be re-envisioned and remade for the post-war crowd.

Paramount Presents has issued a new digital restoration on Blu-ray that emphasizes the importance and acclaim A Place in the Sun received at the time. It is still a beloved motion picture today, albeit being a little creaky around the edges. Yes, the film might be considered “dated” in the year 2021 in terms of style and presentation, seventy years after its release, but what it has to say is still relevant to our contemporary world.

George Eastman (Clift) is from the black sheep side of the wealthy, prosperous Eastman family in an unnamed town. He has hitchhiked from Chicago, where his widowed mother runs a low-rent religious charity outfit. We never learn what exactly caused the estrangement of George’s father from rich industrialist Charles Eastman (Herbert Heyes). George is considered by the Eastmans to be from the “wrong side of the tracks.” In other words, he’s not in the same social class. Nevertheless, patriarch Eastman gives George a job in his textile mill, first in the menial labor area. Here, George meets plain-Jane Alice (Winters, playing, at that time, against the type established by her previous work as a sexpot). They begin to date, despite company rules against employees doing so. One thing leads to another, and Alice becomes pregnant. In the meantime, George has become smitten with Angela Vickers (Elizabeth Taylor, who was only 17 when she made the picture!). The Vickers are the other wealthy family in town, and there are often high society pages written about both families. After meeting at an Eastman party, George and Angela begin to date, leaving poor Alice high and dry. George is not only in love with the beautiful and lively Angela, but he sees this as an opportunity to lift himself out of the lower class in which he has lived and into the more prosperous “place in the sun” enjoyed by the white, privileged elite in America. Alice will not stand for George abandoning her, so she gives him the “marry me or else” ultimatum. What happens next is indeed an “American tragedy,” and to reveal all would be a spoiler.

This is not a feel good movie. Whether we’re supposed to feel sorry for George is beside the point of the picture, though. In 1951, audiences perhaps did empathize with him for the predicament in which he finds himself in the last act. Today? Likely not so much. He certainly makes some very bad decisions which bring about his downfall. Is he a victim of his own classlessness, or is he just a cad?

Therein lies the message of the movie, which is indeed an exploration of the dichotomy between America’s working class and the wealthy elite. When bad things happen to the poor, it can be devastating, whereas the rich can usually buy their way out of trouble. Nothing has changed.

Stevens’ direction is masterful. If the performances on display are a result of the director, then Stevens deserved his Oscar. Clift was still a relative newcomer on the scene at the time and displays the smoldering angst of “the Method” acting style that was just becoming a thing on screen. It is said numerous times throughout the various supplemental material on the Blu-ray disk that A Place in the Sun was Elizabeth Taylor’s first “real role” in which she could exhibit her chops after a career as a child actor. She is marvelous as Angela, and her screen charisma is astonishingly striking. Winters, in the role of dowdy Alice, also makes a big impression; however, one might argue that her part is not a lead, but rather a supporting one.

Aside from the acting, the direction is evident in the pacing and moods established by the picture. Takes are long and meticulous, the crossfades are protracted and bordering laborious, and the music underscore is often melodramatically over the top. And yet, all these rather dated sensibilities work in the film’s favor. A Place in the Sun is an emotionally devastating picture, and its power is due to Stevens.

William Mellor’s cinematography is extremely important to the representation of the movie’s themes. All the scenes in Angela’s world are brightly lit, sunshiny, full of life and joy. By contrast, most of the sequences in Alice’s world are dark—very dark—full of shadow and drabness. Two classes. Light and dark. Life and death.

The Blu-ray transfer from a 4K remaster looks marvelous. It comes with an informative audio commentary by George Stevens Jr. and associate producer Ivan Moffat. The enjoyable supplements (ported over from previous home video releases) are a “Filmmaker Focus” on George Stevens from film critic and historian Leonard Maltin; a good featurette on Stevens’ making of the film; and a very welcome collection of “Filmmakers Who Knew Him” AFI interviews about Stevens from the likes of Frank Capra, Warren Beatty, Fred Zinnemann, Joseph L. Mankiewicz, Alan J. Pakula, Robert Wise, and others. Theatrical trailers round out the package.

A Place in the Sun has earned its place in cinematic history. Highly recommended for a look back at the barometer of morality that existed in America in the early 1950s.

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Relish this scene from the 1973 Best Picture Oscar winner, "The Sting" featuring Paul Newman and Robert Shaw at their best.

Order "The Sting" 4K Ultra Hi Defintion Special Edition from Amazon by clicking here.

Cinema Retro has received the following press release:

No Time To Die: The Official James Bond Podcast is a new and exclusive podcast hosted by James King. The six-part series features exclusive interviews with Daniel Craig, Rami Malek, Léa Seydoux, Lashana Lynch, Jeffrey Wright, Naomie Harris, director Cary Joji Fukunaga, producers Michael G. Wilson and Barbara Broccoli, Billie Eilish and Finneas O’Connell and a host of key behind the scenes crew including the franchise’s longstanding casting director Debbie McWilliams and special effects supervisor Chris Corbould.

Each episode focuses on a different aspect of the James Bond universe, from characters to locations and music to action. Daniel Craig also discusses landing the iconic role, and the release of his final outing as the world’s favourite secret agent.

Podcast listeners will get an exclusive first listen to some of the No Time To Die score from Hans Zimmer by Decca Records.

No Time To Die: The Official James Bond Podcast is produced by Somethin’ Else in association with Metro Goldwyn Mayer Studios, Universal Pictures International, United Artists Releasing and EON Productions.

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We always get a laugh out of the "conventional wisdom" that the Western film genre was all but dead in the 1970s. In fact, the decade produced some great Westerns including Clint Eastwood's hit "The Outlaw Josey Wales", which boasted a great score, impressive locations and a terrific supporting cast. Here is the original theatrical trailer. 

It's going to be Double-0-Heaven for James Bond films with announcements coming fast and furious in the lead-up to the release of "No Time to Die". Here is the latest announcement:

Leica Announces Bond Partnership

007 Edition camera and exhibition to celebrate new film

Leica Camera has announced a new Leica Q2 ‘007 Edition’ to celebrate the release of No Time To Die. Limited to 250 pieces only, the special edition Leica Q2 features the iconic 007 logo on the top plate and the famous Bond gun barrel design on the lens cap. Each limited-edition camera will be individually numbered and comes in a customised and handcrafted case designed by the British luxury suitcase brand Globe-Trotter.

The concept of a Leica x 007 partnership began with producer Michael G. Wilson. Wilson is a leading expert on 19th century photography and founded The Wilson Centre for Photography, his passion for photography provided the natural spark for the collaboration. In No Time To Die, Leica worked with the 007 production team to display Leica cameras on the sets of Bond’s Jamaican home, and fittingly the ‘Leica Q2’ in Q’s home in London. Off-screen, Michael G. Wilson has curated an exclusive photography exhibition featuring behind-the-scenes photographs shot on Leica cameras by Michael G. Wilson, Daniel Craig, and No Time To Die photographers Nicola Dove and Greg Williams.

The Leica Q2 ‘007 Edition’ will launch on September 9, 2021 at the official opening of Leica Gallery London’s exhibition: No Time To Die – Behind the Scenes.

The Leica Q2 ‘007 Edition’ will be available to purchase online and in-store.

See No Time To Die in cinemas from September 30.

For more on the exhibition in London, click here.

Cinema Retro has received the following press release regarding the opening of the "Bond in Motion" automotive exhibition, which will be opening on September 25 and running through October 22, 2022 at the Petersen Automotive Museum in Los Angeles:

Produced in collaboration with EON Productions and The Ian Fleming(TM) Foundation, Bond in Motion is the first official exhibition in the United States to feature original vehicles from one of the world’s most iconic film franchises, James Bond. This exhibit celebrates the 60th anniversary of the franchise since the release of Dr. No (1962).

With the publication of his first spy novel, Casino Royale (1953), author and former naval intelligence officer Ian Fleming introduced the world to the enchanting exploits of James Bond, a British officer in the Secret Intelligence Service, also known as MI6. In all, Fleming would produce twelve novels and two short stories, laying the foundation for what would become a global literary and cinematic legacy.

Beginning in 1962, with the movie adaptation of Fleming’s sixth title, Dr. No, the exciting and dangerous world of James Bond was translated to screen, setting the tone for Bond films to come. Much like the novels on which they are based, Bond films combine the adventure of exotic locations and scheming villains with the action of death-defying stunts, and heart-pounding chases in nearly every type of vehicle imaginable. Often modified by quartermaster “Q,” these vehicles, much like Bond himself, conceal their true nature until their weapons and gadgetry become important plot devices.

The Bond in Motion exhibit offers visitors a rare up-close experience of the most iconic vehicles associated with the world’s most famous secret agent, 007.

Click here for more information.

Cinema Retro has received the following press release:

Newly Restored and Remastered for Its 40^th Anniversary, Director Milos Forman’s Acclaimed Drama is Latest Addition to the Paramount Presents Line

Debuting November 16, 2021, Limited-Edition Two-Disc Blu-ray^™ Includes Newly Discovered Director’s Cut Workprint, Deleted & Extended Scenes, and a New Look Back at the Film

Oscar®-winning^* director Milos Forman’s cinematic epic RAGTIME arrives for its 40^th anniversary in a Limited-Edition two-disc Blu-ray as part of the Paramount Presents line on November 16, 2021 from Paramount Home Entertainment.  The film was originally released on November 20, 1981.

Based on E.L. Doctorow’s best-selling novel, RAGTIME tells an unforgettable story of disparate characters in New York City in the early 1900s.   From the emerging New York suburb of New Rochelle to the flashy spectacle of Atlantic City, a family faces racial tensions, scandals, and violence that will test everything they believe in.  With music by Randy Newman, the film features a spectacular cast including James Cagney, Brad Dourif, Moses Gunn, Elizabeth McGovern, Kenneth McMillan, Pat O’Brien, Donald O’Connor, James Olson, Mandy Patinkin, Howard E. Rollins, Jr., Mary Steenburgen, Debbie Allen, Jeff Daniels, Fran Drescher, Samuel L. Jackson, Norman Mailer, John Ratzenberger.

RAGTIME has been remastered from a 4K film transfer and is presented in collectible packaging featuring a foldout image of the film’s theatrical poster and an interior spread with key movie moments.  The two-disc Blu-ray includes a newly discovered director’s cut workprint version of the film (along with the theatrical version), deleted and extended scenes, a look back at RAGTIME with Larry Karaszewski and screenwriter Michael Weller, access to a Digital copy of the theatrical version, and the additional legacy bonus content detailed below:

Disc 1

·         Newly remastered theatrical version

·         Deleted and Extended Scenes—NEW!

·         Ragtime Revisited: A Conversation with Larry Karaszewski and screenwriter Michael Weller on Ragtime—NEW!

·         Commentary by director Milos Forman and executive producer Michael Hausman

·         Deleted Scene

·         Remembering Ragtime

Disc 2

·         Director’s Cut Workprint—NEW!

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, The Court Jester, Love Story, Elizabethtown, The Greatest Show on Earth, Mommie Dearest, Last Train From Gun Hill, 48 HRS., Another 48 HRS., Almost Famous, A Place in the Sun, Nashville, Bugsy Malone, Breakdown, The Sheik and Vanilla Sky.

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Here's a real rarity from some years ago: an officially licensed Steve McQueen Virgil Hilts action figure sold only in Japan back in the 90s. The Great Escape packaging is enough to make a collecting nerd out of any retro movie fan, especially when you throw in the optional U.S Army jacket patterned after the one McQueen wore in the film. The bad news: these figures sell for hundreds of dollars whenever they periodically show up on the collector's circuit. Now if they'd only make that Donald Pleasence companion figure! (Image from UK-based Metropolis Toys, which has a cool catalog of toys based on classic TV shows and movies)

Cinema Retro has received the following press release from Paramount Home Video:

“Crocodile Dundee” Trilogy: Together for the First Time on Blu-ray, Fan-Favorite Trilogy Debuts September 21, 2021

Say g’day to Michael J. “Crocodile” Dundee (Paul Hogan), the eccentric Australian crocodile hunter who won the hearts of fans around the globe when he made his feature film debut in “Crocodile” Dundee, which celebrates its 35^th anniversary this year.  Originally released on September 26, 1986, the film earned over $328 million worldwide and spawned two sequels: “Crocodile” Dundee II and “Crocodile” Dundee in Los Angeles.   Now, all three films will be available together in one Blu-ray collection when the “CROCODILE” DUNDEE TRILOGY debuts September 21, 2021 from Paramount Home Entertainment.

The “CROCODILE” DUNDEE TRILOGY includes all three films in high definition, along with access to digital copies of each:

“Crocodile” Dundee

Paul Hogan's hilarious, endearing performance made "Crocodile" Dundee the #1 comedy at the U.S. box office in 1986, surpassed only by Top Gun in ticket sales.  Michael J. "Crocodile" Dundee (Hogan) is a free spirited Australian who hunts crocodiles with his bare hands, stares down giant water buffaloes, and drinks mere mortals under the table. But he's about to face the ultimate torture test—a trip to New York City.  The Blu-ray also includes the theatrical trailer in HD.

“Crocodile” Dundee II

Just as the eccentric Australian is starting to adjust to life in New York City, Dundee (Paul Hogan) and his girlfriend (Linda Kozlowski) are targeted by a gang of ruthless drug dealers. Dundee evens the odds by leading the big-city hoods into the treacherous Australian outback.  The Blu-ray includes a previously released behind-the-scenes featurette in standard definition and the theatrical trailer in HD.

“Crocodile” Dundee In Los Angeles

He's wrestled crocodiles Down Under and fought crime in New York, but can Michael J. "Crocodile" Dundee swim with the sharks in L.A.?  Paul Hogan returns as “Crocodile” Dundee in this hilarious third installment of the beloved film series, making its Blu-ray debut.  The disc also includes a previously released “Making of” featurette and the theatrical trailer in standard definition.

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BY LEE PFEIFFER

International screen icon Jean-Paul Belmondo has died at the age of 88. The French star was one of the major influences in terms of popularizing anti-heroes on screen. His somewhat shaggy, rough-hewn look was at odds with traditional screen leading men. Belmondo was not handsome in the traditional sense, nor did he specialize in playing erudite, sophisticated characters. He excelled  in playing the common man who was often caught up in extraordinary situations. Belmondo had flirted with being a boxer in his youth before gravitating to acting at the precise time French cinema's "New Wave" was taking the world by storm, led by directors and actors who would revolutionize world cinema. After appearing in numerous French films in the late 1950s, he became a sensation with his leading role in director Jean-Luc Godard's 1960 crime classic "Breathless". There would be no looking back. In the decades to come, Belmondo would be honored with countless film awards and saw his popularity extend to English-language cinema. He was well-versed in convincingly playing dramatic roles as well as light comedy. Belmondo was a real-life daredevil who insisted on performing many of his own stunts, perhaps most elaborately demonstrated in his 1960s spy spoof "That Man From Rio" in which he displayed a jaw-dropping ability to play dangerous scenes himself in the interest of making the film more realistic. Belmondo's reputation as a ladies man cost him his first marriage, which dissolved after he began an affair with Ursula Andress, with whom he starred in another French spy spoof "Up to His Ears" (1965) (aka "Chinese Adventures in China"). Andress would divorce her husband John Derek for Belmondo and their relationship lasted for years. In 2001, Belmondo suffered a stroke that left him partially paralyzed but the affliction did not stop him from continuing to appear on screen.

For more, click here.

Cinema Retro has received the following press release:

Celebrate the 25^th Anniversary of the Iconic Thriller,
Newly Remastered on 4K Ultra HD & Blu-ray^â„¢

Subversive Fan-Favorite Arrives October 19, 2021
with an All-New Look at the Film’s Impact and Legacy 

In celebration of its 25^th anniversary and just in time for Halloween, SCREAM will be released for the first time on 4K Ultra HD and in a newly remastered Blu-ray on October 19, 2021 from Paramount Home Entertainment.

25 years after its theatrical debut, SCREAM remains a wildly entertaining and terrifically terrifying cinematic experience.  Directed by Wes Craven and written by Kevin Williamson, the film is a brilliant deconstruction of the horror genre that pays homage to the conventions of slasher films while upending them with clever twists and witty dialogue.

The new  SCREAM 4K Ultra HD, Limited-Edition 4K Ultra HD SteelBook, and Blu-ray include a brand-new look back at the film and director Wes Craven, featuring archival behind-the-scenes footage and new interviews with stars Neve Campbell, Courteney Cox, and David Arquette, as well as screenwriter Kevin Williamson and the directors and other cast members from the new installment in the franchise scheduled to premiere in theaters in 2022 from Paramount Pictures and Spyglass Media Group.  The discs also include access to a Digital copy of the film and the legacy bonus content detailed below:

· A Bloody Legacy: Scream 25 Years Later— NEW!

· Audio commentary by director Wes Craven and writer Kevin Williamson

· Production featurette

· Behind the Scenes

• On the Scream Set
• Drew Barrymore

· Q&A with Cast and Crew

• What’s Your Favorite Scary Movie?
• Why are People so Fascinated by Horror Films?

Synopsis

After a series of mysterious deaths befalls their small town, an offbeat group of friends led by Sidney Prescott (Neve Campbell) becomes the target of a masked killer. As the body count rises, Sidney and her friends turn to the “rules” of horror films to help navigate the real-life terror they’re living in. The film also stars Courteney Cox, David Arquette, Skeet Ulrich, Matthew Lillard, Jamie Kennedy, Rose McGowan, and Drew Barrymore.

Fathom Events

In celebration of the 25^th anniversary, Fathom Events and Paramount Pictures will bring SCREAM back to select cinemas for a special two-day event on October 10 and 11.  Additional details will be announced separately.

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“A CAN OF SANDWORMS”

By Raymond Benson

In anticipation of the upcoming release of Denis Villeneuve’s remake, the excellent boutique label Arrow Video has issued a superb 2-disk Limited Edition package of David Lynch’s 1984 film, Dune. It comes in two versions—one in 4K Ultra HD, and the other in standard Blu-ray.

Filmmaker David Lynch today refuses to discuss Dune, which he made for producer Dino De Laurentiis (the actual producer was his daughter, Raffaella De Laurentiis) for a whopping $40-42 million. It was a colossal flop at the time, was critically reviled, and audiences didn’t care much for it either. However, over the years, Dune has gained a cult following and it assuredly has its share of defenders, including Frank Herbert, the author of the original 1965 novel.

The history of the production has long been a topic of discussion among film historians and cinephiles. Attempts to film the complex, epic science fiction tome began shortly after the book’s publication. Perhaps Alejandro Jodorowsky’s version has the most legendary status in Duneworld, but his vision never made it past some pre-production work. Producer Arthur P. Jacobs had his fingers in the sand at one time, and even Ridley Scott wanted to make the movie.

Laurentiis ended up with the rights, and he hired Lynch, fresh off the success of The Elephant Man (1980), to write and direct. Lynch had reportedly been offered the job to direct Return of the Jedi around the same time, but he chose to go with Dune. He has regretted it ever since, for he had no idea what a can of worms—er, sandworms—he was opening.

The challenge was to condense the complicated story into a feature-length film. The smart thing at the time would have been to create a television miniseries (as was done by others years later). Lynch’s first assembly after shooting wrapped was around four hours long (prior to post-production visual effects work), but the producer was required by the studio (Universal) to deliver a motion picture half that length. Lynch’s theatrical cut clocked in at two hours and seventeen minutes, and therein lies the problem with Dune.

Dune is a multi-hour story; there is simply no way to tell it in two hours and seventeen minutes. After the experience of making Dune, Lynch would forever insist on creative final cut on anything he would make.

To attempt to capsulize the story in a paragraph is absurd, but here goes. We’re in a universe where noble families residing on different planets vie for control of a desert world called Arrakis, or “Dune,” the source for the most valuable commodity in space—the spice “mélange,” which not only gives consumers the ability to foresee the future but also provides the Spacing Guild the power to “fold space,” i.e., achieve interplanetary travel in the blink of an eye. Paul Atreides (Kyle MacLachlan, in his first film role) is the son of Dune’s current custodian, Duke Leto (Jürgen Prochnow), and he may or may not be the “Kwisatz Haderach,” a super being who is more a less a messiah of an otherworldly religion. The emperor (José Ferrer) distrusts Leto and gives Baron Harkkonnen (Kenneth McMillan) the green light to attack House Atreides and kill Leto. Paul escapes the slaughter of his people and hides out with his mother, Lady Jessica (Francesca Annis) in the desert among the indigenous Fremen people and the gigantic sandworms that produce the spice. Will Paul become the Kwisatz Haderach, eliminate House Harkkonnen, and take back control of Dune? Only a spoiler will answer that.

So… despite the rather negative reputation Dune has, there is quite a lot to admire about it. Firstly, if one is a fan of David Lynch and his rather unique visual sensibilities, the picture is a feast of wonder, awe, and eye candy. No other movie looks like Dune. Hats off to production designer Anthony Masters who, with Lynch at the helm, created a fantastically grotesque and gorgeously macabre world in which the story takes place. It is part cyberpunk and Jules Verne and yet also very Lynchian in terms of the organically bizarre. Secondly, the cast is terrific. Besides the aforementioned actors named in the synopsis above, we also are treated to eccentric performances by Sean Young, Max von Sydow, Everitt McGill, Brad Dourif, Sting, Dean Stockwell, Linda Hunt, Virginia Madsen, Freddie Jones, Patrick Stewart, Richard Jordan, Paul Smith, Leonardo Cimino, Jack Nance, and many others. Thirdly, technical aspects are top-notch. The visual effects are wondrous and weird, and the cinematography by the great Freddie Francis is masterful. Fourthly, there is no question that the direction displays a command of style and mood that only Lynch can evoke. There is a poetry and melancholy and horror about the proceedings that is unquestionably Lynch’s doing.

Unfortunately, though, all this isn’t enough. Dune fails to engage an audience in its very heady tale that is meant to be as profound as it is visually scrumptious. Lynch was forced to cram important exposition and wholesale sequences into short monologues and dream sequences. It is understandable that those unfamiliar with the novel were completely bewildered by the movie (this reviewer was already well familiar with the book in 1984 and thus enjoyed the picture—to a point—more than most).

Still… for fans of David Lynch and Frank Herbert… Dune is worth seeing.

Arrow Video’s Limited Edition 2-disk package is impressive. The new 4K restoration of the movie itself looks spectacular, much improved over previous releases. It comes with an original uncompressed stereo audio and DTS-HD MA 5.1 surround sound, and optional English subtitles for the hearing impaired. Two new audio commentaries accompany the picture—one by film historian Paul M. Sammon, and another by Mike White of The Projection Booth podcast.

Supplements abound. A few are port-overs from previous home video releases, which include a 2003 documentary on the making of the film, and several featurettes on the technical aspects of the picture. Approximately fifteen minutes of deleted scenes, introduced by producer Raffaella De Laurentiis, are also repeated from an earlier Blu-ray release. Brand new supplements include an excellent feature on the score by Toto (and Brian Eno, for one track), featuring interviews with band members Steve Lukather and Steve Porcaro. A piece on Dune merchandising hosted by toy collector/producer Brian Stillman is interesting for the history of the misguided marketing campaign for a film that couldn’t possibly appeal to children. There is a new interview with makeup effects artist Giannetto de Rossi, and archive interviews with production coordinator Golda Offenheim, actor Paul Smith, and makeup effects artist Christopher Tucker. Destination Dune is a 1983 featurette used to promote the movie at conventions and publicity events. Theatrical trailers, TV spots, and an image gallery round out the disk supplements.

There are goodies, too! A 60-page booklet contains writings by Andrew Nette, Christian McCrea, and Charlie Brigden; a 1984 American Cinematographer interview with sound designer Alan Splet; excerpts from the book Lynch on Lynch; and a Dune terminology glossary. There’s a large fold-out double-sided poster featuring original and newly commissioned artwork by Dániel Taylor, as well as postcard-sized lobby card reproductions. The jewel case sports a reversible sleeve with the original artwork on one side and the new art by Taylor on the other.

No matter what one might think of David Lynch’s Dune, Arrow Video’s Limited Edition release is worth a revisit. Dune may have been a failure, but it is a puzzling, glorious, and fascinating piece of cinematic art that is one of a kind.

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Cinema Retro has received the following press release:

Celebrate the 55^th Anniversary of the Star Trek Franchise with the Debut of the First Four Films on 4K Ultra HD Blu-ray^â„¢

Newly Remastered Films will also be Available Individually on Blu-ray^â„¢

New Releases Arrive September 7, 2021

Just in time to commemorate the 55^th anniversary of the September 8, 1966 airing of the very first Star Trek episode, Paramount Home Entertainment will debut the following new releases for every fan’s collection on September 7, 2021:

STAR TREK: THE ORIGINAL 4 MOVIES 4K ULTRA HD/BLU-RAY COLLECTION

For the first time ever, experience the original four Star Trek films in stunning 4K Ultra HD.  Newly remastered from original elements for optimal picture quality, each film is presented with Dolby Vision^® and HDR-10.^*  This exceptional collection includes four Ultra HD discs, as well as four remastered Blu-ray discs with hours of previously released bonus content.  Star Trek: The Motion Picture, Star Trek II: The Wrath of Khan (both the theatrical and director’s cut), Star Trek III: The Search for Spock, and Star Trek IV: The Voyage Home are presented on both the 4K Ultra HD and Blu-ray Discs, along with access to digital copies of the theatrical version of each film.  A detailed list of the disc contents follows:

Star Trek: The Motion Picture 4K Ultra HD

· Isolated score in Dolby 2.0—NEW!

· Commentary by Michael & Denise Okuda, Judith & Garfield Reeves-Stevens and Daren Dochterman

Star Trek: The Motion Picture Blu-ray

· Isolated score in Dolby 2.0—NEW!

· Commentary by Michael & Denise Okuda, Judith & Garfield Reeves-Stevens and Daren Dochterman

· Library Computer (HD)

· Production

o The Longest Trek: Writing the Motion Picture (HD)

· The Star Trek Universe

o Special Star Trek Reunion (HD)

o Starfleet Academy SCISEC Brief 001: The Mystery Behind V’ger

· Deleted Scenes

· Storyboards

· Trailers (HD)

· TV Spots

Star Trek II: The Wrath of Khan 4K Ultra HD

· Commentary by Director Nicholas Meyer (Director's Cut and Theatrical Version)

· Commentary by Director Nicholas Meyer and Manny Coto (Theatrical Version)

Star Trek II: The Wrath of Khan Blu-ray

· Commentary by Director Nicholas Meyer (Director's Cut and Theatrical Version)

· Commentary by Director Nicholas Meyer and Manny Coto (Theatrical Version)

· Text Commentary by Michael and Denise Okuda (Director’s Cut)

· Library Computer (HD)

· The Genesis Effect: Engineering The Wrath of Khan

· Production

o Captain’s Log

o Designing Khan

o Original Interviews with William Shatner, Leonard Nimoy, DeForest Kelley, and Ricardo Montalbán

o Where No Man Has Gone Before: The Visual Effects of Star Trek II: The Wrath of Khan

o James Horner: Composing Genesis (HD)

· The Star Trek Universe

o Collecting Star Trek’s Movie Relics (HD)

o A Novel Approach

o Starfleet Academy SCISEC Brief 002: Mystery Behind Ceti Alpha VI (HD)

· Farewell

o A Tribute to Ricardo Montalbán (HD)

· Storyboards

· Theatrical Trailer (HD)

Star Trek III: The Search for Spock 4K Ultra HD

· Commentary by director Leonard Nimoy, writer/producer Harve Bennett, director of photography Charles Correll and Robin Curtis                                        

· Commentary by Ronald D. Moore and Michael Taylor

Star Trek III: The Search for Spock Blu-ray

· Commentary by director Leonard Nimoy, writer/producer Harve Bennett, director of photography Charles Correll and Robin Curtis                                        

· Commentary by Ronald D. Moore and Michael Taylor

· Library Computer (HD)

· Production

o Captain’s Log

o Terraforming and the Prime Directive

o Industry Light & Magic: The Visual Effects of Star Trek

o Spock: The Early Years (HD)

· The Star Trek Universe

o Space Docks and Birds of Prey

o Speaking Klingon

o Klingon and Vulcan Costumes

o Star Trek and the Science Fiction Museum and Hall of Fame (HD)

o Starfleet Academy SCISEC Brief 003: Mystery Behind the Vulcan Katra Transfer

· Photo Gallery

o Production

o The Movie

· Storyboards

· Theatrical Trailer (HD)

Star Trek IV: The Voyage Home 4K Ultra HD

·         Commentary by William Shatner and Leonard Nimoy

·         Commentary by Roberto Orci and Alex Kurtzman

Star Trek IV: The Voyage Home Blu-ray

·         Commentary by William Shatner and Leonard Nimoy

·         Commentary by Roberto Orci and Alex Kurtzman

·         Library Computer (HD)

·         Production

• Future’s Past: A Look Back
• On Location
• Dailies Deconstruction
• Below-the-Line: Sound Design
• Pavel Chekov’s Screen Moments (HD)
• The Star Trek Universe
• Time Travel: The Art of the Possible
• The Language of Whales
• A Vulcan Primer
• Kirk’s Women
• The Three-Picture Saga (HD)
• Star Trek for a Cause (HD)
• Starfleet Academy SCISEC Brief 004: The Whale Probe (HD)
• Visual Effects
• From Outer Space to the Ocean
• The Bird of Prey
• Original Interviews
• Leonard Nimoy
• William Shatner
• DeForest Kelley
• Tributes
• Roddenberry Scrapbook
• Featured Artist: Mark Lenard
• Production Gallery
• Storyboards
• Theatrical Trailer (HD)

STAR TREK: THE ORIGINAL 4 MOVIES ON BLU-RAY

Each of the original four Star Trek films will also be available individually on Blu-ray with the bonus content detailed above.  Newly remastered versions of Star Trek: The Motion Picture, Star Trek II: The Wrath of Khan (both the theatrical and director’s cut), Star Trek III: The Search for Spock, and Star Trek IV: The Voyage Home are presented in high definition along with digital copies of the theatrical version of each film.

FATHOM EVENTS

In addition, in celebration of the 55^th anniversary, Fathom Events and Paramount Pictures will bring Star Trek IV: The Voyage Home back to select cinemas for a special two-day event on August 19 and 22.  Additional details will be announced at a later date.

STAR TREK: THE MOTION PICTURE Synopsis

The U.S.S. Enterprise boldly debuted on the big screen with the cast of the original Star Trek series, including William Shatner, Leonard Nimoy, DeForest Kelley, George Takei, Nichelle Nichols, Walter Koenig, and James Doohan. When an unidentified alien intruder destroys three powerful Klingon cruisers, Captain James T. Kirk returns to the helm of a newly transformed U.S.S. Enterprise to take command. This is the original theatrical cut of the acclaimed adventure and features Jerry Goldsmith’s rousing iconic overture.

STAR TREK II: THE WRATH OF KHAN Synopsis

Including both the original theatrical and director’s cuts, Star Trek II: The Wrath of Khan is one of the most celebrated and essential chapters in Star Trek lore. On routine training maneuvers, Admiral James T. Kirk seems resigned that this may be the last space mission of his career. But an adversary from the past has returned with a vengeance. Aided by his exiled band of genetic supermen, Khan (Ricardo Montalbán)—brilliant renegade of 20th century Earth—has raided Space Station Regula One, stolen the top-secret device called Project Genesis, wrested control of another Federation starship, and now schemes to set a most deadly trap for his old enemy Kirk… with the threat of a universal Armageddon.

STAR TREK III: THE SEARCH FOR SPOCK Synopsis

Admiral Kirk's defeat of Khan and the creation of the Genesis planet are empty victories. Spock is dead and McCoy is inexplicably being driven insane. Then a surprise visit by Spock's father provides a startling revelation: McCoy is harboring Spock's living essence. Kirk attempts to steal the U.S.S. Enterprise and defy Starfleet's Genesis planet quarantine to search for his friend, but the Klingons are planning a deadly rendezvous.

STAR TREK IV: THE VOYAGE HOME Synopsis

When a mysterious alien power threatens the atmosphere of Earth in the 23^rd century, Kirk and his crew must time travel back to 1986 San Francisco to save mankind. Exploring this strange new world, they encounter punk rock, pizza and exact-change buses that are as alien as anything in the far reaches of the galaxy.

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REVIEW: "MERRILL'S MARAUDERS" (1962) STARRING JEFF CHANDLER; WARNER ARCHIVE BLU-RAY RELEASE

REVIEW: "MASQUERADE" (1965) STARRING CLIFF ROBERTSON; KINO LORBER BLU-RAY RELEASE