CNN is reporting that Paul Reubens, the comedy star who created the iconic Pee-Wee Herman character, has died from cancer at age 70. Reubens had been battling cancer for the last six years. He had pre-written a public statement to be read in anticipation of his death. In the statement, which was read on CNN, Reubens apologized to his fans for keeping his health crisis secret and encouraged the public to continue to fund cancer research. Reuben's show, "Pee-Wee's Playhouse" started off as a spoof of 1950s children's programs and had risque elements to it. However, when Reubens learned that children had gravitated to the show, he made the program more family-friendly. The character became so popular in the 1980s and 1990s that Reubens starred in big screen Pee-Wee Herman feature films.
Cinema Retro has received the following press release from The History Press:
Featuring a host of unpublished interviews, this is the first book to explore the greatest year in Hollywood's history - 1971
By anyone’s estimate 1971 was a great year for cinema. Has any other
year boasted such a mass of talented filmmakers plying their trade?
Polanski, Woody Allen, Spielberg, Kubrick, Peckinpah, Sergio Leone,
Robert Altman, George Lucas, Dario Argento, Nicolas Roeg and Ingmar
Bergman, among many others, were behind the camera, while the stars were
out in force, too. Clint Eastwood, Marlon Brando, Sean Connery, Michael
Caine, Al Pacino, Jane Fonda, Gene Hackman, Paul Newman, Raquel Welch,
Dustin Hoffman, Robert de Niro, Jack Nicholson, Steve McQueen and Warren
Beatty all had films come out in 1971.
This remarkable artistic
flowering that came from the ‘New Hollywood’ of the '70s was just
beginning in 1971. The old guard was fading away and the new guard was
taking over. With a decline in box office attendances by the end of the
'60s, along with a genuine inability to come up with a reliable
barometer of box office success, studio heads gave unprecedented freedom
to younger filmmakers to lead the way. Featuring interviews with some
of Hollywood's biggest names, bestselling author Robert Sellers explores
this landmark year in Hollywood and in Britain, when this new age was
at its freshest, and where the transfer of power was felt most
exhilaratingly.
It
was hyped to be another film like The Sting (1973)—a clever heist caper
in a period setting with charismatic actors, witty dialogue, and a lively,
comical tone. Michael Crichton had written a historical novel, The Great
Train Robbery (published in 1975), which was based on the true story of the
first train robbery in Britain. In 1855, Britain was engaged in the Crimean War
and a large amount of gold was shipped monthly from London to pay the troops. A
fellow named William Pierce and his accomplice Edward Agar planned the robbery
and pulled it off, much to the dismay of the British authorities.
Crichton
was keen on getting a film made based on his book, so he went ahead and wrote
the screenplay himself. He also changed the character names to Edward Pierce
and Robert Agar and added a lot more “fun” to the proceedings for a romp of a cinematic
experience. Dino De Laurentiis picked up the film rights and it wasn’t
difficult to get the thing financed and distributed by United Artists. Released
first in the U.K., the title was changed, oddly, to The First Great Train
Robbery. However, in the United States and rest of the world, the picture
bore the simpler title from the book, The Great Train Robbery.
Pierce
(Sean Connery) is a man-about-London with high society connections, but he’s
also a con man with his own cadre of pickpockets and small time crooks. Among
them is Agar (Donald Sutherland), who is adept at lock-picking and copying keys,
and Miriam (Lesley-Anne Down), who has the talent to assume several
personas—usually, though, that of sexy bait for unsuspecting victims. The bank
manager, Fowler (Malcolm Terris), has loose lips and reveals the secret about
the gold’s security on the train—the safes can be opened only with four
different keys, each carried by different people. Pierce sets about instigating
elaborate schemes to first obtain each individual key, making copies of them, and
then to infiltrate the train and snatch the gold. Every step of the way, Agar
pronounces, “That’s impossible!” to comical effect, only to follow Pierce’s
instructions to the letter, succeed, and move forward to the next challenge. To
reveal more would certainly be a spoiler!
The
movie is entertaining and good enough—but it’s not the equal of The Sting. Much of the
film’s strength comes from watching Connery in action in a role that is similar
to the certain suave operator we all associate with the actor, only he’s been
transported to 1855 England. Dressed in the height of fashion for the time,
Connery is charming, dapper, and looks marvelous. There are moments, though, in
which it seems that Connery isn’t totally comfortable in the role. This might
be due to weaknesses in the dialogue and direction, which sadly do not always rise
to the occasion. Sutherland is also winning, although his British accent goes
in and out throughout the movie. Perhaps the most engaging performer is Down,
an extremely attractive and talented actress who unfortunately didn’t retain the
early success of her appearances in the late 70s and early 80s.
The
cinematography (by Geoffrey Unsworth), along with the production and costume
designs, are all exquisite. However, despite winning an Edgar Allan Poe Award
from Mystery Writers of America for the screenplay, it is the dialogue which
causes one to wince at its over-the-top instances of risqué innuendo. The
direction, too, is of journeyman quality; the picture could have benefited from
a Nicholas Meyer or even a Spielberg. That said, Connery allegedly performed
the top-of-the-train stunts himself, which, given that revelation, is
surprising. While not in the same league as top-of-the-train stunts today (i.e.,
Skyfall, Indiana Jones and the Dial of Destiny, Mission:
Impossible—Dead Reckoning, Part One), for 1978 the stunt work is
impressive.
Kino
Lorber has issued a new Blu-ray disk that looks gorgeous and contains an archival audio
commentary by the late writer/director Crichton. The only other supplements are trailers
from other Crichton features and Kino Lorber releases. There is also a reversible artwork sleeve.
The
Great Train Robbery is
for fans of Connery and Sutherland, and it will hopefully remind viewers of Lesley-Anne
Down’s formidable gifts.
The
Bride of Frankenstein (James Whale, 1935) is
frequently referred to as the greatest horror film ever made, something which
Emma Westwood, the editor of this new collection of essays, would not disagree
with. In building on the incredible work done on the original Frankenstein (1931)
whilst bringing in the dark humour of The Old Dark House (1932), along
with key cast member and fellow Brit Ernest Thesiger, director James Whale
delivered incredible imagery, dark themes and iconic performances. In doing so,
he was establishing the comedy-horror template that would be utilised so
effectively for decades to come (An American Werewolf in London (John
Landis, 1981) owes it a great debt, for one). It also became perhaps the first example
of a sequel being superior to the original, which is still something that does
not happen very often. So how did this happen? What is it about The Bride of
Frankenstein that has ensured its legendary status for almost one hundred
years?
That
question is something that this fascinating collection of new essays addresses
from a number of angles. This new addition to the Midnight Movie Monographs
series from Electric Dreamhouse (previous entries have included books devoted
to Spirits of the Dead (Roger Vadim/ Federico Fellini/ Louis Malle,
1968), Plan 9 from Outer Space (Ed Wood Jr., 1959) and Horror Express
(Eugenio Martín, 1972)) presents twelve different chapters covering the
production, censorship, the astonishing hair, makeup and costume design, the
pioneering use of sound, readings of sexuality, the many films over the years
which draw on elements of Bride of Frankenstein, including my own
personal horror-comedy favourite Bride of Re-Animator (Brian Yuzna,
1990), an examination of star Elsa Lanchester herself, and much more. Who
exactly is ‘the Bride of Frankenstein’? is another question to be mulled over;
after all, shouldn’t the film have been called ‘The Bride of Frankenstein’s
Monster’?
Whether
you have a passing interest in the Universal horrors or if The Bride of
Frankenstein is your favourite film, this new monograph, with a foreword
from Sara Karloff, daughter of Boris, will cause you to think about the film
differently, and brings great wit and insight to this endlessly fascinating
film from Hollywood’s golden age of horror cinema. In hardcover with a wealth
of imagery and a terrific cover design, this is a beautiful book for any
serious cinema lover’s library.
You can order a copy direct
from PB Publishing by clicking here.
The Warner Archive has released a Blu-ray of the 1961 comedy Bachelor in Paradise which features the considerable star power of Bob Hope and Lana Turner. As with most Hope vehicles, this is a low-key affair that was designed to please his core base of fans. If the film doesn't break any new ground for Hope the actor, it at least provides plenty of yucks from his trademark wisecracks. Hope plays Adam Niles,an international playboy and best-selling author who has gotten rich by writing books about the sex lives of different nationalities and cultures. When devastating tax troubles force him to return to America, he reluctantly accepts an assignment to help offset his staggering debt to the government. Niles' publisher concocts a scheme whereby he will go undercover to research and write about the sex lives of Americans. He ends up moving to a suburban community known as Paradise, where he assumes an alias and goes about assessing the love lives of his neighbors. The presence of a single man among so many married couples causes an instant scandal, especially when Niles begins wooing neighborhood wives to his lectures about how to improve their sex lives. (This being 1961, it is unsurprising that his conclusions all revolve around what women can do to entice their men. No reciprocal protocols are expected). Before long, husbands are marching on Niles' home like the villagers storming Frankenstein's castle. His main ally is Paradise manager Rosemary Howard (Lana Turner) who puts her career on the line to defend Niles' right to live in the neighborhood, even as she rejects his heavy-handed attempts to seduce her.
Bachelor in Paradise, directed by Jack Arnold and boasting a
score by Henry Mancini, is a surprisingly racy premise for a Hope movie.
Released during an era when the terms "suburbs" still conjured up
images of wife-swapping and orgies, the movie looks positively quaint by
today's standards. Women prance around in house dresses as they
endlessly ponder what more than can do to please their hard-working
hubbies. Some of Hope's zingers still connect and his chemistry with
Turner is considerable. The movie also benefits from a terrific cast of
supporting actors including sexy Paula Prentiss, Jim Hutton, Janis Paige
(as the neighborhood nymphomaniac), Don Porter and the always wonderful
John McGiver. The film isn't a comedy classic but provides enough
genuine laughs to merit viewing. An original theatrical trailer is
included.
Click here to order from the Cinema Retro Movie Store
Here's a fun video essay from Turner Classic Movies about sci-fi movies that are regarded as "camp". The emphasis is on some obvious choices: "Plan 9 from Outer Space", "Queen of Outer Space" and "Barbarella"- but it also covers the lesser known cinematic disaster, "The Apple". The video addresses the debate over whether a film can be intentionally designed as "camp" or if that designation only comes about as an unintentional consequence.
There were passing
moments when watching this gorgeously curated Blu-ray of Phil Tucker’s cult 3-D
masterwork Robot Monster (1953) that
I mulled its reputation as cinema’s most fabled wreck was undeserved.Surely, I thought, I’ve cringingly sat
through worse sci-fi films produced before and since.But then some particularly awful line of dialogue
(delivered woodenly, of course), or a bizarre plot turn, or a not-so-special
effect, or an inexplicable episode of dinosaur wrangling would interrupt my
musings, causing a return to sober reality.Phil Tucker’s low-low-low
budget monster-piece is a crazed vision, to be sure.But acknowledging that, Robot Monster is most certainly not
one of the world’s worst films: it’s too entertaining to be dismissed as such.On the same token, it’s undeniably one of the
most desperate and unhinged cinematic artifacts lensed by an indie Hollywood film-outfit
of the ‘50s.
The sullied reputation of Robot Monster is the result, no doubt, due to the merciless
flailing of the production by the smirking Medved brothers - Michael and Harry –
who infamously skewered the film in their pop-culture, eminently readable and
caustic tomes The Fifty Worst Films of
All Time (1978) and The Golden Turkey
Awards (1980).Still the film’s space
helmet and gorilla-suit sporting “Ro-man” (as listed in the film’s end credits)
– has somehow managed to become as
visually iconic a totem of 1950s sci-fi as the gigantic robot Gort in The Day the Earth Stood Still (2oth
Century Fox, 1951) or the Metaluna monster in This Island Earth (Universal-International, 1955).
As is so often the case, the backstory to the creation of
Robot Monster is perhaps more
interesting than the artifact produced.The
screenplay was written by Wyott “Barney” Ordung.The Californian was trying desperately to
break into the film business, initially as an acting student working
occasionally in walk-on roles, often uncredited.In a 1983 interview with the late film and
3-D historian Ray Zone, Ordung recalled it was in 1952 when he was approached
by Tucker – who he’d known casually from working on a previous picture – to write
the script for Robot Monster.Ordung recalled he was originally tasked to
play the role of the “Ro-Man” – at least in earliest test footage photography.
Ordung’s script for Robot
Monster would serve as his springboard into the world of professional
filmmaking.Following that film’s
release, the Californian would script the war film Combat Squad (1953) as well as another sci-fi guilty pleasure Target Earth (1954).Still (mercifully) unproduced is the script Ordung
wrote directly following the release of Robot
Monster.That prospective film was,
according to Sun Valley’s Valley Times,
to feature Ordung’s “3-D comedy” scenario based on “Mildred Seamster’s
Hollywood beauty salon.”The plot would
“deal with the varied individuals who patronize a beauty salon and their
interesting escapades.”Oy.
That film would not materialize, but it was of little
matter as Ordung would soon receive his first directing credit when Roger
Corman tapped him to helm Monster from
the Ocean Floor (1954).Though Ordung
had not previously helmed any sort of film production, it was an offer and
partnership of economic necessity.Corman agreed to allow Ordung to direct on the condition he contribute
$2,000 of his Robot Monster earnings
to the new film’s budget and work for “a piece of the picture.”Hey, a break’s a break.
First-time director Phil Tucker too was looking for his first
big break in the film industry and was of the mind that Robot Monster just might be the ticket.But his experience working on Robot Monster was, alas, bittersweet.Less than two months following the release of
that film, Tucker was found in Fairbanks, Alaska – of all places - shooting his
non-union follow-up epic: the seventy-five minute Venusian “science-fiction
thriller” Space Jockey – a film never
released and now thought lost.Tucker grudgingly
told a journalist in Fairbanks that with only Robot Monster to his credit, he had already soured on the politics
of Tinseltown.
“The movie industry is stifled in Hollywood,” he director
complained.“They tell you what to
write, how to produce it, when to direct it, who [to] put in it and when to try
to sell it.It’s a tight little island of rulers and it’s
a hard place in which to breathe free.”Tucker did confess he wasn’t trying to be a true auteur in any sense of the word: “I’m not trying to create
art.I’m trying to make money,” he
offered plainly.
The primary stumbling block to Tucker’s earning any
monies was New York-born Al Zimbalist, the executive producer and guiding hand
of Robot Monster.The movie was the first of the films Zimbalist
would oversee as producer – and occasionally as “writer,” though that was mostly
as concoctor of “original stories” and little more.Throughout the 1950s and a bit beyond,
Zimbalist delivered such bargain-basement fare as Cat-Women of the Moon (1953), Miss
Robin Crusoe (1953), King Dinosaur
(1955) and Monster from Green Hell
(1957) to the pleasures of a mostly undiscerning cinema-going audience.It was also Zimbalist who steered Robot Monster to go the then popular 3-D
filming route.It was an unusual decision
for an indie film to be shot on a shoestring budget.
It made some sense.Hollywood’s production of 3-D films was at its zenith in 1953.Box
Office would note in April of 1953 that no fewer than sixty-two films to
offer the 3-D treatment were either completed, in production or in the planning
stages.Practically every major studio
was readying a slate of 3-D cinematic fare: Columbia, Paramount, RKO Radio,
United Artists and Warner Bros. among them.By far, 20th Century Fox was leading the way with a scheduled
twenty-two 3-D films on the drawing
board.There were only a couple of
independents in the mix, having chosen to dip their toe in the 3-D pool.Al Zimbalist and Phil Tucker’s “newly
organized” Third Dimension Pictures was one of them.
The trades reported on March 21, 1953 that Zimbalist was to
employ a unique “Tru-Depth system of 3-D” photography for his in-the-works Robot Monster project. Then, a mere week
following the start of the film’s
production, Box Office noted that Robot Monster had completed shooting… though no release date had yet been set.Zimbalist was so pleased with the results of
the “Tru-Depth” system, that in April of ’53 the Hollywood maverick announced
the formation of his “Tru-Stereo Corporation.”The company would “make available a stereoscopic 3-D system to
independent producers.” “Tru-Stereo” would serve as an affordable,
budget-conscious alternative to the more expensive 3-D systems used by the
Hollywood majors.
In fact, there were no fewer than twenty-two competing 3-D systems being used by filmmakers by late
spring of 1953.(“Tru-Depth” had since been
rechristened as “Tru-Stereo.)”The
Tru-Stereo 3-D was proffered as being similar to the others: it too employed
two cameras to create the three-dimensional effect.But the system also boasted “an authentic
interlocking control which is said to insure against faulty
synchronization.”Robot Monster had also boastingly employed “a newly developed
stereophonic sound system devised by the Master-Tone Sound Corporation.”
The first casting notices for Robot Monster were announced in March of 1953.Handsome leading man George Nader was reportedly
hired to play the role of “Roy” following his appearance in the still
unreleased pic Miss Robin Crusoe.Nader’s performance in that film impressed
Zimbalist who worked on the same as associate producer.Roy’s love interest, Alice (Claudia Barrett)
hadn’t much big-screen experience, but had been steadily working on any number
of early television series.The film’s
egghead professor would be played by the long-working Ukrainian actor John
Mylong, his children, Johnny and Carla, by stage-kids Gregory Moffett and
Pamela Paulson, respectively.
The role of the professor’s wife went to Selena Royle, an
actress with a familiar face due to her long run as a dependable player at MGM.Royle was happy to get the role – any role –
as she had recently been blacklisted in the pages of Red Channels, “the American Legion’s list of 200 motion picture
workers suspected of communist leanings.”Her crime was the organizing and serving of free meals to the
un-and-under employed actors in and around New York City during the throes of
the Depression.Royle vowed to fight the
accusations, telling journalist her post-blacklist acting income had dropped
from six figures to a mere three figures by mid-summer of 1952. Robot
Monster would be one of her two final feature film appearances, Royle and
her husband choosing to immigrate to Mexico in 1957.
Imprint, the Australian-based video label, has announced some more forthcoming releases. All Blu-rays are region-free. Please keep in mind that prices quoted are in Australian dollars. Use a currency converter to see what the price is in your local currency.
In this excerpt from the 1975 Academy Awards broadcast, director Howard Hawks receives a lifetime achievement Oscar, presented (fittingly enough) by John Wayne. Curiously, Wayne cites all of the films that he collaborated with Hawks on but by accident or design omits their final collaboration, "Rio Lobo" from 1970. Given the fact that the film was made only a few years before this presentation, it's a puzzling omission. Nevertheless, Hawks lives up to his reputation as a quiet, humble man of few words.
Long before his film The Accused (1988) helped earn Jodie Foster an Academy Award and
even longer before receiving Emmy Nominations for his work on TV’s ER, talented producer/director Jonathan
Kaplan made some very entertaining drive-in/exploitations films. His first, a 1972
sexploitation classic called Night Call
Nurses, was done for the immortal Roger Corman’s legendary New World
Pictures. The last of Corman’s “Nurses Trilogy”, Night Call Nurses, whichwas
made for a measly $75,000 and brought in over a million at the box office,
jumpstarted Kaplan’s filmmaking career as Corman immediately offered Kaplan The Student Teachers; a movie with
basically the same formula as the “Nurse” films (except with schoolteachers).
Released in June of 1973, Teachers
was another huge success for New World, so, impressed with Kaplan’s newest work,
Corman’s brother, Gene, hired him to direct the Jim Brown-starring heist/prison
flick The Slams (also 1973). This led
to Kaplan being approached by legendary production company American
International Pictures to helm the enjoyable 1974 “Blaxploitation” film Truck Turner starring the late, great
Isaac Hayes. Due to the success of this action-oriented film, Kaplan was hired
by Columbia Pictures to direct (and co-write) another actioner which would be
the biggest hit of his career so far: 1975’s White Line Fever, which is currently streaming on Amazon Prime.
War hero Carrol Jo Hummer (Jan-Michael
Vincent, Big Wednesday) returns home
to Tucson, Arizona and marries his sweetheart, Jerri (Kay Lenz, Breezy). He then gets a bank loan and
uses it to buy a rig named “The Blue Mule.” Anxious to start a family, Carrol
Jo begins work at Red River Shipping where his job is to haul produce. CJ soon
discovers that he is also expected to haul illegal cargo such as untaxed
cigarettes and slot machines. He refuses and gets his ribs broken by several
Red River employees. Once healed, CJ attempts to find work at other shipping
companies, but, due to being blackballed by Red River, cannot get hired. An
enraged CJ returns to Red River and holds his superiors, Duane Haller (Slim Pickens,
1972’s The Getaway) and Buck Wessler
(L.Q. Jones, The Wild Bunch) at
gunpoint until Buck agrees to let CJ do things his way. The men do agree, but
once CJ goes back to work, he is attacked by more Red River thugs who he manages
to successfully fight off. CJ eventually discovers that Red River is owned by a
huge corporation called Glass House which is not only run by a man named Cutler
(Don Porter, TV’s Gidget), but also
has ties to organized crime. The more CJ tries to do what’s right, the more
he’s attacked, with devastating consequences to his friends and family. Enraged,
CJ grabs his shotgun, jumps inside the Blue Mule and heads for Glass House. But
can one man stand up to the corrupt corporation and win?
Directed with a sure hand by Kaplan, White Line Fever is not only a modern
western with trucks instead of horses, but, according to the director, a Sam
Peckinpah-influenced western which, beside the fact that they are fabulous
actors, would explain why Peckinpah regulars like Slim Pickens, L.Q. Jones and
R.G. Armstrong (Pat Garrett and Billy the
Kid) are in the film. (Peckinpah would soon direct his own action/trucker
film; 1978’s enjoyable Convoy.) A
well-done addition to the revenge/man against the system formula, White Line Fever, as stated by co-writer
Ken Friedman (Cadillac Man),is similar in story/structure to Phil
Karlson films like Walking Tall or The Phenix City Story except with a
major twist at the end. The well-made film also benefits from some wonderful
cinematography by the Oscar nominated (for Patton)
Fred Koenekamp as well as extremely well-written, multi-dimensional characters
and terrific, believable performances from Jan-Michael Vincent, Kay Lenz, Slim
Pickens, L.Q. Jones, Sam Laws, Don Porter and R.G. Armstrong; not to mention an
early appearance by the always welcome Martin Kove (Steele Justice) as one of the Red River thugs and, last, but
certainly not least, the legendary Dick Miller (A Bucket of Blood, The Howling, Gremlins) as one of CJ’s fellow
truckers.
White Line Fever has also been
released as a Region-Free Blu-ray by the German video label Explosive Media and is
presented in its original 1.85:1 aspect ratio. The beautiful transfer is sharp,
colorful and has perfect sound. The disc also contains two theatrical trailers
(one in English and one in German); a still gallery which features the film’s
posters and lobby cards; an introduction by director Kaplan and an almost hour-long
featurette with co-writer Ken Friedman who reminisces about many different
aspects of the film including working with screen veterans like Slim Pickens
and Don Porter as well as discussing the film’s darker, more realistic ending. The
Blu-ray can be ordered from Amazon Germany.The film is also streaming for free on YouTube (with advertisements.)
If you’re looking for a well-made,
enthralling and realistic trucker movie, White
Line Fever is definitely the way to go.
Corman/ Poe: Interviews and Essays
Exploring the Making of Roger Corman’s Edgar Allan Poe Films, 1960-1964
By Chris Alexander
Foreword by Roger
Corman
Headpress paperback
Size: 235mm x 191mm
Pages: 150
105 colour and B&W stills images
ISBN:
978-1-915316-07-3
Retail Price: UK£22.99 / US $27.95
Review by Adrian
Smith
The early 1960s was a
boom time for gothic horror films. Spurred on by the Hammer Films one-two punch
of Curse of Frankenstein (1957) and Dracula (1958), film
companies around the world fell over themselves to produce films set in cobweb-strewn
castles and mist-enshrouded graveyards. Directors such as Mario Bava and
Antonio Margheriti made several Italian gothics, frequently starring
Christopher Lee or Barbara Steele, but no one director had such a successful
run as Roger Corman, who in the space of five years brought us an incredible
series of eight films adapted from the disturbed writing of Edgar Allan Poe: The
Fall of the House of Usher (1960), The Pit and the Pendulum (1961), Premature
Burial, Tales of Terror, (both 1962), The Haunted Palace, The
Raven (both 1963), Masque of the Red Death and The Tomb of Ligeia
(both 1964). All but one starred Vincent Price, and they also featured the
talents of Ray Milland, Boris Karloff, Peter Lorre, Basil Rathbone, Barbara
Steele (again, proving she was a gothic icon on both sides of the Atlantic),
Hazel Court, and even a young Jack Nicholson.
In this new book, the
first dedicated solely to these films, Fangoria's Chris Alexander has interviewed
Roger Corman (a mere 97 years old, with a pin-sharp memory) at length on each one
of these low- budget gems, discussing the themes, the productions, his love-hate
relationship with American International Pictures, the cast and crew, and much
more. He reflects thoughtfully on his collaborative relationship with Vincent
Price, who he rightly describes as a “brilliant actor,” and he is not too proud
of his own achievements to acknowledge the important contribution of others,
including writer Richard Matheson, who he says was, “One of the finest writers
I’ve ever had the chance to work with,” crediting him “for much of the success
of those early Poe pictures.” Also featured
in the book is a critical appraisal for each film and a wealth of archival
material, including a full-colour international poster gallery and censorship
documents related to the most controversial of them all, Masque of the Red
Death.
Roger Corman is one
of the most prolific directors and producers we have ever had, and as such
there is always more to be said about his work. Corman/ Poe is an
essential addition to the growing Corman library.
Turner Classic Movies presents "Gangster Movies and the Legacy of Warner Brothers".\
As Warner Bros. celebrates its 100th anniversary, we examine the studio's key role in the creation of the gangster genre with classics like 'Little Caesar' (1931) and 'The Public Enemy' (1931) and how they connect to the studio's modern efforts like 'Goodfellas' (1990) and 'The Departed' (2006).
Enjoy the full presentation of the 1967 crime comedy "Eight on the Lam" which teams Bob Hope with Phyllis Diller, Jonathan Winters and two Bond Girls: Shirley Eaton and Jill St. John. (To watch the film in full screen mode, click on "Watch on YouTube.")
The old adage that good things come in small packages applies to movies, specifically "B" movies. They were once a valued staple of the film business during the eras in which local theaters generally showed double features. "B" movies were sometimes the top-billed feature but more often than not they were produced simply to provide programming for the bottom half of the bill at a low cost. This is not to diminish their worth. Most of these productions were quite entertaining and some have gone on to be regarded as cult classics. "The Gun Runners", a 1958 United Artists film, is not a cult classic but it is a "B" movie and it is quite good, largely because this story about a deep sea fisherman has director Don Siegel's firm hand on the tiller. The screenplay is derived from two Ernest Hemingway sources: a 1934 short story, "One Trip Across" and his classic novel "To Have and Have Not" which was brought to the screenin 1944 by director Howard Hawks and star Humphrey Bogart. Only a few years later, it had been remade as "The Breaking Point" starring John Garfield. For whatever reason, the producers assumed there was still fertile ground to be exploit in Hemingway's tales and this loose adaptation also owes some obvious inspiration to John Huston's 1948 classic "Key Largo". Despite the hodgepodge nature of its source material and a micro budget, "The Gun Runners" is engrossing throughout.
Audie Murphy stars as Sam Martin, a down-on-his-luck deep sea fisherman who operates a charter boat out of Key West. Sam is happily married to Lucy (Patricia Owens), a devoted wife whose passion for her husband results in the film having a somewhat edgy content in terms of sexual innuendo, as the young couple can barely keep their hands off each other. Sam's home life may be blissful but he's in deep debt due to slumping rentals of his boat. On an excursion to Havana during the midst of the revolution (which was in progress when the movie was filmed, though California locations are stand ins for Cuban locales), Sam is approached by a couple of shady revolutionaries who want to employ his boat for illicit purposes. Sam rejects their overture but within seconds, he witnesses an inquisitive police officer brutally murdered by the men. He flees Cuba before anyone can place him as an eyewitness. Back home, his fortunes continue to decline and he fears having his boat foreclosed on. Good fortune seems to smile upon him when a wealthy man named Hanagan (Eddie Albert), accompanied by his beautiful young mistress Eva (Gita Hall), wants to pay to charter Sam's boat for a princely sum- with the caveat that they make an unauthorized nighttime visit to Havana without getting a travel permit. Sam takes an immediate dislike to the perpetually jovial Hannigan and doubts his story that he and Eva simply want to sample the nightlife in Havana. Sam reluctantly agrees out of financial desperation. Once in Cuba, however, Hannigan is actually secretly meeting with revolutionaries, who pay him a large sum of cash in return for promising to deliver a cache of weapons to them on his next visit. Things get hairier from there when Hannigan uses financial blackmail to force Sam into making a return visit to Cuba in order to drop off the weapons. In the "Key Largo"-like finale, he finds himself on board the small vessel with Hannigan and his gang of cutthroats (including sadistic Richard Jaeckel) who have every incentive to kill him once the mission is complete. Of particular interest is the screenplay's attempts to remain politically ambivalent in dealing with the Cuban revolution, though the writers clearly seem to paint the rebels in an unfavorable light. (Only a few months after the film's release, the Batista regime would fall to Castro's forces.)
Director Siegel was known for making his films lean and mean and this is no exception. Working with a threadbare budget, he manages to squeeze considerable suspense out of the scenarios with nary a wasted frame of film or a superfluous line of dialogue. Audie Murphy suffices in the lead role, but the part calls out for someone with a harder edge. The film benefits from a marvelous cast of supporting actors with Everett Sloane especially good as Sam's elderly, wino first mate who he keeps on simply out of sentiment. There are also bit parts by Jack Elam and John Ford regular John Qualen. The two female leads are very good but Gita Hall steals the show in the traditional role of glamorous femme fatale, a young woman who is mortgaging her future for the trappings of luxury by serving as Hannigan's mistress. (If she were in a higher profile film, she may have gone on to stardom.) By far the best performance is given by Eddie Albert, who makes for a larger-than-life, smarmy villain. The diversity of this actor is often overlooked. He could play light comedy (he was great in "Green Acres") with exceptional skill while also delivering dramatic performances that are equally impressive.
The Kino Lorber Blu-ray features the original trailer with an English track but Italian titles (go figure) and some bonus trailers. I don't want to overstate the merits of "The Gun Runners" but as a "B" movie it exceeds expectations. Recommended.
The 1961 MGM Western A Thunder of Drums has been released by the Warner Archive. The film was regarded as a standard oater in its day but has since built a loyal following who have been eager to have the movie available on the home video market. What sets A Thunder of Drums apart from many of the indistinguishable Westerns of the period is its downbeat storyline and intelligent script, which was clearly geared for adults as opposed to moppets. There's also the impressive cast: Richard Boone, George Hamilton, Charles Bronson, Arthur O'Connell, Richard Chamberlain and Slim Pickens among them.The film opens with a sequence that was very unsettling and shocking for its day: an Indian attack on a tranquil homestead. A little girl is forced to witness the gang rape and murders of her mother and teenage sister. The plot then shifts to the local fort where commandant Boone is overseeing an understaffed cavalry contingent that has to find and defeat the marauding tribe, which has already slaughtered numerous settlers and soldiers. The Indians are window dressing in the story: nameless, faceless adversaries who are not given any particular motivation for their savagery. (These was, remember, far less enlightened times and such conflicts were generally presented without nuance.)
George Hamilton is the by-the-book West Point graduate assigned to the fort as Boone's second-in-command. He gets a frosty reception from minute one. Boone tells him he doesn't meet the requirements of a seasoned officer who can survive in the hostile environment. The two men spend a good deal of their time in a psychological war of wills. Adding to Hamilton's discomfort is the discovery that his former lover, Luana Patten, is not only living at the remote outpost, but is engaged to one of his fellow officers. The two rekindle their own romance and this leads to scandalous and tragic results.
The film is based on a novel by popular Western writer James Warner Bellah and probably represents the career high water mark of director Joseph Newman, who was destined to toil for decades helming B movies. He gets vibrant performances from his cast. The ever-watchable Boone is in his predictably crusty mode, cynically second-guessing his officers and men, tossing out insults and sucking on an omnipresent stogie. Boone was so dominant in every role he played, one wonders why he never reached a higher status as a reliable box-office figure. Hamilton is in his standard pretty boy mode, but holds his own against macho men Boone and Charles Bronson, who is cast against type as a somewhat dim-witted character of low scruples. Singer Duane Eddy, who was a teenage pop star at the time, made his film debut here with a degree of fanfare, but it was obviously last minute stunt casting as Eddy is given virtually nothing to do except strum a few chords on his guitar. The film boasts some magnificent scenery and some rousing action sequences that are more realistic than those found in most Westerns of the time. A Thunder of Drums isn't art or even a great or important Western - but it is fine entertainment and the Warner Archive edition looks terrific. A Blu-ray edition is overdue! The only bonus feature is the original theatrical trailer is included (the one seen above is of inferior quality to the trailer featured on the disc, but it does give a good overview of the film).
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Birkin in the 1969 cult film "La Piscine". (Photo: Cinema Retro Archive.)
By Lee Pfeiffer
Actress and singer Jane Birkin has died at age 76. A cause of death did not accompany the announcement. Birkin was one of the "It Girls" of the mod period of the mid-to-late 1960s when censorship boundaries were removed and sexual behavior became celebrated rather than condemned. Because Birkin had been so closely associated with France, many people thought she was French by birth. Indeed, in commenting on her passing, President Macron referred to her as a "French icon". But Birkin was British by birth and came of age during an era of social rebellion that afforded her liberated attitudes to be celebrated in the arts. She first appeared in bit roles in "The Knack...and How to Use It", "The Idol",, "Kaleidoscope" and, more importantly, in a memorable nude scene in director Michelangelo Antonioni's bizarre but acclaimed 1966 "Blow-up". She also starred in the 1969 French film "La Piscine" with Alain Delon, which has become a popular cult film in recent years. She married British composer John Barry, whose own popularity was exploding due in no small part to his association with the James Bond films. The marriage didn't last and Birkin went to France to appear in a film. There she met and fell in love with songwriter and actor Serge Gainsbourg. Their relationship became the stuff of gossip columns after the couple recorded the smash hit, provocative record "Je t'aime...moi non plus". She and Gainsbourg stayed together for ten years. In addition to her concert appearances, Birkin was also known for inadvertently inspiring a top-end handbag design manufactured by Hermes, after an executive for the company overheard her complain that they needed to create a larger bag.
With Russia currently dominating world news in an unfavorable way and authoritarian political figures making headlines even in democracies, it's relevant to look back on the 1983 crime thriller "Gorky Park", which has been released on Blu-ray by Kino Lorber. The film was based on Martin Cruz Smith's international bestseller and was unique in its day because it centered on subterfuge within the Soviet law enforcement system and was set primarily in Moscow. Director Michael Apted had hoped to be the first major Hollywood studio production to shoot within the Soviet Union but unsurprisingly he was turned down due to the fact that the story dealt with systemic corruption throughout every layer of the government. Apted settled for the next best thing, shooting in Finland and Sweden, both of which make convincing substitutes for the USSR. Transforming the lengthy, complex novel to a screenplay could have been no easy task, even for acclaimed screenwriter Dennis Potter ("Pennies from Heaven"). Although the film has a leisurely running time of 128 minutes, there are still some portions of the story that are not fleshed out enough to be easily understood.
The movie gets off to a gripping start when three young people drift away from the crowd at a winter festival in Moscow's Gorky Park. They are shot dead shortly thereafter, although we don't know why or by who. Police detective Arkady Renko (William Hurt) is first on the scene and he discovers that the snow-covered bodies have been horribly mutilated with their fingers removed and their faces skinned so that their can be no recognition of the victims. This leads to some particularly gory scenes in which a pathologist skillfully manages to recreate their facial features using synthetic skin. In a country and political system in which everyone is justifiably paranoid, Renko begins to suspect that the KGB might have been behind the killings and are looking to set him up as a fall guy. An interesting cast of characters is gradually introduced. Irina Asanova (Joanna Pacula in her screen debut) is a glamorous actress who was a friend of the victims. Renko cannot persuade her that they are dead, as she has been assured that they escaped into exile by Jack Osborne (Lee Marvin). He's a well-connected, rich American businessman who deals in the lucrative trade of sable furs. Renko is immediately suspicious that Osborne, with his bought-and-paid for allies in Soviet law enforcement, is somehow tied to the murders. This results in a few of those scenes moviegoers love in which the hero and villain banter words, using euphemisms to represent their actual thoughts as they engage in a duel of wits. The more dedicated Renko becomes in solving the crime, the more he realizes his is putting his own life in danger. He later gets assistance from an American visitor, William Kirwill (Brian Dennehy), a detective who is in Moscow to try to solve the murder of his brother, who was one of the three victims. Together, he and Renko begin to unravel a tangled web of corruption, deceit, betrayal and more murders.
"Gorky Park" enjoyed good reviews at the time of its release but it was a boxoffice disappointment. Viewing the new Blu-ray, I found it more intriguing and enjoyable than I had previously- even though the plot gets very complicated and so many characters are introduced that by the end of the movie, I can't say for sure why the original three murder victims were killed. The movie was an important early starring role for William Hurt and he's adequate in the role but rather bland at times, although he and Pacula engage in the kind of steamy sex scene that was de rigueur at a time before movies became largely devoid of eroticism. Pacula gives a very fine performance that earned her a Golden Globe nomination and Dennehy steals every scene he's in, although the premise of an American detective thinking he will have free reign to operate in one of the most oppressive societies in the world is a bit of a stretch. Ian Bannen is a welcome presence as Renko's superior officer, who may be in the pocket of Osborne. As the American fur trader, Lee Marvin is terrific in a marvelous late-career role. It must be said that the largely British cast of supporting actors retain their natural accents, which proves to be a distraction since they are supposed to be playing Russians. Hurt supposedly complained about this because, for the sake of consistency, it forced him to adapt his own version of a British accent, which seems like a hybrid with American English. It doesn't work at all and it's surprising that a skilled director like Apted didn't simply encourage his cast to adopt Russian accents. The production design is rich and expensive-looking but James Horner's score, which was acclaimed in some quarters, sounds dated and very much from an era in which synthesizers were employed ad nauseum.
For those of who came of age during the Cold War period, the film is a reminder of how every aspect of Soviet life was put under scrutiny, with paranoia instilled in citizens to keep everyone off-balance and reluctant to trust anyone else. Despite the Putin regime's quashing of many societal freedoms, today's Russia still enjoys far more freedoms and prosperity than it did when "Gorky Park" was made. Michael Apted's direction is first-rate. Dennis Potter's screenplay excels at showing what life is like in an authoritarian state, where the trappings of democracy are undermined by the fact that everyone knows that there are people who follow the people who follow them. What I found surprising and refreshing is that Renko, who is aware of and frustrated by the Orwellian aspects of his country, remains a dedicated law enforcement official who proudly serves the Soviet state. "Gorky Park" is not a classic but it is a compelling and offbeat thriller that holds up today.
The Kino Lorber Blu-ray looks very good, indeed. Cinematographer Rolf D. Bode's cinematography really impresses, as he shot the film in a rather washed out, colorless manner to reflect the blandness of the Soviet state. The release is one of the few from KL that doesn't include a commentary track, but there is an excellent 16-minute recent interview with Michael Apted, who says he rarely revisits his own films but did so in this case. He says he was surprised at how well the film has held up but expresses his frustration that, despite good reviews, the movie was not successful at the American boxoffice, though it did well internationally. Apted recalls the challenges of trying to replicate Moscow in Helsinki and speaks well of his cast and crew. He says that Lee Marvin, though appearing healthy on screen, was in intensive care in a hospital just prior to filming, as he suffered from emphysema. He relates that Marvin was especially enthused about the film because it gave him a rare opportunity to play a character who was sophisticated and highly cultured. The Blu-ray also includes the original trailer, a teaser trailer and TV spots for "Gorky Park" and an extensive number of trailers for other action films available from KL.
A personal observation: it should be noted that the interview segment with Michael Apted was produced by Walter Olsen, co-founder with his brother Bill of the Scorpion Releasing video label. Scorpion had partnered with KL in recent years to release many under-radar-films on Blu-ray. Walter passed away in May just months after his brother died. Those of us who value their contributions to the home video industry mourn their passing.
Richard
Loncraine’s The Haunting of Julia (aka Full Circle, 1977) is a chilling,
emotionally charged ghost story shot in London in 1976 with Canadian funding
which fell into a legal limbo and was destined to remain largely forgotten
until film historian and writer Simon Fitzjohn began researching the film for a
magazine article in 2016. The rabbit hole grew deeper and he became a man on a
mission to bring the film back to the public. The years of struggle paid off
and the film has now been restored and released around the world on Blu-ray and
UHD, so Cinema Retro sat down with him to find out how it all happened.
Cinema
Retro – How does it feel to finally be at the end
of this epic journey?
Simon
Fitzjohn - We had a screening at the BFI in London
recently which was a massive thrill. There was a good audience and we got quite
a few of the crew along as well as Richard Loncraine, the director. It was a
bit of a party, to be perfectly honest with you, a fantastic experience.
CR
– So how did this all start?
SF
- I read a BFI article at Halloween in 2016 called ‘Forgotten British Horror
Films of the 1970s,’ and I thought, “Right, okay, I'm pretty sure I'm just
going to tick everything off this list.” So I went through them all and it was
Pete Walker's Frightmare, things like that. And then there was Full Circle,
or The Haunting of Julia and this picture of Mia Farrow with her arms
out. I thought “I don't think I've seen that one.” I took it as a bit of an
affront really that I hadn't seen it. That was when I then found out that it
wasn't available commercially at all, no DVD release, however, there was a
version of it on YouTube as they'd shown it on the Sony Movie Channel in 2011.
So I watched it and I was floored by it. You know, I remember when it ended and
I just sat there in silence for about 15 minutes trying to sort of process it
and thinking, ‘Oh, my God, this is just such a sad film. How has this film been
allowed to disappear?” You know, why is this not heralded as an amazing British
horror film?
CR
– You would think it would be better known, particularly because it starred Mia
Farrow.
SF
- Originally my idea was just to write about it, so the first person I reached
out to was Peter Fetterman, who was the producer on it, and he said, “Well, I'm
still friends with Richard Loncraine, I'll give him your number.” So I had a
call with Richard, who was quite bewildered, as he always is. When anybody says
they love the film, he hates it! He seems flabbergasted, because he doesn't
think it's a good film. I think a lot of that was down to all the pressures
from the external people when they were making it, certainly the Canadian side
of it, who wanted this Omen-style bloodbath, whereas Richard wanted this
more ambiguous, psychological film. Then he put me in touch with Peter Hannon,
who was the director of cinematography on it, and then we found out that Technicolor
had found the negative, so Richard and I thought, “Right, here we go!” We needed
to get that negative, get it restored and get it rereleased.
CR
- Were there rights issues? Is that one of the reasons why it had fallen out of
circulation?
SF
- Yes. It wasn't that the negative was missing. The last known owner of it was
a guy called Julian Mills who was the exec producer on the film. Technicolor
had documents for Full Circle with Julian Melzack at Albian Films, and he
obviously didn't care about the film because he never bothered to release it
himself, and then he died in early 2016. So we had to somehow jump through all
these hoops to prove that he hadn't passed the film on to anybody else before
he passed away, so that we could prove an ownership chain. It was about six
years of working with Technicolor, Companies House, solicitors, Julian Melzack's
daughter, all these people going round and round trying to find paperwork. It
was just exasperating, to be perfectly honest with you, and there were numerous
times where we just thought it wasn’t going to happen because we would answer a
question and then they would give us another obstacle and we would jump over
that, and then they'd give us another obstacle. There were times when I
flagged, but then I would get people messaging me on the Twitter account I had
(@full_julia), saying, “Keep going, keep going!” Eventually we were able to do
it.
CR
– Who funded the restoration?
SF
- It was Shout! Factory, but there were numerous people that worked together on
this. Shout! Factory sorted the restoration, but the BFI now keep the negative,
that was the deal. It was done at Silver Salt in London. Richard Loncraine was
involved in that as well.
CR
- You've also been heavily involved in the release, with a commentary track
(with the director) and some of the extra features for the BFI release.
SF
- It was great, because I'd always said right from the start that the key for
me was that the film was going to be back out there. It deserves to be talked about,
it deserves to be celebrated. But it was still really nice when the BFI came to
me straight away and said we want you front and centre on this because Richard
said, "Look, if you don't involve Simon, I'm not getting involved.” I was
able to help as well because I was in touch with so many people, so Tom Conti
was interviewed as was Samantha Gates, who plays Olivia in the film. I've been
reading some very positive comments about it in reviews. It was fun, it was a
great thrill.
CR
– There are rumours that something is missing from the film, specifically a
graphic tracheotomy scene, which of course is the tragic event at the beginning
of the film [Julia’s daughter is choking to death, and in a last desperate
attempt to save her she attempts a tracheotomy which fails and the daughter
dies]. What do you know about this?
SF
- There was this guy and he would constantly
message me on Twitter to ask, “Have you found the tracheotomy scene?” And he
was the one that apparently somehow added it to IMDb that this was missing, but
nobody has it because it doesn't exist. Why would they randomly have had this
blood- spurting tracheotomy? That was never the intention for the film. I've
read the BBFC censors report when they classified the film, and they referenced
the fact that there was no blood in it. They gave it an AA certificate because
it was so tame. So there was never anything filmed, but when they were filming
that scene Alfred Pariser, who was the Canadian producer on it, he wanted it to
be bloody so he had a cup of stage blood. When Mia stabbed Sophie Ward with the
knife, he threw the cup of blood over them. Mia Farrow just got up and ran out
screaming because she thought she had cut Sophie Ward's throat! But they
obviously didn't use that footage. They weren't interested in having anything
like that.
CR
– Fantastic. And your commentary track with Richard Loncraine is packed with
stories like that. Congratulations on what must feel like such a tremendous
achievement.
SF
– Thank you. And I ended up somehow randomly getting a Rondo Award too!
The
Haunting of Julia/ Full Circle is
available on Blu-ray and UHD in the States from Shout! Factory, in Australia
from Imprint, and on Blu-ray and UHD in the UK from the BFI. Each edition
shares some bonus features whilst also having some which are unique. The
Imprint release comes in a beautiful hardbox with a lenticular cover, a book
discussing the adaptation from Peter Straub’s novel Julia, and best of
all a CD with the full remastered Colin Towns soundtrack including some tracks
which were never used or included on the original vinyl release.
After years of considering new book projects, I decided that it was time to write another book on the Beatles. My first book on the Beatles was Let It Be, part of the 33 1/3 series published by Bloomsbury. The subject of pop music and film always intrigued me, and obviously I touched on this subject with the Let It Be book, so choosing to write about the films of the Beatles seemed like a natural fit for my interests.
There hasn’t been a book that has concentrated on the five Beatles films for the general book trade in some time. Those books also didn’t include any of the rich vein of materials from the DVD and Blu-ray reissues of the films or the vinyl reissues (and lavish box set of theLet It Be album) of the soundtrack albums and related reissues. Having access to the Get Back project from Peter Jackson fleshed out the story of the Let It Be film in ways that were truly illuminating.
All of the films of the Beatles came out between 1964 and 1970. This was also a key period for British movies in general, so I knew that I wanted to provide context on British cinema of the period in the book. This would include the iconic spy movies of the era, most notably the James Bond films. There were also plenty of directors, actors, writers and others behind the scenes of not only the films of the Beatles, but of other British films and movies in general that I wanted to include in the book. Some of those people also worked on the films of the Beatles. There is also much musical and cultural context in the book.
I started the book before the pandemic, and due to how the virus affected various aspects of the world at large, it also impacted the entire process of the book, from the writing through its publication.
The hard deadline of the book changed twice. The book was originally conceived to be muchshorter, but as I did my research and wrote and with the additional time added, the book ballooned to a final manuscript of nearly 500 pages. That manuscript was edited down to the nearly 350-page book that was published on May 15th in the U.S. and July 15th in the U.K. from Roman & Littlefield, through its Backbeat imprint.
The book has been warmly received by the Beatles community at large. Among my chief concerns were ensuring factual accuracy and creating a book that offered an expanded scope from that of previous volumes on the films of the Beatles. The feedback I have received so far makes me feel like I have succeeded.
I didn’t interview Paul or Ringo for the book. Given that the films were made in some cases nearly 60 years ago, there were many people I would have liked to have to talked to, but many are no longer with us and some have long since ceased doing interviews for a variety of reasons. Some of the people I did interview who worked on the films or with the Beatles or who could provide insight and context include Michael Lindsay-Hogg, Billy J. Kramer, Anthony Richmond, Cameron Crowe, Ralph Bakshi, Gered Mankowitz, John Kosh, Ryan White and Marijke Koger, among many others.
This is definitely a book for fans of the Beatles, but also for fans of the British films, music and cultural history of the time and place.
Tom
Johnson, noted Hammer Film expert and longtime friend of many a Hammer star,
passed away at his home in Shillington, PA on July 11th. He was 76.
Tom’s
best-known work was his 1995 book, Hammer Films – An Exhaustive Filmography
(co-written with Debra Del Vecchio) and exhaustive it was with over 400 pages
covering every film the studio made from the 1930s onward.He wrote other books like The Christopher
Lee Filmography (co-written with Mark A. Miller and Jimmy Sangster), The
Films of Oliver Reed (with Susan D. Cowie) and The Mummy in Fact and
Fiction (with Susan D. Cowie) and others.His 2015 tribute to Christopher Lee for Little Shoppe of Horrors –
“Christopher Lee – He May Not Have Been… Who You Thought He Was” won the Rondo
Award for Best Horror Article.
I
met Tom when I covered the 1997 Midnight Marquee Hammer Convention for
Cinemax.Along with spending time with
Caroline Munro, Freddie Francis and Jimmy Sangster, I got to know Tom.Very smart, with a dry wit and an
encyclopedic knowledge of cinema, he was easy to befriend. Tom was close to
many Hammer actors and filmmakers, most noticeably Christopher Lee and Peter
Cushing.I will forever be in his debt
for his getting Lee to sign my UK one-sheet to Scars of Dracula.Tom said when he unfolded it for the star,
Lee rolled his eyes and mumbled, “Oh my God.” The Count, it seems, was not a
fan of the film!
Along
with his literary efforts, Tom taught and coached high School track. (He was a
medal-winning runner himself back in the day.) An avowed Luddite, Tom didn’t own a computer,
never had an e-mail account and never once browsed the web. I remember telling
him how great it would be if he got an email address.His response?“Nah.” Old school to his core, he
would write his books by hand and his wonderful British writing partner Sue
Cowie would type them up and bring them into the 21st Century.
(Tom with Joyce Broughton, Peter Cushing's long-time secretary and personal assistant.)
As
years went by, Tom’s health got worse and he seldom ventured far from his PA
home, but we would talk on the phone.He
took great delight in my collecting tales – the items that got away and also the
things I managed to get, especially anything expensive. Tom laughed uproariously when I told him about
buying a rather large helicopter model from You Only Live Twice sight
unseen and my wife’s less than enthusiastic reaction.He made ME laugh when he recounted buying an ultra-rare
window card for 1935’s Mad Love at an antique store, putting it under his
mattress to “straighten it out,” then FORGETTING it for years!When he finally removed it, the brittle paper
was in tatters. Ouch.
Tom
stoically faced his mounting health problems with his sense of humor and
curiosity unchanged.He was a kind and
gentle man who truly loved the art of filmmaking and was unrivalled in his
knowledge of the entire Hammer canon.He
leaves behind seven books, countless articles and an army of people who will
truly miss him.Thank you, dear Tom.
“WHEN YOU’RE ALONE AND LIFE IS MAKING YOU LONELY, YOU CAN ALWAYS GO… DOWNTOWN”
By Raymond Benson
Certainly one of the films from the 1980s that genuinely typifies that decade is Martin Scorsese’s dark comedy, After Hours (1985). The picture is especially potent for anyone who might have lived in New York City during those years (as this reviewer did). Did the film work as well at the time for audiences without the New York frame of reference? Likely so, as the movie was a box office success… but there is no question that After Hours was funnier and more frighteningly familiar to native New Yorkers.
After Hours belongs in the surprisingly large group of movies that skew Manhattan into a metaphor for hell on earth. Others might include Midnight Cowboy (1969), The Out-of-Towners (1970), and Scorsese’s own Taxi Driver (1976). As someone who did live in Manhattan for many years, this reviewer can say with assurance that New York City was not hell on earth—but, like anywhere, it could become so if circumstances surrounding a person continually went from bad to worse on a given day (or, in this case, night).
Today, After Hours exists firmly entrenched in the decade in which it appeared. This was a time before mobile phones, for the movie’s plot could not occur had cell phones been in existence. A young, contemporary audience may not “get” After Hours without the 1980s milieu context. That said, After Hours is still a biting, fast-moving, comedy that is simultaneously realistic and surreal. As the director and author/comic Fran Lebowitz agree in an interview supplement, if one does not suspend disbelief and allow oneself to be in the movie while viewing it, then the insane logic of it all could fall apart.
By his own admission, in 1983-1984, Scorsese was in a dark place. Despite the huge success and acclaim for Raging Bull (1980), the director’s next picture, The King of Comedy (1982) was a financial flop and mostly disregarded by critics (although today it is held in very high esteem). Scorsese spent 1983 developing his passion project, The Last Temptation of Christ, and was all set to begin production when the studio got skittish and pulled the plug. Suddenly, Scorsese was box office poison.
Enter Griffin Dunne and Amy Robinson, actors who had taken up producing films. A film school thesis script by student Joseph Minion entitled Lies landed in their laps, and they loved it. Robinson, who had starred in Scorsese’s Mean Streets (1973), managed to get the script to the director. Scorsese, however, was busy with The Last Temptation of Christ and couldn’t do it. Dunne and Robinson had seen Tim Burton’s short film, Vincent, and they offered it to him, even though Burton had yet to make his first feature film. Burton was ready to sign on to do it, but then Last Temptation got cancelled, and Scorsese was unexpectedly free. Burton gracefully bowed out, and Scorsese thought the project might be a way to get him back into the film industry’s good graces. After some work on the script and the retitling to After Hours, the movie became a reality.
Griffin Dunne stars as Paul, an ordinary Joe who works in a boring Manhattan office job. One evening after work he meets Marcy (Rosanna Arquette) at an uptowndiner. The flirtation feels real, and she invites him downtown to SoHo later. (This reviewer always wondered why the movie did not incorporate, along with all the other great pop tunes in the soundtrack, the Petula Clark song “Downtown”—“When you’re alone and life is making you lonely, you can always go… downtown!” It would have fit well.) Armed with a twenty dollar bill, Paul takes a cab to lower Manhattan, but uh-oh, the money literally flies out the open window on the way there. Now with only 97 cents in his pocket, Paul meets up with Marcy, who begins exhibiting strange behavior. She’s staying in the loft of an equally strange artist, Kiki (Linda Fiorentino), who makes bizarre plaster-of-Paris statues and objects. Without giving away too much, the “date” with Marcy does not go as planned, and Paul finds himself stranded in SoHo without the means to get home to the upper east side. The subway fare had gone up to $1.50 at midnight. In attempts to contact someone he knows so he can crash on a couch, Paul encounters a succession of even stranger characters such as thieves Pepe and Neil (Tommy Chong and Cheech Marin), neurotic waitress Julie (Teri Garr), maybe-sane, maybe-psychotic bartender Tom (John Heard), scary ice cream truck vendor Gail (Catherine O’Hara), lonely spinster June (Verna Bloom), and other misfits. Paul’s night indeed goes from bad to worse.
Scorsese’s direction of the proceedings is top-notch. He makes the film move with lightning speed (and the picture is only a brisk 97 minutes long) with his signature dynamic camera actions (the cinematography is by the great Michael Ballhaus, and the editing by longtime Scorsese collaborator Thelma Schoonmaker). The cast is all-in on the dark comedy, and each member is excellent. Other Scorsese character actor regulars make appearances (Victor Argo, Murray Moston, and Rocco Sisto) as well as familiar faces like Dick Miller, Bronson Pinchot, Larry Block, and Clarence Felder. Even Scorsese does a cameo as a searchlight operator in the extreme “Berlin Club,” that portrays a Manhattan nightmare of downtown danger.
The Criterion Collection’s new 4K digital restoration, approved by editor Schoonmaker, is presented on a 4K UHD disc with Dolby Vision HDR, and on a second Blu-ray disc with the film and special features. The picture quality is superb. There is an informative and fun audio commentary accompanying the movie with Scorsese, Schoonmaker, Ballhaus, Dunne, and Robinson. Supplements include the new and delightful aforementioned conversation between Scorsese and Fran Lebowitz about the film; a 2004 documentary on the making of the film with Dunne and Robinson; a new feature on the look of the film with production designer Jeffrey Townsend and costume designer Rita Ryack; and a few brief deleted scenes. An essay by critic Sheila O’Malley is contained in the package booklet.
After Hours may not be remembered as a top tier entry in Martin Scorsese’s filmography, but it is undoubtedly an important stepping stone for the director. After Hours is thoroughly entertaining, funny, and a tiny bit scary, too. Recommended for fans of Scorsese, New York City, and any of the featured actors.
“The
Exorcist Legacy: 50 Years of Fear” by Nat Segaloff (Kensington Publishing, $28)
304 pages, Illustrated (B&W), Hardback, ISBN: 978-0-8065-4194-5
By
Todd Garbarini
As
long as there are films and film criticism, one of the most debated aspects of
recent memory is whether or not film director William Friedkin’s 1973
masterwork The Exorcist is a horror film or not. The very question could
perplex average readers who might feel that that the inquiry itself is completely
ludicrous and make one ponder how the image of a young girl vomiting pea soup
from her bed or the face of a white-faced demon flashing manically before our
eyes could be considered anything but horror. Despite this, neither did the
novel’s author William Peter Blatty, nor the film’s director set out to make a
horror film at all. Instead, The Exorcist, largely considered by many to
be one of the most (if not the most) terrifying films ever made, was
fashioned to be a serious study about the mystery of faith.
Coming
upon the fiftieth anniversary of the film’s release – yes, you read that right
– a new book entitled The Exorcist Legacy: 50 Years of Fear is now
available and places the story about the phenomenon of the novel, the controversial
film and their inevitable sequels and prequels, definitively and squarely in
our laps. Penned by longtime Friedkin champion and prolific author of many
other film books Nat Segaloff, who wrote the excellent Hurricane Billy: The
Stormy Life and Films of William Friedkin (1990), The Exorcist Legacy
is an absolute must-read for adherents of the novel and film. With a foreword
by horror film writer John Russo of Night of the Living Dead fame, author
Segaloff takes us back to the beginning on how a 1966 meeting between Friedkin
and director Blake Edwards – and the former’s vituperative assessment of a Peter
Gunn screenplay – led to an introduction to and lifelong friendship between
Friedkin and Blatty; Warner Brothers and their initial reluctance to hire
Friedkin until the release of his brilliant The French Connection in
1971 garnered sudden critical and financial success and changed the game
completely; the original 1949 real-life case of an ostensibly possessed
Maryland boy; Blatty’s writing of the novel; the making of the film; a
multitude of issues that beset the film’s production giving way to the supposed
“curse” on the set; the controversy surrounding the release of the film; in-depth
looks at the much-maligned Exorcist II: The Heretic (1977) and the
superior The Exorcist III (1990), the latter both written and directed
by Blatty; and the prequels and television series.
Segaloff,
who was Publicity Director for the Sack Theater chain in Boston,provides personal insights into the marketing
challenges pertaining to the film, as he worked with Friedkin and Warner
Brothers to open the film at the showplace Cinema 57, one of only 22 theatres
that initially played the movie nationwide. Writing in a very down-to-earth
style with new interviews and meticulously researched details, The Exorcist
Legacy is simultaneously entertaining and informative and is the new go-to reference
book for all things related to the phenomenon with a fresh look from real life
to reel life.
Italian writer/director Fernando Di Leo has
had quite a prolific career. Between 1964 and 1985, he directed 17 films
(including 1971’s Slaughter Hotel,
1972’s Caliber 9 and 1973’s The Boss) and wrote/co-wrote many
screenplays (including contributions to Sergio Leone’s A Fistful of Dollars and For
A Few Dollars More). Recently, one of his last directorial efforts, The Violent Breed, was finally released
on Blu-ray.
The Violent Breed aka Razza Violenta follows ‘nam vet Mike
Martin (Harrison Muller, 2020 Texas
Gladiators) who is sent to Southeast Asia by CIA head Kirk Cooper (Henry
Silva, Sharkey’s Machine) in order to
take out a dangerous drug lord named Polo (Woody Strode, Sergeant Rutledge).
Solidly directed by Di Leo (who also co-wrote
with Nino Marino), The Violent Breed,
although not in the same league as similar films by action icons Schwarzenegger,
Stallone and Norris,is an enjoyable
80s action film which is definitely worth checking out. The movie also features
the lovely Carole Andre (The Bloodstained
Butterfly), and a memorable score from Paolo Rustichelli (Urban Warriors).
The Violent Breed has been released on
a region one Blu-ray, comes from a brand new 2K master, and is presented in its
original 1.85:1 aspect ratio. The disc boasts clear images (but the audio is a
bit low in a few spots) and also contains English subtitles, the original
theatrical trailer as well as trailers for the films The Last Hunter; The Violent
Professionals; Street Law; Seven Blood-stained Orchids and Blastfighter.
On September 27, the Australian video company Imprint/ViaVision will release a 4-film box set showcasing films starring George Peppard. Here are the details:
With his dashing good looks and
irresistible charm, George Peppard became one of the most iconic actors of the
1960s.
Enjoy four forgotten gems from his
prolific career for the first time on Blu-ray in Australia:
P.J. (1968)
Pendulum (1969)
The Executioner (1970) – Worldwide first on
Blu-ray!
Newman’s Law (1974)
Limited Edition 4-Disc Hardbox. 1500
copies only.
P.J.
(1968) – Imprint Collection #252
Peppard faces off against Raymond Burr
(Rear Window) when he becomes entangled in an affair with deadly
consequences in P.J.
Private eye P.J. Detweiler is
reluctant to protect the mistress of a millionaire from attacks by his client’s
wife and greedy family. In truth, P.J. is walking into a deadly intrigue in
which he is to play a central part.
Special Features & Technical
Specs:
1080p High-definition presentation on Blu-ray from
a 2K scan
NEW Audio Commentary by film historian & author Toby Roan
Audio Commentary by critics Howard S. Berger and
Steve Mitchell
NEW Interview with author & screenwriter Courtney Joyner on the
career of director John Guillermin
NEW Video essay on George Peppard & John Guillermin
Theatrical Trailer
Original Aspect Ratio 2.35:1
Audio English LPCM 2.0 Mono
Pendulum
(1969) – Imprint Collection #253
George Peppard embarks on a relentless
quest for justice in this thrilling classic.
Cynical Washington, DC, police captain
Frank Matthews risked his life to catch a young rapist and murderer. But the
psychopath is set free when a civil liberties’ attorney proves to the Supreme
Court that Matthews never read the killer his rights. When Matthews’ wife is
found murdered alongside her lover, and he becomes the prime suspect, Matthews
decides his best option is to capture the real killer himself.
Special Features & Technical
Specs:
1080P High-definition presentation on Blu-ray
Special Features TBC
Aspect Ratio 1.85:1
Audio English LPCM 2.0 Mono
The
Executioner (1970) – Imprint Collection #254
Worldwide first on Blu-ray!
Joan Collins, Keith Mitchell and Judy
Geeson also star in The Executioner, the nail-biting thriller and
worldwide first on Blu-ray.
When a covert operation in Vienna goes
awry, British Intelligence operative John Shay suspects his colleague, Adam
Booth, may be a double agent. Appointing himself executioner, Shay kills Booth
and then assumes his identity to obtain conclusive evidence that Booth was a
traitor.
Special Features & Technical
Specs:
1080P High-definition presentation on Blu-ray
Special Features TBC
Aspect Ratio 2.35:1
Audio English LPCM 2.0 Mono
Newman’s
Law (1974) – Imprint Collection #255
The creator of Banacek, Anthony
Wilson, and George Peppard reunite in the gritty police drama Newman’s Law.
When a hard-nosed LA cop is booted from
duty after being falsely accused of extortion, he goes rogue to investigate an
organised crime case, uncovering a conspiracy that might extend to the highest
levels of his own department.
Special Features & Technical
Specs:
1080p High-definition presentation on Blu-ray from
a 2K scan
NEW Audio Commentary by film historian Steve Mitchell and
producer/screenwriter Cyrus Voris
NEW Interview with director Jeff Burr on the career of director Richard
T. Heffron
Radio Spots
Theatrical Trailer
Aspect Ratio 1.85:1
Audio English LPCM 2.0 Mono
Any pre-order titles will be
dispatched in the week leading up to its aforementioned release date. Special
features and artwork are subject to change.
Imprint limited editions tend to sell out quickly. Click here to pre-order. (Prices are in Australian dollars. Use a currency converter to see what the price is in your local currency.) The Blu-ray set is Region-Free.
In this lighthearted but highly informative short, Turner Classic Movies recalls the rise and fall of the "B" movie, a genre which has regained popularity in recent years with retro movie buffs.
A quaint relic of the past, "open-end" interviews were widely used in the entertainment industry to deceive radio listeners into believing that a local entertainment personality was actually interviewing a big star. The reporter would be supplied with a vinyl record with "cuts" of pre-recorded interviews with the subject or subjects. They were also provided specific questions that they would record in their own voice. These would be inserted into the "interview" to give the impression that the reporter was actually speaking with the star or stars. Big city personalities didn't have to rely on such deceitful gimmicks, as they generally had access to the big names through press junkets or, if their media employer was impressive enough, a one-on-one exclusive interview. The open-end programs allowed reporters in smaller, often rural markets to pretend they were in the presence of the stars. How many people fell for this, we'll never know. It would seem unlikely that someone from the town of Nowhere would be able to pull off convincing listeners that he was at the top of the Swiss Alps for the filming of "On Her Majesty's Secret Service", but some actually tried, as that film provided open-ended "on location" interview records from that glamorous location. Here we present an open-end disc with rare interviews with George C. Scott and Peter Sellers, two people who were generally adverse to giving interviews. The subject is "Dr. Strangelove" and we suppose they both felt more comfortable with a studio hack asking mundane, impersonal questions. Not much is revealed in Scott's interview, but Sellers is a bit more forthcoming and provides some humorous examples of his expertise in impersonating different accents from diverse areas of England. Strangely, he gives the interview in the same perfect American accent he used in the film.
Anyone
going into Dutch film director Rene Daalder’s 1976 film Massacre at Central
High might very well be expecting an all-out slasher film. While the poster
art might give this impression, audiences will be sorely disappointed as it is
essentially a variant of Agatha Christie’s 1939 novel Ten Little Indians
but with a much different tone. The opening credits and the strains of an inappropriate
and perfunctory title song Crossroads (which is better suited to a
made-for-television movie of the period) demanded by producer Harold Sobel to
the consternation of the director immediately sends the wrong message to the
viewer. Much of what has been written about the film over the years demonstrates
the consensus that Massacre, the title of which appears to want to
capitalize on the Tobe Hooper horror film The Texas Chainsaw Massacre
from two years earlier, is a political allegory, and one can certainly analyze
the film from that perspective, though it is doubtful that audiences at the
time, especially those seeing the film at a drive-in of all places, looked so
deeply into a film that on the surface looks to be a story about simple revenge.
Set
inside the battleground of Central High School in Southern California, David
(Derrel Maury) is the new student and therefore automatically becomes a mark.
He is no stud, but certainly not a pushover either. Mark (Andrew Stevens from
Brian DePalma’s The Fury from 1977) is an old friend who owes David a
favor from his past, one that we are not privy to, and appears to be willing to
do whatever it takes to make David feel welcome. The ground rules for making it
through Central High are simple: you’re either a somebody or you’re a nobody,
to quote American Gangster’s Frank Lucas. Mark’s clique includes Bruce (the
late Ray Underwood from Brice Mack’s Jennifer from 1978, another film
about high school revenge), Craig (Steve Bond from Joel Bender’s Gas Pump
Girls from 1979), and Paul (the late Damon Douglas of John D. Hancock’s Baby
Blue Marine, also from 1976). These three bullies, for lack of a better
word, essentially rule Central High which is presented as a seemingly insular
world of jocks, jerks, and losers. For the first hour and a quarter of the
film, adults are only spoken of and never seen onscreen. It is worth noting
that Mark walks a tightrope in this film – his allegiance to David makes him hesitant
to be included completely with this terrible triumvirate who harass pretty much
anyone they want without fear of reprisal.
David
is subjected to seeing other students mercilessly harassed by the bullies, especially
Mary (the late Cheryl Lynn “Rainbeaux” Smith) and Jane (the late Lani O’Grady)
who are practically raped in a despicable sequence. David comes to their rescue
and beats up their harassers, only to be partially crushed under his car by the
group in an “accident” soon afterwards. Enraged, David single-handedly kills
all three bullies in a fantasy right out of today’s high school killer headlines
by sabotaging one’s hang-glider, one’s Dodge Tradesman 300’s brakes, and
exploiting an empty swimming pool in a sequence almost too ridiculous to
believe.
This
scenario creates an interesting situation at the school as the once oppressed
and harassed “losers” see the existence of a power vacuum and seize it, becoming
bullies themselves and embodying everything they hated about their tormentors, Apparently,
David is also well-versed in the art of bomb-making! What a coincidence. There
is no mention of how he developed these skills (The Anarchist’s Cookbook,
perhaps?), but he manages to come up with some fairly ornate methods of blowing
away the new bullies, and they all go off without a hitch: (spoiler alerts!)
one is blow away while at his locker; another is blown to Kingdom Come a la Sam
Rothstein at the start of Martin Scorsese’s Casino (1995) but,
unfortunately, no St. Matthew Passion for this guy; and last but not
least Mary, Jane and their friend (Robert Carradine) are crushed by a rock in
the middle of a threesome while in a tent (it comes out that police believe
that they were involved in the killings – how convenient). I suppose this
sequence gives new meaning to the term “die hard.”
Despite
all this mayhem, the school still moves ahead with a dance(!), and now the adults
and police show up. David gets the idea to blow up the school – until Mark and
his girlfriend Theresa (Kimberly Beck of television series fame), whom David
fancies, tell him they are going to the dance. When he gets wind of this, David
retrieves the bomb from the boiler room and, straight out of a James Bond film,
makes it to the front lawn to save the day, but not without paying a price for
his actions.
There
seems to be a need to prop the film up in a bright light and look at it for
evidence of it being a highly political film that is making a commentary on society
and the members who dwell in it. I am unsure if that was the real motivation
behind the film, however if one chooses to view it that way, the film is an
interesting social commentary on what creates a bully or an oppressor, and how
the oppressed end up taking over the positions of the long-gone bullies. The script
is schematic, and the film is not particularly well-acted, but to be fair the director
and crew had a 20-day shooting schedule on a modest $400,000 budget, so he
certainly had his work cut out for him. The fight scenes suffer from performer
restraint and the bullies are so annoying that the audience can only hope for a
miserable end for all of them but when they come, the releases are more of a
whimper than an all-out rise out of the seats that one would experience at the
end of Steven Spielberg’s Jaws (1975) when the shark is finally
killed.
Synapse Films released a steelbook
edition of this film in November 2020 and now it is available in a Standard
Edition from the same company. The following extras are included:
The Projection Booth Podcast
Interviews with Cast Members
(87:00) – this is an audio playback that needs to be selected on the audio menu
to access it and it can be listened to through the entire length of the film.
This is a great listen as I was initially disappointed to see the absence of a
commentary, but this is the next best thing. It is hosted by Mike White who
speaks to Derrel Maury, Andrew Stevens, Robert Carradine, and Rex Sikes over
the phone.
Audio Interview with Director Renee
Daalder (25:00) – likewise, this is an audio
playback that needs to be selected on the audio menu to access it and it can be
listened to through the first 25 minutes of the film, after which the film
audio resumes. It is an audio interview with the director conducted by writer
Michael Gingold and it is a wonderful record of their discussion as Mr. Daalder
sadly passed away in 2019.
Hell in the Hallways (42:27) – this is a really nice look
back at the making of the film, shot in high definition, with Derrel Maury, Tom
Logan, Rex Sikes, Robert Carradine, Andrew Stevens, and Jeffrey Winner, in
addition to some behind-the-scenes crew members who discuss how much fun and
also how challenging it was to make. Tragically, Cheryl “Rainbeaux” Smith and Lani
O’Grady both died way before their time. I recall seeing Lemora, A Child’s
Tale of the Supernatural (1973) on October 24, 2002, as part of a “scary
movies” retrospective at the Walter Reade Theater in New York, and wishing that
I could interview Ms. Smith about her starring role in the film. Unbelievably,
she passed away the very next day at age 47. Ms. Smith was 21 when she appeared
in Massacre and is heartbreakingly beautiful, completely naked in her
death scene that arrives 70 minutes into the film. She was a free spirit and
appeared in some of the most interesting films of the 1970s and her presence
brought something special to those films. Along with Candace Rialson, another performer
from the 1970s who sadly died way before her time, they are two of my favorite
actresses from this era.
Original Theatrical Trailer (2:23) – this is in full-blown high
definition and looks culled from the new master. The same cannot be said for
the TV Spot (00:33), however, which is framed 1.33:1 and looks its age,
beat up and contrasty. There is also a great-sounding Radio Spot (00:27)
as well as a nice Still Gallery (3:14).
In this TCM segment, film critics analyze director Herbert Ross's classic, all-star murder mystery "The Last of Sheila" starring Raquel Welch, James Coburn, Dyan Cannon, James Mason and Richard Benjamin- with a screenplay by Stephen Sondheim and Anthony Perkins!.
Click here to order Blu-ray from the Cinema Retro Movie Store
In this insightful article, writer Chris Nashawaty examines how "Airplane!" bucked the competition to become one of the biggest hits released in 1980. Surely, no one saw it coming- and don't call us "Shirley"!
Young Raquel in the 1966 sci-fi classic "Fantastic Voyage", one of the few films from this era that didn't require her to appear on screen in a bikini. (Photo: Cinema Retro Archive.)
Writing on the Turner Classic Movies web site, Jessica Pickens provides an informative look at Raquel Welch as both an actress and the real-life person behind the sex symbol image. Click here to view.
In these American Film Institute interview excerpts, Jack Lemmon and Tony Curtis discuss their experiences starring in Billy Wilder's 1959 comedy classic "Some Like It Hot".