Paramount has released a 20-movie DVD collection dedicated to the films of Jerry Lewis. Titles include the Martin and Lewis classics and many of Jerry's solo films. Best of all, the set is packed with hours of  bonus materials, including commentary tracks with Lewis on some of the key titles. Here is the official description:

"20 hilarious Jerry Lewis classics for the first time ever in one DVD collection, including The Nutty Professor, Cinderella, The Bellboy, Scared Stiff, The Disorderly Orderly, The Family Jewels, Artists and Models, The Ladies Man, Sailor Beware, Pardners, The Errand Boy, The Patsy, Living it Up, The Stooge, The Caddy, The Delicate Delinquent, You're Never Too Young, Hollywood or Bust, Jumping Jacks, and That's My Boy.

• · The largest collection of Jerry Lewis films ever assembled by Paramount.

• · Contains hours of assorted special features on select titles, including deleted scenes, trailers, and commentary tracks."

It's enough to make you shout "LADDDYYY!"

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Duke Wayne was a king of the boxoffice but home video releases of his films are not among the select VHS titles that command huge amounts on the auction circuit. In fact, most VHS releases are still largely valueless- but there are those notable exceptions.

BY LEE PFEIFFER

Collectors of vintage, toys, records and comic books have a common refrain: "I had that and my mother threw it out!". You couldn't really blame mom for valuing an uncluttered closet over what appeared to be a bunch of useless junk. Of course, history has proven mom was wrong with all sorts of vintage collectibles now bringing eye-popping prices on the auction circuit. But VHS tapes???? Who'd a thunk it. In fact, some of them have been selling for tens of thousands of dollars, as reported by Cortney Moore in the New York Post. Even those who have been attuned to the value of collectibles might be shocked by this. VHS tapes were once the answer to movie fans' prayers. At last, we were freed from having to watch censored and butchered TV network broadcasts of our favorite films. The phenomenon took off in the early 1980s and serious collectors would lay out about $75 to buy their favorite film. Most people were content to rent titles from the mom-and-pop businesses that pioneered the rental market before being squashed by big-name video store chains. Soon came the next advancement: laser discs. They were pricey and appealed primarily to hardcore movie lovers, who relished the fact that you could see a superior picture in its original aspect ratio. Alas, laser discs were short-lived and begat DVDs which begat Blu-rays and now streaming. So, many movie lovers understandably dumped their worthless VHS libraries by donating them to thrift stores and just tossing them away. Guess what? There's now a booming market for certain VHS tapes in top-grade condition. We're not talking about old Pauly Shore comedies, but titles such as "Star Wars" and "Jaws". Millions were sold but millions ended up being destroyed over the years. A recent top grade VHS of "Star Wars" recently sold for more than $57,000. An original "Jaws" VHS sold for more than $10,000 and certain distinctive Disney titles also sell for thousands. As with pricey baseball cards and comic books, rare VHS editions can now be professionally graded for the auction market. To be clear, most VHS titles are worthless...but before you throw out any, you might want to check their value. This time you can't blame mom. 

To read the article, click here.

The Jurassic Era Ends with a Roar

By Mark Cerulli

Almost 30 years ago, Jurassic Park thundered into theaters, forever changing the cinematic landscape. Steven Spielberg’s iconic film was based on Michael Crichton’s best-selling novel that brilliantly channeled people’s endless fascination with dinosaurs. It was beyond a box office hit, grossing close to a billion dollars during its 1993 release. It also revolutionized visual effects, leaving old-school stop motion dinosaurs in its dust.

Jurassic World: Dominion ain’t your father’s Jurassic Park… This 6^th and “final” instalment in the JP franchise is a huge, loud, expansive spectacle that brings together the original cast (including dinosaurs) and the franchise’s 2^nd generation stars for one last scaly hurrah.

The film opens with a cable news clip that tells us that dinosaurs have escaped from the ruins of Isla Nublar and are now everywhere. Once that has been established, director Colin Trevorrow puts the cinematic pedal down and doesn’t let up for two hours and twenty-seven minutes. The somewhat muddied plot involves Biosyn, the shady corporate heir to John Hammond’s InGen, run by Lewis Dodgson (Campbell Scott), a Jeff Bezos type who is using dino DNA to “benefit mankind”. Uh huh. (If Dodgson’s name sounds familiar, it’s because he was the original bagman who handed Dennis Nedry the infamous can of shaving cream/bio-sample tubes in the original film.)

Luckily, Dr. Ellie Sattler (Laura Dern) is onto Biosyn, corralling her reluctant former colleague Dr. Alan Grant (Sam Neill) to visit their remote headquarters where the third member of the original Jurassic team, Dr. Ian Malcolm (Jeff Goldblum) is a visiting scholar in residence. The Biosyn retreat is also a world sanctuary for… dinosaurs. The OTHER parallel-running plot involves the genetically-engineered child (the wonderful Isabella Sermon) of an original Jurassic Park scientist who is in hiding with Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard). Her unique genetic makeup makes her a very valuable commodity and a target for kidnappers. The two Jurassic Park worlds - old and new - collide when she is kidnapped and Owen and Claire follow her trail from the Pacific Northwest to the alleyways of Malta and, the futuristic Biosyn complex itself. There are breathtaking man v. dinosaur chases that rival any James Bond or Jason Bourne pursuit. Jurassic World Dominion also drifts into Indiana Jones territory with a knock-down, drag-out fight in a seedy dinosaur smuggler’s market, complete with a dino fighting pit, of course!

Trevorrow, who ably helmed the previous two Jurassic Park movies, really hits his stride with this film – from a dino roundup on horseback in a vast prairie to stunning mountain photography in the Italian Alps and dino-mayhem in the dense forests of the Pacific Northwest. The film brings back old favorites like the T-Rex and the raptor “Blue”, and introduces new ones like the Quetzalcoatlus, a huge, feathered dinosaur and the Dreadnoughtus, which resembles a Brontosaurus on steroids – 27 dinosaur species in all. According to the production materials, each creature was grounded in reality under the strict supervision of a leading paleontologist. The film’s visual effects are rivalled only by its audio effects – every crash is bone-jarring and the various dino roars are teeth-rattling.

While Pratt and Howard are great performers and have developed a wonderful onscreen chemistry, it’s the return of the original cast members – Neill, Dern and Goldblum that really got the preview audience clapping. Even original JP scientist Henry Wu (BD Wong) is on hand to try to rectify his mistakes. They all step back into their roles as easily as you’d pull on a favorite shirt; and Goldblum’s Ian Malcolm patois is as wry and quirky as it was in 1993. Time has been kind to them all.

For this epic conclusion to the cinematic Jurassic era, Universal has pulled out all the stops and is seeing their cash cowasaurus off with a bang.

BY LEE PFEIFFER

At one point in the 1983 zany comedy "The Survivors", Robin Williams says to co-star Walter Matthau: "I was overreacting." It would have been more accurate if he had said "I was overacting" because Williams, who was certainly a comedic genius, also had the ability to go over-the-top in his quest to get a laugh or, conversely, to ring sentiment from playing dramatic scenes in a mawkish manner. To paraphrase Longfellow's famous poem, "When he was good, he was very, very good, but when he was bad, he was horrid." In "The Survivors", Williams doesn't quite reach the level of being horrid and there's plenty of blame to go around for this misfire, but he certainly contributes to its quick demise thanks to his failure to get a definable grip on his character. The premise of the film must have seemed promising when it was first developed as a vehicle to reunite Peter Falk and Alan Arkin, who had found great success co-starring in "The In-Laws". For whatever reason, the reunion never materialized and Joseph Bologna was signed to co-star with Williams under the direction of Michael Ritchie. Ritchie had an interesting background, having directed an eclectic assortment of films. They ranged from his acclaimed drama "Downhill Racer", the sports comedies "Semi-Tough" and "The Bad News Bears", the political satire "The Candidate", the social satire "Smile" and the bizarre but hypnotic crime thriller "Prime Cut"- all good movies, indeed. But shortly after production started, Bologna walked off the film, citing the oft-used excuse of "creative differences", presumably with Ritchie. Walter Matthau was called in to replace him, having worked successfully with Ritchie on "The Bad News Bears". The script was by Michael Leeson, who had written most of the scripts for the landmark sitcom "The Cosby Show". So far, so good. 

"The Survivors" opens in New York City during the grungy period of the early 1980s. Robin Williams plays Donald Quinelle, an affable but bumbling executive who thinks his career is set, only to report to work and experience being fired by his boss's talking parrot. He is put through the grueling process of applying for unemployment insurance, which is made to look like a old breadline from the Soviet era. Meanwhile, we're introduced to Walter Matthau as Sonny Paluso, a long-time franchisee of a gas station. He is equally unceremoniously dismissed when the oil company decides to revoke his franchise, leaving him high and dry and without unemployment insurance, due to a legal technicality. Prior to this, we had seen the wholesale destruction of his gas station when Donald,who was fueling up in a careless manner, accidentally ignites the place with a tossed cigarette. The two men later find themselves coincidentally dining at the same restaurant when it is held up by a masked man who demands that the captive patrons disrobe and hand over their money. Donald resists and bumbles his way into subduing the bandit, getting wounded in the process and becoming a fleeting hero in the media. The bandit is Jack Locke (Jerry Reed), a cool-as-a-cucumber one-time hit man who has been affected by the economic downturn, thus he's been reduced to being a small-time robber. He manages to get out of police custody and he has both men in his sites as revenge for turning him in. He breaks into Sonny's house, where the divorced dad lives with his precocious, porn-loving 16 year-old daughter Candice (Kristen Vigard) and prepares to kill Sonny. An unexpected drop-by visit by Donald results in a series of bizarre comedic set pieces. Cutting to the chase (literally), Donald inexplicably becomes an expert in self-defense and amasses an arsenal of assault weapons. He has fallen under the spell of a far right cult leader, Wes Huntley (James Wainwright), who runs a paramilitary camp in rural Vermont. Donald leaves his fiancee and heads for the hills to join the cult. Sonny learns that Jack Locke knows his whereabouts and he and Candice race to the camp to warn Donald.  The whole mad, mad, mad, mad fiasco disintegrates further when Reed shows up and attempts to murder Donald and Sonny, but ends up allying himself with them when they are marked for death by Wes. If you think all of this is convoluted to read, wait until you see it unwind on screen.

A major problem with the production is that Matthau is playing in a semi-realistic comedy whereas director Ritchie allows Williams to dabble in theatre of the absurd. One minute, he's in Robin Williams lovable loser mode, the next minute he's like a raving psychopath. Rarely have I seen him so consistently unfunny. Matthau steals the film by simply playing a typical Walter Matthau character: grumpy with his trademark hangdog facial expressions. Jerry Reed tries his best to invigorate the hit man character, but it's wildly inconsistent and unbelievable. Once the action shifts to Vermont, the pace is deadly and the jokes become weaker and more repetitive. It's as though Ritchie was just trying to run out the clock in order to meet the minimal running time. The film also suffers from some very sloppy aspects that are inexcusable. In the beginning of the film, a preoccupied Donald stops at Sonny's station to gas up- but he fails to insert the hose into the gas tank, thus allowing fuel to flow everywhere and later ignite when he tosses a cigarette nearby.  The scene is absurd, but for all the wrong reasons. Even if Donald doesn't see the ocean of fuel gathering on the ground around him, why would he not smell the pungent odor? Later, when Donald becomes suddenly obsessed with owning weapons, he drops by a local gun fair where enthusiasts are passing around military-grade hardware that is being sold openly and seemingly with no questions asked. However, at the time, New York City had (and continues to have) some of the strongest gun control laws in the United States. I have never heard of such events taking place there, though they are common in other parts of the country. It rings hollow and makes it seem like screenwriter Michael Leeson had never been in Gotham in his life. Additionally, when Donald decides to move to Vermont, he gets there via a taxi cab. The scenario calls out for a joke, but, alas, none comes. Let's set the record straight: in an unemployed person decided to travel to Vermont via a local taxi in 1983, they would still be paying off the fare today.

When "The Survivors" opened, it met with deadly reviews and was considered a boxoffice failure. New York Times critic Vincent Canby bemoaned the film thusly, "Most astonishing is that a director of Mr. Ritchie's taste and talent could have allowed a project of such utter foolishness to get to the point that it was actually filmed."  Indeed.

("The Survivors" is currently streaming on Amazon Prime. Click here to order the DVD from Amazon)

By Lee Pfeiffer

Reviewers have been kind to "Top Gun: Maverick", citing that the film works well on every level. Much of the credit for the movie's success is the seeming agelessness of Tom Cruise, coupled with great visuals and an interesting and affecting script. But there is probably a sociological factor at play, as well. Derek Robertson, writing for Politico, believes that everyone needs to feel good about something lately and "Top Gun: Maverick" provides the cinematic salve for our wounds. Indeed, there's been plenty to be depressed about or argue about in the last few years, regardless of where you live: the worst pandemic in a century, soaring inflation, the invasion of Ukraine, shortages of essential goods, mass shootings, the insurrection, Brexit and Partygate and increasing numbers of  crazy conspiracy theories pertaining to everything from Covid to elections to UFOs. Tom Cruise has had his own troubles over the years, most of them self-imposed. But he has learned his lesson. Like the movie stars of old days, he doesn't wear out his welcome with media appearances and largely keeps his personal life and political beliefs to himself, thus avoiding alienating moviegoers. He's always been a major star but he's also been somewhat taken for granted and underrated as an actor. Now when he's pushing 60, he's at the peak of his career, which also helps inspire those of us of a certain age.

Click here to read the article.

“JULIE, IN SEARCH OF HERSELF”

By Raymond Benson

Joachim Trier’s The Worst Person in the World, a film from Norway, was nominated for the Best International Feature at the 2022 Oscar ceremony. It also received an Original Screenplay nomination. It lost the International Feature award to Japan’s Drive My Car, and the Screenplay award to Kenneth Branagh’s Belfast.

For this reviewer’s money, Worst Person deserved the Oscar over the (albeit excellent) Drive My Car. It’s such an original, lively take on the concept of “romantic comedy” (with shades of darkness) that it was a joy to view.

Worst Person is the third in director Trier’s so-called “Oslo Trilogy,” which includes Reprise (2006) and Oslo, August 31st (2011). All three films were written by Trier and Eskil Vogt. Filmed in and around Oslo during the pandemic, the picture is a marvelous depiction of how the quality of a production was maintained during Covid-19, and a behind-the-scenes supplement included on the disk emphasizes this achievement.

Julie (Renate Reinsve) is a 29-year-old single woman who at first thinks she wants to be in medical school, but she changes her mind and veers toward psychology. But then she takes a left turn and pursues photography. It soon becomes clear, even after Julie turns 30, that she isn’t sure what she wants in life. She dabbles in writing, works in a bookstore, and becomes involved with a handful of men. Two of these romantic relationship are central to her world—the first, to underground comics writer/artist Aksel (Anders Danielsen Lie), and then to coffee shop baristo Eivind (Herbert Nordrum). Aksel is a bit older and is keen on solid commitment and having a family—something to which Julie is adamantly opposed. Eivind, who is more her age, is in tune with her free spirit ways. Julie’s parents are divorced, and she gets along well with her mother (who obviously has concerns about Julie’s lack of direction in her life), but not so well with her father (who has remarried a younger woman with a daughter). By the end of the tale, Julie finally settles on what appears to be a path that hopefully will make her happy—but of course this is ambiguous, like life itself.

Renate Reinsve is absolutely radiant in the role of Julie, and she lights up the screen in every shot. She is totally believable as a character that is so deeply nuanced and real that we feel as if we know her. The two leading men are also excellent, especially Anders Danielsen Lie, who must undergo a physical change in the flow of the story.

Trier’s direction is superb. He manages a tightrope act of comedy and drama that recalls some of the best of Woody Allen, Eric Rohmer, and Francois Truffaut, but there are also hints of old Hollywood screwball comedy in the mix. And then there is the influence of intimate Scandinavian angst, as in Ingmar Bergman. The celebrated dream/fantasy sequence, in which Julie “stops time” one morning, runs across town to meet her new lover, spends an entire twenty-four hours with him, and then returns to the flat is simply exhilarating. Extras on the streets of Oslo are “frozen” in movement, along with cars and bicycles, and the only animated humans in the scenes are Julie and Eivind. Shooting the sequence proved to be a challenge because of Covid, as illustrated in the previously-mentioned supplement. The filmmakers had to halt production and resume it during a completely different season of the year.

The Criterion Collection’s new Blu-ray is a 2K digital master with a 5.1 surround DTS-HD Master Audio. Kasper Tuxen’s gorgeous cinematography is showcased in this exceptional presentation. Supplements include a nearly hour-long “making of” documentary containing interviews with Trier, Vogt, Reinsve, Lie, Nordrum, Tuxen, and sound designer Gisle Tveito. The supplement about the pandemic difficulties and time-freezing sequence is fascinating and is a canny lesson for budding filmmakers. Finally, there are some deleted scenes that are also worthwhile. One involves Julie and Aksel texting each other after their breakup; the time lapse photography is very effective and would have been a nice addition to the final cut.

The Worst Person in the World is funny, sad, and provocative. It is a celebration of what it means to be a Millennial, albeit a European one, in today’s mixed messages society. For fans of romantic comedies with bite, international sensibilities in film, and solid storytelling and acting.

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BY LEE PFEIFFER

At first glance, "Voyeur", a 2017 original Netflix documentary, would seem to be as salacious as its title might imply- but it unexpectedly transforms into a fascinating and highly engrossing character study of two men from disparate backgrounds who are brought together by a common interest in sexual practices. In 1980, the famed journalist Gay Talese was contacted by a Colorado man, Gerald Foos, who suggested that he might have a tale worthy of Talese's talents. Foos informed the bestselling author that he was the owner of a nondescript motel, the kind of place people stop at for a night while passing through town. As with many other U.S. motels, a prurient inducement was advertised: the rooms had pornographic movies you could access on the TV, a big deal back in the pre-internet era. Foos told Talese that sex was very much on his mind and was an incentive to buying the motel. He claimed he was a voyeur, but not the average Peeping Tom who might glance in a neighbor's window in hopes of seeing a woman is some stage of undress. Foos was a professional snoop. He had meticulously transformed the crawlspace above one of the motel rooms into an eavesdropping vantage point worthy of an episode of "Mission: Impossible". The vents allowed him to see directly down to the bed but he could not be seen even if a customer were to stare straight up. Foos was an everyday, unassuming guy and was unlike another motel owner with creepy habits - Norman Bates of "Psycho"- in that he was not lonely or desperate for sex. In fact, Foos was married and his wife Anita indulged him the way a wife might for a husband's mainstream hobby. She would even tip-toe to the crawlspace to provide Gerald with refreshments and food if he was putting in some long hours staring down at his oblivious customers. The goal, of course, was to watch couples engage in sexual activities. He was more often than not rewarded for his patience.

This story appealed to Gay Talese, who was no shrinking violet when it came to sex. In fact, for a decade he had been researching his book "Thy Neighbor's Wife", a non-fiction examination of American sexual practices in the post-WWII era. There was plenty to research, as anyone who came of age in the late 1960s-1970s could attest. Before AIDS brought down the curtain on promiscuous activity, sex was everywhere, and largely guilt-free. Talese chronicled all this in his book, which was first published in 1981 and updated in 2009. As part of his research, he actually operated a massage parlor. lived in a nudist colony and engaged in sexual activities, despite the fact that his marriage was already hanging by a thread. When the book was published, it reached bestseller status and Talese revisited the Gerald Foos situation. He traveled to the motel and Foos escorted him to the crawlspace where the two men spied on people engaging in sex. Talese thought the tale was fantastic and over the years and he Foos formed a friendship of sorts. Foos, who has narcissistic tendencies, relished the fact that a New York City dandy with a famous name would be interested in his story. Talese saw the potential for another bestseller. He found Foos to be a guilt-free, jolly guy who was proud of his "accomplishment" and wanted to brag about it, with the prestige of having Talese tell his story. Their relationship continued even after Foos and his wife sold the motel.

Talese, who is an old school journalist who relies on shoe leather, personal interviews and an abundance of yellow paper writing pads, kept meticulous notes of his conversations with Gerald Foos. They formed the basis of the documentary "Voyeur", directed by Myles Kane and Josh Koury, which premiered on Netflix in 2017 but which I only recently discovered. I wasn't the only one in the dark about the documentary. In 2016, Steven Spielberg planned to make a feature film with director Sam Mendes about the Talese/Foos relationship, only to learn of the documentary, which caused him to drop the project. The documentarians spent a good many months (perhaps years) filming candid conversations with Talese and Foos, sometimes together, but mostly as individuals. Talese believed Foos was being honest with him but was haunted by the fact that Foos was his only source for these remarkable tales. It's the first rule of journalism that a writer trusts a single source at their own peril. When Bob Woodward and Carl Bernstein of the Washington Post unearthed information that indicated the highest levels of the Nixon administration were involved in the Watergate scandal, their editor, Ben Bradlee, refused to print the story unless the reporters could find additional sources. They ultimately did, as recounted in "All the President's Men", but it was a painful, time-consuming process. Nevertheless, they emerged as honored journalists and brought down a corrupt presidency. In the documentary, Talese ponders aloud if he is being too trusting of Foos, but decides that since he had personally witnessed the crawlspace, the rest of his tales must be true. That theory is put to the test when Foos reveals he had inadvertently witnessed a drug dealer murder his girlfriend in the room in 1977 but never reported it. Foos said he thought the woman was only injured. The body was found by the maid the next morning. However, when Talese tries to validate the story, there was no record of it in newspaper archives. However, there was a murder in a nearby motel around that time. Was Foos expropriating that incident to sensationalize his own story? 

The documentary examines journalistic methods and accountability. They are especially relevant today when elected officials with much to hide have convinced large sections of the population that real news is fake news and vice-versa. In fact, the film documents the extent to which seasoned journalists go to in order to insure accuracy. Their reputations are on the line, as Talese finds out after publication of his book about Foos, "The Voyeur's Motel", when a Washington Post reporter notifies him that he has unearthed provable inaccuracies in the tale. We watch Talese go into an emotional tailspin, first denouncing his own book, then attempting damage control. He blames Foos and himself for the scandal. Talese gets testy even with the filmmakers, insulting them on camera at one point and drawing them into the narrative. There is a morbid fascination in watching him melt down on camera. Was he sloppy in his research? Was he snookered by a man he trusted? Was he guilty of ignoring the famous cautionary line from John Ford's "The Man Who Shot Liberty Valance": "When the legend becomes fact, print the legend"?

Foos, meanwhile, tries his own damage control and is more concerned about losing his friendship with a world famous author than a string of loose facts he had been feeding him. Foos also gripes that, in a newspaper interview to promote the book, Talese disclosed that Foos had a priceless collection of baseball memorabilia on display in his basement. Foos is outraged because he now fears he will be targeted by crooks, overlooking the fact that he had already willingly given Talese a tour of through the collectibles on film for use in the documentary.

The film will not placate the general population, which is already understandably a bit paranoid about where we are and what we do in the modern era. At one time, tiny cameras and recording devices were employed by the likes of Napoleon Solo. But today, any schmuck can by miniature eavesdropping equipment. No one knows if the room the or house they are renting isn't making their activities the object of someone's obsession.

"Voyeur" is a remarkable achievement, not only as a film, but as a sociological study of sexual perversion and journalistic practices, two subjects that are not often paired. The directors also edited the film and have done a very impressive job, given the countless hours of footage they must have had to sort through. There is also a good, appropriate score by Joel Goodman that captures the mood of the film perfectly. There is a bit of schmaltz in the film, with the directors resorting to recreations of sexual activities to represent what Foos is observing. They are tastefully done and not graphic but one could argue that Ken Burns makes documentaries about subjects pertaining to the eras before the advent of films and never uses recreations. Nevertheless, "Voyeur" is a highly engrossing achievement. Recommended. 

(For the Guardian's article about the credibility scandal relating to Talese's book, "The Voyeur's Motel", click here.)

By Ernie Magnotta

Real-life crime and corruption seemed to grow in the United States during the late 1960s and victims felt that, in certain cases, the law couldn’t always protect them. Thus, by the early 70s, American cinemas saw the rise of the vigilante/revenge film. Amazingly entertaining and hard-hitting classics such as Tom Laughlin’s Billy Jack (1971) Don Siegel’s Dirty Harry (1971), Phil Karlson’s Walking Tall (1973) and Jack Hill’s Coffy (1973) blazed across movie screens. These films featured lone, individualistic heroes who, after seeing the innocent people of their communities (and sometimes their loved ones) either robbed, beaten, raped or killed, and the law either powerless to help or itself part of the problem, decide that enough is enough and proceed to take the imperfect law into their own hands. As entertaining as these movies were, they were also an outcry against the real-life crime and corruption that was polluting the streets at the time; not to mention the imperfect legal system. Also, by viewing the tough, but well-meaning heroes of these fantasy films ridding their communities of this dangerous and undesired element, audiences experienced a real catharsis.

Although many more vigilante/revenge movies would hit theater screens throughout the rest of the decade, the genre reached its height with the release of Michael Winner’s masterful, if controversial, Death Wish (1974) which starred the legendary Charles Bronson as a passive architect/family man who, after his wife and daughter are raped by muggers (which also causes his wife’s death), and the authorities are powerless to help, decides to hunt criminals by night on the dangerous urban streets of New York. Death Wish proved to be highly influential and, in the 1980s, the genre showed no signs of slowing down as urban-based vigilante/revenge films such as 1980’s underrated The Exterminator, 1982’s Fighting Back and 1983’s Vigilante exploded into theaters along with, among many others, three entertaining, but inferior Death Wish sequels. Smack dab in the middle of these two decades, a modest, solid little urban vigilante/revenge film called Defiance was released.

Directed by John Flynn (Rolling Thunder), Defiance, which was written by Thomas Michael Donnelly (Quicksilver), produced by Jerry Bruckheimer (Beverly Hills Cop, Top Gun) and released by American International Pictures, concerns a merchant seaman named Tommy (Jan-Michael Vincent, The Mechanic, Big Wednesday, Airwolf) who, while waiting for his next ship to sail, takes up residence on New York’s Lower East Side. While there, he romances pretty, young Marsha (Raging Bull’s Theresa Saldana) and befriends a boy (Fernando Lopez from Frankie and Johnny) and an old grocery shop owner named Abe (Academy Award winner (for Harry and Tonto) Art Carney). He also discovers that a violent street gang called the Souls is terrorizing the neighborhood and the entire police force’s hands are tied. After a series of brutal muggings, beatings and murders, Tommy decides to put a stop to the violence by taking on the gang himself. But does Tommy alone have what it takes to put an end to the madness?

Although a very well-done addition to the urban vigilante genre, Defiance differs somewhat from films like Death Wish and The Exterminator in that the main hero doesn’t kill any of the villains. He just fights back and, hopefully, brings them to justice. Director Flynn delivers a well-balanced combo of drama and suspense-thriller while giving the film a gritty, realistic feel which is helped along by the stark cinematography of the talented Ric Waite (48 Hrs.).

Jan-Michael Vincent is extremely convincing as Tommy. He plays the well-written character as quiet, but tough and also isn’t afraid to show that, at times, Tommy is scared. He also shows traits such as humor and heart which further humanizes the character. Overall, it’s an understated and very believable performance. The extremely likeable Theresa Saldana brings a nice touch of humor to her role and the late, great Art Carney is wholly convincing as an aging, kind, but fed up grocery store owner. We also have a terrific performance by Fernando Lopez as the kid; not to mention Rudy Ramos (The Enforcer) exuding icy evil as gang leader Angel Cruz who utters the immortal line, “Now, we’re gonna make the new dude slow bleed.”

The entertaining and engaging film is loaded with even more top-notch acting talent; mostly made up of familiar East Coast/Italian-American faces such as Academy Award nominee Danny Aiello (Do the Right Thing), former AWA Tag Team champion wrestler turned actor Lenny “Luca Brasi” Montana (The Godfather), legendary film and television actor Joseph Campanella (The St. Valentine's Day Massacre), The Sopranos’ Tony “Paulie Walnuts” Sirico and the highly recognizable Frank Pesce (Vigilante). What a freakin’ cast! My only question is where the hell was Joe Spinell? The movie also features well-known faces like Ernie F. Orsatti (The Car), Chino “Fats” Williams (Weird Science) and Santos Morales (Scarface) as well as very brief appearances by Fred Lincoln (The Last House on the Left) and Tony DiBenedetto (The Exterminator), and quite a few others whose faces are more familiar than their names.

Defiance has been released on a region one Blu-ray by Kino Lorber and is presented in its original 1.85:1 aspect ratio. As is usually the case with KL, the beautiful HD transfer boasts sharp, crystal clear and colorful images as well as perfect sound. The disc also contains the original theatrical trailer along with the trailer for the 1976, Jan-Michael Vincent actioner Vigilante Force which is also available on Blu-ray from Kino Lorber. If you’re looking for a solid entry from the vigilante film heyday, the extremely underrated Defiance won’t disappoint.

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Give Dad the Gift of Adventure in Stunning 4K Ultra HD on June 14, 2022

The epic search for the perfect Father’s Day gift ends on June 14, 2022 when Raiders of the Lost Ark arrives in a Limited-Edition 4K Ultra HD Blu-ray SteelBook from Lucasfilm Ltd. and Paramount Home Entertainment. 

Relive all the edge-of-your-seat excitement in director Steven Spielberg’s cinematic classic starring Harrison Ford as legendary hero Indiana Jones.  Also starring Karen Allen, Paul Freeman, John Rhys-Davies, Denholm Elliott, and Alfred Molina, Raiders of the Lost Ark continues to delight audiences of all ages with its thrilling, globe-trotting adventure. 

Available individually on 4K Ultra HD for the first time, the Raiders of the Lost Ark SteelBook is the first of four planned limited-edition releases of each Indiana Jones movie.  Fans of the franchise can look forward to collecting Indiana Jones and the Temple of Doom on July 12, Indiana Jones and the Last Crusade on August 16, and Indiana Jones and the Kingdom of the Crystal Skull on September 20. With exclusive packaging celebrating the iconic original theatrical artwork, these collectible releases are sure to be a hit with fans.  The films are presented in 4K Ultra HD with Dolby Vision® and HDR-10 for ultra-vivid picture quality and state-of-the-art Dolby Atmos® audio*.   Each SteelBook also includes access to a digital copy of the corresponding movie, as well as a mini-poster reproduction.

Synopsis

Get ready for edge-of-your-seat thrills in Raiders of the Lost Ark. Indy (Harrison Ford) and his feisty ex-flame Marion Ravenwood (Karen Allen) dodge booby-traps, fight Nazis and stare down snakes in their incredible worldwide quest for the mystical Ark of the Covenant. Experience one exciting cliffhanger after another when you discover adventure with the one and only Indiana Jones. 

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BY DOUG OSWALD

Aldo Ray, Cliff Robertson and Raymond Massey are soldiers at odds with one another in “The Naked and the Dead,” available on Blu-ray via the Warner Archive Collection. It’s 1943 and America is island hopping in the Pacific during WWII. The film was directed by Raoul Walsh and based on the best selling novel written by Norman Mailer, who was inspired by his personal experiences in the Pacific front during the war. “The Naked and the Dead” is a sibling of sorts to “Battle Cry,” another film directed by Walsh and based on a best selling novel by Leon Uris. Both movies share a similar melodrama and the use of extended transgressions that take us out of the battle front via flashbacks. Both movies also share several of the same actors in lead and supporting rolls. It’s hard not to draw comparisons, but “The Naked and the Dead” is the weaker of the two movies in terms of story and performances and it feels like there’s less at stake.

Aldo Ray is the nastiest of the bunch as Sergeant Sam Croft, the seasoned platoon sergeant and borderline sociopath who cuts out gold teeth from dead Japanese soldiers and carries them in a pouch around his neck. In a flashback we meet his wife Mildred, played by Barbara Nichols, who is caught cheating by Croft. Later in the movie, one of Croft’s men finds a wounded bird which Croft crushes to death in his fist. Ray is perfect for this part and while it’s hard to like Croft, it’s hard not to enjoy Ray’s performance in this movie. He’s the kind of platoon sergeant that would inspire anyone to want to transfer out.

Raymond Massey is Brigadier General Cummings, a man of ambition which may exceed his capabilities. In many ways he’s not much different than Sergeant Croft. Both men are overtly depicted, or at the very least it’s insinuated, as being incapable of pleasing their wives. General Cummings feels soldiers are expendable pawns and if this isn’t clear, he discusses this during a game of chess with his military aide. Cummings is okay with the officers having a few luxuries denied the enlisted men.

Cliff Robertson is Lieutenant Robert Hearn, the personal aide for General Cummings. Hearn comes from a respected and wealthy family and he’s lead the life of a playboy until departing for war. We see him dreaming about a dozen beautiful women catering to his every need, but is he longing for the good old days or a wasted bachelor life? The battle of wills between Hearn and Cummings devolves into pettiness by Cummings resulting in Hearn requesting a transfer. Hearn is reassigned to take command of Croft’s platoon and they are ordered to take a hill controlled by the Japanese ahead of an airstrike being pushed by General Cummings.

Assigning Lieutenant Hearn to command the platoon doesn’t sit well with Sergeant Croft,who sends Lieutenant Hearn through the mountain pass knowing the Japanese are there waiting for them. In what appears to be several days journey through the jungle, across a river and then climbing through a mountain pass, several of the men are killed by various means including a venomous snake, falling from a mountain cliff and enemy fire. When it comes time for the survivors to call in the enemy position and meet up with the Navy transport, they seemingly arrive on the beach in minutes. It’s a small quibble, but the movie is trying to be a“Bridge on the River Kwai” -type epic rather than keeping to small scale melodrama. The movie exteriors are believable and were filmed on location in the Republic of Panama with extensive use of studio interiors and matte paintings.

The film opens at the Jungle Bar in Honolulu where we meet the principal characters including stripper Willa Mae (Lily St. Cyr), the love interest of L.Q. Jones as Woody Wilson, one of several familiar faces in the film. Filling out the platoon is William Campbell as Brown, Richard Jaeckel as Gallagher, Joey Bishop as Roth and Robert Gist as Red. They offer much of the brief comic relief in the otherwise grim movie.

Raoul Walsh’s career was winding down by the time he directed “The Naked and the Dead.” Known for his crime dramas and military themed movies, Walsh created the tough guy personas associated with James Cagney, Humphrey Bogart and Errol Flynn in a wide variety of hit movies throughout the 1930s, 40s and 50s.

The screenplay is by Denis and Terry Sanders. Denis is a two-time Academy Award winning documentarian and is perhaps best known for directing the 1970 documentary “Elvis: That’s the Way it Is” and the 1971 concert movie “Soul to Soul.” Denis also directed the 1962 war drama “War Hunt,” the 1964 drama “Shock Treatment” and the 1973 cult favorite “Invasion of the Bee Girls.” He also worked as a director and writer on several 1950s and 1960s TV series. He would occasionally work with his brother Terry, another two-time Academy Award winner, a writer and also director, mostly for television. He’s probably best known for his military themed documentaries such as 1989s “Return with Honor”, 2008 film “Fighting for Life” and most recently the 2021 documentary “9th Circuit Cowboy.”

“The Naked and the Dead” was a co-production by RKO and Warner Bros. released in August 1958. The movie is presented in widescreen WarnerScope, features a score by the great Bernard Herrmann and clocks in at two hours and 11 minutes. If the movie suffers, it’s because it needs more time to flesh out the characters, especially those played by Cliff Robertson and Raymond Massey, as their parts feel underdeveloped. When we finally get to the climactic action piece, the movie tends to bog down. The Blu-ray looks and sounds terrific with the theatrical trailer as the only supplement on the disc. The movie is a guilty pleasure of mine and, while far from perfect, makes a great weekend double bill with “Battle Cry.” The movie is recommended for fans of gritty military films.

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BY LEE PFEIFFER

Love and Bullets is a 1979 Charles Bronson starrer that Roger Ebert appropriately described at the time as "an assemblyline potboiler". The film initially showed promise. Originally titled Love and Bullets, Charlie, the movie had John Huston as its director. However, Huston left after "creative differences" about the concept of the story and its execution on screen. The absurdity of losing a director as esteemed as Huston might have been understandable if the resulting flick wasn't such a mess. However, one suspects that, whatever the conceptual vision Huston had for the movie may have been, it must have been superior to what ultimately emerged. Stuart Rosenberg, the competent director of Cool Hand Luke took over but was unable to create anything more than a sub-par action movie. The plot finds Bronson as a Phoenix cop who is reluctantly sent to Switzerland on an undercover assignment. The local prosecutor has been doggedly trying to convict a local mob kingpin (Rod Steiger) for years. Now it appears that his moll girlfriend (Jill Ireland) might be a viable witness in terms of spilling the beans about his operations.  Thus, Steiger has stashed her abroad and is keeping her under constant watch. Bronson's job is to pretend he is also a mob guy and convince Ireland to return with him to Phoenix to testify against her lover. The movie seems to exist for one reason only: the main participants desired a paid working vacation in Switzerland. This concept is nothing new. The Rat Pack squeezed in filming Oceans Eleven almost as an afterthought while they were performing nightly in Las Vegas at the Sands casino. In the twilight of his years, John Ford famously got his stock company together for a jaunt to Hawaii and released the result as a big boxoffice hit called Donovan's Reef, which still must retain the status of being the most expensive home movie ever made. 

Love and Bullets is such a lazy effort you have to believe it must have taken a great deal of effort for the cast to meander to the set every day. The film also illustrates the danger of love-struck leading men force-feeding the lady in their lives into virtually every movie they make. Clint Eastwood shoe-horned Sondra Locke into a string of his films in the 1970s and 1980s and while some of them were artistic and commercial successes, I always greeted their next teamING with a sense of bored inevitability. (Locke was also a prime perpetrator in the creation of the worst movie of Eastwood's career, The Gauntlet.) In this case, Ireland had been Mrs. Bronson for over a decade following her divorce from David McCallum. She was always a competent enough actress but the couple obviously envisioned themselves as a new William Powell/Myrna Loy teaming. Not quite. Bronson is on full automatic pilot, registering almost no emotion. Ireland overplays the role of bubble-headed moll to an embarrassing level, as though she is a character in a sitcom sketch. She is saddled with intentionally laughable fright wigs but the real joke comes when she decides to discard them for her natural hair style, which proves to be even less flattering. Absurdity piles upon absurdity as the film becomes one long, extended chase sequence with Bronson and Ireland squabbling like Ralph and Alice Kramden, if you can imagine The Honeymooners being pursued by assassins. Steiger is in full scenery-chewing mode and an impressive array of supporting actors (Val Avery, Michael V. Gazzo, Henry Silva and Strother Martin) are pretty much wasted along the way. I'm generally undemanding when it comes to the pleasures of watching an unpretentious Charles Bronson action movie but Love and Bullets represents the latter period of his career where he rarely even tried to elevate his films beyond being vehicles for an easy pay check.

(The film is currently streaming on Shout! Factory TV and the app and subscription are also available through Amazon Prime Video.) 

Bo Hopkins, the popular character actor, has passed away following complications from a heart attack he suffered earlier this month. He was 84 years old. Hopkins had a hardscrabble life that had given him plenty of experience in playing equally hardscrabble characters. He first made an impression on the big screen as Crazy Lee, the appropriately-named member of The Wild Bunch in director Sam Peckinpah's 1969 classic western. He would soon appear in memorable supporting roles in major films such as "The Bridge at Remagen", Peckinpah's "The Getaway" and "The Killer Elite", "The Man Who Loved Cat Dancing", "The Day of the Locust", "American Graffiti", "White Lightning" and "Midnight Express". Later, most of his roles would be in "B" level feature films, though he frequently appeared in hit television shows. His last credited role was in Ron Howard's 2020 film adaptation of J.D. Vance's bestselling memoir "Hillbilly Elegy". For more about his life and career, click here.

BY FRED BLOSSER

“Son of Samson,” an Italian production from the wave of sword-and-toga or “peplum” movies in the early 1960s, has been released by Kino Lorber Studio Classics in a Blu-ray edition. When you hit “play,” don’t be alarmed when a different title, “Maciste nella Valle de Re,” appears instead. It’s the same picture. “Maciste nella valle de Re” or “Maciste in the Valley of the Kings” was the original title in Italy, where director Carlo Campogalliani’s production opened on Nov. 24, 1960. There, “Maciste” had a nostalgic fan base among older filmgoers who fondly remembered the super-strong defender of justice and freedom from an iconic series of silent movies (1914-1927). The 75-year-old Campogalliani had directed three of the original Maciste pictures, and rebooting the character had long been his pet project. The recent success of Steve Reeves’ first muscleman epics, “Hercules” (1958) and “Hercules Unchained” (1959), finally provided the go-ahead.

Since “Maciste” carried no brand-name value here, “Son of Samson” became the title for the dubbed, slightly edited version that opened in New York on June 2, 1962. The new title shrewdly reminded ticket-buyers of Cecil B. DeMille’s popular “Samson and Delilah” (1950), from which the script lifted a couple of incidental situations. Also, with its biblical connotation, “Son of Samson” was designed to placate moralist watchdogs in conservative small towns. It was okay to ogle a sexy leading lady in skimpy, navel-baring harem outfits and an oiled-up, nearly naked hero, as long as the Good Book somehow fit into the scenario. DeMille had virtually pioneered the same tactic. Never mind that “Son of Samson” had no narrative connection to the DeMille picture. For that matter, it really had no religious elements at all. With its second-unit visuals of the pyramids and other desert monuments, It might just as easily have been retitled “Samson Meets Cleopatra” to exploit current publicity around Joseph L. Mankiewicz’s “Cleopatra,” which was still a year away from release. The “new” Maciste was so popular in Italy that more films followed, in which Mark Forest was followed in the role by Kirk Morris and Gordon Scott, among others. Later, several of the pictures were packaged with other peplums for syndicated TV broadcast in America as “Sons of Hercules” and “Gladiator Theatre.”

In Campogalliani’s movie, Maciste (Mark Forest) wanders through Egypt in the 5th Century B.C. looking for good deeds to perform. When he’s attacked by lions, he kills one with his bare hands (like Victor Mature’s Samson in the DeMille picture) and is saved from the other by an archer who turns out to be Kenamun, the Pharaoh’s son. Kenamun and his father Armiteo try to keep their cruel Persian vizier from oppressing the common folk, but Armiteo’s trophy wife Smedes (Chelo Alonso) secretly throws in with the vizier. They murder the Pharaoh, put Kenamun under a spell, and dispatch their troops to round up unoffending peasants for brutal slave labor. Maciste steps in to rescue the villagers, including pretty sisters Tekaet and Nofret, and break Smedes’ spell over Kenamun. Unlike the heroes in today’s movie franchises, Maciste doesn’t brood over a tortuous back-story involving daddy issues, murdered parents, or remorse over past misdeeds. Asked why he spends his time helping poor people for no personal gain, he simply answers, “It is my destiny.” In that more innocent era of movie entertainment, no further explanation was required. When Maciste and Smedes meet in the palace, she tries to seduce him with a slinky belly dance, and we visit an ingenious execution chamber known as “The Cell of Death.” There, if you somehow escape being crushed between two closeable walls, you’ll fall into a pool of crocodiles. The script by prolific screenwriters Oreste Biancoli and Ennio De Concini faithfully observes Chekhov’s famous dictum. If a Cell of Death appears in the story, someone must perish there before the final credits roll.

The print of “Son of Samson” presented by Kino Lorber is the Italian version with a dubbed English voice track. It includes a fleeting glimpse of a woman’s bare breasts (full disclosure, in case you’re curious . . . not Chelo Alonso’s) that was censored out of the American print. Even here, it speeds by so fast it seems to be optically blurred. Older fans will be glad to see hunky Mark Forest and super-hot Chelo Alonso again in peak trim, although the simplistic plot is a reminder that the Italian sword-and-toga movies (even a better-budgeted one like this, seen in proper Totalscope and Technicolor presentation after years of abysmal “Gladiator Theatre” prints) tend not to live up to our youthful memories when we revisit them many years later. The Marvel Studios generation may squirm at the old-fashioned pace of the script, and wonder why the laconic hero doesn’t brush off various perils with a stream of clever quips.

Nevertheless, if you can get your 12-year-old kid brother, son, nephew, or grandson to sit still long enough, he’ll learn that the basics for luring audiences to the ticket booth haven’t changed all that much since 1960, whether the buffed-up guy in the poster is Mark Forest, Arnold Schwarzenegger, or Dwayne “The Rock” Johnson. Millennial sword-and-toga dramas like the “300” movies (2006 and 2014) and cable’s “Spartacus” series (2010-13) have more nudity and graphic carnage, but still, at the end of the day, it’s all about the abs.

The Kino Lorber release includes captioning and an excellent, insightful, spirited audio commentary from movie guys David Del Valle and Michael Varrati.

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Fred Blosser is the author of "Sons of Ringo: The Great Spaghetti Western Heroes". Click here to order from Amazon)

Cinema Retro has received the following press release from Liberty Hall Video:

ROBOCOP: THE SERIES

Release date: May 10

FORMATS:

Blu-ray box set - 5 discs, $59.95 (LIB-4028 / 089353402822)

TV series runtime: Approximately 17 hours

DVD box set - 5 discs, $49.95 (LIB-4024 / 089353402426)

TV series runtime: Approximately 17 hours

SYNOPSIS:

In 1994, after three films in the franchise, the popular sci-fi action character RoboCop debuted in his own television series. Produced by Canada's Skyvision Entertainment, RoboCop: The Series starred Richard Eden in the title role. An 89-minute pilot aired in two parts in March,followed by 21 one-hour episodes. Aimed at a younger audience, the series dialed back the graphic violence of the first two movies and displayed a tone similar in feel to RoboCop 3. Many of the events and plotlines seen in the films were discarded, with RoboCop: The Series acting as a reset for the once human, now cyborg police officer. The series' theme song, "A Future to This Life," was performed by rock legends Joe Walsh and Lita Ford. Additionally, the series included songs by the Band, Dave Edmunds, Nicky Hopkins, Iron Butterfly, KC and the Sunshine Band, and Todd Rundgren, among others.

DETAILS:

Both the Blu-ray and DVD box sets feature the pilot film, all 21 original episodes, and bonus features. For the DVD, audio is Dolby Digital stereo and the aspect ratio is 16:9 pillarboxed 4:3 (1.33:1) which matches the original broadcast aspect ratio. For the Blu-ray, audio is LPCM stereo and the aspect ratio is 16:9 (1.77:1). The picture has been modified from its original broadcast aspect ratio to fill a 16:9 aspect ratio. | Color | 1994 | Region Free

BONUS FEATURES:

'Behind the Scenes' featurette | Toy commercial | Photo gallery | Cast profiles for actors Richard Eden, Lisa Madigan, Andrea Roth, Sarah Campbell & David Gardner | 'From Cinema to the Small Screen' featurette | 'The Future of Law Enforcement: The History of RoboCop' featurette | 'Put Down Your Weapon: The Auto 9 Gun' featurette | 'The Car' featurette | 'The Suit' featurette

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BY LEE PFEIFFER

Kino Lorber has released the 1975 Charles Bronson crime thriller "Breakout" as a Blu-ray special edition. Bronson was riding high at the time, coming off the sensational success of "Death Wish". The film was originally supposed to star Kris Kristofferson under the direction of Michael Ritchie but those plans soon fell apart. Bronson took over the lead role with veteran director Tom Gries at the helm. The film finds Bronson well-cast as Nick Colton, a shady businessman/con man/grifter who operates a variety of small time business ventures on the Mexican border with his partner Hawk Hawkins (pre-kooky Randy Quaid.) Nick is living hand-to-mouth when he is approached by Ann Wagner (Jill Ireland) with a proposition to help her husband, equally shady rich guy Jay (Robert Duvall), escape from a Mexican prison where he has been sentenced after being framed for a murder. Time is of the essence because Jay is in declining health and may well be too weak to help effect his own escape. Colton and Hawk's first attempt to spring him ends disastrously and they barely escape back to America. Colton concocts an audacious plan for a second escape attempt that involves split-second timing. He will arrange for a helicopter to land in the courtyard of the prison and in the inevitable confusion, Jay is to make his way on board and presumably fly away to freedom. In order to pull off the caper, Nick enlists the help of a professional helicopter pilot as well as Myrna (Sheree North), a married ex-call girl who will be used to distract some of the guards when the copter lands inside the prison. When the pilot gets cold feet, Nick is forced to fly the chopper himself despite the fact that he only has minimum experience doing so. Another complication ensues when Jay is confined to the prison hospital and doubts he will be able to be in the courtyard at the precise moment Colton lands. 

"Breakout" was inspired by an incredible 1971 real life escape in which an American was indeed rescued by helicopter from a Mexican prison.  The screenplay has some other sub-plots that are poorly developed and quite confusing, but some of which are obviously related to the actual escape including some rumored involvement by the CIA. In the film, Jay Wagner's frame-up takes place at the behest of his evil tycoon grandfather, Harris Wagner (John Huston) for reasons that never become clear. Apparently, Harris is concerned that Jay may inherit some control over the company Harris runs with an iron fist, though these plot points remain murky as does the involvement of some CIA characters.  Another potential plot device, which finds Nick and Ann obviously attracted to each other, also goes nowhere. The film has a rushed look to it and there are some unsatisfying aspects caused by the movie's rather abrupt ending. The movie studio, Columbia, apparently felt the film was a rather weak production and thus gambled on a massive ad campaign that probably cost more than the film's modest budget. Ads for "Breakout" were everywhere: in newspapers, on TV and on radio. Additionally, the film opened wide in 1,000 American theaters, which was a big number in 1975. The movie was dismissed by critics with Variety calling it a "cheap exploitation pic", and indeed the main poster artwork (different from the Blu-ray sleeve artwork) and graphics looked surprisingly amateurish considering this was a golden age for film poster designs. Nevertheless, Bronson's appeal seemed to override these negative factors. "Breakout" proved to be a major hit and helped cement his status as a top boxoffice attraction , though his clout would gradually diminish henceforth. 

Scene stealer: Sheree North in posed cheesecake publicity photo for the film.

Like a lot of older movies, "Breakout" probably plays better today than it did at the time of its initial release. Bronson is in top form and gives an unusually energetic performance that allows him to stress his rarely-used talent for light comedy. The only other standout member of the cast is Sheree North, as the epitome of the sexy cougar. She's a fast-talking, tough cookie who parades about in sexy lingerie in an attempt to seduce Bronson. (Surprisingly, Bronson's character does not engage in any sexual action throughout the movie.) Robert Duvall is largely underutilized in a low-key role and performance that could have been credibly played by almost any other competent actor.  Huston's presence in the movie is disappointing, also. His role is confined to a few scattered cameo appearances that probably don't last more than two minutes. Some other familiar faces include Paul Mantee, Alejandro Rey, Roy Jenson and the Mexican cinema's favorite bad guy, Emilio Fernandez. As for Bronson teaming for the umpteenth time with real life wife Jill Ireland, the gimmick was wearing thin. Some screen couples could team without wearing out their welcome. Elizabeth Taylor and Richard Burton made many films together but they were always playing entirely different characters in entirely different scenarios. Bronson and Ireland, despite being competent actors, were no Liz and Dick. It became clear that their films together were largely made possible by Bronson's clout with the studios. Although Ireland always gave credible performances, she never lit up the screen. After a while the sheer predictability of their on-screen teamings probably undermined Bronson's popularity because it constrained him from interacting with other actresses. It was a trap Clint Eastwood also fell into for a period of time when he cast Sondra Locke in the female lead in six of his movies over a period of only seven years. Despite these gripes, it must be said that director Tom Gries keeps the pace moving briskly and there isn't a dull moment. He also knows how to milk some genuine suspense out of the helicopter escape scene, which is exceptionally well photographed by the great cinematographer Lucien Ballard. Jerry Goldsmith also contributes a typically fine score. The movie was shot in a wide number of locations including California, Mexico, Spain and France, where the impressive edifice that serves as the prison is located.

The Kino Lorber Blu-ray looks great and features a very informative commentary track by Paul Talbot, author of the excellent "Bronson's Loose" books, which analyze his action movies. There is also a trailer, TV spot and radio spot. In all, an impressive package for a fun '70s adventure flick. Recommended.

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Ray Liotta in Martin Scorsese's 1990 crime classic "Goodfellas". (Photo: Warner Bros.)

Actor Ray Liotta, who rocketed to fame with his performances in "Field of Dreams" and "Goodfellas", has died at age 67. He was on location for a film in the Dominican Republic.

Click here for full details. 

(Ray Liotta remembered by his colleagues. Click here)

https://www.thefilmdetective.com/ 

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BY JOHN M. WHALEN

When Trappist Monk Ambrose (Marty Feldman) is told by Brother Thelonious (Alfred Hyde-White), the abbot of the monastery, that he must go out into the world to raise $5,000 to pay off the church’s landlord, he begs him not to make him go. Ambrose was left on the monastery’s doorstep as an infant and has never set foot out in the real world. Universal’s “In God We Trust” (1980) is the story of what happens when a totally innocent character confronts a corrupt world, including and especially those who commercialize and capitalize on religion. In another sense, it’s also the story of Marty Feldman, the British comedian with the bulging eyeballs who believed you could tell the truth and make jokes about society’s sacred cows and not pay a price for it.

Feldman co-wrote (with Chris Allen), starred in and directed “In God We Trust,” (the full title of which is actually, “In God We Trust; Give Me That Prime Time Religion.”) It was the first film of a five-picture deal Feldman made with Universal after having a hit with “The Last Remake of Beau Geste” (1977), and his breakthrough role as Igor, the bug-eyed hunchback in Mel Brooks’ “Young Frankenstein.” “In God We Trust” is a scathing satire on the big business of organized religion as practiced by TV evangelists. The film is prophetic in terms of how it predated the TV evangelist scandals of the mid-80s. Jim and Tammy Bakker, Jimmy Swaggart and others would go down in infamy soon after the film was released. (Although some infamy lasts longer than others. Jim Bakker is back on TV and Tammy is the subject of an Oscar-nominated film.) It also warned of the dangers of mixing church and state, something that has become part of American politics today.

The first person Brother Ambrose meets after he’s kicked out of the monastery is Reverend Sebastian Melmoth (Peter Boyle), a traveling minister who drives around in a church built on top of a truck. The reverend takes him to Los Angeles and sets up his stand selling Levitating Lazarus Dolls. “Step right up, sinners!” the reverend says. “Take a miracle home with you! Get your own Levitating Lazarus Doll! See him rise from the dead in the privacy of your own home!”

His next encounter is with a hooker with a heart of gold named Mary (Louise Lasser). She is, in fact, the first woman Ambrose ever met and he’s surprised when she tries to hide from cops by climbing up under his robe. When they stop at an outdoor lunch counter they have a fairly hilarious discussion about sex, in which he tells her he notices that girls are different from men. “You have legs and those bumpy bits.” He ends up staying in her apartment, sleeping on the sofa.

Next day he goes out to look for a job and is hired as a carpenter for P. Pilate Wholesale Religious Novelties, nailing little plastic Jesus figurines to wooden crucifixes. It’s not long until he has sex with Mary and goes into a church called The World Wide Church of Psychic Humiliation, and tries to confess his sins. But the priest’s hearing aid malfunctions and turns into a microphone blaring out Ambrose’s detailed confession to anyone in hearing distance. When he comes out of the church a crowd on the sidewalk gives him a big round of applause.

Ambrose next encounters TV evangelist Armageddon T. Thunderbird (Andy Kaufman), head of the Church of Divine Profit (CDP). The legendary Kaufman dressed in a White Elvis suit with a snow white bouffant hairdo piled on top of his head gives an amazing performance as a power mad preacher out to take over the world. He’s headquartered in a high rise office building that has a replica of the Capitol Dome on the roof. His private office is modeled after the White House Oval Office. There’s a side door that opens into a private room where Thunderbird converses with G.O.D., (General Operational Directorevator), a giant computer containing God himself (Richard Pryor).

The script contains some ruefully funny lines. When Ambrose tells world- weary hooker Mary that he thought the meek were supposed to inherit the earth, she tells him: “The meek may inherit the earth but not until the strong are finished with it. By that time, it won’t be worth having.”

Rev. Thunderbird gets to toss off one liners like: “You can fool some of the people all the time.” When he discovers Rev. Melmoth’s idea of a traveling church: “Mobile Churches!” he says. “Let’s run that up the crucifix and see who genuflects!” On the importance of money, he says: “It takes money to buy things. Who’s going to clothe you? J.C. or J.C. Penney?” He guilts his audience with: “God is in intensive care and who put him there? You did!”

Thunderbird builds a fleet of mobile churches, designed with familiar looking Golden Arches and a neon sign on top that keeps track of how many million souls are being saved every day. He dupes Ambrose into fronting the mobile church business by offering to pay off the monastery’s mortgage. Things seem to be going all Thunderbird’s way until Brother Ambrose has a private talk with G.O.D.

It’s hard to believe how critics back in 1980 dismissed “In God We Trust” as a total failure. Even Roger Ebert gave it one and a half stars and accused Feldman, among other things, of thinking that “characters will seem funny if you give them a funny name.” The movie deserved a better reception. That’s not to say it’s not without its flaws. A little more care could have been taken with continuity. Some scenes don’t seem to flow naturally into the next, and some of the comedy seems forced. But overall it’s a highly entertaining film that has something important to say.

Kino Lorber’s Blu-ray comes with an exceptional audio commentary by Feldman’s close friend, writer Alan Spencer, creator of the “Sledge Hammer” TV series (1986-1988). Spencer provides his explanation for “In God We Trust’s” failure at the box office. In one scene Thunderbird cites numerous three-letter conglomerates, starting with the Holy Trinity, including “ATT, RCA, GMC, ITT, IBM FBI, MCA, KKK . . . .“ Universal demanded that MCA, its parent company, be removed from the soundtrack. Feldman had the right of final cut in his contract and refused. According to Spencer, the studio cut Feldman’s legs out from under him by refusing to promote the film and compromised its distribution when it was released. On top of that they threw his five-movie deal out. Feldman was devastated. His next film, “Slapstick of Another Kind,” (1984) was a Jerry Lewis flop that Siskel and Ebert called the worst film of 1984. Feldman at least was spared hearing that. He died in 1982 of a heart attack in Mexico while on the set of “Yellowbeard” (1983), a pirate comedy starring Graham Chapman and Eric Idle. Mel Brooks took the high road and attributed his death to his habit of smoking five packs of cigarettes a day, drinking gallons of coffee and eating fried eggs every day.

The disc also includes a separate audio commentary by film historian and author Bryan Reesman. Reesman has a mile-a-minute style of delivery that sometimes is hard to keep up with but his commentary contains loads of information. There are a number of trailers included on the disc including a “Trailers from Hell” for “In God We Trust” with Alan Spencer.

This is an important Blu-ray release that hopefully will inspire a reevaluation of “In God We Trust.” Highly recommended.

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(Check out John M. Whalen's blog)

(Photo: Sachyn Mital)

BY LEE PFEIFFER

Last evening, Cinema Retro was invited to attend the one-night only performance of "Broadway by the Year: From The Ziegfeld Follies to Moulin Rouge" at the historic Town Hall Theatre, a stone's throw from Times Square. The show is the brainchild of Scott Siegel, who writes, produces and directs each of these productions, which have extended back over twenty-one years. I was unfamiliar with the shows prior to attending but the official press releases describes them thusly:

"This unique, critically acclaimed series created, written, hosted, and directed by Scott Siegel is peppered with history-making events. Broadway by the Year introduced Stephanie J. Block to the New York City theater audience. And it was Broadway by the Year that starred Jessie Mueller in her first concert appearance in New York after she was first seen on Broadway in On a Clear Day You Can See Forever. Broadway by the Year pioneered the use of dance in a one-night only concert format and they have and continue to highlight the Broadway voice by introducing unplugged performances, using no microphones." The press release goes on to explain why Siegel has sought to pay homage to jukebox musicals: "In this second concert of the Broadway by the Year season, audience members will get a one-night-only history of jukebox musicals and musical revues. And the truth is, an extraordinary number of hit Broadway shows fit the description of these two kinds of shows. These oftentimes maligned genres have played an important role in the resurrection of songs, and styles from rock ’n’ roll (Jersey Boys, Beautiful, All Shook Up) to classical music (Kismet), and from country (Ring of Fire) to Rhythm & Blues (Black & Blue, After Midnight). And they have highlighted oftentimes forgotten composers, bringing their names back into the limelight, such as Eubie Blake with Eubie! and Fats Waller with Ain’t Misbehavin’."

Tony Danza and Joe Davidian. (Photo: Sachyn Mital)

I confess to being somewhat bewildered by Siegel's concept, which promised to present works associated with the old-time musical revues, some of which date back over a century, alongside the likes of jukebox productions inspired by the songs of Peter Allen, The Beatles and Bob Dylan, to name just a few. Theater purists have long sniffed at jukebox musicals, dismissing them as the low hanging fruit of theatrical productions because they rely on preexisting pop hits rather than original songs. However, audiences who are paying big bucks for a night out on Broadway want uplifting, toe-tapping musicals, critics be damned. Siegel and Musical Director Ross Patterson delivered the goods. The first act largely consisted of the vintage revue musical numbers, with songs from the likes of "The Ziegfeld Follies", "Show Boat", "Sondheim on Sondheim" and "The Band Wagon Revue".  After the intermission, the jukebox numbers were performed. It worked surprisingly well. In fact, this was one of the most impressive nights of live theater I've seen in many years. The audience seemed to agree, responding with thunderous ovations. The eclectic aspects of the production gave the show a lively, unpredictable air and it was all the more enjoyable seeing it presented in the marvelous Town Hall theater. The seasoned Broadway performers and up-and-coming talents were uniformly impressive. There was not a single weak link. Haley Swindal knocked "Diamonds are a Girl's Best Friend" and "Losing My Mind" out of the park as well as provided a rousing rendition of "Cabaret" that gave Liza a run for her money. John Easterlin performed "A Pretty Girl is Like a Melody" and "The Girl on the Magazine Cover" sans microphone to replicate the way audiences originally experienced the songs. Douglas Ladiner provided a soulful version of The Beatles' "Yesterday" and a magnificent show-closer with "Forever Young". Melissa Errico provided impressive renditions of "Life Upon the Wicked Stage" and "Confession". Tony Danza presented a Frank Sinatra tribute and provided amusing anecdotes about his late mother's obsession with Ol' Blu Eyes and his eventual introduction of his mom to her idol. Baritone Ryan Knowles, who sounds like the voice of God, rendered the most impressive versions I've ever heard of "Sixteen Tons" and the classic Depression era number "Brother, Can You Spare a Dime", as well as a fine version of Judy Collins' "Both Sides Now" . The audience was entranced by 18 year-old Anais Reno, who sang "Stardust" and Duke Ellington's "Caravan" with such passion that I can only say major stardom for her seems to be an inevitability. I must also mention the talents of Choreographer Danny Gardner and the female dance troupe who brought to mind the sheer enjoyment of seeing the Rockettes. It was also a special night for retro movie lovers, as many of these songs are associated with classic film musicals.  

Haley Swindal and the Broadwayby the Year Dance Troupe. (Photo: Sachyn Mital)

Scott Siegel preceded every performance by addressing the audience and providing some interesting insights into each musical number. He also came across as a considerate and gracious man, personally thanking every member of the cast, along with his longtime Musical Director Michael Lavine, the technical crew and even the house staff and management. He also had spearheaded a fundraising drive that made it possible for 200 theater students to attend the show gratis.

Gotham has suffered mightily since the onset of the pandemic. Business was down, deaths and crime skyrocketed and Broadway was closed for an extended period of time, with some shows destined to never resume or open at all. The city was teeming with people in Times Square last night and it was clear the mojo is coming back. Perhaps that's why the audience appreciated Scott Siegel's latest production of "Broadway by the Year". We all needed an uplifting theatrical experience and Siegel and his collaborators came through triumphantly. I have only one regret about attending the performance: I'm now aware that I missed twenty previous productions that will never be seen again. I suppose when something is this good, however, it's better late than never to discover it.

Anais Reno (Photo: Sachyn Mital)

(There will be two more productions of "Broadway by  the Year" coming to the Town Hall Theatre on June 26 and September 19. For more information about those shows, click here.)

BY LEE PFEIFFER

The Warner Archive offers the 1961 low-budget Allied Artists production of Operation Eichmann on DVD. The film was clearly rushed into production in order to capitalize on the recent capture of the infamous Nazi war criminal who enthusiastically took up the assignment of how to orchestra the logistics of carrying out the Holocaust as part of Hitler's evil scheme to rid occupied Europe of Jews and others deemed undesirable by the Third Reich. The film opens with a chilling (but fictitious) statement by Eichmann, who threatens to oversee a revival of world Naziism. The movie's cheap production design undermines the emotional impact of the story. (The scenes in Auschwitz are no more expansive than those seen in contemporary TV dramas at the time.) The B&W cinematography, however, is suitably stark and provides an appropriate downbeat atmosphere. The film strays so far from the facts regarding Eichmann's life on the run that you wonder how producers felt it could be sold to contemporary audiences who were mesmerized by Eichmann's capture by the Israeli Mossad in Argentina. The movie skips over such controversies as Eichmann having been placed in custody of American forces in the aftermath of the war, only to be released due to a blunder about his identity. There is no mention of the cover-ups American intelligence engaged in so that Eichmann would never be found or arrested. (The fear was that Eichmann's arrest might reveal the fact that the American government had willingly hired prominent Nazis for intelligence purposes during the Cold War era.) Nor is there a nod to the fact that Eichmann successfully lived undisturbed in Argentina thanks to an assist from a Catholic bishop who sympathized with the plight of Nazis on the run. Although Eichmann lived in Argentina with his wife and children, the movie presents him as a bachelor who is accompanied by a ditzy and greedy girlfriend, a fictional character named Anna (Ruta Lee). The cinematic Eichmann has a tempestuous relationship with his paramour, but can't seem to leave her. He routinely offers her bribes to stay with him during his life on the run. Finally, the film embellishes Eichmann's daring capture on an Argentinian street by adding a sub-plot about other ex-Nazis who are planning to kill him for making his plans to revive the Third Reich too blatant.

Where the film, directed by R. G. Springsteen, deserves some admiration is in its determination not to sugar coat the atrocities that Eichmann and his cohorts engaged in. Nazis were not the wild-eyed monsters often depicted in propaganda films. Rather, most were distinguished by their sheer banality. Eichmann considered himself simply a bureaucrat who cited the usual defense that he was "just following orders." Likely, he believed that to be the case. Countless bankers, lawyers and accountants eagerly put their talents to use for Hitler with nary a distinction about the larger consequences of their actions. It was Eichmann, however, who rose to the challenge of orchestrating the logistics of transporting millions of poor souls to their deaths. He had not a shred of compassion and treated human beings as he might cattle. The film features Werner Klemperer in a rare starring role as the titular fiend. He delivers an outstanding performance that never sinks into parody or over-acting. Curiously, one of his co-stars is John Banner, who would play Sgt. Schultz opposite Klemperer's Emmy-winning portrayal of Col. Klink on Hogan's Heroes several years later. It is morbidly fascinating to see these two future icons of TV comedy on screen in such a somber tale. Banner plays the commandant of Auschwitz and wines and dines Eichmann at his family dinners even as the ovens are being constructed and the gas chambers are running at full capacity. It serves as a reminder that both Klemperer and Banner were well-regarded as dramatic actors prior to their comedic achievements on television.

Operation Eichmann is a flawed, but compelling look at a Nazi technocrat who personally caused the demise of millions of innocent people. With the world presently in the grip of genocidal practices being implemented in the war for the fate of the Ukraine, the movie does provide a cautionary tale for some in the Western democracies who have veered toward authoritarian figures. The film could have been so much more impressive, had the story not been relegated to a factually-flawed script and a routine director. Nevertheless, the fascinating performance by Werner Klemperer is reason enough to recommend this release.

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By Hank Reineke

Village of the Damned is the cinematic moniker of John Wyndham’s far less exploitative titled 1957 novel The Midwich Cuckoos. Wyndham’s writing specialty was science-fiction: he graduated from contributing short stories to such colorful genre magazines as Wonder Stories and Amazing Stories to publishing full-fledged novels. Though his stories were occasionally adapted for such television dramas as Alfred Hitchcock Presents, his cinematic credits were relatively few. Village of the Damned is perhaps his best remembered movie tie-in, but a 1951 novel was also filmed and subsequently released as Day of the Triffids (Allied Artists, 1962).

Village of the Damned was originally conceived to film in Hollywood, and American writer Stirling Silliphant was tapped to compose the screenplay for the movie – which was to be, more or less, a faithful adaptation of Wyndham’s novel. Though Silliphant had accrued a few film credits, he was primarily regarded as a television writer, having contributed a score of 1950s teleplays to a variety of programs ranging from The Mickey Mouse Club to Perry Mason to Alfred Hitchcock Presents.

Wolf Rilla, a German-born novelist but long-time a resident of London, was tapped to direct Village of the Damned. Rilla’s background too was mostly in television production, having written or directed a score of TV comedies and dramas over the span of a dozen years. Rilla was approached to direct Village when studio accountants deemed it far more economical to film in England rather than Hollywood. Rilla thought Silliphant’s scenario was workable. But he also thought the Yank’s grasp of contemporary British customs and vernacular was lacking. So Rilla and the film’s British producer Ronald Kinnoch (the latter writing under the pseudonym of “George Barclay”) reworked the original script to better authenticate and Anglicize.

The rewrite was successful in that regard. The atmosphere surrounding Village of the Damned is nothing less than stiff-lipped British in tone. In 2022 looking back, one could easily mistake Village as a Hammer Film Production (ala the Quatermass series).  Several prominent cast members of Village, including Barbara Shelley and Michael Gwynn, would be familiar to Hammer Films devotees, their faces having graced screens in such productions as The Camp on Blood Island, The Revenge of Frankenstein, Quatermass and the Pit, Dracula, Prince of Darkness, Rasputin, the Mad Monk, Scars of Dracula and The Gorgon. The venerable British actor George Sanders, the former star of The Saint film series, is fittingly at the center of the mystery. And there’s plenty of mystery about…

The tiny, sleepy hamlet of Midwich is the “village” referenced in the film’s title.  Nothing much ever happened in Midwich until, for an odd four-hour interval, time not only stops but is seemingly lost. The townspeople, for reasons unknown, all fall into unconsciousness.  Initially there doesn’t appear there was any significant fall-out from this strange time-warping aberration, but several months later every village woman of childbearing age - married, courting or celibate - finds themselves pregnant.  This collective simultaneously give birth to children unusual in both manner and appearance. The children, whom some suspect are the product of some strange “impulse from the universe,” are uniformly uber-intelligent, gifted beyond their years. While polite to their parents and other adults, the children also strangely distant, unusually formal and unemotional in manner.

The children are also endowed with several peculiar special gifts – not the least of which is the ability to read the minds of the adults. This ability has unnerved those members of the community who are forced to interact with these mysterious youngsters.  It’s soon revealed these children are, as suspected, the offspring of alien beings. They have been imbedded in the village to study the minds and culture of their earth-bound galactic neighbors. For what purpose? Well, no one is sure, but the worst is feared.  Once the British military gets involved their intelligence agents report the residents of Midwich are not alone.  Reports are coming in of similar alien birth-takeovers amongst rural Eskimo populations as well as countries sitting behind the Iron Curtain. 

Gordon Zellaby (George Sanders) and his wife Anthea (Barbara Shelley) are the parents of one such “special” child, David (Martin Stephens). David seems to be the spokesman of the children. He also is not shy in demonstrating the bad habit of telepathically coercing those he perceives as enemies to take their own lives.  The situation worsens when the school-age alien brood make the decision to abandon Midwich to imbed more widely among the populace.  The town elders and military realize they can’t allow these aliens, semi- contained in Midwich, to spread further afield.  But how does one plot against those with the ability to read every thought that crosses the minds of those wishing them destruction?

It’s a neat premise and Village of the Damned was a surprising hit for MGM, the B-film’s appeal amongst cinemagoers and critics alike having caught the studio off guard. When studio brass realized they had a commercial steamroller on their hands, the publicity department was free to go full throttle. MGM began to take out full page ads in the trades, boasting that “Village of the Damned Saturation Openings” were rollin-up “Sensational Grosses!” This wasn’t mere ballyhoo, it was the truth. So it wasn’t terribly surprising when MGM announced a follow-up feature was already in consideration.

Anton Leader was chosen to direct this sequel Children of the Damned. Similar to Rilla, Leader was best known for his directorial work on television, not in motion pictures. In fact, following a successful career in the 1940s as a producer of radio dramas, Leader had worked almost exclusively on the small screen. He would subsequently helm an episode or two of practically every iconic television series of the 1950s and 1960s. Leader had left the U.S. for Europe in February 1962, hoping to set up his own production company on the continent. This dream was deferred when Leader was asked to direct Children of the Damned and given a nifty $400,000 budget to do so.

Having worked almost exclusively in the penny-pinching television industry, Leader gladly accepted. He would tell a journalist from Variety that it had been good to get away from TV since a big screen filmmaker was “more respectfully regraded” and given more time and latitude to do a “respectable job.” The problem was Leader envisioned Children of the Damned as an “art picture.” The brass at MGM Britain was less interested in making a profit, not a point. They wanted Children of the Damned be a coattail-riding horror film, which wasn’t the film as delivered.

Variety recorded Leader’s chagrin when the director was first made aware of the “advertising campaign mapped out by MGM […] lurid billing as an exploitation special.” Indeed, the poster art played up only a ghastly sensationalism: “They Come To Conquer the World… So young, so innocent, so utterly deadly!” A second ad mat was no more constrained (nor honest) in its carnival-barking: “Beware the Eyes that Paralyze! All-New Suspense Shocker… even more Eerie and Unearthly than Village of the Damned!”

In truth there’s very little eeriness and only a bit of suspense in the film. Children isn’t a bad film, but it is a curious follow-up, one that wildly detours from the premise of the original. There’s only a smattering of sci-fi elements. The “children” number only six in this sequel and their provenance is multi-national. The children are, again, borne by unwed women “never touched.” All six are brilliant, each possessing “intellect beyond belief.” It’s this reason that makes them of great scientific interest to Dr. Tom Llewellyn (Ian Hendry), a psychologist and Dr. David Neville (Alan Bader), a geneticist. They suggest a UNESCO program should be commissioned to study the children.

The problem is that the children do not wish to be studied. They escape from their respective embassies to gather inside the bowels of an old church. There was no need for them to proactively discuss this decision amongst each other – or, at least, not in the usual oral method. Since they communicate with one another through telepathy, they already share a communal knowledge base. They have no separate nor distinct personalities and mostly, if not exclusively, communicate their wishes to be left alone through an intermediary they control through hypnotism.

A sector of both the scientific establishment and military believe it would be best to “destroy” the children, believing them to be the spearhead of an invasion of aliens. But the army discovers the children are well-equipped to defend themselves against any aggressive action. Unlike the Village children, this new group of moppets choose only to use their telepathic energies towards their own defense. They’re not interested in causing harm to anyone, even as the bowels beneath their church sanctuary are wired with explosives.

Children is, without doubt, a different animal than Village. John Briley, the U.S. born screenwriter would contribute an original screenplay for the sequel, one only loosely based on the premise of the Wyndham novel. Though early in his career, Briley was no hack merely trying to get along by writing B-pictures. In 1983, as the writer of Ghandi, Briley was awarded an Oscar for Best Original Screenplay.

But the folks going to the cinema to catch Children of the Damned wanted a horror film, and no doubt felt cheated upon exiting. This film was more of a preachy “co-existence not no-existence” exercise. Most reviews of the film were critical of the movie’s high-minded and obvious aspiration as being experienced as a “message film.” One critic thought the concocted scenario was simply too precious. The filmmakers were attempting to endow the film “with moral significance […] heavy-handed, unnecessary and too pretentious an aim for so relatively modest a production venture.”

Although Children of the Damned was Leader’s last feature film of significance, the British trades were reporting the novelist/director had already reworked Christopher Monig’s 1956 mystery novel The Burned Man into a screen treatment, pitching the idea of bringing it to the screen to Hammer’s James Carreras.  That project would not happen, for better or worse, and Leader soon returned to TV directing. Children of the Damned is more of a curio today, but Village of the Damned has enjoyed lasting notoriety, even having been remade by Horror-film maestro John Carpenter in 1995. But while Carpenter’s film easily bests any of the antiquated optical effects of the 1960 version, Rilla’s original remains the more iconic.

Village of the Damned and Children of the Damned are made available as BD-ROMS through the Warner Archive Collection. Village is presented in 1080p High Definition 16 x 9 1:78.1 and in DTS HD Master Audio Mono. Children has been made available in 1080p High Definition 16 x 9 1:85.1 and in DTS HD Master Audio Mono. Both films are relativity sparse with extras, though both offer each film’s theatrical trailer and removable English subs. The only true “special features” is Steve Haberman’s commentary track on Village and screenwriter John Briley’s commentary on Children.

Click here to order "Village of the Damned" Blu-ray from Amazon

Click here to order "Children of the Damned" Blu-ray from Amazon

Here's a vintage goodie from TCM: George Kennedy's tribute to his friend, the legendary James Stewart. 

By Hank Reineke

We’re told the expression “Revenge is a Dish Best Served Cold” had origin in seventeenth-century France. I’ve no idea if this is accurate, nor convinced it matters. What is unquestionable is that in life, literature and art, the subject of revenge remains constant. Interestingly, the avenging of injustices, real and perceived, is common to both heroes and their adversaries. Sometimes motivations combine so the separation between heroism and evil becomes muddied. As the iconic and deranged fiend Dr. Anton Phibes, the great Vincent Price adroitly manages to move his audience to cheer as his character carries out a series of brutal and theatrical murders.

Price appears as the titular Dr. Phibes in two of what are, inarguably, the actor’s three best recalled films of the 1970s. The cycle was kicked off by Robert Fuest’s The Abominable Dr. Phibes (1971) and Dr. Phibes Rises Again! (1972), with Douglas Hickox’s Theater of Blood (1973) – a similar film in style to the two-pic Phibes’ franchise – serving as an unofficial third act. Truth be told, only Vincent Price could manage to successfully pull off such sadistic and dark malarkey as presented above. Price’s reputation for playing gloomy, sinister characters with a sense of self-parodying gallows-humor whimsy made him a perfect cast.

The early to mid-1970s may not have completely signaled the end of old-school horror films, but it was the end of an era for those players still carrying the torch. It was primarily the British who kept the familiar tropes alive through the bloody, and often Gothic, productions of Hammer, Amicus, Tigon and late-to-the game Tyburn. Though Hammer was reviled in the 1960s for allowing Technicolor on-screen bloodletting, such crimson exploitation was nothing to what was to follow. American independents had already pushed the envelope to the extreme with such disturbing drive-in fare as Wes Craven’s Last House on the Left (1972) and Tobe Hooper’s The Texas Chainsaw Massacre (1974).

Overnight, the performances and films of such polished, academy trained actors as Price, Peter Cushing and Christopher Lee were made antiquated and unhip. Empty-headed teenagers were the new principal players, and with the release of John Carpenter’s Halloween (1978), old-school horror was relegated to the annals of film studies as a flood of imitations flooded movie screens. While Vincent Price didn’t disappear from movie-house screens, he was seen less often. You were more likely to catch Price on television in a TV-movie, drama, situation comedy or as a guest on Hollywood Squares. Or, perhaps, you might have been fortunate enough to catch the veteran actor trotting the boards in a traveling theatrical production.

Price was, understandably, not a great fan of the so-called “slasher” film genre. Such disgruntlement was, no doubt, partly the result of a loss of big screen offers and opportunities. Price considered the slasher film “with all their blood and violence […] a different genre from the wonderful Edgar Allan Poe films we used to make for Roger Corman.” In interviews from that period Price insisted the recent trend on splashing explicit real-life violence onto the big screen was a worrying trend. “When you have the chain saw at the very beginning of the picture that knocks off about fifteen people, where have you got to go?, he sighed to one journalist. “There’s no humor,” he continued. “They’ve just become too violent for me.”

There’s certainly no absence of humor – dark as it may be - present in The Abominable Dr. Phibes and Dr. Phibes Rises Again!. Price is directly responsible for innumerable murders, most often in devilishly amusing methods. I feel that, in some manner of speaking, the Phibes films had a measure of stylized influence on the slasher film genre. The body counts left in the wake of the subsequent slashers are, generally speaking, no greater nor less than those in the Phibes or Theater of Blood exercises.

In terms of thin plotting the Phibes and early slashers are similar in construction. Both substitute logic and a compelling storyline for a fast flowing series of voyeuristic grim executions. The raison d’etre of both enterprises was to deliver an entertaining, sadistic mix of idiosyncratic killings both inventive and amusing. The big difference is that a slate of seasoned actors are summarily dispatched in the Phibes films. In the slashers we tend to cheer on the fates of the teenage-victims due to their visibly painful absence of acting skills.

In the Phibes films Vincent Price isn’t breaking new ground. He’s merely diligently following the established vengeful tradition of preceding movie ghouls. In the nineteen thirties and forties, Boris Karloff and Bela Lugosi carried out all sorts of vendettas, nearly all the result of some professional slight. Their targets, deserving or not, were always getting trapped behind locked doors and no-escape rooms. This was usually due to their tormentors having had their scientific research purloined or reputations sullied.

There is one key difference between the old-school and new-school horrors. Karloff and Lugosi were crossed men with personalities - as anti-social and vengeful as those personalities might be. Too many of the slasher films, in my view anyway, featured successions of masked killers who killed in cold, robotic-fashion. Often motivations were not explained (or explained without satisfaction) until a movies’ end. The impersonality of such killings, arguably, might have contributed to the mystery – as in a, “Why is this happening?” But such detachment allowed for too many of the best-remembered slashers to serve as little more than an assembly-line cinematic abattoir. Which brings us back to Dr. Phibes.

In The Abominable Dr. Phibes, the titular character is not a medical doctor at all. A once-celebrated organist, Dr. Anton Phibes (Vincent Price) holds a curious combination of PhDs in Musicology and Theology. He uses his knowledge of the latter to unleash a series of murders fashioned from ancient biblical curses. He unleashes his wrath on the medical team he holds responsible for the April 1921 death of his wife Victoria Regina Phibes (Caroline Munro, more or less). Drawing the final curtains on those of he holds responsible, Phibes – with the assistance of the mysterious and beautiful Vulnavia (Virginia North) - methodically executes a series of Old Testament plagues as outlined in the Book of Exodus. He grimly works his way to his most loathed and final target, Chief of Surgeons Dr. Vesalius (Joseph Cotton). Having planned the biblical killing of Vesalius’s son, the firstborn, Phibes and Vesalius clash over the boy’s gurney in a tense, feverish confrontation at an extravagant manor house on London’s Maldine Square.

While the casting of The Abominable Dr. Phibes is perfect, it was an odd gamble that Price, the film’s star player, was essentially given no interactive dialogue: the actor’s voice is only heard as a filtered, somewhat robotic, voiceover throughout and even then only sparingly. Actress North, Phibes accessory-in-crime, admitted to frustration when she read the script and learned her role too was an unspeaking one. In July of 1971, North, a former model, sighed to an Associated Press journalist, “I don’t know why they don’t let me speak.” But she conceded “Not speaking is more sinister I suppose.” It certainly was in Phibes case, allowing Price’s disdain for his victims to be projected through his sneering countenance.

One would have thought it we saw the last of The Abominable Dr. Phibes at that film’s conclusion. But since American International had raked in a not inconsiderable profit on investment, a Phibes resurrection was quickly arranged. The first Phibes film was often paired in cinema’s with A.I.P.’s Count Yorga, Vampire (1970), a modern-day spin on the old legend. Count Yorga was very successful in in own right, spawning a sequel of its own. That series success led to rumors that A.I.P. might be grooming Yorga star Robert Quarry as a potential horror film successor to the aging Price.

What is obvious is that A.I.P. was interested in bringing to the screen a collaboration of Price and Quarry. This was made plain in December of 1971 when Louis M. “Deke” Heyward, A.I.P.’s Head of European Production, told reporters, “Bringing the ‘abominable’ Phibes and the ‘insidious’ Yorga together was something that just had to happen. The chemistry was too good to miss.” Heyward’s remarks were recorded as shooting was getting underway at Elstree, the producer crowing, “It’s no secret that when we were making the first ‘Phibes’ we were so sure we had a hit on our hands that we took the trouble to shoot the opening scenes of the sequel that was bound to come.”

Dr. Phibes Rises Again! reunites several members of the original, though North was out: Valli Kemp now filled the role of Price’s murderous assistant. Peter Jeffrey is back as the frustrated Scotland Yard detective who invariably arrives on the scene too late to save anyone from their gruesome, if amusing, fates. Another horror icon, Peter Cushing, also appears in the film. As the U.S. and Western Europe was in the throes of King Tut fever due to public interest in the touring display of ancient Egyptian artifacts, co-screenwriters Fuest and Robert Blees moved the action and ensuing mayhem from London to Egypt.

If not as satisfying as its predecessor, Dr. Phibes Rises Again!, is still great fun. Yes, the sequel simply delivers more of the same, but this is not necessarily a bad strategy as formula films go. If anything, the film might be even lighter in tone than the original, Price camping up the villainy to preposterous proportions. Though teased that a third film would follow – a script was commissioned – alas, the cinematic run of Dr. Phibes was (excuse me) “Phinished.”

This two disc Kino Lorber Studio Classics Blu ray issue of The Abominable Dr. Phibes and Dr. Phibes Rises Again! offers both films in 1.85:1 widescreen and with 1920 x 1080p resolution and DTS-audio. The set offers no fewer than four isolated audio commentary tracks. The primary commentary comes directly from director Robert Fuest who shares his production memories of The Abominable Dr. Phibes. Secondary commentaries on both The Abominable Dr. Phibes and Dr. Phibes Rises Again! come courtesy of film historian Justin Humphreys, the author of The Dr. Phibes Companion (Bear Manor Media, 2018), the definitive work on all things Phibesian. Video Watchdog’s Tim Lucas also shares thoughts on Dr. Phibes Rises Again!. The set rounds out with a collection of radio and television spots and theatrical trailers. There’s also a colorful slipcover for collectors and Phibes wonks, like myself, to fawn over.

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BY TODD GARBARINI

Who should we blame for the execrable Tentacles? Samuel Z. Arkoff? The cast? The pazzo Italians who made it? Steven Spielberg, for heaven’s sake? This ridiculous yarn should be retitled with another word beginning with “T” and ending with “s” that is also comprised of nine letters because it takes a huge pair of them to put so many well-known performers into one film and give them nothing to do.

Tentacles, was filmed in 1976 and unleashed on New Yorkers on Wednesday, August 3, 1977 during the Summer of Sam, when Michael Anderson’s Orca: The Killer Whale and Rene Cardona, Jr.’s Tintorera: Killer Shark, among other cinematic indignities were also in theaters, assuaged only by George Lucas’s Star Wars.  The movie commits one of the genre’s gravest sins – it’s boooooring. To boot, it lacks the cheeze factor that makes movies like this fun to watch. Running a full 102 minutes, the exact same running time as William Friedkin’s masterful The French Connection (1971), Tentacles posits an octopus with tentacles (octopi have limbs, not tentacles, as squids do, but no one told the screenwriters) off the coast of Solana Beach in California who is annoyed by the unauthorized use of radio frequencies by Mr. Whitehead (Henry Fonda), a corrupt owner of a construction company and his assistant (Cesare Danova, unrecognizable from his turn as Harvey Keitel’s mafioso uncle in Martin Scorsese’s 1973 film Mean Streets). The angry squid makes its way near people to serve them up as dinner. A sheriff (Claude Akins running through Stanislavski’s Seven Pillars Acting Technique before starring in The Misadventures of Sheriff Lobo from 1979 to 1981) is confused as to how people are dying; a reporter (John Houston in a role that makes you wonder if he was financially solvent at the time) pursues leads to “get the story” as another feather in his cap; Bo Hopkins reluctantly comes to the rescue with killer whales that ultimately do in the titular creature; and the always reliable Shelley Winters comes along for the ride but spends most of her time yelling at children. Apparently, Auntie Roo isn’t dead after all.

The movie is completely devoid of interest and suspense except for a clone of the Ben Gardner-inspired head-bobbing death scene from Jaws (1975) and the disappearance of a child from the beach in a visually interesting sequence featuring the winner of the World’s Worst Mother of the Year award. The production’s “inspiration”, if you can call it that, is clearly Mr. Spielberg’s aforementioned suspense masterpiece, however it bears more of a resemblance to Robert Gordon’s 1955 sci-fi film It Came from Beneath the Sea, though that black and white film possessed something that Tentacles lacks – entertainment value.

Tentacles played in my area on a double bill with Bert I. Gordon’s Empire of the Ants (1977) at a theater that went exclusively adult prior to becoming a supermarket (an obscenity of a different kind) and at a drive-in with Michael Campus’s The Mack (1973) with Richard Pryor as the second feature, which put poor Mr. Pryor in the unenviable position of making comatose people laugh.

What Tentacles does have is a series of truly beautiful poster art used in the film’s marketing campaign that, while colorful and exciting to behold, advertise the film as something that it ultimately fails to deliver.

Apparently, Kino Lorber couldn’t find anyone willing to sit down and talk about this monstrosity (pun most definitely intended), as they have either all passed on or are currently in prison after having murdered their agents and managers after appearing in this film.

The only extras to speak of are both the radio spot and theatrical trailer for the film, and trailers for The Abominable Dr. Phibes (1971), Dr. Phibes Rises Again (1972), The Island of Dr. Moreau (1977), Parasite (1983), Tintorera...Tiger Shark (1977), Zoltan...Hound of Dracula (1977), Invasion of the Body Snatchers (1978), Without Warning (1980), Deepstar Six (1989), and Deep Rising (1998).

If you’re going to watch a film about an octopus, I would recommend the highly enlightening My Octopus Teacher (2020) as an alternate, championed by Mr. Friedkin himself when I asked him about new films that he would recommend.

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If you love vintage monster flicks of the 1950s and 1960s, enjoy these original trailers, a few of which are so awful they helped inspire "Mystery Science Theatre"! But director Joe Dante reminds us there are at least a couple of gems in there, including "Unearthly Stranger" and "Invaders from Mars".

BY HANK REINEKE

I will admit to a degree of bias up front. I’ve never been particularly enamored of MGM’s 1941 interpret of Robert Louis Stevenson’s famed novella Strange Case of Dr. Jekyll and Mr. Hyde. And it occasionally bothers me that I’m not. The so-called “Golden Age” of the Horror film (1931-1948) has long been, and will likely always remain, my favorite cinematic era. Since the start of the home video revolution I dutifully acquired (and subsequently upgraded) practically every monochrome classic – OK, and some not-so-classic – genre films issued from that era to hold in my private collection. It was of little concern to me if a film was the product of a major studio (Universal, Columbia, MGM, Warner Bros. et. al.) or of a low-rent independent (Monogram, Republic or PRC). Practically every U.S and British film – as well as few from the continent – would find its way into my home archive.

So it’s telling that prior to this Blu ray debut of Victor Fleming’s Dr. Jekyll and Mr. Hyde, recently issued as part of the Warner Bros. Archive Collection, the only copy I’ve held in my collection is the old Laserdisc of the title. Published in 1986 as part of MGM’s “Great Books on Video” series. I simply never had the desire to channel any additional discretionary income into an upgrade of the film. So in some way the arrival of this High-Def edition by WAC was welcome. It has allowed me the opportunity to reassess long-held opinions or prejudices.

Similar to Stoker’s Dracula (1897) and Shelley’s Frankenstein (1818) monster, Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde (1886) stands as the third point of the immortal crown of literary monsters: the trio of select ghouls to have made a seamless transition from written page to the stage to the silver screen. Though the most celebrated earliest cinematic adaptation was the 1920 Paramount silent classic featuring John Barrymore as the titular rogue, even that film version wasn’t the earliest. Stevenson’s novella had been brought to the silent screen on a number of earlier occasions (1908-1914), though several of those earliest efforts are now thought forever lost in time.

Of the sound films, my favorite big screen adaptation of the novella will forever be Rouben Mamaoulian’s 1931 Paramount remake featuring Fredric March. In some manner of speaking, Mamaoulian’s version is a bit more faithful to Stevenson’s original work than MGM’s 1941 version, in other ways not. Stevenson’s conception of Mr. Hyde presents him not as physical monster with deformities, but merely a compassionless, selfish human whose heart has grown cold and actions sadistic. Hyde is described by Jekyll’s lawyer friend, Gabriel John Utterson (a major character of the novella completely missing from the Fleming version), as a sinister fellow with a “displeasing smile,” one who appeared “pale and dwarfish.” Stevenson’s Hyde gave off “an impression of deformity without any nameable malformation.”

But following in the wake of Universal’s box-office success in 1931 with Tod Browning’s Dracula and James Whale’s Frankenstein, it was in Paramount’s interest to portray Fredric March’s Mr. Hyde as a feral beast in a physical as well as psychological sense. The applied iconic make-up conjured by Wally Westmore for March’s Hyde was certainly appealing to the “monster kid” in me. When I was first introduced to images of March’s Mr. Hyde first in the pages of Famous Monsters of Filmland and later via the (very) occasional television broadcast, I was left duly impressed. As I was with the imaginative camera-trickery rigged by Mamaoulian and cinematographer Karl Struss. The sight of March’s mirror-reflected transformation from Jekyll into Hyde remains a stunning and impressive optical effect to behold even in 2022. It must have been mind-blowing to audiences some ninety-one years prior.

It’s not entirely clear why MGM chose to move forward with their own version of the Stevenson work, but in November of 1940 the trades were reporting that MGM was planning their own version of Dr. Jekyll and Mr. Hyde to feature actor Spencer Tracy in the lead role. The following month it was announced in Box Office that veteran screenwriter John Lee Mahin (who had earlier adapted Stevenson’s Treasure Island for MGM in 1934) had been assigned scripting duties. In an interesting example of casting against type, the Pin-Up model and screen vixen Lana Turner was contracted to play the role of a good girl done wrong, with Swedish good girl Ingrid Bergman signed to portray a Cockney barmaid. It must be said, both actresses pull off their respective challenges rather admirably. Production on Dr. Jekyll and Mr. Hyde was to commence on Wednesday, February 5, 1941.

Despite the overall gloss of the MGM remake, Spencer Tracy’s Jekyll and Hyde is not nearly as enigmatic nor tortured a character as March’s was. Tracy’s a great actor of course, no one is contesting that. And I’m certainly not knocking his performance in the film; I’m sure he does all he can in role with the material given him. But as the most essential component of cinema is in its visuals, Tracy’s Hyde falls short - even if his presentation is more aligned with Stevenson’s original descriptions. Tracy’s Hyde is violent and malignant and an unpleasant suitor to both fiancé Beatrix Emery (Turner) and Ivy Peterson (Bergman), the maligned barmaid he uses and abuses. But Tracy’s Hyde remains a decidedly human monster in his appearance. Yes, he’s sadistic and manipulative but his soul conceivably, at least, might still be saved with a bit of religion, a session of drug counselling, or an anger-management class or two.

David Hanna, a drama critic and entertainment writer for the Los Angeles Daily News was hardly the only critic who, upon the film’s release, registered disappointment with Tracy’s physical non-transformation into the villainous Mr. Hyde. There had been a lot of Hollywood press ballyhoo that the sound stage was to be closed to all visitors when Tracy’s Jekyll-to-Hyde scenes were to be lensed. So the eventual ho-hum big reveal of the new “Mr. Hyde” was a crushing disappointment. Hanna sighed, “The first time Tracy changed character the make-up looked as though he just needed a brace on his teeth and a little filling to make him appear a most respected member of society.”

This opinion was shared by London’s Picturegoer magazine. Their critic offered, the “scenes when Tracy assumes a grotesque make-up are included to make one smile, rather than creep.” It’s true that Tracy’s Hyde is an underwhelming sight to behold. No physical personification of evil flashes before us. Tracy looks like someone who merely awoke from a night’s bender: mussed hair, sagging dark bags under crowfeet lined eyes, slightly askew, bushy eyebrows and a leering countenance.

Though Fleming’s Dr. Jekyll and Mr. Hyde was far from a box-office disappointment, it certainly wasn’t the impressive, timeless effort his two most recent pictures, The Wizard of Oz and Gone with the Wind, had been – and would forever remain. Most critics seemed to agree Paramount’s 1931 was by far the better film. Though some argued Tracy was so capable an actor that he required “no gargantuan make-up to denote his transformation from the good Dr. Jekyll into the evil Mr. Hyde,” others countered this 1941 remake had problematic issues beyond make-up expectations. Mahin’s script offered a sprinkled layer of Freudian psychoanalysis into the mix, a reinterpret sure to offer cinemagoers a lesser experience. As the critic from Picturegoer noted, “March’s ape man make-up, crude though it was” managed to convey “a stronger sense of horror than Tracy’s milder conception, which comes as sheer anti-climax.”

There is an interesting “art against expectation” side note to all this. With the box-office of Hyde underperforming, Variety reported in September of 1941 that MGM had chosen to “revise its national campaign on the picture.” The original campaign (“A Good Woman – A Bad Woman. He Needed the Love of Both!”) hyped the film’s romantic elements at the expense of its (admittedly minor) horrific elements. A new campaign was struck, the “too prettified” and posh original publicity stills withdrawn. Replacement images were ordered, MGM choosing to “slice into the film for a blowup of Spencer Tracy’s face in the ‘Mr. Hyde’ impersonation.” This tactic and a new accompanying blurb (“It CHILLS you! Half-Man! Half-Monster!”) proved so successful in such markets as Detroit, that subsequent regional exhibitors were requesting use of the same ad mats used in that city’s exploitation campaign.

It’s possible there’s a gaggle of English professors who prefer the 1941 version above all others, but neither this version nor the better 1931 film is faithful to the original source material. Mahin script is interesting as it mines and mixes elements of both Stevenson’s work with ideas conjured by Oscar-nominated ’31 screenwriters Percy Heath and Samuel Hoffenstein. This is an “actor’s film.” There’s lots of long and drowsy oral discourses that take place in tony parlors, but as an adventure of any sort it’s exciting only in the smallest of episodes. Fleming and Mahin’s version might have made for a compelling, intimate stage show, but as a film it’s overlong and not terribly involving.

In its review of July 1941, a scribe from Variety hit the nail on the head: “It may be that Fleming, keeping closer to the literal than spirit of the text, missed some of the more subtle points.” ’31 Director Mamaoulian would likely agree with that assessment. He boasted a few years hence that his version of Dr. Jekyll and Mr. Hyde remained the “best one ever made.” “Spencer Tracy is a very competent actor,” Mamaoulian mused to the St. Louis Post Democrat. “But the man who plays Jekyll has to be superbly handsome. As Fredric March was. Then the changeover to Hyde is gripping. Tracy was miscast.” ‘Tis true in MGM’s 1941 version the potion brewed by Dr. Jekyll this time out was, at best, a weak tea.

This Warner Archive Collection Blu ray edition of Dr. Jekyll and Mr. Hyde is presented here in a pristine 1080p High Definition 16x9 1.37.1 and DTS-HD Master 2.0 Mono Audio. There’s hardly a visual blemish throughout, and it is doubtful admirers of the film will find any fault with this transfer. This is a bare bones release, the set’s only special features are the film’s original trailer and removable English subtitles.

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“THERE’S A SPEED LIMIT IN THIS TOWN”

By Raymond Benson

If any film can be called the quintessential film noir, it has to be Double Indemnity. Even film noir scholar Eddie Muller, the go-to author and historian who seems to appear in every supplemental feature attached to Blu-ray and DVD disks of film noir titles, agrees.

Double Indemnity, directed by Billy Wilder and released in 1944, contains every cinematic trait that is associated with film noir: cynical characters, a femme fatale, betrayal, voice-over narration, witty dialogue, contrasting light and shadow, German expressionism in the production design and camerawork, smoking, drinking, murder, and an unhappy ending.

Based on James M. Cain’s scandalous 1943 novel (but it was first serialized in Liberty magazine in 1936), the picture was a challenge to the Hays Office censors, for the Production Code was heavily enforced at the time. Several studios had attempted to buy the rights in 1936, but the Hays Office warned producers that the novel was a non-starter as a Hollywood production. Years later, just after the separate publication of the book, Paramount tried again and this time, based on a treatment by Billy Wilder and his writing partner Charles Brackett, they were able to secure the rights.

Apparently, Brackett felt the material was too seedy and left the project, so Wilder sought out a new collaborator to pen the screenplay. Raymond Chandler landed the job, and the resulting alliance was the stuff of Hollywood gossip and legend. The two men couldn’t stand working together, but nevertheless the turmoil was the necessary ingredient. The screenplay, nominated for an Academy Award, is brilliant. What is especially notable is how the writers fooled the Hays Office with it. The dialogue was full of innuendo that spelled out to an audience exactly what was going on, even though no literal words were said that indicated that two people were committing adultery. Wilder and Chandler improved Cain’s dialogue in this manner, and it’s a delight to hear what comes out of the mouths of Barbara Stanwyck, Fred MacMurray, and Edward G. Robinson during the course of the picture. (Phyllis, responding to unsubtle advances: “There’s a speed limit in this town.” Walter: “How fast was I going, officer?”)

Walter Neff (MacMurray) is an insurance salesman who calls on the Dietrichson house to renew an auto policy, but Mr. Dietrichson isn’t home. However, his wife, Phyllis (Stanwyck) is. There is an immediate attraction and flirtation, which leads to you-know-what. Phyllis eventually talks Walter into getting a life insurance policy—with a double indemnity clause (it pays double for accidental death)—for Phyllis’ husband, whom she can’t stand. Once Dietrichson (Tom Powers) is tricked into signing the policy, the naughty couple set out to murder him and make it look like an accident, and they succeed. Even Walter’s canny boss, Barton Keyes (Robinson), who has a “little man” inside of him that senses when something doesn’t add up, believes the story until he starts to closely examine all the angles. Throw in Dietrichson’s grown daughter from a previous marriage, Lola (Jean Heather), and now there’s an additional threat that comes between Walter and Phyllis. Keyes gets closer to the truth, Walter gets paranoid, Phyllis goes a little mad, and things heat up to a boiling point.

The acting, the direction, the script, the cinematography (by John F. Seitz), the editing, and the music score (by Miklós Rózsa), are all superb and were nominated for Oscars in each of these categories (Stanwyck was up for Best Actress). Why MacMurray and Robinson were not also nominated is a mystery worthy of Raymond Chandler! More significantly, Double Indemnity confirmed Billy Wilder’s future in Hollywood as one of the great, classic filmmakers.

The picture has been issued on home video many times in all formats, including Blu-ray. The Criterion Collection has now released two new editions—one in 4K UHD and Blu-ray combo (three disks), and another in just Blu-ray (two disks). The 4K digital restoration is the best this reviewer has ever seen the movie. It’s a flawless presentation with an uncompressed monaural soundtrack.

A vintage audio commentary by Richard Schickel, ported over from previous releases, is included. Supplements abound. A port-over vintage feature on film noir (“Shadows of Suspense”) is welcome, but new extras produced by Criterion are especially fun: an interview with film scholar Noah Isenberg (editor of Billy Wilder on Assignment); and a lively conversation between film historians Eddie Muller and Imogen Sara Smith. There are two radio adaptations—from 1945 and 1950—both starring Stanwyck and MacMurray. The entire second disk is a three-hour BBC documentary on Billy Wilder (originally on the Arena program), directed by Volker Schlöndorff and Gisela Grischow. The booklet comes with an essay by critic Angelica Jade Bastién.

Even if you already own a previous release of Double Indemnity, the Criterion Collection’s new edition is a must-have and worth the upgrade. For fans of film noir, Billy Wilder, the three stars, and solid, edgy filmmaking that raised eyebrows in 1944 and is still potent today. Highly recommended.

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By Lee Pfeiffer

Acclaimed actor and star of TV and feature films Fred Ward has passed away at age 79. As of this writing, no cause of death has been announced. Ward overcame a hardscrabble childhood and had eclectic careers that included a short-order cook, a lumberjack, a boxer and a stint in the U.S. Air Force before trying his hand at acting on stage. He gravitated to feature films by 1979 and appeared with Clint Eastwood in the hit crime thriller "Escape from Alcatraz". Before long, he was much sought after for more prominent roles. Ward sometimes scored starring roles, as in "Henry and June" (in which he played controversial novelist Henry Miller) and "Remo Williams: The Adventure Begins", which was designed to launch him as a screen action hero in a series of a films. However, the movie flopped and no sequels were made. "Remo Williams", as with Ward's 1990 boxoffice disappointment, "Tremors", would go on to become far more popular in later years and build loyal fan followings. Ward won acclaim for his performance as astronaut Gus Grissom in the 1983 NASA space epic "The Right Stuff". A favorite of Robert Altman, he appeared in the director's "Short Cuts" and "The Player". His television work included "ER" and "True Detective".

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Tony Danza, Tom Wopat, Anais Reno,

Douglas Ladnier, and Danny Gardner

join

BROADWAY BY THE YEAR

FROM THE ZIEGFELD FOLLIES TO MOULIN ROUGE

A One-Night-Only History of Jukebox Musicals and Musical Revues

Celebrating Songs From:

The Ziegfeld Follies, George White’s Scandals, The Jersey Boys, Beautiful, All Shook Up, Kismet, After Midnight, Ring of Fire, and more!

CREATED, WRITTEN, DIRECTED, and HOSTED BY

SCOTT SIEGEL

MONDAY, May 23, 2022 at 8PM

THE TOWN HALL

(123 W. 43rd Street)

www.TheTownHall.org

In this second concert of the Broadway by the Year season, audience members will get a one-night-only history of jukebox musicals and musical revues. And the truth is, an extraordinary number of hit Broadway shows fit the description of these two kinds of shows. These oftentimes maligned genres have played an important role in the resurrection of songs, and styles from rock ’n’ roll (Jersey Boys, Beautiful, All Shook Up) to classical music (Kismet), and from country (Ring of Fire) to Rhythm & Blues (Black & Blue, After Midnight). And they have highlighted oftentimes forgotten composers, bringing their names back into the limelight, such as Eubie Blake with Eubie! and Fats Waller with Ain’t Misbehavin’.

The cast of Broadway By The Year: From The Ziegfeld Follies To Moulin Rouge includes: Tony Danza (Honeymoon In Vegas; TV’s Who’s The Boss); Tom Wopat (Annie Get Your Gun; Chicago), Anais Reno (Carnegie Hall, and concerts at Birdland), Douglas Ladnier (Jekyll and Hyde; Sweeney Todd), and Danny Gardner (Flying Over Sunset; Dames At Sea). More performers will be announced in the coming weeks.

The Broadway By The Year Dance Troupe, choreographed by Danny Gardner, will also be performing.

“Jukebox musicals are a fun and unique way to reimagine songs that we love by giving them a new context or a new storyline,” said Scott Siegel. “This concert will highlight the history of these shows and give audience members the chart-topping songs that we all love.”

We are excited for the second installment of this year’s Broadway By The Year concerts,” said The Town Hall’s Artistic Director Melay Araya. “The Town Hall has always been at the forefront of music and discovery, and we know that this concert will excite and entertain.”

Tickets for Broadway By The Year are $57-$67. For tickets and information, please visit www.thetownhall.org or call 800-982-2787. The Broadway By The Year concert series is part of The Town Hall’s presenting season.

Among the many other stars who may be performing in Broadway By The Year this season include: Marc Kudisch (The Girl From the North Country), Bill Irwin (Tony® Award Winner, Who’s Afraid of Virginia Woolf), Emily Skinner (Side Show), Stephanie J. Block (Tony® Award Winner, The Cher Show), Sebastian Arcelus (House of Cards), Lesli Margherita (Matilda), Kerry O'Malley (Into The Woods), Carolee Carmello (Mamma Mia!), Beth Malone (Fun Home), Tonya Pinkins (Caroline Or Change), Christiane Noll (Dear Evan Hansen), Julia Murney (Wicked), Brad Oscar (Something Rotten!), Lilli Cooper (Tootsie), Jarrod Spector (The Cher Show), Patti Murin (Frozen), Karen Ziemba (Chicago), Ethan Slater (Sponge Bob Squarepants The Musical), Bryan Batt (Mad Men), and Noah Racey (Curtains).

On this clip from "American Bandstand", the iconic American TV show that featured teenagers dancing to the latest hit songs, host Dick Clark takes an unusual detour from the world of rock 'n roll to promote ABC-TV's newest sensation, "Batman"- after which there is a countdown of the top ten songs on the charts and everybody rocks to the sounds of Gary Lewis & the Playboys! 

Kevin Costner, Sean Connery and Robert De Niro Star in the Must-See Crime-Drama,
Debuting on 4K Ultra HD May 31, 2022

Directed by Brian De Palma and nominated^* for four Academy Awards®, the acclaimed drama THE UNTOUCHABLES makes its 4K Ultra HD debut on May 31, 2022 from Paramount Home Entertainment.

Originally released on June 3, 1987, THE UNTOUCHABLES celebrates its 35^th anniversary this year and remains a must-see masterpiece featuring visionary filmmaking and exceptional performances from an outstanding cast.  Robert De Niro as mob warlord Al Capone and Kevin Costner as law enforcer Eliot Ness are unforgettable in a glorious, fierce, larger-than-life depiction of good versus evil on the streets of Prohibition-era Chicago. 

Sean Connery won his only Oscar® for his portrayal of veteran officer Jimmy Malone in the blockbuster hit that was the fourth highest grossing film of 1987.  Written by David Mamet, THE UNTOUCHABLES also boasts a Grammy Award-winning score by the legendary Ennio Morricone and an excellent supporting cast including Patricia Clarkson, Andy Garcia, and Charles Martin Smith.

THE UNTOUCHABLES will be available on 4K Ultra HD and in a 4K Ultra HD 35^th Anniversary SteelBook® with a Dolby Atmos® soundtrack^** and access to a Digital copy of the film.  The discs also include over an hour of legacy bonus content in high definition as detailed below:

• The Script, The Cast
• Production Stories
• Re-Inventing the Genre
• The Classic
• Original Featurette: “The Men”
• Theatrical Trailer

Bloomsbury/ BFI

Paperback

217 pages

70 colour illustrations

ISBN: 9781839021466

RRP: £19.99

Of the millions of film books out there, it’s highly likely that horror covers by far the largest percentage in terms of genre. Just what is it about the genre that proves to be so endlessly fascinating to readers and audiences, considering its disreputable reputation? This is something that Barry Keith Grant addresses in his introduction to this excellent collection of essays on 100 classic (and occasionally forgotten) American horror films. As he points out, horror has been with us throughout history, with its roots in Medieval woodcuts, Grand Guignol theatre and the Gothic novel, with the first horror film being produced by Georges Méliès in 1896. We are endlessly fascinated and enthralled by the feelings of terror, fear, suspense, and revulsion that horror inflicts on its willing audience.

The book covers American horror from over 100 years, going back as far as D.W. Griffith’s 1914 adaptation of Poe’s ‘The Raven’, The Avenging Conscience, or ‘Thou Shalt Not Kill’, right up to more recent hits such as American Psycho (2000) Get Out (2017). Grant provides a two-page entry for each film with an in-depth discussion of the importance of the film and its place within cinema history, as well as a very useful Further Reading guide for anyone who wants to dig deeper.

Despite the relative brevity of each entry, the book provides insightful analysis and can cause the reader to reassess some of the films under discussion as well as discovering some for the first time: there are classics here, of course, such as Carrie (1976), Creature From the Black Lagoon (1954), The Masque of the Red Death (1964) and The Shining (1980, both technically American films despite being shot in the UK with mostly British crews), but it also covers some that one might not immediately think of when compiling your own list of important American horror films, such as Two Thousand Maniacs! (1964), Ganja and Hess (1973), Weird Woman (1944) and John Carpenter’s box office bomb In the Mouth of Madness (1994).

Writing something like this must be a thankless task as there will always be people who disagree with the selection of films, but as it covers such a broad range across the entire history of American cinema, there ought to be plenty of titles here for readers to enjoy discovering more about in this immensely readable and highly recommended collection.

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By Hank Reineke

I confess to having difficulty understanding Corinth’s curious repackaging of three monochrome 1950’s science-fiction films. Pulling together this triad of films – all previously issued as single disc releases from the label’s Wade Williams Collection - seems to make sense on one level. We’ll discuss later on. But for the record this DVD of Drive-In Retro Classics: Science Fiction Triple Feature brings together such disparate Silver Age favorites as Kurt Neumann’s Rocketship X-M (1950), Nathan H. Juran’s The Brain from Planet Arous (1958) and Robert Clarke’s The Hideous Sun Demon (1959).

Though he didn’t have anything to do with the production of any of the films listed above, Wade Williams has served as curator of the analog and digital legacy of many ‘50s sci-fi and horror titles. Though Williams would aspire as a filmmaker himself, the titles appearing in the “Wade Williams Collection” are exactly that – films in his collection. Williams had prudently purchased the rights to a mostly moribund package of ‘50s sci-fi movie and TV shows from estates, from studios, or from producers/others holding ownership. The latter category would include films produced by such names as George Pal, Jack Broder, Harry M. Popkin and Richard Rosenfeld.

This decision to sell off their interests was an understandable (but ultimately bad) business decision on the part of the original rights holders. But it was the early 1970s and television stations – now the only outlet still providing a trickle of revenue for these old films – were abandoning their creaky old black-and-white libraries for color-TV programs. Few in Hollywood could have anticipated the stream of monies to be afforded by the home-video revolution only a few short years down the line.

To be fair, Williams was an enthusiast of these old sci-fi films, not simply a speculator who got lucky. Burgeoning consumer interest in home video product allowed opportunity for Williams to capitalize on his prudent purchases. The first of the “Wade Williams Collection” VHS videocassettes were issued as early as the late 1970s, mostly through such companies as Nostalgia Merchant and Starlog Video. In the 1999 Williams partnered with Image Entertainment, the latter dressing the new DVDs in bright-color slipcovers. These sleeves partly disguised the fact the movies contained within were black-and-white oldies. Sci-fi newbies unfamiliar with the histories of atomic age sci-fi films might have felt shortchanged by this creative - if somewhat duplicitous – bit of marketing.

But for those of us in the know, the Williams releases were a Godsend. We were the aficionados of old-school sci-fi, semi-aging folks who first caught the films during theatrical matinees in the 50’s or through fuzzy late-night TV broadcasts in the ‘60s. We no longer had to order wonky prints sourced from aged television screenings peddled by bootleg vendors advertising in the back pages of cult film magazines. When Laserdisc and DVD releases would supersede VHS cassettes in quality of presentation, Williams’ catalog was similarly trotted out in new formats.

It must be noted that Williams has also been, somewhat ungraciously, a target of criticism – often painted as a proverbial villain - over the last two decades by some collectors. As the rights holder to so many treasured classic – and not so classic – vintage sci-fi films, the just shy of eighty Williams has been reluctant in recent years to issue the films on Blu-ray. His reasoning for not doing, while disappointing, is sound. Answering critics of the handling of his catalog, Williams offered to contributors on the on-line Home Theater Forum while physical media sales remained important, “streaming, downloading, Amazon Prime, Netflix and TCM are the remaining outlets from classic films.”

He would also note that restorations were expensive undertakings. Factoring in public domain issues, the problem of outright bootlegging and copy-and-paste YouTube piracy, there was no longer any chance to break-even - much less garner a profit - from such an enterprise. It was a practical and understandable real-world estimate – but a response disappointing for those who preferred to stock their home video libraries with physical media.

Which brings us back, in a roundabout manner, to Drive-In Retro Classics: Science Fiction Triple Feature. Taking the series’ format history into account, the natural progression would have been to see these films released on Blu ray; to revisit them in spruced-up remasters with a dollop of bonus special materials tagged on. But, alas, this isn’t the case. Instead Drive-In Retro Classics: Science Fiction Triple Feature offers up a total of three films, running 222 minutes collectively, all crushed on a single disc. There are no special features, no new scans from better elements, no new bells or whistles of any sort. So buyer beware.

OK, with all this history out of the way I offer, for the uninitiated at least, a brief overview of the films in the Corinth set:

In The Brain from Planet Arous, Steve Marsh (John Agar), a technician of the U.S. Atomic Energy Commission, becomes the unwilling host of alien being named Gor. Gor is an evil levitating cerebellum with half-moon eyes who desires rule as “Master of the Universe.” He aspires to make all the people of the earth his slaves. The alternative is “death by intense radiation.” The earth is merely one stop on this quest… and he makes the most of the visit. Through his manipulation of his hypnotized subjugate Marsh, Gor unleashes a rash of attacks on military-bases and martial aircrafts.

Gor convinces the cowered American Generals to convene a summit with the earth’s six other nuclear powers, demanding all nations submit to his terms… or else. All seems lost until Vol, a second and far friendlier levitating brain from Arous, arrives at Indian Springs to offer advice. Vol explains the only way to stop the renegade Gor is by attacking the creature’s one weak spot, striking at the brain’s fissure of Rolando. But can Marsh’s girlfriend Sally (Joyce Randolph) and George the dog get this important info to Marsh in time?

The Hideous Sun Demon is the tour de force brainchild of actor/writer/producer Robert Clarke. Clarke plays Dr. Gilbert McKenna, an “obscure scientist” exposed to a type of radiation “far more dangerous than cosmic rays.” This turns out to be an unwelcome turn of events as such exposure has triggered a reverse evolution of his DNA, turning him into the Hideous Sun Demon, a half-human half-reptile biped. The movie is sort of a reversal of werewolfism. Clarke’s transformation is not triggered by the rising of the full moon but by exposure to the sun’s rays. When not lurching about Los Angeles and Santa Monica at night, McKenna sulks, drinks a lot of whiskey and hangs out a dingy nightclub where he listens to a buxom blond tickle the ivories and sing such moody jazz numbers as “Strange Desire.” Perhaps Little Orphan Annie desires for the sun to come out tomorrow, but its bad news for McKenna.

In Rocketship X-M, America is readying a sleek spacecraft for blast-off. The rocket is to carry a team of scientists – including a thirty-year old Lloyd Bridges – on a mission to the moon. Unfortunately, a combination of bad scientific calculations and an untimely meteor shower forces the craft off course. The space travelers instead land on Mars where, to their surprise, discover the ruins of an ancient civilization. They are received unwelcomingly, made targets by a gaggle of rock throwing Martian Neanderthals. Though they quickly and wisely abandon the Red Planet for a trip back home, they encounter yet another problem. Is there enough fuel left in the craft’s supply tanks to get them home safely?

Of the three films in this set, only Rocketship X-M aspires to loftier visions and high production values. Theobold Holsopple’s production designs are imaginative and iconic. The special-effects work of Don Stewart, I.A. Block and Jack Rabin is of similar high-caliber, especially when considering the era in which the film was produced.

To wrap up: the best thing I can say about this new DVD release is that it brings these films back into print, making them more easily available to new consumers. No more scouring through second hand shops or paying fifty dollar “collector” prices for the now rare original single-disc DVDs released twenty-odd years ago. But when one learns the MSRP of the Corinth release is $29.95… well, that price seems a bit stiff. But I’m confident the MSRP will likely not be the actual asking price when the disc hits online outlets.

I’d be remiss without at least mentioning one title, The Brain from Planet Arous, is reportedly being readied for Blu-ray release by another home video company, one known for bring loving attention to neglected films. This prospective Blu issue, slated for release in summer of 2022, promises a new restoration, an audio commentary, a booklet, and a special-features documentary as bonuses. So some may choose a wait-and-see approach before gambling on Drive-in Retro Classics.

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BY LEE PFEIFFER

When it was announced that producer Elliott Kastner had succeeded in signing both Marlon Brando and Jack Nicholson for the 1976 Western, "The Missouri Breaks", the project was viewed as a "can't miss" at the international box-office. This would be Brando's first film since his back-to-back triumphs in "The Godfather" and "Last Tango in Paris" and Nicholson had just won the Best Actor Oscar for "One Flew Over the Cuckoo's Nest". The two Hollywood icons were actually neighbors who lived next door to each other, but they had never previously teamed for a film project. Kastner, whose prowess as a street-wise guy who used unorthodox methods to get films off the ground, had used a clever tactic to sign up both superstars: he told each man that the other had already committed to the project, when, in fact, neither had. With Brando and Nicholson aboard, Kastner hired a respected director, Arthur Penn, who had worked with Brando ten years before on "The Chase". He then chose an acclaimed novelist, Thomas McGuane, who had recently made his directorial debut with "92 in the Shade", to write the screenplay. What emerged from all these negotiations was seemingly a boxoffice blockbuster in the making. Alas, it was not to be. Upon its release, critics emphasized the "Miss" aspect "Can't Miss" of the "The Missouri Breaks", with most reviewers citing the opinion that the film was a long, slow slog interrupted up a hammy, over-the-top comic performance from Brando, who Penn apparently exercised little control over when it came to the actor's penchant for improvisation. 

The film opens with cattle baron David Braxton (John McLiam) "hosting" a lynching for a rapt audience of his ranch hands. Seems the intended victim has rustled some of his cattle and McLiam is determined to put an end to the thievery, which has reduced his overall business income by 7% per year- a statistic he never tires of griping about. McLiam's hardball tactics against the rustlers don't sit well with his otherwise adoring daughter Jane (Kathleen Lloyd), an independent-thinking young woman who has acted as her father's most trusted companion since her mother left him for another man years ago. The victim of the lynching was a member of a rustling gang headed by Tom Logan (Jack Nicholson), who befriends Braxton on the pretense that he wants to purchase a plot of land on his property to establish a small farm. In reality, he wants to utilize the land to temporarily house stolen horses which his gang has gone to Canada to obtain in a daring operation against the Royal Canadian Mounted Police's stables. Meanwhile, Jane- who lives a life of relative isolation on her father's estate-is immediately smitten by the charismatic Tom Logan and when she insists that he become her first lover, he finds it impossible to resist. Thus, Logan is now in a romantic relationship with a girl who is the daughter of a man he is deceiving and stealing from. David Braxton goes all-out in his obsession with thwarting the rustlers. He hires Lee Clayton, a renowned "regulator", which is a polite term for bounty hunter. Clayton is an eccentric man with a bizarre personality who speaks in a heavy Irish brogue, but also at times utilizes other accents. He is at times charming and amusing and at other times fiery-tempered and unpredictable. Upon being introduced to Tom Logan by Braxton, Clayton immediately suspects he is not a farmer, but a rustler. The two men play a cat-and-mouse game, each one employing double-entendres in their conversations. When Logan's men return from Canada empty-handed after being thwarted by the Mounties, Clayton becomes an omnipresent figure, observing their every move from afar through binoculars. One by one, he systematically murders the members of the rustling gang, always preceding their horrendous deaths by chatting with the doomed men in disarmingly friendly tones. Clayton becomes so frightening a figure that even Braxton becomes intimidated by him and attempts to fire him, but Clayton says the money is irrelevant and that once he commits to a job, he sees it through. The stage is set for a mano-a-mano confrontation between Logan and Clayton that both men realize will see only one emerge alive.

Ad for London opening.

It's easy to see why "The Missouri Breaks" didn't catch on with audiences. Much of the film moves at a glacial pace, but McGuane's script is intelligent and the dialogue often witty. Brando's outrageous antics easily overshadow anyone else in the film, even though his appearances are fleeting and the lion's share of the screen time is dominated by Nicholson. Brando seems to be having a field day and there seems to be no limit to his improvisations. (At one point he is dressed as a Chinese peasant and in another he is inexplicably attired as a woman, complete with apron and bonnet.) He also has a penchant for making some uncomfortably romantic overtures to his horse. Thus, the character of Clayton proves to be a distraction from the otherwise somber, realistic tone of the film. Nevertheless, there is no doubt that Brando's appearances are both amusing and somewhat mesmerizing, even if out of place. The movie boasts a first rate supporting cast that includes Harry Dean Stanton, Frederic Forrest and a young and slim Randy Quaid. Kathleen Lloyd holds her own against the considerable star power of Brando and Nicholson, which could not have been an easy feat. Alas, stardom was not to follow for her, though she still occasionally appears as a guest star in popular TV series. Where the movie disappoints the most is in its climax. The audience has been led to expect a memorable confrontation between Logan and Clayton, but when one of them gets the upper hand on the other, it's done very abruptly and rather unimaginatively, leaving the viewer feeling cheated. The movie boasts a low-key but appropriately atmospheric score by John Williams and impressive cinematography by Michael Butler. 

After "The Missouri Breaks", Brando seemed uninspired and went on automatic pilot in terms of his film roles. He was paid a relative fortune for what amounted to extended cameos in "Superman" and "Apocalypse Now", and while he was a significant physical presence in both films, no one made the case that he exerted himself dramatically. He would find occasional enthusiasm in certain roles (an Oscar-nominated turn in the little-seen  "A Dry White Season" and a hilarious performance recreating his Don Corleone role for "The Freshman"), but his enthusiasm seemed to diminish in direct proportion to his increase in weight. Sadly, he would never totally recapture the mojo he once enjoyed as a screen icon. Yet, time has been kind to "The Missouri Breaks". The film's literate script and direction are a reminder of an era in which such projects would be green-lit by major studios who appealed to the intellect of movie audiences. Today, the project would never have seen fruition no matter who starred in it.  

"The Missouri Breaks" is currently streaming on Amazon Prime and Kanopy.

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BY LEE PFEIFFER

Kino Lorber has released the 1964 comedy "The Brass Bottle" on Blu-ray. The film appears to have been the inspiration for the hit TV series "I Dream of Jeannie" which starred Barbara Eden as the sultry title character. Some cinephiles argue that the film and TV series have nothing to do with one another, but it seems to me that if you make a movie with Barbara Eden and a genie from a brass bottle, than it's more than a coincidence that a TV series starring Eden featuring a genie and a brass bottle soon appears. It is true that Eden does appear as the female lead in the feature film, but in a very down-to-earth role as Sylvia, the fiancee of aspiring-but-unsuccessful architect Harold Ventimore (Tony Randall). Sorry, guys, no navel-gazing to be had here.The premise of the plot is as old as the pyramids: Harold comes into possession of a large, ancient urn through which he unwittingly frees an ancient genie named Fakrash (Burl Ives, who far less a feast for the eyes than Eden was in the TV series), who had been imprisoned in there for 3,000 years after offending a nobleman who had magical powers. Fakrash is so delighted to be free that he uses all his efforts to make improvements in Harold's life starting with magically persuading a top real estate developer to hire the unknown architect to design an entire suburban housing development. Harold is initially delighted but soon discovers that every time Fakrash makes an improvement to his life, there is a corresponding disaster to offset it. This extends to his love life, as well. In an attempt to win over Sylvia's grumpy parents who disapprove of him, Harold plans a dinner party at his house. Thanks to Fakrash, however, when the fuddy-duddy parents and Sylvia arrive, the place has been transformed into a bachelor pad, complete with dancing harem girls and a group of Arabic musicians. Also on hand is a "gift" from Fakrash, a sexually aggressive, beautiful slave girl named Tezra (Kamala Devri).  Appalled by the hedonistic atmosphere, Sylvia and her parents storm out. The remainder of the film involves Harold's desperate efforts to undo the "improvements" that Fakrash continues to enact on his behalf. Before long, Fakrash has turned his future father-in-law into a mule and also wreaked havoc on Harold's career. 

"The Brass Bottle", directed with workmanlike efficiency by Harry Keller, is a modestly-budgeted affair that was shot primarily on the Universal back lot. The few exterior sequences include some very obvious rear screen projection, thus giving the feature film the look of a standard sitcom from the era. The primary attribute of the production is the inspired cast. Tony Randall, who by this point in his career had carved a niche as one of Hollywood's leading supporting players, gets a rare opportunity to get first billing. Barbara Eden is largely relegated to window dressing as his long-suffering fiancee. The film clearly belongs to Burl Ives, who is genuinely amusing as the genie who tries to accustom himself to life in the 20th century. He begins the film wearing traditional ancient garb and ends clad in designer suits. Ives dominates every scene he is in as this marvelous character. The film also features two of the 1960's most popular on-screen grouches, the great Edward Andrews as Harold's would-be father-in-law and Parley Baer as Harold's prospective employer. Another reliable "grouch", Philip Ober appears as Harold's ill-tempered boss.  (Harold has nothing but ill-tempered people surrounding him.)  

The movie affords some mildly amusing moments and the "risque" elements are downright quaint by today's standards. When presented with a live-in, gorgeous mistress who will do anything he commands, Harold can only think of how to get rid of her- a premise that is slightly less believable than that of a genie appearing from a brass bottle. Then again, even as a pre-teen in the 1960s, I couldn't buy the notion that a beautiful female genie could live with a handsome, single man who she calls "Master" without any sexual scenarios arising.  Randall is always a delight and this rare showcase for him as a leading man, along with Ives' delightful performance, are the primary reason to watch this otherwise pleasant but undistinguished comedy.  

Kino Lorber's Blu-ray is a considerable upgrade from the previous release, a bare-bones DVD from Universal. The Blu-ray features a very good commentary track by Australian film historian Lee Gambin, who manages to have Barbara Eden join him via phone. She's a delight to listen to and has nothing but good things to say about working with Randall and Ives. Gambin also wisely has her recall her experiences filming "The 7 Faces of Dr. Lao" and "The Wonderful World of the Brothers Grimm". As a sign of the times, it's the first commentary track I've heard in which Covid factors into the conversation. The release includes the original trailer and a gallery of other comedy trailers for films available from KL.

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BY HANK REINEKE

Following the success of Alfred Hitchcock’s Psycho in 1960-61, there was – forgive me – a “mad” rush to cash in on that film’s coattails. On one side of the pond, U.S. based pastiches of Psycho would come courtesy of Shlock-horror maestro William Castle. The gimmicky producer would rush out the psychological-thriller Homicidal in 1961 and, a bit later - and more famously - with Joan Crawford in Straiht- Jacket (1964). In England, Hammer Film Productions, riding high due to their reimagining of the classic “Universal” monsters, would likewise bring to the screen four psych-thrillers of similar temperament: Paranoiac and Maniac in 1963, Hysteria and Nightmare in 1965.

One of the connecting threads of this quartet of Hammer efforts were that all scenarios had been dutifully scribed by their “house writer” of sorts, Jimmy Sangster. In his entertaining autobiography Do You Want it Good or Tuesday? From Hammer Films to Hollywood: A Life in the Movies (Midnight Marquee Press, 2009), Sangster doesn’t dwell too long on any reminiscences of Nightmare, but offers he found making the film “as being all fun.” Which, I suppose, is a fair self-assessment.

Sangster’s film (which he also produced) begins with a nightmare sequence, a young woman walking frightened and apprehensive through the empty corridors of an insane asylum. That woman, Janet (Jennie Linden) enters the cell of a deranged woman who cackles and taunts menacingly. The girl awakens from her dream with a tortured scream, scaring the living daylights out of her roommates at Hatcher’s School for Young Ladies. One of her teachers at the school, Miss Mary Lewis (Brenda Bruce) realizes this privileged girl is suffering from some sort of nervous condition. She accompanies her anxious student to Hightower, the tony mansion Janet is to inherit when she comes of age.

The staff at Hightower, particularly John (George A. Cooper) and Mrs. Gibbs (Irene Richmond), seem fond of Janet, sympathetic and protective. In contrast, her guardian and executor of the property Henry Baxter (David Knight) - as well as a new face at the mansion, Grace Maddox (Moira Redmond) appear outwardly friendly… but there’s something about the two that arouses one’s suspicions. We soon learn the disturbed mental patient Janet encounters in her nightmares is her very own mother. It’s revealed that on the day of her eleventh birthday, Janet witnessed the brutal stabbing death of her father by the hand of her mother.

Though mom would be subsequently sent to the local madhouse, the brutal memories of the event have left Janet teetering on the verge of a nervous breakdown. The girl is haunted by the thought that her mother’s insanity might prove to be an inherited trait. It’s not helpful to Janet’s mental condition that each night at Hightower she’s visited by a ghostly figure with a scarred face and white dressing gown. The ghost-woman roams the hallways, her appearances always preceding an act of staged violence. It’s enough to drive a young girl crazy… which is exactly what happens in due course.

So far, so good. Unfortunately, the film’s narrative structure takes an unwelcome turn in its second half. Just as Janet Leigh’s embezzling character disappears – surprisingly - from Psycho a mere twenty-minutes into the film, so does Janet from Nightmare. Unfortunately, while Robert Bloch and Hitchcock’s shocking twist works perfectly in Psycho, Sangster’s cinematic mimic simply does not. Once Janet is out of the picture Nightmare is unable to sustain its tension or dramatic momentum.

With beleaguered Janet out of the film, the movie loses not only its principal character but its heart. The mystery of the ghostly figure and subsequent deterioration of Janet’s mental state – the film’s two most compelling elements – are simply abandoned midway through. There are really no surprises in what follows. The two characters we suspect from the beginning as being ne’er-do-wells are, of course, the two who actually are. The only mystery left is whether or not the pair will get away with their devious scheming. And that’s simply not all that exciting.

That’s not to say there’s no value to Nightmare. As one might expect, director Freddie Francis does a proper if workman-like job on the film. The movie offers many of the requisite elements expected of a thriller: twisting doorknobs, tentative walks through long, shadowy corridors, eerie bedside visitations from a mute, ghostly figure and frightened peeks from beneath the shield of a folded blanket.

In a 2013 memoir Francis recalled he was, for the most part, pleased with his work on Nightmare, believing he successfully managed “to sustain the drama and the shock elements.” He would write Sangster’s “excellent script […] was a genuinely scary mystery with of course a sting in the tail.” Author and Hammer historian Jonathan Rigby seems to agree in part, rightfully pointing out that many of Sangster’s psych-thrillers were thinly disguised “Gothic horror films in modern dress.”

Though Francis was well-schooled in the art of cinematic horror, he would admit he was not terribly enthused with the work of his detached cameraman Johnny Wilcox. But the director suggested the atmospherics of the film’s interior photography were buoyed by his keeping “the edges and corners dark thus giving the overall picture a claustrophobic and menacing feel.” Released in April of 1964 as the under-card of a double bill topped by Hammer’s The Evil of Frankenstein (also directed by Francis), Nightmare was met with mixed critical reviews – a considered view shared by many fans of Hammer thrillers ‘til this very day.

Scream Factory promotes their release of Nightmare as a “Collector’s Edition,” and one must say it certainly is that. There are a bevy of featurettes examining this 83 minute film from every conceivable angle. Kim Newman shares his thoughts during the near seventeen-minute study “Sleepless Nights – Reflecting on a Nightmare of a Movie.” Jonathan Rigby clocks a nearly twenty-five minute rumination during his episode “Slice and Fright. If that’s not enough, there’s also “Reliving the Nightmare: Interviews with Actress Julie Samuel and More,” “Nightmare in the Making,” “Jennie Linden Remembers,” and “Madhouse: Inside Hammer’s Nightmare.” If this bounty of extra-features still leaves you dissatisfied – and I can’t imagine why it ever would – there’s also an audio commentary supplied courtesy of film historian Bruce Hallenbeck. To round things off, we’re also gifted with the now expected theatrical trailer and a generous stills gallery.

In some respects, there’s perhaps too many featurettes complimenting a medium-range film that runs less than an hour-and-a-half. The general nuts and bolts background stories regarding the conception and making of Nightmare are shared with repetition by the usual gang of learned subjects – the trainspotting film scholars of British horror. The inclusion of commentaries by those who actually worked on the film partly offer a measure of balance, sharing time-worn memories and occasionally intriguing glimpses of behind-the-scenes moments. If the historians are somewhat guilty of bombarding us with factoids and ruminations of context, footnotes and filmographies, it’s all good, really. Let’s face it, this is the sort of minutiae we Hammer horror wonks live for and have now come to expect.

It’s fair to say that by the time you make it through all of this set’s special features you will know more about Nightmare than you ever thought possible. There are discussions on the influence that such films as Psycho and Henri-Georges Clouzot’s Les Diaboliques (1955) had on Sangster’s work. It’s also suggested that the writer’s inspiration in scripting films in the psyche-thriller genre went back even further than 1955, with nods to such predecessors as Gaslight (1944) and The Spiral Staircase (1946).

The commentaries aren’t necessarily dry and academic. Hearing a bit of gossip is always fun. It’s interesting to learn of Sangster’s anguished reaction when discovering his original script for Nightmare had been critically red penciled in its pre-production margins by Hammer producer James Carreras. Then again, Sangster’s screenplay for Nightmare might have seemed a tad familiar to Carreras. It was in many ways reminiscent of the writer’s own scenario for an earlier Hammer effort Scream of Fear (1961). In any event, Sangster’s work would prove to have long legs. The screenwriter would later sell the storyline – and yet another reworking of the script - to producer Aaron Spelling for the ABC-TV film A Taste of Evil (1971) featuring Barbara Stanwyck.

Anyway, if you’ve read this review this far in, you already know you want this. Aficionados of the horror, mystery, and thrillers of Hammer Films Productions will properly celebrate this U.S. Blu-ray release of Nightmare – and well they should. Scream Factory offers a brand new 2K Scan from an interpositive of the B&W film and the image is stunning, with only the slightest and most unobtrusive white emulsion scratches slipping by now and again. The film is offered here in 1080p High-Definition Widescreen (2.35:1) with English DTS-HD master Audio and removable English subtitles. This is an essential film purchase for collectors of Hammer’s legacy films as well as for fans of intelligently crafted psychological-thrillers in the Psycho and Les Diaboliques vein. But make no mistake about it, Nightmare is, at best, a middle-range Hammer film. It’s neither a classic, nor an embarrassment nor a cheap knock-off. It’s simply a passingly engaging thriller that sadly derails due to unsatisfying and curious scripting issues.

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BY LEE PFEIFFER

The Warner Archive has released the 1972 MGM thriller The Carey Treatment on Blu-ray.  James Coburn has one of his best roles as Dr. Peter Carey, a rebellious but esteemed pathologist who moves to Boston to take a prominent position at one of the city's most highly regarded hospitals. The charismatic Carey loses no time in gaining friends, alienating top brass and bedding the comely chief dietician (Jennifer O'Neill). However, he soon finds himself embroiled in a politically volatile investigation when a fellow surgeon is arrested for performing an illegal abortion on the 15 year-old daughter of the hospital's crusty administrator (Dan O'Herlihy). (The movie was released a year before the landmark Roe V. Wade decision that legalized abortion in America and now appears to be on the verge of being reversed.) Coburn believes his friend's protestations of innocence and decides to launch his own investigation into the matter. The case soon unveils a lot of skeletons that some prominent people would prefer to be kept in their closets and Carey finds himself subjected to blackmail and physically assaulted as he comes closer to discovering the shocking truth behind the young girl's death.

The film was a rather low-key affair for director Blake Edwards and there is nothing particularly exceptional about the screenplay, which resembles a rather well-done Columbo episode. However, Coburn has a field day in the role of Carey. He's all teeth and smiles on the exterior but internally he harbors a healthy suspicion of authority figures. Carey can turn on the charm one minute and pummel a thug the next. Refreshingly, he's no superman. He makes mistakes and misjudgments that almost cost him his life. Edwards tries a bit to hard to sandwich some action into what is essentially a methodical mystery story and his instincts betray him in one silly sequence in which Carey virtually kidnaps a teenage girl and subjects her to a death-defying high speed car ride to induce her to reveal information. Nevertheless, the film remains engrossing throughout and Coburn benefits from his chemistry with some fine supporting actors including O'Herlihy, Pat Hingle and Skye Aubrey. He also generates some genuine sparks with O'Neill, who is largely inserted into the screenplay for pure sex appeal.  There's also a fine score by the great film composer Roy Budd.

The movie takes on a rather sobering social relevance when viewed today. With abortion rights dominating the news once again, the film reflects a period when the nation was initially torn apart by the debate- an occurrence that is happening again today. It's doubtful this film won't bring back some disturbing memories of a particularly contentious period in America's social consciousness that has been reawakened.

The film was not a critical or boxoffice success. Blake Edwards accused MGM of butchering his cut of the movie and leaving out vitally important scenes, a scenario that had occurred to director Brian G. Hutton a couple of years before when MGM devastated his vision of Kelly's Heroes. As with that film, the missing footage has never surfaced and is presumed lost forever.

The Carey Treatment is not high art, nor does it pretend to be. However the film reconfirms why Coburn was one of the most charismatic leading men of his day. The fact that he had such a long and distinguished career is something all movie fans can be grateful for. 

The new Blu-ray looks very good indeed and contains the original trailer.

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BY FRED BLOSSER

Although released in February 1942, Warner Brothers’ wartime drama “Captains of the Clouds” was filmed several months earlier, when America’s official stance toward the crisis in Europe, prior to the bombing of Pearl Harbor, remained one of isolationism. As the thinking went, the United States was better off conserving its own human and industrial resources as it continued to stagger back from the Great Depression. Let the combatants overseas fight it out between themselves.

Aware of the movies’ enormous power to sway public opinion, watchdogs in Congress — and in the industry itself — threatened severe action should any studio question the prevailing wisdom. Of a different mind and appalled by Nazi fascism, Harry and Jack Warner produced several movies that shrewdly challenged the restrictions by circumventing them. Thus the villains in Warners’ “Confessions of a Nazi Spy” (1939) were Nazi agents subverting freedom not in faraway Europe, but right here on American soil, where they could be exposed and thwarted by a vigilant FBI. “The Fighting 69th” (1940) and “Sergeant York” (1941) reminded audiences that America had crushed Germany’s war machine in World War I. Not only could we do so again, we should do so again as a spiritual and moral duty, they implied. In “Captains of the Clouds,” directed by Michael Curtiz, the surrogates for American intercession are five veteran Canadian bush pilots who join the Royal Canadian Air Force in 1940 to defend England against the Luftwaffe.

The first part of the picture establishes one of the aviators, Brian MacLean, as a cocky, unscrupulous loner who consistently undercuts his rivals Jimmy (Dennis Morgan), Tiny (Alan Hale), Blimp (George Tobias), and Scrounger (Reginald Gardiner) in their business of flying passengers and cargo from one remote outpost to another in the Ontario back country. James Cagney portrays Brian in fine Cagney style. Nominally, MacLean is the protagonist of the story, but he’s only marginally more sympathetic than Cagney’s ruthless gangsters in “The Public Enemy” and “White Heat.” I suspect that many moviegoers who had barely survived the worst of the Depression secretly envied Cagney’s characters in their determination to stay one jump ahead of everybody else, whatever it took. MacLean gives Dennis Morgan’s earnest Jimmy one more reason to resent him when he puts the moves on Jimmy’s restless sweetheart Emily (Brenda Marshall), and she throws the good boy aside for the bad boy.

Then the war comes into play when the pilots hear Churchill’s inspirational “we shall fight them on the beaches” speech on the radio after the evacuation at Dunkirk. “Now there’s a man who knows how to word an invitation,” Brian marvels. The fliers join up to see active service overseas, not knowing they’re all above the ceiling age of 26 for combat pilots. Instead, disappointed but game, they’re commissioned as flight instructors at Canada’s training bases. Fans of WWII aviation movies may be equally disappointed since the development severely limits the opportunity for dogfights. The picture’s aerial combat is confined to a tense sequence in the final ten minutes, as the pilots become sitting ducks for a Messerschmitt’s machine guns while on emergency assignment to transport Lockheed bombers from Canada to England.

On the other hand, aside from the occasional use of models and back projection, the flight scenes in Canada are the real deal in vivid Technicolor. And thanks to the cooperation of the RCAF, the episodes at Canada’s real-life training fields have a convincing documentarian feel, including an appearance by Air Marshal Billy Bishop, still revered in 1942 for his exploits as a flying ace in World War I. Bishop plays himself in a low-key but ingratiating way as he awards wings to the cadets at their graduation ceremony. Fans may also be comforted that the latter half of the film satisfies the formula they’ve come to expect from a hundred war movies up to and beyond “Top Gun,” dogfights or no. The self-centered hero butts heads with military discipline, suffers a fall from grace with tragic consequences due to his impulsive nature, and then unexpectedly rallies with a final act of redemption.

A new Blu-ray edition of “Captains of the Clouds” from the Warner Archive Collection does full justice to the movie’s Technicolor palette, especially in several outdoor scenes in Canada’s spectacular North Bay wilderness. To simulate a night out at the movies in 1942, special features include a newsreel, a short, two cartoons, and the theatrical trailer. SDH captions are provided for those of us not old enough to remember World War II but well-served by subtitles anyway. Coincidentally, the Blu-ray was released as leaders from the U.S. and its NATO partners continued to debate and tune their response to Putin’s ongoing attack on Ukraine. The parallels with 1942 aren’t exact — for one thing, Hitler didn’t have a nuclear option in his back pocket — but it’s a reminder anyway that the worst facets of history have an unfortunate tendency to repeat themselves.

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Fred Blosser is the author of "Sons of Ringo: The Great Spaghetti Western Heroes". Click here to order from Amazon)

BY DARREN ALLISON

It’s certainly great to see Chris' Soundtrack Corner back on the pages of Cinema Retro. It’s been a little while, but rest assured, Christian Riedrich and his team have been hard at work and it’s always worth the wait.

CSC has released no less than three brand new soundtracks, all of which are essentially their world premiere debuts. Sure, if you deep long and hard enough you may discover an odd track or a popular main title that has previously surfaced here and there or perhaps on some obscure library compilation – but hey, good luck with that search, should you wish to undertake it.

Across these three releases you will certainly unearth a delightful range of styles and moods as well as sampling various flavours of the exotic Mediterranean.

Daniele Patucchi’s Il Sorriso Del Ragno (1971) (CSC 031) sets us on our way rather nicely.

This rarely seen 1971 Italian film (translated as, The Spider's Smile) was recognised more by its international title, Web of Deception. It was the only film directed by Massimo Castellani, a more established second unit director who had enjoyed greater success as a script supervisor. Based on a script written by Italo Gasperini and Armando Morandi, with dialogue by Fabio Piccioni, Il Sorriso Del Ragno, this is a crime thriller disguised as a roaming travelogue. With locales ranging from France to multiple regions of Greece, all of which was captured beautifully by cinematographer Giorgio Tonti,– it was pretty much guaranteed that both cast and crew would enjoy their opportunity in the sun- soaked regions.

The story involves private investigator Tony Driscoll; a ladies' man perhaps, but he also has a good reputation when it involves recovering stolen goods. So when thieves make off with $5 million in jewels from a French bank, Driscoll is hired to get them back. However, certain questions point fingers at Driscoll and the film’s plot makes the most of this twist up until its conclusion.

A self-taught musician, composer Daniele Patucchi was born in 1945 in Turin. By the time he began writing and performing music professionally, he was adept in a wide range of styles, from jazz and rock to classical and displayed a certain amount of flair when it came to digital synthesizers – all of which served him well over 35 movie soundtrack scores. His music for Il Sorriso Del Ragno is based around five central musical styles. Three of them- Main, Suspense and Action themes- occupy the majority of the score's structure and serve to enhance the adventure, tension, and intrigue as the story unfolds. Additional musical motifs signify more regional themes and local instrumentation. Acoustic guitar and Greek mandolin in particular feature prominently and work to wonderful effect throughout.

Il Sorriso Del Ragno is really enjoyable little score. There’s plenty of variation, but never too much. It never spills over into a heavy clash of styles, and retains a comforting, common thread. Christian Riedrich’s pin sharp production and remastering by Stefan Betke is what we have come to expect. Only three tracks have been previously released. Additionally, five tracks that were not used in the movie have been added as bonus tracks: alternate or varied versions composed for the movie or re-edited for inclusion on one of CAM's promotional library music albums. The CD includes a 12-page illustrated booklet by Aletta Heinsohn and features detailed, exclusive notes on the film and its score by film music journalist Randall D. Larson.

Chris' Soundtrack Corner’s second score release is another by Daniele Patucchi, Sans Sommation (1973) (CSC 032). This was a much harder hitting German-French-Italian co-production (released in the UK as Without Appeal and Internationally as Without Warning). Made by French director Bruno Gantillon, Sans Sommation was a tougher, straight-shooting thriller which again presented composer Daniele Patucchi the opportunity to demonstrate his diverse range of talents.

Maurice Ronet stars as Raoul Maury, a former Police inspector who made a seriously bad career move when he attempted to take down the son of a prominent politician on drug charges. As a result, Maury finds himself demoted to the role of archivist in the police records department. When it is discovered that Maury bears a striking resemblance to Lt. Kieffer, an associate of wanted mercenary Pierre Capra, he is reinstated in order to impersonate Kieffer in order to get close to Capra and assassinate him. However, conflicting acts of suspicion and trust will all head for collision and loyalties will become strained and tested to the full.

Patucchi's film compositions were plentiful throughout the 1970s and '80s. Sans Sommation is one of more than 35 European movie soundtracks he composed throughout the 1970s and '80s. His gift for tuneful melodies served him well in this score. Its opening theme in particular offers a dusty, smooth Jazz trumpet and for the first couple of tracks the ride seems distinctly mellow and easy-going. But don’t get fooled, by the time ‘Elikiller’ kicks in we are on much tougher, off road territory and the bold, brassy action cues are allowed to take full flight. There’s a good degree of suspenseful tracks, too, that really build nicely along with some very cool Hammond organ playing on display. The single central theme is a brisk, high-energy, driving motif that continuously helps the score race forward.

The album is produced again by Christian Riedrich and mastered this time by Manmade Mastering – all of which results in a big, fully rounded sound. The main score consists of 12 tracks with 3 bonus tracks included. The CD is accompanied by a 12-page illustrated booklet designed by Aletta Heinsohn and featuring detailed, exclusive notes on the film and its score by film music journalist Randall D. Larson, who deconstructs the score's elements in deeper detail.

Finally, Ingrid Sulla Strada (1973) (CSC 036 rounds up this excellent trilogy of scores and sees a welcome release from composer Carlo Savina. Ingrid Sulla Strada is an Italian psychological drama written and directed by Brunello Rondi. Rondi was arguably better known as a script-writer and script consultant, a reputation which had lead him to several collaborations with Federico Fellini. Rondi's directorial debut came more than a decade earlier in 1961 with the film Una vita violenta (aka Violent Life). Rondi went on to make a number of psychological/sexual dramas of which Ingrid Sulla Strada was one of the last.

Ingrid Sulla Strada is a drama in which young Ingrid (Swedish model and actress Janet Agren) leaves her home after being raped by her father. After her arrival in Rome, Ingrid, with little option, slips into prostitution. Life is not easy for Ingrid and soon her life begins to spiral out of control and eventually leads to her suicide. Ingrid Sulla Strada is not an easy film to find, and the limited amount of footage revealed within the trailer tends to suggest a rather bleak narrative and a Fellini- influenced style of filmmaking.

Ingrid Sulla Strada is without doubt an eclectic score. At its heart, Savina provides a light, delicate melody which is quite charming. And yet, the score’s overall soundscape doesn’t naturally provide a standardised form or perhaps an obvious sense of continuity. There’s certainly nothing wrong with Savina’s music, but the styles are so varied, one could almost be excused for thinking certain cues could had been taken from entirely different scores. As a collective it’s incredibly diverse and perhaps reflects the up-and-down nature and psychological aspect of the story. Regardless of its random style, it remains a fascinating listening experience.

Chris' Soundtrack Corner has completed an excellent challenge in making this obscure title available for the first time. Only the main theme and the pop organ track, ‘Walking through the falling leaves’, have been previously released. Christian Riedrich has beautifully produced the release, which certainly must have been a challenge. The result is the release of an entirely engaging score. Consisting of 15 tracks and 2 additional bonus tracks, the CD comes with a 12-page illustrated booklet designed by Tobias Kohlhaas and featuring detailed, exclusive notes by Randall D. Larson.

A fine collection of European scores for which everyone involved should be congratulated.

To order go to:

http://www.soundtrackcorner.de/

(Darren Allison is the Soundtracks Editor for Cinema Retro.)

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