Robert Stigwood ended the 1970s with three major musicals in a row, “Saturday Night Fever,” “Grease,”
and “Sgt. Pepper’s Lonely Hearts Band,” and then stumbled in 1980 with “Moment
by Moment,” a dumb romantic melodrama with Lily Tomlin and John Travolta.“The Fan” (1981) was expected to revive his
winning streak, headlining Lauren Bacall and James Garner in a suspense thriller
about a Broadway star (Bacall) stalked by the deranged title character, played
in fine creepy fashion by newcomer Michael Biehn.But “The Fan” also did mediocre box
office.Some observers believed the
timing was bad.Three real-life
tragedies involving stalkers were still uncomfortably fresh in peoples’ minds
-- the murders of John Lennon and actress/centerfold Dorothy Stratten, and the
attempted assassination of President Reagan.Other critics blamed the studio’s marketing of the production as a
“Bacall and Garner movie.”The two stars
drew an older fan base that perhaps expected a sedate show-biz suspense drama,
and instead were surprised and turned off by scenes of slasher violence and
co-billing with Bacall, Garner has hardly more than a walk-on role as Jake, the
ex-husband of Bacall’s character, Sally Rice. He doesn’t even show up in the denouement when Sally has her big
confrontation with knife-wielding Douglas Breen (Biehn) in an empty
theater. Garner’s absence from this key
scene must have confounded his followers. Surely Jake would pull a Jim Rockford and show up in the nick of time to
years on, viewers who come to “The Fan” by way of its new release as a Warner Archive Collection DVD may find it far
more interesting than moviegoers in 1981 did. This was director Edward Bianchi’s first feature film (he’s since gone
on to a prolific career directing TV dramas), and instead of investing the movie
with his own style, he clearly borrows from Brian de Palma for the stalker
scenes and from Bob Fosse for the backstage rehearsal scenes and Sally’s big
number for opening night. It isn’t that
Bianchi doesn’t borrow well, with the debt to de Palma underlined by the fact
that the movie is scored by de Palma’s resident composer, Pino Donaggio. It’s that the jarring slasher scenes seem to
belong to a different movie than the slinky, “All That Jazz”-flavored
song-and-dance routines. Adding to the
tutti-frutti mix, Bacall’s spotlight number, “Hearts, Not Diamonds,” sounds
like a Saturday Night Live parody of a 1981-era Marvin Hamlisch/Tim Rice show
tune. In fact, it actually is a
the 1981 audience may have been disappointed by this scrambled omelet of
over-the-top moments, it’s a lot more entertaining than the predictable,
star-driven suspense movies that followed later in the ‘80s, such as “Still of
the Night,” “Jagged Edge,” and “Suspect.” Younger viewers now may get a kick out of the movie’s vanished world of
land-line rotary phones, typewriters, and people smoking in hospital waiting
rooms. Pay attention and you’ll see
Griffin Dunne, Dana Delaney, and Dwight Schultz in minor roles. A scene of Douglas cruising a gay bar, with
unfortunate results for a young man he picks up, has chilling implications on a
symbolic level that would not have been apparent to audiences when the movie
opened in May 1981; the first reports of a real-life scourge stalking the gay
community, AIDS, had not yet surfaced.
The Warner Archive
Collection edition of “The Fan” is a manufactured-on-demand DVD. It has a scene-selection menu and English
captions for the hearing-impaired, but no other extras. The image is a little soft, which may be
unavoidable for older source material, and it’s only a drawback in the “Hearts,
Not Diamonds” number where a crisper image would add to the fun.
in American football has been a big issue during the last year. After former
Baltimore Ravens running back Ray Rice was videotaped knocking his girlfriend
unconscious in an elevator and other players were reportedly involved in
incidents of domestic abuse, the National Football League issued a Code of
Conduct for players. Violation of the code can result in a player being
suspended or kicked out of the sport altogether. In Great Britain, however, it’s
not the players who are guilty of off-the-field violence, it’s the fans.
“Football hooliganism” as it is known, is and has been a problem for years.
Nick Love’s 2008 film, “The Firm” tells a story set in the midst of this violent
those who don’t know, football hooliganism refers to the organized gangs of
young soccer fans, almost all young men, who meet one another when the mood
strikes them to have a go at bashing each other’s heads in. These organized groups,
sometimes consisting of 100 or 200 young men, are known as “firms.” According
to Nick Love’s film, however, football has little to do with the violent
encounters these groups instigate. In fact, there was not a single frame of
film shot at a soccer stadium during a game.
Firm” was originally a television play broadcast in the 1980’s and featured
Gary Oldman as Bex, the leader of one of the firms. Reviews indicate it was
told from Bex’s point of view. Love’s adaptation
keeps the time frame, but changes the point of view and makes it more of a
coming of age story. In this version, the viewpoint character is Dom, a boy in
his teens who still lives with his parents, and encounters Bex and immediately
succumbs to a kind of hero worship.
Anderson plays Bex in this version, and Calum MacNab is Dom. Both give very
good, very real performances. And the shifting point of view between the two
main characters provides an interesting contrast between the two characters’
lifestyles. By day Bex wears a suit and tie and sells real estate. At night, he
wears Adidas and bright-colored jogging suits. He hangs out at a local pub with
members of his “firm,” and sets strategy for the next coming fight.
on the other hand, lives in an “estate,” an ugly housing project. and works
with his father in a construction business. Dom’s parents are shown to be mindless
cogs in the lower class of society. A chance encounter in a pub brings Dom and Bex
together, and the younger boy is impressed with the older man’s ferocity and
ruthlessness. When he’s invited to join Bex’s firm he jumps at the chance. He
immediately goes out and begs for money from his dad to buy the kind of clothes
Bex wears. He leaves his former best friend in the dust, and begins using
hooligan slang, that his parents don’t understand.
it is this emulation of Bex that leads to the beginning of Dom’s disenchantment
with his idol. The turning point comes in a scene where Dom shows up at a firm
meeting wearing the same exact red jogging suit and shoes that Bex is wearing.
When the rest of the firm ridicules Dom for this faux pas Bex simply
shrugs his shoulders and lets them rag on him until they’ve had enough. When he
finally tells the others to leave him alone, you can see the disappointment in
the story progresses, Dom begins to see the man he thought was so cool is
actually some kind of psychotic, a man full of violent rage. He leads his firm
in several clashes with another group, the Setis, with the violence escalating
with each encounter. Dom watches as Bex’s lieutenants try to reason with him,
but to no avail. He seems determined to lead his gang and himself into suicidal
Firm” is an interesting film, and keeps you glued to the screen to see how it
finally turns out. And unlike so many films today, it’s about something real,
not spaceships and superheroes. I give Love credit for carrying on a long
tradition of realism in British films that dates back to the days of Tony
Richardson, John Osborne and Alan Sillitoe. Love is not as good a writer as any
of those three. This film contains none of the indicting dialogue of England’s so-called
“Angry Young Men” characters who were so prevalent in films of the 1960s.
tells his story visually. Dialogue is minimal and what there is of it can
barely be understood because of the characters’ heavy accents. It’s all surface
level action. That combined with the loud soundtrack full of music from the ‘80s
results in an accurate portrait of the England of Margaret Thatcher, but it
does not go very deep into what really motivates men like Bex and Dom.
it’s a film well worth watching. The Twilight Time limited edition Blu-ray
transfer is first rate. The disc contains extras, including the usual deleted
scenes and “making of” featurettes. Another on how the gang fights were
choreographed also was of interest. A booklet containing notes by Julie Kirgo i
also illuminating. The disc also has an isolated soundtrack score. All in all,
a nice package.
This release is limited to only 3,000 units. Click here to order.
(John M. Whalen is the author of "Hunting Monsters is My Business: The Mordecai Slate Stories" . Click here to order the book from Amazon)
In a major coup, Amazon Prime's video streaming service has signed Woody Allen to write and direct a full season of half-hour programming. The new series has not been titled nor has a concept even been finalized. Allen- presumably in jest- said that his lack of vision for the project may make Amazon regret its decision. That seems unlikely. Allen is one of the most prolific filmmakers in the world and has a track record that is unrivaled: he has released at least one major film every year since he made his directorial debut with "Take the Money and Run" in 1969. Allen is also arguably at the pinnacle of his career, with some of his recent films earning major awards and kudos from critics.
Amazon Prime is going toe-to-toe with Netflix in terms of dominating the video streaming business. Polls show that viewers are rapidly defecting from watching traditional TV broadcasts in favor of utilizing streaming, which allows them to watch what they want whenever they want on TVs and mobile devices. The signing of Allen gives a boost in prestige to Amazon. For more click here.
Warner Archive continues to serve film fans very well by remastering and
releasing a continual stream of little-known and under-appreciated movies from
their huge vault. Terror on a Train (1953) (titled Time Bomb for its UK release)
certainly fits the “little-known” category and once it's seen by more people I
think it will be quite well appreciated by fans of tight B cinema.
film takes place in England where a sharp-eyed police officer catches a man
skulking about a train yard at night. The fellow assaults the cop and runs off
leaving behind a bag with the components of a bomb. Quickly the police realize
that the escaped man must have planted a bomb on the munitions train he was
seen near. Looking over the train's schedule they surmise the bomb must be on a
timer and would probably be set to explode when the train reached the most
populous spot on its trip - the Royal Navy Yard in Portsmouth.
for a demolitions expert lead the authorities to Canadian national Peter
Lyncort (Glenn Ford) who was trained in World War II as a explosives defuser
and his help is enlisted even though he tells the government men he is not at
his best, as his wife Has just walked out on him minutes before! The railway authorities
divert the train onto a line in a residential area and the people nearby are
evacuated as Lyncort tries to find and disassemble the explosives hidden among
the dozens of large mines before the time bomb will explode. At the same time,
the cop who was assaulted by the saboteur is allowed to play a hunch that the
bomber might want to observe his handiwork. He goes to the train station in
Portsmouth in the hopes of spotting the man and possibly getting more
information out of him about the bomb's location. Will Lyncort succeed or will
all his marital problems be solved in a loud ka-boom?
is a short, sharp thriller that moves along very quickly and maintains interest
throughout its 72 minute runtime. Although the film has a pretty good score it
is used very sparingly until the end. The tension of the film is built through
good editing and direction (by Ted Tetzlaff) instead of musical stings and the
movie is the better for it. Many films are undercut by layering the score over
every scene but here the natural, ambient sounds of the hunt for both the bomb
and the saboteur are used to make things more realistic. It could be argued
that the martial discord story element is superfluous but I enjoyed the tension
it added to the ending as Mrs. Lyncort realizes that it is her husband that is
risking his life to defuse the explosives. The film was shot on location and
that adds verisimilitude to the proceedings as does the inclusion of several
nice eccentric characters who seem to mainstays of British cinema from this era.
Warner Archive DVD presents the film in its original aspect ratio looking and
sounding crisp and clean. The only extra offered is the trailer which might
best be skipped until the feature has been enjoyed so that spoilers are
Screenwriter and producer Brian Clemens has passed away at age 83 in his native England. Clemens wrote scripts for some of the most revered British television programs of the 1960s and 1970s including "Danger Man" (aka "Secret Agent"), "The Avengers", "The Persuaders", "The Professionals", "The Baron" and "The New Avengers". Clemens also produced or executive produced several of the aforementioned shows. He also contributed single episode scripts for other popular shows including "Highlander", "The Protectors" and "Remington Steele". Clemens wrote numerous scripts for "Father Dowling Mysteries" and three "Perry Mason" TV movies in the early 1990s. A prolific writer, he also wrote screenplays for feature films beginning in the 1950s. His credits include "Station Six Sahara", "The Corrupt Ones" (aka "The Peking Medallion"), "See No Evil", "The Golden Voyage of Sinbad", Disney's "The Watcher in the Woods", "Highlander II: The Quickening" and the Hammer horror film "Captain Kronos: Vampire Hunter", which he also directed and produced. According to his son, Clemens was still actively involved in working on scripts when he passed away on Saturday. In 2010, he was honored by the Queen for his significant contributions to British broadcasting and drama. For more click here.
Sturges was a rare breed in Hollywood in the early 1940s—he was a
writer/director auteur who penned
original comedies and directed them himself. Perhaps Chaplin—and Keaton, to a
degree—were the only other filmmakers up to that point who did the same,
picture after picture. Sturges began as a screenwriter authoring some of
Hollywood’s better comedies of the late ‘30s; finally, he told Paramount he
would sell them his script for The Great
McGinty only if they allowed him to direct it. The studio bosses relented
when Sturges took a cut in salary to do both jobs. McGinty was a hit and went on to win a screenplay Oscar for
Sturges. Then, during the war years, Sturges enjoyed his remarkable run before
succumbing, in the later years of the decade, to the inevitable “falling out of
fashion” that so often occurs in Tinsel Town.
comedy is sophisticated, intelligent, and witty; but it’s also wacky, off the
wall, and spitfire fast. He specialized in screwball comedy—i.e., absurdly zany
love stories between two likable but eccentric characters—and The Palm Beach Story, released in 1942,
is a prime example. Following his masterpiece (but, at the time, misunderstood
and not well received financially) Sullivan’s
Travels, Palm Beach stars Joel
McCrea (“Tom”) and Claudette Colbert (“Gerri”—Tom and Gerri, get it?) as an
unhappily married couple who split up and ultimately get back together. Classic
screwball comedy structure. What makes the film different from other screwball
comedies is what happens in-between. And at the beginning.
the beginning. Over the main title credits, we see a series of strange clips
that appear to be taken from later in the picture—but they’re not. In fact,
they’re never really explained at all, which does cause some confusion with the
audience. This opening has been debated by film scholars ever since the movie’s
release. It’s actually exposition, but cut down to brief snippets of visuals,
edited to the tune of a rollicking William
Tell Overture. We see a maid frightened by an imposing figure—she faints. A
concerned priest is at the altar, looking at his watch. We see Colbert, tied up
and gagged in a closet. And then we see Colbert in a wedding dress, rushing to
get ready? Is she the same Colbert as before? After that we
discover McCrea in wedding garb rushing to get in a car—obviously late for the
ceremony. But in the car he changed into another
set of wedding clothes. The bridal Colbert runs by the maid, who screams
and faints again. The tied and gagged Colbert breaks out of her binds and kicks
her way out of the closet. The recovering maid sees her, screams, and faints. Then the parties rush to the chapel—where
McCrea and Colbert (which one?) get married. The caption reads: “And they lived
happily ever after... or did they?”
don’t really find out what was going on in the credits until the end of the
movie in a somewhat contrived but typically Sturges-style explanation of what’s
been going on in the picture. It’s not a spoiler to reveal that Colbert plays
twin sisters, but McCrea also plays
twin brothers. The two sisters are in love with one of the McCrea twins (not “Tom”),
and he is about to marry the one who is not named Gerri. However, Gerri has
tied up her sister and taken her place at the altar—but somehow “Tom” has taken
his brother’s place at the chapel—and Tom and Gerri—the wrong couple—get
married. At least that’s how I interpret
five years of marriage, Tom and Gerri are at each other’s throats (but they
really do love each other, they just don’t realize it yet). Gerri leaves for
Palm Beach and Tom follows her. Gerri begins a relationship with billionaire
Rudy Vallee, and Tom is snared by Vallee’s maneating sister, Mary Astor, and
then things really get complicated.
in Sturges’ standard stock company of character extras—William Demarest, Sig
Arno, Robert Dudley, Franklin Pangborn, Arthur Hoyt, Chester Conklin, Jimmy
Conlin, Robert Warwick, and several others (all faces you will recognize but
won’t know their names) and you’ve got one crazy oddball of a movie. And it’s
4K digital restoration looks gorgeous, as always (how does Criterion manage to get the best-looking presentations of
black and white classic films on Blu-ray?). There are two new video interviews
with (a) writer and film historian James Harvey about Sturges and his works,
and (b) comedian and actor Bill Hader, also about Sturges and the picture. A
WW2 propaganda film, written by Sturges for the State Department, Safeguarding Military Information, is
included (and features Sturges regular Eddie Bracken). A 1943 radio adaptation
by Screen Guild Theater is also included, plus the informative essay by critic
Stephanie Zacharek in the booklet.
too bad that Preston Sturges’ flame burnt out by the end of the forties—he was
a talent that was often miles ahead—and above—his peers. The Palm Beach Story, while perhaps not his best work, is certainly
indicative of the man’s genius.
The cruel loss of legendary cinematic figures continues into the new year with the death of Anita Ekberg in Italy at age 83. The precise cause of death is not known at this time but she had suffered from a long illness. Ekberg was Swedish by birth but was often mistaken as a native of Italy because of her close association with Fellini and his films. She was named Miss Sweden as a teenager and competed in the Miss Universe contest before her statuesque figure ensured a career in show business during an era when full-bosomed sex sirens were all the rage. Hollywood studios were particularly on the lookout for the next exotic European beauty and Ekberg filled the bill perfectly. She slogged through bit parts uncredited in major studio productions before landing a prominent role opposite John Wayne and Lauren Bacall in the 1955 hit "Blood Alley" (in which she played a Chinese woman!) This opened doors and she went on to appear in other Hollywood hits including "Back From Eternity", "War and Peace" and the Martin and Lewis smash "Artists and Models". She would reunite on screen with the comedy team for "Hollywood or Bust". She received above-the-title billing in the 1956 adventure film "Zarak" opposite Victor Mature for future James Bond producer Albert R. Broccoli. However, it was the Fellini classic "La Dolce Vita" that made her a household name in 1960. In the film's most memorable sequence, she cavorts in the Trevi Fountain with Marcello Mastroianni while attired in a gown. Photos of the sequence remain an iconic part of film history. After "Vita", Ekberg's star burned brightly but briefly. She reunited with Fellini for a segment of the 1962 film "Boccaccio '70". She appeared opposite Frank Sinatra and Dean Martin in the hit western spoof "4 For Texas" and opposite Tony Randall in "The Alphabet Murders". She had a starring role in the 1963 comedy "Call Me Bwana" with Bob Hope. The film was produced by Broccoli, now in partnership with Harry Saltzman. (It remained the only non-Bond film the men would produce during the years of their partnership). She also had a prominent role in the Jerry Lewis comedy "Way...Way...Out". By the late 1960s, however, her star had faded in English language cinema and she concentrated on starring in European productions that were often made on low budgets. Her last credited screen role was in "The Red Dwarf" in 1998.
Ekberg's love life was the stuff of dreams for the tabloid press. She had affairs with prominent male stars such as Yul Brynner and Frank Sinatra. She was married for three years to British actor Anthony Steel and was married for over a decade to American actor Rik Van Nutter, who is primarily known for playing CIA man Felix Leiter in the Broccoli-Saltzman James Bond blockbuster "Thunderball" in 1965. Supposedly, Broccoli, who was dining with Ekberg and Van Nutter, offered him the role over dinner on a whim. It was a James Bond film, "From Russia With Love", that played an important role in Ekberg's career, though-bizarrely- she never appeared in the movie, at least in the flesh. In a pivotal sequence, a Soviet agent is assassinated when he tries to climb out a window of an Istanbul apartment house, the wall of which is adorned with a giant promotion of Ekberg in "Call Me Bwana". The clever gimmick promoted the Broccoli-Saltzman comedy that was already in release.
Ekberg's later years were anything but glamorous. In her obituary, the New York Times reports that the childless actress spent her last days in a nursing home penniless and lonely. She did, however, have one last moment in the sun when she appeared in 2010 at an Italian film festival where a restored print of "La Dolce Vita" was being shown. For at least this brief moment, her glory days returned as she made a glamorous appearance that stole the show.
The final image of Arthur Penn’s “Night Moves”
certainly gets the movie pundits in a lather. The scene consists of Gene Hackman as private eye Harry Moseby, shot to
pieces but still trying to steer his motor boat to shore. Bleeding badly from his wounds, he’s unable
to reach the gears; he ends up setting the boat in a circling motion. From
above, we see Harry’s boat circling aimlessly in the Gulf Stream. This scene, which brings the film to a
finish, has been described as a metaphor for many things, including America’s
lost identity after the Watergate era, to Moseby’s own fruitless search for the
truth, to Penn’s own floundering career. To me, it always looks like the boat is going down a drain (or a
toilet). It’s the sort of ending that
leaves a viewer wondering if you’ve missed something, and leaves critics
tripping over their tongues trying to explain it. It’s a bummer, that’s for
But don’t let your aversion to despair prevent you from
watching “Night Moves”. I think it
actually trumps the self-conscious “Chinatown” as an example of neo-noir,
mostly because it doesn’t dress itself up in period garb; instead, it settles
into its own time period, 1975, with Moseby being as much a man of the ‘70s as
he is of the noir tradition. Moseby
isn’t above roughing a guy up for some information, and he certainly beds down
his share of women, but he also deals with such modern ‘70s elements as a
cheating wife, an estranged father, and his share of shattered dreams. Poor
Harry is not only a failed football player, but he’s even failing in his second
career, that of a private investigator. What actor from noir’s golden era could play Moseby? Bogart was too
self-assured. Alan Ladd was too much the tortured angel figure. Widmark? Maybe. Mitchum? Never. Hackman, raw-boned but
intelligent and slightly melancholy, was born to play Moseby. He’s just about in his prime here, on the
heels of those great performances in “The French Connection”, “The
Conversation”, and “Scarecrow”. As
Moseby, he’s the private eye as working class mug. He’s too good for the work
he’s in, but not too good to mingle with the people he’s investigating.
The screenplay, by Brit novelist turned Hollywood
writer Alan Sharp, borrows all of the right elements from the noir cannon: A
faded actress hires Moseby to locate her missing daughter, Delly. The search
brings Moseby to Florida where he finds Delly with her step-father Tom, a charter
pilot who seems to be part of a smuggling operation. It’s all a bit vague and confusing, but it’s
so beautifully played by Hackman and company that you won’t mind not getting it
all. When you get to the end, don’t try
to figure out what just happened, because the movie wasn’t designed to be
understood. Just absorb it and walk away.
The supporting cast is up to the challenge of keeping
up with Hackman, especially a young James Woods as a slippery mechanic who
knows more than he lets on, and a 17-year-old Melanie Griffith as the sinfully
attractive Delly (short for Delilah). John Crawford plays Tom as a blubbery
middle-aged doofus, but his climactic fight scene with Hackman is splendid, one
of the unsung fight scenes of the ‘70s, right up there with Ernest Borgnine
attacking Lee Marvin with a hammer in “Emperor of the North”. Jennifer Warren is Tom’s girlfriend Paula, a
slightly faded hippie chick whose resume includes such varied jobs as teaching,
stripping, and hooking. Warren is one of
those actresses who didn’t act in many movies, but looks familiar because she
did so much TV work. Either that, or it’s because she resembles that other
faded hippie chick, Susan Anspach.
Melanie Griffith as the wayward teenager.
The shoot took place during the second half of 1973 in
Los Angeles as well as at Sanibel and Captiva Islands in Florida. It was a
troubled production. Hackman, a sullen sort to begin with, was enduring some
personal problems; Sharp was unhappy
with the handling of his script, and later complained about Penn’s
“indecisiveness”; and Penn was in a dark mood due to the darkness of the material,
which he described as being about “a country gone boundless.” The director cut scenes that slowed the
action, assuming the audience could figure out what was happening. This is what gives the film its quick pace,
but may also add to the sense that we’re losing something. Penn also admitted that halfway through the
shoot he stopped caring so much about creating a detective story, and became
more interested in revealing Harry Moseby’s inner-self.
“We didn’t pay that much attention to plot,” Penn said
at the time of the movie’s premiere in 1975. “We thought that plot was not
going to be achievable, that there was never going to be way of saying ‘Ah-ha!’
in the last reel when you find out that so-and-so did so-and-so. And my only
excuse or explanation for that is that we’re part of a generation which knows
there are no solutions.”
Ironically, nine days after the release of “Night
Moves” came the release of “Jaws”, a movie that set records at the box office
and forever changed the way movies were made and distributed. Steven Spielberg’s shark may as well have
eaten every print of “Night Moves”, for the arrival of “Jaws” more or less
marked the end of contemplative stories like the one about Harry Moseby. There was nothing vague about the ending of
“Jaws”, that’s for sure. The good guys
killed the shark, and that was that. There were certainly no conversations as
you left the theater about whether the shark really died or not. The era of
introspective characters and vague endings was over. No solutions? Just blow it up, Jack.
In the years since “Night Moves” first hit theaters,
its supporters have praised it as an underappreciated gem, and I agree. There are some great lines here, like when
Moseby’s wife walks in as he’s watching a football game. She asks, “Whose
“Nobody,” he says. “One
team is just losing more slowly.”
Little nuggets like that one keep the movie afloat,
even as the story becomes harder to follow.
For fans of movies of the
1960s and ’70s, his name ranks up there with the stars who made the major
studio films of that era. Even though he didn’t actually “make” movies, his
work most definitely did. Best known as the artist behind the “classic” James
Bond posters, McGinnis worked for almost every publisher and major magazine for
decades, putting his distinctive stamp on a huge, well, body of work, which
is fully (and gloriously) represented in The
Art of Robert E. McGinnis, a lush 176-page hardback now on sale from Titan
Books. Since McGinnis is one of the most influential and iconic movie poster
artists of the 20th Century, Cinema Retro was pleased to see him
honored in this way.
The book starts with McGinnis’s
journeyman beginnings in the 1950s Cincinnati and New York advertising scenes,
where he toiled away on product ads like so many other young, hungry
illustrators. Most would flourish for a time, then fade into obscurity, but a
chance encounter in NYC with artist Mitchell Hooks (of Dr. No movie poster fame) led to paperback cover assignments that firmly
put McGinnis on the map. In the 1950s, ’60s and ’70s, most book covers were
illustrated, and the cover directly impacted sales. The more lurid or
intriguing the art, the better the sales, and McGinnis’s racy (for those days)
cover art quickly brought him attention from publishers.
In 1961 McGinnis painted
his first movie art – Breakfast At
Tiffany’s – and that launched him into the illustration stratosphere for
the rest of the decade. He painted the key art for Thunderball, You Only Live Twice, Casino Royale (1967 spoof), On Her
Majesty’s Secret Service, Diamonds Are Forever, Live and Let Die, Man With the
Golden Gun, and the book cover art on
Moonraker, helping guide the Bond series through major transformations as
different actors took on the lead role. McGinnis’s specialty was the human form
– he painted the heroic images of Bond and, of course, the sultry Bond Girls. The late Frank C. McCarthy handled certain
explosions and action art on some of the early Bond titles. The result was
marketing nirvana, dramatic, precedent-setting artwork that helped make Bond
the hottest movie property around.
McGinnis’ work was everywhere
– from huge billboards to newspaper ads, and, of course, on paperbacks in every
commuter’s briefcase. Curiously, his favorite art from his movie work is for The Odd Couple one-sheet, where he
perfectly captured the essence of neat-freak Felix and super-slob Oscar. Other
Hollywood works like Barbarella and Cotton Comes to Harlem are also
beautifully reproduced in the book, some with his original sketches, so the
reader can see the work evolve.
Each phase of McGinnis’s
long career is chronicled by writer Art Scott, who worked with the artist on
this definitive book. As you might expect, each chapter is profusely
illustrated with gorgeous full-color art – from hardboiled detective book
covers to bucolic landscapes for magazines like Reader’s Digest and Good
Housekeeping, even vivid historical scenes for National Geographic are here. McGinnis also illustrated for a
number of men’s magazines like True
and Cavalier, and his provocative
nudes left little to the imagination, but they also serve as even more proof of
his astonishing skill. These long-legged “McGinnis Women” looked like they
could get up and walk off the page – something I’m sure most Cavalier readers wished they would! The
artist himself chimes in throughout the book, offering up inside stories from
his long career. Thankfully, his creative output isn’t slowing down – just look
at page 95 where his stunning cover art for the 2011 limited edition of Stephen
King’s Joyland is reproduced. That
cover features a pale, yet alluring “McGinnis Woman” in a bikini and holding a
rifle. What could be more perfect?
Art of Robert E. McGinnis is one of those “must haves,” a book
any movie or fine art fan will want to pick up to look through again and again.
It perfectly captures McGinnis’s impressive work, curves, gun barrels and all.
With a list price of just $34.95, it’s a bargain when compared with the prices
McGinnis original art now fetches at auction.
Click this link to view very rare interview footage shot at Knotts Berry Farm where the premiere of the 1971 film "Big Jake" coincided with the dedication of the John Wayne Theatre. Wayne is on-hand with his co-stars Maureen O'Hara and Richard Boone and there is a lot of teasing and kibbitzing between them. Wayne showers O'Hara with praise about her beauty and O'Hara tells tales about the making of "The Quiet Man", wherein Wayne and director John Ford conspired to drag her through sheep dip. Wayne is heard speaking candidly, complaining about "this damned wig" he has to wear and putting in the prerequisite controversial political comment in extolling America as a haven for "free enterprise", while taking a dig at liberals. Apparently, Duke didn't consider that many of the studios that made his films and paid his salary were run by those dreaded liberals. Nevertheless, these were more civil times in certain ways and Wayne counted people on the political left and right as his close friends. As a bonus, Glen Campbell, Wayne's "True Grit" co-star, shows up to chat with Duke and Boone about the "Generation Gap". It's marvelous to see these true icons on screen together and talking candidly.
It only last one season, 1966-1967, but the hip TV series "T.H.E. Cat" starring Robert Loggia as a true international man of mystery really hit a nerve with fans. The show's short run hasn't diminished its legacy among fans who are demanding that the series be released on DVD and Blu-ray. Among them is Michael Shonk, who writes an appreciation of the show on the Mystery*File web site. Click here to read.
Taylor in the 1960 screen version of The Time Machine.
BY LEE PFEIFFER
If the year 2014 proved to be an exceptionally cruel one in terms of the number of legendary celebrities who passed away, the new year is off to an equally depressing start with the news that Rod Taylor has passed away at age 84. Taylor, who was two days away from his 85th birthday, died suddenly from a heart attack following a dinner party at his home. He was surrounded by friends and family when the end came. Taylor was a solid leading man who came to prominence in the late 1950s. Although Australian by birth, the ruggedly handsome Taylor could effectively play Brits, Irishmen and Americans with convincing ease. He first gained attention with supporting roles in high profile, big Hollywood studio productions in the late 1950s such as "Raintree County" and "Separate Tables". His breakthrough role came in 1960 when he received top billing in the acclaimed screen adaptation of H.G. Wells' classic science fiction novel "The Time Machine". Taylor was suddenly a hot property and an international star. He could play virtually any kind of role, from light comedy to portraying men of action. By the early 1960s, he was one of the most popular stars in the world. His film credits from this era include "The V.I.P.S", "The Caterered Affair", Disney's "101 Dalmations", Hitchcock's classic "The Birds", the popular sex farce "Sunday in New York", "Fate is the Hunter" and "36 Hours" (a rare appearance as a villain). He showed exceptional chemistry with Doris Day and played her leading man in two major hits over a two year period, "Do Not Disturb" and "The Glass Bottom Boat", a Bond-inspired spy spoof. His hot streak continued through the late 1960s with the tough-as-nails mercenary adventure "Dark of the Sun" (aka "The Mercenaries"), the star-studded soap opera "Hotel", the gritty western "Chuka", the espionage thriller "The High Commissioner" and the controversial private eye flick "Darker Than Amber". He also had a supporting role in Antonioni's legendary 1970 flop "Zabriskie Point". By the mid-1970s, however, the bottom seemed to drop out in terms of Taylor being offered good roles. He did co-star with John Wayne in the underrated western "The Train Robbers" in 1973 and that same year co-starred with Richard Harris in another western, "The Deadly Trackers". Taylor turned to television, starring in numerous series including "Bearcats", "The Oregon Trail" and "Outlaws". He also had a supporting role in the 1980s prime-time soaper "Falcon Crest". From that point on, Taylor seemed to voluntarily refrain from appearing in high profile productions, opting instead for supporting roles in rather obscure, non-Hollywood films. He rarely granted interviews and kept a low profile, though he did come out of self-imposed retirement to portray Winston Churchill in a cameo role in Quentin Tarantino's "Inglourious Basterds" in 2009. Cinema Retro mourns the loss of yet another legendary Hollywood star.
(For Steve Saragossi's tribute to Rod Taylor's life and career, see Cinema Retro issue #19).
When one considers the films of the late, great French director Louis Malle, soul-searching dramas such as "Au Revoir, Les Enfants", "Lacombe, Lucien", "Pretty Baby" and "Murmur of the Heart" come to mind. Malle also had a whimsical side and was not adverse to inserting a good deal of wit and humor into some of his films such as the remarkable "My Dinner With Andre", which consists almost entirely of a conversation between two old friends presented in real time. Then there is Malle's masterpiece "Atlantic City", a witty and moving look at aging with dignity set within the world of petty criminals in the dilapidated New Jersey resort town. One genre you would not associate with Malle is action/adventure. Yet, in 1965, Malle improbably delved directly into that genre with "Viva, Maria!", an expensive production that top-lined two of France's most popular home-grown national treasures, Brigitte Bardot and Jeanne Moreau. The film is a weird entry in Malle's body of work but it is nonetheless a great deal of fun and Kino Lorber has, thankfully, just released a stunning transfer of the film on Blu-ray.
The film opens in Europe in 1907 where we find a little girl named Maria shamelessly exploited by her Irish terrorist father, who utilizes her innocent persona to help him carry out deadly attacks against the British government. It's a sordid relationship that extends over many years, as Maria comes of age but remains devoted to her father's cause. The pair's war against government oppression ultimately leads them to the fictitious Central American nation of San Miguel. Here, the duo wreaks havoc on the corrupt government, which is controlled by a brutal dictator named Rodriguez (Carlos Lopez Moctezuma). Eventually one of their plots goes wrong and the father is killed in a shootout with government forces. Maria (Bardot), now a stunning beauty in her twenties, makes a narrow escape and finds refuge inside the wagon of a traveling circus. Here, she holds one of the performers, also named Maria (Moreau), at gunpoint while she gorges herself on food and drink. Despite the hostage-taking scenario, the two women bond in friendship. Bardot Maria is unsophisticated but courageous and self-reliant. Moreau Maria recognizes her as a diamond in the rough and sees elements of her own personality in her. Both are single women trying to survive in a world dominated by men. Knowing that Bardot is wanted by the law and the subject of a nationwide manhunt, Moreau convinces the owners of the circus to bring her on board as a partner for Moreau in her dance act. They perform their relative benign act in wild barrooms in front of sex-starved men who shoot each other at the drop of a hat. When a minor wardrobe malfunction reveals more skin than anticipated, the audience goes wild. The two Marias decide to incorporate this accidental bit of bawdiness into their act. Before long, they become a sensation with their mild striptease act. The entire nation has heard about them, even if the majority of peasants will never get to see their act. The Marias prove to be lucrative for the circus and both women are content. Bardot Maria looks enviously on Moreau Maria's active love life as the traveling show attracts hunky guys in every town. Soon, the virginal Bardot decides to give men a try. She is instantly hooked and outdoes her mentor in the boudoir. (This is another unusual aspect of the film for its day: the notion of women enjoying fulfilling sex lives without any shame or guilt).
The blissful lives of the two Marias come to a crashing halt when the circus troupe is arrested by goons who work for Rodriguez after the women interfere with the ransacking of a village during which numerous innocent people are murdered and enslaved. The circus performers are imprisoned, presumably to await certain execution. While in jail, Maria Moreau meets a prominent revolutionary, Flores (George Hamilton, somewhat out of place in the proceedings.) Although tied to a cross and in terrible pain, he is not immune to Maria's charms- especially when she - shall we say- alleviates him from some of his stress. Before long, both Marias are influenced by Flores to join the revolution. They help the circus performers orchestrate an escape that is amusingly staged, as each performer utilizes his or her unique talents in order to overcome the guards. Before long, the two Marias are national icons for the peasant class, who mobilize an army behind them. The final act of this bizarre "western" finds the Marias boldly leading their new army into battle against the forces of Rodriguez.
"Viva Maria!" (the Blu-ray sleeve omits the exclamation point) is wacko concept grandly executed by Malle. Both Bardot and Moreau seem to be having a grand time playing out the proceedings and foreshadowing the Women's Lib movement by portraying kick-ass action heroes. In the latter stages of the film, Malle goes for comic book heroics and blatant cartoon-like scenarios, but it all works very well indeed. Some of the battle sequences take on an almost epic feel but never overshadow the unique wit and style of the basic story line. I was surprised at how impressed I was by this film and the Kino Lorber transfer is most welcome.
The original trailer is included as a bonus extra.
Vinegar Syndrome has released yet another retro erotica double feature on one DVD. Both flicks are from the big hair era of the 1980s and both features center on similar themes: a frustrated young woman whose workaholic lifestyle leaves virtually no time for their love life. "Purely Physical" (1982) is the more impressive feature, largely because it has some production values and a reasonably intelligent plot, coupled with relatively accomplished actors and actresses. Laura Lazare plays Kathy, a young, overworked college girl who needs extra income. She applies for and gets a job as the night clerk at a local motel. It doesn't take long for the outwardly prim and proper Kathy to observe that the place's primary source of income is as a "hot sheet" destination for people who want to carry out their sexual fantasies. She keeps a poker face even when confronted with the obvious intentions of her clients. There is a nervous young teenage boy who has barely cobbled together the $32 room fee in order to finally consummate his love for his cute girlfriend. There is a dorky, chunky guy who believes the hot number who picked him up in a bar really just wants to sit around the motel room and indulge in his passion for movie trivia. (She turns out to be a conniving hooker.) There is the frustrated traveling saleswoman (Juliet Anderson as "Aunt Peg", the original screen cougar) who finds she has no time for lovers so has to take sexual matters into her own hands. Finally, there is an exhausted businessman whose friend sends up two hookers to please him. He rejects their offer but when they inform him that they are actually lovers, he relents and let's them indulge. Predictably, his exhaustion fades pretty quickly and he gets in on the action. Then there's the attractive and wealthy young woman who want to indulge in her fantasies by renting a room and bringing in her two male tennis instructors. Faced with this sexual tidal wave on her doorstep every night, Kathy finally succumbs to make her own fantasies come true. "Purely Physical" was apparently filmed, at least in part, at a sizable motel, though one wonders if the owners who consented knew exactly what kind of movie was being made on their premises. The opening credits are actually rather impressive, with some good photography of Kathy bicycling through busy city streets. Lazare, who appeared in numerous porn films throughout the 1980s, overcomes the bad hairstyles of the day and gives a fairly accomplished performance. The film only disappoints on one level: the much-hinted-at match-up between Kathy and Aunt Peg never occurs, beyond some mild flirting. Still, "Purely Physical" is one of the better porn efforts of the era.
"Cathouse Fever" (1984), on the other hand, is a lazy "quickie" feature with Becky Savage as a young L.A. secretary whose work hours deprive her of any romantic relationships. She makes the bold decision to join a bordello in Las Vegas. Aside from some "B" roll footage of Vegas in the era, the rest of the film is shot in one-room settings with the exception of a few beach scenes in which Becky is seen walking on the beach. Once at the bordello, Kathy enthusiastically embraces her work, bedding and pleasing an oddball selection of guys, some of whom probably mirror the real life experience of hookers in that they are decidedly unattractive. The movie stresses comedy, with some slapstick sequences inserted into the action. The routine script includes the usual standard sequences involving lesbians and group sex but most of it plays out in mundane fashion.
Both features boast excellent transfers and include the original trailers.
Western movie lovers of a certain age often reminisce about the era in which going to big ticket films was a special experience. "Roadshow" presentations played in select big city movie houses for extended runs before the film was released to local theaters nationally. In some cases, films could play for months in roadshow engagements before people in small towns and suburbia could see a blockbuster flick in their local theater. This trend is all but dead today. Even the biggest hits have short theatrical runs, at least compared to the old days. That's because studios want to capitalize on the recent marketing campaigns by moving quickly to pay-per-view, home video and cable exploitation of a hit movie. However, in India- where passions for all things cinematic run deep- one particular film has been running consistently in a Mumbai cinema for twenty years. The simple love story titled "Dilwale Duhhania Le Jayenge" touched a nerve with Indian audiences. It centers on a young Indian woman who is living in London and is about to wed through a marriage arranged by her father. This is an old and revered Indian custom that is still widely adhered to even by the younger generation. Prior to the young woman moving to a village in India where she will wed and reside, she has a chance encounter with an attractive young man and they fall in love. What sets the film apart from most cinematic depictions of such dilemmas is that the young couple doesn't simply run off but, rather, try to convince the girl's father to rescind the agreement through which his daughter will marry. Such a notion is quite controversial in India and the situation depicted on screen has consistently spoken to audiences that identify with the young couple, as well as the girl's father. The film still often plays to sold-out audiences. For more (and to view the trailer) click here.
Shortly after his great success as the star of Death Wish in 1974, Charles Bronson started to go on automatic pilot in terms of striving to give impressive performances in his films. He was always enjoyable to watch but as one cheesy Death Wish sequel begat the next (and any number of even more inferior clones), Bronson became regarded as a living cartoon character who sleepwalked through his films in search of an easy pay check. There was a time, however, when he was taken seriously by critics as evidenced by this ad for the 1972 film adaptation of The Valachi Papers. The movie itself was middling in most respects, but Bronson won personal critical plaudits for his performance as the infamous Mafia member who ratted out on his bosses in return for government protection and immunity.
(The image is from the nostalgia blog His Name is Studd. The site features a treasure trove of vintage photos and film ads. Click here to access.)
Those delightfully perverted souls at Vinegar Syndrome have delved back into the well to resurrect another interesting artifact relating to retro erotica. "Prisoner of Paradise" has to be one of the most ambitious porn feature films ever made. Released in 1980, it actually had a fairly exotic location and a semi-respectable budget, at least compared to the grindhouse fare that was being churned out back in the day. The film is attributable to one Gail Palmer, who became a bit of sensation for her status as one of the few female directors of porn movies. Here, she is credited with co-directing the film with porn legend Bob Chinn. (It has since been alleged that, in fact, she only served as a front for her then-boyfriend, who was said to be the actual director of the films that bore her name.) "Prisoner of Paradise" presents a bizarre scenario that starts out as a straight adventure film. The ubiquitous porn presence, John Holmes (aka Long Johnny Wadd) stars as an American sailor in WWII. When we first see him, he's washed up on a tropical island. (Yes, the film seems to have actually been shot somewhere more exotic than a bedroom above an L.A. taco restaurant.) Seems Holmes' character, Joe Murrey, is the only survivor of a Japanese submarine attack on his vessel. The film actually plays out as a legitimate survival story for a while, with Holmes' Joe exploring the island, trying to build shelter and identify ways to hunt and find fresh water. In fact, the film moves at such a deliberate pace that it takes a full eleven minutes until the script allows Holmes to reveal his legendary appendage. This is done through the use of flashbacks. We see him interacting with the love of his life, a Chinese girl in an unnamed city, presumably in China. Prior to shipping out to sea, they have an emotional goodbye, as seen in a tastefully directed lovemaking sequence. Minutes later, however, a bombing raid occurs and the girl is killed, leaving Joe emotionally devastated. Now he is apparently the only inhabitant of this remote island and the memories of his love haunt him even further...that is until he comes across the shocking sight of two stunningly beautiful women bathing in a nearby waterfall. Joe follows them and makes an even more shocking discovery: they are part of a tiny Nazi/Japanese encampment. The women are Ilsa and Greta (played respectively by platinum-haired porn icon Seka and Sue Carol.) Turns out that they are Nazi soldiers who have been assigned to this secret outpost along with their commandant, Hans (screen credited as Heinz Mueller. Real name: Elmo Lavino!). Joe observes the goings-on at the camp, which consists only of a hut and small storage shack. The only other inhabitant is a Japanese guard (Jade Wong). The wacky premise is based on the fact that Germany and Japan were allies during the war, but the real reason seems to be a set-up for some inter-racial sexual romps.
Joe is startled to see two captive American nurses (Nicki Anderson and Brenda Vargo) taken at gun-point into the shack where they are sexually abused by the commandant and his two female adjutants, who conveniently turn out to be lesbian dominatrixes. Joe makes a daring attempt to rescue the nurses but they are captured by Suke, the Japanese guard. Brought before the commandant, the trio is subjected to both verbal and sexual abuse- well, at least the women are. Joe's "punishment" is having one of the nurses perform...er, let's call it oral surgery- on him. There are also the prerequisite lesbian sequences. The commandant is total nutcase who is so over-the-top that he makes Werner Klemperer's Col. Klink look like a model of comedic restraint. The commandant toasts pictures of Hitler, even as he condemns him for banishing him to this remote outpost. (Would he really rather have been on the Russian front than on a tropical island with sex-starved women?) Suke makes her predictable intentions known by performing more...er, oral surgery- on Joe, who is tied to a post. During the course of his confinement, he sees the kind of action you used to have to go to Plato's Retreat to experience, yet he is intent on breaking loose. The finale of the film finds Joe successfully freeing the nurses and killing his Axis enemies in a fiery explosion.
What sets "Prisoner of Paradise" apart from most of the porn drivel of this era is the better-than-average direction coupled with a relatively lavish budget. There are some impressive special effects in the finale and the directors even manage to squeeze in an original love song, which isn't as bad as those old lemons by Bread that used to chart in Billboard in the 70s. The battle sequences are shown in flashback and consist of genuine newsreel footage combined with footage from "Tora! Tora! Tora!".
They used to call James Brown "the hardest working man in show business." With all due respect to the Godfather of Soul, I don't think he could hold a candle compared to John Holmes, who was said to have gotten it on with literally thousands of women, all under hot kleig lights in front of a camera crew. "Prisoner of Paradise" at least offered him a change of scenery. The film is rather entertaining in its own bizarre way and the Vinegar Syndrome DVD is impressive. It boasts a fine transfer as well as the original trailer and a gallery of other retro porn coming attractions.
In viewing the first half hour of the 1970 British May/December romance Say Hello to Yesterday, I was sorely tempted to hit the "eject" button the DVD player and pass this title along to one of our other reviewers who might not have such an immediate disdain for the film. Why did I have such a visceral reaction? Because I could not recall a romantic film that featured such an irritating, annoying leading man, in this case played by Leonard Whiting. From the very opening sequence which introduces him as the somewhat estranged son from London who drops in, unannounced and uninvited, on his birthday to visit his working class mother and father. The reception he receives is a rather cool one. He accompanies his dad as the older man makes his daily trek to some rather Orwellian-looking dead end job in an industrial plant. At first, your tempted to to sympathize with this unnamed lad, given his father's constant criticisms about the way he is leading his life. The elder man accuses his son of being a shiftless grifter who can only enjoy the bright lights of the big city by mooching off of friends and acquaintances. The younger man dismisses the criticisms and remains so perpetually cheerful and jolly that you soon begin to resent him, too. The scenes depicting the young man's strained home life give way to his taking a commuter train back to London. On board is a forty-something, attractive woman (Jean Simmons), whose character also remains unnamed during the course of the story. (For the sake of convenience, I will very creatively refer to them as "the man" and "the woman"). A brief introduction to her home life makes it clear that she is a typical suburban housewife with a successful husband and a couple of kids. Outwardly, you can see she lives a comfortable life and doesn't want for materialistic things. However, her body language conveys the fact that she is not satisfied with her lot in life, as she coldly bids her husband goodbye. She's off to spend an entire day in London, ostensibly to go shopping and to have tea with her mother. Yet, the viewer can immediately sense that her real purpose is to temporarily escape her rather mundane daily routine.
On board the train, the man, who is in his about twenty years old, is chatting up an attractive girl his own age when he spots the woman sitting in a crowded passenger compartment, surrounded by stuffy businessmen. He is intrigued by the fact that she obviously wants to smoke but has been consigned to a non-smoking compartment. He is amused by the fact that she is trying to unobtrusively peel the "No Smoking" decal from the compartment window. He is also immediately infatuated by her, despite their age difference. (Who can blame him? She's Jean Simmons!) Soon, they meet cute but she isn't interested for good reason. The man comes across as an obnoxious case of arrested development, badgering everyone in the compartment with juvenile and cynical quips. She finds him slightly amusing, but when she discovers he is following in her footsteps around London shops, she becomes exasperated- especially when his flirting ritual includes causing an embarrassing commotion in a department store. Soon, she is running through the streets of London with the man in pursuit and a posse of good samaritans chasing him down, thinking he intends to harm the woman. In the end, he finally catches up with her and uses his charm to begin to win her over. By this point in the story, credibility goes out the window. The woman is obviously cultured and intelligent and it defies reason that she would put up such a grating would-be paramour simply because he's young and hunky. The man is the human equivalent of nails scraping on a blackboard. Yet, I persevered, if only because the performances by Seberg and Whiting were so engaging. A strange thing happened along the way: I became increasingly engrossed in the story and fate of the characters. Whiting is on hyper-ventilation mode most of the time but in the few sequences in which he talks calmly to the woman, he tells poignant and moving stories about his tragic past. Yet, she suspects- and so do we- that these may be tall tales, because it seems this modern Walter Mitty is also a compulsive liar. Nevertheless, his infatuation with the woman flatters her, even though she repeatedly attempts to escape his company. Yet, even buses and taxis won't deter him. (He catches up with the taxi and jumps on the running board in an act that is supposed to be charming but would strike most women as the action of a potential serial killer.)
The film was clearly inspired by David Lean's 1946 masterpiece Brief Encounter, in which two everyday people begin to fall in love after a chance meeting at a train station. The resemblance ends there, however, as the man in this story is a far cry from the sober, sane and classy character played by Trevor Howard in the Lean production. The plot consists of the woman alternately accepting the man's company, then trying to repel him. She is outraged when he secretly follows her to her mother's apartment and barges in to introduce herself. In an amusing plot twist, the mother (wonderfully played in a wry turn by Evelyn Laye) thinks the young man is her daughter's lover. She not only accepts this but encourages her daughter to carry on with secret liaisons with him, confessing to her astonished daughter that she, too, had enjoyed an affair decades ago. ("It was a long war", she says ruefully). Ultimately, the man and woman do decide to consummate their one-day affair, though by this time the woman is still of decidedly mixed emotions. She feels a sense of guilt. As with the straying married woman in The Bridges of Madison County, she recognizes that her husband is a good man and that the "crime" of being dull shouldn't justify a sexual affair with a man she has just met. In the film's best sequence, they gain access to rental flat and go through the always-awkward process human beings have to engage in when they bed a lover for the first time. This prolonged sequence is the heart of the movie and leads to emotional rollercoasters for both the man and the woman, as he tries to persuade her to leave her humdrum existence for the fun, yet insecure, life he would provide. By this time, I found myself completely engaged in the story line and caring about how matters would be resolved.
Director Alvin Rakoff is to be credited for the sensitive handling of this material. He also deserves high praise for shooting mostly on location, which provides some stunning views of London in 1970. Simmons and Whiting are both terrific and the latter can't be blamed for the fact that his character never really matures beyond the state of a "man-child". The film features a lush musical score by Riz Orolani and some chirpy pop love songs that make The Archies' "Sugar Sugar" seem cutting-edge. Nevertheless, the film does boast some superb cinematography by the late, great Geoffrey Unsworth and it's a rich looking production throughout.
Scorpion Entertainment has released a first-rate special edition DVD of this modest film that most retro movie lovers probably never even heard of. Film historian Tony Sloman does yeoman work on the commentary track with Rakoff, who is refreshingly candid about his criticisms of various aspects of the movie, including the title, which he disdains to this day. Rakoff tells some marvelous anecdotes that sometimes divert from the film at hand, but are nonetheless interesting. They involve frustrations that emerged when working with Bette Davis, who felt she didn't need any direction. He also recounts getting fired from films because of creative differences with the powers-that-be. He is nonetheless proud of Say Hello to Yesterday, though he admits to cringing at some of the man's over-the-top comedic antics. He rightly lavishes praise on Jean Simmons, pointing out that although "cougars" might be all the rage today, it was considered daring to present a love story in 1970 in which a young man is involved with an older woman. Rakoff says that Simmons was self-conscious because she felt she had "bad legs", thus she shows only a glimpse of them above her boots. He also bemoans the fact that Whiting should have had a very successful career in films, but it inexplicably petered out shortly after this movie was released. Rakoff also tells interesting stories about filming in London and points out a brief walk-by cameo done by Rod Steiger, much to Tony Sloman's amazement. Both men are rather astounded at how sparse the traffic and crowds were in the London of this era- a far cry from the teeming masses that populate the city today. The special edition also includes the original trailer.
Say Hello to Yesterday is in many ways a flawed film but it is nonetheless a highly engaging one. Recommended, especially if you are as enamored of retro British cinema as I am.
Donna Douglas, the former beauty queen who became an icon of 1960s TV, has passed away at age 82. Douglas started as a model in the 1950s and landed small roles in feature films before being cast as Elly May Clampett, the sexy but naive daughter of backwoods millionaire Jed Clampett on the smash hit TV series "The Beverly Hillbillies". The show was met with open disdain by CBS brass, who felt it was beneath the dignity of the network. However, viewers warmed to the Clampett clan immediately and the show became a smash hit that ran for nine seasons. It was still near the top of the ratings when it was canceled in a purge by network executives of its rural-themed hit shows in the early 1970s. Douglas' character was always relentlessly jovial and upbeat on the show and Elly May's penchant for bringing exotic animals onto the Clampett estate generated many laughs. Although she was type-cast, Douglas never complained. She went on to record gospel music, co-star with Elvis Presley and in her later years, attend autograph shows where she greeted her many fans. With her death, actor Max Baer Jr., who played Jethro, is the last living member of the cast of "The Beverly Hillbillies".-Lee Pfeiffer
Most "best of" or "worst of" lists are largely valueless because they only reflect the personal opinion of the writer. Nevertheless, they are fun to debate and we're as addicted to them as anyone else. One of the more annoying aspects of such lists, at least as it pertains to movies, is that many younger writers seem to have little frame of reference beyond the films that were released in their lifetimes. Thus, we end up seeing many dubious choices in their "ten best" lists, which might be stuffed with Will Smith or John Hughes movies. An exception is writer Christian Blauvelt who supplies his own list of his ten best movie sequels of all time for the BBC web site. The choices are well-thought out and he makes a cogent argument to include "Pursuit to Algiers", one of the largely unheralded Basil Rathbone/Nigel Bruce Sherlock Holmes flicks. Way to go, Christian! Click here to read.
Charles Bronson was 55 at the time of “St Ives” (1976).
He was just a couple years past his star-making turn in “Death Wish”, and was
enjoying a surprising run of success. I
say surprising because Bronson had, after all, been little more than a craggy
second banana for most of his career. Now, inexplicably, he had box office
clout as a leading man. In fact, Bronson
reigned unchallenged for a few years as the most popular male actor in
international markets. Yes, even bigger than Eastwood, Newman, Reynolds,
Redford, or any other 1970s star you can name. Many of Bronson’s movies were partly financed by foreign investors, for
even if his movies didn’t score stateside, they still drew buckets of money in
Prague or Madrid. Some have suggested that his popularity on foreign screens
was due to how little he said in his movies (there was never much dubbing
required in a Bronson flick). I tend to think international audiences simply
liked what Bronson was selling: straight forward toughness. Because he was much older than his peers, he
didn’t play up the counter cultural smugness or cynicism. No, Bronson was a shear, undiluted
bad-ass. And that sells anywhere.
So what, I wonder, did the global movie goer think of
“St. Ives”? It was a change of pace for
old Charlie, for he talks more here than in “Mr. Majestyk,” “The Stone Killer”
and “Hard Times” combined. He’s also not
blowing his enemies away, or beating them senseless in an alley fight. Even the veins in his neck seem relatively
docile in this movie. He plays Raymond St. Ives, a former L.A. newspaper
columnist who lives in a fleabag hotel. He sleeps late, gambles what little
money he makes on football, and is supposedly working on a novel. We never see him writing, but every time
someone greets him they say, “Hey, how’s the novel going?” That’s how we
know. (The adverts for the movie also
showed Bronson smoking a pipe, yet he doesn’t smoke a pipe in the movie. Since
he spends a lot of time at a deli, a more accurate poster would have shown him
eating a pastrami sandwich.)
When he’s not being a lovable slacker, St. Ives
occasionally “helps” people, ala Travis McGee. The connections he made during his years as an ambulance chaser now
assist him when he needs help tracking down a shady character. When he’s hired by a wealthy old windbag to
retrieve some stolen documents, he soon finds himself knee deep in dead bodies,
and crooked cops. John Houseman plays
Abner Procane, the aforementioned windbag. Procane sits in his mansion, weeping
over old King Vidor movies, while a mysterious coterie of people bustles around
him, including a personal psychiatrist who massages his back. He’s mum about the contents of the documents,
but he’s willing to pay a lot of dough to get them back. Since St. Ives is not
close to finishing his novel, he takes the gig. As the movie’s tagline read: “He's clean. He's mean. He's the
The screenplay by Barry Beckerman was based on a novel
by Ross Thomas, and it tries hard to ape the old Raymond Chandler style.
Unfortunately, it’s neither tough enough to be “hard-boiled,” nor dark enough
to be “noir.” It’s simply the sort of convoluted “who done it” that was rampant
as the mid-1970s went nutty with detectives. Not only was every TV network saturated with investigators of every ilk,
but the big screen was hit with dozens of features, including “The Long
Goodbye” (1973), “Chinatown” (1974) remakes of “Farewell My Lovely” (1975), and
“The Big Sleep” (1978), plus lighter versions of the genre such as “The Late
Show” (1977) and “The Big Fix” (1978). “St. Ives” fits into the list somewhere,
if only because it was probably made to catch the wave created by
“Chinatown.” It’s not nearly as good,
but it has many fine moments and is more watchable than you might think.
First of all, the film looks great. Cinematographer
Lucian Ballard, who worked with the likes of Stanley Kubrick and Sam Peckinpah,
finds the right tone for an LA where it’s always just past sundown, a low rent
LA of crowded diners, crappy motels, and garages where cars are outfitted with
armor plating. Also, J. Lee Thompson, a
versatile and underrated director (“Guns of Navarone” “Cape Fear”) moves the
story along at a brisk step. There’s a
great scene early on where Bronson is thrown down a freight elevator shaft and
has to scramble his way to safety before he’s crushed; it’s as intense as
anything Thompson directed in his long career.
The cast features a pleasing collection of journeymen
and fringe contenders, including the likes of Houseman, Maximillian Schell,
Elisha Cook Jr., Michael Lerner, Harris Yulan, Harry Guardino, Daniel J.
Travanti, and Dana Elcar. You’ll even see Jeff Goldbloom and Robert Englund as
hoodlums who learn that one shouldn’t mess with Charles Bronson, even when he’s
not in vigilante mode. Jacqueline Bisset
is here, too, for movies of this sort require a femme fatale. She doesn’t quite cut it – she’s too urbane -
but her wet t-shirt scene in “The Deep” was coming up soon and all would be
“St. Ives” loses steam during a second half mired in
car chases and dreary detective work. Lalo Shifrin’s scratchy guitar and bongo soundtrack fails, too, sounding
more appropriate for an episode of ‘Baretta’. There’s a decent shootout at the end, and a couple of twists that we
don’t see coming, but nothing in the film’s second half lives up to the promise
of the first, when Bronson was discovering bodies stuffed into dryers, and
Houseman was huffing and puffing like Sidney Greenstreet.
The movie flopped when it was originally released in
the late summer of 1976. Audiences and
critics alike couldn’t quite accept Bronson as a thinking, methodical
character. One newspaper headline
roared, “Is Bronson Going Soft?” Bronson
couldn’t win. His violent movies were criticized for playing to the rabble, but
when he tried to change, reviewers seemed indifferent, or in some cases,
downright disappointed. “Bronson,” wrote a Pittsfield MA critic, “should be
ashamed of himself.”
Bronson appeared in a few movies during this period
that seemed to be a conscious break from his usual fare. There was “Breakheart
Pass”, an interesting murder mystery set aboard a train in the 1800s, and a
comedy western called “From Noon Till Three.” But as usually happens when a well-known star tries something different,
these movies were a hard sell. LA critic
Charles Champlin called “St. Ives” “competent but uninspired,” and said that
Bronson, “continues to be a strong and attractive figure, even when he has as
little to do as stroll through this charade.”
Was Bronson disillusioned by the cold reception given
to “St. Ives”? If the movie had been a
success, would he have considered playing more characters like Ray St. Ives, a fellow described in The New York Times
as “….the kind of private-eye role that Humphrey Bogart used to do." I’d like to think that if this film had been
a success, Bronson might have continued to evolve as an actor, rather than
spending his later years grinding out the “Death Wish” sequels.
What I like best about “St. Ives” is that Bronson seems
to be having fun. And he’s not
half-bad. He was certainly not a
Neanderthal who couldn’t handle dialog. He speaks the one liners and wisecracks
with a surprising dryness, such as when some thugs rob him of 50 bucks and
complain that he doesn’t have more money on him. "It only took you five
minutes to get it," Bronson says. "That's $600 an hour..." Good
stuff. Bronson may not deliver it the way Richard Dreyfuss would have, but
Dreyfuss probably couldn’t climb out of an elevator shaft.
Still, there’s a
telling moment late in the movie when Bronson pulls a gun. His eyes turn black and the gun seems an
extension of his arm. While watching
this scene I was reminded of something I once read about Buffalo Bill Cody –
that his popularity was largely due to his looking better on horseback than any
other man. And Bronson, too, I could argue, simply looked better with a gun in
his hand than any other actor. And he
didn’t need the comically huge hardware of Eastwood’s Dirty Harry, either.
Bronson looked dangerous even with a small pistol. Perhaps it was inevitable that he would
resume making violent pictures and leave the more subtle characters
behind. But in “St. Ives”, he was compelling
without leaving the streets awash in blood. Bronson was better than anyone knew.
Ives” is available as part of the Warner Archives streaming service. Click here to access the site.
"St. Ives" and "Telefon" are available as a Bronson double feature DVD from Warner Home Video. Both titles contain original trailer and there is a vintage production featurette for "St. Ives". Click here to order from Amazon.
anyone with any knowledge of the history of film could tell you, Bruce Lee is
an icon of both the worlds of martial arts and action cinema. He was a dynamic
and exciting performer who seemed born to be on the big screen. His untimely
death -just as his career was poised to become bigger than any previous Asian
film actor- is only one element of his legendary status. Lee was an astonishing
onscreen presence whose athletic abilities and kinetic style made him the
center of attention whenever he was present. Until he was afforded the chance
to star in his own movies, his bit roles such as a violent thug in Marlowe (1969) showed how thrilling he was to watch. His role in the short-lived TV
series The Green Hornet cast him as the sidekick but it was Lee who provided
the most memorable element in every one of those twenty six episodes. Once
you've watched him onscreen his natural charisma is evident and it is no
surprise that pictures of him often adorn the same walls as other 'gone too
soon' icons as Marilyn Monroe and James Dean. Like those screen legends, Lee
died in his prime with much promise laid out for the future and- like them- his
loss will be felt by his fans forever.
Bruce Lee's short film legacy is mostly unseen these days by martial arts movie
fans. Other than his last completed film, Enter The Dragon (1973), his film
history seems to have disappeared from the minds of most action fans. It almost
as if Lee's contribution to martial arts cinema began and ended with that one
excellent movie. Luckily, the fine folks at Shout! Factory have produced a
fantastic, affordable Blu-Ray set that presents Lee's earlier films in nearly
perfect transfers- and they have even
included a few hours of extras to provide some context for modern viewers.
up is 1971's The Big Boss which in many ways is the standard template for an
entire sub-set of Chinese martial arts adventures. Lee plays Cheng, a young man
from the countryside who is traveling to a bigger village to get a job (a
common fate for males living in rural China). He intends to work hard and send
money back home to his mother, who has extracted from him a promise not to
utilize his considerable skills as a street fighter in the big city.. Cheng's
uncle gets him a job in the local ice making factory but in just a few days our
hero discovers that the business owner is using the industrial-sized blocks of
ice to transport heroin. Cheng confronts the boss's henchmen and things get
violent quickly- and become even worse when his his co-workers turn up murdered.
Soon Cheng's (almost) girlfriend is kidnapped for the depraved boss' lustful
attentions and it is time for wrongs to be righted in vengeful style.
Big Boss was a huge financial success worldwide and made Lee's stardom
concrete. In many ways it is typical of the type of action film being produced
at the time in Hong Kong. The story is set in contemporary times and used the
usual plotline of drug smuggling as the story's engine. There were at least a
few dozen similar movies made in the 1970s what sets this production apart is
the presence of Bruce Lee. His experience in American television and film is
evident in his careful and fairly nuanced performance. Indeed, his more natural
style often contrasts sharply with some of his co-stars as they mug their way
across the screen like thy were projecting to the cheap seats. Lee's amazing
physical skills are shown well here, too, even if I cringe at the silly
trampoline work used to enhance the fights. The stunts are impressive and the
action well choreographed with the only real complaint being that the film's
pace is often leisurely to the point of irritation. The film clocks in at
nearly two hours and could have been a good deal shorter.
up is 1972's Fist of Fury which is a period piece set in the early 1900's in
Shanghai with Lee playing Chen Zhen. In many ways this is very much a typical
martial arts film of the time with a plot seen often. Chen has returned to his
old school to marry his beloved but learns upon his arrival that his martial
arts master has died from what appears to have been natural causes. Chen is
incredibly upset and angry about this and doesn't believe his master's death
was natural. At the funeral students from a rival Japanese school insult Cheng even
going so far as too slap him repeatedly. Cheng refuses to disgrace his master's
funeral but he later goes to the rival school to challenge his harassers. In an
impressive display of ability, he defeats the entire Japanese school including
the master. This sets up an ongoing series of attacks and retaliations of
various kinds that culminates in much mayhem, death and vengeance leading to a
surprisingly downbeat ending. No one really wins in this terrible war.
a modern viewer it is interesting to see how strong a statement this film makes
about the horrors of racism. The war between these rival schools is based
mostly on ethnicity and is ginned up by wounded pride and the inability to let
old wounds heal. The emotions on display can feel over the top at times but
they seem to reflect the blind hatreds of these groups as rational thought is
ignored in the rush to inflict pain on rivals. Of course, this somewhat
depressing takeaway doesn't alter the fact that the action scenes are
incredible as a showcase for Lee, who demonstrates some amazing skills.. My
favorite fight scene in Fist of Fury has to be the excellent dojo battle wherein
Lee takes on an entire room of opponents and walks away unscathed. (The scene
is marred only by the distraction of flying dummies and bad wigs.)
The year 1972 saw Lee taking control of his
film career in a new way by writing and directing his next screen role. Way of
the Dragon was released in the United States as Return of the Dragon but no
matter what the title, it is a fascinating film. In Rome a Chinese restaurant
owner is having trouble with the local crime bosses. Help from home is
requested but when only one person appears in response to their plea, the
victims despair. Luckily for them this one person is Bruce Lee as Tang Lung.
Tang insists he is capable and even shows his open mindedness by stating that
any fighting style is good and can be incorporated into your own form. Soon the
mobsters are causing trouble, demanding payment and harassing the restaurant
owners in any way they can. After a missed opportunity because of a poorly
timed bathroom trip, Tang establishes his skills and warns the mafia bosses
that these people and their establishment are under his protection. Even though
a death threat on Tang is issued, he refuses to leave and ultimately is forced to take on his would-be
assassins. Seeing that the local killers are not up to the task, a Japanese and
an American martial arts experts are hired to finally take Tang out and it is
in these confrontations that the conflict will be resolved.
The year 2014 has proven to be one of the cruelest in terms of depriving us of notable people in the arts. The year's morbid streak has continued to the bitter end with the announcement of the death of noted character actor Edward Herrmann. The 71 year-old actor has passed away after a months-long battle with brain cancer. Herrmann, who was both an Emmy and Tony award winner, had worked steadily in films, TV and on stage since he first made his mark in the early 1970s. His feature film credits include "The Paper Chase", "Brass Target", "The Lost Boys", "The Great Gatsby", "The Purple Rose of Cairo", "Nixon" and "The Aviator". His TV credits include "Eleanor and Franklin", "The Practice" (for which he won an Emmy in a recurring role), "The Gilmore Girls", "The Good Wife", "How I Met Your Mother" and "M*A*S*H". For more on his life and career, click here.
rookie cop or soldier arrives at his first assignment and quickly finds they’re
in the middle of some serious trouble. This basic plot has been used more times
than any movie buff can count and crosses genres like westerns, war movies and cop
thrillers. “Pony Soldier” is an odd western in that the action takes place in
Canada and involves the Northwest Mounted Police.
1876 and Canadian Cree Indians cross the border into Montana to hunt buffalo,
but are mistaken for Sioux by the U.S. Cavalry and a battle ensues. Known as
long knives by the Cree because of their sabers, the Cavalry forces the Cree to
retreat. The leader of the Cree kidnaps two white settlers in order to trade
them for buffalo and safe passage to Canada.
Duncan MacDonald, played by the ever-youthful Tyrone Power, is briefed on the
problem and takes up the challenge to negotiate the freedom of the white
captives. He is joined by his half-native scout and side-kick Natayo Smith,
played by Thomas Gomez, in an effort to preserve the peace between the Cree,
the settlers, the Mounties and the U.S. Cavalry.
plays the diplomat cop very well and gains a reluctant friendship with the Cree
chief Standing Bear, played by Stuart Randall, while clashing with the Cree
soldier Konah (Cameron Mitchell), who seeks a confrontation with the U.S.
Cavalry across the border in Montana.
a mirage appears across the valley showing the ocean and a large ship,
MacDonald convinces the Cree of the futility of their efforts and they reluctantly
decide to consider his offer to free the white captives. It turns out one of
the captives is an outlaw, Jess Calhoun (Robert Horton), who is wanted
for murder by the Mounties. The woman captive is pretty Emerald Neeley (Penny Edwards), who has been chosen by Konah to be his bride.
Northwest Mounted Police seek to maintain the peace by returning their wards,
the Cree, back to their home in Canada. Power’s MacDonald is the perfect mix of
level-headed constable and diplomat. He even manages to befriend a Cree orphan
who wants to be his adopted son. While ever the diplomat, MacDonald is no pushover
and asserts himself with the Cree and in a final confrontation with the outlaw
Soldier” looks like a typical western of the era with a Cavalry battle, horse riding
stunts, shootouts and lush vistas while also presenting the native characters as
more than caricatures. Many, if not all, of the native supporting cast appear to
be Native Americans with Anthony Numkena, a Hopi Indian, a standout as
MacDonald’s adopted son, Comes Running.
movie is based on a Saturday Evening Post story by Garnett Weston and was
directed by Joseph M. Newman. Newman helmed the sci-fi classic “This Island
Earth,” the noir cult film “Dangerous Crossing,” Tarzan, the Ape Man” and
several episodes of “The Twilight Zone” and “The Alfred Hitchcock Hour.”
this movie isn’t shot in the gritty adult western style made popular by John
Ford, Anthony Mann, George Stevens, John Sturges and Fred Zinnemann in the
1950s; it still manages to be entertaining as a sort of transition between the
standard western formula of old Hollywood and the modern westerns being made by
to IMDb, this movie is the film debut of Earl Holliman and features an
uncredited performance by Richard Boone. It also features narration at the end
of the movie by an uncredited Michael Rennie. The movie ends with MacDonald
completing his assignment followed by a contemporary tribute of the Royale
Canadian Mounted Police with Rennie extolling the virtues of their continuing
mission as peacekeepers.
The movie looks terrific and was filmed in Technicolor on location in the Coconino
National Forrest near Sedona, Arizona, and in California’s Red Rock Canyon. The
20th Century Fox production was released in December 1952 on the eve of
CinemaScope and it’s a shame this movie was not able to make use of the wide
Twilight Time Blu-ray release, which looks and sounds wonderful, is limited to 3,000
copies and can by ordered via Screen Archives. The score by Alex North is
offered as an isolated track on the disc and is the only extra. The release
also includes the usual booklet of images spread throughout an informative and
entertaining essay by Julie Kirgo. Fans of Tyrone Power and “north” westerns
will want to give this movie a view and possibly add a copy to their
Rainer with William Powell in The Great Ziegfeld, for which she won her first Oscar.
Luis Rainer, who won Oscars for "The Great Ziegfeld" and "The Good Earth", has died in London. She was 104 years old. Rainer was a German immigrant who came of age during the Weimar Republic in the post-WWI period. She witnessed the rise of Hitler and the increase in Nazi barbarism before she immigrated to America in 1935 where, improbably, she became a major star virtually overnight. For details of her incredible life and career, click here to read NY Times obituary.
fans can now officially rejoice! The Criterion Collection has produced a
fabulous Blu-ray edition of Sydney Pollack’s outstanding laugh riot, Tootsie, although one could safely say
the picture not only belongs to Pollack, but to Dustin Hoffman, the movie’s
star. It was his baby all the way, from its conception to its final,
brilliantly written, acted, and directed finish. The American Film Institute
voted Tootsie to be the Number 2 best
comedy of all time (after Some Like it
Hot, coincidentally another film in which men dress up as women!); whether
or not you agree with that ranking, you have to admit it is a virtual lesson in how to make a good, funny
story is already well-known: struggling middle-aged actor Michael Dorsey
(Hoffman) decides to dress up as a woman to audition for a soap opera, and he
gets the part; thus he has to continue the charade in order to keep his job.
Complications ensue when he falls in love with Julie (Jessica Lange), another
actor on the soap. The story only gets more “nutty” (as uncredited but
hilarious co-star Bill Murray calls it) from there.
what the movie is really about—repeated by several of the picture’s creators in
the several excellent extras on the disc—is how a man learns to become a better
man by being a woman. This is not a “feminist” film. It’s indeed a movie about
the sexes, but its message is for men on
how theyneed to get their act
together before they can successfully relate to women in a positive way.
the many displays of genius that Hoffman has brought us over the years, Tootsie is easily in the top handful. His
performance, nominated for an Oscar, is the crux of the film’s success—if he
hadn’t been believable, if the cross-dressing hadn’t been convincing, if he
hadn’t gone for the absolute truth of
the role, the picture would have fallen flat. Luckily, Hoffman IS Tootsie.
that’s not to downplay the strength of all the other actors—Lange (who did win an Oscar for Supporting
Actress), Teri Garr, Bill Murray, Dabney Coleman, Charles Durning, and even
director Pollack, who is fabulous as
Hoffman’s agent—are all great; I can’t imagine the movie with anyone else in
their respective roles.
Tootsie had a long and
difficult gestation period. As we learn from the documentary extras, Hoffman
and playwright Murray Schisgal had been working on a story about a
cross-dressing man who was a tennis pro, but they couldn’t get it to work. Then
they came across Don McGuire’s play about an actor who cross-dresses to get a part, so the rights were
purchased, they changed the protagonist’s profession, and voila—they had the workings of Tootsie.
Hal Ashby was originally set to direct and had begun shooting tests of Hoffman
in makeup, but the studio ultimately didn’t want him. Enter Sydney Pollack, who
brought in Larry Gelbart to bring more humanity and drama to the script. Then
Hoffman brought in Elaine May to work on the female roles (why May isn’t
credited for the screenplay along with the other three writers is a mystery).
The script took forever to get right,
but once it was to everyone’s satisfaction, the production went ahead. The
conflicts between Hoffman and Pollack are legendary, but in the end it was
Hoffman who wanted Pollack to play Michael Dorsey’s agent because the
characters’ relationship in the story reflected the real-life rapport between
actor and director.
new 4K digital restoration looks gorgeous,
but that’s what we expect from the Rolls-Royce of Blu-ray labels. The audio
commentary is by the late Pollack. Included are new interviews with Hoffman (in
an especially touching and revealing piece) and comedy writer Phil Rosenthal
(who tells us exactly why Tootsie is
a great comedy); a vintage interview between “Dorothy Michaels” and critic Gene
Shalit that was deleted from the film; a vintage “making of” documentary and a
longer, more detailed “making of” doc from 2007; deleted scenes; and screen and
wardrobe test shoots shot by Hal Ashby. The booklet contains an impressive essay
by critic Michael Sragow.
Tootsie is one of those
pictures that stands the test of time and gets funnier with subsequent
viewings. Get it now on Blu-ray—it’s a must for anyone who likes to smile.
Here's a golden oldie: a vintage public service announcement from the 1970s with Robert Vaughn warning us about the dangers of improperly inflated tires. When the Man From U.N.C.L.E. tells you to inflate those tires, you'd better inflate those tires!
First Run Features has released director Lucia Puenzo's acclaimed 2013 film "The German Doctor" on DVD. The movie is the highest profile Argentinian release in years and was honored at numerous international film festivals. Puenzo, who also wrote the screenplay, based on the film on her novel, which- in turn- is said to have been inspired by the real-life experiences of a family who interacted with the infamous Nazi war criminal Dr. Josef Mengele. During WWII, Mengele was known as "The Angel of Death" at Auschwitz. Here, he utilized his considerable medical skills for evil purposes, selecting who would live and die among the wretched masses who arrived daily at the death camp. Those who were spared were consigned to a living hell of torture and slave labor. The few children who were not put immediately to death were used as human guinea pigs in Mengele's bizarre and cruel medical experiments. He was obsessed with genetics in his goal of helping Hitler fulfill his ambition of creating a "Master Race". Mengele played a key role in attempting to manipulate pregnancies to ensure that only Aryan children would be born in nations under Nazi control. His bizarre theories have long been discredited by the mainstream medical establishment, particularly his obsession with twins. Mengele studied pairs of twin children through inhumane methods, often operating on them without any pain-killers. The few prisoners who interacted with him and managed to survive the war report that, for all his barbaric practices, Mengele had a calm, almost soothing demeanor that would often lull his victims into thinking he was a benign presence in the camp. He would pat children on the head and offer them candy, only to dispose of them like rubbish hours later. In the aftermath of the war and the chaos that ensued in Europe, Mengele managed to escape (along with many other Nazis) to South America. In his case, he found refuge in Argentina, where the corrupt government sheltered him, presumably in return for his "expertise" about how to fine-tune torture tactics.
It is against this backdrop- what we inherently know about Mengele- that Puenzo's story begins. It is 1960 and we see Mengele (Alex Brendemuhl), using the assumed name of Helmut Gregor, lost on a remote country road. He has a chance encounter with a young couple, Eva (Natalia Oreiro) and Enzo (Diego Peretti), who are traveling with their three children. Mengele befriends the family, who consent to having him follow them in his car along the desolate roadways. Along the way, Mengele charms each member of the family and he explains that he is a doctor en route to an institute where he will be working. Coincidentally, the institute is very close to the family's destination, which is a resort hotel that they have inherited. The couple intends to reopen the hotel and hope to make a financial success of it. Enzo, it appears, has not been successful in financially providing for his family. He fancies himself an inventor and his real passion is creating a unique doll that can marketed to little girls. He finds a sympathetic ear from Mengele, who reinforces his bond with the family by becoming their first tenant at the hotel. Eva is immediately smitten by the charming German doctor but he seems more interested in the couple's oldest daughter, Lilith (Florencia Bado). Although twelve years-old, she is very short and slight of build, giving the impression she is much younger. This results in terrible bullying at the local school, where there are children of German ex-pats who are particularly cliquish and cruel to Lilith. Both Eva and Lilith are charmed by Mengele, who professes to help them by offering to inject Lilith with hormone injections that will spur her growth. Enzo is adamantly against the idea, but Eva secretly gives the doctor permission to proceed. Before long, Lilith is experiencing strange medical complications. Simultaneously, Mengele discovers that Eva is pregnant with twins. This smorgasbord of potential medical experiments excites him and before long, he has convinced Eva to also undergo some of his quack medical treatments. He has also ingratiated himself with Enzo by finding a financial backer who will mass produce Enzo's dolls. (A sequence set in a doll factory is brilliantly staged and genuinely eerie, with row after row of hollow-eyed dolls evoking memories of a death camp.) However, when Enzo sees his wife and daughter suffering from mysterious illnesses, he begins to suspect that his new friend is really a villain. He is not alone. A local photographer (Elena Roger) is, in fact, an Israeli intelligence agent who also begins to believe that the seemingly benign and charming man of medicine may actually be one of the most wanted men in the world.
"The German Doctor" plays out at a slow, deliberate pace that is refreshing in a film industry defined by fast-editing and mindless action sequences. The script allows each character to be fully developed and the relationships between the key players becomes fascinating, as Mengele uses psychological methods to manipulate his next victims. The performances are uniformly extraordinary, with Brandemuhl particularly impressive. Although portraying one of the most notorious criminals in history, he deftly manages to make him charming and likable, both necessary ingredients if we are to understand why the family he has befriended can be so easily manipulated by him. The film is engrossing throughout and, even though we know through history how Mengele finally met his fate, it doesn't deprive director Puenzo from milking a considerable amount of suspense from the scenario.
The First Run Pictures DVD offers an excellent transfer but is frustratingly devoid of any bonus materials. It would be a worthwhile ambition for the label to eventually put out a special edition of this excellent film with a commentary track that helps viewers understand the historical context of what they are seeing.
In commemoration of the 50th anniversary of The Man From U.N.C.L.E. and in anticipation of the forthcoming big screen version of the classic television series, Cinema Retro will be offering periodic reviews of individual episodes of the show, which aired between September 1964 and January 1968. The episodes will be chosen at random and not presented in any specific order, thus offering analysis of telecasts from the four seasons. Reviews will be written by U.N.C.L.E. scholars and long-time devotees of the series.
By Lee Pfeiffer
"The Virtue Affair"
Air date: December 3, 1965
Director: Jud Taylor
Writer: Henry Slaser
Although most U.N.C.L.E fans tend to favor the series' premiere season (when it was telecast in B&W), I've always been partial to the second season, which began in September 1965. That's when I first experienced the show, through a ringing endorsement of my older brother, who said, "It's like a TV version of James Bond." For a nine year old boy who was enjoying the 007-inspired spy craze of the mid-1960s, that was all I had to hear. I quickly became hooked on the show and my enthusiasm for it has never diminished, although I hereby admit that my expertise relating to the series is not nearly on par with some of the writers who will be contributing reviews to future columns.
"The Virtue Affair" is a strong episode from the second season; one that fully illustrates the show's penchant for mixing thrills and humor. This time around, Napoleon Solo (Robert Vaughn) and Illya Kuryakin (David McCallum) are dispatched to France by U.N.C.L.E. chief Alexander Waverly (Leo G. Carroll) to thwart some goings-on involving the development of a secret missile system. The episode begins with Solo and Illya spotting a missile launch device being smuggled through the countryside by some mystery men. They follow the van in hopes of locating the ultimate destination for the device but they are, in essence, carjacked by a desperate old man who forces them at gunpoint to rescue him from some pursuers on motorbikes. The man turns out to be Raoul Dubois (Marcel Hillaire), one of the world's most acknowledged experts in missile guidance technology. He has Solo and Illya take him to the home of his daughter Albert (named after Einstein), who- in true U.N.C.L.E. style- turns out to be a stunning beauty played by Marla Powers. Turns out that Albert is also a recognized expert in her father's field of engineering. Raoul tells the agents that he had been duped into joining a missile technology program thinking it was being run by the French government. He found out too late that it was a private venture with nefarious purposes and that he and other engineers were being held captive and forced to develop the system that will allow a deadly missile to be launched. Before he can identify the mastermind behind the plan, two motorcycles crash through the living room door and their riders succeed in assassinating Raoul in front of the hapless Solo and Illya. (A refreshing aspect of the series is the occasionally inability of its protagonists to avoid making costly mistakes.) Waverly informs the men that the likely evil genius they are seeking is a man named Jacques Robespierre (Ronald Long), a rich eccentric who claims lineage to the legendary madman of the French Revolution. Waverly explains that Robespierre is a walking paradox: a committed pacifist who is eager to bring back an era of social graces even if he has to engage in genocide to do so. He once ran for the presidency of France on a platform of outlawing the sale of wine. Not surprisingly, Waverly says, he only garnered 84 votes in a nation that is fanatical in its love of the grape. Waverly suspects that Robespierre intends to achieve through violence what he could not achieve at the ballot box: a takeover of the French government and the establishment of an arch conservative regime that will use violence to enforce Robespierre's peculiar code of morality.
Solo and Albert arrange to get invitations to Robespierre's mansion but he sees through them immediately and they are imprisoned. Albert is given a choice: reveal the code that will enable the launch of a missile that will destroy the vineyard regions of France or witness Solo's execution. She relents and Robespierre keeps his word to spare their lives, although Solo ends up in a jail cell. Meanwhile, Illya gains access to the Robespierre estate grounds by posing as a hunter with a proficient use of a bow and arrow. (Actually an electronically enhanced bow and arrow system that ensures he gets a bullseye every time.) He has a chance encounter with a real expert bow and arrow hunter, Karl Vogler (Frank Marth, who played many secondary roles on the "classic 39" episodes of "The Honeymooners"). A highlight of the episode is the sporting competition between Vogler and Illya in which both men try to top each other in terms of marksmanship, though Illya is clearly cheating with his U.N.C.L.E.-enhanced arrow device. Vogler also recognizes Illya as an enemy agent (the villains in this episode are unusually efficient) and before long he becomes the stalked prey in a version of "The Most Dangerous Game", as Vogler and his fellow hunters track him through the woods. Illya, who is handcuffed behind his back, has only his wits and natural instincts to avoid what appears to be certain death. Once freed from his pursuers, Illya ends up at Robespierre's castle and gets possession of the guidance system just moments before it is to be utilized to launch the missile. In the most amusing sequence in the episode, he is mistaken for a famed engineer and is forced to give a lecture to real engineers about the workings of the system. It's genuinely amusing to see David McCallum get a rare chance to show off his comedic abilities, as he uses double talk to get the engineers to answer their own questions. Nevertheless, he is inevitably exposed as a fraud and is sentenced to Robespierre's idea of traditional justice: death by guillotine.
"The Virtue Affair" boasts some of the wittiest repartee between Solo and Illya, with both men making jokes at the other's expense, all thanks to the fine script by Henry Slesar. Ronald Long makes for one of the more memorable villains, an amusing Burl Ives-type who defends chivalry with a passion but thinks nothing of overseeing the senseless slaughter of thousands of innocent people. The episode is very ably directed by Jud Taylor, who sadly would not contribute to any more of the shows over the length of its run, and Robert Drasnin's score is particular effective. Unlike "I Spy", which filmed around the world, all of U.N.C.L.E.'s exotic locations consisted of stock footage- but that only adds to a retro TV lover's affection for the series.
EPISODE RATING: ***1/2 (out of four).
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We're not the only ones who act like Scrooge when it comes to evaluating the present state of movie poster designs. There was a time when even "B" movies boasted epic posters. Today, we have bloated $250 million productions that are marketed with cheapo poster designs that look like they were knocked out by some folks in a marketing agency in the course of 15 minutes. The Huffington Post seems to agree, as evidenced by their comparison of how Christmas-themed movies have been marketed in recent years. There seems to be only a couple of basic designs that are copied and recopied by unimaginative poster designers.
If you want to see truly imaginative poster designs, just scan fan pages on the web. The mock up "unofficial" posters you'll find there generally blow away the junk being released by major studios. Maybe it's appropriate, as most of these films are unwatchable. There may be a few gems here and there but many of them feel they have to include scatological jokes and gags and fill the screen with screaming, dysfunctional families.
As for the present state of holiday movie designs, we can sum up our feelings in one word: "Humbug!"
Billie Whitelaw, the acclaimed British actress who won praise for her roles on stage as well as on screen, has died in a nursing home at age 82. Whitelaw began appearing in British films in the 1960s and gradually became one of the nation's most reliable and respected actresses. Her film titles include "Carve Her Name With Pride", "Charlie Bubbles", "The Krays", "Gumshoe", Hitchcock's "Frenzy", "Start the Revolution Without Me", "The Dark Crystal" and her final big screen venture, the 2007 hit cult comedy "Hot Fuzz". She is best known to American audiences as Mrs. Baylock, the creepy housemaid from the 1976 version of "The Omen" who has a knock-down brawl to the death with Gregory Peck. Whitelaw, who was also a popular presence through frequent appearances in television series, attributed her rise to stardom to her close association with avant garde playwright Samuel Beckett, with whom she collaborated on numerous acclaimed stage productions. For more click here
After facing blistering criticism from arts groups, ,actors, writers, producers, directors and even the president of the United States, Sony has announced that it will release "The Interview" to select independent theaters on Christmas Day. Sony has maintained it has been trying to find venues for the film all along, but as Cinema Retro pointed out previously, they apparently weren't looking very hard. While it is true that major theater chains are still refusing to show the film due threats of violence from the hackers, who are believed to be working for the North Korean government, independent theater owners would eagerly play the film- if for no other reason that to make a statement against self-imposed censorship. Now an unspecified number of such theaters will be showing "The Interview" on Christmas Day, the original date the movie was intended to premiere across North America. Sony appears to have been chastised by criticism but more recently, bolstered by support, not only from the arts community but also the Obama administration. Look for a deal to make the film available via streaming to be announced in the near future, as that seems like the inevitable next step. Click here for more.
The Warner Archive has released the 1962 political thriller "Guns of Darkness" starring David Niven and Leslie Caron. It's a modestly-budgeted affair, filmed in black and white. The film is set in a fictional South American "banana republic" where local dignitaries are being hosted at a cocktail party at the presidential palace. Among the guests are Tom and Claire Jordan (Niven and Caron), a married couple. Tom is employed as the manager of a major sugar plantation owned and run by Hugo Bryant (James Robertson Justice). The drunken Tom enjoys taunting Bryant and publicly embarrassing him with snide criticisms about his sniveling attempts to appease whoever is in power politically so that his plantation can continue to operate without any impediments. Returning home after the party, it becomes clear that the Jordan's marriage is on the rocks. Claire protests Tom's reckless ways and says his drinking and insolent behavior towards others has resulted in his inability to keep a job very long. Another source of stress on the couple is Claire's inability to conceive the child they both so desperately want. When a military coup deposes the democratic, reform-minded President Rivera (David Opatashu), the Jordan's barely register any interest. As long as Bryant keeps paying off local officials, the plantation doesn't seem to be in jeopardy. However, Rivera, who has been severely wounded in making his escape, is the subject of a nation wide manhunt- and he ends up seeking refuge in Tom Jordan's car. Although apolitical by nature, Jordan feels compelled by humanitarian reasons to assist Rivera. He initially hides him at the Jordan's hacienda but when the manhunt gets too close, Jordan makes the bold decision to attempt to smuggle Rivera over the border. This requires he and Claire to drive over arduous and very dangerous jungle roads. Along the way they confront death at every turn, from natural obstacles to roving bands of police and bounty hunters all intent on murdering Rivera. The new regime has a complex plot to denounce the former President...and the last thing they need is for him to make it to freedom and give the real story to the international press.
"Guns of Darkness" is ably directed by Anthony Asquith and the script, based on the novel "An Act of Mercy", is literate and intelligent. The film is consistently engrossing largely because Niven excels at playing an every day man who is unexpectedly thrust into death-defying situations. He's scared and often inept but finds his inner courage. In doing so, he gradually earns the respect of Claire. In the film's most chilling sequence, their car becomes trapped in a quicksand bog. Asquith's direction here is terrific, as the extended sequence milks every ounce of suspense imaginable from this scenario. The chemistry between Niven and Caron is excellent but it's Niven's show. He's in top form throughout. David Opatashu is also fine as the victimized president who Tom begins to think may not be the noble crusader that he has risked his life to save.The film represents the kind of movie they don't make any more. It wasn't designed to be a blockbuster, just good, compelling entertainment. In that regard, it succeeds on all levels.
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After Warner Home Entertainment released all 120 episodes of the classic "Batman" TV series, fans began complaining that a couple of episodes were incomplete. Warner Home Entertainment acknowledges that less than five minutes of footage is missing from a set that presents over 50 hours of episodes and bonus materials. The company has promised to replace the affected discs in January, as well as provide additional bonus materials. For the full story and a link to the form for obtaining replacement discs, click here.
It remains one of the most iconic of all Hollywood photos: Jayne Mansfield upstaging Sophia Loren at a dinner party held in Loren's honor 57 years ago. For decades Loren has refused to comment on the photo, but in an interview with Entertainment Weekly, she finally speaks briefly about the incident, saying that she was afraid that Mansfield's breasts could become unleashed at any moment. Click here to read.
She was the most famous pin-up model of the 20th century. She had an air of sweetness and innocence about her, even as she posed for kinky photos, often with more than a hint of S&M about them. The Huffington Post reports that the late, great Bettie Page is alive and well-- in spirit, anyway- as evidenced by a revival of interest in the pin-up culture she helped kick into high gear in the 1950s and 1960s.
She is the subject of films and stage productions, as the "Bad Girl" image of the 1940s comes roaring back into the 2000s- and much of it is inspired by charitable efforts to aid veterans. Seems only fair. After all, it was WWII G.Is and swabbies who immortalized their favorite female stars through tacking up sexy photos of them on their walls and lockers. Click here to read.
Virna Lisi, one of the most prominent European actresses to find success in Hollywood during the 1960s, has died at age 78. The exact cause of her death has not been revealed but the NY Times states that she was recently told she had an incurable disease. Lisi's stunning looks helped her find success in her native Italy before she followed the path taken by Ursula Andress, Sophia Loren, Anita Ekberg and other European beauties and moved to Hollywood. Here she made a sensational big screen impression opposite Jack Lemmon in the hit 1965 comedy "How to Murder Your Wife". Lisi never made any cinematic classics but during her years in the film industry she starred opposite such prominent leading men as Frank Sinatra, Tony Curtis, Richard Burton, George C. Scott, Marcello Mastroianni, Robert Vaughn and David Niven. She was recently widowed and said that she had gone into self-imposed retirement because her husband had always objected to her career as a cinematic sex siren. For more click here.
The web site Geek Tyrant presents evidence to bolster their opinion that, in the world of Batman actors, Adam West is still the guy who kicks ass most. Writer Mick Joest displays five key things that West's Batman could do that no other actor ever attempted in their interpretation of the Caped Crusader...Click here to read and view clips.
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Sony Entertainment CEO Michael Lynton, in an interview with CNN journalist Fareed Zakaria, said that "the president, the press and the public are mistaken" in their belief that Sony had bowed to the demands of cyber hackers by pulling "The Interview" from distribution before the film even premiered. Lynton said "We have not given in. And we have not backed down" in its efforts to find a way to get the film released. However, Lynton placed the blame squarely on theater exhibitors, saying the company could not find a major chain that would agree to show the film. He said that thus far, efforts to find partners who would stream the film or offer it as an on demand title have also not yielded any success. He vowed the company is actively looking for ways to get the movie shown. Some pundits and critics were skeptical of Lynton's statements and suggested that the company should find a way to offer it for free to the public, especially since the company has conceded it has accepted it will take a complete loss on the film, estimated to be in the range of $80 million- $100 million. On MSNBC, guest host Ari Melber suggested an intriguing idea on the "All In" news program. Melber said that, as this obviously will not be the last time cyber hackers will try to use threats of violence to censor films, the U.S. government should consider opening a bureau specifically designed to ensure that any such project is made available to the public. Meanwhile, Michael Lynton's comments will doubtlessly be put to the test as, inevitably, a distribution source will be found for the film. For example, it is highly likely that at least some independent movie theaters would be willing to show the film simply on the basis of freedom of expression. So far, Paramount's decision to refuse to rent prints of the 2004 comedy "Team America" have generated little publicity. The studio withdrew the film from theatrical distribution when some theaters announced they would show it as a protest to North Korea, since the plot centers on a take down of the previous dictator of that country. So far, no word on whether theaters are moving to a Plan C, as some have suggested on line: that is, to screen the 2002 James Bond flick "Die Another Day", which also presents the North Koreans as villains. To view Lynton's interview, click here.
In a wide-ranging year-end press conference, an upbeat President Obama discussed a range of issues from the recent changes to the foreign policy with Cuba to the Keystone Pipeline. However, the entertainment industry will be most interested in his opinion that Sony "made a mistake" by canceling plans to show the Seth Rogen/James Franco comedy "The Interview". Unless you've been living in a cave for the last few weeks, you are aware that Sony suffered a humiliating hack of its private E mails and corporate data. In a rare instance of a sitting President immersing himself in a discussion of a specific motion picture, President Obama confirmed what everyone suspected: that the hack was orchestrated by the North Korean government in retaliation for the satirical plot line of the film that involves the assassination of dictator Kim Jong Un. The President said that the decision to pull the film prior to its release amounted to giving in to the hackers and sets a slippery slope for future demands that might be made. The President presented a scenario in which studios might be threatened about the content of future films and news broadcasts. He said he feared a scenario in which people in the creative community would self-censor future projects rather than incur potential threats. The President expressed sympathy with Sony executives, who he acknowledged suffered severe damage due to the hacking. He also said he understood the studio's concerns regarding threats of violence should the film be released. However, the President also said he "wished they had spoken to me" prior to making the decision to meet the hacker's demands, but acknowledged that, as a private corporation, Sony acted in what they thought was their best interest.
The President's candid remarks surprised some in the media who expected him to give a more nuanced response in regard to the Sony situation. However, Obama was feisty, humorous and- in the words of a CNN analyst- in a "bouyant" mood, trading wise-cracks with members of the press. Obama stated his opinion that it shows the vulnerability of the North Korean government that they can be intimidated by a Seth Rogen movie, causing loud laughter from the press corps. Obama sheepishly added that he "loved" Rogen and co-star James Franco but said that no government should feel threatened by a satirical comedy.
On a more serious note, the President vowed that the USA would respond "proportionally" to the North Korean hack but would not specify what actions that might entail.
The President's position on the Sony issue seems to mirror that of widespread reaction in the filmmaking community.Actor/director George Clooney tried to get major studios to sign a letter stating that they would not bow to future demands to censor their product. No one studio executive would sign the letter.
Meanwhile, CNN is reporting that Sony received a letter purportedly from the hackers who praised the decision by Sony to pull the film, saying it was a "wise" decision. However, the letter also made additional demands from the studio, primarily that Sony also withdraw any trailers relating to "The Interview" or risk the release of even more damaging data.
The British Film Institute recently sponsored a major science fiction festival entitled
Sci-Fi: Days of Fear and Wonder. Alongside the many film screenings and DVD
releases they have also published several new volumes in their Film Classics
series. These are smaller volumes, around 100 pages in length, with each
focused on one specific film. Included are books on The War of the Worlds
(the 1953 version), Solaris (concentrating mainly on the 1972 Russian
classic, but also touching on Steven Soderbergh's 2002 adaptation), Silent
Running, Alien, Dr. Strangelove, Quatermass and the Pit
Quatermass and the Pit (1967) is seen as the high watermark of Hammer's science fiction
output. A belated follow-up to their two 1950s Quatermass films, themselves
based on a hugely successful BBC TV series penned by Nigel Kneale, the film
works better as a standalone story than as a direct sequel. Unlike those stark
monochrome films, which were shot mostly on location, Quatermass and the Pit
is colourful, studio-bound and uses a completely different cast. Brian Donlevy
had previously played the eponymous Professor Quatermass as a gruff,
no-nonsense American who had stepped straight from the pages of a Raymond
Chandler novel, the total opposite of Andrew Keir's bearded Scotsman. In this
film what appears to be an unexploded WWII bomb is uncovered during tube-tunnel
digging under London. Quatermass soon realises that this "bomb" is
actually a Martian spacecraft, crashed to Earth millions of years ago. These
aliens had come here to interfere with human evolution, meaning, as Barbara
Shelley's character puts it, "We are the Martians now."
Kim Newman is one of Britain's finest genre commentators, and his
writing here is illuminating as he discusses all incarnations of Quatermass,
from the first BBC series in 1953 through to the John Mills-starring The
Quatermass Conclusion in 1979. Even the ill-conceived 2005 remake gets a
mention. He goes into great depth on Pit itself, discussing the production and
the themes of the movie. The book is crammed with footnotes, each of which is
worth reading as they often contain more tidbits of information or humorous
asides. Newman may be a genre fan but he is not above sarcasm where it is
This book demonstrates that although Hammer films must have more
books written about them than any other British studio's output, there is still
room for indepth analysis and commentary on individual significant titles. This
BFI Classics entry is a shrewd and penetrating introduction to Quatermass for
the uninitiated, and a must-have for those who think they already know
everything there is to know about Quatermass and his infernal pit.
You can order from the BFI Classics sci-fi range here:
was completely gob-smacked by this one, folks. From the title and description of this 1980 release, I
was expecting a smarmy slasher film that used the holiday season for a cheap
backdrop and even cheaper jokes. What I got instead was a very well-made
character study reminiscent of Polanski's Repulsion. Although not as good
as that classic, it stands proudly beside it as a fascinating picture of a slow
descent into madness and murder. If anything, Harry Standling is a more
sympathetic main character as we are shown in a brief prologue the genesis of
both his fixation on Christmas and the reason for his awkwardness with people.
At an impressionable age the young Harry crept downstairs on Christmas Eve to
see Santa sexually gratifying his mother. That this Santa was actually his father
didn't register and the traumatized boy never really got over the sight of
Jolly Old Saint Nick pleasuring Mom. But let me tell you the story.....
Standling (Brandon Maggart) is an introverted middle-aged man whose hobby is
all things Christmas. Perfectly in sync with his obsessive regard for the
season, he has worked in a toy factory for most of his adult life. Harry's
years of experience have finally landed him a management job in the company and
he seems to have thought that his new position would allow him to make better
toys for kids. With the Christmas season approaching, he finds the hostile
anti-holiday attitudes of his co-workers and the disappointment of no longer
working directly with the toys getting to him. But what starts off looking like
a bout of holiday depression begins to turn nasty.
sad and disappointed by the adults around him, he begins to focus on the joys
Christmas brings to kids. For years Harry has kept detailed written accounts of
the actions of the children that live in his neighborhood and bound books
listing "bad" and "good" kids line his shelves. As he
starts spending more time going through them, adding black & white marks,
he becomes more unstable.
his home workshop he fashions a Santa costume, paints an elaborate mural of
Santa's sleigh on the sides of his van and begins to make plans. Learning from
a snide PR man of his company's halfhearted stab at charity by donating toys to
the local children's hospital, Harry is livid. Dressing as Santa he sneaks into
the factory at night, stealing a van load of toys, and on Christmas Eve
delivers them to the surprised and happy hospital staff. Elated by this near
perfect moment of holiday cheer he tracks the company PR man to a church where
he's attending a Christmas service. After waiting outside, a silent Santa,
Harry is taunted by some of the churchgoers and stabs two of them to death with
a toy solider! Driving away he next goes to the house of a co-worker who has
insulted and belittled him repeatedly. After a failed attempt to go down the
chimney he finds an open basement window, creeps in and kills the man right in
front of his wife. Disturbingly, the dead man's awakened kids wave happily to
the departing Santa just as their mother's screams ring out.
Christmas Day the cops are running around hunting a killer Santa, even going so
far as to put a bunch of them in a line up for witnesses from the church. But
an APB on St. Nick on December the 25th isn't exactly the best move and does
not net them their guy. Harry has spent the night in his van outside the toy
factory and awakens to the realization of his plight. Afraid to go home he
breaks into the place and, as if in a fantasy about really being Santa Claus,
turns on all the toy making equipment. As news reports stoke the fears of the
public Harry's younger brother Philip (Jeffery DeMunn) begins to think his
brother is involved. He becomes convinced that his unbalanced sibling is the
killer after a rambling phone call from him that afternoon. When night falls on
Christmas, Harry ventures out again but ends up being chased through the
streets by an actual torch-bearing mob until he escapes to his brother's home.
An enraged Philip demands answers, resulting in a family fight that brings the
tragic tale to a close.
a film with many things to praise the first should be the performance of
Brandon Maggart. He does a truly brilliant job of getting inside Harry's head,
showing us the broken way his mind functions. The moment I knew he was simply
not going to make a wrong step was in a sequence midway through his Christmas
Eve rounds. He has stopped outside a community house and is watching a
neighborhood party through a window. Spotted in his Santa outfit, he's pulled
inside and asked to join in the celebration with children and adults alike.
It's a beautiful scene that shows what his life could have been like as he
happily dances with everyone and enjoys a few drinks. Maggart is note perfect
here — he even elicits a chill as he says goodbye to the kids with a stern warning
about being good.
thing to single out is the exceptionally fine cinematography of the film. For a
movie made on such a small budget Christmas Evil looks incredible.
From one of the three (!) commentary tracks included in this release I learned
that director Lewis Jackson spent a lot his budget to get Ricardo Aronovich as
his Director of Photography; his skill certainly makes the film a joy to look
at. There are more than a dozen shots here that rival the best Christmas images
I've seen captured in the movies, with some of them being heartbreakingly well
composed. Jackson points out in brief liner notes that his prime visual
inspiration was the Christmas paintings of Thomas Nast and it really shows.
That a film of this type can be so beautiful puts to shame the sad Christmas
movies pumped out every year by Hollywood.
much as I liked the movie I have to admit it's not perfect. The last third of
the film isn't as sure footed as the beginning It's as if the focus has been
lost as Harry parades around the toy factory and it comes dangerously close to
derailing as he’s being pursued by the mob of angry parents. But by the time
the brothers have fought and credits roll over the haunting final image I found
it easy to forgive these small hiccups. Of course, a movie about a murderous
Santa Claus isn't going to be an easy sell for 90% of the public but I think
plenty of folks would love this were it given a chance.
or rather, infamously, the BBC took a rather cavalier approach to the
preservation of its television output in the 1950s and 1960s. Due to the cost
of videotape, once pre-recorded programmes had been broadcast,the tape was
wiped and used again. For programmes to be kept for repeat use or to be sold to
other territories around the world, the episode would be transferred to film,
and it this process we have to thank that any television from this period has
survived at all.
Out of the Unknown was an attempt to
present serious, adult science fiction on television, adapting well-known and
important authors like John Wyndham, Ray Bradbury, Isaac Asimov, J.G. Ballard and
E.M. Forster. The single play was a tradition by this point, with popular
series such as Armchair Theatre (1956-74) demonstrating the legacy of
television's theatrical origins in live drama. Although largely neglected as a
format today in favour of long-running series, both the BBC and independent
television in the 1950s through to the 1970s ran hundreds of single dramas. Out
of the Unknown presented a different adaptation every week. Commissioned by
Sidney Newman, the man responsible for both Armchair Theatre and Doctor
Who (1963-89; 2005-), the series took the BBCs remit to educate and inform
very seriously. Producer Irene Shubik, quoted in the booklet accompanying this
science fiction is a way of saying something you can't say in straightforward
terms... I tried to get [stories] that had some sort of message."
any anthology, some of the episodes here work brilliantly, others less so, but
they are always interesting and prove the potential that science fiction has to
provide a commentary on the human condition; our fears, concerns and hopes.
From speculations on the potential of robotics to disastrous space missions and
mind-altering technology, Out of the Unknown provided ample food for
thought for its audience on a regular basis and is still fascinating.
series began in 1965 in black and white on the BBC, and ran for four series,
finally ending in colour in 1971. Twenty-eight episodes are completely missing
from the archive. This new box set contains the remaining twenty-four complete
episodes and five incomplete or reconstructed episodes, using a mix of clips,
still images and sound. Fans and amateur archivists have played a major role in
assisting the BFI to gather every remaining element so that this set represents
the entire sum of what has survived. Along with this Herculean effort a wealth
of extra features have been created including audio commentaries with
historians, experts and cast members, filmed interviews and a forty-minute
documentary. The accompanying booklet features in-depth essays and a complete
episode guide with cast and crew listings.
Out of the Unknown is a compelling
glimpse into the television production of the past, when commissioning editors
like Sidney Newman were prepared to take risks and assume a higher level of
intelligence in the audience than one feels is assumed by TV executives today.
of the Unknown is released on 24 November 2014 and can be pre-ordered by clicking here.
Irvin’s 1980 movie version of Frederick Forsyth’s “The Dogs of War” approaches
its subject with much the same blunt detachment and minute attention to detail
that characterized Forsyth’s bestselling 1974 novel.It’s generally low-key tone and characters
seem a far cry from today’s over-the-top action films in which mercenaries and
paramilitary agents are usually depicted as aging musclemen (“The
Expendables”), manic cokeheads (“Sabotage”), and comic-book caricatures (“G.I.
soldier Jamie Shannon (Christopher Walken) returns home after a failed mission
in Central America. He doesn’t have much
of a life off the job. Divorced, he
lives in a dumpy apartment in Washington Heights, keeping one gun in the
refrigerator and another in a desk drawer. His only friend is a kid whom he pays to carry his groceries home; he
doesn’t even know the kid’s name. When a
mysterious businessman pays Shannon to scout out the military defenses of the
insane dictator General Kimba in the impoverished African nation of Zangaro,
Shannon takes the assignment and flies to Zangaro, posing as a nature
photographer. His cover blown, he is
arrested, imprisoned, beaten, and eventually thrown out of the country. Back in New York, Shannon’s reconnaissance
having identified holes in Kimba’s defenses, the businessman resurfaces and
offers Shannon the job of leading a mercenary coup against Kimba. Shannon recruits three friends from his old
team, Drew (Tom Berenger), Derek (Paul Freeman), and Michel (Jean Francois
Stevenin), puts together a deal for arms and equipment, and heads back to
Zangaro to meet up with and lead a rebel army assembled by Kimba’s corrupt
rival, Col. Bobi.
of Forsyth’s novel described, step by step, the ways and means of financing,
organizing, and executing a military coup. It’s gripping stuff on the printed page, but not very cinematic. The film covers the same ground in about a
half hour of running time. Filling out
the story for the screen, the script gives Shannon (in the novel, he’s an
Irish-born Englishman named “Cat” Shannon) more of a backstory and adds a
couple of new female characters. In the
novel, Shannon’s recon in Zangaro is uneventful. By putting him through the wringer, the movie
punches up the action and gives Shannon a personal reason for agreeing to
depose Kimba. Arguably, it also provides
a stronger rationale for Shannon’s decision, in both the novel and the movie,
to derail his employer’s plan to install the crooked Col. Bobi and instead put
Bobi’s honest rival, Dr. Okoye (Winston Ntshona), in the Presidential
Twilight Time Blu-ray features a handsome transfer of the U.S. theatrical
feature as well as the international version, which runs 15 minutes longer but
doesn’t add anything of vital substance. There is a handsome souvenir booklet by Julie Kirgo, and the art on the
keep case reproduces the U.S. poster art featuring Walken and his unbilled
co-star, the impressive XM-18E1R grenade launcher used by Shannon in the
climactic attack on Kimba’s compound. The Twilight Time Blu-ray, which is limited to 3,000 copies, is
Although the term
“Eurocrime” can be applied to films from any European country, it’s most
closely associated with 1970s Italian crime films, aka poliziotteschi, poliziottesco
or poliziesco. The last term is (in
Italian) the grammatically correct moniker for a politically incorrect genre
that was hugely popular in its day, thanks to a sensory overload of stylish
ultra-violence, insane car chases, buckets of sleaze, almost-human bad guys and
renegade cops with big guns, bad attitudes and badder mustaches.
Controversial during its
heyday and critically marginalized in ensuing decades, the Eurocrime flame has
been kept alive by a sizeable and devoted fan base, periodic DVD releases, various
websites and online forums. Another shot in the arm was provided by Roberto
Curti’s invaluable book, Italian Crime
Filmography 1968-1980 (McFarland & Co Inc), an in-depth listing and
analysis of more than 200 films.
Now, poliziesco junkies have even more reason to celebrate with the
recent DVD release of Eurocrime! The
Italian Cop and Gangster Films that Ruled the ’70s, writer/director Mike
Malloy’s documentary homage to the genre that illustrates why these
testosterone-fueled thrillers deserve their place in the cinematic pantheon.
To that end, he rounded up
the appropriate subjects to tell the Eurocrime story—the surviving actors,
writers and directors who created these gonzo films from the ground up. It’s a
cast list that would do any current action film proud: Franco Nero, John Saxon,
Henry Silva, Antonio Sabata, Richard Harrison, Fred Williamson, Luc Merenda,
Tomas Milian, Leonard Mann, Michael Forest, John Steiner, Joe Dallesandro and
Chris Mitchum. Not to mention directors Enzo G. Castellari, Claudio Fragasso
and Mario Caiano.
All of these iconic
figures obviously retain deep-seated affection respect for the Eurocrime genre.
There’s zero condescension and little posturing, and all seem grateful for the
exposure these films brought them. In separate interviews, each relates his
particular history with Eurocrime films; Malloy edits their individual stories
into a collective portrait of the genre that’s as enlightening as it is
Malloy gets them to talk
about Eurocrime’s antecedent genres (peplums, giallos, spaghetti westerns); the
influence of Hollywood’s Dirty Harry
and The French Connection (both from
1971), which introduced a grittier ethos and more conflicted protagonists to
crime cinema; and the social and political turmoil in Italy during the 1970s,
which helped the poliziesco chart its
thematic identity through a critical focus on the country’s political
corruption, pervasive crime (organized and otherwise) and terrorist activity. While Eurocrime films were initially
derivative of the American version, Italian filmmakers quickly stamped them
with a unique identity, one that in turn influenced crime and action films the
In addition to such broad-outline
topics, the Eurocrime veterans expound on what it was like to work in a new
genre that was literally being invented on the fly. Low budgets and short
shooting schedules necessitated a guerilla approach to filmmaking. Directors
often shot without permission on the streets, especially when staging chase
scenes, which sometimes led to policemen pursuing stuntmen on motorcycles in
the belief they were actual criminals. The emphasis on speed and economy led to
an insane number of daily setups. Richard Harrison still laughs at the memory
of doing 120 setups in a day.
Like virtually all Italian
films of that era, the films were shot without direct sound. This allowed for
smaller crews, less equipment and less need for retakes, but initially proved
disconcerting for American actors used to quieter, more-ordered sets. Henry
Silva and John Saxon recall their bemused reactions to the on-set noise and
tumult during takes, countered by the Italian film crews’ bewilderment at their
pleas for quiet.
Live ammunition was sometimes
used during filming (Saxon still seems a little freaked out recalling it
decades later), and most of the leading actors did their own stunts. Leonard
Mann recalls: “We’d do them so fast, you know. We’d be out there just running
around and doing our own stunts. I did almost all of them…The things we did, I’m
surprised we didn’t get killed.”
Speaking of stuntmen, one
of that noble breed is represented in this documentary. Ottaviano Dell’Acqua,
who worked on Enzo G. Castellari’s The
Big Racket (1976) and Heroin Busters
(1977), wryly contrasts the approach of Italian and Hollywood stuntmen: “We
were a little more adventurous. We made things a little more ‘homemade.’” That
DIY ethos contributed to the rough-edged spontaneity that gave the films a
sense of gritty realism, no matter how outlandish the scenarios, action or
The Daily Mail has a series of photos showing Daniel Craig on the Thames en route to the real MI6 HQ to film sequences for the new 007 film "Spectre". Craig appears to be having a ball riding a high speed vessel in the company of his co-star Rory Kinnear, who plays the role of fellow agent Bill Tanner.
The article also reveals that, in the wake of the devastating Sony hack scandal, the script is being re-written even as filming is underway, which is not a situation most filmmakers want to contend with. However, Sony and Eon Productions confirmed that an earlier draft of the script that gave away key plot spoilers has been leaked to the web. To ensure that moviegoers don't have the experience of seeing the new film ruined in advance of its premiere next November, the producers have brought in other writers, including "Edge of Tomorrow" scribe Jez Butterworth, to re-write key portions of the story including the finale. The script is also being rewritten by long-time Bond co-writers Neal Purvis and Rob Wade. Daniel Craig has previously said that the script that was in place prior to the hack was better than the one for his 2012 blockbuster "Skyfall", which grossed over $1 billion internationally.
"The Man From U.N.C.L.E. 8 Movie Collection" is available on Amazon USA for only $29.49. The set consists of the the two-part episodes that originally aired on TV and which were later released as theatrical feature films. Of the eight films, only three were released in the United States. In some cases, additional footage with new characters were inserted into the episodes for theatrical distribution.
The set contains the following films:
To Trap a Spy
The Spy With My Face
One Spy Too Many
One of Our Spies is Missing
The Spy in the Green Hat
The Karate Killers
The Helicopter Spies
How to Steal the World
One Spy Too Many
The DVDs are released through the Warner Archive, which means they are region-free and can play on any international DVD system.
All of the feature films star Robert Vaughn, David McCallum and Leo G. Carroll.
(The following review is of
the UK DVD release of the film, on Region 2 format)
‘Just for You’ is a time
capsule of the British pop music scene in the early 1960s. It was made and released
in the UK in 1964 and the official press release from Network describes the DVD
as follows: ‘This ultra-rare musical film of 1966 tells the story of a rock ‘n’
roll hopeful searching for his big break […] Following the young singer as he
goes from studio to studio with his girlfriend and attempts to convince radio
and TV executives to play his song, ‘Just for You’ becomes a showcase for a
host of sixties musical talent’. This is
actually the plot of the 1966 American edition of the film, under the title
‘Discotheque Holiday’ (sometimes listed as ‘Disk-O-Tek Holiday’). What Network
has released is the original UK release of the film, ‘Just for You’, named
after the Freddie and the Dreamers’ song. The UK version was directed by
Douglas Hickox and doesn’t include the added US scenes directed by Vince Scarza
(with the budding singer played by Casey Paxton).
In the original UK version,
we get layabout impresario Sam Costa (played by comedian, disk jockey and
singer Sam Costa) lying in bed, his every whim tended by his fully-automated
computerised home help, while he entertains himself (and us) by running clips
of various pop acts on a projector in his private screening room. Yes, it’s
The links of Costa smoking
a cigar, wisecracking and at one point attempting to eat an animated haggis,
are diverting, but are really just that: links. The main point of the film is wonderfully
vivid Eastman Colour footage of a mixed bag of guitar bands, individual singers,
vocal groups and novelty pop acts performing their songs on a selection of interior
and exterior standing sets at Shepperton Studios.
The full set list is:
Faye Craig: ‘Bongo Baby’
The Applejacks: ‘Tell Me
Al Saxon: ‘Mine All Mine’
A Band of Angels: ‘Hide ‘n’
The Orchids: ‘Mr Scrooge’
The Bachelors: ‘The Fox’
Doug Sheldon: ‘Night Time’
Caroline Lee, Roy Sone and
Judy Jason: ‘Teenage Valentino’
Peter and Gordon: ‘Leave Me
Freddie and the Dreamers:
‘You Were Made for Me’
Millie Small: ‘Sugar Dandy’
Jackie and the Raindrops:
Mark Wynter: ‘I Wish you
Johnny B. Great: ‘If I had
Peter and Gordon: ‘Soft as
Faye Craig: ‘Voodoo’
The Warriors: ‘Don’t Make
Louise Cordet: ‘It’s So
Hard to be Good’
The Merseybeats: ‘Milk’
The Bachelors: ‘Low the
Freddie and the Dreamers:
‘Just for You’
What’s most apparent in
this film and these performances is that the influence of The Beatles and the
jangly Merseybeat sound is everywhere, even in the female singers – from
lyrical content and acoustics, to clothing choices and hairstyles. Several of
the acts here sport matching black or grey suits. Beatles moptop haircuts are everywhere.
Peter and Gordon’s ‘Soft as the Dawn’ closely resembles The Fab Four’s ‘And I
Love Her’. The Applejacks and the Merseybeats songs are patterned on Beatles
melodies and harmonies. ‘The Orchids’ are a Fab Three, a trio of girls whose
snowy rendition of ‘Mr Scrooge’ looks like an outtake from ‘Help!’, with the
girls’ black attire and red and white striped scarves, and has a Phil
Spector-ish sound. ‘A Band of Angels’ rasping ‘Hide ‘n’ Seek’ has the lads decked
out in silver suits and straw boaters, but their sound is defined by sandpaper
vocals and jagged rhythms – it’s one of the best songs in the film. ‘Dollybirds’
stare vacantly off into the distance throughout their performance; dressed in
leather gear from ‘Continental Fashions’, they look to have wandered in from
Antonioni’s ‘Blowup’. During two numbers – one involving a snooker table (the
rollicking skiffle shuffle of ‘The Fox’) and another wearing matching grey
suits (the ballad ‘Low the Valley’) – the Bachelors demonstrate why they
remained single. Doug Sheldon’s low-key ‘Night Time’ has the singer strolling
beside a shadowy studio mock-up of the River Thames, while Mark Wynter’s
purposeful ballad ‘I Wish you Everything’ is a bit Roy Orbison.
Much livelier are the girls.
Caroline Lee and Judy Jason don red Scottish tartan capes and caps to enact ‘Teenage
Valentino’, their tale of disinterest in a self-obsessed bloke. Roy Sone is the
handsome, narcissistic object of his own desires. The insightful lyrics – ‘Big
man, lover boy, teenage Valentino’ – are attributed to Nolly Clapton and Mercy
Hump. Quirky Louise Cordet (wearing a Shimmyshake Dress by Alice Edwards) is
the party-loving girl trying to behave, but finding ‘It’s so Hard to be Good’
and shrill-voiced Millie’s ‘Sugar Dandy’ is brassy, poppy and ear-splitting. Faye
Craig dances exotically to ‘Bongo Baby’ and ‘Voodoo’ (by Johnny Arthey, one of
the best pieces of music in the movie, with bongos and guitar). The lovely
Jackie and her cardiganed Raindrops perform Goffin-King’s ‘Loco-motion’ among
the commuters on a studio-bound train platform.
Lively is also the operative
word with Freddie and the Dreamers, probably the biggest act on show. Frontman
Freddie Garrity prances around the set and his band join in the synchronised
dancing for their most famous hit, the catchy ‘You Were Made for Me’. There’s
an Elizabethan theme for ‘Just for You’, with Freddie appropriately dressed as
the court jester. Other male artists include Al Saxon, who plays his revolving
piano in a party café decked with streamers for the gutsy sax-stacked groove
‘Mine All Mine’. Fellow piano-thumper Johnny B. Great’s snappy cover of Pete
Seeger’s ‘If I Had a Hammer’ gets his audience dancing.
The Network DVD has excellent
picture quality and is presented in its original aspect ratio of 1.66:1 (that’s
black bars at the sides of the picture for 16:9 screens). The original trailer
and an image gallery are included as extras, plus a pdf of promotional
material. If you can track down the American edit, ‘Discotheque Holiday’, you’ll
find it features additional performances for US fans, including The Chiffons,
Rockin’ Ramrods and The Vagrants. ‘Just for You’ is a pop nostalgia-fest
showcasing the great, the good, the overlooked and the somewhat forgotten of 1964.
The rare clips will be lapped up by anyone with an interest in the music and
style of the era. It’s fab and gear.