production company Vinegar Syndrome seems to be trying to pick up the market
that Something Weird Video has cultivated over the past fifteen years or so. And
that is a good thing! Their desire to restore and release as many independently
produced exploitation films as possible is both laudable and impressive. I
count myself as a cult film fan but a look at their list of titles leaves me scratching
my head in wonderment as I have never heard of most of the movies they are
dealing to the public. My few dips into the VS catalog have been interesting,
sleazy fun but I was caught off guard by this disc. The company is following
the Something Weird template of having each DVD comprised of a double feature
of titles that have some kind of themed connection. In this case we have two
set-bound, low budget talky dramas spiced with sex in one case and ..... I'm
not sure what in the other.
Candidate (1964) was pitched to me as a sexploitation film staring Ted Knight
and my mind rejected that description sight unseen. There can be no such film,
said logic and reason. Surely the planet would rip asunder if such a movie
existed, said sanity. Ted Knight of The Mary Tyler Moore show engaged in sexual
shenanigans? This cannot be true. And in the end this thought process was proven
right enough for me to retain my intellect after screening the film. Now, there
are sexploitation elements in the film as you might expect with any film that
top lines sex kitten Mamie Van Doren, but those are the least interesting
parts. (Of the film, I mean…) She plays Samantha, a hard working modern woman
who, because of a chance encounter with senatorial candidate Frank Carlton (Ted
Knight), is offered a job by conniving campaign runner Eric (Buddy Parker)
aiming to work for the prospective senator. She agrees and we are then shown
the complicated way various relationships shape the campaign and how it all
falls apart. In a strange choice, the story is related as a series of
flashbacks as the main characters are grilled in front of a Congressional
hearing which causes the film to feel like a mild and overly solemn
courtroom drama. It can be pretty entertaining to watch Eric procure ladies for
the Washington elite but the film bogs down once the shape of the downfall of
Knight's character comes into focus. Parker plays the ruthless Eric as a
cynical bastard and he isn't bad in the role but its Knight who is most
impressive. As his character meets and falls in love with Angela (June
Wilkinson) we see this shy man come alive and have to face the fact that the
woman he cares for will destroy his hoped-for career. Knight is exceptional in
the role, investing great care in showing very nuanced emotions as he struggles
with his options. In the scenes involving his character, the film is solid and
the courtroom sequences are very well- scripted.However, the rest of the movie-
the sexploitation parts- are dry as dust. This is the film's problem- it has
half of a good movie but it has been shackled to a silly lingerie show with
Miss Van Doren. In the end The Candidate isn't a bad movie but it isn't very
good either, which is a shame.
Syndrome has coupled the main feature with a decidedly 'B' picture from 1957
called Johnny Gunman. If The Candidate sometimes felt a bit set-bound, it looks
better with this movie immediately following it. Extremely low budget, the film
seems to have been shot on the cheap and quick with little time for second
takes. The story takes place in New York (I think) as gangster Johnny G (Martin
Brooks) spends a long night hiding out from a rival hood. This other gang boss
named Allie (Johnny Seven) is up for the same new position as Johnny but has
the added impetus of a Lady MacBeth-like girlfriend pushing him to off the
competition. While on the run from gunmen, Johnny finds himself in a cafe where
he threatens the patrons and then propositions the only pretty girl in the
place, Coffee (Ann Donaldson). The other customers don't like the idea of this
nice girl spending all night with this dangerous man so a bargain is worked
out- she will spend two hours with each of the three men who want her attention
over the next six hours. If this sounds artificial, you are right. The rest of
the movie plays out with Coffee spending her required time with each man as she
seeks a story worth writing about- she's a journalist, you see. As you might
expect, she falls for Johnny's criminal charms and must decide if she will
return to her little home town or stay in the big city to love a bad man good. To
call this film dull is to be too nice. It has a 67 minute running time and I
nearly dozed off twice in the first forty-five minutes. The movie feels both
rushed and static with only a few poorly constructed sets on view. The acting
is half-hearted with Miss Donaldson taking top honors as the stiffest actress in
memory. Some of her line deliveries are as if she had never read the script
before walking onto the hastily nailed together set. Ugh! Save yourself the
time and skip it.
DVD carries no extras but both movies look very good. The Candidate is in very
sharp black & white anamorphic 1.85:1 widescreen presentation with Johnny
Gunman looking just as good on a 1.33:1 print. I might have wished for some
more information on these movies but in the end I'm just happy they are
available. Well, I'm happy one of them
“HEARTS AND MINDS” (1974; directed by
‘LEST WE FORGET
By Raymond Benson
Academy Award for Best Documentary of 1974 went to the controversial and
incendiary Hearts and Minds, the
first big movie about the Vietnam War that attempted to prove to the world that
America made a huge mistake. A lot of people didn’t like that being said.
by Bert Schneider (of BBS Productions fame—Easy
Rider, Five Easy Pieces, The Last Picture Show, many others) and
director Peter Davis, the documentary is most definitely one-sided in its
arguments. The entire film is shaped and edited to present the most anti-war
statement possible, as well as put a bad light on the men in power that made
the decisions to go to war in the first place.
can imagine that in 1974 this was not an easy pill to swallow. Never mind that
the picture is brilliantly made—the footage is unbelievably powerful and
sometimes very difficult to watch. Remember those photos of the little
Vietnamese girl running naked down the road, a victim of a Napalm attack? Well,
in the movie, you see film footage in
color of that very scene as it happened. The same is true of the famous
photo depicting the execution by gunshot of a Vietcong prisoner in the street
by a Saigon police chief. In Hearts and
Minds, we don’t see the still photo, we see the actual killing, again in
color. These are among the many horrific imagery contained in the picture, much
of it stock footage. However, most of the running time is taken up by
interviews with guys like General William Westmoreland, Clark Clifford
(Secretary of Defense 1968-1969), Walt Rostow (aide to Kennedy and Johnson),
Daniel Elsberg (former aide to Defense Department), and many other talking
heads. Most of them come off as windbags spouting stuff we now know is simply
not true (General Westmoreland: “The Oriental doesn’t put the same high price
on life as does a Westerner.”).
film is obviously divisive as to which side of the aisle you reside—liberal or
conservative. I’m sure even today there are plenty of conservatives who still
believe we were right to go to Vietnam. While this column is meant to be a
review of the documentary, I think I can safely say that history has proven
that the liberals were right all along. Looking back at this picture now, it
simply reconfirms what we should have learned
from the mistakes made.
Criterion Collection has re-issued Hearts
and Minds in a dual format—Blu-ray and DVD (three disCs)—in a
high-definition digital restoration supervised by director Davis and
cinematographer Richard Pearce. The audio commentary is by Davis. Added to this
new release are over two hours of unused footage, including interviews of
people not seen in the film (e.g. David Brinkley). Overkill? Perhaps, but for
war history buffs who want to dig into the depths of this admittedly biased but
fascinating condemnation of a black mark in our time, then don’t miss Hearts and Minds.
Peter Hunt’s On Her Majesty’s Secret
Service celebrates its 45th anniversary this year. Actor George Lazenby, who donned the role of
Bond, James Bond, for this singular
film will be appearing for a Q and A at the screening on Tuesday, July 8, 2014. The event will be held at the Landmark
Theatre, 10850 West Pico at Westwood Blvd., Los Angeles, CA. From the press release:
Bond goes undercover in the treacherous Swiss Alps in this underrated, highly entertaining,
action-packed epic filled with artillery-laden ski pursuits, incredible stunts
and nonstop thrills! George Lazenby (in his only appearance as James Bond)
leaps into the role of Agent 007 with supreme confidence and undeniable
charisma, even finding love with the beautiful and seductive Tracy Di Vicenzo
(Diana Rigg). But first Bond must stop evil genius Blofeld (Telly Savalas) from
releasing a germ warfare plot that could kill millions! Directed by Peter R.
Hunt (Gold, Shout at the Devil).
The Hollywood Reporter says that Harrison Ford's recent injury on the set of the new Star Wars film, now shooting in England, resulted in a broken ankle and he may miss filming for up to eight weeks. Nevertheless, producers are confident that they can get around the problem and that the film's December 18, 2015 will not be affected. For more click here
Having been friends with a number of people in my life who are- or have been- car salesman, one thing becomes clear very quickly: you need to have a thick skin and a good sense of humor in order to survive in this curious profession. Not even bank robbers have seen their reputations degraded as much as car salesman- especially those who specialize in used cars...er, make that "previously owned vehicles", in the parlance of today. As with any profession, generalities can be dangerous. There are undoubtedly many reputable people selling cars but even they will tell you that, behind the scenes, the overriding strategies are to close the deal, no matter what it takes. I've always found it rather ironic that while, on the national level, car companies spend a fortune to present their products in TV ads that have production values that suggest class, style and elegance- while at the local level, car dealers swamp the airwaves with home-made ads that are cheap, cheesy and unintentionally hilarious. The consumer sees an ad during the Super Bowl with a guy who looks like 007 behind the wheel of a spanking new vehicle. Yet his local dealership sells the same product through ads featuring the owner, his mother, his cutesy kids - and in some cases over the top comic scenarios that are something out of the old Second City TV skits. (A local dealer near me is a portly fellow who routinely sells his cars while dressed in tights as a super hero!)
Car dealerships already had shaky reputations by the time director Robert Zemeckis rode a semi over the profession with his 1980 comedy "Used Cars". Twilight Time has released the special 2002 DVD edition as a limited edition (3,000 units) Blu-ray title. The film clearly exploited the new screen freedoms in the realm of tasteless humor that had been introduced a couple of years before by director John Landis with "National Lampoon's Animal House". There are those who consider "Used Cars" to be on par with that comedy classic, while others feel its "everything-but-the-kitchen sink" structure makes it more chaotic than consistently funny. In this writer's opinion, the truth lies somewhere in the middle. Zemeckis and his co-writer Bob Gale had previously written and directed the 1978 film "I Wanna Hold Your Hand", which Steven Spielberg produced. The underrated and largely under-exposed comedy was the antithesis of "Used Cars" in that it was a sweet-natured look at how the arrival of The Beatles in America wreaked havoc on the lives of New York teenagers. Zemeckis and Gale went on to write Spielberg's epic 1979 WWII comedy "1941" before getting the green light to do "Used Cars", which was executive produced by Spielberg and John Milius.
"Used Cars" opens on a cynical shot of Arizona car salesman Rudy Russo (Kurt Russell) tampering with the odometer on a beat-up vehicle in the hopes he can sucker some poor soul into buying it. Rudy is a charismatic young man who is a charming as he is soulless in terms of his moral fiber. He is intent on raising $10,000 so he can afford to be a credible candidate in the forthcoming race for state senator, a job he presumes will enable him to benefit from even greater graft and corruption. Meanwhile, the only person he respects is the owner of the car lot, the elderly Luke Fuchs (Jack Warden), a man in precarious health whose days are clearly numbered. Luke is locked in a constant daily battle with his more affluent brother Roy (also played by Warden) who has a successful car lot directly across the highway from Luke. Despite the fact that Roy's sales far out-gross those of Luke, he is intent on using dirty tricks to gain control over his less fortunate brother's lot so that he can have the biggest dealership in the state. Much of the humor derives from Rudy's intense attempts to use chicanery to outwit Roy's attempts to seize Luke's property. When Luke suddenly expires, Rudy fears that Roy will inherit the car lot. He enlists the assistance of his two slovenly co-workers Jeff (Gerritt Graham) and Jim (Frank McRae) to hatch an audacious plan whereby they bury Luke inside a car on his own lot then try to convince Roy that he has taken a sudden trip to Florida. Roy isn't buying it and uses his affluence to buy off local officials to launch an investigation. Complicating matters is the arrival of Luke's estranged daughter Barbara (Deborah Harmon). Rudy woos and beds her while hiding the fact that her dad is actually dead. As the film unwinds, the story becomes increasingly ludicrous and culminates in a wildly ambitious sequence in which Rudy organizers a fleet of 250 dilapidated vehicles driven by high school students on a race across the Arizona desert as part of a scheme to ensure Barbara inherits her father's car lot.
"Used Cars" boasts some truly amusing performances with Kurt Russell as the glue that holds this disparate cast together. For Russell, who had recently won acclaim for his portrayal of Elvis Presley in a TV movie, the Zemeckis film was pivotal in proving he could also draw audiences to movie theaters. (Heretofore, he was primarily known as the child and teen age star of many Walt Disney films). Every cast member is impressive and adds immeasurably to the fun, but it's Jack Warden's terrific tour de force performance as both brothers that dominates the film. Zemeckis and Gale have some misfires among the machine gun-fire like rapidity of jokes and comic situations, but they score more than they miss their targets. In one amusing sequence, they actually incorporate footage of then President Jimmy Carter in an outlandish manner. The highlight of the film is clearly the junk heap car race across the desert with Rudy and Roy battling each other from side-by-side pick up trucks like a modern version of the "Ben-Hur" chariot race. The sequence is so over-the-top and logistically impressive that you can honestly say that you've never seen anything like it. "Used Cars" has something to offend everyone: vulgar language abounds, there is disrespect for the dead, the American political system is mocked in a cynical manner and there is plenty of gratuitous tits-and-ass. No wonder I feel like watching it again.
The Twilight Time releases keeps the features from the previous special edition DVD including an award-winning 2003 commentary track featuring Zemeckis, Gale and Russell that is delightful throughout. The guys even goof about their own sloppiness in making the film (the opening frames accidentally reveal a soundman's arm and boom mic in a rear view mirror of a car). Clearly, they had as good a time reflecting on the experience as they did in making the film. There is an isolated score by Patrick Williams and an unused score by the estimable Ernest Gold. Additionally, there are radio spots and a TV ad done for a local Arizona car dealership where the movie was shot in which Kurt Russell actually appears (obviously as a favor) on camera with the lot's owner and help's pitch that week's specials on used cars! A gag reel and some outtakes are surprisingly flat and unfunny. There is also an original trailer from the days in which trailers themselves did not have to be rated. Thus, it's packed with gratuitous nudity even though it was screened to family audiences, which must have caused countless parents to have "that" conversation with their kids before they were ready to do so. There is also a terrific gallery of promotional materials including one ad that features notes from Steven Spielberg in which he complains that they may have produced a distasteful movie, but the ad campaign he is rejecting went too far in pointing this out. The movie was released during the presidential election period of 1980 and one ad notes that Ronald Reagan was not the only actor vying for the nation's top office- and invites audiences to see then incumbent President Jimmy Carter's movie debut. (As mentioned previously, this is a sly reference to newsreel footage seen in the film.) This particular ad also featured the likenesses of both candidates. Try doing that today!
The Twilight Time release is top notch. The film is not going to be everyone's cup of tea, but it is inspired lunacy that, at times, makes Animal House look as sophisticated as 'Love's Labour's Lost'.
in the summer of 1964, A Hard Day’s Night,
starring The Beatles and directed by Richard Lester, is arguably the second
most influential British film of that decade (the first being Goldfinger, coincidentally released the
same year.). Why? For one thing, it brought The Beatles to a worldwide audience
that was just getting to know them through their music. Secondly, it spawned
imitations and knock-offs (The Monkees, anyone?) and is arguably the genesis of
music videos—where would MTV have been without it? Thirdly, the film itself was
innovative, fresh, and surprisingly funny (those long-haired boys from
Liverpool could actually act!).
of the best things about the Criterion Collection’s new deluxe box set of the
film (dual Blu-ray and DVD, three discs) is the short extra, On the Road to “A Hard Day’s Night,” an
interview with author Mark Lewisohn, that documents how The Beatles did not magically appear on The Ed Sullivan Show in February 1964,
already brilliant, already at the top of their game. In fact, as every serious
Beatles fan knows, their story began in 1958 when John Lennon met Paul
McCartney in Liverpool at the ages of seventeen and fifteen, respectively, and
they started playing music together and writing songs (George joined not long
after at age fourteen!). The first four years embodied a lot of work gaining
experience, honing their skills, and creating an act that would change not only
music itself, but pop culture. The Hamburg days, the early shows with Pete
Best, the gigs for peanuts, the obtaining of managers (first Allan Williams, then
Brian Epstein), auditioning for producer George Martin, being rejected by a
major record label, and then finally landing a contract with one—these were all
things none of us in America were aware of when we watched the four lads
perform on Ed Sullivan. What we saw
was a tight, talented band, and it seemed as if they’d come from nowhere.
(Apologies to UK readers, who of course knew how great the band was all through
to A Hard Day’s Night. Kudos to
United Artists executive David Picker, who greenlit a three-picture deal with
producer Walter Shenson (Picker was also responsible for green-lighting Dr. No, a little picture featuring a
character named James Bond). Picker had the foresight to make the deal with The
Beatles in 1963, well before the
band’s appearance on U.S. television. Apparently his instincts were good. If he
hadn’t done it then, someone else would have much later, and I dare say the
results would not have been as good.
was no accident that American director Richard Lester was hired to helm the
movie, either. He was living in the UK and had directed British television,
especially those crazy guys known as the Goons (Spike Milligan, Peter Sellers,
Harry Secombe), who were forerunners of that type of English humor we Americans
found odd but grew to love, especially by the time Monty Python came around.
The Beatles were fans of the Goons, so they figured Lester was their guy. It
was a perfect match. Lester not only brought out that odd British humor, but he
also combined the elements of the British New Wave in cinema (the “kitchen-sink
dramas” of the “angry young men”) and the French New Wave (radical editing,
improvisation, hand-held camerawork, low budget), and created something very
then there’s the music. Did you know that the song, “A Hard Day’s Night,” was
written overnight, on demand by
producer Shenson, because they needed something that matched the title? Not
only was it a good song, it was a massive hit
song! Imagine that... “Hey boys, could you write a number with the title in
it?” “Sure, Walter, we’ll have it for
you in the morning.” Bang. Oh. My. God. And that’s not to mention all
the other great tunes in the film. (For my money, the UK version of A Hard Day’s Night, the album, is one of The Beatles’ five best
this is a Criterion release, you can expect nothing but an outstanding transfer
of the film itself—4K digital restoration, approved by Lester, with three audio
options—monaural soundtrack, a stereo 5.1 surround mix, and a DTS-HD master audio
on the Blu-ray. Wow. There’s also an audio commentary by some of the cast and
extras are wonderful—some we’ve seen before, but others are new. A nice piece
on Lester, Picturewise, is narrated
by Rita Tushingham and features Lester’s early work (and there’s the obligatory
inclusion of Lester’s The Running Jumping
& Standing Still Film). In Their
Own Voices is a new piece mixing 1964 interviews with The Beatles with
behind-the-scenes footage and photos. A longer 1994 documentary, “You Can’t Do That: The Making of ‘A Hard
Day’s Night’” by producer Shenson, also includes an outtake performance by
the band. Things They Said Today is a
2002 documentary about the film featuring interviews with Lester, Martin,
screenwriter Alun Owen, and cinematographer Gilbert Taylor. And there’s more,
buy me love? Forget it! The Beatles, Walter Shenson, Richard Lester, David
Picker, and everyone else involved with the film certainly bought enough love
for us... and we’re still basking in it.
Criterion Collection’s A Hard Day’s Night
is a must-buy.
The Hollywood Reporter visits Jerry Lewis at his home in Las Vegas and finds the 88 year old comedy legend as opinionated, cranky and funny as ever as his career undergoes yet another renaissance. Click here to read
Neil deGrasse Tyson is universally regarded as one of the top astrophysicists in the world. He hosts the popular Cosmos series and is a ubiquitous presence on American television as he promotes the study of science and astronomy is layman's terms. Nevertheless, the generally calm, cool deGrasse does have something that irks him more than the flat-earthers who continue to argue that the planet is only a few thousand years old and that humans romped around in the presence of dinosaurs. Turns out that a routine question from TMZ regarding his opinion of the movie that bastardized science the most, set deGrasse into a humorous "rage" when he immediately recounted how the 1979 Disney flick "The Black Hole" continues to irritate him to this day. deGrasse said that the scriptwriters didn't even make a token attempt to convey the actual science behind real black holes and claims that, had they done so, they would have also turned out a more compelling film. deGrasse isn't a totally stick-in-the-mud, however. He acknowledges that the Bruce Willis blockbuster Armageddon was also amiss when it came to science, but he gives it a pass because he feels it was a very entertaining film. Click here to watch the interview.
After being attached to the forthcoming "Ant-Man" Marvel super hero flick for a staggering eight years, director/co-writer Edgar Wright left the project he has been nurturing on the basis that the studio made changes to his script without his permission. Variety presents nine other examples of high profile film productions dating back to "The Wizard of Oz: and "Gone With the Wind" that saw directors replaced, mostly due to "creative differences". Click here to read.
Dee became a Broadway sensation as the female lead in A Raisin in the Sun. She also played the role in the acclaimed 1961 film version opposite Sidney Poitier.
Ruby Dee, the acclaimed star of stage and screen, has died at age 91. Dee was part of a generation of African-American actors who broke through racial prejudice and elevated the status of black characters in film and theater. She won both Emmy and Grammy awards and was nominated for a Best Supporting Actress Oscar in 2007 for American Gangster. Dee enjoyed a creative collaborative relationship with her husband, the late actor Ossie Davis, who was a legend in his own right. In addition to their contributions to the arts, Dee and Davis were also fervently involved in the issue of civil rights. For more click here.
On his web blog Hill Place, writer Shaun Chang catches up with former actress Cristina Raines for an exclusive interview. Raines had prominent roles in such 1970s gems as Michael Winner's The Sentinal, Robert Altman's Nashville and Ridley Scott's The Duelists. Interestingly, this accomplished actress gave up the glamour of show business for a career in nursing. Click here to read.
One of the most sought-after film scores in
the last 40 years has finally been released on CD. When released in 1968,
Michael Reeves’ classic Witchfinder
General (released in America as The Conqueror Worm) , starring Vincent Price (in arguably his finest role) featured an
equally impressive score by Paul Ferris. At the time of the film's initial
release a 45rpm record of the love theme was issued in England, but not a
complete soundtrack. Thought to be have been lost forever, the original
1/4-inch master tapes were found in the vaults of recording studio De Wolfe Ltd
Recently-discovered box containing reels of the original score.
The tapes, which are the original recordings, and not a copy, include
every cue used in the film, and are now available on a CD for fans of this film
(and the music) to enjoy at long last. Released by De Wolfe Ltd, the 3-sided
gatefold sleeve reproduces photos of the newly discovered tape box and reel
itself, and also comes with a 12-page booklet detailing the film's history. For
this author, this is the 'find' of the decade!
MPI Home Video has released producer/director Dan Curtis' 1973 production of "Bram Stoker's Dracula" on Blu-ray. The film was shot for American television and starred Jack Palance as the legendary vampire. The production was released theatrically in some European markets and this Blu-ray is the theatrical cut. In general, vampires had been good to Curtis and he returned the favor by popularizing them in his high profile TV productions such as "Dark Shadows" and "The Night Stalker". For "Dracula", Curtis enlisted some top talent, aside from Palance: legendary screenwriter Richard Matheson and acclaimed cinematographer Oswald Morris, among them. He also spent rather lavishly on the project with location filming in Yugoslavia and England. Matheson's intelligent script follows the Stoker novel in most major respects with the exception of jettisoning the character of Dracula's fawning slave Renfield and the accompanying subplot set in an insane asylum. The action begins with Jonathan Harker's (Murray Brown) arduous journey to Dracula's foreboding castle in Transylvania. The Count ostensibly wants Harker to suggest some real estate holdings so that Dracula can relocate to England. Upon seeing a photograph of Harker's friend Lucy (Fiona Lewis), he is instantly mesmerized. It seems she is the spitting image of his own lover from hundreds of years ago. They were both victims of Dracula's war time enemies and he has been pining away for her ever since having been transformed into a vampire. Matheson and Curtis very much wanted to add this new plot device in order to give the character of Dracula and emotional aspect that was missing from previous cinematic incarnations of the character. As presented here, Dracula is as much victim as villain. His motives are largely related to his quest to make Lucy a reincarnation of his former lover. Thus, he imprisons Harker in his castle and immediately sets about relocating to a home that is near the residences of Lucy and her fiancee Arthur (Simon Ward). Perhaps in the interest of the 98 minute running time, designed to fill a two-hour broadcast slot, Matheson only briefly alludes to the fatal and murderous sea crossing by Dracula in which the entire crew of the passenger ship dies under mysterious and horrific circumstances-- though there is a haunting image of the last victim strapped to the wheel of the ship with a cross clutched in his hand. Once in England, Dracula wastes no time in ensuring that Lucy becomes his victim. This leads to the introduction of Prof. Van Helsing (Nigel Davenport) who correctly diagnoses her bizarre maladies as having been caused by a vampire. The plot then follows the traditional elements of Stoker's novel with the manhunt on for Dracula and attempts to rescue Lucy and Harker's financee (Penelope Horner) from eternal damnation, both having been victimized by the Count.
The centerpiece of any Dracula film, of course, is the actor who plays the title role. Jack Palance makes for a striking visual representation of the Count: tall, imposing and seething with barely-restrained menace. Palance could chew the scenery if he didn't have a strong director, but Dan Curtis keeps him in check and, if anything, his performance may be a bit understated. Nevertheless, it's a very credible interpretation of the role and Palance deserved the kudos he received. Similarly, Curtis does a fine job as director, drenching the action in a menacing atmosphere and getting fine performances from his cast members. (Davenport is particularly good as Van Helsing). Adding to the commendable aspects of the production is Robert Cobert's fine, atmospheric score and Oswald Morris' creative camera angles. The film is a winner on all counts, if you pardon the pun.
The MPI Blu-ray is also very good indeed. The transfer is excellent and the release includes some interesting bonus extras including brief interviews with Palance and Curtis done in the early 1990s. Palance is surprisingly funny and says he had never seen the production, joking that he might have found it too scary. Curtis insists in his interview that Palance was the definitive screen Dracula, something that others may argue with especially when confronted with names like Max Schreck, Christopher Lee and Klaus Kinski. Nevertheless, Curtis' enthusiasm for the film remains apparent even twenty years after it had been filmed. There are also some silent footage snippets identified as deleted scenes when, in fact, they are mostly just different camera angles. Most interesting is a comparison between scenes in the TV and theatrical versions. The main differences are confined to scenes in which vampires are "staked" by Van Helsing. Predictably, the theatrical takes are far gorier with oceans of blood ejecting from the mouths of the vampires There is also a theatrical trailer that seems to have been intended for the British market.
In total, a very worthy release of a very worthy take on a timeless literary masterpiece.
Cinema Retro's Matt Field and Dave Worrall on the red carpet.
By Matthew Field
headlined an exclusive red carpet event at the Odeon Leicester Square in
London, to mark the 50th anniversary of Zulu – the 1964 epic about
the historic 1879 battle at Rorke’s Drift.
Arriving at the cinema, the Prince told Suzannah Endfield Olivier, the
daughter of the film's director Cy Endfield, that Zulu was one of his favourite
films. 'I watch this film every single year before Christmas time,' he said. 'Maybe
once. Maybe twice.'
Matt and Dave with Cinema Retro contributor Paul Adsacks.
Inside and ahead of the film, guests were treated to a screening of rare
behind the scenes footage shot on location in South Africa in 1964. Cinema
Retro’s Dr. Sheldon Hall, gave the 2,000 strong audience a running commentary
to the black and white footage. Film critic Mark Kermode and Historian Dan Snow
both addressed the audience giving the film a cultural and historical context.
Dave and Matt with Welsh Guards.
Prince Mangosuthu Buthelezi, who played King Cetshwayo the leader of the
Zulus in the film, was also in attendance. He said in a short recorded piece to
camera “My portrayal of King Cetshwayo, my maternal great-grandfather, was not
only a privilege, but almost inevitable once the idea was conceived. Cy
Endfield and Sir Stanley Baker came to see me at KwaPhindangene to request my
assistance in enlisting the thousands of extras for the Zulu regiments and the
part of King Cetshwayo. But when Endfield saw me, he was struck by the family
resemblance, and persuaded me to play the role myself.”
The Choir of the 1st Battalion Welsh Guards performed Men of
Harlech on stage before a specially filmed message from Michael Caine. The
event benefited three very worthy charities - Walking With The Wounded, The
David Rattray Memorial Trust and Sentebale.
Zulu actor Dickie Owen and Henry Coleman a historian of the film who supplied rare footage. Henry also runs a Zulu web site that can be accessed by clicking here.
Finally the audience enjoyed the gorgeous 50th anniversary
digitally restored print of the film. As the lights came up, we began talking
to an elderly gentleman sitting next to us, only to discover, he was in fact 88 year old actor Dickie Owen, who played
Corporal Schiess in the film. In all, a memorable commemoration of a very
memorable British film classic.
well-known that when John Ford, who had worked with actor John Wayne on a
number of films prior to seeing him in Howard Hawks’ Red River, proclaimed that he didn’t know that “the son-of- a-
bitch could act!”
words were apt. Prior to the release of Red
River in 1948 (it was shot in 1946 but didn’t appear in theaters until
’48), Wayne had mostly played the likable, stalwart “John Wayne” character that
had first appeared in Ford’s Stagecoach (1939).
But in Red River, Wayne plays a role
that turned critical and public opinion of the actor’s thespian abilities. He
pulls off a remarkable feat—Wayne’s character, Thomas Dunson, is a first-class
S.O.B., a guy you really want someone to punch out throughout the movie; and
yet, Wayne manages to make him likable. He carries an audience through over two
hours of hardcore western, and he delivers one of his two or three best
performances. It doesn’t hurt that Wayne is ably supported by Montgomery Clift,
who plays Wayne’s adopted son. In many ways, it’s really Clift’s picture—he’s
the protagonist, and the story is seen through his eyes. But wait—maybe it’s
seen through Walter Brennan’s eyes in the original, rare theatrical cut,
released here in a glorious 2K digital restoration on Blu-ray.
fact, I had never seen the theatrical cut, the version preferred by director
Hawks. A longer cut, by about six minutes, was the one that was shown on
television and appeared on previous home video releases. The longer version was
actually intended as a preview for studio execs; it utilizes on-screen textual
transitions (as if the audience is reading from a book) and an extended final
confrontation between Wayne and Clift. The theatrical cut dispenses with the
textual transitions and instead substitutes sequences narrated by Walter
Brennan, who then, arguably, becomes the character through whose eyes we see
the story. Why this version, which originally played to audiences in 1948,
didn’t become the standard edition after that is a mystery; in actuality, Hawks
was quite right—the theatrical cut is the
better one, except for the trimmed final fight between the two leads. As Hawks tells Peter Bogdanovich in an audio
interview included as an extra in the Criterion Collection’s elaborate box set,
the best way to watch Red River is to
view the theatrical cut up until the last few minutes, and then change to the
preview cut at the point when Wayne marches through the heads of cattle to
confront Clift at the corral.
thing that is remarkable about Red River is
that it was Hawks’ first western. He would go on to make a handful more (good
ones, too!), and was known for making pictures in all genres, but the fact that
he went out of the gate with one of the greatest westerns of all time is truly
an achievement. Red River, without
question, is one of the five best
American films of the genre.
story is a fictional account of the first cattle drive from Texas to Kansas
along the Chisholm Trail, the hardships the men overcome, and the battle of
wills between Wayne, the tyrannical leader and father, and Clift, the calmer,
perhaps smarter right-hand cowpoke and adopted son. Hawks manages to capture the
perilous trek with uncanny realism, assured composition and tempo, and drama.
Hawks once said that the key to a good film was “three good scenes and no bad
ones.” Well, Red River has far more
than three good scenes. The stampede sequence is nothing short of astounding.
went all out on this one. It’s a four-disk set—two Blu-rays and two DVDs
containing identical material. Both versions of the film are included, along
with a couple of interviews with Bogdanovich, who explains the difference
between the two cuts and presents his views on the picture. Critic Molly
Haskell talks about Hawks in a new video interview, and film scholar Lee Clark
Mitchell tells us all about the western genre in an interesting piece. There
are audio excerpts from interviews with Hawks and novelist Borden Chase, as
well as a Lux Radio Theatre adaptation of Red
River featuring Wayne, Joanne Dru, and Brennan. Besides the usual
essay-filled booklet, the box comes with Chase’s original novel, Blazing Guns on the Chisholm Trail, from
which the film was adapted.
Douglas Sirk was known primarily for his “adult” melodramas of the 1950s that
usually dealt with bucking the small-town America social mores of the times. All That Heaven Allows is a prime
example. In lush, bold Technicolor (the superb cinematography is by Russell Metty),
Sirk tells the story of a May-September romance between an “older” widow and a
younger man (in actuality, star Jane Wyman was only 38 when the film was made,
and her paramour in the picture, Rock Hudson, was 30; obviously the intention
was that Wyman’s character is even older, say, in her 40s, since she has
college-age children). The couple must face gossip, scorn, and ultimate
rejection from Wyman’s society friends and even her grown children. The message
of acceptance and tolerance hits one over the head like a hammer, to be sure,
but, granted, at the time the subject matter was most likely indeed scandalous
to most Americans. Now it’s a big “so what.” That said, the point of the
story—that women need to be responsible for their own happiness and not cater
to what other people think—is still relevant today. A mother’s children will
eventually grow up and leave the nest; why should she remain in an unhappy
situation just to please them when they’re not even there?
but yes, Rock Hudson. Looking back at his performance in this and his other
hits of the 50s and 60s and knowing what we know about him today, one cannot
help but view the actor in a different light. And, for me, anyway, I saw right
through Hudson’s performance. I couldn’t believe that a) Wyman fell for the
guy, and b) that Hudson was really attracted to her. In 1955, the audience for
whom the picture was aimed (female, I imagine) may have bought the romance;
today, it’s superficial and frankly unbelievable. If there had been a bit more
spark between the actors and some clues that there were aspects about each
other that they found appealing (other than Hudson’s Adonis good looks), it
might play better. As it is, All That
Heaven Allows is now a curious relic of a time when America had more bugs
up its ass than a mother spider.
Criterion Collection presents the picture in the classiest way possible—a 2K
digital restoration with uncompressed monaural soundtrack on the Blu-ray—and it
looks marvelous. Of particular interest is the extra, Rock Hudson’s Home Movies, in which we are treated to clips from
his films that he edited himself; they compile the moments in which the subtext
implies the truth about his sexual orientation. A Profile of Douglas Sirk, a 1979 BBC documentary, features rare interview
footage and is an interesting portrait of the filmmaker. There is more, of
course, in the dual Blu-ray/DVD format package, including an essay on Sirk in
the accompanying booklet, written by none other than filmmaker Rainer Werner
Fassbinder, whose work was inspired by the director’s pictures.
The Cinema Retro archives once again delves into its limitless images to present two great stars indulging in the Hollywood ritual of posing for cheesecake photos: Errol Flynn, seen here in an undated publicity photo at the height of his career and young Raquel Welch in the mid-1960s. Back in the day, stars and stars-in-the-making were subject to many glamour shoots designed to play up their images as sex symbols.
face it, 1979 was a particularly bad year for the Concord. It was the year in
which the ‘Airport’ franchise were about to deliver their latest offering in
the shape of the quite awful Airport ’79
The Concord. However, Airport ’79
was beaten (by several months) to the screen by a cheesy little flick from
Italy, Concord Affaire '79. Directed
by Ruggero Deodato, Concord Affaire '79
is more an action thriller rather than the formulated disaster flick that we
have come to know.Some commentators
have argued that it is actually far better than its ‘Airport’ rival, and to be honest, I would probably side with that
opinion.But let’s be clear from the
start, neither film will ever be described as a classic…
film was not a big budgeted project, the film’s restraints are apparent –
mainly through the use of stock footage of the British Airways supersonic
‘bird’ or the (less than seamless) shots of some average miniature models. But
of course, that is half of the film’s 70s charm and its era defining identity
stamp. Concord Affaire '79 separates
itself from the typical disaster genre film right from the start, largely by
having the plane crash in the first reel. There is no long laborious build up –
this plane is down, crashing into the ocean off the coast of Martinique and
leading us to believe there are no survivors. Of course, that’s not quite true,
Jean Beneyton, the young French flight attendant played by Mimsy Farmer, does
survive the crash. She is captured / rescued by the man responsible for the crash
– Milland, played by Hollywood veteran Joseph Cotton. The film in fact boasts a
string of established stars; Van Johnson plays Captain Scott, whilst Edmond
Purdom played Danker, one of Milland's leading henchmen. Heading the cast is
the ever enjoyable James Franciscus as Moses Brody, an American investigative
reporter who decides to go to the Antilles in an attempt to rescue Jean
Beneyton and uncover the story. From here on, it’s all rather good fun.
Cipriani’s score for Concord Affaire '79
marks its debut release on CD. It’s only previous release was on vinyl LP
consisting of 15 tracks and released in Japan on Polydor records. Whilst
Cipriani sets an energetic pace with his opening main title Danger flight, there are also plenty of
lush romantic cues. The score does however illustrate an age, due mainly to an
overwhelming backbeat of Euro disco, an era which perhaps does not transfer too
easily in today’s society. But of course, its style is very much of its time
and still retains a certain retro charm. The composer cleverly based his score
on variations of a single theme, which is hard to achieve unless in the hands
of someone such as Cipriani. The central theme is used to good effect,
sometimes melodic and rich or in the case of the underwater scenes there is an
edgy dreamlike quality attached. But above all else, Cipriani uses Concord Affaire '79 to indulge himself
deep into a world of synths and electronica, perhaps in reflection of the
futuristic, supersonic era of the film’s narrative. Synth theme in particular is a long, almost operatic homage to a
haunting electro heaven. However, Cipriani never seems to step too far over the
line, and later adds more familiar analogue instrumentation (such as strings)
to the synth sound and as a result, the blending works very well in deed.
Concord Affaire '79
is a curious, almost experimental score, yet Cipriani ultimately succeeds in
making it work. But there are moments where one is left considering, if
Cipriani perhaps deliberated over which route to take when composing this
score. It is certainly an eclectic mix of styles, both in mood and in its
instrumentation. For Cipriani collectors and soundtrack collectors in general, Concord Affaire '79 is well worth adding
to your collection. Consisting of 27 tracks, (7 of which did not make it into
the film), the CD is a huge improvement over the original album and its audio
has been beautifully remastered. Chris’ Soundtrack Corner has demonstrated a full
commitment to Cipriani’s work - with Concord
being the composer’s Sixth title in their increasingly impressive catalogue. We
can only hope there is more to come.
Even astute fans of retro cinematic classics may be unfamiliar with Billy Wilder's 1951 gem "Ace in the Hole". The film was a boxoffice flop in its American release back in the day but over the decades it has become regarded as a genuine classic and one of the best movies of its era. Kirk Douglas, in one of the truly great performances of his career, is cast as Chuck Tatum, a once-lauded reporter for a major New York newspaper, who finds his career on the skids. His cynical nature, overbearing personality and weakness for liquor has resulted in him being displaced to New Mexico, where- out of desperation- he convinces the editor of an Albuquerque paper to give him a job. Within hours, Tatum is bored by the sleepy atmosphere and passive nature of his co-workers, most of whom have no ambition beyond reporting minor stories of local interest. Things change radically when Tatum stumbles onto a crisis in the desert that could make for a compelling story. Leo Minosa (Richard Benedict) is the owner of a cafe located on a remote road who finds himself trapped in a cave after venturing inside to look for ancient Indian artifacts. Tatum sees that rescue plans for the man are rather poorly staged by the local deputy sheriff (Gene Evans). He enters the cave at great danger to himself and makes a connection with Leo, whose legs and midsection are buried under debris. Tatum is able to communicate with him from a small opening in a dirt mound and he assures Leo that he will get food, water and cigars while he organizes a rescue team. Grateful, Leo looks upon Tatum as his guardian angel. However, it becomes clear that Tatum is using his relationship with Leo for his own selfish purposes. He sees the potential as one of those "child stuck in a well" scenarios that tends to galvanize the entire nation. By personally taking charge of the rescue effort, Tatum makes himself a national hero overnight, as hundreds of people stream to the remote location and erect a tent city in order to be on the scene when Leo is eventually saved. Tatum, fully aware of American's eagerness to embrace the bizarre elements of any story, also plays up the notion that Leo is the victim of an ancient Indian curse for prowling around sacred tribal grounds.
Tatum has some disturbing factors to contend with, however. The primary problem is dealing with Leo's bombshell, self-centered wife Lorraine (Jan Sterling in a terrific performance). She was already looking to get out of a boring marriage with a boring man and decides to leave town during Leo's moment of crisis. Tatum uses a combination of charm and threats to convince her that staying put and playing the role of loyal wife would be in everyone's benefit. His prediction comes true in the financial sense, as the Minosa's cash-starved cafe begins to burst at the seams with visitors due to its proximity to the cave. Ironically, Leo's life-threatening predicament is finally bringing him the financial success that has eluded him. While Tatum becomes obsessed with manipulating the crisis, he also finds that his dispatches from the scene and his exclusive access to Leo have put him back in demand as a writer. He bypasses his own employer to sell updates to his ex-boss in New York at extortionist rates. He also has a hot/cold relationship with Lorraine, who clearly has a submissive sexual aspect to her moody demeanor. She's excited when Tatum mistreats her, though it's never made clear if their relationship goes beyond the flirtation stage. Tatum gets some disturbing news when he learns that the rescue team can use an expedited method to rescue Leo. Not wanting to kill the goose who laid the golden egg, Tatum manipulates the corrupt local sheriff (Roy Teal) into ordering a more labored method of rescue, even though it will result in a delay of days before reaching the victim. The decision has startling consequences for all involved. To say any more would negate the surprising turn of events depicted in the film. Suffice it to say, the intensity of the story continues to build throughout, making "Ace in the Hole" a truly mesmerizing cinematic experience.
Criterion has released "Ace in the Hole" as a dual format Blu-ray/DVD. The quality, as one might expect, is up to the company's superb standards. The package is loaded with fascinating extras including a rare extended interview with Billy Wilder at the American Film Institute in 1986. In it, Wilder talks about "Ace in the Hole" and other aspects of his career. The film was an early directorial effort for him and the first movie he produced, following his career as one of the industry's most in-demand filmmakers. By his own admission, "Ace in the Hole" was a major source of frustration for him. The movie was ignored by American critics and audiences and even re-titled "The Big Carnival". In the post-WWII era, it was probably deemed far too cynical for U.S. audiences. In fact, the "hero" of the film is a cad, the leading lady is a self-obsessed phony and the local law officials are corrupt. Except for a few minor characters, there is no one in the film with a truly moral center. Wilder says he took heart from the fact that the movie was quite successful in its European release. The set also contains a 1988 interview with Kirk Douglas, who discusses the film and his respect for Wilder in a very informative segment. Most impressive is the inclusion of "Portrait of a 60% Perfect Man", a 1980 documentary by French film critic Michel Clement in which Wilder gives extraordinary access to his private life. We see him at home and at the office with long-time collaborator, I.A.L. Diamond as they laze around trying to come up with ideas for future projects. Wilder comes across as a symbol of Hollywood's bygone Golden Age. Speaking in a thick Austrian accent with his ever-present stogie at hand, Wilder regales the viewer with insights about his family's escape from the Nazi occupation and his unlikely meteoric rise up the film industry's food chain. Almost from the beginning he was a hot property and would remain a revered director, producer and writer throughout his entire career. The set also includes a vintage audio interview with another Wilder collaborator, screenwriter Walter Newman and an insightful and creatively designed "newspaper" with essays by critic Molly Haskell and filmmaker Guy Maddin. Director Spike Lee provides a brief video "afterword" in which he extols the virtues of the film and also shows off a cool original lobby card that he treasures because it is signed by both Wilder and Douglas. Topping off the "extras" is a truly excellent audio commentary track by film scholar Neil Sinyard, who provides so many interesting background observations about the film that it will open any viewer's eyes to the latent meanings of certain sequences and images. Even if you consider audio commentaries to be dry and academic, I do urge you to give this one a listen. It's first rate throughout.
In summary, this is a first rate presentation of one of the most unfairly neglected American film classics; one that in recent years is finally getting the acclaim that it should have received on its initial release. Criterion has surpassed even its usual high standards.
It was 70 years ago today that the greatest invasion in modern history took place, as Allied soldiers stormed the beaches of France to liberate Europe from the yoke of totalitarianism. Their sacrifices were not in vain. Brave men from forces of America, Great Britain and Canada led the charge with free French and Polish forces and supporting contingents from other nations including Australia,Norway and New Zealand. From the carnage, a better world emerged, though Eastern Europe would still suffer under the oppression of Communism for decades to come. West Germany would become a beacon of freedom and democracy, eventually reuniting with East Germany after the fall of the Soviet empire. There aren't many men still alive who can recall serving in the momentous events of June 6, 1944. But freedom loving people from across the globe owe them a debt of gratitude, along with those who made the ultimate sacrifice.
Appropriately, President Obama, German Chancellor Angela Merkel and Queen Elizabeth are scheduled to attend the ceremonies at Normandy Beach.
For those readers who are history buffs, this is the most appropriate day to recognize so many sacrifices. The two best films made about the invasion- The Longest Day and Saving Private Ryan- should be shown to young people in your family so that they gain an understanding of the cost of freedom.
(For Cinema Retro writer Howard Hughes' tribute to The Longest Day, click here)
Nicholas Wrathall turned an introduction to Vidal by his nephew into a rare filmmaking
opportunity. The result is Gore
Vidal: The United States of Amnesia, a new, in-depth look at the writer’s
long and singular life.
took seven years to make,” Wrathall told CinemaRetro, “five years of
interviewing him and I benefitted from the time frame because I got to know
author wrote a number of historical novels including Burr, Lincoln and 1876 along with screenplays, essays and
teleplays; but was best known for speaking out, totally unconcerned about the
feathers he ruffled along the way. In
addition to Wrathall’s interviews, the film makes use of decades of Vidal’s
televised appearances – arguing about sexuality in the 1950s, arguing against the Vietnam War and social inequality in the 1960s, stirring the intellectual pot whenever
possible. Archive footage shows Vidal’s
incredible reach – he was friends with JFK, Paul Newman, Eleanor Roosevelt and numerous
other boldfaced names. Viewers also see
a remarkable progression - from a young, vigorous Vidal, thoroughly enjoying
sparring against arch conservative William F. Buckley, to a more mature provocateur
railing against Ronald Reagan and finally an increasingly frail elder statesman
horrified by American imperialism and the Iraq war. Through it all, Vidal maintained his wry sense
of humor noting that “We are the United States of Amnesia, we learn nothing
because we remember nothing.”
in NY, LA, Washington as well as Italy and Cuba, the film offers a definitive
look at one of the last “intellectual celebrities” of our time. “He was courageous, and provocative, that’s
why Carson and Cavett loved having him on their shows.” Wrathall adds.
with his razor sharp opinions, Vidal was also known for throwing lavish
parties, attracting movie stars, artists and politicians. Ground Zero for these coveted events was his
beloved villa, Rondinaia in Ravello, Italy. In fact, one of the film’s emotional highlights is Vidal’s final visit,
packing up books and memories and staring out at the incredible view one last
time. Actor Tim Robbins reminisces about
bringing his family for a stay with Gore and his partner, Howard Austen - only
to be joined by two other dinner guests, Sting and Bruce Springsteen and their
spouses. There was nobody Vidal didn’t
seem to know.!
notable talking head was author Christopher Hitchens – in one of his last on
camera interviews. He and Vidal had a
complicated relationship – at one point Hitchens was his literary heir apparent
only to be cast out when he spoke out in favor of the Iraq War, something Vidal
documentary ends with a final off camera question – “What is your legacy?”
Although Vidal dismisses it with a sneer, the documentary’s director thinks
that along with being a “writer, essayist and novelist… he was a brave,
outspoken person who lived at the center of our culture.”
Vidal: The United States of Amnesia opens in Los Angeles on June 6th. It is currently playing at the IFC Center in New York.
(For Don L. Stradley's review of the film click here)
Sex may be fun but it shouldn't be funny, at least when it comes to erotic filmmaking. That's my humble opinion, anyway. Most people would seem to disagree and from the inception of porn cinema, goofy comedy has been routinely blended with the more traditional aspects of the genre. Case in point: "Honey Buns", which was shot under the title "Heads or Tails" back in 1973 by director James Chiara. If that was his real name ("nom de plumes" were standard in the industry), nothing more has been heard from his since. The film is standard grind house fare from the period, with fairly low production values and a few exterior shots in L.A. to give the production a bit of atmosphere. Chiara, who is also credited as the writer, provides a familiar scenario: a nerdy male virgin who seems hopelessly destined to have his sexual fantasies remain unfulfilled. Here, our protagonist is Harry (Matt Hewitt, an odd-looking duck with an even odder, hard-to-place accent.) When we first meet Harry he is laboring as a clerk in the small office of a feminine hygiene company. He is working under the oppressive rule of a tyrannical, Captain Bligh-type boss who enjoys berating him in front of his sexy secretary, who he routinely takes into "private meetings" for some quickie sexual gratification. Alone and miserable, Harry's fortunes seem to change when he encounters an eccentric street magician who gives him a magic pill (this was pre-Viagara era, mind you) that allows Harry to conjure up the bed mates of his dreams, each of whom is completely submissive to his desires. However, as with all such fantasies, there is a down side- literally. Every time Harry is about to consummate the act, he finds that the ladies vanish into thin air. The film follows the frustrated Harry as he tries to find a solution to his problem. In between, the viewer is treated to a good deal of hard core action, some genuinely steamy, but most of which is compromised by the presence of this unappealing leading man. It's like watching "Last Tango in Paris" with Jerry Lewis in the Brando role. The movie boasts appearances by two of the cult sex symbols of the day, porn legend Rene Bond and the supremely endowed Uschi Digard, whose appearance is somewhat of a tease. She struts around in a mini skirt but leaves the rest to the viewer's imagination. Most of the film's gags are rather lame and predictable but there is no doubt that there always has been a market for these rather non-threatening porn releases that emphasize humor as much as sexual content.
As usual, Impulse Pictures does a good job of presenting a long-forgotten "B" movie in a fairly respectable manner. The transfer elements are fine although the packaging lacks the informative liner notes that accommodate some of the company's releases.
Timeless Media, which is affiliated with Shout! Factory, has released the classic 1960s TV series "I Spy" in a boxed set that contains all 82 episodes. Although Image Entertainment had released the series previously on DVD, this marks the first time the show is available in its entirety in one set. The show was one of many TV series that capitalized on the recent success of the James Bond films. Suddenly, TV and cinemas were playing spy-related fare virtually non-stop. NBC had some of the best elements of the spymania craze with "The Man From U.N.C.L.E.", Get Smart" and "I Spy". The latter series premiered in 1965 and ran three seasons through 1968. It presented Robert Culp as Kelly Robinson, who uses his status as an international tennis pro as a cover for his activities as a CIA agent. He is assisted by his good friend Alexander Scott (Bill Cosby), who ostensibly is his trainer, but who is also a top spy for the American government. What set the series apart from most of the competition was producer Sheldon Leonard's determination to spend a lot of money on the show. While the men from U.N.C.L.E's "foreign" intrigue was limited to stock footage and back lot sets, the "I Spy" guys really got to travel to exotic locations around the world. Consequently, the show has a glamorous aspect lacking in most other action adventure series from the period. Then there was the fact that in an era of hip spies, Culp and Cosby were arguably the hippest. They traded genuinely funny wisecracks that often seem improvised. The series was also significant from a social issues standpoint. Bill Cosby was the first African American leading man to play a dramatic role in a weekly TV series. He was awarded numerous Emmys for his performance but his presence in the show was controversial during an era when anti-segregation laws in the South had to enforced by gun-toting National Guardsman. Some southern affiliates of NBC refused to air the series. Cosby, who was by then a well-known stand-up comic, always credited Culp for putting his career on the line for him by insisting that either Cosby got the co-starring role, or he would quit the show before it even got under way. There is no real way to measure the impact Cosby's presence on the series had on young African American kids. However, I was in grade school when the show aired and the racial mix in the school was about 50/50. Suddenly, black kids finally had their own TV icon to admire and he was arguably the hippest of all the action stars of the era. Cos looked good in a tux, wooed pretty ladies and was an intrepid man of action.
We have obviously not viewed every one of the 82 episodes contained on the 18 DVDs in this set but a random look indicates the quality of the transfers is top notch. The series has also aged very well and, like the Bond movies, never seems out of date. Culp and Cosby still generate terrific chemistry together as well as with some of the big name guest stars who range from Don Rickles and Jim Brown to young Ron Howard. The only gripe is that one wishes there were at least a few bonus extras to point out the impact of the series and its significance in pop and societal culture. Image Entertainment had released a couple of special DVDs titled The Robert Culp Collection in which the actor provided commentary tracks. Those are not included here so you may want to hang on to them even if you add this irresistible new set to your DVD collection.
The New York City Horror Film Festival will take place this year on November 13-16. The promoters are soliciting qualified applicants to submit their films to be showcased at the festival. Troma founder and cult filmmaker Lloyd Kaufman will receive a lifetime achievement award at this year's event, which will be held at Tribeca Cinemas. Click here for full details.
If you have $10 million laying around that you don't know what to do with, you might consider buying the iconic apartment seen in the 1961 classic film Breakfast at Tiffany's. It served as the personal residence of Holly Golightly (Audrey Hepburn) and key sequences were shot for exteriors in the film including Hepburn's interactions with co-stars George Peppard and Patricia Neal. It's located at 169 E. 71st Street and is otherwise just another building in the tony neighborhood. It sold for over $5 million two years ago and the current owner thinks he can now double that investment. Interiors were shot in a studio, though a representative for the owner thinks the famed party sequence was actually filmed inside the apartment. One thing is certain: if you want to buy the place, it won't go lightly on your wallet. For more click here
One of our loyal subscribers, Rodney Barnett, has his own addictive retro movie blog, Bloody Pit of Rod. He's located some cool, cheesy 1970s original ads for a line of Planet of the Apes toys. We especially love the "Forbidden Zone Trap"! Click here to view.
The toy image above comes from Hunter's Planet of the Apes Archive, a super cool site dedicated to everything "Apish". Click here to visit.
In a lifetime of reviewing movies, there have been some titles I generally try to avoid. With a few exceptions, Biblical epics aren't my thing, nor is anything with "Adam Sandler" above the title. One retro-based film I've tried studiously to avoid is "Ilsa: She Wolf of the S.S." I've got a pretty liberal attitude when it comes to watching distasteful movies, but the idea of blending Nazi concentration camp horrors with eroticism was too much. Nevertheless, there is no denying that the 1975 film, shot for $150,000 in sets left over from "Hogan's Heroes" (I kid you not!), was a boxoffice smash on the grindhouse circuit back in the day. Recently, I received a review DVD of the film from a company I won't identify, not only because the transfer was lousy but primarily because it apparently isn't available any longer. (The movie is now in the public domain and there are apparently a wide range of releases of varying quality). I decided to finally take the plunge and judge the film as objectively as I could. I've heard that there are very good transfers of the film on the market. Unfortunately, this isn't one of them. The plot centers on a Teutonic goddess named Ilsa, who is the de facto commandant of a Nazi prison camp. Her primary obsession is conducting gruesome medical experiments on inmates in order to prove a bizarre theory that women can withstand more pain than men. (Exactly what scientific value of such research would be is never explained, but real life Nazi quacks such as Dr. Josef Mengele did indeed conduct hideous experiments on helpless people.) As played by Dyanne Thorne, an Amazonian, blonde ex-show girl, Ilsa is indeed an imposing presence. She has the run of the camp and is feared by inmates and guards alike. Ilsa takes special delight in mixing sexual perversions with her daily grind. She has a loyal staff of female soldiers who parade around topless and excel at whipping and torturing female prisoners. Men receive special treatment. If Ilsa finds a male inmate attractive, she treats him to a night of passionate S&M sex, ironically with her playing the submissive role. Yet, there is a bit of a downside. The day after making love to Ilsa, these men are routinely castrated so that they can never have sex with another woman.
Ilsa meets her match when she meets a hunky prisoner named Wolfe (Gregory Knoph), who is cunning enough to make his services indispensable to Ilsa, while secretly organizing inmates to attempt to take over the camp. In the interim, viewers are treated to all sorts of depravities. If these were limited to sex, it would be bad enough (historically, sexual manipulation was indeed an everyday part of life in a concentration camp with certain female inmates allowed special treatment if they served in bordellos.). However, director Don Edmonds indulges in stomach turning sequences of men and women being systematically flogged and butchered under the most heinous circumstances imaginable. In one particularly awful sequence, a beautiful young woman has a noose tied around her neck and she is placed atop a block of melting ice so that she is slowly strangled to death. The fact that she is dying while standing atop a dinner table where Nazi officers dine and laugh in amusement make it almost unbearable to watch- precisely because such "creative" tortures were implemented in the camps.The film culminates in a limply-staged battle between guards and inmates in which the bad guys get their comeuppance.
There are legions of fans of this movie who argue it represents genuine eroticism. There are also legions of people who think it's cool to wear T shirts with Charles Manson's image on them. I can't understand either point of view. Yes, sexual fantasies are just that-fantasies. If you dream of being flogged by an Amazon woman, good for you. However, blending sexual fantasies with real life horror of the Holocaust makes me wonder how anyone can find this film a turn-on. The fact that it was released during an era when there were still millions of survivors of concentration camps still alive makes the subject matter all the more atrocious. There certainly is a place for artistic expression of sexual content in films that push the envelope. (The Night Porter comes to mind, but at least it was a quality film with an intelligent viewpoint beyond shameless exploitation.)
The film was so successful that it spawned two sequels, though they dropped the Nazi angle. I guess that says all we need to know about what passes for entertainment in some quarters.
I suppose there is an audience for anything and I don't argue the producers had every right to release and profit from this claptrap. You just have to wonder how anyone can derive sexual pleasure from seeing screaming women being disemboweled and hapless men being castrated. Call me old-fashioned, but I would personally rather watch "Hogan's Heroes."
Click here to view trailer and judge for yourself (Warning! X-rated and not for the squeamish.)
Click here to order Prime Time DVD (illustrated above) from Amazon, but please note: this is not the DVD we actually reviewed, though it is said to be of superior quality.
The latest grindhouse vintage porn double feature from Vinegar Syndrome is one of their best releases yet. "Sadie" is an unlikely 1980 hardcore "adaptation" of Somerset Maugham's classic story "Rain", though we doubt ol' Somerset ever envisioned the types of goings-on that occur in this film, directed by Bob Chinn, a prolific name in the industry who was born in Hawaii (please refrain from making the old joke "on the island of Kumoniwannaleiya") and went on to direct dozens of X rated feature length movies. Here the titular character is a blonde bombshell played by Chris Cassidy. Sadie is a prostitute living in Borneo and the action all takes place in a low-rent beachfront hotel here she plies her services and receives paternal loving care from the seedy owner of the resort. Sadie is in love with an American soldier on leave to Borneo but finds she can't leave the island because the local Raja insists that he "bought" her in Saigon and that she must become a member of his harem. Sadie is a moody young woman, prone to selfish and occasionally reckless behavior. Her stress level only increases when an Evangelical U.S. senator and his wife and teenage daughter check into the hotel. The senator has married his wife in order to make an "honest woman" of her because she had been unwed when she gave birth to her daughter. Since then the couple has led a chaste marriage, as the senator believes sex is the work of the devil. The daughter, who has just turned 18, has no such beliefs and her raging hormones can't stand the strain as she witnesses the unapologetic free love practiced by Sadie and her friends. Before long, she's joining in the action while Sadie tries to construct a plan to work with corrupt government officials to get out of the country with her lover.
"Sadie" is largely confined to a few rooms in the hotel and there are no exterior shots. Yet the film is somewhat ambitious and rises above standard porn because director Chinn has a degree of skill in presenting a reasonably compelling story. His leading lady fits the bill in terms of the erotic sequences but is weak dramatically. Unusually for this type of film, Chinn gives plenty of screen time to what appear to be accomplished middle-aged character actors who don't get involved in the down-and-dirty stuff. The film is all the better for it. Chinn also knows how to skillfully lens the sex scenes but never overdoes them. There are twosomes, threesomes and orgy scenes but there is plenty of time devoted to at least attempting to tell an engaging story.
Another Chinn film fills out the double feature, thus making this a genuine "Double Chinn" presentation. "The Seductress" is a 1981 film, that like "Sadie", is far more ambitious than standard grindhouse fare of the era. Porn superstar Lisa De Leeuw plays Cindy, a young wife married to Richard, a local commissioner on the Las Vegas fire commission board. He's a chauvinist boor who talks to her as though she is the hired help. She finds out about a "service" that blackmails spouses by having them seduced, then secretly photographed from behind a two-way mirror as they have their illicit liaisons in a hotel room. Cindy engages the service and sure enough, Richard goes for the bait and ends up in bed with Renee (Lee Carroll), who pretends she is also married and is nervous about having an affair. In reality, she is a heroin-addicted hooker. Cindy's plans go awry when Renee refuses to turn over the photos of her husband unless Cindy "fills in" for her at the next night's liaison. If she doesn't, Renee will blackmail her. Cindy reluctantly takes on the task and ends up in a foursome with a cynical hooker and two men, one of whom is also being set up for blackmail/divorce. The plot gets pretty confusing at times but Chinn elicits good performances by old pros De Leeuw and Carroll, though his luck runs out with much of the supporting cast, some of who read their lines as though they are in a school play. Nevertheless, the film boasts a good story line that involves organized crime and a conspiracy to manipulate who sits on the fire commission. The political intrigue aspect has a genuinely creative payoff in the last frames, as Chinn ties it in with real life news footage of the disaster 1981 Hilton Hotel fire in Vegas that was caused by arson.
The print quality of these two features is above average and Vinegar Syndrome has even gone to the effort of tracking down the original trailers for each film. Although both "Sadie" and "The Seductress" are hardcore films, these represent an early attempt to appeal to female viewers who, at the time, might have wanted to experience some X-rated fare without being totally grossed out. Both hold up well today and are probably more creative than the largely indistinguishable fare being made today.
Audrey Hepburn would have been 85 years old this month. As a tribute to her special sense of class and style, the Huffington Post provides a series of photos illustrating Hepburn in the 1970s and 1980s as evidence that her beauty and elegance only became more impressive as she aged. Click here to view
Rod Barnett, writing on his blog The Bloody Pit of Rod, has an intriguing take about what went wrong with both attempts to make The Lone Ranger the subject of big screen feature films. The first debacle, The Legend of the Lone Ranger, was a costly flop back in 1981 but it looked like a smashing success compared to the 2013 Disney version, which is estimated to have lost $250 million despite the presence of Johnny Depp. Barnett's article, written contemporaneously with the release of the latter film last summer, examines why both films veered far off course. Click here to read
The first image we see in Gore Vidal: The United States of Amnesia, a handsome new
documentary byNicholas D. Wrathall, is
of Vidal at the Rock Creek Cemetery in Washington D.C., standing over what will
soon be his own tomb.He’s heavier than
we remember, leaning on a cane for balance. He recalls a few friends who are
already buried nearby, mentions his “pathological hatred of death,” and ambles
away. This is the titan at midnight, crumbling at the edges,still formidable.
The movie’s cryptic opening segues into a respectful,
occasionally moving, look back at Vidal’s life. It’s more a tribute than a
full-blown biography, for Wrathall presents Vidal as a kind of intellectual
colossus, utterly devoid of faults, a near perfect thinker, and the last lion
of America’s golden age of liberalism.The movie stops short of hagiography, but just barely.What keeps it interesting is Vidal, a born
entertainer who, even in his final years, could still spin a tale, drop a name,
or do an impression of JFK.
Vidal seems a natural subject for a documentary - there
have been several already, including a 2004 episode of the PBS American Masters
series - for his life was very much like a long, American novel of the 1920s.
His mother was a ditzy alcoholic. His father was an aeronautics instructor at
West Point, had an affair with Amelia Earhart, and wanted to be the Henry Ford
of aviation. The job of raising Vidal was left to his blind grandfather, the
fiery Senator T.P. Gore of Oklahoma.When
Vidal reminisces about the senator, the respect and awe is palpable.T.P. passed on to Vidal not just his liberal
politics, but also a love of literature, and a fearsome oratory skill.
After a stint in the U.S. Army during World War II, Vidal
went on to become a scandalous novelist, a playwright, a screenwriter, a
television dramatist during TV’s golden age; he was a self-described member of
the ruling class who struggled to escape it; he never referred to himself as
‘gay,’ but wrote books and essays defending bisexual and homosexual lifestyles;
he was deeply involved in politics, and later, was a TV gadfly, appearing on
The Tonight Show a dozen times, as well as many other programs, even lending
his voice to The Simpsons and Family Guy.
Wrathall taps most of those aspects of Vidal’s past
(not, alas, the cartoon work), but focuses mainly on Vidal the political
commentator, the weary traveler who sees America as a series of shams and
failures, the gruff grumbler. Indeed, the movie shows Vidal holding court at
various speaking engagements; all he has to do is call George Bush “a fool,”
and the walls of the joint practically come down.If the movie has a glaring fault, it’s that
we see Vidal go from being a young author of gay themed novels to a
socio-politico bon vivant, with very little in between to illustrate his
journey. Instead, Wrathall relies on nameless, faceless narrators to offer such
bromides as “Gore was everywhere, like a shape shifter.”
The cornerstone of any documentary about Vidal will be
his televised 1968 debates with William F. Buckley. Wrathall includes a hearty
helping of them here, and they still bristle nearly 50 years after their first
airing on ABC. Buckley is especially fascinating – he’s so effete he doesn’t
even know how to show anger. He bites his lip and cranes his neck like a man
having a fit.Vidal doesn’t come off
well either. He and Buckley were both trying so hard to be witty, and so unable
to conceal their hatred of each other, that whatever topic was on the table
grew cold quickly.
Much of the footage comes from late in Vidal’s life,
when he was bothered by physical problems and needed help getting around.
Hence, we see Vidal being helped up stairs, helped across bridges, helped up
hills, helped onto a stage at the 2005 Pen awards, and carted around in a
wheelchair.These scenes are interwoven
with a sort of “greatest hits” collection from Vidal’s past, where the great
pundit railed at this and that, his words rolling over his enemies like a
tank.The effect is entertaining enough,
and if Wrathall intended to depict Vidal as a fallen hero, he sort of succeeds.
Still, a more thorough and less deferential documentary might have considered
some of Vidal’s resounding flops. Remember Caligula?
Vidal’s long life, which included friendships with
Tennessee Williams, Paul Newman, and other bright lights of our popular
culture, can’t be jammed into a 90 minute documentary. For instance, Truman
Capote is barely mentioned, whichis
akin to leaving Joe Frazier out of a movie about Muhammad Ali.The saucier aspects of Vidal’s life, such as
his affairs with women, are not mentioned here, either.His engagement to Newman’s future wife,
Joanne Woodward, is ignored, although there are several odd photos of the
Newmans with Vidal, including one of Vidal and Newman fondling a statue’s
Wrathall doesn’t spend an inordinate amount of time on Vidal’s
books, or the notion, held by many, that Vidal possessed a great facility with
words but could not quite write a masterpiece. Instead, Wrathall gets cute and
shoots close-ups of Vidal’s pithy quotes, including “Whenever a friend
succeeds, a little something in me dies.” And, “Never offend an enemy in a
small way.”Anyone who doesn't know
better might think Vidal composed blurbs for fortune cookies.
Where Wrathall succeeds grandly is in showing Vidal’s
soft side. It's touching to hear of Vidal's relationship with longtime
companion Howard Auster, and Wrathall is smart to let the camera linger when
Vidal turns melancholy. Watch how Vidal pauses when recalling a childhood
friend who died in WW2, or the way his eyes mist over when he recalls “school
boy’s stuff, at a boys’ school, long, long, long ago.”These moments, and the gorgeous scenery
surrounding Vidal’s Italian home, make the documentary worth seeing. Wrathall’s
movie is like one of Vidal’s novels in that it’s not great, but very good.
(The film has just opened theatrically in New York. Click here to view trailer.)
Seven years after his blockbuster success producing the 1972 film The Poseidon Adventure, Irwin Allen revisited the same story for a sequel, Beyond the Poseidon Adventure. The 1979 film represents all the reasons that sequels to most hit films are generally disdained. Yes, there was The Godfather trilogy to buck the trend, but there were also those God-awful sequels to Jaws. Beyond the Poseidon Adventure opens the morning after the capsizing of the cruise ship. Michael Caine is Mike Turner, the financially destitute captain of a small vessel who is facing bankruptcy after losing his cargo in the same violent storm that destroyed The Poseidon. On board his boat are his first mate Wilbur (Karl Malden) and Celeste Whitman (Sally Field), a perky but klutzy young drifter the men have befriended. They stumble upon the capsized wreck of the Poseidon and Turner immediately smells financial opportunity in the tragedy. If he can make his way through the hull and down to the purser's office, he can raid the safe and abscond with the riches that are inevitably stored there. This is the first of any number of absurdities in the script. With the Poseidon the worst maritime disaster since the Titanic, Turner and his crew discover that, with the exception of one French copter that is conveniently leaving the scene upon their arrival, there is literally no other sign of the international rescue forces that would be omnipresent at the scene. Instead, after rescuing the few people who managed to make it onto the hull in the preceding film, those forces are in no hurry to get additional manpower to the scene in order to search for additional survivors before the ship sinks the bottom of the ocean. Inexplicably, while the rescue forces can't make a timely arrival at the scene, a small craft under the command of Captain Stefan Svevo (Telly Savalas) does. Svevo claims he is a doctor who is there with his crew to enter the ship and search for any survivors. (Absurdity #2: Svevo is about to undertake this arduous, grimy and potentially deadly task while attired in a snow white designer suit!). Turner buys his story and forms and uneasy alliance with Svevo and his team, who are also clad all in white and resemble some of those bands of henchmen from the old Batman TV series. Once inside the ship, movie magic takes over and the group finds every chamber to be brightly lit, thus making it possible to move about freely. True, there is the hazardous task of finding your way around an upside down vessel, but that problem is solved when they conveniently find a map that lays out precisely where everything is located. Soon, Turner discovers what even the most naive viewer has already realized: that Svevo is actually a villain with his own agenda. In the third major absurdity, we learn that the Poseidon was transporting plutonium that Svevo wants to acquire for nefarious purposes relating to bomb building. As if that isn't enough it turns out the ship was also transporting a huge shipment of assault weapons and stockpiles of ammunition. It's a wonder there was any room for those joyous conga lines to dance around on that fatal New Years Eve.
Since a hallmark of any Irwin Allen film is the presence of respected actors peppered throughout the production, it isn't long before familiar faces start popping up in every room, like those celebrities who used to stick their heads of windows and make wise-cracks on Rowan and Martin's Laugh-In. Slim Pickens, in full scenery-chewing hayseed mode, comes stumbling out of nowhere, drunk and protecting a precious bottle of wine. He pretends to be a Texas tycoon but it turns out he was the ship's wine steward and regards the bottle of expensive vino as a life long dream to acquire the lifestyle that has always eluded him. Then there is Shirley Jones, who emerges and announces that she is a registered nurse, which is certainly more practical to the group than if she were a butcher by trade. Angela Cartwright is a young woman who was on the cruise with her father, a bull-headed Archie Bunker type played by an unusually over-the-top and embarrassing Peter Boyle. Every Allen film needs a sympathetic older couple to wring a few tears from blue-haired old ladies in the audience so this time we have Shirley Knight and Jack Warden substituting for the previous film's Shelly Winters and Jack Albertson. Allen throws in the kitchen sink by making Warden play a blind man. Not to be politically incorrect, but the sequences of Warden stumbling around the upside down wreck of the Poseidon with a cane and wearing sunglasses begins to resemble a Monty Python sketch. Then there is Veronica Hamel as the prerequisite "bad girl" who slinks around in a drenched evening gown showing ample cleavage- oh, and young Mark Harmon has a major role as a young hunk who finds love with Angela Cartwright in the bowels of the sinking ship. If that isn't enough, we learn that lovable ol' Karl Malden's character is terminally ill and the symptoms manifest themselves while he's holed up in the upside down ship. (Somehow Allen showed restraint by not introducing killer sharks to the mix.)
Irwin Allen had the good sense to have seasoned directors Ronald Neame and John Guillerman direct his two biggest blockbusters, The Poseidon Adventure and The Towering Inferno and they remain enormously entertaining films. However, he became convinced that he could save a few bucks by doing the job himself. Thus, the man known for making disaster movies became better known for the man who made disastrous movies. The first slip was The Swarm, a 1978 flapadoodle that we always refer to as the worst "Bee" movie of all time. The movie was a bomb but that didn't teach star Michael Caine and co-star Slim Pickins a darn thing, since they re-teamed with Allen right away for Beyond the Poseidon Adventure. (Many years later, Caine said he was ashamed of this period of his career when he took virtually any job in order to earn an easy pay check.) With Allen back in the director's chair, Beyond was destined to be another camp classic and it has the look and feel of a TV movie. Caine looks understandably embarrassed, Field is in Flying Nun cutesy mode and Savalas channels his inner Blofeld as the villain. Allen packs in everything from an ax murder (!) to a full blown shoot-out in which every day people turn out to be as adept at handling machine guns as Sgt. Fury and his Howling Commandos. There are some reasonably impressive sets on view but many of the special effects are sub-par. The most hilarious are found in the opening frames in which we see Caine at the helm of his storm-tossed boat in the midst of a hurricane. The sequence was apparently filmed with the ship on rockers and the violent rainstorm was simulated apparently by having some guy off camera spray garden hoses. It's quite possibly the cheesiest effect I've ever seen in a modern, major studio production.
The Warner Archive has released Beyond the Poseidon Adventure as a burn to order title. With the film itself a dud, there is at least the saving grace of an interesting bonus extra: a vintage 22 minute TV special about the making of the film. It affords some excellent behind the scenes views of the production and makes it clear that a lot of talented people put a great deal of work into creating films that often turn out badly. There are also some nice trailers for the main feature, The Swarm, Twister and The Perfect Storm.
Vinegar Syndrome has released another grindhouse double feature of '70s hardcore porn flicks. "The Altar of Lust" is a boring, snoozefest masquerading as erotica when, in fact, it is about as stimulating as an Amway party. Erica Landers (billed in the film credits as "Erotica Lantern" (!), plays Viveca Hansen, a nubile Dutch teenager who is brutally violated by her barbaric stepfather in the only rape sequence ever filmed that is more boring than offensive. She makes her way to New York where she confides her life story to a sympathetic psychiatrist. For whatever reason, the dialogue comes from superimposed voices from both characters that give the impression that the film was badly dubbed. Erotica Lantern doesn't live up to her name, even in an era when everyday women could become major porn stars. She is far from exotic looking and is adorned with a dime store fright wig that gives each one of her scenes an unintentionally funny overtone. The entire "story line" involves her inability to have a stable relationship with men. After being abused by her stepfather, she enters affairs with other men who verbally abuse her (including porn super star Harry Reems, who uses the screen name "Stan Freemont".) One night, she walks in on her boyfriend Don as he's getting it on with another girl. The other woman ends up seducing young Viveca, much to the amusement of Don. However, when the two get carried away with sapphic lovemaking, he realizes there's no room for him in this party and he angrily departs the scene. Henceforth, Viveca becomes obsessed with women, leading her to see the therapist to find out what is wrong with her. The only intriguing angle of the flick is to evoke a bygone era in which gay people were seen to be suffering from a mental disorder. At the end of the flick, Viveca is put back on track when her own psychiatrist gets it on with her, a plot device you can see coming from minute one. The film is unexceptional on every level and will disappoint fans of the genre because the majority of sex scenes are softcore. The transfer, however, is top notch, given that source material for such releases comes from the "take what you can get" school.
The second feature on the DVD is "Angel On Fire", a 1974 flick that attempts to capitalize on "The Devil in Miss Jones". The film opens without credits but Darby Lloyd Rains is the female lead and stalwart male performers Marc Stevens and Jamie Gillis have major roles. The first scene finds Steven, a young hunk, in bed having torrid sex with his adoring girlfriend. However, when she informs him she is pregnant with his child, he verbally abuses her and abandons her without a second thought. He is a lifelong chauvinist who treats women as sex objects and nothing more. He is ultimately struck by a van and killed by driver (Stevens), who has been distracted by the fact that his girlfriend had been performing a sex act on him while they were cruising the streets of Manhattan. Steven finds himself in Heaven and in the presence of a comely female angel who tells him his fate: he is to be sent back to earth, this time as a female. Steven is "reborn" as a good look young woman named Stephanie (Darby Lloyd Rains) who is as sex crazed as his male alter-ego was. Before long, she enters a relationship with an arrogant man (Jamie Gillis), who treats her every bit as callously as he treated his own girlfriend. Speaking of whom, that woman reappears at his apartment and doesn't seem to be overly-startled by the revelation that her former lover has been reincarnated as a woman. In fact, the two get down to serious canoodling right away for the film's primary prerequisite lesbian sequence. As her dependence on her new boyfriend grows, Stephanie finds herself serving as a virtual sex slave to her deplorable lover- and her devotion only increases the more he abuses her. Finally, she discovers she is pregnant- and he abandons her as callously as he once abandoned his own lover. Stephanie is so heartbroken the she begs to die and - Presto! She is back in Heaven as Steven. He tells his angel guardian that he has learned an important life lesson about respecting women. For this, he is informed that in Heaven, sex is frequent and guilt free. She rewards him for recognizing his flaws and correcting them and the two start getting it on. ("If this cloud is a rockin', don't come a knockin'", you might say.) As The Temptations pointed out, everyone's doing fine on Cloud Nine. Angel on Fire is crudely made and suffers from an insufferable performance by Rains. Beyond that, however, it is far superior to "The Altar of Lust" and contains some genuinely erotic sequences. The flick also looks like it went through a meat grinder, with numerous blotches and edits apparent. As with previous Vinegar Syndrome releases, however, this only adds to its appeal.
Click here to watch a preview clips from the double feature.
Criterion has release a deluxe Blu-ray edition of director Peter Brook's 1963 screen adaptation of William Golding's landmark novel Lord of the Flies. As virtually anyone familiar with literature of the latter half of the twentieth century probably knows, the story involves a group of British schoolboys who are among the refugees deported from England out the outbreak of what is, presumably, a third world war. Their plane is shot down over the ocean but it crashes off shore from a remote island. All of the adults die but the boys miraculously survive and make their way to dry land. Realizing their survival is in their own hands, the boys (the age of whom ranges from pre-pubescent to early teens) set about the task of building shelters. They quickly master the essentials of staying alive and learn to start fires and to hunt and fish with reasonably effective hand-made tools. Inevitably, the fragments of a society begin to coalesce but there is stark contrast in philosophies. Jack (Tom Chapin) is an assertive, take-charge older boy who quickly learns he can use his aggressive personality traits to rise to a leadership position. Jack proves his worth by quickly going native and relishing the opportunity to play king. His skills are essential when it comes to providing food for the group. On the opposite end of the spectrum is Ralph (James Aubrey), a sensitive and thoughtful boy who rivals Jack as leader of the group based on his intellectual superiority. When the rivalry becomes heated, Jack and his numerically superior group of followers resort to violent methods to suppress Ralph and his friend Piggy (Hugh Edwards), a pudgy and harmless boy who must indulge many degrading insults and taunts. The resulting battle of wills leads to numerous tragedies and a conclusion that finds Ralph alone and being hunted down by his former schoolmates, who intend to kill him.
It's clear that Golding intended to use this scenario as a microcosm for society in general. He initially regarded himself as an optimist regarding human nature but that changed during his service in WWII, when he witnessed behavior that he thought was so horrendous that he became convinced that evil is far more prevalent in the world than he had suspected. That cynicism is carried over into the film, which is such a literate version of the novel that no one is credited as a screenwriter. Director Brook would assemble his cast of young boys (none of whom had any acting experience) and read passages and dialogue from the novel prior to filming each scene. The technique worked remarkably well. Brook's shoestring budget of $300,000 was cut in half after his ill-fated, short-term alliance with famed producer Sam Spiegel, who began to make significant changes to the production in the hopes of making it more commercial. When he insisted on adding a group of young girls to the mix, Brook ended their partnership but had to pay Spiegel half of his meager budget to cover expenses he had never even authorized. Left with only $150,000 in the coffers, Brook (who is primarily known as an acclaimed director of avant-garde theatrical productions) managed to get everyone to the island of Vieques off the coast of Puerto Rico, where most of the footage was shot. Brook could not afford a seasoned cinematographer so gambled on hiring a local still photographer, Tom Hollyman, whose work on the film is simply remarkable (though he would never make another motion picture). Hollyman's footage was supplemented by footage taken by Gerald Feil, who was given a hand-held camera and told to shoot anything he found interesting. The result is a superb compilation of both men's accomplishments. The movie was shot in B&W for budgetary reasons but it also worked beneficially in terms of the impact of this stark, bleak tale. Raymond Leppard's brilliant score combines British schoolboy songs with ominous jungle themes. It must be pointed out that, despite the impressive performances of the young cast members, only one- James Aubrey- decided to gravitate into acting as a profession. The real hero, however, is Brook himself, whose exercise in the ultimate "guerrilla movie making" still stands the test of time as a powerful and fascinating film.
Criterion's special Blu-ray release does justice to the movie on every level beginning with a superb transfer that emphasizes the glorious cinematography. The extras in the set are:
Audio commentary track featuring Peter Brook, producer Lewis Allen, cinematographers Tom Hollyman and Gerald Feil
Audio of William Golding reading excerpts from the book, accompanied by scenes from the film
Deleted scene with optional commentary track
Insightful interview with Brook from 2008 (in which he pointedly says he never made a commercial movie because he refused to compromise with the studios in terms of his artistic vision)
Wonderful home movies taken by the young cast members.
1980 British TV interview with William Golding (one of the few he ever gave)
A new interview with cinematographer Gerald Feil
The original trailer
Feil's 1975 short film documenting Peter Brook rehearsing cast members in Brooklyn for one of his off-beat productions. For those of us who do not "tread the boards" for a living, the rehearsals seem bizarre and resemble an exercise class more than an acting rehearsal. Some of it is unintentionally funny: the kind of pretentious scenario that is often spoofed by Woody Allen, with actors chanting and seeming to run about without rhyme or reason. Yet, who are we to argue? Brook's reputation as a major theatrical director remains firmly intact.
A collector's booklet featuring essays by Peter Brook and film critic Geoffrey Macnab
In summary, the Criterion release of Lord of the Flies is essential viewing for classic movie lovers.
When it comes to documentaries about the American Civil War, it's pretty much acknowledged that the gold standard was set with Ken Burns' acclaimed 1990 PBS series. However, it would be a mistake to dismiss other filmmaker's take on the conflict. One of the most impressive documentaries we've seen is producer, director and writer Chris Wheeler's "Civil War: The Untold Story", a five-episode series presented on two DVDs through Athena Home Video. The series is impressive on every level and rivals Burns' film in terms of educating viewers and providing emotional impact. Whereas Burns relied entirely on photographs of the period and location photography, Wheeler delves into the risky realm of using re-enactments of famous battles. If such sequences are not up to par, the effect can look cheesy and distracting. However, in "Civil War: The Untold Story", Wheeler was obviously working with a very substantial production budget. The battle sequences are meticulously staged and take on the feel of an epic, often evoking the grandeur of the big screen feature film "Gettysburg". The title is a bit misleading. There really isn't much here that has been "untold" but there is plenty that has not been covered in the detail Wheeler goes into. The series begins with a look at the plight of black slaves in the old South and poignantly shows the horror of their living conditions. The show then delves into the complex socioeconomic and political factors that brought about secession and the start of the war in 1861. As with most such series, this one is peppered with plenty of scholarly talking heads, each of whom adds immeasurably to one's understanding of the conflict. I did learn a great deal from the show, including how some famous generals were known to have made enormous military blunders such as ordering frontal assaults on embedded enemy positions, thus resulting in mass casualties. Wheeler's literate script also details how fragile American democracy was by 1864. With President Lincoln's popularity at its lowest point, war-weary northerners were more than willing to make peace with the south. In fact, Lincoln suffered the humiliation of having one of his former top generals, McClelland, nominated to be his Democratic opponent in the election. Violent and deadly riots had already torn apart New York City in protest of the draft. Lincoln had to pull off a major victory or America, as we know it, would have been confined to the dustbin of history. In fact, democracy itself as a form of government would have been doomed. Although we know the outcome of all this, Wheeler skillfully builds these crisis to the point of considerable suspense. He also manages to tell the story of the war through focusing on individual soldiers from both sides as well as freed slaves who found emancipation to be a crisis in and of itself. Where did these poor souls go? With no education, money or support structure, many ex-slaves traded one hellish life for another. Wheeler also points out the the legacy of the Civil War still permeates North/South relationships today. Indeed, even some elected officials call the conflict "The War of Northern Aggression".
The series, wonderfully narrated by Elizabeth McGovern, is completely addictive and you'll find yourself on a viewing binge, looking forward to each successive episode. The only downside is that one would have hoped that Athena had included an interview with Chris Wheeler about the making of this remarkable show. The only extras are some silent WWI-era newsreels that show fascinating footage of Civil War veterans from both sides attending "Peace Jubilees". It's truly surprising how many thousands of these veterans were still alive and well in the era of the automobile. The set also includes an instructional booklet of historical biographies and facts.
"Superb" is not a word one throws around casually but "Civil War: The Untold Story" is a superb achievement.
It’s hard to say
why the brain trust at Troma decided to release Dangerous Obsession on DVD this
year.Perhaps someone thought the
Esquire network’s recent re-airing of the old HBO Dream On series would create
interest in Brian Benben, who stars in this film (originally called Mortal Sins)
as Nathan Weinschenk, a brash private investigator from New York who gets
involved in a complex murder case involving some transplanted Southern religious
zealots. But even if there is a sudden renewed interest in the Benben catalog,
it’s difficult to imagine that even the most devoted Benben completists would
derive any pleasure from this cheaply made 1989 flick with its clichés and hack
dialogue. I can’t even label this one as
decent 1980’s kitsch.
Reverend Park Sung (James Saito) is murdered in his Manhattan apartment,
Weinschenk is hired by rival evangelist Malcolm Rollins’ (James Harper) who
wants to protect his own Manhattan church (‘The Divine Church of the People’).
Weinschenk also ends up protecting Rollins’ lovely daughter (Debrah Farentino),
which adds a little steam to the proceedings. The daughter, you see, has a
complicated sex life, as most women in movies did back in the late 1980s,
whether or not they knew Mickey Rourke or Michael Douglas.
the humor of being a Jew in a nest of bible-thumping Southern vipers. True, the
idea of Southern-fried televangelists setting up shop in Manhattan may have
sounded edgy at the time (this was the 1980s, remember, when Jimmy Swaggart and
Jim Bakker were involved in serious scandals, and TV preachers had become
popular punching bags), but the film is played out in such broad strokes that
any good ideas are quickly crushed by cartoonish acting. Weinschenk, for
instance, has the stereotypical Jewish parents who are oblivious to anything
outside their little household. He also shares
his office with a no-account male relative (I couldn’t tell if they were
brothers or cousins) and there’s even a running gag where the Southern folks
can’t pronounce his name.
the Jewish stereotypes aren’t enough, we also get a lot of TV private eye
clichés. As if he’s auditioning for a role in a network cop show, Weinschenk drives a classic 1950s car, and listens
to classic R&B (I’ll give some points to this movie for including a cut of
Jackie Wilson’s ‘No Pity In the Naked City’). He also thinks he’s a real wiseass,
although his level of wit is restricted to lines like, “Nice work if you can
get it.” Benben curses a lot, too, and
while he can drop the F-bombs with convincing venom, he’s still stuck with playing
a wooden character. The Southern stereotypes are pretty thick, too. The Southerners are all portrayed as bloated,
effete, Jerry Falwell types, speaking in
exaggerated, syrupy drawls; if you told me they were all stoned on Quaaludes
during filming, I’d believe you. The perfectly named Brick Hartney has some success
as the slimy Billy Beau Backus, playing his part like a community theater star
vamping for his friends in the front row. Proving that some people know how to get
out while they’re on top, Hartney never acted in films again.
are plenty of extras here, but none are about Dangerous Obsession. The extras are
solely Troma related, including vintage trailers for The Toxic Avenger, Return
to Nuke ‘Em High: Vol. 1, Badmouth, Poultrygeist, and Cars3, plus a snippet of
a Troma documentary called How To Sell Your Own Damn Movie, featuring filmmaker
James Gunn discussing the dubious wonders of social media.
For those who enjoy
spotting character actors early in their careers, you’ll find a surprising
number of them in Dangerous Obsession. Anthony LaPaglia has a small role, as
does Maggie Wheeler, who went on to recurring roles on Friends, Ellen, and
Everybody Loves Raymond. Anyone who has
watched TV during the past 25 years will also recognize Peter Onorati, who has
made a career out of playing guys named Angelo or Sal. Director Yuri Sivo and screenwriter Allen
Blumberg have worked infrequently since 1989 – Blumberg has directed a couple
of small projects, with Sivo’s highpoint being a couple episodes of the Swamp
Thing TV series.
the plus side, Dangerous Obsession is visually striking, with a sophisticated
use of shadows and silhouettes. That’s no surprise since it was shot by underrated
veteran Bobby Bukowski, whose recent work includes two excellent titles, The
Messenger (2009) and, what is perhaps my favorite movie of the past few years,
The Iceman (2012). Even while strapped
to a no-budget howler like Dangerous Obsession, Bukowski shows the immense
talent that would make him one of the most reliable and sought after cinematographers
of the past two decades. (Hell, he even shot Shakes the Clown!) In fact, I’d only recommend this DVD to those
who want to marvel at how a ham-handed script made on an Ed Wood budget can
feature so many lollipops for the eye. Even the final shot is superb, with Weinschenk and his girlfriend
arguing on a fire escape, the camera pulling back and wheeling around to reveal
a lush New York skyline at what must have been the so-called magic hour. The idea that the evil Southerners are gone
and the New Yorkers can get back to arguing among themselves is trite, but
Bukowski shoots it like he’s practicing for his future.
The Empty Canvas (original Italian
title La Noia), is a 1963 Italian drama waiting to be rediscovered as a
classic by retro film lovers in America.Besides being a solid outing for Horst Buchholz and part of Bette Davis’
1960’s resurgence, this film is a reminder of why French-born Catherine Spaak
was the “IT” European teenager of the period.She was described by critic Rex Reed as "[h]alf kittycat go-go
girl, half petulant defiance, … like a sexy lollipop [with] soft hair the color
of maple syrup.”In The Empty Canvas, the 18-year-old actress gave the best performance
of her career in a role intended to make her an international star.That performance earned a special Golden
Plate award at the David di Donatello awards (presented by The Academy of
Italian Cinema) in 1964.
Based on a novel by
Alberto Moravia, the film follows Dino (Buccholz), the twenty-something artist
son of a rich, American ex-patriot from New Orleans (Davis). Dino has
lost his way in life and no longer feels inspired to paint, or inspired for life
in general, so it seems. He resents his mother and her money, spending as
little time with her as possible.
Dino's life changes,
however, when he meets Cecilia (Spaak), an amoral young woman. Cecilia
has been carrying on a torrid affair with a much-older married painter, who is
Dino's neighbor. Upon the painter's death, Dino and Cecilia slide into a
torrid affair of their own. As their affair progresses, Dino, suddenly filled
with feelings and purpose in his life, becomes obsessed with obtaining
commitment from Cecilia. In the film's penultimate scene, Dino covers
Cecilia's nude body in lira notes in an effort to win her commitment.
Cecilia, on the other hand, is just out to have fun and do whatever makes her
feel good. Dino is in danger of letting his obsession with Cecilia
destroy his life, just as the old painter’s life was destroyed by his obsession
"money" scene, director Damiano Damiani was quoted in The Saturday Evening Post as saying that
"It was the most important scene of her career in her first
English-language picture, one that would either make or break her as an
international star. And she was cold as ice."While she may have been cold as ice in
controlling her nerves, as Cecilia, Catherine exudes a sensuous quality that
leaves no doubt about how a man like Dino could become obsessed with her
charms.In one scene set at an outdoor
cafe overlooking the city, as Rita Pavone sings "Now That You've
Gone," Cecilia dances seductively while Dino watches attentively from a
swing. Without a word being said, you can see Dino's resistance falling
and his obsession budding. That is one of my all-time favorite scenes
from any film.
Shot in gorgeous,
mood-setting black-and-white around Rome in the summer of 1963, the film's set
was a linguistic adventure. Director Damiani spoke English to Bette
Davis, German to Buchholz, French to Spaak, and Italian to others. The actors
spoke their lines in English for later dubbing. It had to have been interesting
to watch Bette Davis try to reign supreme over such an eclectic mix of
talent.In Rex Reed's N.Y. Times
profile of Catherine in 1966, he quoted her as saying: "I acted with
Bette Davis in 'The Empty Canvas.' Everyone in Rome was terrified of
her. I said only one thing to her: 'Hello'."
On a curious side note,
Bette Davis biographer Charlotte Chandler recounted in her book an odd incident
concerning Bette's arrival in Rome for filming. She was greeted at the
airport by Buchholz, who wanted to get things started off on a good note with
the notoriously persnickety Davis. Buchholz leaned forward to kiss Bette
on the cheek, as custom would dictate, whereupon Bette proceeded to put her
tongue in Buchholz's mouth in a more-than-friendly kiss! Buchholz never
knew whether she was just trying to shock him, or whether she had other
It is also interesting to note that Sophia
Loren’s 18th century castle, renovated at a cost of nearly $2,000,000, was
loaned by her to represent Bette Davis' villa in the film.Furthermore, the filming of the garden party,
which provides the setting for the "money" scene, included the
participation of more than 150 leaders of Rome's cultural set, who were there
to honor Bette Davis' first film in Rome.
The Empty Canvas was a hit in Italy
before being distributed in the U.S. in March 1964 by Joseph Levine’s Embassy
Pictures.Levine was quoted by The Saturday Evening Post as saying that
“[Catherine Spaak] will be the biggest new star of the 1960's. This girl
will be the Bardot of her generation. Ten years from now there will be
girls billing themselves as the new Catherine Spaak.”In Bardot tradition, I suppose, some of the
advertising showed Cecilia draped only in a towel and was considered too risqué
in some circles.As a result, some of
the advertising was censored. Levine even took to Variety to express anger about the ad censoring by the L.A. Times and the L.A. Examiner.Censoring can
still be seen on many of the surviving lobby cards for the film.My how times have changed!
The Empty Canvas generally received mixed-to-negative
reviews at the time from American critics, but it did respectable business and
garnered considerable attention for Catherine in the U.S.She was featured on the cover and in a story
in the July 1964 issue of Cosmopolitan, and she was also the subject of
a feature story in the May
2, 1964 issue of the Saturday Evening Post.
was a dream come true for the press, because she was the daughter of well-known
screenwriter Charles Spaak, was the niece of famed Belgian politician
Paul-Henri Spaak, and had married actor Fabrizio Capucci (of the Capucci
fashion-design family) in February of 1963, while seven months pregnant with
their first child.Amazingly, after
giving birth to daughter Sabrina in April of 1963, Catherine shot a film called
The Little Nuns before commencing
work on The Empty Canvas in
July.By the time the film reached U.S.
shores, Catherine and Capucci had already split, including a well-publicized
incident at the Italian border, where authorities stopped Catherine as she was
trying to leave the country with her infant daughter.I am sure that the tabloids of the day were
all over this story.
The Empty Canvas has never been released on DVD
in North America, but it was released by Embassy Home Entertainment in an
English language version on VHS in 1987. With The Criterion
Collection’s impressive recent release of the 1962 Italian classic Il sorpasso (aka The Easy Life), in which Catherine has a prominent supporting role,
the time is ripe for rediscovery in America of her classic work in The Empty Canvas as well.Furthermore, there should be no Bette Davis film
from the 1960’s that is unavailable on DVD
in the U.S.
Time to put up your Dukes! (DVDs, that is!) Cinema Retro has received this exciting press announcement from Warner Home Video:
JOHN WAYNE: THE EPIC COLLECTION DEBUTS -NOW SHIPPING!
DVD COLLECTION OF 40 WARNER AND PARMOUNT FILMS IS LARGEST JOHN WAYNE BOX SET EVER
INCLUDES HOURS OF SPECIAL FEATURES AND REMARKABLE MEMORABILIA
AMAZON BUYERS GET EXCLUSIVE WAYNE BELT BUCKLE
Burbank, Calif., February 24, 2014 -- To
commemorate one of America’s most iconic film heroes, Warner Bros. Home
Entertainment will introduce a comprehensive new DVD set -- John
Wayne: The Epic Collection-- on May 20. The spring release, just in
time for Father’s Day gift-giving ($149.98 SRP), will contain 38 discs with 40
Wayne films (full list below), including The
Searchers, once called one of the most influential movies in American
history and the film for which Wayne
won his Best Actor Academy Award®, True Grit (1969). The collection comes packaged in a handsome book with
unique collectibles and hours of special features.
The coffee table book includes a
chronological presentation of Wayne films, enhanced with wonderful photographs;
the hours of special features include commentaries, documentaries, featurettes,
vintage shorts and classic cartoons; and the special John Wayne collectibles include
personal correspondence, script pages/covers, pages with Wayne’s notations and
Wayne’s legacy will also be celebrated at the 4th
annual John Wayne Film Festival in Dallas from April 24th through
the 27th. The four-day festival will feature screenings of some of
Wayne’s classic feature films, Q + A sessions with Wayne family members and
co-stars, and parties celebrating the John Wayne heritage and legacy. All the
proceeds from the festival will benefit the John Wayne Cancer Foundation.
In making the announcement of the new
collection, Jeff Baker, WHV’s Executive VP and General Manager, Theatrical
Catalog said, “Thanks to our recent strategic alliance with Paramount and their
catalog titles, we’re delighted to be able to offer this number of titles representing
such a broad range of Wayne’s work. Wayne was one of the most popular film stars
ever. For more than a quarter century he was one of the tops at the worldwide box-office.
This collection will certainly be a ‘must have’ for loyal John Wayne fans and,
hopefully, will have an equal appeal to younger folks who want to learn more
Born Marion Robert Morrison in
Winterset, Iowa, John Wayne first worked in the film business as a laborer on
the Fox lot during summer vacations from U.S.C., which he attended on a
football scholarship. He met and was befriended by John Ford,
a young director who was beginning to make a name for himself in action films,
comedies and dramas. It was Ford who recommended Wayne for his first leading
For the next nine years, Wayne worked
in a multitude of B-Westerns and serials in between bit parts in larger
features. Wayne’s big break came in 1939, when Ford cast him as the Ringo Kid
in the adventure Stagecoach. Wayne
nearly stole the picture from his more seasoned co-stars, and his career as a
box-office superstar began. During his 50 year film career, Wayne played the
lead in more than 140 movies, an as yet unsurpassed
record, and was nominated for three Academy Awards®, winning the Best
Actor award for his performance in True
Discs In John Wayne: The Epic Collection
Big Stampede/Ride Him Cowboy/Haunted Gold, 1932
Telegraph Trail/Somewhere in Sonora/Man from Monterey, 1933
On a windy night, a black-clad stranger
rides into Daugherty City, Texas.He
flips a coin to ascruffy drunk who is
strapped for the price of a drink. He exposes a crooked dice game in the local
saloon, where most of the townsfolk seem to be congregated.Then he departs.In the meantime, down the street, a gang of
acrobatic robbers breaks into the bank and heists a safe containing $100,000 in
Army payroll money.The getaway crew
escapes town before a wounded trooper can raise the alarm, but out on the trail
they run into the stranger, Sabata, who picks them off with a tricked-out rifle
and recovers the stolen money.
Thus, in under 15 minutes of running time,
Gianfranco Parolini neatly sets up the events that will drive the remaining 90
minutes of his 1969 Spaghetti Western, "Ehi amico... c'è
Sabata, hai chiuso!" -- better known simply as “Sabata,” as United
Artists retitled the English-dubbed version that debuted in the U.S. in
1970.The original Italian
title translates to something like, “Hey, Pal, Sabata’s Here, You Lose” . . .
or maybe closer to the film’s rambunctious spirit, “. . . You’re Screwed.”
Bracketing the opening credits, Parolini
economically introduces most of the movie’s main characters, establishes their
personalities, and through their interactions with Sabata and each other,
defines the interpersonal relationships that will drive the plot.
Sabata (Lee Van Cleef), the sharp-eyed “man
who knows,” as the drunk Carrincha (Pedro Sanchez) calls him, deduces that the
men behind the attempted robbery are the local businessman Stengel, his partner
Ferguson, and their crony Judge O’Hara (Gianni Rizzo).He approaches them and demands $10,000 in hush
money.Refusing, Stengel dispatches one
assassin after another to kill him.Stengel’s henchman Slim, a hulking gunman named Sharky, two hit men
dressed like the Earp brothers, and a nervous killer disguised as a clergyman
all try and fail.With each attempt,
Sabata raises his price higher and higher.
An old acquaintance, barroom minstrel Banjo
(William Berger), one of the supporting characters deftly sketched in the
opening saloon scene, ambles in and out from the periphery, toting his own
tricked-out weapon, a carbine hidden under his musical instrument.Sometimes he sides with Sabata for money,
sometimes he works for Stengel; in any event, not to be trusted by either.He and a greedy saloon girl, Jane, have a
sort of romance characterized by mutual boredom and availability.Carrincha and a mute Indian acrobat, Alley
Cat (Nick Jordan), help Sabata.
Arguably, “Sabata” represented the high
tide of Spaghetti Western popularity in the States in 1970, benefiting from the
box-office success of Sergio Leone’s groundbreaking films and preceding the
decline of the genre as it sputtered toward a slow box-office death in the
mid-‘70s.Where Leone’s movies were
generally panned by mainstream U.S. media on their initial release, but
nevertheless attracted a small early following of more progressive critics,
“Sabata” ironically met the opposite reception.
Major outlets like The New York Times gave
it good notices, but the pioneering book-length studies of the genre by
Christopher Frayling and Laurence Staig & Tony Williams were lukewarm.Staig and Williams dismissed it as “a mixture
of gimmickry and borrowed themes.”Citing Banjo’s hidden carbine, Frayling said that the movie was one of
the “derivatives” inspired by Leone’s scenes in which “guns are fired from
Other commentators over the years have
noted additional Leone influences.Before you see Sabata’s face in the opening scenes, Parolini gives us a
shot down the main street of Daugherty City, framed between Sabata’s boots in close-up
--a favorite Leone visual angle.Paralleling the three lead charactersof “The Good, the Bad, and the Ugly,”
Parolini (who also co-scripted with Renato Izzo) builds the action around an
unflappable protagonist, an icy bad guy, and a talkative, slippery secondary
lead.Sabata’s black suit, black
military coat, and fanciful weapons recallColonel Mortimer’s from Van Cleef’s break-out Spaghetti role in “For a
Few Dollars More.”
The argument that Leone cast a long shadow
over Parolini’s movie is valid as far as it goes, but then Leone cast a long
shadow over all the Italian Westerns that followed after his enormously
successful pictures with Clint Eastwood.If we acknowledge that “Sabata” often follows the visual and dramatic
conventions of Leone’s movies, it’s only fair to Parolini to note that he
alsodeparted from those conventions in
ways that other Spaghetti directors such as Sergio Corbucci, Sergio Sollima,
and Luigi Vanzi generally didn’t.
For example, like John Ford, Leone held a
sentimental reverence for the sanctity of the traditional family; the families
in his movies symbolize social stability.There are no traditional parents and children in Parolini’s universe,
even if a kid’s chorus heard in the movie’s bouncytitle tune suggests there will be.The only offspring and parent in “Sabata” are
Sharky -- a burly, slovenly adult -- and his gray-haired old virago of a
mother, who berates him verbally and physically for not settling a score with
their neighbors the Mallorys.“They stole
your woman, didn’t they?”she
shrieks.No, Sharky retorts, “you sold
her to the Mallorys.”
Carrincha, who looks a bit like Sharky in
girth and disheveled appearance, laments his life of thirst and poverty: “I
curse the mother who bore me, and my brother, and my whole family.”Almost everything Carrincha says is prone to
exaggeration, so it’s difficult to know whether this sentiment is real or
not.Regardless, it mirrors and
reinforces the satiric relationship between Sharky and his mother, poles away
from the traditional relationships portrayed by Leone and Ford.
Playing with the “trio” aspect of “The
Good, the Bad, and the Ugly,” Parolini assigns the trickster role of “the Ugly”
not to the boisterous Mexican (in name, at least) Carrancha, as Eli Wallach’s
Tuco was “the Ugly” in Leone’s movie, but to theAnglo drifter, Banjo.This way, Parolini finds not only differences
but also similarities between the two characters, including allusions to a
shared history during and after the Civil War and maybe a shared past outside
the law.This gives their relationship
an extra dimension not present in the relationship between the Good and the
Ugly in the Leone movie.
Critics and fans who appreciate “Sabata” on
its own terms usually employ terms like “hectic and chaotic,” and
“fun” that’s “not to be taken too seriously.”The movie hardly lets up for a moment (none of Leone’s long, measured
takes), but a term like “chaotic” can be misleading if you think it means slipshod.In fact, even though Parolini doesn’t build
the movie around a mystery asLeone does
in “For a Few Dollars More” (what do those seemingly shared flashback memories
by Colonel Mortimer and Indio mean?) or around a character arc as Sollima does
in “The Big Gundown” and Corbucci in “The Mercenary,” “Sabata” has its own
ingenious design.Beyond the action,
stunts, and cynical humor, “Sabata” bears repeated viewing to appreciate the
two techniques that Parolini uses to bring unity to the film.
One technique is
repetition.Little details that appear
in one scene in the visuals or in the dialogue will unexpectedly and sometimes
subtly reappear later in a different context.Slim’s loaded dice in the opening saloon scene always come up 7.There are seven men in the getaway crew from
the bank robbery whom Sabata ambushes.When Sabata checks into a hotel in Daugherty City, Banjo’s squeeze Jane
gives him Room 7 -- “next to mine,” she says suggestively.(Sabata isn’t interested.As Jules Feiffer once observed of Superman,
he is so self-sufficient and self-confident that he doesn’t need to pursue
every woman he encounters, or even to respond to every pass that comes his
Parolini’s other technique is
music.Like Ennio Morricone’s
compositions for Leone, Marcello Giombini’s score is integrated into “Sabata”
as an essential part of Parolini’s fabric.Like Morricone, Giombini
tailors certain musical themes and cues to specific characters in the
story.As John Mansell observes in his
liner notes for a 2001 CD soundtrack edition, Sabata’s theme incorporates “a
rather buoyant sounding guitar piece … interspersed with a solo muted trumpet,
occasional harpsichord flourishes plus the added support of choir, which is
carried along on a backing of slightly upbeat percussion.”Banjo’s theme is a cocky melody plucked on
his namesake instrument, sometimes augmented by jingling bells like those sewn
on his trousers.
But Mansell’s description of Sabata’s
theme, while insightful, fails to note that the theme also incorporates a
glissando passage like the swirling of the wind.Sabata is associated with the wind throughout
the movie.In the first scene,
tumbleweeds blow down the street and lamplight flutters as Sabata rides into
Daugherty City.In the closing scene,
Parolini and Sabata use the wind to the same ironic effect that John Huston
used it at the end of “Treasure of Sierra Madre” and Stanley Kubrick in the
finale of “The Killing.”Although Judge
O’Hara wonders if Sabata is a government agent, and Stengel snaps back that
“he’s nothing -- just a drifter who’s after our money,” the man in black
perhaps suggests his true elemental nature when he advises Stengel in one
exchange: “Don’t shoot at the wind.”
Parolini and Giombini also take their
partnership one step further than Leone and Morricone did in their
collaborations.In Morricone’s scores,
Leone’s primary characters have (in the words of Staig and Williams) their own
“individual musical signatures” -- the template followed by Parolini with
Sabata’s and Banjo’s themes.The
difference is that, in Morricone’s scores, in any one scene where the character
either enters or dominates the action, his theme predominates.Parolini combines his individual themes for
Sabata and Banjo as point and counterpoint in the same scene to underscore the
two gunmen’s shared history and one-up rivalry.
Banjo’s theme sounds a little like the old
military marching tune, “The British Grenadier,” a reminder of Banjo’s allusion
to his and Sabata’s Civil War past on different sides of the conflict: “You in
the North and me in the South.”In their
first meeting after Sabata’s arrival in town, Banjo plays a mocking version of
the tune, in increasingly frantic tempo, as if trying to get under the other
man’s skin.Sabata stops the performance
by shooting one of the pegs off the banjo.“You were out of tempo,” he says dryly.
the end of the film, as Banjo leaves Daugherty City in apparent triumph after a
pivotal final encounter with Sabata, a merry version of his banjo theme begins
to play, bolstered by a fife and drum that underlines the similarity to
military marching music.The jingle of
bells joins in with a close-up of the bells on Banjo’s trousers.The viewer senses that this is the victorious
music that Banjo probably hears in his own imagination.However, Sabata’s wind-theme presently swirls
in.As if in competition, the strum of
the banjo gains tempo, becoming increasingly insistent.Remembering the association of the fast-tempo
strumming with the much earlier scene in which Banjo was humiliated, you may
anticipate that Banjo’s present victory will be short-lived, too.
There isn’t an official 45th anniversary
edition of “Sabata,” but the Swiss label Explosive Media recently released a
new Blu-Ray combo pack that also includes a DVD print, a supplemental disc of
interviews and features, and a nice souvenir booklet in German, copiously
illustrated with stillsand pictures of
various international posters.
“Sabata” and the two Parolini films that
immediately followed it are popularly known as “The Sabata Trilogy,” although
only one is a true sequel.“Indio
Black, sai che ti dico: Sei un gran figlio di . . .,” released in Italy in
1970, was imported to the U.S. the following year as “Adios, Sabata.”Yul Brynner played the hero who wears black,
this time a black fringed shirt and bell-bottom trousers instead of Lee Van
Cleef’s more formal outfit.In the
Italian version, he’s Indio Black; in the dubbed U.S. print, Sabata.
Both movies are strongly linked in casting
and style.Three of the major supporting
roles in the two movies are occupied by the same actors (Jordan, Rizzo,
Sanchez) and fulfill similar functions in character and plot.Dean Reed, who looks like the young Roger
Moore, plays an opportunist named Ballantine who serves as this film’s surrogate
for Banjo.There are several big-action
set pieces, mostly involving Sabata’s mission in Mexico to relieve a tyrannical
officer, Colonel Skimmel, of a hoard of gold during the revolution against
“Adios, Sabata” is an entertaining Spaghetti
with a bigger cast of extras and more explosions than its predecessors.One set piece, in which Sabata sends the
no-good Murdock Brothers to their “just reward” in a showdown at the Bounty
Hunters’ Agency, is particularly well dialogued and choreographed.
But “Sabata” is the better movie, partly
because Van Cleef and Berger had stronger chemistry than Brynner and Reed, and
partly because Brynner’s character is a more traditional soldier of fortune and
do-gooder (he’s friends with benevolent old priests and small children) than
Van Cleef’s enigmatic loner.Although
Bruno Nicolai’s score for “Alias Sabata” is quite good on its own terms, the
title track emulating the full-on symphonic, choral sound of Morricone’s
Spaghetti music, it isn’t as ingeniously integrated into the movie as
Giombini’s composition was.
authentic sequel to “Sabata,” released in Italy in 1971 as "È
tornato Sabata... hai chiuso un'altra volta," reached the States in 1972
as “Return of Sabata.”Lee Van Cleef
returns as the lead character, and Giombini returns as the soundtrack composer,
but unfortunately this movie doesn’t measure up to its predecessors.
As in “Sabata,”Van Cleef’s character rides
into a town where a cabal of seemingly respectable citizens is engaged in nefarious
activity.This time, the heavies are
the outwardly pious McIntocks who trumpet civic expansion in Hobsonville by
raising money for new buildings and businesses.They do so by imposing exorbitant taxes on the town’s goods and
In truth, patriarch Joe McIntock is
conniving with his brother-in-law, banker Jeremy Sweeney, to smuggle the money
out of town for his own enrichment.Sabata, who arrives in Hobsonville as a sharpshooter in a traveling circus
sideshow, following a hunch about something being rotten somewhere, uncovers
the fraud.As in “Sabata,” he demands
blackmail from the bad guys in return for keeping their secret.The McIntocks, reluctant to pay, send a
series of would-be assassins after him.
Again, Parolini employs his stock troupe of
Jordan, Rizzo, and Sanchez in supporting roles, and inserts a slippery
intermediary character, Clyde (Reiner Schone).Clyde, like Banjo, shares a Civil War past with Sabata.Giombini’s music isn’t as ingenious as his
score for the first movie, and the circus aspect of the story never quite jells
with the plot about the McIntocks’ scam; as a whole, the movie lacks the little
visual and aural details that wove “Sabata” together.
Another problem: Sabata loses much of the
steely, enigmatic quality that defined his personality in the first movie.In “Return of Sabata,” an old girlfriend, a
hooker named Maggie, drifts into town, and Sabata shacks up with her.Maggie is never quite integrated into the
story either.Sabata as a mysterious
loner in the original film was intriguing.As a more conventional character with a sexy main squeeze, like a hero
out of a paperback adult western, he isn’t.Still, “Return of Sabata” hardly merits a place among the “50 Worst
Movies of All Time,” as the Medved brothers asserted in their 1978 book.Maybe Parolini has the last laugh: the Sabata
movies live on while the Medved book is long forgotten.
CLICK HERE TO ORDER "THE SABATA TRILOGY" FROM AMAZON USA
(For information about Explosive Media's Blu-ray European special editions, click here. For more information, see the story in Cinema Retro issue #29. Click below to purchase).
Gordon Willis, one of the most acclaimed cinematographers of all time, has passed away at age 82. Praised by critics and prominent filmmakers alike, Willis helped transform the way modern movies were shot and had a unique style that defined his work. His most prominent films include The Godfather triology and numerous movies with Woody Allen including the 1979 classic Manhattan, which Willis shot in black and white. It became what many consider to be his signature achievement in motion pictures. Willis never won a competitive Oscar but was honored with an Academy Award on the basis of his lifetime achievements. For more click here
Some of the international movie posters presented in Cinema Retro issue #28, which features in-depth coverage of the making of Zulu.
By Brian Hannan
anniversary showing of Zulu in Britain next month is unlikely to be
repeated in the U.S. where the film flopped. But even the poorest box-office performer has an afterlife. So in 1965 Zulu was pushed out again anywhere that
would have it. That meant it supported some odd, not to say ugly, bedfellows –
exploitationer Taboos of the World in
Kansas City, The Three Stooges in The
Outlaws Is Coming in Phoenix, B
western Stage To Thunder Rock in Long Beach, How to Stuff a Wild Bikini in Des Moines and Rhino in Abilene. They liked it in Long Beach where it supported both
Circus World and That Man from Rio. It was the second feature to None But the Brave in Provo, Utah, and to
two more successful Joe E. Levine movies, Yesterday,
Today and Tomorrow in Ironwood, Michigan, and Marriage, Italian Style in Corpus Christi, Texas. Triple bills
being a staple of drive-ins, it was seen with Viva Las Vegas and Beach
Party in Tucson.
But it was not just support
meat. Almost a year after its release, it topped the bill in Helena, Montana,
with Robert Mitchum in Man in the Middle
as support. In Chester it was the main attraction with Homicidal in support. In Weimar, Texas, it was supported by Tarzan the Magnificent and in Bridgeport
by First Men on the Moon. At the
Cecil theatre in Mason City, Iowa, it played on its own, as it did in Colorado
Springs where it was advertised as “in the great tradition of Beau Geste” (supply your own exclamation
But it was not done yet.
Exhibitors in San Mateo had a soft spot for Zulu in 1966. It played there seven
times, as support to The Great Race, Marlon Brando western Appaloosa, Fantastic Voyage
(in two theaters), What’s Up Tiger Lily?, The Leather
Boys and Lawrence of Arabia.
Abilene brought it back twice, for a re-match with Rhino and then in a double bill with Kimberley Jim starring singer Jim Reeves when it was promoted as “a
true story of the Zulu tribe.” Fremont cinemas also ran in twice – with Return of the Seven and Fantastic Voyage. In Troy and Bennington
it rode shotgun with Elvis in Harum
Scarum. In Charleston it supported Arabesque,
in Winona The Second Best Secret Agent and in Long Beach What Did You Do in the War, Daddy?
The highlight of 1967 had to
be a double bill with The Daleks (Dr Who and the Daleks) in Delaware, or
perhaps the teaming with Batman in
Cumberland, Maryland, or El Cid in
Ottawa. Zulu returned twice to
Fremont to support Africa Addio and John
Sturges’ Hour of the Gun. In Modesto
it played with Where The Spies Are.
In Long Beach it was put on at a pop concert where the headline act was
Organized Confusion (anybody remember them?). These three years of repeated
showings hardly counted as a proper reissue, but it did cast an interesting
light on what may – or may not – have turned into something of a cult film. In
Britain, where it was a smash hit, it was reissued on the ABC circuit in 1967
Brian Hannan is the author
of the forthcoming The Reissue Bible.
Brian Williams and Ron Howard. (Event photos copyright Giacomo Selloni. All rights reserved.)
Earlier this month, Cinema Retro was invited to cover Tribeca Talks, a new live interview series that took place as part of the Tribeca Film Festival in New York City. We sent our "Man About Manhattan", Giacomo Selloni to cover the initial event at which Ron Howard was interviewed by NBC newsman Brian Williams. Here is his report:
By Giacomo Selloni
Ron Howard is an articulate film director. So it should come as no surprise that he is also an articulate speaker. He also has a way with anecdotes, as one might expect, given the length and diversity of his career.
"I think it's wrong to think of what I'm in as the movie business," Howard says. "It's the moving image business. I think it's necessary to work in all different mediums." He also says it's hard to call it the film business as the industry moves further towards digital movie making. Part of his process is deciding not only how to tell a story but what medium to use, film, television even the internet. "Some stories might work better on the internet, with little three-minute segments. The audience is always going to tell you what they want," he continued, "the audience clearly wants to have the option to view different stories in different ways."
"You're sixty, and a grandfather; it's enough to make one check their watch," Brian Williams said about Howard as he asked him questions about his career. When called upon to tell stories about the people he's worked with in his career that has now spanned six decades, Howard's abilities as a story teller came to the forefront. John Wayne, Henry Fonda, Betty Davis, Jimmy Stewart are among the legends he's acted with or directed. Howard recalled his first meeting with "The Duke." He was picked up at the airport in Carson City, Nevada by "The Shootist" dirctor, Don Siegel and driven to the motel where they were all staying. "C'mon," Siegel said, "let me introduce you to The Duke." Upon introducing the young star of "Happy Days" to John Wayne, Siegel handed Wayne a copy of the latest TV Guide that he picked up at the airport. It featured Ron Howard and Henry Winkler on the cover. "A big shot, huh?" said Wayne. Howard later asked Wayne if he wanted to run lines. Wayne told Howard that no one had ever asked him to do that before. Howard was struck by how hard Wayne worked on finding the right spots to insert his trademark pauses and hitches. They weren't by accident, they were part of a "structured performance." "That's one thing all the great ones had in common," Howard recalled, "they always worked a little bit harder than everyone else."
Howard co-starred with John Wayne in the Duke's final film, the 1976 Western classic The Shootist. Wayne considered young Howard to be among the most professional actors he had ever worked with.
Williams asked Howard if he would ever return to acting. "I would kind of like to," Howard replied - much to the audience's approval. Now that he and his wife are empty nesters she's urging him to get out of the house more. He told the story of how he got his first full-length feature directing job. "Kids off TV sitcoms were not from the fertile ground where the industry looked for directors." He made a deal with Roger Corman who wanted him to make "Eat My Dust," a film he did not want to star in. Corman gave him the opportunity to pitch a film that was in the same car-chase vein. "Grand Theft Auto" was the result. Howard co-wrote the script with his father, actor Rance Howard, and it was a major boxoffice success. The rest, as they say, is history. A few years later Howard gave up acting completely in order to concentrate on his booming career as a director, although out of sentiment, he did co-star in the smash hit TV movie "Return to Mayberry" in 1986 out of sentiment and respect for his co-stars from "The Andy Griffith Show".
The subject of politics and popular culture came up. Howard is a great believer in American culture. "We are truly a melting pot nation and we understand how to make it work and grow." Working primarily in Europe for the last few years, he is troubled by the confusing messages the United States sends to the rest of the world, the whole red state/ blue state thing. People are purposely polarized. Moderate ideas, he claims, don't get any attention. The only messages that get attention are those of the extremists. In closing, Brian Williams told Howard that "If our country were to prepare a time capsule, your films would have to be in it - if not you, yourself." A quick look on IMDB as a reminder of his distinguished directorial career may have you feeling the same way.
(Giacomo Selloni is a playwright and serves as Treasurer of the legendary Players club in New York City.)
CINEMA ISSUE #29 IS NOW SHIPPING WORLDWIDE! ALL SUBSCRIBER COPIES HAVE BEEN MAILED.
SUBSCRIBE OR RENEW YOUR SUBSCRIPTION TODAY SO YOU DON'T MISS A SINGLE ISSUE! SEASON 10 SUBSCRIPTION CONSISTS OF ISSUES #28, #29 AND #30 (WHICH SHIPS IN SEPTEMBER/OCTOBER 2014)
HIGHLIGHTS OF ISSUE #29 INCLUDE:
Visiting "The Great Escape" German film locations- then and now- plus David McCallum attends a 50th anniversary screening of the film.
Exclusive interview with director William Friedkin ("The French Connection", "The Exorcist") about restoring his controversial masterpiece "Sorcerer"- and the hellish experiences of bringing the 1977 film to the screen.
Excusive interview with actress Nancy Kwan, who discusses breaking racial barriers in Hollywood.
"The Wicker Man" 40th anniversary. A tribute to the classic British horror film and exclusive interview with director Robin Hardy.
From Glamor to Gore: how horror films saved the careers of aging acting legends such as Bette Davis, Joan Crawford and Shelly Winters. .
Paying tribute to the superb supporting actors of "All the President's Men": Jason Robards, Martin Balsam and Jack Warden.
Analyzing Sam Peckinpah's crime classic "Bring Me the Head of Alfredo Garcia".
"From 'Rio Bravo' to 'El Dorado': A look back at the Howard Hawks/ John Wayne Western hits..
Lee Van Cleef in "Death Rides a Horse" and "Sabata": the new Blu-ray European special editions.
Memories of legendary 007 cinematographer Alec Mills. .
"The Oakmont Story" series continues with the company's little-seen WWII flick "The Last Escape" starring Stuart Whitman.
The joy of collecting movie memorabilia
Raymond Benson's ten best films of 1988
Darren Allison reviews the latest soundtrack CDs
Plus DVD and movie book reviews.
IF YOU WANT TO ONLY ORDER ISSUE #29, CLICK BUTTON BELOW
TO ORDER SUBSCRIPTION FOR SEASON 9 (ISSUES 25, 26 & 27) ($36 FOR USA/CANADA; $56 FOR THE REST OF THE WORLD-INCLUDING POSTAGE) CLICK "ADD TO CART" BUTTON BELOW (USE DROP-DOWN BOX TO SUBSCRIBE OUTSIDE USA/CANADA)
Cinema Retro has received the following press release relating to our columnist Howard Hughes' new book:
THE FILMGOERS’ GUIDE TO THE GREAT SCIENCE-FICTION FILMS
Published in Paperback
30 May 2014
£14.99 | 9781780761664
up-to-date detailed companion to the best sci-fi movies of all time
Science Fiction is probably the most popular box office
genre in movie history and has given filmgoers some of their most memorable
cinematic experiences. Outer Limits
takes its readers on a tour of the sci-fi cinema universe in all its
fantastical, celestial glory.
The milestone films of sci-fi cinema from Metropolis to
Avatar are discussed in this Filmgoers’ Guide for anyone who enjoys a cinema
that has pleased and amazed filmgoers since the dawn of cinema. Illustrated
with fine examples of sci-fi film poster-art, Outer Limits goes deep into the most interesting and popular movies
across sci-fi cinema’s many forms, with core chapters used as launch pads to
discuss lesser-known influential movies and follow-on sequels. Howard Hughes
tells the stories from pre-production to box office returns of The War of the Worlds, Independence Day,
Tarantula, Godzilla, The Time Machine, The Thing, Invasion of the Body
Snatchers, Forbidden Planet, Barbarella, Galaxy Quest, Minority Report, Planet
of the Apes, Mad Max 2, Back to the Future, Alien, Terminator 2: Judgement Day,
The Man Who Fell to Earth, The Matrix, Star Trek, Apollo 13, Blade Runner
and many more.
Film writer and historian Howard Hughes is the author
of Aim for the Heart: The Films of Clint Eastwood
(I.B. Tauris) and of the Filmgoers’ Guide
series, When Eagles Dared, Crime Wave,
Once Upon a Time in the Italian West and Stagecoach to Tombstone (all from
I.B. Tauris). He is contributor to ‘The James Bond Archives’, the official
fiftieth anniversary celebration of 007, and writes regularly for film magazine
FOR HOWARD HUGHES’ BOOKS
‘expertly dissected...a fascinating read.’ - The Times
‘offers much to inform and plenty to enjoy...Highly
recommended.’ - Kamera
Hughes is ‘rigorous...engulfing us with history and
myriad detail.’ - Empire
‘Entertaining, illuminating and packed with
information’ - Sight and Sound
‘Hughes is a fan and his enthusiasm, as well as his
research, shines through.’ - Tribune
‘a goldmine of such film trivia, wide-ranging and often
delightful...Hughes is a thorough researcher and knows his stuff’ - The Australian
There will be a special two-day 50th anniversary tribute to the James Bond classic "Goldfinger" held in Oslo, Norway May 22-23. Ken Adam, the legendary Oscar-winning production designer, will be an honored guest along with his biographer Sir Christopher Frayling, Norman Wanstall (who won an Oscar for his sound effects for the film) and actress Margaret Nolan, who played "Dink" and whose body was seen in the classic opening titles sequence. For full information and schedule click here
Cinema Retro's Gareth Owen is in Cannes covering the film festival for us. He advises that initial reports that For a Few Dollars More would be the closing night's film were erroneous. In fact, it will be A Fistful of Dollars, the first of the Sergio Leone/Clint Eastwood "Dollar" trilogy. Gareth advises that the erroneous information had been broadcast by Riviera Radio, which is an official news outlet for the film festival. The station obviously received the news from an equally incorrect official press release.
By Gareth Owen
In a surprising but
welcome announcement the 2014 Cannes Film Festival will close with a screening
of a digitally remastered copy of the 1964 Sergio
Leone classic western, A Fistful of Dollars, starring Clint Eastwood. The festival's closing ceremony takes place a day earlier than
usual on the 24th of May, due to the European elections on the 25th. The
unusual move by organisers, who always choose an upcoming new release to end
the world's most glamorous film gathering, followed news of the other two “Dollar”
films screening on the beach to mark the 50th anniversary of the Eastwood/Leone
Eastwood himself, a veteran of the festival,
will not be in town due to him completing editing of The Jersey Boys film in
LA, however it will be introduced
by none other than Quentin Tarantino in his absence.
The festival opens with the controversial Grace of Monaco and amongst
the many other films, this writer is particularly looking forward to The Go Go
Boys which charts the rise and fall of prolific filmmaking company Cannon.
Golan and Globus will, themselves, introduce the documentary.
For more on A Fistful of Dollars, check out Cinema Retro columnist Darren Allison's Clint Eastwood blog here
Joe Dante's Trailers From Hell site presents the original theatrical trailer for John Boorman's classic 1972 screen adaptation of James Dickey's "Deliverance" starring Jon Voight, Burt Reynolds and Ronny Cox and Ned Beatty, both in their feature film debuts. The trailer includes commentary by film director Neil Labute. Click here to view Click here for Cinema Retro's review of the Blu-ray 40th anniversary release.
Every aspect of Alfred Hitchcock's career and films has been analyzed by countless film historians. But writer Shaun Chang has a new angle to pursue: a look at how the menswear featured in Hitch's films provides insights into his leading characters. Click here to read.
Unemployed and disgruntled Ronnie (Robert Buchanan)
hatches a plan to steal ninety sinks as
a means to solving his financial hardship. Recruiting his closest friends,
against the grey backdrop of Glasgow, eight teenagers plan to pull off the
cinematic caper that would define 1979.
Alongside the 60th Anniversary release of Akira
Kurosawa's seminal action masterpiece Seven Samurai, the month of April would
find the BFI with one eye fixed on Japan, and the other on home soil.
With their Flipside label the BFI proudly champions
the rediscovery of British cult films, and the latest film to find itself
inducted into this illustrious catalogue is Bill Forsyth's 1980 caper comedy
That Sinking Feeling.
It is hard to think of two more distinct films finding
themselves on the release slate alongside one another. In spite of being worlds
apart, they share a single similarity, and to the astute eye it is a
singularity that multiplies. That Sinking Feeling and Seven Samurai together
are perhaps a testament to the fact that films, like people, are individuals
but also live within a cinematic or narrative society.
As unmistakably Japanese as is Seven Samurai –
although it would be the seed of inspiration for John Sturges’ The Magnificent
Seven -- Forsyth's Glaswegian crime caper has British cinematic blood coursing
through its veins. It is indelibly a cult British classic,, regardless of whether
or not you’d describe it in that typically English way as your “cup of tea.”
The role That Sinking Feeling plays in the story of
both British and international independent cinema should not be overlooked. Highlighted
in an entry of Kermode Uncut that can be found amongst the extras, Forsyth
discusses how he constructed the film’s budget and how he gathered
non-financial resources that made his debut feature anything but a sinking endeavour.
It positions Forsyth as one of cinema's ingenious independent filmmakers, and
his story allows us to compare the landscape of independent cinema and the
working filmmaker from then to now.
With its shade of social realism through the disenchanted youth, Forsyth and
his cast of characters turn hardship into comedic gold, or at least they
attempt to do so through a caper that more than thirty years on may strike one
as pointless, and even perhaps, as amusing as the film itself. That being said,
with the recent scurrying around for scrap metal and copper that has helped
regional news programmes fill their schedule, That Sinking Feeling may not have
sunk as deeply into the past as one might imagine.
From the outset Forsyth imbues the film with playfulness - the film's title
sinking off-screen to the suggestion of Glasgow as a fictitious place. Add to
that the wry smile that frequents Ronnie’s (Robert Buchanan's) lips and it is
almost as if the film is trying not to laugh along with itself; an infectious
humour that would similarly plague Seinfeld cast members years later.
The fictitious place known as Glasgow is one that
may just intertwine itself with an inner knowing truth that Glasgow is real,
and the grey urban landscape of Forsyth’s debut feature is a reflection that
possesses a certain proportion of truth.
Constructed with a seeming focus on individual moments - the opening monologue,
the science-fiction comedy element and the encounter with a pretentious art
dealer amongst others, That Sinking Feeling is made up of comedy segments that
undermine the fluidity of a narrative gliding towards its destination. Whilst
it does successfully tell the story of a caper, and the forming of a gang, it
decidedly feels as if it is a film of moments that should be appreciated as
Although it is rough around the edges, and it habitually surrenders to the
moment, it should be regarded as both criticism and praise. These faults afford
That Sinking Feeling a vitality that so often can be found in first films where
directors succumb to the moment, a creative energy or instinct. After all, film
is constructed of moments, and the creation of these moments that permits a
film to exude charm and energy is reason enough for celebration.
With a comprehensive set of extras of first-hand accounts, the BFI have pulled
Forsyth's debut out of the shadows cast by Forsyth’s better known and often
more celebrated Gregory's Girl and Local
Hero. That Sinking Feeling may be a
title of introspective truth regarding its own fate.
Whilst the dark confines of the cinema may be the
traditional spiritual experience of the cineaste, to fine connoisseurs of home
entertainment such as the BFI, they are equally a beguiling means towards discovery or rediscovery. If the
truth be told, they possess a greater capacity to take us beyond the film, and
with the restored original Glaswegian audio track and a spate of extras, for
those either not born in 1979 or for those too young to see That Sinking
Feeling on its initial theatrical release, the BFI Flipside release is a
beguiling means of discovery, and for all others re-discovery with it restored
to Forsyth’s original vision.