Tim Sarnoff Technicolor's President of Production, addresses attendees.
energy was building, the drones were flying and the mood was celebratory as
Technicolor officially opened its brand-new Culver City TEC Center dedicated to
the brave new worlds of VR (virtual reality), AR (augmented reality) and other immersive
official name is “Technicolor Experience Center”, and it’s been having a “soft”
opening for almost a year, but now the doors are really open... The facility
is a collaborative lab and incubator to develop future content and delivery
platforms in the Immersive media space. “The TEC is really a work in progress,”
explains Marcie Jastrow, Technicolor’s SVP Immersive Media and the executive in
charge of the Center. “It’s a safe place for people to come and learn. It’s part education, part production and part
post-production.” Although Technicolor is the parent company of hot VFX shops
The Mill, MPC and Mr. X, which combined work on fully 80% of Hollywood
blockbusters and 50% of Super Bowl spots, the TEC is agnostic – meaning they
welcome all producers and projects.
“Technicolor” and most people think old time movie color, but as Tim Sarnoff,
Technicolor’s President of Production points out, “We processed our last foot
of film in 2015, we’ve been growing in the digital space for years.” Technicolor owns over 40,000 patents and is
ubiquitous today. “Everyone touches something that involves Technicolor,” says
Sarnoff, “… from your smartphone, TV, set-top boxes, blockbuster movies to
Super Bowl commercials.”
cool item on display was “The Blackbird” a VR vehicle designed by The Mill that
has been transforming auto advertising because it can mimic almost any type of
car and its unique 3D camera rig can capture a virtual version of any
environment. Along with making auto ad
shoots easier, The Blackbird (named because it was built in the very same
hangar where the legendary spy plane, SR-71, was constructed) can also help automotive
designers envision a new vehicle much earlier in the design process.
400 people crowded Technicolor’s new space – designers, directors, executives
from gaming, TV, film studios and technologists, all curious about the night’s other
big announcement: Technicolor and HP’s new collaboration: MARS Home Planet, an
ambitious project to use VR to design a life-sustaining environment for 1
million humans on the Martian surface. Hopefully we don’t have to flee Mother
Earth just yet (!) but this will be a vast experiment where students and
members of the public worldwide are invited to participate.
Blackbird VR vehicle.
wanted to tap into the collective human imagination and inspiration to reinvent
life on another planet…” enthuses Sean Young, HP’s Worldwide Segment Manager,
Product Development. He also pointed out
that while HP is known for its printers, they’ve been working in the film and
media space for 75 years, starting with building a color grader for Walt
Home Planet uses NASA’s research and footage of the Martian surface to create a
realistic backdrop for engineers, creatives, scientists and others to reimagine
what human life on another planet could be. Wanna be an astronaut? Go to hp.com/go/mars. The first 10,000 explorers get a download
code for the Fusion Mars 2030 VR Experience.
All things come to those who wait. Having somehow inexcusably missed actor/writerJim Brochu's award-winning play "Zero Hour" that depicts the controversial life and career of Zero Mostel, I was able to see the show's most recent revival at the Theatre at St. Clement's which is just off Broadway. The show is presented by the Peccadillo Theatre Company, which specializes in staging worthy productions in the prestigious venue that is just off Broadway. For Brochu, the one-man show is a triumph.. He wrote the script himself and the production is directed with flair by three-time Oscar nominee Piper Laurie. Mostel was a larger-than-life talent and he is played with uncanny skill by Brochu, who somehow makes himself into the spitting image of the iconic actor (he doesn't bare the slightest resemblance to Mostel off-stage). The imaginative scenario finds the entire play set in Mostel's New York painting studio in 1977, shortly before his untimely death at age 62. (It was news to me that painting was his real passion and that he considered acting a sideline that paid the rent.) When the story opens, Mostel welcomes a New York Times reporter who is there to conduct an interview. "Welcomes" is perhaps not the proper word: Mostel addresses the unseen writer with a barrage of insults and quips that appear to be only partly said in jest. As Mostel unveils the story of his life, he is simultaneously busy painting a portrait of his guest. He relates his humble beginnings in Brooklyn and his respect for his hard-working, honest father. His parents were Orthodox Jews and his mother never forgave him for marrying outside the religion. The strained relationship apparently lasted until his mother was literally on her death bed and she refused to greet Zero's young son Josh because he was the product of a mixed marriage. Much of the show covers Mostel's diversified acting career, which came about quite accidentally. He was on a trajectory toward fame and fortune when he had the misfortune of falling under suspicion during the McCarthy era. Called before a committee with a demand to save his career by naming colleagues who were alleged to be communists, Mostel refused. Consequently, he was blacklisted for years with devastating effect on his psyche, not to mention his finances. Mostel airs his grievances against those artists who "named names", such as Elia Kazan and up-and-coming legendary Broadway director Jerome Robbins. Years later, however, he would work with Robbins despite his personal revulsion of the man because he recognized he was an artistic genius.
During the 90 minute production (played without intermission), Brochu's intense performance makes you think you are actually watching Mostel himself. He rails, rants, raves and charms. Mostel was capable of making crowds laugh uproariously but at the same time was known to be a challenge to work with. Mostel addresses these character flaws in the story, admitting some faults but denying others. One must keep in mind that the show is not an objective overview of his career simply because it presents Mostel relating his own version of his personal history. He tells fascinating stories about his most famous roles in "A Funny Thing Happened on the Way to the Forum" and as the original Tevye in "Fiddler on the Roof"- and denounces the film version of the latter because he wasn't asked to star in it (allegedly because he was too difficult to work with) He also dismisses his cinematic triumph in Mel Brooks' "The Producers", saying that he hated the film because "I looked like a beached whale". If all Brochu offered was the Mostel who possessed a volcanic temper, the show would be unbearable. Who would want to spend 90 minutes with such a boor? However, he also shows us Mostel's softer, sentimental side especially when it came to him remaining loyal to the people who stood by him during the blacklisting years. (Burgess Meredith is singled out for praise as is his friend, Philip Loeb, who committed suicide because he was blacklisted). Mostel also proudly embraces his liberal political views, repeatedly pointing out that he agreed to have Jerome Robbins hired for his plays because to not do so would have been the equivalent of blacklisting - something Mostel felt the political left should never be responsible for. Strangely, the play doesn't make mention of Mostel's final film appearance in the 1976 movie "The Front", a scathing indictment of McCarthyism that was created by people who had been blacklisted (director Martin Ritt, screenwriter Walter Bernstein and Mostel, among them.)
"Zero Hour" is a remarkable achievement about the life of a great talent whose name is in danger of fading into oblivion. If younger people know who he is it's largely because of "The Producers"- if they even know about the film. However, for now, Mostel's and legend are alive and well on the stage of the Theatre at St. Clementine's. The production runs through July 9. Don't miss it- this is New York theater at its very best.
was a time when movies about the Vietnam War were sparse if non existent,
especially during the years when the war was raging (one of the rare exceptions
being John Wayne’s “The Green Berets” in 1968). Once popular movie genres like the
war movie and western were prolific on television and in cinemas, but were beginning
to fall out of favor in the 1970s. They were being reinvented and metamorphosed
into post modern psychological examinations of the nature of violence and war. Hollywood
commonly referenced the Vietnam War by creating characters in movies depicted
as dysfunctional or they commented on the war by setting the movie during a
different war “The Sand Pebbles” and “M*A*S*H” are outstanding examples of
Vietnam War movies in disguise).
Tell the Spartans” was part of the small tide of movies about that war released
in the late seventies and eighties. The 1978 release features a terrific
performance by Burt Lancaster as well as an interesting supporting cast of up and
coming actors. The film's opening prologue states: "In 1954, the French
lost their war to keep their Indo-China colonies and those colonies became
North and South Vietnam. Then the North aided a rebellion in the South and the
United States sent in 'Military Advisors' to help South Vietnam fight the
Communists. In 1964, the war in Vietnam was still a little one -- confused and
is war weary Army Major Asa Barker, commander of a South Vietnam outpost in
1964. A veteran of WWII and Korea, Barker commands a small group of American
advisors at the outpost on the eve of the American build-up in Vietnam. His
command also includes a few South Vietnamese soldiers and villagers as he
negotiates with the corrupt regional governor to ensure his troops receive
proper artillery cover as they engage North Vietnamese forces.
second in command is Captain Alfred Olivetti (Marc Singer), a capable junior
officer almost as jaded as Barker. They are assisted by the capable Signalman
Toffee (Hilly Hicks) who is always ready with communications to headquarters
before being asked. Replacements arrive at the outpost and they include the
usual assortment of misfits, fence sitters, thoughtful soldiers and a gung-ho
newly commissioned lieutenant. Corporal Stephen Courcey (Craig Wasson) is the college
drop-out eager to serve his country by helping the South Vietnamese. Sergeant
Oleonowski (Jonathan Goldsmith) is an experienced veteran near to reaching his
breaking point. Lieutenant Raymond Hamilton (Joe Unger) is the recently
commissioned officer a little too eager to engage the enemy and Corporal
Abraham Lincoln (Dennis Howard) is the opium addicted stoner. Cowboy (Evan Kim)
is Barker’s Vietnamese scout who is a bit zealous in his methods of enemy
interrogation. Character actor James Hong is also present as one of the
villagers assisting the Americans.
and his men are ordered on an expedition to an abandoned French military
outpost to report on enemy activity. They encounter the fort cemetery with 300
French graves from the First Indochina War where a sign written in French quotes
the Greek historian Herodotus referencing the Battle of Thermopylae in 480 B.C.
Greece; "Stranger, go tell the Spartans that here we are buried, obedient
to their orders." The men soon find themselves engaging an overwhelming
force of Viet Cong. The soldiers realize the similarities between their
expedition and the doomed French soldiers who died there 10 years earlier as
they make a stand against the Viet Cong. Several of the characters succumb to
their fate as happens in all war movies, but the film does this in a sincere
depiction of the futility of war in a way that honors those who serve and
on Daniel Ford’s 1967 novel, “Incident at Muc Wa,” the title was changed to “Go
Tell the Spartans” by screenwriter Wendell Mayes. Ford based the novel on his
experiences covering the war for “The Nation.” The novel covers what is historically
known as “Operation Blaze.” Mayes beefed up the character of Barker in the
hopes a major Hollywood actor could be coaxed into taking the part. After
several years in development Hell, Lancaster accepted the part under the
direction of Ted Post for Avco Embassy. The movie literally had a spartan
budget and was shot on location in California which doubled for the jungles of
Southeast Asia. “The Green Berets” suffered from a similar lack of location
filming and it’s a glaring liability in both films. If the viewer can overlook
this and accept pine trees for jungle palms, the movie works quite well as a compelling
war drama with expertly staged battle scenes.
Scorpion Blu-ray release looks and sounds terrific with a running time of 115
minutes. The new high definition transfer in widescreen is a vast improvement over
the previous 2006 DVD release. Extras on the disc include interviews with cast
members Marc Singer, Joe Unger, David Clennon, Jonathan Goldsmith and director
Ted Post. The interviews include interesting anecdotes on working with Burt
Lancaster and the process of bringing the movie to the big screen. If you own
the 2006 DVD, this Blu-ray is a worthy upgrade and recommended for fans of the
benefit of those unfamiliar with the events that preceded The Amityville Horror’s arrival on screen, I'll start with a little
backstory. In November 1974 one Ronald DeFeo murdered six members of his family
in their home at 112 Ocean Avenue on Long Island, New York. 13 months later
George and Kathleen Lutz, along with her three children from a previous
marriage, moved in; unperturbed by the gruesome events of a year earlier, they
had purchased the property at a bargain price. The family fled the premises
just shy of a month later, claiming to have experienced a succession of
terrifying paranormal events. Their experiences soon became the subject of a
book by Jay Anson, published in 1977. Following extensive studies by a number
of parapsychology experts, many of the Lutzes stories would later be debunked,
but at the time the couple became something of a media sensation. Director
Stuart Rosenberg's film – which, as movies will, played a little economical
with the facts (at least as they were laid out in Anson's book) – was released
in 1979 and not only proved to be a major hit for American International
Pictures but was one of the highest grossing ever independents to that time.
So, did any of those paranormal incidents really take place, or was it all just
canny media manipulation? George and Kathleen are dead, both having passed away
prematurely in 2006 and 2004, respectively, so the true story will probably
never be known. But that house on Ocean Avenue has changed hands five times
since the Lutzes left – with the owners having modified the building's facade
and getting the address legally changed in a bid to dissuade tourists from
pestering them – and there has never been another report of an untoward
occurrence. One can make of that what one will. In any event, back in the 70s
George and Kathleen Lutz appeared to enjoy the attention their alleged
misfortune brought them and considerable monies were generated. And at the end
of the day the possibility that, actually, it wasn't all a hoax affords the whole business an enduring appeal.
Rosenberg's film spawned a dozen spin-offs and sequels and was itself remade in
2005. On a final historical note, in a 1980 episode of the British TV series Hammer House of Horror entitled The House That Bled to Death a family are
driven out of their new home in the wake of a number of paranormal events. They
sell their story for a substantial sum and the tale ends with them living a
life of luxury and the revelation that they fabricated everything for the
money, although there's one final devilish twist in which...well, I won't ruin
it here; those interested in the Amityville phenomenon, on which The House That Bled to Death was clearly
riffing, will find it well worth seeking out.
to the 1979 film itself. I first saw The
Amityville Horror theatrically (twice) upon its initial UK release early in
1980 – six months after its US opening the previous summer. Although its
effervescence has diminished somewhat in the intervening years, back then the
belief that I was witnessing what were supposedly true events added a distinct
frisson to the proceedings.
married George and Kathy Lutz (James Brolin and Margot Kidder) move into a
large property on Long Island, the site of a familial massacre just a year
earlier. A succession of relatively minor incidents – inexplicable odours,
toilet bowls ejaculating viscous black gunge – begin to tarnish the happy
household, and George's health plummets. After priest and friend of the family
Father Delaney (Rod Steiger) is driven out by an unseen presence whilst he's in
the process of blessing the house, the abnormal occurrences intensify and it
becomes apparent that the residue of something evil is at work. When George's mood
darkens and his sanity begins to unravel, Kathy starts to fear for the lives of
her entire family.
The Amityville Horror
was co-produced by Elliot Geisinger and Ronald Saland, known primarily for a
number of behind-the-scenes shorts they directed and produced throughout the
60s and 70s. But the name that stands out here is that of executive producer
Samuel Z Arkoff, instantly recognisable to movie buffs from Vincent Price
horrors (Cry of the Banshee, The Abominable Dr Phibes and its sequel,
Dr Phibes Rises Again), through
blaxploitation classics (Coffy, Blacula, Slaughter) to clunky monster flicks (The People That Time Forgot, The
Food of the Gods, Empire of the Ants);
if Arkoff's name was on it you always knew you were in for a fun ride. And The Amityville Horror is nothing if not
Stuart Rosenberg, working from a Sandor Stern screenplay, conjures up an
efficient little creepy embroidered with all the standard haunted house tropes;
bumps in the night, thunderstorms, blood-spattered dream sequences, bricked-up
cubbyholes, tormented babysitters, and at one point the hoariest of them all,
the sudden appearance of a howling cat. But there are also enough genuinely efficacious
jumps and starts throughout to keep viewers on their toes. The whole shebang
gets strong backing from a terrific Lalo Schifrin score, its haunting (no pun
intended) nursery rhyme theme – the sound of chanting children set against low
strings combining to invoke a crawling sense of ill-ease – surely ranking among
the composer's finest works. It was Oscar-nominated for Best Original Score of
1979 but lost out to George Delerue's A
There’s enough cross-plot evidence to suggest that some ideas
woven into World Without End (Allied
Artists, 1956) were based in part on H.G. Wells’ classic 1895 novel The Time Machine.Wells’ immortal tale would, of course, soon follow
the less-celebrated World Without End
as a lavish, big-screen Hollywood feature of 1960.Though director-writer Edward Bernds readily admitted
to familiarity with Wells’ The Time
Machine, he insisted his screenplaywas
a wholly original creation.Though the
similarities between the two works cannot be discounted, Bernds refutation has
merit. Certainly modern science-fiction’s fascinations with time and space
travel were hardly of the abstract, and most certainly predated Wells’ own
literary musings on the subject.
That said, Bernds World
Without End is of its own time and primarily a stereotypical 1950s Cold
War-era vehicle. It’s a call for a
return to reason and détente in the decade following the game-changing horrors
of Hiroshima and Nagasaki. The real
monsters in this film are neither the over-sized arachnids nor the ambling Cyclops-Neanderthals. Instead it’s the hawkish politicians, generals,
diplomats and scientists who recklessly helped dress the stage for earth’s inevitable
apocalypse. There’s little denying this
is a “message” film. Even before the
credits roll, the film opens dramatically with a grim, red-tinted vision of an
atomic mushroom cloud spiraling heavenward.
It is March of 1957, and the U.S. has sent a spacecraft on
mankind’s first ever flight to red planet Mars. Surprisingly, the four man crew is not scheduled to touch down on the
Martian surface; this flight is purely a reconnaissance mission in which they
are tasked to twice orbit Mars for photo-mapping. In Washington D.C., Pentagon officials,
members of the press, and distraught family members have become increasingly anxious
as contact with the spaceship has been lost. The astronauts onboard are less concerned. They realize this breakdown in communication is
merely temporary, likely the result of their spacecraft entering Mars’ magnetic
Unfortunately and unbeknownst to the crew, on the return
voyage home, the spaceship accidentally wanders into a time displacement vortex. The craft crashes into a snowy region that the
rattled astronauts – all of whom have miraculously survived – not unreasonably
assume is one of Mars’ famed polar icecaps. It’s not, as they soon recognize when exiting the craft without the
assistance of oxygen helmets or pressure suits. Journeying from the snow-capped mountain, they dimly recognize the
outline of the Rockies, believing they might have somehow landed on the border
of Idaho and Wyoming, or perhaps that of Colorado and New Mexico.
They quickly begin to have their doubts when they wander
into a cave and are attacked by giant spiders “as big as dogs!” Surviving that
sticky encounter with the assistance of their pistols, an overnight campout under
the stars is summarily ruined when they’re viciously attacked by – and barely
stave off - a gang of marauding Cyclops-Neanderthals who brandish primitive
hand weapons. Taking supposed safe harbor
in still another cave, the crew is trapped inside when a steel panel
mysteriously descends from above. Their
abductors are, to the great relief of all, friends.
They learn from a panel of paternal, subterranean elders
referred as “The Council,” that they are indeed back on earth. But it’s now the year 2508, some 551 years
since they had first been launched into orbit. They also learn that the earth was almost entirely destroyed in the
“Great Blow” of 2188. This was the year
of Armageddon when “man destroyed himself” through foolish use of atomic weaponry
and the absence of wisdom.
For a film director with
such an iconic resume, there’s a surprising scarcity of scholarly books devoted
to Robert Wise, the man who directed such classics as "West Side Story" (1961), "The Haunting" (1963), “The Sound of Music” (1965), “The Curse of the Cat People”
(1944), “The Day the Earth Stood Still” (1951), “The Sand Pebbles” (1966) and
many other critical and commercial successes. To say nothing of his stature as
the man who edited “Citizen Kane” (1941) and “The Magnificent Ambersons” (1942)
before taking up decades-long residence in the director’s chair.
Wise brought a self-effacing
approach to directing, one that never drew attention to itself. He may have had
the most “invisible” style of all the major directors from Hollywood’s Golden
Era, which no doubt helps explain why he never had the auteur imprimatur conferred
upon him by French critics who swooned over Welles’ baroque visuals, Douglas
Sirk’s melodramatic excess, and Howard Hawks’ male-bonding thematic.
characteristics of a Wise film were subtler, if no less crucial: the ability to
advance the narrative through visuals, seamless editing, an unfailing command
of pace, the ability to draw consistent performances from his casts. His
adaptability and mastery of all aspects of filmmaking helped him excel across every
genre. Noir, sci-fi, horror, westerns, musicals, romances—Wise made outstanding
films in each of these categories.
In what is surely good news
for fans of Robert Wise and classic films in general, Joe Jordan, film historian
and author of “Showmanship: The Cinema of William Castle,” has filled an
important gap in film scholarship with his new book, “Robert Wise: The Motion
Pictures.” As the title implies, this is not a biography, but an in-depth study
of Wise’s films. The book’s length, 500 pages, testifies to the prodigious
research Jordan conducted on his subject.
Jordan’s approach is rather
unique. He provides an extended synopsis and assessment of each film, bookended
by contextual information relating to pre- and post-production issues and interspersed
with relevant dialog exchanges and copious film stills. These analytical
synopses, for want of a better term, are so lengthy and detailed that readers
are likely to find themselves running the films through their heads as Jordan
provides his own running commentary on how Wise achieved certain effects
through camera setups, staging of action, direction of actors, attention to
sound, and so on. Even if one has an intimate familiarity with Wise’s films,
Jordan continually surprises with his insight and observations, and makes one
want to watch them all over again.
Another highlight of the
book are the personal recollections from many of the actors and actresses who
performed in Wise’s films. These oral histories, some of which run to several
pages, are also deftly woven into the overall narrative. The contributors are
an interesting bunch. None of them are superstars per se (not all are actors,
either), and while some names are more familiar than others, all are extremely
talented professionals who made significant contributions to Wise’s films. It’s
refreshing to read fresh perspectives from personalities not often heard from. There’s
an unassuming tone to each of their recollections, which is fitting, given the
modest, self-effacing nature of the man they’re discussing. Their memories are informative
and entertaining, all of them linked by the greatest respect for their subject.
Stunt man Jack Young recalls
doubling for James Cagney on “Tribute to a Bad Man” (1956), and being impressed
by the relaxed yet professional atmosphere on Wise’s set—a recurring claim made
by everyone who worked on his films. Young offers a superbly concise description
of Wise as “a good director who cracked a soft whip.” He also reveals some
interesting facts about the nature of his profession in the 1940s and ’50s,
when stunt men also served as stand-ins and lighting doubles for actors, a
practice no longer allowed.
(1969; U.S. release, 1970), “Adios Sabata”
(1970; U.S. release, 1971), and “Return of Sabata” (1971; U.S. release, 1972)
are often referred to as “The Sabata Trilogy,” thanks to clever marketing by
MGM, which originally released the three Italian Westerns theatrically and on
home video here in the States. Technically, “trilogy” is a misnomer. As I noted in an article review on this site in 2014, “Adios, Sabata” was released in Italy
in 1970 as “Indio Black, sai che ti dico: Sei un gran figlio di...,” with
Yul Brynner as the title character Indio Black. It was rebranded for distribution in the U.S. and some European markets
when “Sabata,” starring Lee Van Cleef, turned a profit for MGM and producer
Alberto Grimaldi. Commercially, it was a
smart move, keeping the Sabata name on marquees until the true Van Cleef
tornato Sabata... hai chiuso un'altra volta!,” followed in American theaters as
“Return of Sabata” in the Watergate summer of 1972. For a longer analysis of the first Van Cleef
movie, not included in the review that follows, see the 2014 review.
Mr. Magoo would mistake Yul Brynner and Lee Van Cleef for each other, but
reviewers had an “Oh, well,” attitude about the casting, simply assuming that
Brynner had stepped in for Van Cleef between the first and third movies. Audiences didn’t seem to notice or care. Anyway, many of the same credits appeared on
all three films, ensuring some continuity of style: producer Grimaldi, director
“Frank Kramer,” actually the Americanized alias of Gianfranco Parolini,
scriptwriters Parolini and Renato Izzo, and supporting actors Pedro Sanchez,
Nick Jordan, and Gianni Rizzo. The
strategy probably benefitted the three films over the long haul, as well. With genre pictures, series tend to have more
staying power than stand-alone titles. On DVD, MGM Home Video released the three movies in 2006 both as
individual discs and as a boxed set under the “Sabata Trilogy” label. Kino Lorber Studio Classics produced a
Blu-ray edition of “Sabata” for the U.S. market in 2014, and now has completed
its set with “Adios, Sabata” and “Return of Sabata,” released simultaneously as
“Adios, Sabata,” Brynner’s title character signs up for a caper to steal the
Emperor Maximilian’s imperial gold from murderous Col. Skimmel (Gerard Herter)
and turn it over to Juarez’s good-guy Mexican revolutionaries. The “inside man” for Sabata at Skimmel’s
military post, and alternately his rival for the gold, is Ballantine (Dean
Reed), a portraitist and con artist. Lots of explosions ensue, along with chases, battles, gunfights, and
trick weaponry (like Sabata’s rifle magazine that also serves as his cigar
holder). As a “gringos south of the
border” action-fest, it’s better than any of the sequels to and reboots of “The
Magnificent Seven,” including last year’s dour remake.
“Return of Sabata,” Van Cleef’s character comes to Hobsonville, Texas, as the
star of a Wild West sideshow in a traveling circus. Sabata tells his old Army subordinate from
the Civil War, Clyde (Reiner Schöne), now the proprietor of a local
gambling house, that he plans to stick around long enough “to collect the
$5,000 you owe me.” Actually, Sabata has
a bigger score in mind, related to his reason for traveling with the circus,
and to the money being raised by town boss McIntock through exorbitant sales
taxes to fund “civic improvements” in Hobsonville. Where Van Cleef’s original Sabata was a
steely man of mystery, his character in “Return of Sabata” is more relaxed, to
the point of mugging for the camera in a couple of scenes, having a gorgeous
hooker girlfriend, Maggie (Annabella Incontrera), and indulging in
what today’s viewers might regard as a couple of sexist comments. Some reviews unfairly conclude that the plot
makes no sense. If you pay close enough
attention, it does, but “Kramer” makes the narrative hard to follow, inserting
details and events in rapid succession and seemingly at random. Only later do they pay off with verbal or
visual punchlines. It’s hard to tell if
he was being intentionally disruptive to keep viewers guessing about Sabata’s
motives along with Clyde and McIntock, or if he couldn’t resist adding every
gag that he and Izzo thought of.
Like “My Name is Nobody” (1974), the next-to-last Spaghetti
produced by Sergio Leone, “Return of
Sabata” indulges in too much noisy, surrealistic circus business for anybody
but the most avid Cirque de Soleil groupie. Where “Sabata” had one acrobat in the protagonist’s entourage (Nick
Jordan), the sequel has two (Nick Jordan and Vassili Karis). An opening “shootout” in a weirdly lit room
between Sabata and a passel of gunmen turns out to be part of the sideshow
act. It concludes as the stage lights
come on, the gunmen get up, wipe off their fake blood, and joke with each other,
and a noisy troupe of clowns runs in. Viewers allergic to clowns may be tempted to punch “stop” or “fast
forward” at that point. The first of the
gunmen “shot down” by Sabata appears to be played by actor and stuntman Romano
Puppo, Van Cleef’s stunt double in several Spaghettis, even though Puppo
doesn’t appear in the cast credits for the picture in IMDB and the Spaghetti
Western Data Base.
Licensed from 20th Century Fox and MGM, the KL Studio Classics
Blu-ray editions of “Adios, Sabata” and “Return of Sabata” have sharp hi-def
clarity and a strong color palette, nice upgrades from the previous DVD
discs. Extras are scanty, limited to
reversible case sleeves with the American poster artwork for the films on one
side and the Italian on the other, and trailers for the Sabata films and “Barquero,”
an inferior 1970 American Western starring Van Cleef. Unfortunately for aging fans, the audience
most likely to remember Van Cleef and Brynner, no SDH subtitles are
provided. The German Blu-ray editions from Explosive Media that
preceded the KL releases are superior in this respect, including both audio and
captioning options not only in English but also in Italian and other
languages. Too, it’s unfortunate that KL
didn’t spring for the rights and the costs to port over and translate the
attractive, informative insert booklets that Explosive Media’s Ulrich Bruckner
included with the German discs. Regardless, fans will appreciate Kino Lorber for making “Adios, Sabata”
and “Return of Sabata” readily accessible in the U.S. market in good hi-def
Only Live Twice opened in UK cinemas 50 years ago today
(on the 13th in America), and to celebrate the release of the biggest Bond of
all Cinema Retro's September issue pays tribute to this cinematic extravaganza
with a 32-page 'Film in Focus' special. Apart from Matthew Field and Ajay
Chowdhury's interview with Nancy Sinatra (a rare in-print interview about her
involvement with the film), we feature many rare and never-seen-before
stills and behind-the-scenes photos, features on props and collectibles, and
exclusive interviews with Karin Dor, Leslie Bricusse, Julie
Rogers (the singer who was originally contracted to record the title song) and Mark Cerulli catches up with Tsai Chin for her memories of the film. And
that's not all - Bond composer David Arnold discusses how the music to You Only Live Twice changed his life
forever, and we have an exclusive interview with the late Ken Wallis, the creator of the Little Nellie gyrocopter, who
discusses the helicopter accident (with photos) that caused cameraman John
Jordan to lose his foot; plus Raymond Benson meets 'Bond Girls' Akiko
Wakabayashi and Mie Hama, and Peter Lamont explains the logistics of building
the massive volcano set. A not-to-be-missed issue!
Cinema Retro #39 is published this coming
September (October in the US), and is the last issue of the 2017 season #13 subscription.
Make sure you subscribe or renew for this season! Issues #’s 37 and 38 ship
immediately, followed by the #39 in the fall.
disliked Car Wash upon seeing it for
the first time On Demand several years ago and didn’t even make it all the way
through. Having grown up listening to Richard Pryor and George Carlin in the early
1980’s I had always wanted to see this film that showcased both of their
talents but could never seem to find it on television or on VHS in any of the
independent video stores that I frequented. The former West Coast Videos and
Blockbuster Videos were of no help either. Given the opportunity to see it On
Demand, I must have been in a different mindset as something about the film
must have rubbed me the wrong way, but a new viewing of it has changed my mind
Car Wash, which opened in theatres in New York City
on Friday, October 15, 1976 (remember the 8th Street Playhouse?), is
a delightfully funny slice of Los Angeles 1970’s craziness that looks at the
lives of a sizeable group of men who wash cars by hand for a meek owner, Mr.
B., played by the late great character actor Sully Boyer, the bank manager from
Dog Day Afternoon (1975). Mr. B. can’t
afford to install the automatic, machine-run equipment necessary to wash cars
more efficiently at the Dee-Luxe Car Wash (even a young boy sees through his
claim to have his workers do the washing by hand to give it that “personal
touch”) while, unbelievably, carrying on an extra-marital affair with Marsha,
the cute girl at the cash register (Melanie Mayron, who looks like she could be
the sister of adult film performer Sunny Lane). The main characters are the
washers themselves and we are introduced to them as they change in the locker
room and talk about the lives that they really want to be leading. One wants to
be a superhero, another two are a fairly good singing duo, and the angriest of
the lot calls himself Abdullah (Bill Duke) and wants to be anywhere but there
as he’s tired of the shenanigans. Lindy (Antonio Fargas of Starsky and Hutch) is a drag queen with a good heart and has some
of the best lines in this Joel Schumacher-scripted film.
the action progresses, we meet several clients who want only tip-top service.
Lorraine Gary from Jaws portrays an
inspired bit of Beverly Hills middle-age housewife hysteria who is in a hurry as
she speeds through the LA streets talking on a mobile car phone(!) with a young
son who can’t stop vomiting for reasons never explained. Kenny (Tim Thomerson)
catches Marsha’s eye and suavely hands her his business card. Another involves
a man recovering from a prostate operation and a bottle of urine that parodies
the ape throwing the bone into the sky in 2001:
A Space Odyssey. One of the stand-outs is Richard Pryor as Daddy Rich, a goofy
preacher who travels in luxury with an entourage that includes The Pointer
Sisters and spouts enough verbal puns to illustrate that not much has changed
between the days of snake oil salesmen and those “doing God’s work” while being
called out by Abdullah. His reaction after getting out of the limo (look fast
for the sophomoric TITHE on the license plate) for the first time when he gets
a look at Lindy is hilarious and priceless. The car wash even has Daddy Rich’s
photo mounted on a wall next to JFK and MLK. George Carlin also appears as a
loquacious taxi driver who boasts to a hooker/passenger (Lauren Jones) how much
he trusts people just as she quietly bolts from his cab without paying her
fare. He spends the rest of the film looking for her while she hangs around
right under his nose, completely unrecognizable in a different outfit. The
film’s episodic nature recalls Robert Altman’s style of filmmaking.
not all fun and games as the script takes an unexpected turn into serious
territory where it deals with Caucasian and African-American relations. One of
the washers is himself an ex-convict doing his best to stay on the straight and
narrow and provide for his children who greet him at work in a sweet and tender
scene. Later, he is nearly killed when a fired employee tries to rob the cash
register after hours. The incident is completely unexpected and deeply poignant
as the former promises to help the latter out of his situation as the would-be
robber emotionally breaks down.
of the scenes would probably not be scripted like this had the film been made
today, and as of early 2016 there was a rumor that the film was being
considered for a remake. In 2001 a film called The Wash (not to be confused with the 1988 film of the same name) was
released and was directed by DJ Pooh and starred Dr. Dre and Snoop Dogg that
took place at a car wash.
Cineploit Records launches two new releases“Omaggio al Maestro Ennio Morricone” (Cine 20)
and “Omaggio a Joe D´Amato e Marcello Giombini” (Exploit 01) 7″ EP to mark
their 5 year anniversary.
Retro picked up on Cineploit’s talents very early in the day. I've been
reviewing their releases now since those very first humble beginnings. When it
comes to labels that are dedicated in keeping retro genre film music alive -
Cineploit are arguably the very best. Never afraid to explore new avenues or
indeed breathing new life into classic Giallo or Poliziotteschi film scores,
the label has decided to celebrate their anniversary with the release of a
tribute album ‘Omaggio al Maestro Ennio Morricone.’
“Omaggio al Maestro Ennio Morricone”- LP sleeve.
highly impressive compilation of the Maestro's work is performed by various
groups and artists from the Cineploit stable, and very lavish it is too. The
vinyl version comes in a beautiful gatefold sleeve with UV Spot, printed inner
sleeve and is available in a limited coloured vinyl edition exclusive at
Cineploit. The CD also comes with a Bonus track. The regular LP version is on
180g black Vinyl with or without the CD. The CD version also comes in an LP
style wallet with an 8 page booklet and features different front sleeve artwork.
As always, Cineploit offer a wide range of buying options at their website.
Zoltan – Pazuzu (from Exorcist 2)
Videogram – The Thing (from Soundtrack)
Orgasmo Sonore vs. Sospetto – Adonai (from Il Giardino delle Delizie)
Rashomon – Stress Infinito (from Spasmo)
Oscillotron – La Lucertola (from Una lucertola con la pelle di Donna)
LAWA (Leonard/Wank) – Sentenza di Morte (from Roma come Chicago)
Luigi Porto feat Fromwood – Strana Bambina (La Piovra)
Thelema – Die Ballade von Präfekt Mori (from Il Prefetto di Ferro)
Sospetto – Inseguimento No. 2 & 3 (from Una breve stagione)
LAWA (Leonard/Wank) – Revolver (from Revolver) * CD Bonus
have also taken this opportunity to repress and rerelease the long sold out
“Omaggio a Joe D´Amato e Marcello Giombini”- front of vinyl release.
“Omaggio a Joe D´Amato e Marcello Giombini”- back of vinyl release.
“Omaggio a Joe D´Amato e Marcello Giombini” by Deak Ferance &
Roger Conrad (Exploit 01) and features music from “Man-Eater aka Antropophagous” and “Erotic
Nights of the living Dead”. The vinyl features stunning retro artwork to both
front and back and is released in a limited edition of just 350 copies on
Orange/Black Splatter Vinyl.
never fail to impress me, through either their quality recordings or their
equally beautiful standard of packaging. With imminent new album releases
coming from both Sospetto and Thelema, the future is certainly looking bright!
Happy anniversary Cineploit!
Adam West, one of the most enduring pop culture figures of the 1960s, has passed away at age 88 after a battle with leukemia. West was a hunky young actor laboring in bit parts in films such as "The Young Philadelphians", "Robinson Crusoe on Mars" and co-starring with the Three Stooges in their last feature film "The Outlaws is Coming!" when he got the opportunity to audition for the role of Batman in ABC's new TV series. The essence of the show was that it would be played as a broad comedy. West impressed the producers with his ability to pretend his character wasn't in on the joke. West played Batman and his alter ego Bruce Wayne as stalwart, incorrupt heroes. He approved young Burt Ward to play the role of Robin despite not having any previous acting experience. The show, which premiered in January 1966, took off like a rocket especially with young people who appreciated the funky humor and the eye-popping production designs. ABC decided to emulate the old Batman serials but presenting the show as two half-hour episodes on consecutive nights, the first one always ending with a cliffhanger. Many actors of repute competed to play villains in the show including Cesar Romero, Burgess Meredith, Vincent Price and many others. In 1966, Fox rushed a feature film based on the series into production with West and Ward starring.
The show also inspired the short-lived TV series "The Green Hornet", which gave Bruce Lee his first dose of fame. By early 1968, however, the show's novelty had worn off and it was canceled. West struggled to find acting gigs. In 1971 he won good reviews for a dramatic performance in "The Marriage of a Young Stockbroker", playing a supporting role. West was proud of the film but it wasn't a hit and his career went back into the doldrums. West never went out of style, however, and make lucrative appearances throughout the decades at fan conventions around the world.
He also got a late career boost by providing the voiceover work for the hit animated TV comedy series "The Family Guy" as well as for the "Batman" animated series. West also enjoyed a surge in popularity whenever a new "Batman" feature film would go into production and he was a participant in the long-awaited home video release of the "Batman" TV series in 2014. In 2013, Netflix ran a documentary "Starring Adam West" in which the actor reflected on his career. For more click here.
Winston Churchill may be the famous figure of the 20th century to be most-portrayed on film. Indeed, it's hard to sell a historically-themed British film or TV series that touches upon the WWII years without making Churchill a central character. For actors the role must seem irresistible. After all, Churchill's real-life mannerisms and eccentricities remain the stuff of legend. In an age when most people are seemingly uninterested and uninformed about history, Churchill Mania is very much in vogue in some quarters. In the new film independent film "Churchill", Brian Cox becomes the latest thespian to portray the larger-than-life statesman. He does a brilliant job of it, too, having gained over twenty pounds in the process. It may seem that Churchill is one of the easiest legends to be imitated. As with John Wayne, it seems any drunk with a lampshade on his head can knock out a reasonably effective impersonation. However, Cox delivers one of the more effective interpretations of the man, playing up his physical and emotional frailties. The film concerns itself only with the period of timing leading up to the D-Day invasion- and there lies the rub. It is known that Churchill had strong reservations about the audacity of the Allies launching an "all-or-nothing-at-all" gamble to liberate Occupied France. However, the extent of those reservations has long been debated by historians. Churchill apologists have argued that his concerns were relatively minor and that he ended up being an enthusiastic proponent of the plan. His critics say that he whitewashed history in his memoirs and believe that he was reluctantly dragged into supporting the invasion only when it became clear that his objections were being overruled. The screenplay for the film is firmly in the second camp, making Churchill a man who was vehemently opposed to D-Day to the point of making himself a nuisance to Generals Eisenhower and Montgomery, who were hell-bent on taking the gamble. I don't proclaim to be an expert in Churchillian history so I can't address concerns cited by some other critics that the film exaggerates his objections to the invasion and the impact it had on the military and his wife Clementine (Miranda Richardson). She is portrayed as a long-suffering spouse who must endure her husband's constant temper tantrums and self-centeredness. This isn't a minor point. The entire plot is basically centered on Churchill's position on the D-Day invasion. The film does acknowledge a known fact: Churchill did favor a massive invasion of Europe but wanted the Allies to land in Italy, where they already had a foothold. His ideas were dismissed by Eisenhower in favor of using Normandy as the landing point. Although the film doesn't specify why Eisenhower rejected Churchill's plan, historians say it was because the fighting going on in Italy was proving to be far worse than anyone had predicted and the feat of getting an entire invasion force over so many geographical obstacles would have greatly slowed or diminished the effort. Although some critics have said that "Churchill" is a bastardization of history, there are scholars who back up the representation that Churchill was vigorously opposed to Eisenhower's plans for the Normandy invasion. As indicated in the film, he was haunted by the battle at Gallipoli in WWI, which he had planned. It resulted in massive Allied losses and Churchill was obsessed with not having another major invasion result in such casualties. What the film undeniably presents in an accurate setting is Eisenhower's momentous decision to trust his weatherman and approve the launch of the D-Day invasion, taking advantage of a sliver of barely acceptable conditions at sea. Half of his advisers told him not to do it while the other half told him he must. It's a scene filled with drama and tension- and one in which Churchill finds himself relegated to the status of bystander.
Cinema Retro has received the following press release:
Factory™ is celebrating five years of fear with the special screening event 5
Nights of Fear airing on Shout! Factory TV. In celebration of
the now-iconic horror brand’s fifth anniversary, Scream Factory will present
nightly screenings of cult favorite films Nightbreed, Bad Moon, The
Exorcist III, Hellholeand Rabid. 5 Nights of Fear will air from Monday,
June 12 through Friday, June 16 each evening at 10 p.m. ET/7 p.m. PT at http://www.shoutfactorytv.com/,
and on Pluto
TV Channel 512.
Monday, the terrifying celebration begins with Clive Barker’s creature feature Nightbreed:
The Director’s Cut. On Tuesday, fans can howl with horror to Eric Red’s Bad
Moon. Wednesday, things get even more wicked with William Peter Blatty’s The
Exorcist III. Then on Thursday, get locked up in the glorious grindhouse
film Hellhole. Finally, on Friday, fans can absolutely devor David
Cronenberg’s Canadian classic Rabid.
of Scream Factory and cult horror won’t want to miss these films streaming
free! Join the conversation to tweet the terror live using the hashtag
June 12 at 7 p.m. – Nightbreed: The Director’s Cut
June 13 at 7 p.m. – Bad Moon: Theatrical Cut
June 14 at 7 p.m. – The Exorcist III: Theatrical Cut
June 15 at 7 p.m. – Hellhole
June 16 at 7 p.m. – Rabid
listed are Pacific time, approximate and subject to change.
Factory TV’s 5 Nights of Fear will be streaming nightly from June 12
– June 16 at 10 p.m. ET/7 p.m. PT at http://www.shoutfactorytv.com/, and
CH 512. For mobile, tablet and connected TV devices the marathon is accessible
via the Pluto TV app. The marathon is also available via Pluto TV in the
living room (Roku, Amazon’s Fire TV and Fire TV Stick, Android TV devices,
Chromecast and Apple Airplay), on the go (apps for iOS, Android and Amazon) and
at your fingertips on PC’s, Mac’s or on the web.
who grew up in the 1970s fondly remembers “Chiller Theater” playing on WPIX in
the NY area. Chiller introduced me to
all the Universal classics – Dracula,
Frankenstein, The Wolfman and, of course, Karloff’s 1932 addition, The Mummy. Universal’s new re-imagining of their beloved
classic isn’t that Mummy, not by a long shot– but we’re in a different time and
a different world, so why not?
new Mummy stars Tom Cruise as Nick
Morton, an Army commando/antiquities raider who finds and sells priceless
relics on the black market. He’s stolen
a map from a lovely, combative British archaeologist (Annabelle Wallis) that
leads him to modern day, ultra dangerous Iraq. After he and his Army bro (Jake Johnson) call in an airstrike to save
them from insurgents, a missile blast reveals the hidden tomb of Ahmanet, an
Egyptian Princess who murdered her immediate family in a quest for power. Her punishment was being buried alive – in a
vat of mercury, which the ancient Egyptians believed prevented her evil spirit
from escaping. Tom Cruise inadvertently
raises her and all Hell breaks loose – literally.
Algerian actress Sofia Boutella (the legless assassin from Kingsman: The Secret Service) plays our new Mummy – it was a bold
choice, but the ONLY one director Alex Kurtzman could make as no one could
out-Karloff Karloff. Boutella is
menacing, seductive and a screen presence who can more than hold her own with
film has already received a drubbing from some critics and die-hard monster
fans. They took issue with Tom Cruise’s
casting and the filmmakers’ use of CGI. While I was surprised to hear that
Cruise had signed on, The Mummy is
something different from his usual action hero chores and he embraced it with
his trademark enthusiasm. He
convincingly plays a macho military guy fighting against Ahmanet’s spell,
trying to win back the archeologist and save the world from the
princess’ zombie hordes. (Did I mention
she can raise the dead?) While the
filmmakers did use CGI, the work by
Technicolor’s MPC is, as expected, top notch – from sandstorms blowing through
London’s Financial District, to attacking camel spiders and dead Crusaders stalking
the London Underground.
we have a new, female Mummy, we have global icon Tom Cruise, we have zombies,
chases and car crashes. What’s the only thing missing? A frame to hang it and future monster movies
on. Well, the filmmakers thought of that
too: enter “Prodigium”, a super secret organization dedicated to wiping out
evil and it’s hot on The Mummy’s trail. Prodigium is run by… um… Dr. Henry
Jekyll. Cue the needle skip sound!
played by Oscar-winner Russell Crowe, is a clue that The Mummy, impressive as it is, is part of something bigger – the
Dark Universe, Universal’s reinvigorated monster franchise.Take a deep breath and step back… unless
you’ve been buried alive for the last decade, Hollywood is, for better or
worse, in the mega franchise business:Iron Man, Thor, Deadpool, Kong, Star Trek,
Pirates, Harry Potter, MI, Fast & Furious, Hunger Games, James Bond, Jack Reacher, etc. Why?Because with rare exceptions, they make
boatloads of money.If you view it in
that context, Dr. J’s appearance makes a bit more sense. Crowe is fine as the good doctor and his evil
counterpart who gives Cruise a righteous thrashing while trying to enlist him
to the dark side, but I kinda wish they hadn’t crossed horror streams, so to
speak…that said, The Mummy is everything you could want from a $120 million film –
it’s fast, exciting, and impeccably made.And it isn’t all airless CGI: early on, the military plane transporting
Princess Ahmanet’s sarcophagus is hit by a swarm of crows.The resulting crash was filmed on 16
parabolic flights to show Cruise and Wallis banging around the cabin in Zero
G.There’s a high-speed ambulance crash
on the moors of England that practically puts you in the driver’s seat.Cinematographer Ben Seresin uses the vast Namibian
desert to great effect; and love him or hate him, Tom Cruise is a damn good
actor. His almost-nude scene reveals he is also as ageless as the Sphinx.So kick back and enjoy this Mummy.You’ll always
have Karloff’s classic on your DVD shelf.
Levinson’s 1982 comedy Diner
celebrates its 35th anniversary (yikes!) with a special 35mm
screening at the Ahrya Fine Arts Theatre in Los Angeles. A highly revered
coming-of-age story directed by the man who helmed Young Sherlock Holmes (1985), Good
Morning Vietnam (1987), and Rain Man
(1989), Diner features and all-star
cast that includes Steve Guttenberg, Daniel Stern, Mickey Rourke, Kevin Bacon,
Tim Daly, Ellen Barkin, and Paul Reiser. The 110-minute film will be screened on
Saturday, June 10, 2017 at 7:30 pm.
PLEASE NOTE: Producer Mark Johnson and
actor Paul Reiser are scheduled to appear in person for a Q & A following
the press release:
35th Anniversary Screening
Saturday, June 10, at 7:30 PM at the Ahrya Fine Arts Theatre
Followed by Q & A with Producer Mark Johnson
Laemmle Theatres and the Anniversary Classics Series present a 35th anniversary
screening of one of the best loved films of the 1980s, Barry Levinson’s
'Diner.' Levinson made his directorial debut with this feature set in his
native Baltimore in 1959, and he earned an Oscar nomination for best original
screenplay. The frequently uproarious comedy-drama, set to a rousing soundtrack
of hits from the period, follows a group of friends who hang out at their
favorite diner as they try to navigate the perilous path from adolescence to
adulthood. Long before 'Mad Men,' this film skewered the blatant sexism that
was rampant in the era.
The extraordinary cast, many of them new to movies, includes Steve Guttenberg,
Daniel Stern, Paul Reiser, Mickey Rourke, Kevin Bacon, Tim Daly, and Ellen
Barkin. Levinson encouraged his cast to improvise, and their rapport helped to
electrify the film. Many of them went on to make an impressive mark in both
film and television over the next decades.Time’s Richard Corliss wrote that
'Diner' was “wonderfully cast and played.”People Magazinedeclared, “All the performances are
remarkable…but the ultimate triumph is Levinson’s. He captures both the surface
and the soul of an era with candor and precision.”
Mark Johnson won the Academy Award for producing the Best Picture of 1988, 'Rain
Man,' also directed by Levinson. His many other credits include 'The Natural,'
'Good Morning, Vietnam,' 'Avalon,' 'Bugsy,' 'Donnie Brasco,' 'A Perfect World,'
'The Chronicles of Narnia,' 'The Notebook,' and the award-winning TV series
'Breaking Bad,' 'Better Call Saul,' and 'Rectify.' He has chaired the foreign
language committee of the Motion Picture Academy for many years.
The Ahrya Fine Arts Theatre is located
at 8556 Wilshire Blvd., Beverly Hills, CA 90211. The phone number is (310) 478 – 3836.
With passing of Chris Cornell, writer Jeremy Fuster of The Wrap web site had the inspired idea to contact famed motion picture composer David Arnold to discuss his collaboration with Cornell on the song "You Know My Name" which was used over the opening titles in the 2006 James Bond film "Casino Royale". No less than the future of the Bond franchise was riding on the film's success, which was anything but assured. A lot of bad press was aimed at Daniel Craig in his first film as 007 and word-of-mouth was less-than-enthusiastic. However, those doubts were shattered on the night of the royal premiere in London with Queen Elizabeth in attendance. Critics showered the movie with praise and Craig made his unique mark on the character of Bond. Arnold recollects how he and Cornell agreed that they needed to create a gritty title song that symbolized the new era of Bond and the new emphasis on realism. Click here to read.
Due to disappointing boxoffice returns, "Those Fantastic Flying Fools" was re-titled and remarketed as "Blast-Off". This was not an uncommon practice during the era. "Operation Crossbow" was retitled "The Great Spy Mission" and "Star!" was reissued under the title "Those Were the Happy Times".
BY LEE PFEIFFER
Olive Films has released a Blu-ray edition of "Those Fantastic Flying Fools" although the packaging bears the film's alternate title, "Blast-Off". The 1967 production is largely forgotten by all but the most avid retro movie lovers. Clearly inspired by the success of director Ken Annakin's 1965 blockbuster "Those Magnificent Men in Their Flying Machines", "Blast-Off" is far more modest in its ambitions and the pleasures it delivers but it still offers a rare opportunity to see many great "second bananas" in leading roles. The movie apparently had a checkered history with Bing Crosby, Senta Berger and Wilfred Hyde-White having been associated with it in the early stages only to drop out for various reasons. As it is, the movie presents an impressive number of talented comic actors in a tale loosely inspired by the writings of Jules Verne. (The movie was released in the UK under yet another titles, "Jules Verne's Rocket to the Moon"). The film presents Burl Ives, well cast as P.T. Barnum, making a trek to England where he encounters a the nutty Prof. von Bulow (Gert Frobe, ported over from "Magnificent Men" in an almost identical role), who is trying to convince skeptical colleagues that he can develop technology to send a manned rocket to the moon. Barnum, ever the opportunist, doesn't care whether the plan is feasible or not, but he smells a great way to attract paying crowds to see the rocket before its attempted launch. He partners with the Duke of Barset (Dennis Price), a true believer in von Bulow's ambitious plan, and before long even Queen Victoria is on board helping with the financing and providing logistical military support as von Bulow goes through an often disastrous series of experiments using high levels of gunpowder to find the perfect formula to act as propulsion for the rocket.
The story dovetails with individual side plots that present Daliah Lavi as Madelaine, a lovely but ditzy French girl, who is equally in love with two would-be husbands, Henri (Edward de Souza), a wealthy playboy and Gaylord, an American inventor who is also developing technology to bring a man to the moon. Through a convoluted set of circumstances, Gaylord and Madelaine end up arriving in England at the precise spot where Barnum and von Bulow are performing propulsion tests. Madelaine ends up getting lost and falls into the hands of the lecherous Harry Washington Smythe (Terry-Thomas), a notorious con man who has convinced Barnum and the Duke to hire him as an adviser and accountant. The rambling screenplay finds Gaylord and Henri both competing to find Madelaine, who is attempting to prevent the rocket launch from being thwarted by a Russian spy(!). The movie contains some fine cinematography (it was filmed entirely in Ireland) and director Don Sharp keeps the action moving at a frantic pace without making the plot seem too confusing. Ives is as commanding as ever, Donohue has a rare opportunity to show his skills in slapstick scenarios and Lavi shines in a rare leading role that reminds us that she coulda/shoulda been a much bigger star. The real fun comes from the British actors, including Lionel Jeffries as a competing scientist who joins ranks with Smythe to undermine the rocket launch that is to take Gaylord on what may be a one-way trip to the moon. Terry-Thomas predictably chews the scenery, playing yet again another charming rogue and Dennis Price does well as the foil for the zany characters surrounding him which includes ever-reliable Graham Stark. Even Hermione Gingold pops up briefly as the matron of a school for wayward girls who has turned the charity into a classy bordello. John Scott provides the lively score and the film boasts some impressive costumes and production design elements. The Olive Blu-ray has a superb transfer and includes a work print trailer that doesn't have titles. Recommended.
The latest issue of Cinema Retro (#38) has shipped to subscribers worldwide.
Highlights of this issue include:
Celebrating the 50th anniversary of The Dirty Dozen with an extensive report on the making and legacy of the film by Brian Hannan and fascinating insights by Dave Worrall. into the TV sequels and television series .
Nicholas Anez looks back on the 1967 smash hit biker filmThe Born Losersthat introduced the character of Billy Jack.
Mark Mawston gets an inside look at the movie music of director/composerJohn Carpenter.
Brian Davidson celebrates the career of actressSusan George.
Mark Mawston interviews actress and blues legendDana Gillespie.
Dawn Dabell revisits the underrated cult movieThe Hand of Night(akaThe Best of Morocco).
Whatever happened to rising British starVictor Henry? Brian Davidson provides the tragic answer.
Raymond Benson works overtime, providing us with his Ten Best Films of 1957.
Gareth Owen looks back at the illustrious past of Pinewood Studios
Plus Darren Allison's latest soundtrack news and reviews and the newest Blu-ray and film book releases.
Where else can you find an eclectic line-up of articles such as these? Please continue to support the world's most unique film magazinein print by subscribing or renewing today for issues #37, 38 and 39- a full year's worth of Retro reading.
Roy Hill’s 1964 comedy, The World of
Henry Orient, is based on a novel by Nora Johnson that fictionalizes her
own experiences as a schoolgirl in New York City when she and a friend
allegedly had crushes on pianist Oscar Levant. She and her father, Nunnally
Johnson, adapted the book to screenplay.
the story of two mid-teens, competently played by newcomers Merrie Spaeth
(“Gil”) and Tippy Walker (“Val”), who attend a private girls school in the
city. Gil’s parents are divorced and she lives with her mother and another
divorcee in a nice Upper East Side apartment. Val’s parents are still married,
but unhappily, and they’re constantly traveling the world for her father’s (Tom
Bosley) business. This leaves Gil and Val to indulge in precocious imaginary
“adventures” around the city.
develops an infatuation on eccentric womanizing concert pianist Henry Orient
(Peter Sellers) and the pair stalk him around town as he has first an affair
with a married woman (the delightful Paula Prentiss) and later Val’s own snobbish
mother (Angela Lansbury). Orient spots the two girls several times, leading him
to have paranoid fantasies that they are spies working for the cuckolded
husbands. In short, the youngsters’ shenanigans end up running the naughty man
out of town.
movie is really an odd little coming-of-age tale concerning children from
dysfunctional or broken homes. It works well enough (it was positively received
upon release), but it’s hardly a “Peter Sellers movie,” as the publicity
campaign promises. Sellers, who receives top billing, is barely a supporting
player in the story, although he is indeed very funny. His antics with Paula
Prentiss—a highly underrated comic actress who shines in her brief moments—are
enjoyable, and the crazy Carnegie Hall concert in which he performs his latest
avant-garde composition is hilarious—worth the price of admission.
the film focuses on the two girls, who, for their debut performances, aren’t
bad at all, but don’t quite have the screen charisma to elevate the film to
intended heights (Spaeth never acted again; Walker went on to do some
television and a couple of other films before retiring from show business in
film might be a delight for anyone who knows New York City. As the picture was
made on location, it’s a virtual tour guide for the sights, mainly Central Park
and the Upper East Side. Elmer Bernstein’s lively score is memorable—especially
the catchy main title theme and Orient’s wacky P.D.Q. Bach-like “symphony”
(that includes a fog horn).
Lorber’s DVD release comes with no supplements other than trailers for other
releases by the company. The video image is fine.
little-seen today, The World of Henry
Orient is an interesting time capsule from its era, most significant for
being one of three 1964 pictures in
which Peter Sellers starred. He was, arguably, at his peak.
I'm always in the mood to watch a James Garner movie and the Warner Archive has cooperated nicely by releasing his 1963 comedy "The Wheeler Dealers" which pairs Garner with the lovely, talented (and somewhat underrated) Lee Remick. The movie presents Garner in his signature role as a lovable rogue. This time he plays Henry Tyroon, a Texas millionaire investor in any and all business deals that might turn a fast profit for him and his partners. When we first meet Henry he has been a downward spiral. His latest speculation on an oil rig delivers about a gallon of "Texas tea" before it starts gurgling up dust. Henry's accountant warns him that he'd better start raising a couple of million dollars for new investments or he'll be flat broke. Heeding the warning, the ever-confident Henry arrives in New York and pretentiously dresses like an innocent Texas good ol' boy, complete with string tie and cowboy hat. It's all part of the charm offensive to make him look as honest and unassuming as possible. In short order he meets with Molly Thatcher (Lee Remick), an assertive young securities analyst who is part of a small group of brave females who are trying to break the glass ceiling on Wall Street. They are finding it's actually made of concrete but Molly has landed a job at a financially-challenged securities firm headed by Bullard Bear (Jim Backus), who takes a paternal liking to her. However, in order to cut costs he's been advised to fire Molly, largely because the notion of a female handling the stress of a finance job is regarded as an amusing but improbable idea. Bear can't bring himself to actually fire her so he gives her a "Mission: Impossible"-type assignment: find a buyer for some virtually worthless stock in a widget company that Bear has lost a considerable amount on. Henry charms Molly and takes on her cause, offering to help offload the stock with some loyal investors of his. These turn out to be three Texas millionaires who follow him around in their private jet (complete with built-in saunas!) in the hopes of being able to invest in his next big idea.
The movie quickly becomes "Doris Day and Rock Hudson Lite", with Henry trying to seduce savvy big city girl Molly who assures him that while she is not "pure as the driven snow", she's also not one to go for a one-night stand. In the realm of 1963 Hollywood comedies, sex was often hinted at, as it is here, but it's rarely consummated between unmarried couples. As Henry and Molly take road trips trying to unload the widget stock, they end up spending the night in the same hotel (gasp!) but when the quarters prove to be too close, Molly makes Henry sleep in his convertible (which at least is equipped in 007-style with a phone and built-in bar.) So much for the sexual sophistication of New York city female circa 1963, at least in the minds of Hollywood screenwriters. The script follows all the predictable aspects of a Day/Hudson comedy: double entendres, mistaken motives and at least one good temper tantrum on the part of the leading lady (caused here when she discovers that lovable ol' Texan Henry is actually a Bostonian with a Harvard degree). The film represents the second feature film directed by the soon-to-estimable Arthur Hiller but despite his attempts to keep the action light and breezy he's saddled with a confusing script that is far too labored with Wall Street jargon that seems confusing today let alone in 1963. It's also unclear whether Henry is an outright con man or just a guy who doesn't mind gnawing at the ethical edges of financial dealings. Indeed, New York Times critic Bosley Crowther wrote of the film, which opened at Radio City Music Hall, "If
you're one of those people who doesn't know the difference between a 27 per
cent depletion allowance and a 50 per cent override—then you'd better not look
to this fun thing to cause you to split your sides." At times the financial aspects of the banter would seem to appeal only to people who wear green eyeshades in their professions. Fortunately, Garner (who earned a Golden Globe nomination for his performance) is in top form, as is Remick, who was certainly one of the most beautiful leading ladies of the era. The film also boasts an impressive cast of familiar second-bananas in amusing supporting roles: Chill Wills, Phil Harris, Vaughn Taylor, the aforementioned Jim Backus, Louis Nye (as a modern artist who makes money by selling junk paintings to pretentious millionaires), John Astin, John Marley and Howard McNear. Even Alan Sues, Bernie Kopell and James Doohan turn up in blink-and-you'll miss them roles. Patricia Crowley is funny as Molly's more sexually liberated roommate who is willing to trade a night under the sheets for a big night on the town.
The most interesting aspect of "The Wheeler Dealers" is a sociological one. The treatment of women who try to exercise their brain power through business careers comes across as a 1963 horror show. At best they are viewed in a patronizing manner by male bosses who treat them in a childlike manner. At worst they are driven from their jobs by misogynistic knuckle-draggers who advise them to stay home and cook, clean and look after the kids. Sadly this was the overwhelming sentiment of the era. Perhaps younger women should watch films like "The Wheeler Dealers" so they get a greater appreciation of what their mothers and grandmothers had to endure simply to hold down a professional job. It's also rather interesting to see the social protocols of the time- young women dress to the nines for a date (complete with those elegant gloves that stretch up their arms) and guys feel free to light up giant stogies in fancy restaurants without even earning so much as a disapproving glance from other patrons.
The movie is not exactly a gem and it's lacking in real belly laughs, but it is consistently amusing enough to recommend it largely because you can do worse than to spend 107 minutes with the engaging members of the cast. The Warner Archive Blu-ray boasts a fine transfer that does justice to the impressive opening credits and zippy title song. An original trailer is included but don't watch it until after you've viewed the entire film as it gives away a key scene in the climax.
CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE
SS: A Portrait of Evil” is a 1986 made-for TV movie telling the fictional story
of Helmut (Bill Nighy) and Karl Hoffmann (John Shea), brothers who become a
part of Hitler’s rise to power in Germany. The movie opens in 1931 as we meet
the brothers, their family, friends and associates. Hoping they can sway and
minimalize the radical elements through their intellect and character, Helmut
and Karl willingly join the Nazi Party.
Hoffmann brothers are eager participants in the Nazi party early on as their
mother Gerda (Carroll Baker) provides worried commentary. Factory worker Karl
joins the SA while his university student brother Helmut is coaxed into joining
the SS by fencing instructor Reinhard Heydrich (David Warner), much to the
objection of his mentor and Jewish professor Ludwig Rosenberg (Jose Ferrer).
Tony Randall is interesting appearing as a comic performer for the Nazis known
as Putzi. Mitzi Templer (Lucy Gutteridge) is a beautiful nightclub singer and
friend of the brothers.
story of the brothers unfolds in episodic fashion through to the end of WWII covering
14 years and the inevitable fall of the Third Reich. Nighy and Shea give thoughtful
and sincere performances as brothers who support each other and Germany and attempt
to reel in the extreme elements of the Third Reich. The movie is well made, the
drama compelling and it kept my interest throughout with a cast filled by many veterans
of British television. Although their initial reason for joining is an honest
attempt for change, the old “just following orders” argument comes to mind, and
it’s hard to feel any real empathy for the brothers even when the movie comes
to the tragic conclusion.
by British television veteran Jim Goddard, best known in America for the TV
movies “A Tale of Two Cities” in 1980 and the outstanding “Reilly: Ace of
Spies” in 1983. He had a brief foray into feature films with “Bones” in 1985 and
“Shanghai Surprise” in 1986, but returned to television after their failure at
the box office. He does a good job with “Hitler’s SS” telling a story that
unfolds over 14 years in just under two and a half hours.
movie is available on several public domain labels. The copy I viewed was “The
Digital Gold” DVD, possibly released in 2002, but no details are listed on the
DVD packaging itself. The disc lists Leisure Entertainment as the manufacturer.
The movie sounds good and the picture is presented full frame as it was when
originally broadcast by NBC in 1985. The picture is framed by a thin black
stripe on the left and right side of the image area with gray filling out the
remaining area. The transfer appears to be taken from an inferior VHS master as
the colors are washed out with a few artifacts appearing throughout the
presentation. The DVD back cover list a runtime of 150 minutes, but the actual
runtime is just under 139 minutes.
are no extras on this DVD. I recommend the movie, but not the transfer which is
about as bad as it gets. The movie is watchable considering there is no other
available option and can be purchased for a few bucks on-line or in the dollar
bin at your local pawn shop.
“Beautiful as Aphrodite, wise as Athena,
stronger than Hercules and swifter than Mercury!”
By Joe Elliott
Woman is one of the true wonders of comic book fandom. She first made her
appearance during the Second World War and more than 75 years later she’s still
going strong. Throughout the decades she has been transformed numerous times,
yet through it all she has for the most part maintained her basic form and
personality, one driven by a thirst for justice and in defense of the
defenseless. Born of Amazonian royalty, she is Princess Diana of Themyscira, a sub-continent
located somewhere in the blue mists of time, also known as Paradise Island. Her
mother, Queen Hippolyta, is the ruler of this all-female happy domain, a
position that Diana herself will presumably fill one day. That is, until a man
shows up. Steve Trevor, a U.S. Army pilot, literally drops out of the sky, and,
badly injured, into the care of the Amazons. Trevor is the first male Diana
ever sees and she immediately falls head-over-heels in love. She is eventually
chosen to fly the convalescing pilot back to Washington in her invisible plane
where she enlists in the fight for “America, the last citadel of democracy, and
of equal rights for women.” She at first disguises herself as Steve’s
caretaker, the demure nurse Diana Prince. However, it isn’t long until she bursts
upon the public scene as the tiara crowned, red bustiered, magic lassoed,
“Amazonium” braceleted, kick-booty female warrior we all know and many of us
love. She will spend the rest of the war fighting the Axis powers, along with
an assortment of other bad actors. Following the end of the conflict her job
description broadens out to include a greater variety of crusader of justice
duties, along with a few weird detours here and there.
Created by psychologist William “Charles Moulton” Marston (yes, a man!),
Wonder Woman was given a special mission from the start. Marston believed there
weren’t any real female superheroes that young girls could look up to and
emulate. "Not even girls want to be girls so long as our
feminine archetype lacks force, strength, and power,” he is quoted as
saying. Wanting to change this, he came up with the idea of a female comic book
character who had all the physical strength and moral courage of a Superman or
Batman, but also was smart, intuitive, and, yes, sexy. In Marston words, a
super hero with “the allure of a good and beautiful woman." In addition to
all her other qualities, Wonder Woman was also compassionate and caring, traits
perhaps more easily expressed openly by a woman than a man. She was, in short,
the best of both worlds. Above all, she was a strong woman who, though she
considered others’ advice, in the end always made up her own mind about how
best to act in a situation. She might love dear ol’ Steve, but there were
moments when she realized he was wrong and so acted accordingly. And while she
has definitely seen her ups and downs through the years, the decade of the Sixties
being, I think, an especially problematic one in her long illustrious career,
as she, along with millions of others, searched for a new personal identity
(and a stable of writers), she nonetheless endured it all and remains today a
contender; one truly worthy of the appellation “Super Hero.” Her broader
cultural influence is also noteworthy, inspiring many as she has, including a
little Ohio girl and WW fan-atic
named Gloria Steinem.
Wonder Woman has continued to evolve and change in terms
of her appearance and, to some degree, personality; gifted or saddled, according
to how you look at it, with a bewildering array of modern storylines by a
myriad of agenda-centric artists. She is about to be reincarnated yet again,
this time on the big screen, in Patty Jenkins’ Wonder Woman, starring Gal Gadot in the title
role. Whatever else they do with the character, I fervently hope the filmmakers
will endow this newest WW with the qualities that first made her great and
defines the essence of that greatness. According to actress Lynda Carter, who
singlehandedly pirouetted into motion a new generation of WW fans, “she’s the symbol of the extraordinary
possibilities that inhabit us, hidden though they may be.
that, I think, is the important gift Wonder Woman offers women. Perhaps our
real challenge in the 21st century is to strive to reach our potential while
embracing her values. Wonder Woman is fearless. She sees the good in everyone,
convinced they are capable of change, compassion and generosity. She’s
kindhearted and hopeful, and she has a great sense of humor. Who knows? Maybe
she really can save the world.”
Elliott, a writer and educator, lives in Asheville, North Carolina
Elvis's bizarre and ill-conceived meeting with President Nixon was among the factors that detracted from his legacy as a musical legend. His garish wardrobe is what many younger people associate with his persona.
BY LEE PFEIFFER
In a report for the web site of The Guardian, writer Thomas Hobbs examines an inconvenient truth- as the 40th anniversary of Elvis Presley's death approaches, the King's legacy is being diminished. Young people are not conversant in his achievements and relatively few listen to his music as opposed to other acts from decades past such as The Beatles. Part of the blame must be placed on Elvis himself, who in his later years, had squandered his 1968 comeback by becoming a benign lounge act in Las Vegas. He remained a popular draw but younger people regarded him as someone their parents and grandparents wanted to see. The world was changing rapidly but Elvis, under the Svengali-like control of Col. Tom Parker, was still attired in skin-tight, garish pants suits and appealing to the sexual fantasies of aging female fans. The unsavory circumstances of his death also worked against his legacy. Jim Morrison, Jimi Hendrix and Janis Joplin all died from drug overdoses but remain hip even to today's young people. Elvis had the misfortune of dying from drug-related problems while sitting on a toilet, something that has detracted from the tragedy of his death. Even the value of Elvis vintage record albums is declining precipitously. There's plenty of blame to go around when it comes to the Presley estate which greedily licensed virtually any product imaginable, allowing him image to be portrayed on many cheesy "collectibles". No one's making the argument that Elvis's legacy is heading towards oblivion- but it has been poorly served by the people who represent it. Hopefully, younger music lovers who can groove to retro rock will one day discover that Elvis was more than an amiable lounge act, but in fact, was a once-in-a-lifetime musical legend.
RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES
By Lee Pfeiffer
The 1964 sci-fi film Robinson Crusoe on Mars has always eluded me until the Blu-ray release from Criterion. The fact that a company as selective about its titles as Criterion would endorse a deluxe edition of a film that was written off as kid's matinee fodder back in its day gives testimony to the movie's many merits. Directed by Byron Haskin, an old hand at classic sci-fi (War of the Worlds, The Outer Limits), Robinson Crusoe on Mars owes more than its title to Daniel Dafoe's classic adventure novel. Despite its setting in the future, the movie adheres rather closely to the basic premise of the book. Paul Mantee and Adam West are astronauts orbiting near Mars when their attempt to avoid an astroid causes them to be drawn into the planet's gravitational pull. The two men eject separately in escape pods but West is killed in a crash landing. Mantee survival seems like an even worse fate: he has only a limited amount of water and the air is too thin to breathe. He is forced to watch his oxygen tanks deplete gradually, knowing it will lead to certain death. How he overcomes these obstacles provides an intriguing aspect to the movie. It becomes obvious that, although Mantee is accompanied by a surviving NASA chimp, the film's intelligent screenplay appeals as much to adults as it does to kiddees.
Mantee is a charismatic leading man who impressively carries off the more difficult aspects of the role such as trying to remain optimistic even when he suffers setback after setback in his attempts to use a radio to call earth for help. Then there is the chronic isolation. Although he solves the problem of food, air and water, he yearns for human companionship. He gets his wish through an unexpected development. An alien race frequently visits Mars to use slave labor as part of a mining endeavor. When one of the slaves (Victor Lundin) escapes, Mantee rescues him and names him Friday. Before long, the two men are valiantly trying to learn each other's language and customs. Soon, they're sitting around shirtless in their man cave indulging in some male bonding. Before the movie can become Brokeback Mountain on Mars, however, they find themselves under nearly constant assault by the alien spaceships who are relentlessly pursuing Friday. Forced underground, Mantee and Lundin are exposed to various climates and dangers on the red planet as they try to find isolation in the polar ice cap.
Molly Peters, who began her career as a nude "glamour girl" model before starting a short-lived film career, has passed away at age 78. She had been diagnosed with terminal breast cancer according to her husband but it was a stroke to which she succumbed. Peters' voluptuous appearance made her one of the more popular of the provocative models who posed for men's magazines in the 1960s. She posed for England's legendary photographer of nudes, Harrison Marks. She landed the only memorable role of her career in the 1965 James Bond blockbuster "Thunderball". In the film, Bond (Sean Connery) was sent to the Shrublands health spa to recuperate from some wear-and-tear. Here he encounters nurse Pat (Peters), a sexy blonde who conveniently is assigned to look after Bond's needs. Within short order Bond has her naked in a steam room. In another scene, Bond memorably massages the nude Pat with a mink glove. At the health spa, Bond discovers some nefarious activities going on by Spectre agents that finds Pat bewildered by Bond's strange comings and goings. Peters' scenes were brief but among the film's most memorable including a scene in which she straps Bond to a therapeutic stretching machine that a Spectre agent uses to almost deadly effect on 007. Following "Thunderball", Peters made the little-seen thriller "Target for Killing" co-starring "Thunderball" villain Adolfo Celi and future Bond baddies Karin Dor and Curt Jurgens. In 1968 she made her last credited film, "Don't Raise the Bridge, Lower the River" with Jerry Lewis. In 1995 this writer along with Cinema Retro co-publisher Dave Worrall along with Mark Cerulli and John Cork, tracked Ms.Peters down. She participated in an extensive on-camera interview recalling her experiences for the "Thunderball" special edition laser disc. The interview is now available on both the Blu-ray and DVD editions of the movie.
Cinema Retro has received the following press release:
CELEBRATE THE LIFE OF SIR ROGER MOORE WITH
TWO JAMES BOND CLASSICS, THE SPY WHO LOVED ME AND FOR
YOUR EYES ONLY,
AS THEY RETURN TO CINEMAS WORLDWIDE
WITH PROCEEDS TO BENEFIT UNICEF
London, UK – May 26, 2017 – Metro-Goldwyn-Mayer
Studios (MGM), Park Circus and EON Productions are pleased to announce a series
of special screenings in memory of Sir Roger Moore, to take place at cinemas
across the world including: Odeon Cinemas (UK), AMC Theatres (U.S.) and Hoyts (Australia),
beginning 31 May 2017. Additional locations to be announced soon.
The newly restored 4K versions of The Spy Who Loved
Me and For Your Eyes Only will be screened with 50 percent of
all proceeds benefitting UNICEF. As a Goodwill Ambassador, Sir
Roger had been a dedicated and passionate supporter of UNICEF since 1991.
Michael G. Wilson and Barbara Broccoli of EON Productions,
long-standing producers of the James Bond films said “In honour of Sir Roger
Moore, we are delighted these Bond screenings will benefit UNICEF which was the
charity closest to his heart.”
Gary Barber, Chairman and Chief Executive Officer, MGM
added “Sir Roger Moore left an indelible imprint on audiences worldwide. There
is no better way to remember Roger’s legacy than bringing back his iconic
performances as James Bond to cinemas across the world while aiding UNICEF, the
charity he steadfastly supported.”
Nick Varley, CEO of distributor Park Circus said “Park
Circus is extremely privileged to be MGM’s library distributor and we are
delighted to have the chance to celebrate the life and work of Sir Roger Moore
through these screenings, and most particularly as it benefits UNICEF, an
organization very close to Sir Roger.”
We would also like to thank Deluxe Technicolor Digital
Cinema for kindly facilitating the delivery of this project to cinemas for us.
Details of screenings can be found at www.parkcircus.com and
at participating cinemas websites.
Cinema Retro has received the following press release:
U.S. TROOPS AROUND THE WORLD, THERE WAS NO ONE LIKE HOPE FOR THE HOLIDAYS…
MAY, JOIN TIME LIFE AND THE GREATEST ENTERTAINER OF THE 20TH CENTURY FOR A TIMELESS,
STAR-SPANGLED COLLECTION OF HIS TOP-RATED HOLIDAY TV SPECIALS
BOB HOPE SALUTES THE TROOPS
This Commemorative 3-Disc
Set, Available EXCLUSIVELY at WALMART, Collects Some of Hope’s Historic
TV Specials Across Five Decades, Patriotically Packed with Memories, Laughs and
Stars, and Filmed on Location at Military Bases from Vietnam to Saudi Arabia
Bob Hope, the
greatest entertainer of the 20th century, spent nearly half of his 100
Christmases heading up USO shows as a globetrotting Santa Claus with a golf
club, a sackful of jokes, and an airplane filled with stars. Armed with a lifelong dedication to America’s
troops and a star-studded crew of performers, he performed on battleships and
battlefields, sometimes accompanied by the sound of fighter jets overhead. The missions were often dangerous, and their schedule
brutal, yet for thousands of servicemen and women far from home there
was no one like Hope for the
legendaryNBC-TV comedy and
Christmas specials – some of the most-watched programs in television history --
spanned five decades, from President Truman to Clinton. And, this May, BOB HOPE SALUTES THE TROOPS, a timeless 3-disc set from Time Life®,
collects some of the legendary performer’s greatest and most patriotic holiday
specials, including seven classic shows from the ‘60s to the ‘90s,
re-mastered from original broadcast elements for optimal viewing:
Bob Hope’s Christmas Cheer
in Saudi Arabia (Original Airdate: 1/12/91) -- During
Operation Desert Shield, Hope brought his USO Christmas show to U.S. troops
stationed in Saudi Arabia. Performances
include Marie Osmond serenading a serviceman, Hope and Ann Jillian doing a duet
and the Pointer Sisters performing “I’m So Excited”; other highlights include a
comic exchange between Hope and actress Khrystyne Haje (“Head of the Class”).
The Bob Hope Christmas
Special: Around the World with the USO (Original Airdate: 1/16/69) -- Hope
brought his USO Christmas tour to Vietnam, Korea, Japan, Thailand, Midway, and
aboard the USS Hancock and the USS New Jersey in the South China Sea. Bob Hope and former professional football
player Rosey Grier trade barbs, the
Golddiggers dance on deck for the crews of two passingdestroyers
and Dick Albers performs his comic trampoline act. At Okinawa, a skydiver parachutes into the
audience and Ann-Margret exhorts members of the different services to stand up
during her performance. Hope does mail
call for the troops, inviting one service member (whose mother says he’s a good
singer) to perform and Gen. Creighton Abrams thanks the entire cast and crew
for coming to Vietnam.
Bob Hope: Memories of WWII
-- Hope looks back at World War II with his wife, Dolores Hope, and
colleagues who share their recollections about the period, including the shift
from shipping audio recordings of radio shows from the U.S. to actually
traveling overseas to perform for troops stationed abroad. Frances Langford and Bob reminisce about
their first wartime tour. Footage includes historic clips of Bob, Jerry Colonna
and Frances Langford doing a radio show for the Armed Forces Network, Bob
onstage with Bing Crosby, and a celebrity road trip to sell war bonds.
The Bob Hope Christmas
Special (Original Airdate: 1/15/65) -- Hope and company embarked on
a 1964 Christmas tour to entertain troops stationed in Guam, Okinawa, the
Philippines, Korea, Thailand, and Vietnam. Along the way, the troupe went from the freezing cold of Korea to the
tropical heat of Thailand and in Vietnam experienced danger when the hotel
across the street from theirs is bombed. Jill St. John demonstrates the latest dance moves with service members,
and Anita Bryant, on her fifth USO tour, serenades two soldiers guarding the
The Bob Hope Christmas Show
(1/16/63) -- From more than a dozen military
bases in the Pacific, Bob Hope and his entourage performed the 1962 Christmas
tour in Japan, Korea, Guam, the Philippines, Okinawa, Formosa, and aboard the
USS Kitty Hawk. Among the highlights:
Lana Turner and Bob Hope do the bossa nova and there’s more comedy when Bob
brings Miss USA Amedee Chabot onstage. The
show closes with Anita Bryant leading everyone in Silent Night.
The Bob Hope Christmas
Special: Around the Globe with the U.S.O. (Original Airdate: 1/17/72) – In 1972, Hope brought his USO
Christmas tour to Hawaii, where Don Ho and His Wahinis perform Tiny Bubbles. Then, the company head to Wake Island and
Okinawa and on to Thailand, Laos, Vietnam, Spain, and Cuba. Along the way Bob delivers his topical
stand-up, and jests with Jill St. John, pitcher Vida Blue, and astronaut Alan
The Bob Hope Christmas
Special (Original Airdate: 1/17/73) -- Hope made his 22nd Christmas
tour of U.S. military bases to entertain troops, starting with a send-off from
Santa Claus (actor and pro football player Merlin Olsen) as the group departs
for the Aleutians, Japan, Korea, Thailand, Vietnam, Diego Garcia, the
Philippines, Guam, Wake Island, and the USS Midway. Highlights include Bob
doing his custom-tailored monologues (with departing fighter jets drowning out
his act in Thailand), a “fatigue version of Sanford and Son” with Redd Foxx,
and Rudy Cardenas’ show-stopping juggling. Bob brings a star-struck service member onstage to sing to Miss World
Belinda Green, dances and sings with Lola Falana, and jokes with L.A. Rams
quarterback Roman Gabriel.
The 1971 Hammer horror cult classic "Twins of Evil" will receive a rare big screen showing on Tuesday May 30 at the Alamo Drafthouse Cinema in Brooklyn. Showtime is at 9:30. Here is the official description from the Alamo Drafthouse web site:
Hosted by TV writer/producer, recovering film critic
Bruce Bennett. Admission only $10!
By 1971 the UK Hammer House of Horror had traded cleavage
and blood trickle for R-rated female nudity and comparatively extravagant
applications of “Kensington Gore”. TWINS OF EVIL literally doubles down on the
nudity care of comely Maltese identical siblings Madeleine and Mary Collinson.
And writer Tudor Gates’ grafting of vampire yarn with witch-hunt mentality
jeremiad offers plenty of opportunities for bloodletting - particularly via a
climactic beheading. But with all due respect to the Collinsons, the most
memorable charms on display in TWINS OF EVIL are of a more backward-glancing
variety. Taking a page from Michael Reeves’ WITCHFINDER GENERAL, director John
Hough (DIRTY MARY, CRAZY LARRY) stages and paces TWINS as much as an urgent
50’s American western as a 70's grindhouse horror film. Star Peter Cushing’s
genius for effortlessly civilizing outlandish genre scenarios had long been
Hammer’s secret weapon. But playing a fatally conflicted parochial scourge in
TWINS would be Cushing’s first role after the devastating loss of his wife
Helen and more than anywhere else in his career, Cushing's performance is
palpably anguished. John Wayne has THE SEARCHERS, Peter Cushing has TWINS
the picture takes place a couple of months after the end of World War II in the
year 1945, Bad Day at Black Rock is
really a western. The setting is a desert town that’s barely a whistle stop for
a train that hasn’t halted there in four years; the main street looks as if
it’s right out of Dodge City, and the
opening credits are designed in big, colorful, bold words that spread across
the wide CinemaScope screen. Even director John Sturges is primarily known for
his many westerns.
Guy Spencer Tracy rides into town—on that train—and is met with inexplicable
hostility from everyone he meets. All he wants is to find a guy named Komoko—a
Japanese farmer who supposedly lives just out of town. Most of the residents
seem afraid to help Tracy. The ones who aren’t scared are bullies who attempt
to intimidate Tracy into leaving town. It doesn’t take long for Tracy to figure
out that Black Rock is run by Bad Guy Robert Ryan. Even the alcoholic sheriff
(Dean Jagger) is in Ryan’s pocket, as well as the young female mechanic (Anne
Francis), the telegraph operator (Russell Collins), and the hotel clerk (John
Ericson). Ryan has a couple of bruisers (Ernest Borgnine and Lee Marvin) who do
most of the threatening. The only civilian seemingly willing to extend an ounce
of courtesy to the stranger is the undertaker (Walter Brennan).
why is Tracy so unwelcome? Why is Black Rock so paranoid? What secret in its
past are the citizens obviously protecting? Tracy—not one to back down
easily—decides to try and get the answers before the gang puts him in the
are classic western trappings. It’s High
Noon, only Tracy has come to town
to find everyone against him, rather than the other way around. Ryan is the
archetypal greedy, mean cattle baron, and Marvin is his six-shooter-slinging
henchman. The only difference is that everyone in Black Rock gets around in a car
instead of on a horse.
film historian Dana Polan states in the accompanying audio commentary, Bad Day is a B-movie disguised as a
prestige picture. The studio is MGM. The CinemaScope/color photography is
impressive. The star is Spencer Tracy, adding “respectability” to the film.
And, in the end, it’s a “problem picture,” in that the movie is about racism. All
that spells “importance.”
of that really matters, for Bad Day at
Black Rock is simply solid entertainment. It is suspenseful, full of
tension, has action—a car chase, hand-to-hand combat, a shootout—and admirable
performances. Tracy was nominated for an Oscar Best Actor. Sturges was
nominated for Director, and the adapted screenplay by Don McGuire and Millard
Kaufman received a nod.
Warner Archive Collection release presents a 1080p High Definition transfer
with DTS-HD Master Audio.
include the aforementioned commentary and the theatrical trailer.
a few-frills package, but Bad Day at
Black Rock is a no-frills thriller that packs a raw and gritty punch.
CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE
It goes without saying that Kirk Douglas is a
Hollywood icon. From his first role as Walter O’Neill in “The Strange Love of
Martha Ivers,” (1946) to “Spartacus” (1960) and beyond that until his last, so
far, appearance in a made for TV movie, he remains—even in retirement after a
stroke and a helicopter crash— one of those larger than life movie stars, the
kind they just don’t make any more. He
had a look and a style. Those shiny white teeth could as easily smile
charmingly at you or snarl like a barracuda. His bright blue eyes could be full
of tenderness one minute, as in his love scenes in “Spartacus,” or fierce and
mean as in “Gunfight at the OK Corral.” He played complex characters that were always
a mix of good and bad, but never evil.
Such a character is Johnny Hawks, the
frontier scout he plays in “The Indian Fighter” (1955), made in the middle part
of Douglas’ career. He had moved up from tough guy film noir roles by then and
this was the first film made by his own production company, Bryna Productions. The
film was made on location in Oregon by Hungarian-born director Andre de Toth, who
wore an eye patch, had seven wives and 19 children (talk about the kind of man
they don’t make anymore!). It tells the story of Hawks, who is brought in by
the Army to lead a wagon train of settlers through Sioux Indian territory. Rather
than the peerless good guy who has no flaws, Johnny has one major hang-up. He
is easily distracted. When, in the opening scene he spies Onahti (Elsa
Martinelli) the beautiful daughter of Chief Red Cloud (Arthur Franz), bathing
in a river sans clothes, he can hardly keep his mind on his job. His ogling is
interrupted by Sioux brave Grey Wolf (Harry Landers) who says, if he lays one
more eyeball on the fair Indian lass, he’ll set him up for a quick scalp
treatment. Nevertheless, Johnny during negotiating safe passage for the wagon
train and trying to establish peace terms between the tribe and the soldiers at
Fort Benham, manages to make a few passes at Onahti, who resists at first, but
soon surrenders to Johnny’s virile charms.
Plot complications come in the form of two
shifty ne’er-do-wells, Lon Chaney and Walter Matthau, who spend most of their
time getting the Indians drunk enough to tell where they can find the gold said
to be located on Sioux land. When Johnny abandons the wagon train for a night
to have a little dalliance with Onahti, all hell breaks loose. Several braves
are killed by the gold hunters and the tribe goes on the warpath. The wagon
train narrowly makes it back to the fort, and everybody wonders, where the heck
is Johnny Hawks ? Johnny wakes up that morning under a tree lying next to the
Indian chief’s daughter. He had a great night, but, boy, is he in trouble.
The film climaxes with the Indians besieging
the fort in a scene that resembles something out of “The Vikings” (1958), one
of Douglas’s later films, The Sioux set the fort on fire by lobbing balls of
flame at it from long poles cut from saplings. I don’t know if that has any
historical authenticity, but in his commentary, provided on a separate audio
track, Western film historian Toby Roan, makes note of the scene’s uniqueness,
and gives credit to the filmmakers for at least coming up with a different
approach to the old Indians-attacking-the fort scene.
Incidentally, Roan is the proprietor of a
highly-recommended blog on western films,https://fiftieswesterns.wordpress.com/, where you will find
all kinds of interesting info on older westerns. I had seen “The Indian Fighter”
before, but I wasn’t aware, until Roan pointed out that beloved character actor
Hank Worden ("Old Mose" in “The Searchers”) actually plays two parts in this
movie. He’s a jail house guard, and also Crazy Bear, one of the Indians that
Chaney and Matthau ply with liquor, trying to find out where the gold is. Roan
provides a ton of other insights into the making of the film. He knows which
construction company built the full-sized Fort Benham out there in the Oregon
wilderness and even what kind of lumber was used.
Kino Lorber presents “The Indian Fighter” in
a 1080p transfer on Blu-ray in Cinemascope with an aspect ratio of 2.35:1.
Colors are bright and clear, and Wilfred M. Kline’s cinematography of the
Oregon forests and the snow-covered Cascade Mountains in the distance are a
treat for the eye. It was de Toth’s first Cinemascope film, and he used the
wide-angle lens in several scenes to do a full 360 degree pan of the beautiful
vistas surrounding the actors. The inestimable Franz Waxman contributed a very
colorful score for the film, and it’s too bad this release is not in stereo.
“The Indian Fighter” is an entertaining
movie, but it’s not without problems. De Toth’s direction seems to be focused
more on the scenery than the bloody frontier action taking place, resulting in
an overall lack of intensity. Douglas, however, and his supporting cast acquit
themselves well. Douglas displays a lot of physicality, doing quite a bit of
stunt work himself. In fact Roan points out that doing a horse fall, he ended
up with a broken nose.
It’s also definitely a film of its time. It’s
not likely that you could make a film today entitled “The Indian Fighter” unless
it was about a boxer in Bombay. And Johnny Hawks’ forceful seduction of Onahti
in the river bed might be protested by feminists today as nothing more than a
glorified rape. However, the movie gets points for a sympathetic portrayal of
the Sioux (even though there are no native Americans in the cast), whose Chief
Red Cloud tells Johnny his concern about the white men coming into the
territory is not the loss of the gold they are after, but the pollution of the
air and water they will bring. Nice environmental touch. “The Indian Fighter” is a mixed bag, good but
not without its flaws, just like Johnny Hawks.
Fifteen years after co-producing and directing the British Victorian-era war classic Zulu, Cy Endfield brought an epic prequel to the story to the screen with Zulu Dawn. Unlike the original film, however, this 1979 release suffered from a bungled and scatter shot North American release that ensured that very few Yanks or Canadians ever had the opportunity to see the film in theaters. Botched release notwithstanding, the movie is in many ways as good as its predecessor, even if the screenplay falls short on presenting the main characters in a fully developed way. The story pertains to the greatest British military defeat of its era as the Victorian penchant for colonialism extended into South Africa. Initially the indigenous Zulu tribes had a cordial relationship with the British, but a foolish change in political strategy saw increasing incursions onto Zulu territory. The Zulu king went to great lengths to avoid confrontation until it became obvious that the local British officials were intent on taking their land by military force. The British expeditionary force led by Lord Chelmsford (Peter O'Toole) is well-armed with the latest weaponry and feels completely confident about a quick victory over the tribesmen, who are largely relegated to using primitive weapons. Like his American contemporary, General Custer, Chelmsford is an egotist with an overblown sense of self-confidence. He makes Custer's mistake of dividing his army into smaller units, spaced far apart. When the Zulu warriors mount a massive, surprise attack in what became known as the Battle of Isandlwana, the British are quickly overwhelmed. Like the original film, Zulu Dawn treats the native tribesmen with full respect and the script is clearly sympathetic to their cause. The British soldiers are depicted as courageous and gallant, but their superiors are generally seen as pompous snobs. A notable exception is the true life character of Col. Dumford (Burt Lancaster), a maverick Irishman who leads a contingent of African troops fighting with the British. Dumford tries to convince Chelmsford that his military strategies are flawed but his pleas fall on deaf ears. By the time Chelmsford and his reinforcements arrive at the battlefield, they find a seemingly endless plain of thousands of dead bodies, as only a handful of British troops managed to escape.
Zulu Dawn is a genuine epic with first rate production values with a sterling cast that includes such prominent actors as Simon Ward, Anna Calder-Marshall, John Mills, Denholm Elliott, Nigel Davenport and Bob Hoskins. The latter half of the film is devoted entirely to the battle sequences and they are stunningly staged and photographed, with Elmer Bernstein providing the stirring score. The movie is very well directed by Douglas Hickox, who is primarily remembered for Theatre of Blood and John Wayne's Brannigan. However, one must acknowledge that on a film of this scale, much of the credit must go to the second unit team as well.
Original British quad poster
Severin Films, which recently released a terrific special edition of another great '70s British war flick The Wild Geese (click here for review), has presented Zulu Dawn as a special edition Blu-ray/DVD dual package. The quality is outstanding on the Blu-ray but I'm always even more impressed by Severin's bonus extras. In this case, they include a fascinating history of the Zulu conflicts with scholar and author Ian Knight, who talks seemingly endlessly about every facet of the battle. The word "endlessly" here is meant as a compliment. Although I consider myself a military history buff, Knight's segment is like attending a master class and I realized how little I actually knew of the events depicted in the film. Knight explains that, although the Zulus won the battle, they suffered tremendous losses in the process and their victory was short-lived, as Lord Chelmsford ultimately sent their king into exile. The Severin crew also flew Knight to the actual battle locations in South Africa and it's truly amazing to see how untouched they remain to this day. (Crudely constructed above--ground grave sites for the soldiers still dot the battlefield.) There are also raw footage outtakes and some deleted scenes including several variations of Bob Hoskin's character's death. Another interesting segment features an extensive interview with historical and military consultant to the film, Midge Carter. Carter was an unemployed Brit with an in-depth knowledge of the film who just phoned the production company and ended up getting hired to ensure accuracy. Carter makes for an engaging interview, telling interesting tales about how he prevented historical inaccuracies from being included in the film. He also trashes director Hickox as a snobby elitist with a less-than-impressive work ethic. He also shares his scrapbook of on-set photos which had been autographed by every member of the cast. Severin interviews are always excellent to watch, thanks to producer David Gregory and Carl Daft's determination to let them go on as long as necessary and not worry about the length of the pieces. I only wish this was the case with some of the documentaries I produced for major studios, where there was always a bizarre determination to trim everything to the bone. Severin also doesn't indulge in gimmicky special effects or camera work. They simply turn on the camera and let the subject talk. Not fancy in terms of technique, but a wonderful throwback to how interviews used to be presented. Finally, there is an original theatrical trailer included in the set.
Chances are you haven't seen Zulu Dawn. You're in for a real treat with this superb presentation of an excellent film.
the best Star Trek film ever made,
Nicholas Meyer’s Star Trek II: The Wrath
of Khan (1982), which was originally subtitled The Vengeance of Khan but was changed so as not to interfere with
Richard Marquand’s Revenge of the Jedi
which itself was changed to Return of the
Jedi, celebrates its 35th anniversary this year and is the subject of an
exclusive screening at Laemmle’s Ahrya Fine Arts Theatre. The 113-minute film,
which stars William Shatner and the crew of the Enterprise, will be screened on
Wednesday, May 31, 2017 at 7:30 pm on Digital Cinema Projection (DCP).
PLEASE NOTE: Director Nicholas Meyer is
scheduled to appear in person for a Q & A following the screening.
From the press
STAR TREK II: THE WRATH OF KHAN (35th Anniversary Screening)
Wednesday, May 31, at 7:30 PM at the Ahrya Fine Arts Theatre
Followed by Q&A with Director Nicholas Meyer
Laemmle Theatres and the Anniversary Classics Series present a 35th anniversary
screening ofStar Trek
II: The Wrath of Khan, regarded by many buffs as the best feature film
in the long running series. After the box office disappointment of the firstStar
Trekfeature in 1979,
Paramount Pictures and producer Harve Bennett decided to take a fresh approach
to the follow-up film, cutting the budget drastically and bringing in talented
newcomers to revitalize the popular franchise.
Nicholas Meyer, the Oscar-nominated screenwriter and novelist ofThe
Seven-Per-Cent Solution, had made his directorial debut with 1979’sTime
After Time. He came to this new project, as he freely admitted, as aStar
Treknovice, but he
brought intelligence, ingenuity, and wit to the sequel. Meyer and the
screenwriters decided to bring back one of the memorable villains from the TV
series, the intergalactic tyrant Khan, and hired Ricardo Montalban to reprise
his role from that episode. Of course the regular cast members of the Starship
Enterprise — William Shatner, Leonard Nimoy, George Takei, DeForest Kelley,
Nichelle Nichols, and Walter Koenig -- were also on board, along with newcomer
Kirstie Alley. Another newcomer to the enterprise was young composer James
Horner, a future Oscar winner who had one of his first major credits onStar
Critics endorsed the new approach.Varietycalled the film “a very satisfying
space adventure, closer in spirit and format to the popular TV series than to
its big-budget predecessor.” The commercial success ofStar Trek IIinsured a long voyage for the
Enterprise on the big screen and on television for decades to come.
Director Nicholas Meyer also worked onStar Trek IVandStar
Trek VI. In addition toThe Seven-Per-Cent SolutionandTime After Time, his many other
credits as writer and/or director includeVolunteers,Company
Business,Sommersby, the TV movieThe
Day After, and two Philip Roth adaptations,The
Ahrya Fine Arts Theatre is located at 8556 Wilshire Blvd., Beverly Hills, CA
90211. The phone number is (310) 478 –
Sir Roger Moore, the iconic British actor who swept to fame playing The Saint and James Bond, has passed away from cancer at age 89. Moore grew up in a middle class lifestyle in Lambeth during WW2 and was among the children evacuated from the city during the Blitz. He had planned a career as a cartoonist but his good looks and charismatic personality drew him first to modeling and then studying acting at the Royal Academy of Dramatic Arts in London. He found success early in his career and was placed for a time under contract with MGM in Hollywood. However stardom didn't follow immediately. Moore mostly appeared in soap opera stories opposite big stars but none of the films were very successful and was dismissed as just another pretty face. In the 1956 period costume drama "Diane", he was Lana Turner's leading man- but the film was a dud and one critic described Moore as "a lump of English roast beef", something he would joke about through the rest of his life. Moore left MGM and starred in "The Alaskans" TV series and was brought in to star in "Maverick", appearing in 16 episodes over a three year period. That lead to his starring as Simon Templar, the world class adventurer in the TV series "The Saint". The show ran for seven seasons and was a major international hit. Following that he also starred with Tony Curtis in the popular TV series "The Persuaders". When that show left the air Moore was hired to star as the third actor to play James Bond, following in the footsteps of Sean Connery and George Lazenby. Moore's first Bond film "Live and Let Die" in 1973 was an important one for the franchise. Had audiences not responded well to his interpretation of 007, the series might have ended. Moore decided not to imitate Connery but to provide his own unique interpretation of the role, emphasizing the humorous aspects. Audiences responded with enthusiasm and Moore would play the role in seven films over a twelve year period. He left the series after "A View to a Kill" in 1985.
Spy Guys: Michael Caine, Roger Moore and Sean Connery made a hilarious joint appearance at the 1989 Oscars.
During Moore's tenure as Bond he made numerous other feature films including the highly successful 1978 adventure movie "The Wild Geese". Other notable films include "ffolkes" (aka "North Sea Hijack"), "Shout at the Devil" and "Gold". In the 1981 blockbuster comedy "The Cannonball Run" he played an eccentric who thought he was Roger Moore. In his post-Bond career Moore occasionally made films or appeared on television but devoted much of his time as Goodwill Ambassador for UNICEF. In that capacity Moore traveled the globe raising countless millions of dollars to help impoverished children. He often said that it was his work for UNICEF that he was most proud of. His charitable work was an obvious factor in his being knighted in 2003. His good friends Sean Connery and Michael Caine, both of whom achieved significant career boosts by also playing spies in the 1960s, were on hand for the ceremony. In recent years Moore had traveled extensively to promote numerous books he has authored with his personal assistant Gareth Owen. Sir Roger and Owen also developed speaking tours in which they would discuss his long film career in casual chats on stage in front of appreciative audiences generally in capacity-filled theaters.
Prior to becoming an actor, Sir Roger worked as a model.
On a personal note we at Cinema Retro had the pleasure of knowing Sir Roger Moore very well. He was an early supporter of our magazine and even provided an endorsement below our banner head. He remained a contributor to our publication and was always there to provide an amusing story or anecdote. He was completely devoid of egotistical behavior and found self-deprecating humor to be his best weapon against criticism. He once told this writer that he learned early on that critics found it no fun to mock an actor who mocked himself. Sir Roger was also beloved by his fans. He always had time to chat with them or sign autographs. Sir Roger's passing represents a sad day for all who loved and admired him- but his legacy as an actor and humanitarian remains secure. He is survived by his wife Kristina and his children Deborah, Geoffrey and Christian.
The new documentary "Becoming Cary Grant" premieres on Showtime June 9. Grant was the most opaque of Hollywood superstars. While audiences packed theaters showing his movies, Grant rarely gave interviews, wouldn't appear on TV shows and generally maintained an aura of mystery around him- which compares favorably to today's publicity-starved celebrities who sometimes leak their own sex tapes in order to get some publicity. The documentary traces Grant's rags-to-riches story and the strange tale behind his mother's estrangement from him- something that haunted him throughout his life. The most controversial aspect of the movie was Grant's well-known indulgence of LSD under medical supervision. In that regard, Grant- the most "Establishment" of stars- preceded the hippie movement by years in terms of preaching about the psychological benefits of the drug- though by the mid-1960s the dangerous side of LSD had turned the public against its use and even Grant ultimately moved away from it. Grant went into self-imposed retirement after his final film, "Walk, Don't Run" in 1966, still at the height of his boxoffice appeal. He did appear at the Oscar ceremonies in 1970 to accept a lifetime achievement award and in the 1980s he embarked on one-man show tours in which he conversed with everyday people usually in small town venues. Grant died in 1986 after leaving the stage from one such appearance. For more click here.
The web site the007dossier.com has posted a vintage broadcast in which Sean Connery sits with film scholar Mark Cousins to watch and comment on scenes from his James Bond films. (Thanks for reader Mark Ashby for sending the link.)
At a packed symposium in Cannes where he received a three-minute standing ovation, Clint Eastwood discussed his philosophies of filmmaking along with the personal experience of growing up in the Depression. Eastwood said that he views movie-making as an emotional experience not an intellectual one and warns that when an emphasis on intellectual aspects of a film overrides trying to move the audience emotionally directors can find themselves in trouble. Eastwood addressed his long-standing complaints about what he perceives as political correctness in the film industry and warns that "We've lost our sense of humor." Ironically it was Eastwood's sense of humor that earned him rare bad press concerning his personal life. Traditionally Eastwood stayed out of commenting on national politics but in 2012 he appeared at the Republican convention to endorse Mitt Romney with a bit of improvised comedy that earned him a good deal of criticism because of barbs aimed at President Obama that many felt crossed the line in terms of being too distasteful. Eastwood was not overtly active in the 2016 presidential campaign and he did not address the current political situation in his appearance at Cannes. During his chat at Cannes he did acknowledge that he sometimes misses acting on screen. (He has not starred in a film since "Trouble with the Curve" in 2012). He says he will return to acting "someday", a vow that might seem overly-optimistic for a man of 86 years of age- but we wouldn't want to bet against him. For more click here.
Scorsese has made several films that are challenging for an audience. Even some
of his most acclaimed pictures, such as Raging
Bull, are difficult to watch and “enjoy.” Scorsese tackles hard truths
about the human condition, and many times they’re unpleasant and disturbing.
Sometimes the dramas he explores are not what one would call a “good time at
doesn’t mean they’re bad. On the contrary, great art often requires an audience
to meet it halfway, to capitulate and embrace the pain that is at the heart of
what the artist has intended to convey.
Silence is one of those
films. A decades-long passion project for the director, based on the novel by
Shūsaku Endō, it is about the
“silence” of God that is the biggest obstacle faced by people of faith. The
subject matter would have been at home in hands of someone like Ingmar Bergman,
who tackled this topic several times in his career. Nevertheless, Scorsese’s oeuvre has often been informed by his
Catholic upbringing and his struggles with it. While his 1988 film, The Last Temptation of Christ, was a
deeply personal and, yes, a religious picture,
it was met with controversy and even banning in some territories. Silence is an even more religious
statement from the master filmmaker, and it, too, has received mixed responses.
Some hailed it as a masterpiece. Others said it was an overlong, colossal bore.
Silence is a period piece
that takes place in 17th Century Japan, when Portuguese Jesuit
priests were attempting to bring Christianity to that feudal kingdom. One
particular priest, Father Ferreira (Liam Neeson), had gone to Japan on such a
mission, but news comes back to Portugal that he has renounced his faith and disappeared.
Two young priests, Father Rodrigues (Andrew Garfield) and Father Garupe (Adam
Driver) are sent to locate him to find out what happened—and spread the Gospel
while they’re at it.
doesn’t go well. The priests encounter the cruel and calculating samurai known
as the “Inquisitor” (magnificently portrayed by Issey Ogata), who does
everything in his power to crush the priests’ objective, wipe Christianity from
his land, and keep an iron hold on the citizens’ beliefs. Different methods of
torture are his preferred weapons of rule. As time passes, the priests’ faith
is severely compromised—but Rodrigues hangs on, fighting with every fiber of
his being to the bitter end.
doesn’t come for two hours and forty-one minutes.
lies the problem I had with what otherwise was one of the most
gorgeously-photographed motion pictures I’ve seen in years. The cinematography
by Rodrigo Prieto earned an Oscar nomination—and probably should have won. The
production and costume designs by Dante Ferretti should have also at least received
nods. The movie is indeed beautiful to look at, on par with such visual feasts
as Barry Lyndon, Days of Heaven, and The Tree
just… long. And very slow. The meditative pace, intentional as it is, serves
the subject and the picture well up to a point. The movie is additionally extremely
quiet; the soundtrack consists of mostly sounds of nature along with delicate period
music of an Eastern flavor by Kathryn and Kim Allen Kluge. The relentless
suffering of the characters—in silence—takes its toll. Perhaps that’s what
Scorsese wanted to do. To test the audience, just as the priests are tested.
acting, especially by Garfield, shows extreme dedication to the material. Both he
and Driver lost a good deal of weight for their roles. At one point during
filming, as recounted in the documentary supplement on the disk, the entire
cast and crew broke for lunch on a beach—but the two actors chose to stay in a
boat away from shore and not participate in the meal.
new Paramount Blu-ray disk exquisitely captures the film. It looks fantastic,
as it should, with a 1080p High Definition transfer. There are several sound
options—5.1 DTS HD Master Audio in English, and other languages in 5.1 Dolby
Digital. The only supplement is the aforementioned making-of featurette, Martin Scorsese’s Journey Into Silence,
which provides a satisfying overview of the production and its genesis.
of Martin Scorsese should give Silence a
chance, but don’t expect the flash-bang editing of GoodFellas. This is an art film of the highest order, one that you
may find very rewarding if your endurance makes it to its final, glorious image
before the end credits.
(The new documentary "Becoming Bond" is now showing on the Hulu network.)
BY MARK CERULLI
to seeing Josh Greenbaum’s illuminating documentary, Becoming Bond, which premiered on HULU May 20th, I had
dismissed George Lazenby’s mystifying refusal to continue as 007 as just
another gullible young actor taking bad career advice; like Tom Selleck passing
on Indiana Jones, Travolta nixing Forrest Gump, Thomas Jane handing Don
Draper to Jon Hamm… but there’s more to
it than that, a lot more as it turns out.
combining interview footage of Lazenby, still hale and hearty at 77, with
well-staged recreations, Becoming Bond
dives deep into this complicated and impulsive star to understand HOW he could
casually dump one of the most coveted roles in the history of film. As it turns out, that decision is symbolic of
who George Lazenby really is: intelligent, charming, naïve but most of all, independent. Lazenby is, and has always been, his own man. From pissing off teachers in grade school, to
pursuing a girl from an elite family many social stations above his own, George
always did what George wanted to do. Usually documentaries feature others talking about the main subject in
order to create a full picture. Early on, director Josh Greenbaum felt
Lazenby’s stories were so rich, he wanted to recreate them – it was an inspired
choice. Australian actor Josh Lawson is
perfect as a young George Lazenby, gradually finding his way in the world and
effortlessly using his charm and chiseled looks to become a top model. A fluke landed him dinner with a London
talent agent (played by real Bond Girl, Jane Seymour) who got him in the
door to audition for 007, then George did it HIS way: conning a brusque Harry
Saltzman (comedian Jeff Garlin) into handing him the keys to the Bond movie
kingdom, then confounding him when he wouldn’t play by his rules. Lazenby did his and Cubby Broccoli’s film, On Her Majesty’s Secret Service, which
became a box office hit in 1969 (despite popular belief that the movie bombed.) Suddenly the world – and a world of women –
were at his feet, but it was a lot for a guy from tiny Goulburn, Australia to
handle. Maybe too much. Lazenby turned down a one million dollar
payment to sign a seven-picture deal, something most actors would give body
parts for. Once the Bond producers realized none of the usual leverage worked,
they were playing by Lazenby’s rules, which meant there were no rules: George does what George wants. In the end, Lazenby did okay without Bond – he
made his money in real estate, acted in other films, married, became a father…
but oh what might have been.
After the documentary screening at LA’s delightfully quirky Cinefamily Theater, cast, crew and George himself answered questions, and once again, George was George. When asked if he regretted walking away from Bond, the actor said, “If I had stayed as James Bond I would have probably had three wives in Beverly Hills, mansions, been a drug addict… that’s the kind of person I would’ve been because it wouldn’t’ve been me.” He admitted he just didn’t like taking orders. Sitting next to him, actor Josh Lawson perceptively pointed out that, “the things that caused George to walk away were the things that got him the job in the first place.”
After the Q&A, Hulu threw down an after party with an open (bless them) martini bar. There the cast and Lazenby mingled with guests – including this CR scribe. I had met George before, but had forgotten how freakin’ big he is in person. (A fellow Bond fan said he was the tallest of all the Bonds.) Shaking his enormous hand reminded me of shaking hands with boxing champ George Foreman during my HBO producer days. No wonder Lazenby knocked out a stuntman during his Bond action screen test. (An act seen in the documentary, followed by Saltzman stepping over the twitching body to tell George, “We’re going with you.”) Absolutely priceless, all true – and pure Lazenby!
composure is remarkable given how close he came to having it all. In fact, the only time he became visibly
emotional was when he discussed the one decision he does regret: giving up the girl of his dreams, a lovely
upper class gal named Belinda (wonderfully played by Kassandra Clementi). Like her co-star, Clementi had never met
Lazenby until Wednesday’s premiere and she had never even seen On Her Majesty’s Secret Service, which
was shown after the festivities. And how
did she like it? “I loved the film,”
Clementi said via her publicist, “And George Lazenby was unsurprisingly just as
captivating and charming as he is today.” Sounds like a newly-minted Bond fan…
The little-seen 1983 thriller Double Exposure has been released on Blu-ray by Vinegar Syndrome as a special edition. The film has an interesting background. It was originally filmed in 1971 under the title of The Photographer by director William Byron Hillman with Michael Callan cast as a photographer of beautiful women who also turns out to be a serial murderer. Hillman and Callan were frustrated that the movie received only a limited release. Twelve years later, they collaborated on a remake of the movie using the title Double Exposure. This time around, Callan served as an uncredited screenwriter on Hillman's new script and he also produced the movie, as well. Major script changes included having the main character, Adrian Wilde (Callan), not certain if he actually is a murderer. He's a generally kind and decent man who eeks out a modest living photographing models. He resides in a mobile home in L.A. which serves as his business office and bachelor pad. He is haunted by recurring nightmares of him committing horrendous murders of some of the women he photographs. When they actually start turning up dead, he is convinced he must be the culprit. He seeks guidance from his shrink (Seymour Cassel) and warns his new girlfriend, sexy Mindy (Joanna Pettet) that he has doubts about his sanity. He also seeks comfort from his brother B.J. (James Stacy) , a rather belligerent, bitter man who nevertheless has not allowed the loss of an arm and a leg prevent him from making a career of stunt driving. He also proves to be quite a lady's man and in one memorable sequence mud wrestles a bikini-clad girl in a bar. As the body count builds, Adrian slides further into madness.
The film is definitely of "B" movie caliber, but it's generally engrossing and well-made. Callan delivers a very fine performance in the lead role and he is more than matched by Stacy. Pettet does well as the female lead, and exposes a lot of flesh in a fairly graphic bedroom scene. There are other familiar faces who pop in and out of the film including Pamela Hensley as a detective assigned to track down the killer, Cleavon Little (largely wasted) as her perpetually grouchy superior officer and Robert Tessier as a skid row bar manager. Sally Kirkland and future Saturday Night Live star Victoria Jackson also have early career roles. Hillman directs efficiently, though the ending veers into cliched "woman in jeopardy" territory and the final few frames of the movie, in which the killer is unveiled, boasts some fine acting but disintegrates into a confusing and frustrating scenario in the last hectic seconds. Nevertheless, Double Exposure is a good thriller, well-made on a modest budget.
The Blu-ray/DVD combo has several impressive bonus features that vary from the previously issued DVD 2013 edition from Scorpion. They include:
New transfer from the original camera negative
Commentary track with director William Byron Hillman
Scorpion has released a Blu-ray edition of the 1979 Canadian disaster movie "City on Fire". If you've never heard of it, don't feel bad- neither had this writer and I thought I was quite familiar with the genre which arguably began with the release of "Airport" in 1970. The success of that film spawned similarly-themed adventures that generally found all-stars casts threatened by water, fire, animals and other forces of nature. Producer Irwin Allen hit two home runs with "The Poseidon Adventure" and "The Towering Inferno", the latter representing the artistic and commercial peak of the short-lived but highly popular genre. At its height even second-grade disaster flicks could make sizable profits (a low-grade Japanese import titled "Tidal Wave" was a hit after it was "Americanized" with some brief footage of Lorne Greene included.) By the late 1970s, however, fickle audiences had tired of the sheer predictability of the disaster movie premise. The release of "Star Wars" incited a new interest in sci-fi but there were still some attempts to pump life into disaster flicks even if most of the passion and creativity had been drained from these productions. "City on Fire" is about, as you might have guessed, a city on fire. The unnamed city (actually Toronto) is the setting for a catastrophic blaze that starts as an act of sabotage caused by a disgruntled employee at a large chemical plant that has been foolishly located in the center of the urban metropolis. The seemingly minor act of mischief quickly escalates when raw fuel pours unchecked into the city's water supply. A spark ignites a huge inferno that rapidly isolates a major part of the city in a ring of fire that makes it almost impossible for firefighters to penetrate, thus leaving it to the potential victims to find their own methods of escape. Most of the action takes place inside a major hospital which is being evacuated even as the flames make it unlikely that many of the staff and patients will be able to reach safety. In order to do so they must navigate a deadly gauntlet of fire.
"City on Fire" lacks the big budget production values of the more successful disaster movies but director Alvin Rakoff and production designer William McCrow get around that obstacle in very commendable ways. Rakoff does utilize the old stand by of using actual disaster footage from news broadcasts in certain instances and uses a jittery camera to provide a sense of impending danger to otherwise stagnant buildings, at times making it look like Don Knotts was the cameraman. However, the production design is quite good and Rakoff handles the action scenes very commendably. There are some cheesy special effects, primarily scenes of the skyline burning, but the up-close action footage is spectacular at times and the movie features some of the best stunt work I've seen including many instances of the stuntman's worst nightmare: the full-body burn. The biggest star in this budget-challenged production is Henry Fonda, then in the winter of his career and seemingly content to play characters of authority who sit around offices and control rooms barking orders over telephones (i.e "Meteor", "Rollercoaster" and "The Swarm"). Old Hank would prove he still had his mojo with his final film, "On Golden Pond", that saw him win an Oscar, but in the years leading up to that he was happy to pick up quick pay checks with supporting roles in populist fare. Here he plays the stalwart fire chief trying to cope with the loss of an entire city. Barry Newman is the playboy physician who is trying frantically to save his hospital which is in the direct line of fire. He's also juggling a strained relationship with old flame (pardon the pun) Susan Clark, a glam socialite who had once been his lover. Meanwhile, she is involved in an illicit affair with the mayor (Leslie Nielsen) and is unaware that there are incriminating photos that are about to be used to blackmail both of them. Shelley Winters is wasted in a throw-away role as a bossy nurse who acts a lot like Shelley Winters and James Franciscus is a TV news producer who is trying to keep wall-to-wall coverage on the air despite that the fact that his star anchor, an aging diva (Ava Gardner) has turned up drunk right before the broadcasts. One of the more rewarding aspects of the film is that it affords meaty roles to actors who are generally relegated to second-tier status. They all perform admirably but it's impossible to view any of Leslie Nielsen's pre-comedy career performances objectively. He became such a master of brilliantly spoofing his own acting style that when you view his dramatic work you keep waiting for punchlines and slapstick gags that never materialize. The film follows all the conventional elements of the standard disaster movie (i.e children in peril, a pregnant woman who goes into labor during the crisis, lovers reunited, etc.) I half expected the climax to feature the heroes trapped aboard an upended ocean liner while being menaced by a shark. However, I must say that I very much enjoyed "City on Fire". It boasts an intelligent script, fine direction and reasonably good performances. There is also an almost complete lack of humor, so you won't see Fred Astaire as a charming con man or an unbilled Walter Matthau getting soused in a bar in the midst of an earthquake. The sense of gravitas is in keeping with the dramatic scenario of people stranded within a ring of fire. The movie came a day late and a dollar short to capitalize on the disaster movie trend. It's not as slick or polished as the best entries in the genre but it's better than many others including Irwin Allen's career-ending turkeys, "The Swarm" and "When Time Ran Out".
The Scorpion Blu-ray contains a notice that the transfer was put together from various sources. There are a few blotches here and there but the Blu-ray generally looks fine. Bonus features include a TV spot for the film and a trailer gallery of other Scorpion releases. Recommended.
filmmaker Yasujiro Ozu’s late-period picture, Good Morning (Ohayō), is a curious, but amusing,
slice-of-life portrait of a suburban neighborhood in contemporary (circa 1959)
Japan. Ozu, mostly known for the gendai-geki
film genre, i.e., modern dramas about family life and social conditions, also
made a few comedies. He was a genius at depicting relationships between parents
and children (Tokyo Story, 1953, is
arguably his most admirable work), and Good
Morning presents something of a parable about how a couple of young
schoolboys influence an entire community of suspicious and gossipy housewives
and lackadaisical “salary men” husbands.
Western audience will deem the comedy subtle;
cultural differences between East and West, especially when it comes to
bathroom humor, decidedly determine how funny someone will think Good Morning really is. There are a lot
of fart jokes in the film. In fact, Ozu uses farting as a way that characters
communicate, especially the children. The schoolboys assign status to how
easily one can blow wind by pushing an imaginary button on a forehead.
Inability to produce a toot results in minor ostracization. It must be said
that the children’s farts don’t sound like the real thing—they are high-pitched
and somewhat musical in tone.
adults, on the other hand, produce lower-toned flatulence that is more
realistic. In their case, the noises are often confused with real words. In one
scene, a man is dressing for the day and pleasantly lets two or three bursts
fly. Each time, his wife enters from the other room and asks, “Did you call?”
He shakes his head no, and she leaves. It happens again and she returns. “Did
you say something?”
story, such as it is, concerns two brothers—probably about nine and six years
of age—who decide to go on a speaking strike until their parents buy a new
television set (all the rage, apparently, in those days). The boys are also
rebelling against the grown-ups’ use of meaningless greetings to fill up air
space—“Good morning,” “How are you,” “I’m fine,” “Nice day,” etc.
the same time, the adult women in the block gossip and imagine faults in their
neighbors, all based on misunderstandings and a lack of real communication—which is what Ozu’s film is really about. He
seems to be saying that in order for everyone to get along in a modern society,
we need to say what’s truthfully on our minds.
in gorgeous Technicolor, Good Morning differs
from Ozu’s more solemn works that have a restrained editorial pace and
meditational camera work. This one is lively, is accompanied by a “funny”
musical score, and features many scenes outdoors. The cast is fine, especially
the two boys (played by Shitara Koji and Masahiko Shimazu).
Criterion Collection’s new Blu-ray features a 4K digital restoration (upgraded
from the label’s previous DVD release) and an uncompressed monaural soundtrack.
It looks terrific.
more significant, though, is that Criterion has chosen to include as a
supplement Ozu’s acclaimed silent film from 1932, I Was Born, But… Sound films came late to Japan because of the benshi—narrators who performed during
screenings of silent pictures, commenting on the film’s narrative. They had a
powerful hold on the industry. Criterion had previously released this title as
part of an Eclipse box set of early Ozu titles, but here they’ve upgraded the
movie as a Blu-ray. Also a comedy, Born deals
with similar social mores. In this case, the boys influence how their father
deals with his boss, and also how they relate to their school mate, the boss’
son. For my money, despite being a silent picture, I Was Born, But… is better than Good
supplements include a portion of a “lost” Ozu silent short from 1929, A Straightforward Boy; a new interview
with film scholar David Bordwell about the films; and a fascinating video essay
on Ozu’s use of humor by critic David Cairns. Jonathan Rosenbaum’s essay adorns
the inner booklet.
Good Morning is a worthwhile
release from Criterion, especially for aficionados of Japanese cinema. One
viewing, and your perception of farting will be changed forever.
You really shouldn't complain about having to clean out your garage because you never know what hidden treasures might be found there- especially if you are like many people whose garages have become storage depots that haven't seen a car in years. The Daily Mail reveals that a canister of film has been discovered in a garage belonging to the family of the late, great character actor Leo McKern, who co-starred with the Beatles in their 1965 film "Help!". The footage reveals McKern's home movies taken of the Fab Four horsing around on the snow-bound landscapes of Austria. Click here to read.
Powers Booth, who won an Emmy for portraying crazed cult leader Jim Jones, has died at age 68. Booth had once been a leading man in feature films such as "The Emerald Forest", "Red Dawn" and "Southern Comfort" before finding a niche as a character actor in films and on television. His TV credits include "Deadwood", "24", "Hatfields and McCoys" and "24". Booth also appeared in the hit western feature film "Tombstone" and played Alexander Haig in Oliver Stone's "Nixon". Click here for more.
The blending of two disparate but popular film genres –
in this case, the horror/sci-fi film with the saddle opera - was hardly new
when The Valley of Gwangi hit the big
screen in 1969. This film’s most identifiable
predecessor, one pitting cowboys against a prehistoric monster, might be The Beast of Hollow Mountain (1956), but
truth be told Hollywood had been combining these two genres almost from the very
beginning. In the 1930s and ‘40s,
audiences thrilled to the ghostly monochrome exploits of such western serial heroes
as Ken Maynard, Buffalo Bill Cody, and Buster Crabbe with such films as Tombstone Canyon (1932), The Vanishing Riders (1935), and Wild Horse Phantom (1944). Universal’s Curse of the Undead (1959) was a later but no less interesting experiment
for Hollywood’s preeminent fright factory. The studio removed the vampire from the usual atmospheric Gothic
trappings of old Europe and dropped him onto the sagebrush plain.
On the far loopier end of the spectrum, the notorious director
William “One Shot” Beaudine, provided us with the ultimate in old west
weirdness with his legendary twin-bill of 1966, Billy the Kid vs. Dracula and Jesse
James vs. Frankenstein’s Daughter. 1973
brought to movie houses two of the more memorable big-screen blends: the
sci-fi/western Westworld and Clint
Eastwood’s prairie ghost saga High Plains
Drifter. This combining of westerns
and fantasy films continues, more or less, to this very day… as anyone who
caught the lavish CGI-fest Cowboys and
Aliens (2011) can attest.
Director James O’ Connolly’s The Valley of Gwangi is set mysteriously at the turn of the century
somewhere “South of the Rio Grande.” (Principal photography on The Valley of Gwangi was actually shot on
various locations throughout the deserts of Spain). The locals are enjoying a parade through a
dusty town. The parade has been staged
to promote K.J. Breckenridge’s wild and wooly Cowboys vs. Indians Wild West
Show. K.J.’s rodeo, not-politically
correct by today’s standards, is set to be held at an equally non-PC
bull-fighting arena. Contemporary
political activists needn’t grab their picket signs. The stadium is hardly filled to capacity, and
we soon learn Breckenridge’s rodeo is in dire financial straits. The show simply hasn’t been pulling in the
crowds of late, and even main attraction “Omar, the Wonder Horse,” whose equally
non-PC stage-jump from an elevated platform into a murky pool of water isn’t
enough to save this sad affair.
Suggesting the writing is on the wall, the sultry Breckenridge
(Gila Golan) is approached by smooth talking Tuck (James Franciscus), a
self-absorbed rodeo cowboy and former lover of T.J. Tuck now makes his living by booking acts for
a big entertainment consortium back east. He wants K.J. to sell off the rights to her semi-popular diving horse
act, but his ex-paramour is still bitter over their estrangement and not
interested in selling. Besides she
believes newly found prosperity is just around the corner. She agrees to show him the still-secret
attraction that she’s certain will reverse her rodeo’s downward spiral.
The budding impresario is stunned when she unveils “El
Diablo” a miniature horse that Tuck recognizes is no horse at all. It’s actually an Eohippus, a fifty-million year old ancestor of the equine. This was not a lucky guess, nor is the
startled ex-cowboy an expert on prehistoric beasts. Ten minutes earlier in the film Tuck had
gleaned this morsel of knowledge after stumbling upon a scotch drinking
Paleontologist camped in the scrub brush desert in search of fossils. Tuck responsibly alerts the amazed scientist (Laurence
Naismith) about the Eohippus (“The
greatest scientific discovery of the age!”) and together they learn the Eohippus was captured on the frontier outskirts
of the grimly named “Forbidden Valley.”
Allen has written and directed several dramas over the years (none of which he
appears in)—and there are indeed a few that are worthwhile endeavors. The 1988
release, Another Woman, might be one
of Allen’s least-seen films, and yet it belongs in a list of the artist’s
solid, good pictures—not one of his
masterpieces, but certainly not a clinker (with over forty-six titles, his oeuvre runs the gamut!)
few months ago, I reviewed Allen’s first drama, Interiors, here at Cinema
Retro and acknowledged
the obvious influence of Ingmar Bergman in the work. But it was stated that Interiors was really more Eugene O’Neill
than Bergman. Here, Another Woman is
definitely channeling Bergman; in fact, many critics spotted the similarity—or homage—to the Swedish master’s classic Wild Strawberries (1957), in that the
film is about a person reflecting on a past life, discovering painful truths,
and resolving to change paths moving forward. In Strawberries, the protagonist is an old man; in Woman it’s a female turning fifty. The
Bergman comparison is made even stronger by the fact that Bergman’s longtime
and Oscar-winning cinematographer, Sven Nykvist, is the DP on Allen’s picture.
He shoots it in striking, picture-perfect color.
(sensitively played by the great Gena Rowlands) is an intelligent philosophy
professor on sabbatical, and she’s hoping to write a book. She’s in her second
marriage to Ken (Ian Holm), who is also in his
second marriage. His teenage daughter from the first union, Laura (Martha
Plimpton), is closer to Marion than her own mother (Betty Buckley). Marion has
rented an apartment to get away from construction noise at her home so that
she’ll have peace and quiet to write. However, the walls are thin and she is
next to a psychiatrist’s office. Marion can hear the patients talk about their
problems. One particular subject, Hope (Mia Farrow), is pregnant and suicidal.
Listening to Hope triggers a crisis in Marion, who begins to face turning fifty
and what her life has meant. She soon discovers that she’s been in denial over
a lot of things, mainly that she isn’t perceived by people close to her in ways
that she had thought.
film then takes the Wild Strawberries route
as Marion reflects on events from her past (shown in flashbacks and dream
sequences). Instances of infidelity, jealousy, elitism, and abortion come back
to haunt her—and Marion resolves to do something about it.
to Interiors, Another Woman is much more confident in its direction, and the
control over the piece is more relaxed. Experience counts, for Allen had one
other dead-on drama under his belt (the dreadful September) and several pieces one could call “dramedies” before
tackling Woman. His work here with
Nykvist is masterful. The cast is excellent—besides everyone previously
mentioned, the film also features Blythe Danner, Sandy Dennis, Gene Hackman,
Harris Yulin, John Houseman (in his last screen performance), Frances Conroy,
Philip Bosco, and David Ogden Stiers.
music—made up of classical and Allen-esque jazz selections—is also very
effective. Satie’s Gymnopedie No. 1 serves
as a theme of sorts, and its melancholy pervades the picture.
Time’s new Blu-ray release looks marvelous, showing off Nykvist’s photography
with vivid hues. As with most Allen releases, though, the supplements are
sparse—only a theatrical trailer and an isolated music score are present on the
disk. A perceptive essay by Julie Kirgo adorns the inner booklet.
eighties may be Woody Allen’s strongest decade of work, and Another Woman is a fine example of the
no other filmmaker has blended art and commerce quite like Steven Spielberg.
Just as Spielberg has melded blockbusters with socially relevant films, he has
also conflated his own image as a Jewish outsider who buys whole-heartedly into
American consumer culture. Molly Haskell’s new book on Spielberg, Steven
Spielberg: A Life in Films, published by Yale University Press, takes a deep
dive into these issues in a concise, enjoyable and informative read. As part of Yale’s’ Jewish Lives series,
Haskell is front and center analyzing each Spielberg project from his
background as a Jewish kid growing up in 1950s Arizona who wondered why his was
the only house on the block without a Christmas Tree, embarrassed by his
traditional grandparents. Spielberg is certainly not the only outsider, Jewish
or otherwise, to mine his loneliness into a cinematic career, but as Haskell
illustrates in this monograph, he is the most successful film director to do so.
the text, Haskell describes several occasions where Spielberg consciously
creates his own public persona, actions most similar to Walt Disney, one of
Spielberg’s cinematic heroes- and someone he is often compared to. However, Haskell
compares Spielberg to another giant of classic Hollywood- David O. Selznick.
Selznick balanced his output of popcorn fare and meaningful epics in a career
that matches Spielberg, especially during the 1980s when Spielberg began
producing films of up and coming directors that he had faith in. However,
Haskell lays out times it was difficult for Spielberg to be a mogul. These
include the shooting of Poltergeist where on-set witnesses say Spielberg
directed sequences of the film as opposed to the movie’s credited director,
Tobe Hooper (these accusations hurt Hooper’s career) and later during
Spielberg’s partnership in DreamWorks.
Haskell’s strength lies is in describing in detail how some of Spielberg’s most
iconic films are rooted in his childhood. While it is easier to see this in E.
T. and Close Encounters, it is harder to discern this in the films based on
source material such as Empire of The Sun and Catch Me If You Can. In fact, in
reading this book I was surprised to learn that Spielberg as his most personal
movie cited Catch Me If You Can, which stars Leonardo DiCaprio as real life
forger Frank Abagnale, Jr. The changes
made when the film was adapted from Abagnale’s memoir reveal why this is the
case: Frank Jr’s mother is given a lover that leads to the break-up of the
family, the singular event that happened in Spielberg’s own young life that he
never really got over. In addition,
Frank Sr. (played by Christopher Walken) still plays a role in the younger
Frank’s life, whereas in real life Abagnale never saw his father again.
Although such changes might be those of the screenwriter Jeff Nathanson,
Spielberg’s execution of the scenes as director adds a personal touch that
another filmmaker might not give the material.
layout of the book informs the filmmaker’s life: there are four beginning
chapters, describing Spielberg’s early life and childhood, arrival at Universal
and his forays into their television department. Then the author gives a
chapter each for Jaws and Close Encounters of The Third Kind. Each subsequent
chapter is titled with at least two, sometimes three of the director’s films.
After Close Encounters, the only chapter that contains as its title a single
film is Empire of The Sun. Haskell cites this movie as Spielberg’s most
meaningful film. With it’s boy protagonist, separation of families, and war
time setting, the movie can be seen as a powerful bridge between Spielberg’s
early family movies and his later, socially important films such as Schindler’s
List and Saving Private Ryan.
Spielberg: A Life in Films is an excellent book and is a must-read for any fan
of Spielberg’s work. It is also an important work for anyone interested in how
the background and childhood of a director gets infused in their film work.
One of the very earliest developers of moving image
technology, Thomas Edison, was also one of the first “snuff” filmmakers. His
film The Execution of Czolgosz (1901)
purported to depict the actual electrocution of the assassin of US President
William McKinley. It was faked of course, but his 1903 film Electrocuting an Elephant was
distressingly real. Audiences have been both fascinated and repulsed by filmic
depictions of death ever since.
Killing for Culture was first published in 1994 as an
illustrated history of mondo documentaries, the infamous Faces of Death video nasties and films which purported to feature
actual death, such as the laughably poor exploitation film Snuff (1975), “the film that could only be made in South America…
where life is CHEAP!” In the twenty years since that first edition film and video
depictions of actual death have become far more prevalent owing to the
proliferation of digital video technology and, of course, the internet. The
authors attempt to explore why this has happened, taking in the rise of filmed
executions by terrorists and murderers who film their own horrific crimes, just
like that depicted in Henry: Portrait of
a Serial Killer (1986), a film itself inspired by real events.
Kerekes and Slater also take in a wide range of sources from
across film history in this rewritten and updated edition of Killing for Culture, much of which will
be of interest to Cinema Retro readers. They provide commentary on Italian
films such as Mondo Cane (1962), the Black Emmanuelle films from Joe D’Amato,
and other cannibal-type films, including the notorious Cannibal Holocaust (1980). Hollywood has also skirted around the
idea of the “snuff” movie, most notably in the George C. Scott-starring Hardcore (1978) from Paul Schrader, and
David Cronenberg’s Videodrome (1983)
imagines a secret TV station broadcasting live torture and murder to Canada
from across the American border.
Killing for Culture is a depressing yet compelling book.
Given its relentless treatise on the cruelty and brutality of man, it is not a
text you would want to read in one sitting. Packed with both colour and black
and white imagery, coupled with occasionally graphic descriptions, one might
require a strong stomach to make it to the end. It is however a fascinating,
Nietzschean experience of staring into the abyss and seeing what stares
late Sergio Corbucci (1926-1990) had a long, prolific career in the Italian
film industry as a screenwriter and director, but little exposure in U.S. theaters
by comparison with his total output.IMDB credits him with sixty-three titles as director.By my count, eleven arrived on Stateside
screens, none of them earning Corbucci any real notice at the time.All were genre films -- first sword-and-sandal
movies, then Westerns -- before it was cool for critics to treat such products
seriously, especially dubbed imports.Three toga-and beefcake pictures -- “Goliath and the Vampires” (1961),
“Duel of the Titans” (1961), and “The Slave” (1962) -- were released on
drive-in and double-feature bills in the Hercules era.“Minnesota Clay” (1964) had a 1966 run
disguised as an American B-Western.“Navajo Joe” (1966) passed through theaters in 1967, earning a typically
dismissive review from Bosley Crowther in the New York Times (“results aren’t
worth a Mexican peso”).You had to use a
magnifying glass to see Corbucci’s name on the movie poster.In his 1994 autobiography, Burt Reynolds said
he only took the offer to star in the picture because he thought the director
would be the other Sergio . . . Leone.“The Hellbenders” (1967) came and went, also camouflaged as an American
production and promoting Joseph Cotten’s starring role.Cotten was a fine actor but hardly big
box-office in ’67.
Mercenary” (1968) enjoyed a higher profile in a 1970 release, but “Alberto
Grimaldi Presents . . .” dominated the credits, including the cover blurb on a
paperback novelization that touted the movie as “the bloodiest ‘Italian’
Western of them all . . . by the producer of ‘The Good, the Bad, and the Ugly.’
” “Companeros” (1970) didn’t open in the
U.S. until 1972, and then only with limited distribution. “Sonny and Jed” (1972) followed in 1974. Neither made much of an impression as the
Spaghetti cycle waned here. “Shoot
First, Ask Questions Later” (1975), a sad attempt at comedy in the Spaghetti
twilight, loped through rural drive-ins. “Super Fuzz” (1980; U.S. distribution, 1982) was a Terence Hill police
comedy that the Times’ Herbert Mitgang said had “one funny gag a few minutes
before the end.” At least Mitgang noted
Corbucci and Hill by name as “longtime makers of spaghetti westerns.”
you were nostalgic for Italian Westerns in the late ‘70s and ‘80s, after the
cycle had come and gone in the States, you could read about Corbucci in
Laurence Staig and Tony Williams’ “Italian Western: The Opera of Violence”
(1975) and Christopher Frayling’s “Spaghetti Westerns: Cowboys and Europeans
from Karl May to Sergio Leone” (1981). There you would learn that one of Corbucci’s Westerns that never made it
to the States, “Django” (1966), was as wildly popular and influential overseas
as Sergio Leone’s movies. But good luck
in ever seeing it or Corbucci’s other Westerns, unless you might catch “The
Hellbenders” in a pan-and-scan, commercial-infested print on local TV.
to the advent of home video, cable, and streaming internet -- and in
particular, DVD and Blu-ray in which his films can be seen in the proper aspect
ratio and definition -- both the committed and the curious now have access to
virtually all of Corbucci’s thirteen Westerns, even the obscure “Grand Canyon
Massacre” (1964), his first powder-burner, co-directed with Albert Band. Is Quentin Tarantino justified in praising Corbucci
as “one of the great Western directors of all time”? Today, you don’t have to take Tarantino’s
word for it, or not; you can judge for yourself.
most accounts, a Corbucci Top Five would include “Django,” The Great Silence,”
“The Mercenary,” “Companeros,” and “The Specialist” (1969). The first four are all in relatively easy
reach in various formats and platforms. “Django,” “The Great Silence,” and “Companeros” have had domestic DVD
releases. “The Mercenary” hasn’t, but it
shows up periodically on cable channels, albeit in an edited version, and you
can find good DVD and Blu-ray editions with an English voice track through
Amazon and import dealers on the web.
Specialist” remains more elusive. Written and directed by Corbucci during his peak period, originally
titled “Gli specialisti” and also known as “Specialists” and “Drop Them or I’ll
Shoot,” this Western never played in U.S. theaters, has never had an American
video release, and is hard to find even on the collectors‘ market in a print
with an English-language option. Not to
be confused with other, unrelated films of the same name, including a mediocre
1994 Sylvester Stallone crime drama and an obscure 1975 B-movie with Adam West,
it is past due for official U.S. release on DVD. Or, better yet, on hi-def Blu-ray to give Corbucci’s
compositions and Dario Di Palma’s rich Techniscope and Technicolor
cinematography their due sharpness and color on home screens.
The good folks at the esteemed boutique video label First Run Features are generally known for making available films that relate to important and usually sobering social issues. Every now and then, however, they delve into areas that are considerably more light-hearted in nature. First Run has recently overseen the theatrical release of the acclaimed new documentary "Vince Giordano: There's a Future in the Past" by directors Dave Davidson and Amber Edwards. Giordano may not be a household name but he's a living legend among jazz purists who are devoted to the music of the 1920s and 1930s- the kind of upbeat, immortal tunes popularized by Paul Whiteman, Duke Ellington and Louis Armstrong. Giordano plays to packed houses at Manhattan venues where he performs with his band, the Nighhawks, which he formed decades ago. Like many creative types, he is eccentric, to be sure. The film's glimpses into his personal life reveals that he lives modestly in two adjoining houses in a middle class neighborhood of Brooklyn. Giordano bought the house next door many years ago to accommodate his ever-increasing collection of sheet music and memorabilia that has obsessed him since childhood. The collection is meticulously cataloged in so many filing cabinets that his house resembles the Library of Congress. Floor-to-ceiling paperwork pertaining to his musical heroes permeates the place. You won't find any evidence in Giordano's abode that indicates the existence of rock 'n roll or even the glory days of crooners like Sinatra and Crosby. He is completely devoted to the golden era of jazz and works tirelessly to keep up with finding gigs that will help him keep his sizable band employed.
The film opens with the band delighting in audiences at their long-time Manhattan home, the nightclub Sofia's which was located in the historic Edison Hotel off of Times Square (the same venue where Luca Brasi made the ominous walk to his doom in "The Godfather".) For many years the Nighthawks performed here in the cozy venue, filling the room with the joy of the big band sound. I had seen them there several years ago and, despite not being a jazz enthusiast myself, I couldn't help but marvel at the sheer exuberance of the band. The film follows Giordano's travails as the leader of the Nighthawks- including informing the band members on camera that Sofia's is being forced out of business by landlords who have raised the rent to $2 million a year. Ever-resourceful, he finds them a new home at a club called Iguana- but there are countless other frustrations involved in moving so many people to so many gigs far and wide. Many band members have been with Giordano for many years, some for decades. They relate how the sheer challenges of keeping on top of all of his responsibilities has sometimes caused him to break up the band, only to reunite them shortly thereafter. Giordano seems to have no other interests in his life than jazz and the Nighthawks. He is like an Evangelist in terms of spreading the word about the music and artists that he so reveres. His efforts are clearly paying off. We see him attract young people at the Newport Jazz Festival and at New York's famed private club for the arts, The Players, where he is one of the headline acts at the New York Hot Summer Jazz Festival. Giordano is part mother hen and part drill instructor to his band members. He refers to himself as "The King of Schlep" in regard to the fact that at age 65 he still loads and unloads the vast amount of equipment necessary for every show, carrying it all around in a rather weather-beaten van. He's like a modern version of Willie Lohman, feeling his age perhaps, but ever-devoted to his profession. He relies on his right arm, Carol Jean Hughes, to help him keep track of the enormous amount of paperwork and logistical support that goes into running the band. Giordano shows a grumpy side when things go wrong: a misplaced mouthpiece or a miscommunication that sees him setting up the entire band at the Players only to be told to dismantle everything because another band is scheduled to go on before him. But he's clearly in his element and delighting when playing in front of appreciative audiences. The band's prominence hit new heights with their Grammy-winning work on the HBO series "Boardwalk Empire" and the film includes clips from one of the segments in which the Nighthawks appear on camera. There is also extensive footage of David Johansen rehearsing with the band for the series. Giordano also coordinates a triumphant celebration of the 90th anniversary of Gershwin's "Rhapsody in Blue" and performs it at the same venue in which it premiered on the exact date of the anniversary in front of a cheering audience. The film also mentions that Giordano has worked with Martin Scorsese and Woody Allen, appearing on camera in musical scenes in their films.
"Vince Giordano: There's a Future in the Past" is a sweet-natured movie that was funded by grants and private donations. It's been impressing critics and audiences in advance of its home video release in July. Directors Davidson and Edwards wisely allow ample screen time to show the Nighthawks performing- and the interviews with band members are especially interesting, giving a perspective of people who have not gotten rich but clearly enjoy what they do. Vince Giordano comes across as a New York original- the kind of guy you would like to sit down with at a bar for a few hours. However, that seems unlikely since the workaholic musician strikes me as the kind of obsessive who couldn't bring himself to stop studying and playing music long enough to drain down a couple of cold ones. The documentary is terrific on all levels- just like any performance by Vince Giordano and the Nighthawks.