Timeless Media, which is affiliated with Shout! Factory, has released the classic 1960s TV series "I Spy" in a boxed set that contains all 82 episodes. Although Image Entertainment had released the series previously on DVD, this marks the first time the show is available in its entirety in one set. The show was one of many TV series that capitalized on the recent success of the James Bond films. Suddenly, TV and cinemas were playing spy-related fare virtually non-stop. NBC had some of the best elements of the spymania craze with "The Man From U.N.C.L.E.", Get Smart" and "I Spy". The latter series premiered in 1965 and ran three seasons through 1968. It presented Robert Culp as Kelly Robinson, who uses his status as an international tennis pro as a cover for his activities as a CIA agent. He is assisted by his good friend Alexander Scott (Bill Cosby), who ostensibly is his trainer, but who is also a top spy for the American government. What set the series apart from most of the competition was producer Sheldon Leonard's determination to spend a lot of money on the show. While the men from U.N.C.L.E's "foreign" intrigue was limited to stock footage and back lot sets, the "I Spy" guys really got to travel to exotic locations around the world. Consequently, the show has a glamorous aspect lacking in most other action adventure series from the period. Then there was the fact that in an era of hip spies, Culp and Cosby were arguably the hippest. They traded genuinely funny wisecracks that often seem improvised. The series was also significant from a social issues standpoint. Bill Cosby was the first African American leading man to play a dramatic role in a weekly TV series. He was awarded numerous Emmys for his performance but his presence in the show was controversial during an era when anti-segregation laws in the South had to enforced by gun-toting National Guardsman. Some southern affiliates of NBC refused to air the series. Cosby, who was by then a well-known stand-up comic, always credited Culp for putting his career on the line for him by insisting that either Cosby got the co-starring role, or he would quit the show before it even got under way. There is no real way to measure the impact Cosby's presence on the series had on young African American kids. However, I was in grade school when the show aired and the racial mix in the school was about 50/50. Suddenly, black kids finally had their own TV icon to admire and he was arguably the hippest of all the action stars of the era. Cos looked good in a tux, wooed pretty ladies and was an intrepid man of action.
We have obviously not viewed every one of the 82 episodes contained on the 18 DVDs in this set but a random look indicates the quality of the transfers is top notch. The series has also aged very well and, like the Bond movies, never seems out of date. Culp and Cosby still generate terrific chemistry together as well as with some of the big name guest stars who range from Don Rickles and Jim Brown to young Ron Howard. The only gripe is that one wishes there were at least a few bonus extras to point out the impact of the series and its significance in pop and societal culture. Image Entertainment had released a couple of special DVDs titled The Robert Culp Collection in which the actor provided commentary tracks. Those are not included here so you may want to hang on to them even if you add this irresistible new set to your DVD collection.
In a lifetime of reviewing movies, there have been some titles I generally try to avoid. With a few exceptions, Biblical epics aren't my thing, nor is anything with "Adam Sandler" above the title. One retro-based film I've tried studiously to avoid is "Ilsa: She Wolf of the S.S." I've got a pretty liberal attitude when it comes to watching distasteful movies, but the idea of blending Nazi concentration camp horrors with eroticism was too much. Nevertheless, there is no denying that the 1975 film, shot for $150,000 in sets left over from "Hogan's Heroes" (I kid you not!), was a boxoffice smash on the grindhouse circuit back in the day. Recently, I received a review DVD of the film from a company I won't identify, not only because the transfer was lousy but primarily because it apparently isn't available any longer. (The movie is now in the public domain and there are apparently a wide range of releases of varying quality). I decided to finally take the plunge and judge the film as objectively as I could. I've heard that there are very good transfers of the film on the market. Unfortunately, this isn't one of them. The plot centers on a Teutonic goddess named Ilsa, who is the de facto commandant of a Nazi prison camp. Her primary obsession is conducting gruesome medical experiments on inmates in order to prove a bizarre theory that women can withstand more pain than men. (Exactly what scientific value of such research would be is never explained, but real life Nazi quacks such as Dr. Josef Mengele did indeed conduct hideous experiments on helpless people.) As played by Dyanne Thorne, an Amazonian, blonde ex-show girl, Ilsa is indeed an imposing presence. She has the run of the camp and is feared by inmates and guards alike. Ilsa takes special delight in mixing sexual perversions with her daily grind. She has a loyal staff of female soldiers who parade around topless and excel at whipping and torturing female prisoners. Men receive special treatment. If Ilsa finds a male inmate attractive, she treats him to a night of passionate S&M sex, ironically with her playing the submissive role. Yet, there is a bit of a downside. The day after making love to Ilsa, these men are routinely castrated so that they can never have sex with another woman.
Ilsa meets her match when she meets a hunky prisoner named Wolfe (Gregory Knoph), who is cunning enough to make his services indispensable to Ilsa, while secretly organizing inmates to attempt to take over the camp. In the interim, viewers are treated to all sorts of depravities. If these were limited to sex, it would be bad enough (historically, sexual manipulation was indeed an everyday part of life in a concentration camp with certain female inmates allowed special treatment if they served in bordellos.). However, director Don Edmonds indulges in stomach turning sequences of men and women being systematically flogged and butchered under the most heinous circumstances imaginable. In one particularly awful sequence, a beautiful young woman has a noose tied around her neck and she is placed atop a block of melting ice so that she is slowly strangled to death. The fact that she is dying while standing atop a dinner table where Nazi officers dine and laugh in amusement make it almost unbearable to watch- precisely because such "creative" tortures were implemented in the camps.The film culminates in a limply-staged battle between guards and inmates in which the bad guys get their comeuppance.
There are legions of fans of this movie who argue it represents genuine eroticism. There are also legions of people who think it's cool to wear T shirts with Charles Manson's image on them. I can't understand either point of view. Yes, sexual fantasies are just that-fantasies. If you dream of being flogged by an Amazon woman, good for you. However, blending sexual fantasies with real life horror of the Holocaust makes me wonder how anyone can find this film a turn-on. The fact that it was released during an era when there were still millions of survivors of concentration camps still alive makes the subject matter all the more atrocious. There certainly is a place for artistic expression of sexual content in films that push the envelope. (The Night Porter comes to mind, but at least it was a quality film with an intelligent viewpoint beyond shameless exploitation.)
The film was so successful that it spawned two sequels, though they dropped the Nazi angle. I guess that says all we need to know about what passes for entertainment in some quarters.
I suppose there is an audience for anything and I don't argue the producers had every right to release and profit from this claptrap. You just have to wonder how anyone can derive sexual pleasure from seeing screaming women being disemboweled and hapless men being castrated. Call me old-fashioned, but I would personally rather watch "Hogan's Heroes."
Click here to view trailer and judge for yourself (Warning! X-rated and not for the squeamish.)
Click here to order Prime Time DVD (illustrated above) from Amazon, but please note: this is not the DVD we actually reviewed, though it is said to be of superior quality.
The latest grindhouse vintage porn double feature from Vinegar Syndrome is one of their best releases yet. "Sadie" is an unlikely 1980 hardcore "adaptation" of Somerset Maugham's classic story "Rain", though we doubt ol' Somerset ever envisioned the types of goings-on that occur in this film, directed by Bob Chinn, a prolific name in the industry who was born in Hawaii (please refrain from making the old joke "on the island of Kumoniwannaleiya") and went on to direct dozens of X rated feature length movies. Here the titular character is a blonde bombshell played by Chris Cassidy. Sadie is a prostitute living in Borneo and the action all takes place in a low-rent beachfront hotel here she plies her services and receives paternal loving care from the seedy owner of the resort. Sadie is in love with an American soldier on leave to Borneo but finds she can't leave the island because the local Raja insists that he "bought" her in Saigon and that she must become a member of his harem. Sadie is a moody young woman, prone to selfish and occasionally reckless behavior. Her stress level only increases when an Evangelical U.S. senator and his wife and teenage daughter check into the hotel. The senator has married his wife in order to make an "honest woman" of her because she had been unwed when she gave birth to her daughter. Since then the couple has led a chaste marriage, as the senator believes sex is the work of the devil. The daughter, who has just turned 18, has no such beliefs and her raging hormones can't stand the strain as she witnesses the unapologetic free love practiced by Sadie and her friends. Before long, she's joining in the action while Sadie tries to construct a plan to work with corrupt government officials to get out of the country with her lover.
"Sadie" is largely confined to a few rooms in the hotel and there are no exterior shots. Yet the film is somewhat ambitious and rises above standard porn because director Chinn has a degree of skill in presenting a reasonably compelling story. His leading lady fits the bill in terms of the erotic sequences but is weak dramatically. Unusually for this type of film, Chinn gives plenty of screen time to what appear to be accomplished middle-aged character actors who don't get involved in the down-and-dirty stuff. The film is all the better for it. Chinn also knows how to skillfully lens the sex scenes but never overdoes them. There are twosomes, threesomes and orgy scenes but there is plenty of time devoted to at least attempting to tell an engaging story.
Another Chinn film fills out the double feature, thus making this a genuine "Double Chinn" presentation. "The Seductress" is a 1981 film, that like "Sadie", is far more ambitious than standard grindhouse fare of the era. Porn superstar Lisa De Leeuw plays Cindy, a young wife married to Richard, a local commissioner on the Las Vegas fire commission board. He's a chauvinist boor who talks to her as though she is the hired help. She finds out about a "service" that blackmails spouses by having them seduced, then secretly photographed from behind a two-way mirror as they have their illicit liaisons in a hotel room. Cindy engages the service and sure enough, Richard goes for the bait and ends up in bed with Renee (Lee Carroll), who pretends she is also married and is nervous about having an affair. In reality, she is a heroin-addicted hooker. Cindy's plans go awry when Renee refuses to turn over the photos of her husband unless Cindy "fills in" for her at the next night's liaison. If she doesn't, Renee will blackmail her. Cindy reluctantly takes on the task and ends up in a foursome with a cynical hooker and two men, one of whom is also being set up for blackmail/divorce. The plot gets pretty confusing at times but Chinn elicits good performances by old pros De Leeuw and Carroll, though his luck runs out with much of the supporting cast, some of who read their lines as though they are in a school play. Nevertheless, the film boasts a good story line that involves organized crime and a conspiracy to manipulate who sits on the fire commission. The political intrigue aspect has a genuinely creative payoff in the last frames, as Chinn ties it in with real life news footage of the disaster 1981 Hilton Hotel fire in Vegas that was caused by arson.
The print quality of these two features is above average and Vinegar Syndrome has even gone to the effort of tracking down the original trailers for each film. Although both "Sadie" and "The Seductress" are hardcore films, these represent an early attempt to appeal to female viewers who, at the time, might have wanted to experience some X-rated fare without being totally grossed out. Both hold up well today and are probably more creative than the largely indistinguishable fare being made today.
Seven years after his blockbuster success producing the 1972 film The Poseidon Adventure, Irwin Allen revisited the same story for a sequel, Beyond the Poseidon Adventure. The 1979 film represents all the reasons that sequels to most hit films are generally disdained. Yes, there was The Godfather trilogy to buck the trend, but there were also those God-awful sequels to Jaws. Beyond the Poseidon Adventure opens the morning after the capsizing of the cruise ship. Michael Caine is Mike Turner, the financially destitute captain of a small vessel who is facing bankruptcy after losing his cargo in the same violent storm that destroyed The Poseidon. On board his boat are his first mate Wilbur (Karl Malden) and Celeste Whitman (Sally Field), a perky but klutzy young drifter the men have befriended. They stumble upon the capsized wreck of the Poseidon and Turner immediately smells financial opportunity in the tragedy. If he can make his way through the hull and down to the purser's office, he can raid the safe and abscond with the riches that are inevitably stored there. This is the first of any number of absurdities in the script. With the Poseidon the worst maritime disaster since the Titanic, Turner and his crew discover that, with the exception of one French copter that is conveniently leaving the scene upon their arrival, there is literally no other sign of the international rescue forces that would be omnipresent at the scene. Instead, after rescuing the few people who managed to make it onto the hull in the preceding film, those forces are in no hurry to get additional manpower to the scene in order to search for additional survivors before the ship sinks the bottom of the ocean. Inexplicably, while the rescue forces can't make a timely arrival at the scene, a small craft under the command of Captain Stefan Svevo (Telly Savalas) does. Svevo claims he is a doctor who is there with his crew to enter the ship and search for any survivors. (Absurdity #2: Svevo is about to undertake this arduous, grimy and potentially deadly task while attired in a snow white designer suit!). Turner buys his story and forms and uneasy alliance with Svevo and his team, who are also clad all in white and resemble some of those bands of henchmen from the old Batman TV series. Once inside the ship, movie magic takes over and the group finds every chamber to be brightly lit, thus making it possible to move about freely. True, there is the hazardous task of finding your way around an upside down vessel, but that problem is solved when they conveniently find a map that lays out precisely where everything is located. Soon, Turner discovers what even the most naive viewer has already realized: that Svevo is actually a villain with his own agenda. In the third major absurdity, we learn that the Poseidon was transporting plutonium that Svevo wants to acquire for nefarious purposes relating to bomb building. As if that isn't enough it turns out the ship was also transporting a huge shipment of assault weapons and stockpiles of ammunition. It's a wonder there was any room for those joyous conga lines to dance around on that fatal New Years Eve.
Since a hallmark of any Irwin Allen film is the presence of respected actors peppered throughout the production, it isn't long before familiar faces start popping up in every room, like those celebrities who used to stick their heads of windows and make wise-cracks on Rowan and Martin's Laugh-In. Slim Pickens, in full scenery-chewing hayseed mode, comes stumbling out of nowhere, drunk and protecting a precious bottle of wine. He pretends to be a Texas tycoon but it turns out he was the ship's wine steward and regards the bottle of expensive vino as a life long dream to acquire the lifestyle that has always eluded him. Then there is Shirley Jones, who emerges and announces that she is a registered nurse, which is certainly more practical to the group than if she were a butcher by trade. Angela Cartwright is a young woman who was on the cruise with her father, a bull-headed Archie Bunker type played by an unusually over-the-top and embarrassing Peter Boyle. Every Allen film needs a sympathetic older couple to wring a few tears from blue-haired old ladies in the audience so this time we have Shirley Knight and Jack Warden substituting for the previous film's Shelly Winters and Jack Albertson. Allen throws in the kitchen sink by making Warden play a blind man. Not to be politically incorrect, but the sequences of Warden stumbling around the upside down wreck of the Poseidon with a cane and wearing sunglasses begins to resemble a Monty Python sketch. Then there is Veronica Hamel as the prerequisite "bad girl" who slinks around in a drenched evening gown showing ample cleavage- oh, and young Mark Harmon has a major role as a young hunk who finds love with Angela Cartwright in the bowels of the sinking ship. If that isn't enough, we learn that lovable ol' Karl Malden's character is terminally ill and the symptoms manifest themselves while he's holed up in the upside down ship. (Somehow Allen showed restraint by not introducing killer sharks to the mix.)
Irwin Allen had the good sense to have seasoned directors Ronald Neame and John Guillerman direct his two biggest blockbusters, The Poseidon Adventure and The Towering Inferno and they remain enormously entertaining films. However, he became convinced that he could save a few bucks by doing the job himself. Thus, the man known for making disaster movies became better known for the man who made disastrous movies. The first slip was The Swarm, a 1978 flapadoodle that we always refer to as the worst "Bee" movie of all time. The movie was a bomb but that didn't teach star Michael Caine and co-star Slim Pickins a darn thing, since they re-teamed with Allen right away for Beyond the Poseidon Adventure. (Many years later, Caine said he was ashamed of this period of his career when he took virtually any job in order to earn an easy pay check.) With Allen back in the director's chair, Beyond was destined to be another camp classic and it has the look and feel of a TV movie. Caine looks understandably embarrassed, Field is in Flying Nun cutesy mode and Savalas channels his inner Blofeld as the villain. Allen packs in everything from an ax murder (!) to a full blown shoot-out in which every day people turn out to be as adept at handling machine guns as Sgt. Fury and his Howling Commandos. There are some reasonably impressive sets on view but many of the special effects are sub-par. The most hilarious are found in the opening frames in which we see Caine at the helm of his storm-tossed boat in the midst of a hurricane. The sequence was apparently filmed with the ship on rockers and the violent rainstorm was simulated apparently by having some guy off camera spray garden hoses. It's quite possibly the cheesiest effect I've ever seen in a modern, major studio production.
The Warner Archive has released Beyond the Poseidon Adventure as a burn to order title. With the film itself a dud, there is at least the saving grace of an interesting bonus extra: a vintage 22 minute TV special about the making of the film. It affords some excellent behind the scenes views of the production and makes it clear that a lot of talented people put a great deal of work into creating films that often turn out badly. There are also some nice trailers for the main feature, The Swarm, Twister and The Perfect Storm.
Vinegar Syndrome has released another grindhouse double feature of '70s hardcore porn flicks. "The Altar of Lust" is a boring, snoozefest masquerading as erotica when, in fact, it is about as stimulating as an Amway party. Erica Landers (billed in the film credits as "Erotica Lantern" (!), plays Viveca Hansen, a nubile Dutch teenager who is brutally violated by her barbaric stepfather in the only rape sequence ever filmed that is more boring than offensive. She makes her way to New York where she confides her life story to a sympathetic psychiatrist. For whatever reason, the dialogue comes from superimposed voices from both characters that give the impression that the film was badly dubbed. Erotica Lantern doesn't live up to her name, even in an era when everyday women could become major porn stars. She is far from exotic looking and is adorned with a dime store fright wig that gives each one of her scenes an unintentionally funny overtone. The entire "story line" involves her inability to have a stable relationship with men. After being abused by her stepfather, she enters affairs with other men who verbally abuse her (including porn super star Harry Reems, who uses the screen name "Stan Freemont".) One night, she walks in on her boyfriend Don as he's getting it on with another girl. The other woman ends up seducing young Viveca, much to the amusement of Don. However, when the two get carried away with sapphic lovemaking, he realizes there's no room for him in this party and he angrily departs the scene. Henceforth, Viveca becomes obsessed with women, leading her to see the therapist to find out what is wrong with her. The only intriguing angle of the flick is to evoke a bygone era in which gay people were seen to be suffering from a mental disorder. At the end of the flick, Viveca is put back on track when her own psychiatrist gets it on with her, a plot device you can see coming from minute one. The film is unexceptional on every level and will disappoint fans of the genre because the majority of sex scenes are softcore. The transfer, however, is top notch, given that source material for such releases comes from the "take what you can get" school.
The second feature on the DVD is "Angel On Fire", a 1974 flick that attempts to capitalize on "The Devil in Miss Jones". The film opens without credits but Darby Lloyd Rains is the female lead and stalwart male performers Marc Stevens and Jamie Gillis have major roles. The first scene finds Steven, a young hunk, in bed having torrid sex with his adoring girlfriend. However, when she informs him she is pregnant with his child, he verbally abuses her and abandons her without a second thought. He is a lifelong chauvinist who treats women as sex objects and nothing more. He is ultimately struck by a van and killed by driver (Stevens), who has been distracted by the fact that his girlfriend had been performing a sex act on him while they were cruising the streets of Manhattan. Steven finds himself in Heaven and in the presence of a comely female angel who tells him his fate: he is to be sent back to earth, this time as a female. Steven is "reborn" as a good look young woman named Stephanie (Darby Lloyd Rains) who is as sex crazed as his male alter-ego was. Before long, she enters a relationship with an arrogant man (Jamie Gillis), who treats her every bit as callously as he treated his own girlfriend. Speaking of whom, that woman reappears at his apartment and doesn't seem to be overly-startled by the revelation that her former lover has been reincarnated as a woman. In fact, the two get down to serious canoodling right away for the film's primary prerequisite lesbian sequence. As her dependence on her new boyfriend grows, Stephanie finds herself serving as a virtual sex slave to her deplorable lover- and her devotion only increases the more he abuses her. Finally, she discovers she is pregnant- and he abandons her as callously as he once abandoned his own lover. Stephanie is so heartbroken the she begs to die and - Presto! She is back in Heaven as Steven. He tells his angel guardian that he has learned an important life lesson about respecting women. For this, he is informed that in Heaven, sex is frequent and guilt free. She rewards him for recognizing his flaws and correcting them and the two start getting it on. ("If this cloud is a rockin', don't come a knockin'", you might say.) As The Temptations pointed out, everyone's doing fine on Cloud Nine. Angel on Fire is crudely made and suffers from an insufferable performance by Rains. Beyond that, however, it is far superior to "The Altar of Lust" and contains some genuinely erotic sequences. The flick also looks like it went through a meat grinder, with numerous blotches and edits apparent. As with previous Vinegar Syndrome releases, however, this only adds to its appeal.
Click here to watch a preview clips from the double feature.
Criterion has release a deluxe Blu-ray edition of director Peter Brook's 1963 screen adaptation of William Golding's landmark novel Lord of the Flies. As virtually anyone familiar with literature of the latter half of the twentieth century probably knows, the story involves a group of British schoolboys who are among the refugees deported from England out the outbreak of what is, presumably, a third world war. Their plane is shot down over the ocean but it crashes off shore from a remote island. All of the adults die but the boys miraculously survive and make their way to dry land. Realizing their survival is in their own hands, the boys (the age of whom ranges from pre-pubescent to early teens) set about the task of building shelters. They quickly master the essentials of staying alive and learn to start fires and to hunt and fish with reasonably effective hand-made tools. Inevitably, the fragments of a society begin to coalesce but there is stark contrast in philosophies. Jack (Tom Chapin) is an assertive, take-charge older boy who quickly learns he can use his aggressive personality traits to rise to a leadership position. Jack proves his worth by quickly going native and relishing the opportunity to play king. His skills are essential when it comes to providing food for the group. On the opposite end of the spectrum is Ralph (James Aubrey), a sensitive and thoughtful boy who rivals Jack as leader of the group based on his intellectual superiority. When the rivalry becomes heated, Jack and his numerically superior group of followers resort to violent methods to suppress Ralph and his friend Piggy (Hugh Edwards), a pudgy and harmless boy who must indulge many degrading insults and taunts. The resulting battle of wills leads to numerous tragedies and a conclusion that finds Ralph alone and being hunted down by his former schoolmates, who intend to kill him.
It's clear that Golding intended to use this scenario as a microcosm for society in general. He initially regarded himself as an optimist regarding human nature but that changed during his service in WWII, when he witnessed behavior that he thought was so horrendous that he became convinced that evil is far more prevalent in the world than he had suspected. That cynicism is carried over into the film, which is such a literate version of the novel that no one is credited as a screenwriter. Director Brook would assemble his cast of young boys (none of whom had any acting experience) and read passages and dialogue from the novel prior to filming each scene. The technique worked remarkably well. Brook's shoestring budget of $300,000 was cut in half after his ill-fated, short-term alliance with famed producer Sam Spiegel, who began to make significant changes to the production in the hopes of making it more commercial. When he insisted on adding a group of young girls to the mix, Brook ended their partnership but had to pay Spiegel half of his meager budget to cover expenses he had never even authorized. Left with only $150,000 in the coffers, Brook (who is primarily known as an acclaimed director of avant-garde theatrical productions) managed to get everyone to the island of Vieques off the coast of Puerto Rico, where most of the footage was shot. Brook could not afford a seasoned cinematographer so gambled on hiring a local still photographer, Tom Hollyman, whose work on the film is simply remarkable (though he would never make another motion picture). Hollyman's footage was supplemented by footage taken by Gerald Feil, who was given a hand-held camera and told to shoot anything he found interesting. The result is a superb compilation of both men's accomplishments. The movie was shot in B&W for budgetary reasons but it also worked beneficially in terms of the impact of this stark, bleak tale. Raymond Leppard's brilliant score combines British schoolboy songs with ominous jungle themes. It must be pointed out that, despite the impressive performances of the young cast members, only one- James Aubrey- decided to gravitate into acting as a profession. The real hero, however, is Brook himself, whose exercise in the ultimate "guerrilla movie making" still stands the test of time as a powerful and fascinating film.
Criterion's special Blu-ray release does justice to the movie on every level beginning with a superb transfer that emphasizes the glorious cinematography. The extras in the set are:
Audio commentary track featuring Peter Brook, producer Lewis Allen, cinematographers Tom Hollyman and Gerald Feil
Audio of William Golding reading excerpts from the book, accompanied by scenes from the film
Deleted scene with optional commentary track
Insightful interview with Brook from 2008 (in which he pointedly says he never made a commercial movie because he refused to compromise with the studios in terms of his artistic vision)
Wonderful home movies taken by the young cast members.
1980 British TV interview with William Golding (one of the few he ever gave)
A new interview with cinematographer Gerald Feil
The original trailer
Feil's 1975 short film documenting Peter Brook rehearsing cast members in Brooklyn for one of his off-beat productions. For those of us who do not "tread the boards" for a living, the rehearsals seem bizarre and resemble an exercise class more than an acting rehearsal. Some of it is unintentionally funny: the kind of pretentious scenario that is often spoofed by Woody Allen, with actors chanting and seeming to run about without rhyme or reason. Yet, who are we to argue? Brook's reputation as a major theatrical director remains firmly intact.
A collector's booklet featuring essays by Peter Brook and film critic Geoffrey Macnab
In summary, the Criterion release of Lord of the Flies is essential viewing for classic movie lovers.
When it comes to documentaries about the American Civil War, it's pretty much acknowledged that the gold standard was set with Ken Burns' acclaimed 1990 PBS series. However, it would be a mistake to dismiss other filmmaker's take on the conflict. One of the most impressive documentaries we've seen is producer, director and writer Chris Wheeler's "Civil War: The Untold Story", a five-episode series presented on two DVDs through Athena Home Video. The series is impressive on every level and rivals Burns' film in terms of educating viewers and providing emotional impact. Whereas Burns relied entirely on photographs of the period and location photography, Wheeler delves into the risky realm of using re-enactments of famous battles. If such sequences are not up to par, the effect can look cheesy and distracting. However, in "Civil War: The Untold Story", Wheeler was obviously working with a very substantial production budget. The battle sequences are meticulously staged and take on the feel of an epic, often evoking the grandeur of the big screen feature film "Gettysburg". The title is a bit misleading. There really isn't much here that has been "untold" but there is plenty that has not been covered in the detail Wheeler goes into. The series begins with a look at the plight of black slaves in the old South and poignantly shows the horror of their living conditions. The show then delves into the complex socioeconomic and political factors that brought about secession and the start of the war in 1861. As with most such series, this one is peppered with plenty of scholarly talking heads, each of whom adds immeasurably to one's understanding of the conflict. I did learn a great deal from the show, including how some famous generals were known to have made enormous military blunders such as ordering frontal assaults on embedded enemy positions, thus resulting in mass casualties. Wheeler's literate script also details how fragile American democracy was by 1864. With President Lincoln's popularity at its lowest point, war-weary northerners were more than willing to make peace with the south. In fact, Lincoln suffered the humiliation of having one of his former top generals, McClelland, nominated to be his Democratic opponent in the election. Violent and deadly riots had already torn apart New York City in protest of the draft. Lincoln had to pull off a major victory or America, as we know it, would have been confined to the dustbin of history. In fact, democracy itself as a form of government would have been doomed. Although we know the outcome of all this, Wheeler skillfully builds these crisis to the point of considerable suspense. He also manages to tell the story of the war through focusing on individual soldiers from both sides as well as freed slaves who found emancipation to be a crisis in and of itself. Where did these poor souls go? With no education, money or support structure, many ex-slaves traded one hellish life for another. Wheeler also points out the the legacy of the Civil War still permeates North/South relationships today. Indeed, even some elected officials call the conflict "The War of Northern Aggression".
The series, wonderfully narrated by Elizabeth McGovern, is completely addictive and you'll find yourself on a viewing binge, looking forward to each successive episode. The only downside is that one would have hoped that Athena had included an interview with Chris Wheeler about the making of this remarkable show. The only extras are some silent WWI-era newsreels that show fascinating footage of Civil War veterans from both sides attending "Peace Jubilees". It's truly surprising how many thousands of these veterans were still alive and well in the era of the automobile. The set also includes an instructional booklet of historical biographies and facts.
"Superb" is not a word one throws around casually but "Civil War: The Untold Story" is a superb achievement.
It’s hard to say
why the brain trust at Troma decided to release Dangerous Obsession on DVD this
year.Perhaps someone thought the
Esquire network’s recent re-airing of the old HBO Dream On series would create
interest in Brian Benben, who stars in this film (originally called Mortal Sins)
as Nathan Weinschenk, a brash private investigator from New York who gets
involved in a complex murder case involving some transplanted Southern religious
zealots. But even if there is a sudden renewed interest in the Benben catalog,
it’s difficult to imagine that even the most devoted Benben completists would
derive any pleasure from this cheaply made 1989 flick with its clichés and hack
dialogue. I can’t even label this one as
decent 1980’s kitsch.
Reverend Park Sung (James Saito) is murdered in his Manhattan apartment,
Weinschenk is hired by rival evangelist Malcolm Rollins’ (James Harper) who
wants to protect his own Manhattan church (‘The Divine Church of the People’).
Weinschenk also ends up protecting Rollins’ lovely daughter (Debrah Farentino),
which adds a little steam to the proceedings. The daughter, you see, has a
complicated sex life, as most women in movies did back in the late 1980s,
whether or not they knew Mickey Rourke or Michael Douglas.
the humor of being a Jew in a nest of bible-thumping Southern vipers. True, the
idea of Southern-fried televangelists setting up shop in Manhattan may have
sounded edgy at the time (this was the 1980s, remember, when Jimmy Swaggart and
Jim Bakker were involved in serious scandals, and TV preachers had become
popular punching bags), but the film is played out in such broad strokes that
any good ideas are quickly crushed by cartoonish acting. Weinschenk, for
instance, has the stereotypical Jewish parents who are oblivious to anything
outside their little household. He also shares
his office with a no-account male relative (I couldn’t tell if they were
brothers or cousins) and there’s even a running gag where the Southern folks
can’t pronounce his name.
the Jewish stereotypes aren’t enough, we also get a lot of TV private eye
clichés. As if he’s auditioning for a role in a network cop show, Weinschenk drives a classic 1950s car, and listens
to classic R&B (I’ll give some points to this movie for including a cut of
Jackie Wilson’s ‘No Pity In the Naked City’). He also thinks he’s a real wiseass,
although his level of wit is restricted to lines like, “Nice work if you can
get it.” Benben curses a lot, too, and
while he can drop the F-bombs with convincing venom, he’s still stuck with playing
a wooden character. The Southern stereotypes are pretty thick, too. The Southerners are all portrayed as bloated,
effete, Jerry Falwell types, speaking in
exaggerated, syrupy drawls; if you told me they were all stoned on Quaaludes
during filming, I’d believe you. The perfectly named Brick Hartney has some success
as the slimy Billy Beau Backus, playing his part like a community theater star
vamping for his friends in the front row. Proving that some people know how to get
out while they’re on top, Hartney never acted in films again.
are plenty of extras here, but none are about Dangerous Obsession. The extras are
solely Troma related, including vintage trailers for The Toxic Avenger, Return
to Nuke ‘Em High: Vol. 1, Badmouth, Poultrygeist, and Cars3, plus a snippet of
a Troma documentary called How To Sell Your Own Damn Movie, featuring filmmaker
James Gunn discussing the dubious wonders of social media.
For those who enjoy
spotting character actors early in their careers, you’ll find a surprising
number of them in Dangerous Obsession. Anthony LaPaglia has a small role, as
does Maggie Wheeler, who went on to recurring roles on Friends, Ellen, and
Everybody Loves Raymond. Anyone who has
watched TV during the past 25 years will also recognize Peter Onorati, who has
made a career out of playing guys named Angelo or Sal. Director Yuri Sivo and screenwriter Allen
Blumberg have worked infrequently since 1989 – Blumberg has directed a couple
of small projects, with Sivo’s highpoint being a couple episodes of the Swamp
Thing TV series.
the plus side, Dangerous Obsession is visually striking, with a sophisticated
use of shadows and silhouettes. That’s no surprise since it was shot by underrated
veteran Bobby Bukowski, whose recent work includes two excellent titles, The
Messenger (2009) and, what is perhaps my favorite movie of the past few years,
The Iceman (2012). Even while strapped
to a no-budget howler like Dangerous Obsession, Bukowski shows the immense
talent that would make him one of the most reliable and sought after cinematographers
of the past two decades. (Hell, he even shot Shakes the Clown!) In fact, I’d only recommend this DVD to those
who want to marvel at how a ham-handed script made on an Ed Wood budget can
feature so many lollipops for the eye. Even the final shot is superb, with Weinschenk and his girlfriend
arguing on a fire escape, the camera pulling back and wheeling around to reveal
a lush New York skyline at what must have been the so-called magic hour. The idea that the evil Southerners are gone
and the New Yorkers can get back to arguing among themselves is trite, but
Bukowski shoots it like he’s practicing for his future.
Time to put up your Dukes! (DVDs, that is!) Cinema Retro has received this exciting press announcement from Warner Home Video:
JOHN WAYNE: THE EPIC COLLECTION DEBUTS -NOW SHIPPING!
DVD COLLECTION OF 40 WARNER AND PARMOUNT FILMS IS LARGEST JOHN WAYNE BOX SET EVER
INCLUDES HOURS OF SPECIAL FEATURES AND REMARKABLE MEMORABILIA
AMAZON BUYERS GET EXCLUSIVE WAYNE BELT BUCKLE
Burbank, Calif., February 24, 2014 -- To
commemorate one of America’s most iconic film heroes, Warner Bros. Home
Entertainment will introduce a comprehensive new DVD set -- John
Wayne: The Epic Collection-- on May 20. The spring release, just in
time for Father’s Day gift-giving ($149.98 SRP), will contain 38 discs with 40
Wayne films (full list below), including The
Searchers, once called one of the most influential movies in American
history and the film for which Wayne
won his Best Actor Academy Award®, True Grit (1969). The collection comes packaged in a handsome book with
unique collectibles and hours of special features.
The coffee table book includes a
chronological presentation of Wayne films, enhanced with wonderful photographs;
the hours of special features include commentaries, documentaries, featurettes,
vintage shorts and classic cartoons; and the special John Wayne collectibles include
personal correspondence, script pages/covers, pages with Wayne’s notations and
Wayne’s legacy will also be celebrated at the 4th
annual John Wayne Film Festival in Dallas from April 24th through
the 27th. The four-day festival will feature screenings of some of
Wayne’s classic feature films, Q + A sessions with Wayne family members and
co-stars, and parties celebrating the John Wayne heritage and legacy. All the
proceeds from the festival will benefit the John Wayne Cancer Foundation.
In making the announcement of the new
collection, Jeff Baker, WHV’s Executive VP and General Manager, Theatrical
Catalog said, “Thanks to our recent strategic alliance with Paramount and their
catalog titles, we’re delighted to be able to offer this number of titles representing
such a broad range of Wayne’s work. Wayne was one of the most popular film stars
ever. For more than a quarter century he was one of the tops at the worldwide box-office.
This collection will certainly be a ‘must have’ for loyal John Wayne fans and,
hopefully, will have an equal appeal to younger folks who want to learn more
Born Marion Robert Morrison in
Winterset, Iowa, John Wayne first worked in the film business as a laborer on
the Fox lot during summer vacations from U.S.C., which he attended on a
football scholarship. He met and was befriended by John Ford,
a young director who was beginning to make a name for himself in action films,
comedies and dramas. It was Ford who recommended Wayne for his first leading
For the next nine years, Wayne worked
in a multitude of B-Westerns and serials in between bit parts in larger
features. Wayne’s big break came in 1939, when Ford cast him as the Ringo Kid
in the adventure Stagecoach. Wayne
nearly stole the picture from his more seasoned co-stars, and his career as a
box-office superstar began. During his 50 year film career, Wayne played the
lead in more than 140 movies, an as yet unsurpassed
record, and was nominated for three Academy Awards®, winning the Best
Actor award for his performance in True
Discs In John Wayne: The Epic Collection
Big Stampede/Ride Him Cowboy/Haunted Gold, 1932
Telegraph Trail/Somewhere in Sonora/Man from Monterey, 1933
Unemployed and disgruntled Ronnie (Robert Buchanan)
hatches a plan to steal ninety sinks as
a means to solving his financial hardship. Recruiting his closest friends,
against the grey backdrop of Glasgow, eight teenagers plan to pull off the
cinematic caper that would define 1979.
Alongside the 60th Anniversary release of Akira
Kurosawa's seminal action masterpiece Seven Samurai, the month of April would
find the BFI with one eye fixed on Japan, and the other on home soil.
With their Flipside label the BFI proudly champions
the rediscovery of British cult films, and the latest film to find itself
inducted into this illustrious catalogue is Bill Forsyth's 1980 caper comedy
That Sinking Feeling.
It is hard to think of two more distinct films finding
themselves on the release slate alongside one another. In spite of being worlds
apart, they share a single similarity, and to the astute eye it is a
singularity that multiplies. That Sinking Feeling and Seven Samurai together
are perhaps a testament to the fact that films, like people, are individuals
but also live within a cinematic or narrative society.
As unmistakably Japanese as is Seven Samurai –
although it would be the seed of inspiration for John Sturges’ The Magnificent
Seven -- Forsyth's Glaswegian crime caper has British cinematic blood coursing
through its veins. It is indelibly a cult British classic,, regardless of whether
or not you’d describe it in that typically English way as your “cup of tea.”
The role That Sinking Feeling plays in the story of
both British and international independent cinema should not be overlooked. Highlighted
in an entry of Kermode Uncut that can be found amongst the extras, Forsyth
discusses how he constructed the film’s budget and how he gathered
non-financial resources that made his debut feature anything but a sinking endeavour.
It positions Forsyth as one of cinema's ingenious independent filmmakers, and
his story allows us to compare the landscape of independent cinema and the
working filmmaker from then to now.
With its shade of social realism through the disenchanted youth, Forsyth and
his cast of characters turn hardship into comedic gold, or at least they
attempt to do so through a caper that more than thirty years on may strike one
as pointless, and even perhaps, as amusing as the film itself. That being said,
with the recent scurrying around for scrap metal and copper that has helped
regional news programmes fill their schedule, That Sinking Feeling may not have
sunk as deeply into the past as one might imagine.
From the outset Forsyth imbues the film with playfulness - the film's title
sinking off-screen to the suggestion of Glasgow as a fictitious place. Add to
that the wry smile that frequents Ronnie’s (Robert Buchanan's) lips and it is
almost as if the film is trying not to laugh along with itself; an infectious
humour that would similarly plague Seinfeld cast members years later.
The fictitious place known as Glasgow is one that
may just intertwine itself with an inner knowing truth that Glasgow is real,
and the grey urban landscape of Forsyth’s debut feature is a reflection that
possesses a certain proportion of truth.
Constructed with a seeming focus on individual moments - the opening monologue,
the science-fiction comedy element and the encounter with a pretentious art
dealer amongst others, That Sinking Feeling is made up of comedy segments that
undermine the fluidity of a narrative gliding towards its destination. Whilst
it does successfully tell the story of a caper, and the forming of a gang, it
decidedly feels as if it is a film of moments that should be appreciated as
Although it is rough around the edges, and it habitually surrenders to the
moment, it should be regarded as both criticism and praise. These faults afford
That Sinking Feeling a vitality that so often can be found in first films where
directors succumb to the moment, a creative energy or instinct. After all, film
is constructed of moments, and the creation of these moments that permits a
film to exude charm and energy is reason enough for celebration.
With a comprehensive set of extras of first-hand accounts, the BFI have pulled
Forsyth's debut out of the shadows cast by Forsyth’s better known and often
more celebrated Gregory's Girl and Local
Hero. That Sinking Feeling may be a
title of introspective truth regarding its own fate.
Whilst the dark confines of the cinema may be the
traditional spiritual experience of the cineaste, to fine connoisseurs of home
entertainment such as the BFI, they are equally a beguiling means towards discovery or rediscovery. If the
truth be told, they possess a greater capacity to take us beyond the film, and
with the restored original Glaswegian audio track and a spate of extras, for
those either not born in 1979 or for those too young to see That Sinking
Feeling on its initial theatrical release, the BFI Flipside release is a
beguiling means of discovery, and for all others re-discovery with it restored
to Forsyth’s original vision.
Martin Ritt's Conrack,
now available on Blu-ray from Twilight Time, first hit theaters in 1974.This was a time when new, brash directors
were reinventing American cinema,a time
when movie screens were likely spackled with vomit from demonically possessed
little girls, or blood from the victims of Dirty Harry Callahan's .44 Magnum. Theaters
in your neighborhood were just as likely to be playing hardcore porn as the
latest Paul Newman movie.Ritt's simple
tale of an optimistic white teacher in a schoolroom of dirt poor black students
was a success just by squeaking through to its birth.
Looking at it 40 years later, one is struck by two
things, namely, Jon Voight's relentless energy and goodwill as the big-hearted
teacher, and the very realistic performances from the kids.Even while acknowledging the film's uneven
tone, or what one critic deemed "a crazy quilt of naturalism, farce, and
soap opera all jumbled together," one is still intrigued by Conrack.Maybe the idea that a caring soul might try to educate some people who
would otherwise remain ignorant strikes a primal cord within us.Maybe there's something irresistible about
sheltered folks suddenly realizing there is more to the world than their dirty
little backwater.Or maybe, and this
might trump all the other maybes, we all hated school so much that we wish our
own lives had been enriched, even briefly, by someone like Conrack.
Pat Conroy, a young idealist, takes a teaching position
on a remote island in a South Carolina river delta.He's vowed to grow his hair until the war
stops (the story takes place in 1969) and the locals look at him as if they're
seeing a mythical animal up close, for a towering blonde white man on an island
made up almost entirely of blacks is as odd as a unicorn.The locals can't even pronounce his name,
which creates the movie's title.The
newly dubbed Conrack fends off their suspicions with a grin as wide as the
Bible belt, and then sets about teaching "the babies," as these fifth
through eighth graders are called.He's
shocked to find out the level of his students' ignorance - they can't read,
they know nothing about life beyond the island, they've never heard of Babe
Ruth or Halloween, have never played football, and, Heaven forbid, they don't
even know that coffee comes from Brazil.
Based on Pat Conroy's memoir ‘The Water Is Wide,’ the
story follows Conrack's effort to help these children even as he is met by
resistance from the school's principal, a middle aged black woman (Madge
Sinclair) who believes the children need to beaten with a leather strap, and
superintendent Skeffington (Hume Cronyn), a grinning sadist who likes to grab a
kid by the thumb and twist, a punishing move he calls "milking the
rat."Add to this a local drunk
(Paul Winfield) who skulks around the island like Boo Radley, the talkative Mr.
Quickfellow (Antonio Fargas) who stalks 13-year-old girls with promises of new
dresses, plus the natural reluctance of students who have never been
challenged, and it seems Conrack has entered a world that may be too much for
him to conquer.
Yet, armed with nothing but his enthusiasm, Conrack
gradually earns the love and respect of the classroom. The kids, as meek as
church mice at the movie’s start, are
soon chanting James Brown songs, and dressed up for a Halloween trip to
Beaufort.Conrack's teaching methods are
unorthodox - he tickles, wrestles, and teases the students, and when he learns
that no one on the island knows how to swim, he promptly throws the kids, one
by one, into the river. His freewheeling style gets results. He even gets the
class to sit still long enough to listen to some recordings of classical
music.I like how the kids calmly pay
attention to the sounds coming from the old turntable.In a more contemporary movie, they all would
have picked up instruments, mastered them overnight, and would have then gone on to win a contest
of some kind, for in modern America a story is only uplifting if you can crush
someone and win a prize. But in Conrack,
the kids merely listen; they’re quietly mystified by the music, happy that they
can come close to pronouncing the names of Beethoven or Brahms. Conrack even
picks up one of the younger boys and cradles him as the music plays, inviting
him to close his eyes and sleep.Somehow, Conrack's good intentions get him labeled as "an outside
agitator" and fired from his job. Conrack tries to fight the verdict but
is no match for Skeffington’s power as superintendent. His good spirit bloodied
but unbowed, Conrack leaves the island. To the children he says, "May the
river be kind to you when you cross it."
As one might have expected, reactions to the movie were
mixed: syndicated columnist David Sterritt dismissed it as "an audacious
attempt at mythmaking." Indeed
there are scenes of Conrack jogging along the beach, his class running along
behind him, as if he’s some sort of golden haired pied piper, an image that probably
ruffled some feathers in the super cynical ‘70s. The New York Times gave it a
mostly positive review, but lamented the film's "glaze of sentimentality
that sugars much of the narrative."
Explosive Media is an exciting new German company that specializes in releasing excellent Blu-ray and DVD editions of retro movies. The good news is that all of their releases are "region free", which means they will play on any Blu-ray/DVD system. The bad news is that if you don't live in Germany, you might have a difficult time obtaining these unless you order through Amazon Germany or find the the titles through third party sellers. Nevertheless, our considerable European readership will be especially gratified that some excellent titles are now available through this company. One of those titles is The Revengers, a little-remembered but very worthwhile 1972 Western that reunited Wild Bunch co-stars William Holden and Ernest Borgnine, along with another Western icon, the great Woody Strode. The time-worn premise is a familiar one to fans of the genre. Holden plays John Benedict, a successful rancher with a loving family consisting of two sons, two daughters and a devoted wife. One day, while out hunting a mountain lion, Benedict is alerted to the fact that his ranch is being attacked by a band of ruthless rustlers. By the time he makes his way home, he finds a horrific sight to greet him: his entire family and dedicated farm hand have been mercilessly slaughtered. Benedict is overcome with grief but his overriding emotion is for revenge. He learns the band of cutthroats consists of renegade Indians and white men who are led by Tarp (Warren Vanders), who is leading the pack and their stolen herd to a hideout encampment in Mexico where they will use the horses to trade for guns and liquor. Benedict travels to Mexico and hand picks a gang of convicts who are suffering under horrid conditions in a desert prison. He "rents" them ostensibly to do labor in a mine but actually enlists them to accompany him on his seemingly suicidal mission to infiltrate Tarp's camp so he can have his revenge. Predictably, the motley crew double crosses and even robs him- but in the end, his faith in them is justified when they return and inform him they will go with him. They embark on a year-long quest to find Tarp's camp and when they do, a major battle ensues during which Tarp escapes. Benedict and his ragtag "army" continue the hunt but not without some infighting within their group that leads to Benedict being seriously wounded by one of his own men.
The Revengers looked like pretty standard horse opera stuff at the time of its release. At times it's like The Comancheros meet The Magnificent Seven by way of The Dirty Dozen and The Searchers. However, the film plays better today with Holden and Borgnine giving fine performances (the latter is particularly amusing as the sleaziest of Holden's allies) with Woody Strode and an impressive cast of supporting actors adding to the mix. Susan Hayward (in her last film role) pops up briefly as a lonely Irish nurse who cares for the wounded Holden. Director Daniel Mann makes the most of the Mexican locations and there is some truly inspired cinematography by Gabriel Torres. There are also any number of well-staged action sequences including a hell of a battle when Holden's group aids an outnumbered outpost of U.S. Cavalry against an overwhelming number of Comancheros. These scenes feature some of the best horse falls stunts of the era. The only criticism from a technical standpoint is that composer Pino Calvi's score seems dated and more appropriate for an old episode of Starsky and Hutch.
The Blu-ray edition boasts a crystal clear transfer with the film available in both English and German languages. Explosive provides some nice extras including a four-page German language illustrated booklet, a great gallery of original posters and German lobby cards and several trailers for other releases including a terrific promo for Burt Lancaster in Valdez is Coming.
Explosive Media titles may be hard to get in the English language market, but they are worth going to some trouble to obtain.
Click here to visit their web site with links to Amazon Germany.
(In America, Paramount is reissuing the film on DVD, but not Blu-ray. Click here to order)
Paramount Home Video is releasing a special Blu-ray edition of the John Wayne/Maureen O'Hara hit Mclintock! (1963) in May. Here are the details. Pre-order now!
Synopsis:McLintock!presents screen giant John Wayne at his two-fisted best, with the beautiful, fiery Maureen O’Hara as the proverbial thorn in his side. The Duke stars as George Washington McLintock, a proud, defiant cattle baron whose daughter is due home from college. But G.W.’s happy reunion is tempered by the arrival of his headstrong wife (O’Hara), who recently left him. Verbal fireworks explode, slapstick pratfalls bloom… and the Wayne-O’Hara “reconciliation” culminates with the notorious “spanking” scene and the biggest mudhole brawl this side of the Mississippi in this wild, raucous and hilarious Western comedy!
Audio & Subtitles:
·English 5.1 Dolby TrueHD, English Mono Dolby TrueHD, French 5.1 Dolby Digital, Spanish 5.1 Dolby Digital & Portuguese 5.1 Dolby Digital
·English, English SDH, French, Spanish & Portuguese Subtitles
·Introduction by Leonard Maltin
·Commentaries by Leonard Maltin, Frank Thompson, Maureen O’Hara, Stefanie Powers, Michael Pate, Michael Wayne and Andrew McLaglen
When a young
woman is killed in the woods near the Florence Nightingale Institute,
detectives immediately begin their investigation at the weird old nursing
establishment. Why wouldn’t they? The place seemed full to bursting with
suspicious characters. There was shifty-eyed Dr. Cabala, for instance, who
looked too much like Christopher Lee to be totally innocent.Or maybe it was Dr. Carter, who seems a bit
too enthusiastic about splashing around in the guts of dissected frogs. (His
fingers seem permanently stained from frog juice). Then there was Hettie Green,
the head of the nurses who liked to welcome new trainees with a very sensual
bedtime massage. Accusations could also be aimed at Moss, the drooling
hunchback who wandered the landing in his role as handyman, often peeking in on
the young nurses as they slept or showered. Then again, maybe it was the
cloaked figure in the top hat who seemed to always be lurking in the shadows.
There’s even a young nurse who is acting in a local stage production of Dr. Jekyll
and Mister Hyde, a small girl whose delicate hands belie a facility with a
sword. That’s only part of the cast of characters in TheJekylland Hyde Portfolio, an occasionally
bloody and often pornographic mess from 1971, brought back to gory life by the
kind fellows at Vinegar Syndrome, a group that thrives on reviving long buried
epic was directed by Eric Jeffrey Haims, who spent a brief time making porno
movies in Hollywood under the auspices of his bare bones production company,
Xerxes Productions Ltd. Haims gained a small amount of publicity when his 101 Acts of Love was shown at
Hollywood’s Las Palmas Theater in ’71 before an invited group of medical
professionals. The film was part of a benefit, with proceeds going to the LA
Free Clinic. Haims’ piece was one of those bogus medical documentaries that
were made as an excuse to show couples humping, yet J. Michael Kenyon of the
Hollywood Reporter praised the thing: “…the beauty and intrinsic calm of
physical delight are well highlighted by artful rendition…” I wonder if Kenyon
saw The Jekyll and Hyde Portfolio?
those who keep track of such things, The
Jekyll and Hyde Portfolio was given an extremely limited VHS release many
years ago by Intervision Video, resulting in some outlandish bidding wars on
Internet auction sites. There have been instances of it selling for over
$1,500. (Who bid that much? It must have been J. Michael Kenyon.) Not to dampen
the spirits of the lucky winners, but I can’t imagine what made this movie such
a collectible title. True, there are some scenes of lesbianism, and a lot of
nudity, and some of the ladies are very pretty. As for the Sappho stuff, the
girls give it the old college try, which probably helped the movie get its X
rating. I can even understand how some might point to this movie as a
forerunner of the slasher flicks that would explode by the end of the decade.
(In fact, The Jekyll and Hyde Portfolio
boasts a scene where a couple’s barnyard coitus is interrupted when the male is
beheaded by someone wielding a nasty looking scythe, a distinctly Friday the 13th type of murder.) I'm
also sure that many bidders were titillated by the idea of a horror movie cast
with performers from the porn industry. Still, for $1,500 you can get real women
to come to your house and do stuff to you. On the other hand, who knows what
owning the actual VHS in its original box can do for a fellow’s social
On the plus
side, the movie is not bad looking. Cinematographer Arch Archambault was fresh
off of shooting Count Yorga, Vampire,
and he creates a nice, saucy atmosphere for the lesbian nurses and twitchy
doctors to roam around in. There’s a scene in the hospital where the very
beautiful Mady Maguire (as Dr. Leticia Boges) wanders in the dark with a
candle; the scene is downright atmospheric, as if we’re suddenly watching a
real movie made by competent filmmakers. Unfortunately, it doesn’t last long.
Maguire, incidentally, may be familiar to some for her occasional appearances
on ‘The Beverly Hillbillies’, and for her starring role in Norma, a cheapo stinker where she played a nymphomaniac. The final
role of her illustrious career came in 1980 with an appearance on the
short-lived ‘Tenspeed and Brown Shoe.’
Other than the
occasional inspired moment from Archambault, there’s not much to recommend. The
acting is of community theater quality, and the script is like something a
junior high school kid would write after watching a couple of old Hammer films.
Aside from the sex scenes (which contain plenty of groping and heavy
breathing), the actors move woodenly and unconvincingly through the creaky
plot, decked out in what barely passes for 1870s period costuming, but making
no attempt to hide what were obviously 1971 hairstyles, and distinctly modern,
urban accents. (One of the nurses sounds like Fran Drescher, and the two
detectives on the case, while dressed as Sherlock Holmes and Dr. Watson, sound
like extras from 'Kojak.')
vintage '70s porn might be interested to know that Rene Bond, who by some
estimations appeared in anywhere from 80 to 300 porn productions, appears here
in a key role. Bond earned some notoriety for being one of the first women in
porn to undergo breast augmentation (allegedly paid for by porn producer Harry
Novak). Bond's real life boyfriend and longtime porn partner Ric Lutze is also
in the film. Bond and Lutze look like kids here, and even though there isn't an
ounce of talent between them, I wonder if they thought The Jekyll and Hyde Portfolio, which was promoted as a horror film,
might lead to more roles in non-porn features. It didn't. By 1978, Bond would
drift away from porn and embark on a somewhat successful career as a Las Vegas
stripper. She died young, at 45, from cirrhosis of the liver. It's rather bittersweet
to see her here, young and vibrant.
face to lovers of old porn will be Nora Wieternik. She plays Amber Van Buren, a
sexed-up nurse whose wardrobe consists of a single corset. She’s appropriately
bawdy for a goofy film like this one, and the only member of the cast who seems
to know what she’s doing. Wieternik would work often during the early 1970s,
usually as a hooker or a hippie in such classics as Dr. Dildo’sSecret.Some might recognize her as Queen Amora in the campy spoof FleshGordon (1974).I also
enjoyed the work of the brilliantly named Hump Hardy, the sinister looking chap
who played Moss the hunchback. Hump had an almost superhuman ability to drool
on cue, which is why I'm so surprised he never acted again. Surely there was a
place for him somewhere in Hollywood.
there’s more! Vinegar Syndrome added a second Eric Haims feature to make this
DVD a double event (it is part of their ongoing “Drive-In Collection”). The B
side of the program is AClockworkBlue (1972), a throwback to the nudie cuties of 12 years before.
This time Haims takes some of the same cast members from The Jekyll and Hyde
Portfolio and dresses them as various historical figures, including Marie
Antoinette, Louis XVI, and Betsy Ross. Viewers are taken through a sort of
kinky trip through history, as if any of us really wanted to know about Betsy
Ross’ sex life. The movie is as dumb as it sounds, but A Clockwork Blue was actually a bigger hit than TheJekylland Hyde Portfolio, having a longer
shelf life on the porn theater circuit, sometimes as part of a bill with Deep Throat. Not surprisingly, Warner
Bros. took Haims and company to court over the title sounding too much like A Clockwork Orange. Haims backed down,
and changed the title of his film to A Tic
keeping score, both titles are scanned in 2K & 4K from 35 MM internegative
(Jekyll) and 35 MM camera negative (Clockwork).
No extras here,
just a lot of bad acting from people who could screw on cue but couldn’t recite
Next Alfred Hitchcock" was how director Brian De Palma was being
celebrated by some back in 1973. It was largely in praise of his latest film,
the thriller ‘Sisters’. There is little doubt that ‘Sisters’ is not only homage
to Hitchcock’s Psycho, but also a huge nod towards Hitchcock’s entire body of
work. As the saying goes - ‘You only borrow from the best’ and of course, it
was no secret that De Palma was a huge admirer of Hitchcock’s work.
was inspired by a Life Magazine article read by De Palma, about the Russian
Siamese twins Masha and Dasha. The film begins with a model named Danielle
(played by Margot Kidder), who appears on the local TV game show, Peeping Toms (the film’s first example
of its voyeuristic theme). Danielle goes out to dinner with the winning
contestant, Phillip Wood. Her strange ex-husband Emile (De Palma regular William
Finley) follows Danielle to the restaurant and finally creates a scene. Phillip
takes Danielle back to her home in Staten Island. Emile keeps watch outside
their apartment, as Danielle and Phillip spend the night together.
next morning, Phillip is brutally killed (with a large Psycho style knife and
in graphic detail) after overhearing Danielle speak to her sister, Dominique.
The murder is seen by reporter Grace Collier (Jennifer Salt), from her own
apartment (not unlike Hitchcock’s ‘Rear Window’). The police are not entirely convinced
by Grace’s homicide story and they are not enamoured by her personally, perhaps
because she had recently wrote a damming story on police procedures. In true
Hitchcock style, Grace takes it upon herself to investigate and is drawn into a
bizarre story of Siamese siblings, a mysterious mental institute, and identifying
the truth behind Dominique and Danielle. It is established that Danielle never recovered
from the death of her twin Dominique. Furthermore, Dominique remains alive in
the mind of Danielle – a form of guilt lodged deep within her soul - and the
result of having been the twin to survive a surgical separation. Danielle’s sexual
experience with men (such as Philip or Emile) becomes the catalyst that awakens
Dominique and the murderous side of Danielle's damaged mind.
Palma’s film is a fascinating watch, the observations alluding to Hitchcock’s
body of work almost border on blatant, but it is spirited, and because of that,
we simply suck it in and revel in it - rather than being repelled by it. Even
the ‘Janet Leigh’ element – (the killing off of a likeable lead character so
early in the film), is carried out in ‘Sisters’ smoothly and capably. De
Palma’s own trademark feature – the use of the split screen process is also
deployed well. In particular, the murder of Phillip as witnessed by Grace uses
the process to super effect. Whilst one half of the screen illustrates
Phillip’s perspective looking from the apartment window across to Grace, the
other half focuses on Grace’s window and her POV, looking to Phillip’s window
and his eventual demise – all of which is excellent stuff. Fans of Hitchcock
may also like to know composer Bernard Herrmann provides one of his truly great
70s scores for ‘Sisters’ – and cements the homage to perfection.
has produced a delicious looking (1080p) High Definition digital master with
fine detail and just the right amount of grain. De Palma chose to shoot on 35mm
opposed to 16mm, regardless of budget restraints, which proved to be the right
choice as the difference clearly shows. De Palma was aware that blowing up a
16mm print to 35mm would have made a noticeable difference, instead he used
16mm in emphasise certain scenes, and he chose wisely. Viewing Arrow’s Blu-Ray
allows us to view the film cleanly whilst never letting us forget we are
watching a 70s movie, and as a result – a perfect balance is achieved. Adding
to the overall retro experience, the original mono audio is also retained,
leaving no room for unnecessary tinkering and tweaking and removing us from the
familiar comfort ‘zone’.
has also provided a nice collection of extras that include an excellent
documentary ‘What the Devil Hath Joined Together: Brian De Palma’s Sisters’ – A
visual essay by author Justin Humphreys. There is also a generous collection of
all new interviews with co-writer Louisa Rose, actress Jennifer Salt, editor
Paul Hirsch and unit manager Jeffrey Hayes. The De Palma Digest – A
film-by-film guide to the director’s career by critic Mike Sutton is a very
nice 30 minute retrospective guide to De Palma’s work, and proves somewhat
insightful – especially on his later films which to some degree had slipped
under the radar… There is also an archival audio interview with De Palma friend
and ‘Sisters’ co-star William Finley (Emile). The original theatrical trailer
and gallery of ‘Sisters’ promotional material from around the world, round off
the disc very nicely in deed. Whilst a check disc was provided for the purpose
of this review, Arrow’s retail version contains a reversible sleeve featuring
original and newly commissioned artwork by Graham Humphreys and a Illustrated
collector’s booklet featuring new writing on the film by author Kier-La Janisse
(House of Psychotic Women) as well as Brian De Palma’s original 1973 Village
Voice essay on working with composer Bernard Herrmann and a contemporary
interview with De Palma on making ‘Sisters’, and the 1966 Life magazine article
that inspired the film.
(released on April 28th 2014) is a super addition to the Arrow catalogue and a
wonderful opportunity to enjoy De Palma’s first real taste of mainstream cinema
in the finest possible quality.
CLICK HERE TO ORDER FROM AMAZON UK (THIS IS A REGION 2 PAL FORMAT RELEASE)
The Warner Archive is mining its cache of old TV movies to release as burn-to-order DVDs. In general, this is a welcome development as it gives new life to sometimes worthy productions that have been virtually unseen for many years. Some of the fare is rather tepid, however, as evidenced by the release of The Girl in the Empty Grave, a 1977 mystery starring Andy Griffith. I'm second to none in my admiration for Griffith's talents as both a comedic and dramatic actor, but here he seems to be slumming and capitalizing too obviously on his Mayberry sheriff image. He plays another small town lawman, Abel Marsh (Griffith had introduced the character in a previous TV movie), who presides over a sleepy, picturesque mountain hamlet in the California high country. (The film was shot near Big Bear Lake at the San Bernadino National Forest). He's surrounded by a bunch of lovable eccentrics right out of the Mayberry playbook, including a rather goofy deputy (James Cromwell, believe it or not, in an early career role.) Like his Andy Taylor alter ego from his famed sitcom, Abel doesn't feel its necessary to wear a gun while dealing with the humdrum routine matters that go on in town. One day, however, his deputy tells him that a strange thing has occurred concerning a young woman who died years ago in a tragic car accident. Seems the deputy saw her drive through town earlier that morning. Abel dismisses the sighting as absurd- until he catches a glimpse of the same girl speeding through town later in the day. This spawns an investigation that has Abel interview the "dead" girl's parents, both of whom reiterate that she did indeed die in the car accident. Things get murkier, however, when the couple end up murdered. Before long, Abel has to break his gun out of mothballs as he becomes involved in deadly cat and mouse games and a potentially deadly car chase.
The rather lackluster plot seems cobbled together just so everyone could spend a few weeks justifying a stay in some beautiful mountain country. The direction by Lou Antonio is workmanlike but unremarkable and neither he or the screenwriters fully capitalize on Griffith's considerable talents. The film ambles to a confusing and not very satisfying conclusion. The Girl in the Empty Grave reminds us that not ALL old TV movies were as impressive as we remember them being.
In between filming the James Bond blockbusters The Spy Who Loved Me and Moonraker, Roger Moore starred in a largely unheralded action adventure film that afforded him one of the best roles of his career. The movie was released internationally as North Sea Hijack but was retitled "ffolkes" in the all-important U.S. market. The title referred to the character Moore played, an eccentric crank who operates a Navy Seal-like team of daredevils who are periodically enlisted by the British government to combat terrorists. ffolkes may be a cute title for a movie hero but it lead to disappointing boxoffice returns in America, where audiences found it to be rather confusing: "What the hell is a ffolkes?" Nevertheless, this is a crackling good action flick, deftly directed by Andrew V. McLaglen, who was on a roll at the time with The Wild Geese, The Sea Wolves and this film, all of which, not coincidentally, starred Roger Moore.
The film opens with ffolkes drilling his team of men in a relentless scuba-diving training sessions and casually tossing live grenades into the water as an incentive for them to complete their task within the allotted time. ffolkes is perpetually grouchy. He hates women (the result of growing up in an all-female household), a clever nod to show us that this character may be a man of action, but he's the antithesis of 007. (The script also makes a fleeting mention of the fact that ffolkes' disdain for the fairer sex is also partly due to a failed marriage, 'lest any of Moore's fans might suspect he's playing a gay man of action.) ffolkes also enjoys a more-than-occasional drink and is perpetually in the presence of a bottle of Scotch that he totes everywhere. He also hates smoking (another inside joke, as Moore was an obsessive cigar smoker at the time in real life) but has an obsession with cats. He lives in an old but imposing home on a lake, presumably in northern England or Scotland (though these scenes were actually filmed in Ireland, with interiors filmed at Pinewood Studios in Britain.), where he is comfortable eschewing the company of anyone but his team and his kitties. Topping off his eccentricities, ffolkes does his deep thinking while engaged in the art of crocheting. He's an interesting character and Moore has a field day playing him in some delightfully funny scenes in which he lambastes his men, traveling companions on a train, and lastly, top MPs and British naval brass.
Moore rehearsing a scene on location in Ireland.
The story quickly kicks into gear when a team of sophisticated criminals hijack a cargo ship that is en route to bring supplies to the two biggest oil rigs in the North Sea. The group is led by the mastermind Kramer (Anthony Perkins), who orders his men to attach mines to both of the oil rigs before taking control of the larger of the two complexes. The gang demands that a 25 million pound ransom be paid to them by the British government or they will blow up both rigs, causing incalculable damage to the world economy, not to mention the environmental disaster that would ensue. The British Prime Minister (Faith Brook, exploiting the new era of Thatcher quite amusingly) reluctantly follows the advise of her military command to use ffolkes and his small team to outwit the bad guys. ffolkes accepts the mission on the proviso that he gives all the orders. He enlists a British admiral (very well played by James Mason) and an oil company executive (Moore's old real life pal and former Felix Leiter, David Hedison) as part of the high risk plot to be held hostage on the oil rig while ffolkes and his men engineer an ingenious plot to save the day. To say any more would spoil the fun. Suffice it to say that the screenplay refreshingly makes the seemingly superhuman ffolkes all-to-human by showing him making some mistakes in judgment that have costly consequences. Most of the laughs comes from Moore verbally sparring with the female PM and anyone else who might foolishly think they can contribute in any meaningful way to his master plan. The supporting cast is very good with Perkins' sarcastic and ruthless villain a scene-stealer, Michael Parks as his top henchman and old stalwart Jack Watson, virtually unrecognizable as the Norwegian sea captain whose vessel is hijacked. It all moves at a brisk pace by director McLaglen and the flick's old style editing and cinematography is downright refreshing in this era of overblown action movies.
The DVD is devoid of extras and has plenty of grain indicating that this fine, but overlooked movie is deserving of a Blu-ray upgrade.
The year 1979 was a good one for vampires, cinematically speaking. John Badham's version of "Dracula" premiered starring Frank Langella in the film version of his Broadway hit, George Hamilton had a surprise success with the spoof "Love At First Bite" and German director Werner Herzog unveiled his remake of the classic German silent horror movie "Nosferatu: The Vampyre". The original version by director F.W. Murnau is still regarded by many as the greatest horror movie ever made. Indeed, the mere sight of the film's star Max Schreck (who was as eerie in real life as he was on screen) is enough to give you nightmares. Herzog's version was not only the best of the vampire films released in 1979, it is a fitting homage to the Murnau classic. Working with a relatively extravagant budget, Herzog produced a film that is eerie and unsettling. He refrains from going for quick shocks, relying instead on the overall unnerving atmosphere that resonates throughout the production. Perhaps the most iconic aspect of the film is Klaus Kinski's remarkable resemblance to the character played in the original by Schreck, who embodied what is perhaps the most unnerving movie monster of all time. Kinski's appearance mirrors that of Schreck but the actor brings his own persona to the role.
The film, based on Bram Stoker's novel Dracula, opens with Jonathan Harker (Bruno Ganz) leading an idyllic life with his beautiful young wife Lucy (Isabelle Adjani). His boss, Renfield (Roland Topor), induces him to make an arduous journey to Transylvania to visit the eccentric but rich Count Dracula, who has expressed interest in buying a house in Harker's town. Harker is enthused about the mission because of the financial rewards but Lucy has a premonition that the journey will have disastrous consequences. She pleads with him not to go but to no avail. Harker sets off over mountain roads that lead through deep forests. The nearer he gets to the Count's castle the more unnerved the local peasants are. They blatantly warn him to turn back, citing eerie disappearances and deaths associated with Dracula. Harker dismisses their concerns as the superstitions of unsophisticated people. However, upon arrival at Dracula's castle he immediately has second thoughts. The Count is a corpse-like, sinewy figure with almost impossibly long fingernails who talks in a whispery voice that is more menacing than comforting. In the cold dank castle, Dracula serves Harker a meal then becomes obsessed with sucking the blood from a small cut Harker has suffered from a kitchen knife. The Count assures him that's all just a homespun way of treating the wound. Harker, increasingly unnerved, realizes he has made a mistake in visiting the castle but it's too late to escape. Dracula notices a locket with Lucy's photograph in it and makes inquiries about her, much to Harker's distress. In the morning, Harker awakens to find he has been imprisoned in the castle- and worse, he has been the victim of a vampire. Having arranged the sale of the house to Dracula, he realizes he is in a race against time to return to his village before the Count arrives there. He is desperately ill, however, and fails in his quest. Meanwhile, Dracula has stowed away inside a coffin on board a cargo ship headed towards the town of his destination. Along the way, crew members begin to die mysteriously. By the time the vessel arrives in port, it is a ghost ship, devoid of any human life with only the captain's log hinting at the horror he has witnessed. Accompanying Dracula on board the ship were thousands of rats who now run amok in the town, spreading the plague. Harker is returned to Lucy by some kindly peasants, but he is very ill and in a zombie-like condition. Lucy is then threatened by the appearance of Dracula in her own bedroom and she realizes that the town is being victimized by a vampire, though no one believes her. As the plague takes its toll on the citizenry, the town falls into chaos- and Lucy becomes determined to kill Dracula even if she must do so by herself.
Herzog, who also wrote the screenplay, has fashioned a film that oozes menace to the extent that even before the appearance of Dracula, the movie has a sense of foreboding. It is a rather cold and emotionless film, more visually interesting than moving. Herzog seems to intentionally present his protagonists in a dispassionate manner. He provides cursory details of their lives but seems to be far more interested in making almost every frame a work of art. To a great degree he succeeded. There are images in Nosferatu that will haunt the viewer, but there's no getting around the fact that there isn't anyone the audience can truly relate to. Neither Harker or Lucy are ever seen as anything more than one dimensional characters. The silly eccentric Renfield is largely wasted in the latter part of the story. He does become a servant of Dracula but this plot device is disposed of rather quickly. Prof. Van Helsing (Walter Ladengast), who is generally presented as the hero in Dracula films, is shown here to be a half-senile old fool who realizes too late that a vampire may be running amok. Herzog provides plenty of memorable moments, among which are scenes of the town's rapid decay into death and disaster because of the plague. As Lucy walks through the town square, she witnesses doomed people acting out their final fantasies, whether it is indulging in a last sumptuous feast, dancing wildly or illogically stealing furniture from vacant stores. Composer Popul Vuh provides an appropriately eerie score throughout.
Herzog's Nosferatu is a poetic experience in many ways. It's leisurely pace and low-key tone make it one of the more unusual horror films you'll ever see. However, it can be deemed a success by virtue of the fact that he and Kinski brought relevancy to this remake of what many people believe is the greatest German film ever made.
The excellent Shout! Factory Blu-ray features both the German and English language versions of the film and a commentary track by Herzog, whose soothing, rather monotonous tone becomes somewhat mesmerizing. He provides interesting insights into the making of the film and this is complimented by the inclusion of a vintage "making of" production short that shows fascinating footage of Herzog and Kinski during production, including Kinski's rather arduous daily makeup sessions. Also included is a photo gallery showing great behind the scenes shots of Herzog at work. There are also a selection of superbly designed original trailers that truly convey the menace of the titular character.
TO ORDER, DISCOUNTED FROM AMAZON, CLICK LINK BELOW.
The latest issue of Cinema Retro (#29) features my exclusive interview with Oscar-winning director William Friedkin in relation to the recent restoration of his 1977 epic adventure film Sorcerer. Regular readers of our magazine and web site know that we have been championing this great movie for years. It was a commercial and critical failure at the time of its release but its stature has grown over the decades and Friedkin told me he considers this his best film. That's quite a statement coming from the man who directed The French Connection and The Exorcist. In the interview, Friedkin discusses his painstaking efforts to finally get a proper video release of the film. An initial DVD release from Universal back in the 1990s was sub-par, to say the least. The print was less-than-stellar and Friedkin was annoyed by the fact that the movie was presented in the wrong aspect ratio. Through a long, convoluted process to determine who even owned the rights (it was co-financed by Paramount and Universal), Friedkin ended up having to sue both studios. The result was a clarification of ownership and Warner Home Video stepped forward to champion financing a restoration of the film. For Friedkin, this was the payoff in terms of finally having the film presented the way he envisioned it being seen. He personally oversaw the restoration and told Cinema Retro last month that he was thrilled with the result. He spoke very highly of Warner Home Video for their efforts in supporting this underrated classic.
Cut to: the recent release of both the Blu-ray and DVD editions of the restored version. It seems that, although the Blu-ray is right up to expectations (Friedkin told me that it looked as good as what he saw through the camera when the movie was being filmed), someone at Warners botched the DVD release and presented it in the wrong aspect ratio- a truly ironic occurrence, given Warner's reputation for accuracy in its high profile restorations.
In response to our inquiries about the issue, Friedkin E mailed us from New Zealand to say that he will personally supervise a new DVD release of the film during the first week of May and advise everyone when it is ready. He also suggests that consumers who bought the DVD demand a refund. In the E mail, Friedkin also addressed misconceptions that the movie was shot in a widescreen format as well as unauthorized DVD versions that were released internationally. Here is his response:
"There never was a wide screen version of Sorcerer. The film was shot in 35 mm in the standard 1.85 ratio. I know of no authorized wide-screen version. Possibly, someone bootlegged such a monstrosity, but I'm not aware of it. The Blu-ray is the ONLY authorized version of the film. Not a frame has been cut or changed in any way. The picture and sound, both made from the 35mm master, have of course utilized digital restoration, bringing out all the colors and nuances on the soundtrack.
There has never been a better version of Sorcerer than the Blu- ray. The DVD, old and ugly and constantly in release from Film Properties was never authorized by me and is terrible."
The interview with Friedkin includes his comments regarding the unauthorized re-editing of the film that took place in markets outside of America, something that frustrates him to this day.
(Cinema Retro #29 is currently shipping in the UK and Europe and will be sent out to subscribers in America other territories in May.)
William Castle, the legendary gentle giant of horror film producers, had become obsessed with Whatever Happened to Baby Jane? when the the film was released in 1962. Starring two aging "has-beens" - Bette Davis and Joan Crawford, who Jack Warner said he wouldn't give a "plugged nickel" for- the film became an unexpected hit with both critics and audiences and revived both women's careers. Crawford, who remained very much the diva even during the lowest points of her career, was delighted with the renewed attention. As she was nearing sixty years old, he found herself in the unlikely situation of appealing to both her traditional fans and also a younger generation. In order to achieve the latter goal, however, she realized she had to change with the times and appear in films that had broad appeal to teenagers. So the former Mildred Pearce was quite enthused when Castle approached her with his own spin on the Baby Jane bandwagon. With horror films all the rage, Castle had carved a sizable niche in the marketplace by producing "B" movies and backing them with "A" marketing campaigns that usually found him front and center in promoting the fare. Castle's dream project, however, was to finally make a film that would be seen as a legitimate horror classic. He enlisted writer Robert Bloch, then red hot as the author of the novel Psycho, to develop a script based on the premise of an aging sexpot who had turned into an ax murderess. He originally envisioned Joan Blondell for the role but an accident left the veteran actress unavailable. Castle then approached Joan Crawford, despite the fact that she was known to be virtually impossible to work with due to her endless list of demands. Nevertheless, Crawford was eager to build on her revived fame and accepted Castle's pitch to star in a film titled Strait- Jacket. The movie got off to a rocky start when the actress playing Crawford's daughter didn't live up to her expectations. Crawford had her fired and Diane Baker, who Crawford liked and had worked with previously, was hired on a minute's notice to step in. Baker had only 24 hours to study the script but was eager to reunite with Crawford.
Strait-Jacket presents Crawford as Lucy Harbin, who we see as a woman in her twenties (yes, the notion of Crawford playing a character that age is as absurd as it sounds.) Lucy is a small town girl with a checkered past. She dresses and acts like a vamp but has finally settled down and has found happiness with her younger husband, Frank (Lee Majors, uncredited, in his first feature film). Returning home from a trip a day early, however, Lucy spies Frank in their bed with an ex-girlfriend, sound asleep. Worse, Lucy and Frank's young daughter is in the next room. Outraged, she creeps into the bedroom wielding a handy ax from the woodpile and proceeds to decapitate them- all in full view of their daughter Carol. The film then jumps twenty years ahead to the present day (1964) and Carol (Diane Baker) is now an attractive, responsible young woman who is living with her aunt and uncle (Rochelle Hudson, Leif Erickson), Lucy's brother and his kind, sympathetic wife. They have raised Carol to adulthood after Lucy was sent to a mental asylum. Now they are nervously awaiting her arrival at their farmhouse. Carol is determined to make her mother feel welcome again and never bring up the past. Lucy's arrival is anything but joyous. There are some awkward sentiments displayed but it is clear that Lucy is frightened to death and consumed by guilt over the pain she has caused her loved ones. Every innocent aspect of the farm seems to bring back terrible memories, from the slaughter of chickens and hogs to everyday implements laying around that remind her of murder weapons. Not helping matters is the presence of a slovenly farmhand (a virtually unrecognizable George Kennedy), who has the demeanor of a serial killer. Nonetheless, Carol and her aunt and uncle try to ease Lucy back to a normal life, showing great patience and compassion. However, things start to go awry, as one would imagine in any William Castle movie of this nature. At Carol's urging, Lucy tries to recapture happier times by donning a wig and the same type of clothing she wore as a much younger woman. The desired effect doesn't occur, however. Instead, Lucy's personality changes to that of the sex-crazed vamp she once was and, in one of the film's most unintentionally hilarious sequences, she attempts to seduce Carol's finance, Michael (John Anthony Hayes) directly in front of the horrified Carol. More weird occurrences begin to happen, culminating in some gruesome ax murders. Lucy is the only logical suspect, but there are some neat twists to the tale that would be inexcusable to reveal here.
Strait-Jacket is an enormously entertaining flick that was a substantial hit at the boxoffice, thus consigning Ms. Crawford to more films in the shock/horror genre. Sony's burn-to-order DVD is yet another example of the company failing to capitalize on excellentspecial features that are included in this edition (or we should say, "reissued", as this content had been available on a previous DVD release.) There is an amusing promotional short that shows Crawford, William Castle and Robert Bloch in a campy promotion of the film (Bloch totes an ax!); an informative documentary, Battle Axe, about the making of the film with interesting insights from movie historians; Joan Crawford silent wardrobe tests and fascinating silent footage of Crawford's rehearsals for gruesome ax murder scenes and, rounding out the bonus items is a short TV spot. None of these features are even mentioned on the DVD sleeve. In all, highly recommended.
(In the next issue of Cinema Retro (#29), writer Don L. Stradley provides an in-depth examination of how horror movies saved the careers of aging leading ladies, including Joan Crawford, who went on to have several hit films in the genre including Strait-Jacket.)
Impulse Pictures continues their onslaught of releases of the retro erotic series Schoolgirl Report. The German films were all the rage in European cinemas back in the 1970s and this latest DVD edition (#12, "If Mom Only Knew...", for those who are counting) follows the standard formula. The 1978 film consists of numerous short stories linked by a thin plot device. In this case, the staff of a high school newspaper review letters written to them by fellow students outlining their sexual experiences. As each letter is read, the movie cuts to an enactment of the scenario. In the first episode, a young virgin is raised by her older brother, an airline pilot, after their parents pass away. She can barely control her sexual urges but, without a boyfriend, has no outlet for her passions. She develops an unhealthy crush on her brother, which he initially resists. ("Initially" is a key phrase in these types of movies.) Before long, she's casually walking around the house starkers and one night the unthinkable happens. The girl deludes herself into thinking she can actually establish a normal lifestyle with her brother as her lover...but she is in for a rude and tragic awakening. Another episode is a comedic one that follows the antics of a group of high school kids on a field trip to the forest with their stuffy teachers. After discovering a couple in the woods doin' what comes natural in the woods, the kids become uniformly aroused and run off to various remote locations to re-enact what they have just witnessed. As is usual in these flicks, the teachers are the victims of slapstick comedy. A grittier episode concerns a young girl who comes from a tragic background. Her brother died, her father committed suicide and her mother thinks nothing of having sex with strange men in her presence. She becomes sexually obsessed herself and is chronically pleasuring herself before moving on to becoming a drug addict and prostitute. The remaining two segments revert back to comedy. In one, a mother brings her young daughter to the family doctor for a checkup without realizing she has mixed up the dates. The doctor is out but a plumber who is doing work in the office pretends to be the physician and gives the young woman the kind of exam mom never dreamed possible. More slapstick occurs when the actual doctor returns to the office. In the final chapter, a German family agrees to take an exchange student into their home. They think it will be a girl who can act as a companion to their teenage daughter but it turns out to be a hunky male student from France...and we all know what hunky male French students like to do. In short order, despite dad's fevered attempts to keep them separated, not only is their daughter screaming "C'est magnifique!" but her friends end up sharing in the pleasure, as well.
As sordid as these scenarios sound, the Schoolgirl Report series is fairly tame by today's standards. The segments are all soft core but there is an abundance of full frontal nudity, both male and female. The films are impressive in one respect: some of the scenarios are well done and evoke some genuinely erotic images. Others, such as the comedic segments, tend to fall into the "guilty pleasure" category. The Impulse DVD features the film in original German language with optional English sub-titles, though it should be pointed out that they are entirely superfluous because the plots aren't very difficult to follow even if restricted to just the visuals. The transfers show a good degree of snap, crackle and pop from the master film source, but that only adds to the retro-based naughty fun. Click below to order:
We recently reviewed the popular 1972 TV movie The Dephi Bureau, which is the pilot for the short-lived espionage TV series starring Laurence Luckinbill. Some of our readers made us aware of the fact that the Warner Archive DVD release is actually an edited version of the broadcast version. We wrote to the Archive and received this prompt response from Matthew Patterson:
"Thanks for the heads up. It's actually good to know that this TV movie still has such fans. Unfortunately, this was a known issue going into the production process. All of the 35mm original negative and intermediate elements were all cut to the current (shorter) length. This was a very unusual case, and the only longer version we could track down that survived was in faded 16mm reference prints. Of course all this was done 40 yrs ago, and no one back then anticipated future distribution such as home video, so it was decided to go with the higher quality shorter cut for the DVD release. We're slowly trying to get the word out there as to why this was done. And as you know, we try and deliver the best possible elements for even the most obscure releases. So it is actually quite unfortunate that we were unable to track anything better down."
The cataclysmic prison riot near the end of The
Big House (1930) reaches such a fevered pitch that army tanks are called in to
combat the inmates. The tanks roll into the prison yard like armor-plated
creatures, and then, unexpectedly, start rolling towards
the screen, towards the viewer. What did movie audiences think in 1930 as these
shiny, black, menacing machines moved towards them? By the riot's end, a
single tank crashes through a wall, its main gun slowly swiveling, as sinister anything
in H.G. Wells' War of the Worlds.It’s
impressive even now, watching on an Acer laptop in 2014. What was it like in
one of the vaunted movie palaces of yesteryear? Did audiences cheer
because the army was going to save the day? Or was there some fear, too, fear
that the machines were coming not just for criminals, but for everybody…
The Big House, now available on DVD as part of the Warner Bros Archive
Collection, was a spectacular success for MGM, and ushered in the prison movie
as a viable genre. Films had been set in prisons before,
but it was The Big House that established the characters and themes that would
mark the genre forever (ie. the scared new guy, the crusty lifers, the
conniving weasel, the kindly old guard, the dour but ineffectual warden, the inevitable
jail break, etc.). The film was also a marked contrast to the slick
films made by MGM at the time, causing Chester B. Bahn of the Syracuse Herald
to write that this "stark tragedy" was "so horrible, so
devastating, that you don't want to think about it, don't want to talk about
Although prison movies weren't churned out the way westerns and horror movies
were during the 1930s, the subject undoubtedly had legs. We still see
prison movies today, as well as TV shows (of both the scripted and “non-scripted”
variety). But every prison movie or show we see now has something of The Big
House in its DNA. The Big House did it first, and I’m not sure if any
modern prison movies have done it any better. More explicit, perhaps, but
For one thing, The Big House was unabashedly artsy. Directed by George Hill
with photography by Harold Wenstrom, the film is framed by rich, deep blacks
that gave the atmosphere a harder edge than most black and white films of the
day. A more accurate description of the film would be “black & grey,” for
there isn’t much white in it. Grey is the color of the prison uniform,
and grey is the color of the detainees’ pasty complexions. The prison is a
murky place, and when a con is being marched into the “dungeon” to serve some
time in solitary, it’s as if he’s being marched into the very wings of
The opening scene follows a truck filled with new prisoners as it approaches
the monolithic, unnamed building. There’s something about the scene that
looks like an illustration come to life, especially when the prisoners step out
of the truck and appear incredibly tiny as they march into the prison. Kent
(Robert Montgomery) is a newbie, sentenced to 10 years for manslaughter after
killing a man in a car accident. He’s thrown into a cramped cell with two
legitimately bad men, Butch (Wallace Beery) and Morgan (Chester Morris).
One of the warden’s aids laments that a young kid doesn’t stand a chance in a
cell with such hard cases, to which the warden agrees that overcrowding and
idleness are the banes of the prison system. Kent’s journey through
prison life, though, is only part of the story. The film's
greatness comes from the interplay between Butch and Morgan, for they are
two hardened criminals who lean on each other to get through their dreary days.
Butch is downright sadistic, the sort of brute who harasses people only to back
off and say, “I was only kidding.” He’s allegedly murdered several people,
including a few of his past girlfriends, but one never knows if he’s serious or
not. He also lets his temperament get the best of him, even turning on his
buddy Morgan more than once during the film. Morgan, meanwhile, falls for
Kent’s sister (Leila Hyams) when he spots her during visiting hours.
Since its initial release fifty years ago, director Cy Endfield's British war epic Zulu has grown in stature. The film was understandably a hit in England but was deemed a boxoffice disappointment in the United States perhaps due to the fact that, like Khartoum (1966), the story relates to a historic battle that is well known by Brits by is virtually unknown to American audiences. What no one can dispute is that the film represents masterful movie making. Again, like Khartoum, it is a thinking man's war epic. The film relates the story of the Battle of Rorke's Drift, a tiny British outpost in southern Africa directly in the heart of the Zulu kingdom. A haunting pre-titles sequence shows the bloody aftermath of the Battle of Isandlwana, in which a British expeditionary force was massacred by Zulus in a sophisticated attack that stunned the government in London. Rorke's Drift is lightly defended by a relatively small group of British soldiers who know the Zulus are moving toward them. The officer is charge, Lt. John Chard (superbly played by Stanley Baker) is an engineer with no combat experience. His second in command is Lt. Bromhead (Michael Caine in a star-making performance) who doesn't inspire much confidence, either. He's a snobby dilettante who resents the fact that a sliver of military protocol has made Chard his superior officer. With the Zulu attack inevitable, Chard rises to the occasion and rallies his men by constructing crude fortifications and developing battle strategies. In the meantime, he must deal with a religious fanatic and his daughter (Jack Hawkins and Ula Jacobsson) who he must protect and a largely pessimistic company of soldiers who second-guess his ability to prevent them all from being slaughtered. The arrival of the Zulus is genuinely terrifying especially when Chard and his men realize how overwhelmingly they are outnumbered. Additionally, the Zulus have another unexpected edge: they have all the rifles and ammunition taken from the British soldiers they had defeated. Nevertheless, Chard manages to inspire his men and even Bromhead with his logic and courage. As with most war movies, the historical facts are considerably smudged in the interest of artistic license by that doesn't dilute the overall impact of the movie, which is thrilling.
Zulu deservedly ranks among the best British films of its era and it has lost none of its impact over the years. The battle sequences are impressively staged and, while the literate screenplay doesn't delve into the political reasons for the Zulu uprising (it was largely prompted by an arrogant English diplomat who broke treaties with the tribe), the film refreshingly doesn't present the natives as another case of "white man's burden". Instead, the Zulus and their chief are seen as noble figures who develop a mutual respect for the British, even as they are trying to kill them. The film features any number of wonderful supporting performances including Hawkins, Jacobbsson, Patrick Magee and Nigel Green and James Booth particularly impressive. Richard Burton provides the moving narration in the film's opening and closing sequences and John Barry provides what is undoubtedly one of his greatest film scores. As director, Endfield does a superb job, though he never got the acclaim he deserved. His long-delayed bu little-seen 1978 prequel to the film, Zulu Dawn, goes into much greater detail about the origins of the Zulu conflict and depicts the British defeat at Isandlwana, which rocked the entire British government.
The Twilight Time presentation is the best I've ever seen of this classic film and does full justice to the magnificent cinematography. An original trailer is included, an informative collector's booklet with notes by Julie Kirgo, an isolated track for John Barry's score and a very entertaining (and informative) commentary track by film historians Lem Dobbs and Nick Redman. There is still room for another deluxe collector's edition of Zulu (Cinema Retro's own Matthew Field produced an excellent documentary for the British release some years ago that one wishes was included on here), but for the moment, the Twilight Time Zulu is the edition of record.
The Blu-ray is region free and is limited to only 3,000 copies. We suggest you get a copy quickly as this is destined to be one of those titles you'll ultimately see on eBay selling for a small fortune.
The Warner Archive has released the TV pilot film The Delphi Bureau: The Merchant of Death Assignment as a burn to order title. The 1972 film stars Laurence Luckinbill as Glenn Garth Gregory, a mild-mannered, bookish intellectual with a photographic memory who works for a mysterious organization known as The Delphi Bureau that secretly advises the President of the United States on matters of national security. Even Gregory doesn't know anything about the Bureau and says he doesn't know whether there are thousands of other operatives or if he is the sole agent. His only contact is his superior, Sybil Van Loween (Celeste Holm) , a perpetually chirpy Washington D.C. socialite who gives him his assignments but refuses to come to assistance whenever he gets in trouble. As an agent, Gregory is completely on his own. He is unarmed and must rely on his own wits to extract himself from deadly situations, which leads one to believe that the character of MacGyver might have been somewhat influenced by this scenario. In this pilot film, Gregory is assigned to investigate the wholesale theft of surplus military equipment including fighter jets. The trail leads to a gigantic farming complex in Kansas, headed by Matthew Keller (Dean Jagger), a respected elderly philanthropist who is using his resources for experimental of growing food in order to stamp out world hunger. Gregory finds that the complex is actually a cover for the arms smuggling operation and is being run by Stokely, Keller's right hand man. As played by Cameron Mitchell, Stokely drips with phony charm and friendliness that hides the fact that he is a cold-blooded killer intent on preventing Gregory from revealing his findings. The script makes it obvious that in the pre-cell phone era, it was much easier to present scenarios in which the protagonists are completely isolated simply by the fact that they can't get to a public pay phone.
This pilot film spawned a short-lived TV series and it was created by the estimable talents of Sam Rolfe, who had also developed The Man From U.N.C.L.E. a decade previously. There are some similarities to the classic Alexander the Greater Affair two-part episodes of that series especially in a scene in which Gregory is attacked on a farm by a villain driving a tractor- a fate that befell U.N.C.L.E's Illya Kuryakin. Also, actor David Sheiner, who played a bad guy in the episodes, also turns up in the Delphi Bureau pilot flick. There is a tendency to believe that Hollywood's obsession with conspiracy movies went into high gear in the aftermath of Watergate. In fact, there were such films years prior to the 1972 break-in that brought down the Nixon administration. For example, The Manchurian Candidate and Seven Days in May, both classic political thrillers, were produced in the early 1960s. The Delphi Bureau was in production before Watergate but aired during the same year, thus making its premise of untrustworthy government officials quite timely. The movie also bares a coincidental resemblance to director Michael Ritchie's feature film Prime Cut, also released in 1972, in that it presents a rather cynical view of the American heartland with friendly, small town characters being revealed as sadistic murderers. (A chase through a corn field appears both in The Dephi Bureau and Prime Cut).
I very much enjoyed The Dephi Bureau on many levels. The production values are quite opulent and Luckinbill is refreshing as a hero, playing an everyday guy who is rather out of his element in going up against professional killers. Not much is made out of his photographic memory angle but he does have to rely on his wits rather than gadgetry to avoid numerous death traps. The film boasts an impressive cast with Holm particularly amusing as the unlikely head of the Bureau and other deft turns provided by Bob Crane, Joanna Pettet, Bradford Dillman, Dub Taylor and Frank Marth. Given the qualities of the pilot episode, its surprising that the offspring TV series wasn't a hit. However, fans of spy movies of the era will find the DVD well worth adding to their collections.
Amazon is temporarily offering a special sale on the Universal Monsters Essential Collection Blu-ray boxed set that includes Frankenstein, Dracula, The Mummy, The Phantom of the Opera, The Wolf Man, The Invisible Man, Bride of Frankenstein and Creature From the Black Lagoon. The set is loaded with 12 hours of bonus materials and includes a collector's book. Click below to order.
Cinema Retro has received the following press release from Sony:
For Immediate Release
“…one of the great shows of
television's Golden Age…”
-- The Huffington Post, Maureen Ryan
The Addictive, Emmy Award®-Winning TV Drama Starring Emmy Award®
Winners Bryan Cranston & Aaron Paul
THE COMPLETE SERIES
Newly Created 16-Disc Blu-ray™ Box Set Available June 3
Featuring Hours of Bonus Content, Including the Two-Hour Documentary “No Half Measures: Creating the Final Season of Breaking Bad”
Also Available for the First Time Ever as
a 21-Disc Complete Series DVD Set
CULVER CITY, CALIF. (April 7, 2014) – The chemistry continues on June 3 when Sony Pictures Home
Entertainment releases one of the most critically acclaimed and award-winning
shows of all time, BREAKING BAD: THE
COMPLETE SERIES, available on Blu-ray™ with newly created packaging, and, for the first time ever, as a complete series set on DVD. Just in time for Father’s Day and graduation
gift giving, the explosive saga of high school chemistry teacher-turned-meth
kingpin Walter White is available in its entirety, including all 62
uncut, uncensored episodes. The 16-disc
Blu-ray set features more than 55 hours of bonus content, including the Blu-ray
exclusive “No Half Measures: Creating the Final Season of Breaking Bad”
documentary, chronicling the
of the final season, from filming the first table read to the very last day on
set and everything in between. The 21-disc DVD set features more than 50 hours
of bonus content.
Starring three-time Emmy® winner
Bryan Cranston (Outstanding Lead Actor in a Drama Series) alongside two-time
Emmy winner Aaron Paul (Outstanding Supporting Actor in a Drama Series), Sony
Pictures Television’s groundbreaking series achieved record-breaking viewership
with more than 10 million viewers in its final season. BREAKING BAD was created
by Vince Gilligan (TV’s “The X-Files”), who also served as executive producer with Academy Award® winner Mark Johnson (1988,
Best Picture, Rain Man) and Michelle
MacLaren (TV’s “The X-Files”). The
series boasts an exceptional ensemble cast, including
Anna Gunn (TV’s “Deadwood”), Dean Norris (TV’s “Under the Dome”), Betsy Brandt
(TV’s “Michael J. Fox Show”), RJ Mitte (TV’s “Switched at Birth”), Bob Odenkirk
(The Spectacular Now), Giancarlo
Esposito (TV’s “Revolution”) and Jonathan Banks (TV’s “Community”).
Synopsis: The incredible saga of high school
chemistry teacher-turned-meth kingpin Walter White is here in its entirety: all
62 uncut, uncensored episodes! Emmy® winner Bryan Cranston portrays Walter
White, a family man who turns to crime after a lung cancer diagnosis unravels
his bland but simple life. Recruiting former student and small-time drug dealer
Jesse Pinkman (Emmy® winner Aaron Paul) to be his partner in crime, Walt rises
to the top of the meth trade, leaving a trail of bodies in his wake. But he
can’t keep his dogged DEA agent brother-in-law
Hank Schrader (Dean Norris) off his trail forever. Will Walt get away with it
all, or die trying? Re-live every moment of this groundbreaking original series
with riveting performances by Emmy® winner Anna Gunn, Giancarlo Esposito,
Jonathan Banks, Bob Odenkirk, Betsy Brandt, RJ Mitte and more. Breaking Bad was
executive produced by Vince Gilligan, Mark Johnson and Michelle MacLaren. The
complete box set is loaded with special features.
Blu-ray Exclusive Bonus
More than 55 hours of special features,
· “No Half Measures:
Creating the Final Season of Breaking Bad,” an exclusive two-hour documentary that chronicles the filming of the
final eight episodes.
· Bad Memories – Bryan
Cranston and Aaron Paul talk about the show ending and some of their favorite
· Bryan Cranston: Director – Go
on set with Bryan Cranston as he directs the first episode of The Final Season,
entitled "Blood Money."
· Scene Envy – The cast
tell us which scene they wish they could have been in.
· Shocking Moments - The
stars reveal the moments that shocked them most.
· A Look Ahead to the Final Season – The cast gives their thoughts on what an amazing final season this
is going to be!
· From Walt to Heisenberg – From
high school teacher to deadly meth dealer, watch as Walter White quickly
transforms into Heisenberg.
· How Will It End? – At
the beginning of Season 5, the cast gives their thoughts on how they think the
show will end.
· Avenging Agent: Dean Norris as Hank Schrader – A look at the character Hank Schrader and the man who played him,
· Scene Stealer: Betsy Brandt as Marie Schrader – A look at the character Marie Schrader and the woman who played
her, Betsy Brandt.
· A Criminal Attorney: Bob Odenkirk as Saul Goodman – A look at the character Saul Goodman and the man who played
him, Bob Odenkirk.
· Jesse’s Journey: Aaron Paul as Jesse Pinkman – A look at the character Jesse Pinkman and the man who played
him, Aaron Paul.
· Skyler Breaks Bad: Anna Gunn on Season Four – Actress Anna Gunn and series creator Vince Gilligan explore
Skyler’s character evolution through the fourth season.
· Growing Up in the White House: RJ Mitte on Walter, Jr. – RJ Mitte, Anna Gunn, Bryan Cranston and series creator Vince
Gilligan discuss the extraordinary dynamics of the White family, and Walter,
Jr.’s unique role.
· The Ultimate Chess Match – Members
of the cast and crew discuss Walter White and Gus Fring’s extraordinary and
complicated battle of wits and their struggle for Jesse’s allegiance.
· Looking Back: A Season Four Retrospective - Season Four’s most surprising and memorable moments.
· Ted's Wipeout – In
Episode 411, “Crawl Space,” Ted Beneke suffers a head injury while trying to
escape from Saul’s goons. In this
featurette, Christopher Cousins (Ted) explains how this shocking stunt was
· The Truck Attack Storyboard Comparison – A side-by-side comparison of the Los Pollos Hermanos truck attack
and the brilliant shot-by-shot storyboards that were created for the episode
· Walt and the Challenger Storyboard Comparison – A side-by-side comparison of Walt’s joy ride in Walt Jr.’s new
Dodge Challenger and the storyboards that were developed for that sequence by
the writer and director, Peter Gould.
DVD Special Features:
More than 50 hours from Season 1
through the Final Season
James Glickenhaus's Vigilante Classic Survives
its Dark and Controversial Past
commitment to releasing finely polished versions of cult greats appears to be
beyond question. I recently viewed their deluxe Blu-ray release of the 1980
grindhouse favourite The Exterminator. I
have some vivid memories of The Exterminator, a film that practically sucked me
from the high street and into the lobby of my local cinema some 34 years ago.
What a poster: an unidentifiable urban soldier wearing a black biker helmet and
using a flame thrower as his weapon of choice! Yep, it was an image that was always
going to get me to the box office for my ticket and of course, the latest copy
of Film Review magazine. The Exterminator was quite an extraordinary film; lame
of course by today’s standards – perhaps, but in 1980 is was really something
James Glickenhaus wastes little time in his narrative style, a huge hilltop
explosion sees a soldier flying through the air. We are undoubtedly in the
middle of a war zone – the Vietnam War. The next cut reveals we are in an enemy
camp, and an interrogation of 3 bound U.S. soldiers. Two of the captive
soldiers, John Eastland (Robert Ginty) and Michael Jefferson (Steve James)
witness the slow decapitation of their fellow marine. Both Eastland and Jefferson
manage to escape before they are killed. They manage to reach a helicopter and
escape. We dissolve into a night
helicopter shot of New York – and the opening credits roll. It’s an amazing
pre-credit sequence that manages to pull you straight into the action and
you’re hooked. It is soon established that both men have simply escaped one
hell hole to arrive back home to another. Working together in the gritty city
of New York, Eastland learns that his buddy Jefferson has been the victim of a
gang attack which has left him paralysed. Unhappy with the police and the slow
progress in apprehending the attackers, Eastland sets out to avenge his friend
and track down the gang in a one-man revenge vendetta.
Exterminator turned up the heat considerably and set the bar for an altogether
new standard of ‘Death Wish’ -type vigilante thriller. Glickenhaus presented us
with a genuine urban ugliness – the likes of which we had never witnessed
before. While it was not considered a ‘big budget’ movie – in the general sense
of the words, you can certainly see where the money shots are. The incredibly
real throat cutting and decapitation sequence still stands out, even by today’s
standards – it remains a brilliantly created special effect by the legendary
Stan Winston. Yet there is nothing overly stylised here – the action, the
atmosphere and above all, the revenge killings – arguably border on bad taste.
However, Ginty’s portrayal of a troubled survivor – an anti-hero of
circumstance rather than choice, never fails to keep the audience firmly on his
side. Whilst the moralistic side of your conscience will no doubt be screaming
out legitimate concerns, Ginty’s ‘everyman’ appeal will most certainly still
have you rooting for him by the time of the final reel.
Cinema Retro has received the following press release from Warner Home Video.
Burbank, Calif., March 25, 2014 – The Harry
Potter™ Wizard’s Collection, released in 2012, sold more than 30,000
sets at $499.99 SRP and is now completely sold out. To continue offering fans
access to the most successful film franchise in history, a new collection will
be available April 29 -- the Harry Potter™ Hogwarts Collection.
The collectible box set is sure to please fans who want the world of Harry
Potter™ conveniently available in one place. Included in this set areall
eight Harry Potter™ films, plus a whopping 45+ hours of previously
released bonus material that contains the complete eight-part documentary
series, ”Creating the World of Harry Potter.”
The Harry Potter™ Hogwarts Collection will be offered at
the new lower price of $249.99 SRP.
Films Included in this Collection – All on Blu-ray,
DVD and Digital HD with UltraViolet*
·Harry Potter and the Sorcerer’s Stone™ Theatrical Version on Blu-ray, DVD, and Digital HD with UltraViolet and
Extended Cut on Blu-ray
·Harry Potter and the Chamber of Secrets™ Theatrical Version on Blu-ray, DVD, and Digital HD with UltraViolet and
Extended Cut on Blu-ray
·Harry Potter and the Prisoner of Azkaban™ on Blu-ray, DVD, and Digital HD with UltraViolet
·Harry Potter and the Order of the Phoenix™ on Blu-ray, DVD, and Digital HD with UltraViolet
·Harry Potter and the Half-Blood Prince™ on Blu-ray, DVD, and Digital HD with UltraViolet
·Harry Potter and the Deathly Hallows™ – Part 1 2D on Blu-ray, DVD, and Digital HD with UltraViolet and 3D Version on
·Harry Potter and the Deathly Hallows™ – Part 2 2D on Blu-ray, DVD, and Digital HD with UltraViolet and 3D Versions on
Special Features for Hours of Entertainment – everything
previously released including the eight-part documentary “Creating the World of
Harry Potter” on Blu-ray:
Creating the World of Harry Potter - Part 1:
The Magic Begins
begins. The choices, the breakthroughs, the early decisions that impacted all
the films are explored here via rare footage, cast and crew reminiscences and
more. Learn about the extensive search by producer David Heyman and director
Chris Columbus for the perfect actors to portray Harry, Ron and Hermione and
see the earliest meeting of Daniel Radcliffe, Rupert Grint and Emma Watson.
Be on the
scene as imagination and know-how combine to create a look that's distinctly
wizardly. From details tiny (what about Hermione's buckteeth?) to huge
(Quidditch, anyone?), this is the fun and fascinating opening of a whole new
portal into Harry's world. Begin the magic.
Creating the World of Harry Potter - Part 2:
really do look at the story and characters first," producer David Heyman
says. "That's the heart and that's the soul of the film." And that's
the heart and soul of this incisive, decade-spanning exploration of how the
series' actors bring the beloved Harry Potter characters to life.
Discover which parts of the J.K. Rowling books helped Daniel Radcliffe, Rupert
Grint, Emma Watson and more stars make their roles leap from page to screen.
screen tests, including Evanna Lynch (Luna Lovegood) and Jessie Cave (Lavender
Brown) working with the established stars. Learn why so many of Britain's
acting greats wanted to be part of Harry
Potter's world...and which ones became mentors to the young stars. Share
each director's vision as you watch Daniel, Rupert and Emma grow up with Harry,
Ron and Hermione. Your journey into Harry's world continues.
Creating the World of Harry Potter - Part 3:
the back of Buckbeak. Battle a Hungarian Horntail. Trace Voldemort's terrifying
transformation from grotesque infant-like creature to Dark Lord. Fascinating
footage lets you experience the Harry Potter world of creatures through
new eyes with this revealing look at a new group of wizards: the artists who
create the monsters and marvels. Roam the Harry
Potter Creature Effects workshop, where actors with a little FX magic are
turned into beasts and sketches turn into animatronic wonders. Join Daniel
Radcliffe, Rupert Grint and Emma Watson as they share stories about acting
opposite everything from tiny computer-generated pixies to a four-ton
mechanical spider (guess which young star is really afraid of spiders).
New discoveries and new revelations all make your journeys into Harry's world
even more thrilling!
Creating the World of Harry Potter - Part 4:
Sound & Music
imagine the Yule Ball without the Potter Waltz? Quidditch without the whoooosh
of flying? Or any Harry Potter film without the iconic Hedwig's Theme?
Now, absorbing interviews and behind-the-scenes glimpses let you share the
vision of composers, sound experts and others who make the Harry Potter films
enchantment for the ears as well as the eyes. Experience sound and music that
magnify triumph and fear, joy and suspense while transporting viewers on an
emotional journey alongside the on-screen characters. Learn how specially
created musical motifs identify individual characters and places. Watch as
Foley artists use unusual techniques to replicate everyday sounds. Discover a
whole new way to look at – and listen to – Harry's world.
Creating the World of Harry Potter - Part 5:
Bolder. Darker. As the eight Harry Potter films trace Harry's journey
from innocent schoolboy to selfless hero, the series undergoes a
transformation. Evolution – packed with exclusive content – takes you
along for every exciting step of the 10-year filmmaking odyssey. Join the four
directors and key members of the crew and cast, including Daniel Radcliffe,
Rupert Grint and Emma Watson, as they explore how the creative vision for the
films evolved to maintain the integrity and increasing intensity of J.K.
Rowling's expansive literary series. From the ever-changing architecture of
Hogwarts castle and growing landscape of the wizarding world, to the darkening
palette of each successive film, to the young actors maturing along with their
characters, it is a wondrous and spectacular adventure to experience.
Creating the World of Harry Potter - Part 6:
Potter's world, portraits come to life, potions transform, time reverses,
Quidditch players soar, dragons attack and magic is everywhere. Explore the
moviemaking magic that created the wizardry and wonder of the Harry Potter
film series. Now, fascinating insights, interviews and watch-it-happen footage
let you experience the triumphs of the technical wizards who conjured up an
awe-inspiring alternate reality. Share the fun as Daniel Radcliffe, Rupert
Grint and Emma Watson negotiate the moving stairs. Marvel as an oversized water
tank transforms into the depths of the black lake for the Triwizard Tournament.
Discover which amazing sequence was filmed entirely using computer-generated
imagery. Watch as blue- and green-screen backgrounds transform into towering
structures and endless landscapes. You don't know the magic until you've seen Magical
Creating the World of Harry Potter - Part 7:
Over the course of ten years, screenwriter Steve Kloves worked
tirelessly with author J.K. Rowling to develop her seven magical books into
eight magical films. From the beginning, Kloves had to decide what to keep,
what to change and what to cut while staying true to Rowling's vision,
initially without even knowing how the series ended! Learn the story behind the
stories and see how the two collaborated and developed a friendship based on
mutual trust and respect, as they sit down together for an intimate,
free-flowing conversation. Gain new insight into J.K. Rowling's own conceptions
of her beloved characters, and hear how Kloves was able to adapt them
faithfully for the screen while maintaining the fine balance between heart,
humor and heroism that exemplifies the series.
Creating the World of Harry Potter - Part 8:
up with the world watching them. By the time the final film wrapped, the young
stars of Harry Potter had spent nearly half their lives on set. In Growing
Up, new and vintage interviews featuring Daniel Radcliffe, Rupert Grint,
Emma Watson and other cast and crew show how the actors have grown over the
course of the series, while behind-the-scenes footage gives an exclusive look
at their lives as actors and as children who've grown into young adults. From
early interviews shortly after being cast, to the poignant final day of filming,
watch how their ideas of acting, fame, their characters and themselves have
changed through four directors, eight films and ten years. Learn how the more
experienced actors took the younger ones under their wings and see the
friendships that only years of collaboration could create. Finally, say
farewell to the series with Daniel Radcliffe as he delivers an emotionally
charged speech to the cast and crew as the final film wraps.
·Harry Potter™ Hogwarts Collection Blu-ray Bonus Disc
More than 3 hours of features including:
§“The Harry Potters You Never Met” - Meet the stunt doubles for Daniel
Radcliffe, Rupert Grint and Emma Watson as they demonstrate how they balanced
major stunt work while seamlessly mimicking the actors they represented.
“Designing the World of Harry Potter” - Explore how production
designer Stuart Craig and his creative team brought J.K. Rowling's
imagination to life on the screen.
Harry Left Hogwarts” (Extended Version) - Hear candid and emotional
stories about the final days on set in this extended behind-the-scenes
§ “50 Greatest Harry Potter
Moments” (Definitive Version) - Take a look back with cast members who share
their on and off-screen memories.
§ “Secrets Revealed! Quidditch” –
At last, the secrets behind the special effects required for the breathtaking
Quidditch scenes are revealed.
§ “Secrets Revealed! Hagrid”- See
the camera tricks, towering stand-in and voluminous body suits behind the
beloved Keeper of Keys and Grounds at Hogwarts.
Cinema Retro has received the following press release from Sony
CULVER CITY, CALIF. (March 31, 2014) –
George Clooney’s action thriller THE MONUMENTS MEN marches its way
onto Blu-ray Combo pack, DVD and
Digital* May 20 from Sony Pictures Home Entertainment. Based on the
non-fiction book of the same name by Robert M. Edsel with Bret Witter, the film
pays tribute to the real men and women who risked their lives to recover and
return thousands of cultural treasures stolen by the Nazis during World War II.
Blu-ray™ Combo Pack
is loaded with bonus materials, including two all-new featurettes that
highlight the making of the film. The first, “George Clooney’s Mission,”
features interviews with Clooney, as well as the rest of the cast, on the elements that went into completing THE MONUMENTS MEN. The second featurette, “Marshaling the Cast,”
features a cast discussion on the real men and women they brought to life on
screen. Exclusively available on the Blu-ray are two additional exclusive
featurettes. “In Their Own Words” is a unique piece that offers the most
comprehensive and direct insight into the hearts and minds of these heroes,
featuring an interview with Harry Ettlinger, one of the last surviving members
of the Monuments Men. “A Woman Amongst
the Monuments Men” features a discussion with
Cate Blanchett on the historic, wartime female character she plays in the film
A Smokehouse production, THE
MONUMENTS MEN is
directed by Clooney, and written by Clooney and Grant Heslov. Starring in the film is an
exceptional ensemble cast, including two-time Academy Award® winner
Clooney (Argo, Best Motion Picture of
the Year, 2012), Academy Award® winner Matt Damon (Good Will Hunting, Best Writing,
Screenplay Written Directly for the Screen, 1997), Bill Murray (The Grand Budapest Hotel), John Goodman
Award® winner Jean Dujardin (The
Artist, Best Performance by an Actor in a Leading Role, 2011), Bob Balaban (The Grand Budapest Hotel),
Hugh Bonneville (TV’s “Downton Abbey”) and Academy Award® winner
Cate Blanchett (Blue Jasmine, Best
Performance by an Actress in a Leading Role, 2013).
on the true story of the greatest treasure hunt in history, THE
MONUMENTS MEN focuses on an unlikely
World War II platoon, whose job it was to rescue artistic masterpieces from
Nazi thieves so they could be returned to their rightful owners. In a
seemingly impossible mission, the Monuments Men, as they were called, find
themselves risking their lives in a race against time to avoid the destruction
of 1,000 years of culture.
About the Real
had decreed that if he died and the war was lost, nearly 5 million pieces of
stolen art were to be destroyed. In an effort to thwart the Nazis’ intent, President Roosevelt, with the support
of General Eisenhower, created the MFAA (Monuments, Fine Arts and Archives)
unit in 1943, and tasked them with the job of rescuing and protecting Europe’s
art masterpieces. Ultimately, more than 300 men and women worked in the MFAA
between 1943 and 1951, returning thousands of cultural items that had been looted or displaced during
NOTE: This review pertains to the Region 2 UK release.
By Mark Mawston
are some films that stick with you- films that made a real impact but were
impossible to track down after that one fleeting TV screening in pre-DVD and
streaming days. Could they be as good as you remember or were they obscure for
a reason? This was my worry when I was given my review disc of Brian De Palma’sPhantom of The Paradise,a film I’d been wanting to revisit
remember watching this in my room after college one late Monday night and
thinking it was the epitome of the term “cult movie”. I simply loved it.
I was fully aware of the huge followingThe
Rocky Horror Picture Showhad
and was shocked that this film wasn’t as famous. For years I’d asked anyone who
mentioned Richard O’Brien’s cult classic if they felt the same aboutPhantom of The Paradiseand most of the time I was met
with “Phantom Of The What?” I thought I was in a minority who loved this film
but on watching Arrow’s superb transfer of the film and its stunning extras, I
see that the film has a healthy following amongst the great and the good of
movie cultdom, including Edgar Wright, Quentin Tarantino and especially
Guillermo del Toro.
of The Paradiseis
now available from the Arrow Video label. The feature-packed disc is released
as both a Limited Edition Steel Book and deluxe Blu-ray featuring original and
newly commissioned artwork by The Red Dress. This exciting Blu-ray release also
includes an exclusive collector’s booklet featuring new writing about the film
by festival programmer Michael Blyth and an exploration of the film’s troubled
marketing history by Ari Kahan, curator of SwanArchives.org, illustrated with
original stills and promotional material.
Although Hammer Films is best known for its lineup of horror movies, the British studio routinely produced a diverse line of product ranging from adventure movies to crime melodramas. As the popularity of the horror flicks soared in the mid-1960s, Hammer began to concentrate almost exclusively on that genre. One of the better non-horror films was The Scarlet Blade, produced in 1964. The film was inexplicably retitled as The Crimson Blade for U.S. audiences, thus rendering meaningless the tie-in to the titular character, a swashbuckling do-gooder who rallies country folk in support of the king during the English Civil War of the 17th century. The film opens with King Charles I (Robert Rietty) on the run from the forces of Cromwell, who want to arrest him and execute him after a show trial. The king is being protected by a small band of royalists but is nevertheless captured. With the countryside terrorized by the arrival of Cromwell's local governor, Col. Judd (Lionel Jeffries), a plot is nonetheless is hatched by a group of rebels to rescue the king when he is being transported to the Tower of London. The man who is orchestrating this is Edward Beverly (Jack Hedley), who is has the secret alter ego of The Scarlet Blade. In that role, he is a constant thorn in the side of Judd. The Scarlet Blade and his small group of derring-doers raid Judd's compounds, attack his forces and inspire the locals to resist Cromwell's reign. Thus, Judd becomes obsessed with his capture and execution. Unbeknownst to Judd, his own daughter Clair (June Thorburn) is secretly assisting the rebels. Judd can barely stand the the fact that she has openly loyalist sentiments but doesn't suspect she is actually in collusion with The Scarlet Blade. Clair is being wooed by Judd's right hand man, Capt. Tom Sylvester (Oliver Reed), an arrogant egotist who learns that she is in league with the rebels. He offers to keep her secret and quietly assist her activities but only if she pledges her love for him. Clair is initially resistant to Tom's boorish personality but agrees to his offer. Tom is as good as his word and meets with the Scarlet Blade and his men and offers genuine assistance. However, when Clair tells him she actually has fallen in love with Edward Beverly, Tom's loyalties change once more.
The Crimson Blade is a fun, rousing and intelligently scripted story that has the hallmarks of Hammer productions of the period (i.e modest budget but rich production values, crisp color cinematography and a first-rate cast). It's a pleasure to see Lionel Jeffries playing an outright villain instead of a lovable old eccentric and he delivers an excellent performance in a role that seemed to have been envisioned for Christopher Lee. Oliver Reed is equally impressive in this early career role and June Thorburn is fetching as the requisite damsel in distress. The action sequences are frequent and very well-staged and as the Scarlet Blade, Jack Hedley has plenty of swash in his buckle and makes a fine action hero.
The film boasts an excellent transfer and is now available as a Sony burn-to-order title. There are no bonus extras.
RETRO-ACTIVE: THE BEST ARTICLES FROM CINEMA RETRO'S ARCHIVES
By Lee Pfeiffer
Last year, the Harris Poll reported that John Wayne ranked among America's top ten favorite actors. This may seem like an incredible feat for a man who's been six-feet under since 1979, but the Duke's popularity continues to grow as evidenced by the tidal wave of DVD titles and tributes afforded him this year on what would have been his 100th birthday. Unlike many actors of the past, Wayne is not being rediscovered by a new generation. In fact, he's never been out of style. While younger generations have to be educated about the work of legends such as Bogart and Cagney, it seems people become acquainted with Wayne's image while still in the womb. Warner Brothers and Paramount have teamed up for a major Wayne DVD promotion that will put a dent in any collector's wallet if they hope to acquire all the latest releases and it's bound to evoke mixed emotions in many fans. (Henny Youngman once defined "mixed emotions" as having your mother-in-law drive off a cliff in your new Mercedes.) On the one hand, all of the new releases are "must-haves" for serious collectors. On the other hand, there are so many titles being released simultaneously that not only your eyeballs but your wallet will be overtaxed if you try to absorb them all at once. Tops on the list is WB's "Ultimate Collector's Edition" of Howard Hawks' 1959 classic Rio Bravo. The film is available in several different scaled-down versions, but we'll pretend those don't exist. If you like the movie, there is only one choice and it's the Ultimate Edition.
Nicholas Ray’s Knock on Any Door was released on DVD
last summer as part of Sony Pictures’ Choice Collection. The 1949 film starred
Humphrey Bogart and a very young John Derek as a defense attorney and his
street punk of a client.It's not high
on the list of Bogart classics, and it's not even one of Ray's best (It was his
second film, made after the far superior They
Live By Night). Ray never particularly praised it, saying only that he
wished it could've been grimmer. Ray once pointed to Luis Bunuel’s LosOlvidados,
a film about Mexican slum kids that came out in 1950, as an example of the sort
of film KnockOn Any Door could've been.If Bunuel's film had come out first, Ray said, the inspiration would've
been there to make a more penetrating, realistic work. "I would have made
a hell of a lot better movie," Ray said.
On Any Door is usually labeled as
film noir, but nothing in the story has the subversive taint found in the best
noir films, and there’s none of the sleek, European ex-pat styling, unless one
counts the expressionistic lighting that cuts across the prison floor in a
scene where a convicted killer makes his long walk to the death house. KnockOn Any Door is more in line with the crime dramas turned out by
Warner Bros during the 1930s, which makes sense when one considers Bogart got
his start in those Warner Bros crime flicks, and it was Bogart’s film company,
Santana Productions, that produced Knock
On Any Door for Columbia Pictures.
While it wasn’t a
blockbuster, it performed well enough at the box office to establish Bogart’s
group as a serious production unit. It also gave us the quote, “Live fast, die
young, and have a good looking corpse,” a quote so nice it’s given to us twice
by the angry Nick Romano, played by Derek with all the seething anger he could
muster beneath his impossibly long eyelashes. According to Bogart biographer
Stefan Kanfer, Bogie tried to boost Derek's performance by pointing out that
most of the day's top actors, from James Cagney, to Edward G. Robinson, to
Bogart himself, had started out in crime movies, and that a good performance as
a heel is always eye catching. Not surprisingly, Derek goes for broke in the
film, to the point where he appears to be auditioning for a role in ReeferMadness. Lookat me! he seems to say in every scene, Look at my perfect profile, my quivering
lips; look at how twitchy I am when I play angry! I'm a real actor, damn it!
Derek was just a young,
inexperienced actor fresh out of the paratroopers when he was cast as
"Pretty Boy" Nick Romano, "the Skid Row Romeo.”Romano, like so many Hollywood hoodlums, is a
good boy shoved down the wrong path in life after losing his father at a young
age, and then growing up in poverty. Attorney Andrew Morgan (Bogart) has known
Romano for years and has watched him struggle. When Romano is accused of
killing a cop, Morgan hesitates to help. For one thing, the partners at his law
firm don't want the negative attention such a trial could bring. Morgan also
isn't sure if he believes Romano is innocent.
On Any Door is actually two films woven together. We
see Romano's tale in flashback, as he goes from being a mama’s boy, to a
typical slum rat and petty thief, to a beleaguered family man who drinks too
much and can't hold down a job. We also see Morgan's crisis of conscious as he
works up the enthusiasm to help him. Morgan, a former slum kid himself,
believes people should help themselves. Gradually, though, he sees Romano as a
kid worth saving. By the film's end, Morgan vows to spend the rest of his life
helping kids like Nick Romano.
The Nick Romano character
was a bit ahead of the times. He looks and carries himself like a character
from a mid-50s juvenile delinquent movie, perhaps The Wild One, or Blackboard
Jungle, or even Ray's own RebelWithout A Cause. There were even rumors,
possibly apocryphal, that Marlon Brando was interested in the Romano role. Hot
off his stage success in A Streetcar
Named Desire, Brando would've been an interesting Romano, and with his
realistic acting, might have booted this movie into something close to a
classic. According to different sources, Bogart was originally planning to make
the film under the direction of Mark Hellinger, with Brando as Romano. When
Hellinger died in Dec. 1947, the project was temporarily put aside until Bogart
started Santana Productions. Brando, who had wanted to work with Hellinger,
allegedly turned down Bogie’s offers, paving the way for Derek. (I find it a
little hard to believe that Bogart was, as some biographers claim, pursuing
Brando to any great degree, considering Bogart was notoriously disdainful of
the self-indulgent method actor types emerging out of New York. The thought of
Brando and Bogart together is fascinating, but just the fact that Bogart
eventually chose Derek, who was light years away from the brooding Brando,
makes me think the whole Brando rumor was nothing but a PR flack's pipe dream.)
Derek, with his greasy mop
of thick black hair, looks the part of a dashing street hood, but his acting is
too melodramatic and hasn't aged well. At the time, though, Derek made quite a
splash, inspiring Hollywood gossip columnist Luella Parsons to write, "I
predict John Derek will be one of the big screen stars of 1949."Stardom didn't quite find Derek, although he
acted regularly for many years, appearing in everything from westerns to bible
epics.He's probably best known to baby
boomers as the husband/mentor and sometime director of Bo Derek.Even when Derek died in 1998, most of the obits
focused on the couple's May/December romance, which was fodder for gossip rags
during Bo's brief run at movie stardom.
Bogart is Bogart, and not
much more needs to be said. There's an excellent scene where, suspecting Romano
has stolen 100-dollars from him, Bogart as Morgan lures Romano into an alley
and wrestles him to the ground, pinning him in the dirt with some sort of
commando hold and then rifling through Romano's pocket to get back his money.
"You're a two-bit punk, and that's all you'll ever be,” Bogart snarls,
spraying saliva everywhere.Always a
sprayer and a drooler, Bogart’s lips and chin practically shine with spittle in
this movie, especially during the courtroom scenes where he has long speeches
and no one around to wipe his mouth. Bogart’s forehead also perspires like crazy in
the court scenes, until he looks like he's performing on the bow of a ship
during a storm. He's great, though, and his closing speech to the jury is among
the better scenes of his late '40s period.Heavy-handed? Sure, but Bogart could always make these scenes
compelling, whereas if another actor tried it, the bit would come off as
"Knock OnAny Door is a
picture I'm kind of proud of, and I'll tell you why," Bogart the producer
said in a press release trumpeting the film. "It's a very challenging
story; different; off the beaten path. The novel (by Willard Motley) was
brutally honest. We've tried to be just as direct, just as forceful, in the
picture. I think you'll like it better that way. "
proclaimed Knock On Any Door "a
hard-hitting, tight melodrama," the film's Feb. 1949 release was greeted
by mixed reviews. The notion that criminals were not always responsible for
their actions was a relatively new and unpopular concept. The film was
occasionally praised for its direct look at life in the slums, but Bosley Crowther
of ‘The New York Times’ wasn't impressed. "Not only,” wrote Crowther, “are
the justifications for the boy's delinquencies inept and superficial...but the
nature and aspect of the hoodlum are outrageously heroized." Crowther, who
may have invented the word ‘heroized,’ added that the film was riddled with
"inconsistencies and flip-flops," and that "The whole thing
appears to be fashioned for sheer romantic effect, which its gets from its
'pretty-boy' killer, victim of society and blazing guns."
Actually, the film
could've used some more blazing guns. The opening sequence is a stunner, with a
cop being gunned down on a dark street, and a sudden swarming of the
neighborhood by cops rousting every local man with a criminal record. The scene
is a mere tease, though, for the film settles down into a talky courtroom drama
and doesn't quite live up to its opening blast. But give Bogie and his Santana
crew credit for choosing this project as their debut voyage. They jumped on the
juvenile delinquent bandwagon before it had really taken off, predating the
screwed-up teenager craze by five or six years. In a way, Derek’s Nick Romano was
a forerunner of James Dean, Elvis, Sal Mineo, and every other greasy hoodlum
with puppy dog eyes that would populate the movie screens of the 1950s.
The Choice Collection DVD offers no extra
features, but the transfer is crisp and clear, all the better to see Bogart
The Warner Archive has reissued Paramount's out-of-print DVD of director Anthony Mann's 1957 Western The Tin Star. Henry Fonda stars as Morg Hickman, a ex-lawman-turned-bounty hunter who delivers the body of a wanted man to a small town's sheriff's office. He gets a hostile reaction from the local population because of his unsavory profession. Nevertheless, Morg has to stay around a few days in order to collect the $500 reward money from Sheriff Ben Owens (Anthony Perkins), a young greenhorn who has reluctantly accepted the position of lawman after his predecessor was murdered. Morg perceives the likable young man as nervous and easily manipulated by some of the more obnoxious men in town. Morg ends up boarding with a young widow, Nona Mayfield (Betsy Palmer), who is a bit of a social outcast because her son Kip (Michael Ray) is half Indian. Before long, Morg and Nona form a chaste but loving relationship and he finds himself not only acting as surrogate father to Kip but also a mentor to Ben Owens. When a beloved local citizen is murdered by two brothers (Lee Van Cleef, Peter Baldwin), a local firebrand, Bart Bogardus (Neville Brand), goes against the sheriff's wishes and organizes a posse that is out for blood. Determined to take the men alive and ensure they get a fair trial, Ben enlists Morg's assistance. Under Morg's guidance, the pair bring the brothers back to jail- only to find that Bogardus intends to lead a lynch party to the jail that night. Ben knows that this is the ultimate test of his ability to finally earn respect from the citizens of the town. But in order to gain that respect, he'll have to face down a heavily armed, drunken mob.
The Tin Star is a superior Western, filmed in B&W in VistaVision and bearing the hallmarks of any Anthony Mann film: intelligent script (by legendary Dudley Nichols) and fine, realistic performances from an excellent cast that also includes a wonderful turn by veteran supporting actor John McIntire. Like The Ox Bow Incident, which also starred Fonda, the movie goes beneath the standard action sequences found in horse operas of this period and delves in to the issues of racism, justice and the price that must often be paid for displaying personal courage.
The DVD boasts a crystal clear transfer but does not contain any extras.
Timeless Media have released the epic 1976 adventure film Shout at the Devil as a Blu-ray/DVD combo pack. The movie, produced by Michael Klinger and directed by Peter Hunt, is an big budget affair very much in the style of John Huston's The Man Who Would Be King, which was released the previous year. Both films follow the antics of a couple of charismatic rogues in exotic settings. The film is based on the novel by author Wilbur Smith, who also co-wrote the screenplay. The movie was shot in between Roger Moore's second and third James Bond films, The Man With the Golden Gun and The Spy Who Loved Me and boasts a "who's who" of Eon Productions talent. Peter Hunt had edited the early Bond films and directed On Her Majesty's Secret Service. Ironically, Moore and Hunt never worked on a 007 film together but in 1974 Moore starred in Hunt's excellent adventure film Gold, which was also a Michael Klinger production. Among the Bond veterans moonlighting on Shout at the Devil were main titles designer Maurice Binder, cinematographer Michael Reed and camera operators Alec Mills and Alan Hume, special effects wizard Derek Meddings, production designer Syd Cain, future Bond director John Glen, assistant director Frank Ernst, stills photographer George Whitear and publicist Geoff Freeman. All that was missing was Cubby Broccoli's name above the title. With so many old pros working on the movie, it's no surprise that Shout at the Devil is an opulent production, impressive in many ways.
The story is set in East Africa in 1913 in the days leading up to WWI. Flynn O'Flynn (Lee Marvin) is an American of Irish descent who is living the good life on the African continent. A poacher of ivory and a shameless con man, Flynn and his mute right hand man Mohammed (Ian Holm) routinely line up gullible victims for exploitation. Among them is a British dandy named Sebastian Oldsmith (Roger Moore), a man who is en route to Australia when he makes the fatal decision to spend a few days in a port city. He is befriended by Flynn, who robs him of every cent then gains his gratitude by pretending to lend him money-- which in fact came from his own wallet. O'Flynn coerces Sebastian to become a partner in the ivy poaching trade and brings him back to his comfortable lodge located in the African bush. Here, Sebastian meets and falls in love with O'Flynn's daughter Rosa (Barbara Parkins). The two marry and have a baby much to the bemusement of O'Flynn, who, more often than not, is drunk. O'Flynn and Sebastian's poaching ventures are occasionally thwarted by their arch nemesis, a German military bureaucrat named Fleischer (Rene Kolldehoff), who is the local government administrator and who is known for his heartless exploitation of natives and his ruthless methods of enforcing German law in the region. O'Flynn and Sebastian delight in playing cat-and-mouse games with Fleischer and wreaking havoc on his activities. However, when Germany and England go to war, Fleischer is allowed unlimited local power and he extracts a terrible revenge. O'Flynn and Sebastian are later coerced into volunteering to serve on a mission for the British navy. They must locate, infiltrate and blow up a German war ship that is deemed an imminent danger to Allied shipping interests in the region. The deadly mission allows O'Flynn and Sebastian the opportunity to finally settle their scores with Fleischer.
The film's leisurely running time of 150 minutes actually passes very quickly thanks to the brisk pace afforded by director Hunt, who once told this writer that the film was originally shot as an even longer roadshow presentation and that he had the only remaining uncut print of it in his garage (!) (One can only wonder what became of it after Hunt's death in 2002). This version at least restores a half hour of footage that was not seen in the American theatrical release. The movie also benefits from Michael Reed's widescreen cinematography, Maurice Jarre's rousing score and the excellent special effects work of future F/X legend Derek Meddings. There is also the delightful aspect of enjoying the genuine on-screen chemistry between Roger Moore and Lee Marvin. Moore plays straight man to Marvin's scenery-chewing character. This isn't the cool, understated Marvin of Point Blank and The Killers, but the eyeball-rolling, over-the-top Marvin of Paint Your Wagon and The Great Scout and Cathouse Thursday. At times his facial expressions would seem to be more fitting in a cartoon. Nevertheless, he's never dull to watch and his lovable rogue schtick never wears thin with this viewer. (Moore and Marvin also have the kind of extended, knock-down, drag 'em out fist fight that permeated John Ford's films.) Midway through this largely comedic storyline, the script takes a sharp turn due to an act of unspeakable savagery that effects the lives of the three main characters and fills them with an obsession for getting even with Fleischer, who- until this point in the story- has been portrayed as a rather buffoonish, Sgt. Schultz-like character. The jarring disparity in tone may be off-putting to some viewers but the storyline that encompasses the mission to infiltrate and blow up the German war ship quickly dominates the action and leads to a compelling and action-packed conclusion.
Shout at the Devil was a hit with international audiences but a rather bungled release in America led to the movie being very under-exposed here over the decades. The Timeless Blu-ray/DVD combo boasts an excellent transfer but unfortunately the only extras are a selection of still photos, some of which look suspiciously like screen grabs. Nevertheless, this is an outstanding, old-fashioned adventure that retro movie lovers will definitely want to embrace.