Dear Cinema Retro,
 
I absolutely love the Where Eagles Dare Special Tribute Issue. It is the best behind the scenes history of a film magazine that I have ever seen. I hope that this will be the first of many special film tribute issues that you will release in the future. May I suggest that the following films would make for very interesting special tribute issues in the future.
 
                                                    1. Bullitt
                                                    2. The Great Escape
                                                    3. Kelly's Heroes
                                                    4. The Magnificent Seven
                                                    5. The Wild Bunch
 
I hope that you will seriously consider my suggestions for future special film tribute editions. Keep up the good work!

Sincerely,

Jay Barrick

Retro responds: Thanks for the kind words, Jay. We really appreciate all the support that our readers gave us for the Where Eagles Dare issue. We especially appreciate the efforts of over twenty contributors from around the world to make this issue a reality. Your suggestions are all great ones and are on our "must do" list. We're now researching for a major article on Kelly's Heroes for a future edition of the magazine, though it won't be a Movie Classics special. As for The Great Escape, we did some extensive coverage on the making of the film in Cinema Retro issue#1, which is still available as a back issue. Stay tuned for some announcements regarding our most ambitious project ever, the forthcoming Movie Classics special on the Clint Eastwood/Sergio Leone Dollars films that will include an abundance of rare photos, including some that have never been published before. Meanwhile, if you don't have Where Eagles Dare issue, supplies are rapidly dwindling. Click here for ordering info.
 
                                                                                                

Lee,
Actually I own a copy of this great film on DVD . . . it's available as part of the Tohokushinsa Classic Library collection in Japan: Region 1, 160 minutes . . . and the artwork is fabulous!

Phil

Retro responds: Thanks for the tip, Phil. The Weinstein Company owns the rights to the Samuel Bronston films they did a magnificent job of releasing both El Cid and The Fall of the Roman Empire as deluxe DVD editions, packed with extras. The plan was to also release 55 Days at Peking and Circus World, but to date, they have not appeared. By the way, if you search under these titles on Amazon, you'll see some DVDs come up. Be wary: the ones that say "all region" are bootlegs and the quality can be something to be desired. It appears as though Peking was released on DVD officially, but apparently never in an English-speaking country.

***************************************************

I'm happy that you mentioned the upcoming broadcast of 55 Days at Peking on TCM. Like you, I really like that film, too, and think it's terribly underrated. I have an Asian DVD of the film which, while it isn't perfect, at least is in the correct 2:35 ratio and anamorphic as well.

The film has a fascinating and very troubled production history. The original director Nicholas Ray (who does a cameo as the American ambassador in the film) was fired after several weeks of shooting when he suffered a heart attack after taking speed to cure his alcoholism. he was replaced by Andrew Marton, who was already working on the film as the second unit director for the action sequences, which is the reason why the action sequences are so good. (I read an interview with Marton in which he said his first day as the main director was the ball sequence that Heston and Ava Gardner attend together in the film) Gardner, who was also heavily drinking at the time,walked off the film the day after character actor Paul Lukas called her out about her habit in front of the crew. This is why there's no final death scene between her and Heston in the film, as there was in the original script (which, of course, was written by several writers - credited and uncredited)

Sergio Mims

Retro responds: Thanks for the insights, Sergio. The film was clearly a troubled production and set in motion the decline of Bronstan's career. He was a good filmmaker but a terrible businessman. Still, Peking makes for magnificent entertainment. It makes true the cliche that "they don't make 'em like that anymore". 

Click here to order deluxe collector's DVD edition of El Cid. (Click here for review)

Click here to order deluxe collector's DVD edition of The Fall of the Roman Empire

Cinema Retro has been requested to post the the following letter from a relative of actor Ken Clark. If anyone can help locate him, please write to Tim at the E mail address in his letter.(For Dean Brierly's tribute to Ken Clark's Euro spy movies of the 60s click here)

Ken Clark, star of such cult classics as "Attack of the Giant Leeches" and "12 To the Moon" as well as over a dozen EuroSpy movies in the 1960s is my great uncle.
 
He is also subject of a family mystery.
 
When his movie career in the States seemed destined to fail, and all he was being offered was TV roles, he left the US to go to Europe.  His career there is well-documented.  However, when he left, he also broke contact with his entire family.... wife, kids, parents, sisters, everyone.
 
His sister is now 81 and in failing health.  I am trying to track down Ken Clark to see if, after all this time, he has any interest at all in talking to his sister once again.  Even if he wanted to, there would be almost no way for him to find her.  He never knew her married name, and she moved from their home in Ohio to Rhode Island decades ago. 
 
I have tried SAG but they want his SAG membership number in order to give me any information.  Obviously, I do not have that.  If anyone has any means of learning his whereabouts or has any source I might contact to try and find him I would be most appreciative.  Feel free to email me directly, or to contact me through the web site.
 
Thank you,
 
Tim Lamont

tmthylmnt@gmail.com

I noticed that, although Cinema Retro offers extensive coverage of the TV industry, there has been nary a word about the big story of the week: Sarah Palin joining Fox News as an analyst. Do I detect some political bias?- Jim S.,Florida

Retro responds: Jim, you do indeed detect a bias, but not the one you probably perceive. I'm amazed at how many of our readers want political coverage on this site, but the fact of the matter is (as I have to state once a month) that Cinema Retro is dedicated to the entertainment industry. The stories we cover about television pertain to mostly entertainment programs, though I do admit to falling off the wagon and editorializing once in a blue moon about some particularly absurd story that it getting disproportionate air play. (i.e; the notorious "balloon boy.") Not only was the biggest story in TV this week not the hiring of Sarah Palin by Fox News (a move expected by virtually everyone since she resigned as governor last July), but the on-going mess at NBC over the Jay Leno/Conan O'Brien situation. Like most Americans, I have very strong feelings regarding Sarah Palin, but whether they are favorable or unfavorable wouldn't be of the slightest interest to any of our readers. We stick with what we do best: covering both classic cinema and the contemporary entertainment industry. Generally, our political coverage extends only to stories that legitimately involve entertainment personalities. For example, we gave coverage to Sidney Poitier being among those honored by President Obama. If it makes you feel any better, should Al Gore get hired as a news analyst by any network, I hereby pledge not to cover that story but if John McCain makes a sitcom or a Western, I promise we will cover it.  - Lee Pfeiffer

We've received quite a bit of mail on the topic of films that deserve to be released on DVD for the American market. Here are some of the more inspired suggestions:

Otley w/ Tom Courtney

Sebastian w/ Dirk Bogarde and Susannah York

Villain w/ Richard Burton

Assault on a Queen w/ Frank

Mr. Ricco (Dean-o + blaxploitation)

A Bequest to the Nation w/ Peter Finch and Glenda Jackson

Lady Caroline Lamb w/ Sarah Miles

The Black Windmill w/ Michael Caine

When Eight Bells Toll w/ Anthony Hopkins

A Study in Terror w/ John Neville

The Next Man w/ Sean Connery

Charlie Muffin w/ David Hemmings

Ok, I'm a bit confused about this new Universal Wolfman film. The posters say "coming soon" and give a date of 12/2/10. Are we seeing trailers and promos for a film with a release date that is actually more than a year away??? That's some sort of pre-release publicity record in my book. 

Bill Shaffer

Topeka, Kansas 

Retro responds: Bill, it's long been said that Americans and Brits are two peoples separated by a common language. You can extend that to how we designate dates on the calendar, as well. The posters in question were designed for the British market, which puts the day first, followed by month, then year. Thus, the anticipated release date is 12 February 2010. Universal executives would have heart palpitations if they were to carry this expensive film through the end of 2010 before releasing it. The movie seems to have been in production since Lon Chaney Jr. originally played the role...- Lee Pfeiffer

Thanks for the identification of Claudia Cardinale in the masthead. I've always wondered about the guy on the left. Who is it? I sometimes think it looks like Sean Connery, but I can only think of one Western he was in. Any help appreciated!

Martin

Retro responds: Right you are, Martin- it's Connery in the title role of the 1968 Western Shalako. Thanks for asking- it's gives us an excuse to reproduce the movie's cool original U.S. one sheet. For an interview with producer Euan Lloyd about the trials and tribulations of bringing this Louis L'Amour story to the screen, see Cinema Retro issue #2. Before anyone asks, the actor to the left of Clint Eastwood is Robert Vaughn in the Man From U.N.C.L.E. feature film The Spy With My Face.

Love your website, although I have one question regarding your banner. Who is  the guy pointing the gun (the guy between Raquel Welch and Christopher Lee)? I used to think it was Dr. Cornelius from Planet of the Apes... Is it McQueen?  If it is McQueen it's a very unflattering picture... It's driving me crazy.

l

 

Hi Lee, 

 
Scott Sanders here again, writer and director of BLACK DYNAMITE.

Black Dynamite is expanding to new markets.  A current list of scheduled Midnight Shows is available on the official Black Dynamite website, and below in this email.

I am reaching out in hopes that you can help us get the word out.

Thanks again for your help in making BLACK DYNAMITE a cult sensation.

Sincerely,
 
Scott "Put yo' ankles in it" Sanders


BLACK DYNAMITE Midnight Shows

November 13 – Columbus, OH
Studio 35 Cinema & Draft House
3055 Indianola Avenue in
Columbus, Ohio 43202
http://www.studio35.com

November Weekends Beginning the 13th – Boston, MA
Coolidge Corner Theatre
290 Harvard St
Brookline MA 02446
http://www.coolidge.org

November 13 - 19 – Columbia, MO
Ragtag Cinema
10 Hitt Street
Columbia, MO 65201
http://www.ragtagfilm.com
   
November 13 & 14 – Springfield, MO
Moxie Cinema LLC
431 S. Jefferson, #108
Springfield, MO 65806
http://www.moxiecinema.com

November 13 & 14 – Fort Collins, CO
Lyric Cinema
300 E Mountain Ave
Fort Collins, CO 80524
http://www.lyriccinemacafe.com

November 13 & 14 – Spokane, WA
The Magic Lantern Theatre
25 W. Main Ave
Spokane, Washington 99201
http://www.magiclanternspokane.com

November 20 – San Francisco, CA
Castro Theatre
A presentation of the Oakland Underground Film Festival
429 Castro Street
San Francisco, CA 94114
http://www.castrotheatre.com/

November 20 & 21 – Minneapolis, MN
Uptown Theatre
2906 Hennepin Ave S
Minneapolis, Minnesota 55408
http://www.landmarktheatres.com/Market/Minneapolis/UptownTheatre.htm

November 21 – Oakland, CA
Grand Lake
A presentation of the Oakland Underground Film Festival
3200 Grand Ave
Oakland, CA 94610
http://www.renaissancerialto.com/    
 
December 4 & 5 – Houston, TX
River Oaks
2009 West Gray
Houston, TX 77019
http://www.landmarktheatres.com/Market/Houston/RiverOaksTheatre.htm

December 11 & 12 – Denver, CO
Esquire Theater
590 Downing St
Denver, CO 80218
http://www.landmarktheatres.com/Market/Denver/EsquireTheatre.htm

January 2 – Rochester, NY
Dryden Theatre
900 East Ave
Rochester, NY 14607
http://dryden.eastmanhouse.org/ 

January 9 – San Diego, CA
Ken Cinema
4061 Adams Ave
San Diego, California 92116          
http://www.landmarktheatres.com/market/SanDiego/KenCinema.htm

A reader we'll identify as Ed J. has written a lengthy letter taking me to task for calling actor Kirk Cameron a "nutcase" for his campaign to undermine the theory of evolution and tie it in with the practices of Adolf Hitler. Ed believes that my comments in the humorous Cameron piece displayed a bias against Christianity and that we at Cinema Retro should stick to writing about movies. His letter presents an intelligently written stance on why he shares Cameron's skepticism about the theory of evolution and how Hitler and others appropriated Darwin's theories for evil purposes. He also states that my tongue-in-cheek advice for Cameron to watch Inherit the Wind should also be taken to task, as Ed apparently feels that the film offered a biased and inaccurate view of the famed Monkey Trial. (In fairness, the film and the play it is based on never pretends to be anything but a loose, fictionalized account of the trial.)

Cinema Retro readers are a talented lot...take Patrick Humphries, who just received the green light on his long-planned radio documentary on the history of film trailers. Radio 4 in the UK will be backing his project and Patrick is looking for input from people who worked on film trailers in the 1950s and 1960s. Here is his letter:

Just to say I have just received my copy of the "Where Eagles Dare" special edition and have to say what a fantastic Magazine you have all produced .  It covers everything you always wanted to know about WED . Absolutely brilliant !!!  The amount of detail and the great pics are all you could ask for.

Now to dig out the DVD !

My congratulations to all involved .
Regards,

Mike Davis
Gravesend, Kent
England
RETRO RESPONDS: Many thanks, Mike...Looks like this issue is going over far beyond our expectations. We greatly appreciate the extraordinary support from our readers for this first Cinema Retro Movie Classics edition...the best is yet to come!

The chart that adjusts grosses for inflation is indeed a valuable tool to rank box office success. However, it  still ignores several factors. For one, the US population is twice what it was in 1939. On the other hand, films from that era had no competition from television.

I like the Hollywood Reporter approach which ranks the top five films in a year.
When people talk about how the James Bond films are more popular than ever I point out the facts regarding Thunderball that you mentioned and this bit of info:
The last 007 flic to be ranked in the top five films for the year was Diamonds Are Forever. The others are from From Russia With Love, Goldfinger, Thunderball.
So Sean is still the king. Sorry, Daniel

Bruce Marshall

(Bruce Marshall wrote the article about the restoration of Lee Van Cleef's The Big Gundown in Cinema Retro issue #13. Look for his interview with Escape From Alcatraz screenwriter Richard Tuggle in issue #15) 

Retro Responds: All valid points, Bruce, but I think you have to also factor that in the early days of the Bond movies, the series was new and ground-breaking in many ways. Bond has had to endure decades of competition from countless films that wouldn't exist if it weren't for the 007 franchise. They've also had to survive their own artistic missteps (remember two appearances by Sheriff Pepper???), six different actors in the role and the challenge of remaining relevant to young audiences. The fact that the Bond films even exist almost fifty years later is remarkable, not to mention that they still pull in over a half billion dollars in worldwide grosses each - and that doesn't count home video sales. 

Thanks for the story about all time boxoffice champs.  As a former theatre manager, I've always said that you don't rank movies from different eras by their boxoffice gross, you rank them by the number of paid admissions.  Inflation may inflate the gross, but an admission is still an admission - and that levels the playing field. The $2.00 admission price of 1968 can't compete with the $10 admission price of 2009.  Considering today's ticket prices, what current movie wouldn't out-gross a picture from 40 years ago?  They could do it with just 20% to 25% of the admissions of the earlier movies.
One could argue that older movies like Gone With The Wind had several re-issues to bolster their all time gross and that's true.  But by the same token, older movies did not have alternative markets like home video or pay per view for the first several decades of their existence. - Bob Collins

 Retro responds: You're right, Bob...adjusting for inflation greatly alters our perception of what films are the most popular. As you point out, perhaps the best way to judge is to compare the number of tickets sold. For example, while Casino Royale is the highest grossing James Bond film with well over $500 million worldwide gross, in fact the 1965 release Thunderball is still by far the king of the series in terms of the numbers of tickets sold. Comparable statistics can be run on any classic film and the results would certainly surprise today's movie-goers. - Lee Pfeiffer

This is regarding the decision by A.M.P.A.S. to increase the number of best picture nominees to from five to ten. In my view this is going to really water down the value of the Best Picture Oscar.  I'm having trouble thinking of ten Oscar worthy movies each year, especially over the last decade.  I could give you ten worthy movies in 1939 or 1974.  But since 2000, most movies winning the Best Picture prize would only get technical awards back in the 1970s.  There are a lot of reasons for this but the primary one is that from a creative standpoint Hollywood is bankrupt.  (So is Broadway, but that's the Tony's problem and I don't really care about them.)

It has been suggested that this change in Academy policy is to get higher television ratings.  Increasing the number of competing movies will make the Oscar telecast longer.  Unless, of course acceptance speeches are whittled down to 15 seconds.  Maybe they can dump the monologue.  I know it's a staple of television, but the Oscars aren't Conan O'Brien.  Being a life long fan of the movies, I've always held them in higher esteem.

With last year's Oscar-cast being one of the lowest rated in history, many people said that if the Academy would nominate more movies the general public is interested in seeing, the ratings might go up.  That may be true, but I don't want the Academy nominating "The Hangover" for Best Picture just to try and inflate the ratings.  What needs to be done with the Oscar telecast is is a trimming down of non-essential things to improve the show's pacing.  How's this for starters, eliminate the monologue and all dance numbers.  Then take the 5 best song nominees and condense them into one four or five minute montage.  Use the music from the soundtrack and play it under clips from the movie.  That alone will save 12 to 15 minutes.

Dear Lee;

The copies of Cinema Retro arrived. You did a beautiful layout and Raymond Benson wrote a magnificent and compelling article. The photos and words match perfectly. I read the article out loud to my wife Holly and she said, "Raymond captured your whole life." I am deeply grateful to be in your splendid film magazine. I feel very moved. What an honor to be in Cinema Retro!

With gratitude & respect,

Harry Northup 

Retro Responds: Harry, it is we who are honored. We've admired your performances for many years and appreciate you sharing your insights on working with heavyweights such as Martin Scorsese, Jonathan Demme and Steve McQueen.Keep up the great work -we're sure the best is yet to come.

(Acclaimed actor and poet Harry Northup is interviewed in issue #14 of Cinema Retro. He shares fascinating insights about co-starring in such films as Mean Streets, Taxi Driver and Tom Horn.)

Seems everyone has an opinion regarding our recent editorial about Julia Roberts' use of expletives in her Lincoln Center tribute to Tom Hanks. Reader Doug Gerbino now weighs in:

I have just read the reply to your article on Julia Roberts language, and I think your reader is off the mark in her rebuttal of your first article. It is not what Ms. Roberts said, it is where she it. There is a time and a place for everything, and that award ceremony was not it. Your comments on the dumbing down of society are so true. As a school teacher, I see the daily sad effects of this trend. Forget Swine Flu...the Cultural Illiteracy is the real panedmic. As the Marschallin in Strauss' Der Rosenkavalier says, "In the 'how'...there lays the difference."

- Doug Gerbino

Retro Responds: Doug, you took the words write out of my mouth. I don't know how many times I've used Strauss' Der Rosenkavalier to illustrate a point! Not that I want to contribute to the cultural illiteracy that we both agree is a plague on society, but isn't Der Rosenkavalier the German release title for Don Knotts' The Ghost and Mr. Chicken?

 

Reader Michele Rice takes issue with Lee Pfeiffer's recent article criticizing Julia Roberts for using foul language at the Lincoln Center tribute to Tom Hanks:

Without making any comment on the acceptance of crass language at an Lincoln Center Event, I just want to quote the wonderful man & legendary talk show host Mike Douglas who said, "The color of a woman's speech isn't what makes her a lady. It's how she lives her life and what she stands for."  He was talking about "a lady named Carole Lombard".

He continues: "Everybody I've ever spoken to who knew her agrees she was a great comedienne. But I also gathered that there were many who would not call an actress with a working vocabulary like Carole's, a 'lady'. She could have given a language course in Advanced Obscenity to the crew of the ship that bore her name. The color of a woman's speech isn't what makes her a lady. It's how she lives her life and what she stands for. How she does her job and how she relates to her fellow workers. It's integrity! Gallantry!"

People either accept foul language or are offended by it. That's their prerogative. But we can't look back on the past with rose-colored glasses and dismiss everything about today as crap. So while I definitely couldn't imagine Princess Grace making such foul remarks to Cary Grant, I do realize that the idea of a homogenized Hollywood "Class" of the Golden Age is probably more image than reality and that a potty mouth isn't necessarily an important factor in judging someone's character.

~Michele Rice

Retro Responds: You raise a valid point, Michele and certainly state it convincingly. For the record, I'm not casting any criticism at what people do in private, nor am I a hypocrite. Cinema Retro rarely passes up an opportunity to run a provocative photo. I also count among my friends women whose ability to tell a dirty joke would make a longshoreman blush. However, my point was about the place and context in which public figures use such language. Actors are no different than anyone else- we all generally say things in private that we wouldn't say in polite company. However, the line has been blurred in recent years, not just among actors, but with virtually all celebrities. I've noticed a trend even among notable writers and columnists to prove they are hip by including an abundance of crass language in their columns. I believe that when Mike Douglas referred to Carole Lombard, he was obviously referring to her behavior among friends and colleagues - not at the Academy Awards. The dumbing down and slumming down of society extends to everyday people as well, which is why one must endure drunks and boors at baseball games, concerts and every other conceivable public event. My criticism of Julia Roberts has nothing to do with her worth as a person. I don't know her personally (much to my chagrin), and her language would be perfectly appropriate in places I frequent such as the Friar's Club where no one claims to have virgin ears. However, I still think it crosses the line to engage in such behavior at a venue like Lincoln Center. Thus, out of principle, I am publicly declaring my refusal to co-star with Julia Roberts as her leading man at any point in the future. Please, no letter-writing campaigns - my mind is made up! - Lee Pfeiffer

Our report on the upcoming remake of Sam Peckinpah's Straw Dogs has united Cinema Retro readers in opposition to the project. Bob Collins, subscriber and voice-over artist extraordinaire, vents his opinion, which is typical of the reaction we've seen.

Lee,

One more log on the fire that Hollywood has lost all creativity. Even if they wanted to set this in England, why remake it at all  Of course we know the answer. No talent hack writers. As a Yankee transplanted in the south, this does offer some possibilities:

Max Baer stars in the David Warner role as Jethro Bodean actually becomes the village idiot.

Morgan Freeman can star as the movie is retitled, "Driving Miss Daisy To Trencher's Farm"

Best,

Bob Collins

bobvox.com and bobcollins.voice123.com

Retro responds: Right you are, Bob. I wonder if someone is getting Clifton James to reprise his Sheriff J.W. Pepper character from the Bond movies to lead the assault on the farmhouse.

Hi Lee,

Thanks for the nice write-up on Hammer's version of Phantom of the Opera.With all the hype attributed to previous film versions and the stage musical, this version often gets lost in the shuffle and it's far superior to all the others. It knows it's a horror movie. I wish you'd consider having someone on your staff write up a piece on that film. It was planned for Cary Grant to actually play the Herbert Lom role, but that casting arrangement fell apart. I think Grant might have been excellent as the Phantom (he was always desparate to play a character he could disappear into), but I have a very hard time seeing him as Professor Petrie, don't you? In any case, Hammer's Phantom has always been my favorite just for its raft of character actors alone - Michael Ripper and Miles Malleson as cabbies, Patrick Troughton as the Rat Catcher and on and on. Thanks again,

Bill Shaffer
Topeka, Kansas
Retro responds: Thanks, Bill - and we will surely do a major piece on the film in a future issue of Retro. We've been hounding Herbert Lom for an interview, but every time it looks like it's ready to happen, scheduling problems have interfered. We remain hopeful, however. It's true that Cary Grant was considering the film, but as I understand it, he got cold feet about deviating so far from his established image. I can't picture him in the role, but the experiment would have been fascinating. You're right about those wonderful Hammer character actors. Don't forget, the film also feature such stalwarts as Thorley Walters and Michael Gough, playing one of the most sinister villains ever. The Hammer version is far superior to the storyline of most other films based on this story, because the use of the chandelier is brilliantly and dramatically incorporated into the tragic ending. In the Broadway production, I was dumbfounded when the big chandelier scene came half way through the play and merely consisted of the Phantom riding atop the fixture as it swung out toward the audience - a neat technical trick, to be sure, but devoid of any emotion. Does anyone remember the 1990 TV version starring Burt Lancaster (who incidentally, was not cast as the Phantom)? It always escaped me and I was wondering what it's merits (or demerits) may be. Meanwhile, here's a bonus Australian release poster from the Hammer version. - Lee Pfeiffer

We keep getting letters from readers around the world that add interesting insights into the fact that Fox reused portions of Jerry Goldsmith's previous scores for the 1976 western The Last Hard Men.

Now comes this informative letter:

My name is Gergely Hubai. I'm a Hungarian film music author.

Jerry Goldsmith never worked on The Last Hard Men (he was working on The Omen at that time). What happened was that Andrew. McLaglen requested an avantgarde score from composer Leonard Rosenman, which was eventually thrown out because it turned out it wasn't what he was looking for. Apparently he wanted to reflect the early 20th century setting by having contemporary avantgarde music playing in the picture or something to that effect. Eventually the studio pulled out a number of cues from previous Goldsmith Westerns, including 100 Rifles and Stagecoach. These were done without any consultation from the composer, so no, Jerry Goldsmith didn't reuse his own music.

Gergely also addresses the issue of John Barry reusing his score from Zulu for Cry the Beloved Country:

John Barry doesn't reuse his own score - the common melody he reuses in both scores were done deliberately as it is based on a native piece. The theme was used deliberately since both pictures take place in South Africa. There are many cases when composers use shorthand and freely quote from their previous works - I have written whole article series on that subject! These two titles however do not qualify for that.

Graham Rye's letter regarding Jerry Goldsmith's score for 100 Rifles which was recycled for The Last Hard Men, has drawn a number of comments from readers, some of whom have shed some light on the mystery of why such a revered composer might want to use a previous score in a new movie:

Hi Lee

Well Graham is both correct and incorrect about the soundtrack for the above. The story of The Last Hard Men score is that a score by Leonard Rosenman was rejected and, whether due to time constraints or cost, Fox simply chose to track the movie with cues from three Jerry Goldsmith Fox westerns (100 Rifles, Rio Conchos and the remake of Stagecoach) and also his score for the thriller Morituri.Therefore, Jerry received the music credit even though no original score was written for the movie by him. Hope this clears things up?

Kind Regards.


Dave Norris

Projection Manager

Empire Leicester Square Theatre- London

Retro responds: Thanks, Dave...Graham was perceptive in picking up on this, as I wouldn't have noticed. You've added some context to the situation. In my view, Goldsmith was actually harmed by having his name credited on the film because movie music lovers probably thought he was just making a lazy effort, when in fact, he had no control over the situation because he was under contract at Fox at the time and studio executives called the shots on such matters. By the way, the mention of Morituri brings up yet another underrated film that Cinema Retro should turn its attention to. This compelling 1965 WWII spy thriller (shot in glorious black-and-white), featured the pairing of two legends: Marlon Brando and Yul Brynner. It's an outstanding film that bombed at the box-office in an age where the spy movie craze favored Bond movies and their knock-offs. Curiously, Fox attempted to re-marketed the film in mid-release by changing the title to the rather cumbersome The Saboteur- Code Name: Morituri. The film also features the only screen pairing of Brando and Wally Cox, his former New York City room mate when the two were struggling actors.(For info about the soundtrack to Morituri, click here)

I have just seen the latest post regarding Jerry Goldsmith, having visited the IMDB site over the years, I believe the original composer was sacked for his score on The Last Hard Men and time was running out. So you are right in saying Jerry recycled the score from 100 Rifles. There must be studio executives from who sit and twiddle their pens wondering how to sell movies to the public. If they would only go through their back catalogue, they would see people are crying out for films that have not seen the light of day on DVD.Your magazine is a godsend because you have inspired me to obtain my own copy of The Outrage with Paul Newman plus try and get the newly restored version of The Big Gundown. As Columbo would say "Just one more thing, sir..."  My girlfriend and I visited New York in January where we saw Gran Torino. It received a positive reaction  from the audience. Last Friday, I gave the movie a second viewing in my own town. Strong applause drowned out Jamie Cullen's song at the end. So keep up the good work!

Ian Draycott

Retro Responds: Ian, you're correct on The Last Hard Men, as Dave Norris notes above. Thanks for your kind support of Retro. We really appreciate the fact we're having such an impact on popular opinion when it comes to sharing news of classic and underrated films. I'm also delighted that Gran Torino is being well received in the UK, as indicated by your experience. In an age where great movie songs are as rare as hen's teeth, it's all the more lamentable that he and Jamie Cullen's superb end title song for the film was completely overlooked by Oscar.(Click here to listen to the song...but keep it mind, it is far more moving when heard in context with the film)

Following our recent reference to the 1976 western The Last Hard Men, Graham Rye wrote to tell us that Jerry Goldsmith's score for the film was primarily lifted from his earlier work on 100 Rifles.

See if you agree with Graham's observations:

"It was more or less the same score, slightly differently arranged, but the main them was the same. I remember from when I originally saw The Last Hard Men in the cinema. As I sat watching it, I thought, "Blimey, he's used the same score from 100 Rifles (a score I particularly enjoyed in 1969) - crafty bugger!" I had a LeRoy Holmes LP that covered a number of western themes, one of which was 100 Rifles. I think I played it so often you could see through it if you held it up to the light! I also remember that The Last Hard Men was so violent that there were scenes in it that even made me wince at the time. James Coburn's character was probably one of the nastiest villains ever committed to film. Andrew V. McLaglen directed this in Peckinpah mode. With a screenplay based on a book by Death Wish writer Brian Garfield, it's no wonder it was a slow-mo blood bath of a movie.

John Barry did the same with some of his score from Zulu (1964) and he re-worked it into Cry, the Beloved Country (1995), a quite wonderful and thought-provoking film with strong performances from Richard Harris and James Earl Jones. "

Retro Responds: Thanks for those observations, Graham...quite fascinating. I have a tin ear when it comes to picking these things up, but I'll bet many of the soundtrack fans among our readers must have noticed these instances, too. With all this talk about The Last Hard Men, I now have a real desire to see it again. I hope it eventually gets an official release on DVD. By the way, our columnist John Exshaw recently conducted a major interview with Andrew V. McLaglen that will be seen in a future issue of Cinema Retro. - Lee Pfeiffer

 

 

Dear Staff of Cinema Retro: 

Your magazine is the best of its type and along with FilmFax is one of my favorite reads! Your most recent issue was especially interesting. What caught my eye was the ad for "The Crimson Blade". I have been doing research re: the forgotten films of Sean Flynn, son of Errol Flynn. (I did notice when "the Italian offerings" were mentioned, there was no mention of 1962's "Il Figlio del Capitano Blood"!) The interesting coincidence is that when "The Son of Captain Blood" premiered in the U.K. in 1963, released by Warner-Pathe, in some regions it was shown on a double bill with Hammer's "The Scarlet Blade", which as I am sure your staff knows is the original title of the film released in the U.S.A. as "The Crimson Blade"!  Also according to articles I have been reading re: the release of Sean Flynn's first film in England, apparently it was well received; supposedly doing very well at the British box office, if not spectacular. Most of Sean Flynn's films saw theatrical release in the U.K., as opposed to the U.S.A. where only three of his films were released to theaters. (The rest were either sold directly to television or never saw release in the U.S.A.)

I was wondering if you could help me with something I have been searching for. In 1966, a film Sean Flynn made with the director Umberto Lenzi titled, "Sandok,Il Maciste della Jungla" was released in the U.K under the title "Temple of the White Elephant". (In the U.S.A. the film was apparently sold directly to U.S. television by AIP-TV) I have been unable to locate a copy of this film in English. If you can help me locate a copy, as it is the only movie of his I have been unable to see in a version I can understand, it would be a great service to me and would be greatly appreciated. Of course you may ask yourself why, Sean Flynn? As a fan of the films of Errol Flynn, the films of his son are a curiosity. Also they are from a period when many other Americans were trying their luck in European cinema, primarily Italy, and I have found he is no worse or better than some of the other American actors who inhabit these films. You will also find that many of the actors, directors, and technicians he worked with on these movies also worked on some movies that are well known. One example is in the film "Duel at the Rio Grande" (released in the U.K. in 1964 on a double bill with the Haya Harareet starrer, "The Lost Kingdom") one of his co-stars is Walter Barnes of "The Big Gundown" fame. Another co-star of his is the well respected British actress, Ann Todd who plays his mother in "The Son of Captain Blood".  Yet another co-star from his debut film is the American actor, John Kitzmiller who many will know better as "Quarrel", who assists Sean Connery in his first outing as James Bond, "Dr. No".

The rest of the issue #13 was also interesting for the other features such as the history of the "Man from U.N.C.L.E." movies which were shown here recently in the U.S.A. on the aforementioned Turner Classics cable network! (Unfortunately I missed most of them!) Thank you for your time!--

Mr. Angel Rivera of New York City, New York

Retro responds: Thanks for the kind words, Angel. Regarding the elusive Sean Flynn title you're looking for, maybe somebody out there among our readers might have a lead. If so, drop us a line at cinemaretro@hotmail.com  and we'll pass on the info to Angel and our other readers. According the the IMDB, the film was an American International release in the English-speaking market. One possible source is www.moviehunter.tv, which specializes in finding elusive films. The cost is generally around $40.

Really enjoying the latest Cinema Retro!

Wanted to advise that the cover photo of Janet Leigh was publicity for a 1966 western, Kid Rodelo.

 

Someone's probably already identified, but in case not, thought I'd pass it along.

 

 

John McElwee

 

http://greenbriarpictureshows.blogspot.com/

Retro responds:Thanks, John. Yes, a number of movie fans more astute than ourselves responded to our plea in issue #13 to help us identify the film that the lovely Ms. Leigh was posing for. A search of the IMDB indicated that it probably was the rather obscure Kid Rodelo, but we weren't able to confirm it before going to press. We're not usually prone to running a cover shot from an unidentified movie, but our weakness for women in garter belts was the over-riding factor! Meanwhile, readers should do themselves a favor and visit John's web site, The Greenbriar Picture Shows - it's an irresistable treasure trove of vintage movie stills and great articles. 

Are you going to do special features on any of the following films ?

1. Dr Phibes and Dr Phibes Rises Again
2. Theatre of Blood
3. The Wicker Man
4. Straw Dogs

Thanks,

Bill Kelly

Retro responds: All good suggestions, Bill - but we're ahead of you. Issue #2 features an article by Caroline Munro on the making of the Dr. Phibes films starring Vincent Price. Issue #3 features an 18 page tribute to Sam Peckinpah (though it primarily focused on The Wild Bunch and Major Dundee). However, issue #10 has an insightful article called The Unseen Peckinpah which covers scenes from Straw Dogs that did not end up in the final cut. We hope to get to Theatre of Blood and The Wicker Man in due course. In fact, our columnist John Exshaw recently met with Christopher Lee in London and conducted what is probably the most in-depth interview about his films and career. As Christopher puts The Wicker Man near the top of his personal favorites, it's certain we'll be doing a feature on that film at some point in the future. Thanks for bringing up the film, Bill, as it gives us an excuse to recycle this gratuitous photo of Britt Ekland from the movie.

Lee and Dave:

I loved the story on Castle Films.  As kids, my best friend and I would show our collection of Castle Films in our backyards to the neighborhood kids.  We ran (poorly) synchronized classical music on reel-to-reel tape with each movie.  We even had two projectors so the show would never stop.  Just like the real movie theatres had.

I've attached pictures of some of the Castle Films I have.  I still have every title I ever bought.  I started collecting the Universal Horror movies but branched out into other areas as time went on.

May I suggest a very good reference book, "Castle Films: A Hobbyists Guide" by

Scott McGilvery?  It lists every Castle Films title ever released.-

Bob Collins

Retro responds:

Thanks a lot, Bob- it just whets my appetite for those days when seeing even a fraction of a film in B&W without sound would send your heart racing. I still think these ten minute condensations of movies are probably still more complete and dignified than what the networks show! Thanks also for the tip on the Castle Films guide book. We've added it to the Retro Amazon Store. To purchase click here

(Photos: Bob Collins)

.

Dear Editors;

Regarding Lee Pfeiffer's piece on Heather Mills from November 22, 2007: Does Mr. Pfeiffer actually believe the words "the wretched refuse of your teeming shore" were written by Frederic Auguste Bartholdi, the designer of the Statue of Liberty? Bartholdi was a sculptor, not a poet. Those famous words, of course, come from the poem "The New Colossus" which is inscribed on the tablet at the base of the statue, and which was penned by Emma Lazarus. A man with Pfeiffer's credentials really ought to know better -- especially if he's a New Jerseyite!

- Scot Penslar

Retro Replies: Good job, Scott...naturally I knew the information was incorrect all along and was merely hoping to find someone intelligent enough to see through the misinformation....And if you believe that, you probably thought Liberace was well cast as that devilish lady's man in Sincerely Yours! I'm afraid this is just another example of why film scholars make lousy poets. Personally, I'm incapable of understanding any prose that doesn't begin with "Roses are red, violets are blue..."  Thanks for setting me straight- and more important, thanks for assuming someone from New Jersey's intelligence can actually be underestimated!- Lee Pfeiffer

Send your comments/criticisms to: cinemaretro@hotmail.com

Editors,

I'm a huge fan of your magazine.  I buy every copy. But is there a reason your website seems to take such malicious glee in bad reviews given to Will Smith and Tom Cruise? It's very unbecoming and lacking in class, in my opinion. Especially since you seem to cherry-pick the worst things said. A grudge perhaps, or just hatred for current stars?

Darin Scott

Retro responds: "Et tu, Darin?" You're judging us a bit harshly - our obligation is to report what the general views of the industry and critics are toward certain films. Hundreds of thousands of readers worldwide read our site every month to get this kind of candid reporting. For the record, Tom Cruise's Valkyrie has been a much-troubled production, as has been widely reported over the last year. Will Smith's Seven Pounds has received mediocre reviews and has opened softly at the box-office. Those are facts, not opinions. However, for the record, we're big fans of both Cruise and Smith. I've personally never seen Cruise give a bad performance and his fine work in his early films like Rain Man and The Color of Money was often overshadowed by more flamboyant work from his legendary co-stars. His self-imposed melt-down during the 2005 War of the Worlds publicity tour did not diminish what we felt was his terrific performance in the film. Furthermore, we're really looking forward to seeing Valkyrie. In fact, back when everyone was bashing him for making a WWII film, Cinema Retro was about the only media outlet to defend his decision. (Read the archived article here) We think it's terrific he's reminding people about one of the most dramatic periods in world history- and shining a spotlight on the heroic attempts by German officers to assassinate Hitler.  As for Will Smith, we have long said he is perhaps the only true remaining movie star in the world - a person whose name alone generally brings crowds to theaters. Like Cruise, he's never given a bad performance even when some of his films don't live up to expectations.Finally, our love for old movies doesn't mean we're unappreciative of the great films being made today- and there are plenty. There are also many wonderful actors who we enjoy immensely. However, there is probably no dispute that the golden age of Hollywood probably ended in the 1970s - and it's unlikely we'll see the kinds of star power that existed up until then any time soon.

Finally, we can take criticism as well as anyone - but you've crossed a line by implying we are classless! How can you say such a thing when both Dave Worrall and I adorn our living rooms with those classy velvet paintings of dogs playing poker? In fact, I'm going down to my local corner gas station to pick up another right now!

Thanks for sharing your thoughts and for your support of Cinema Retro.

Lee Pfeiffer

Send your questions and comments on all topics (except asking for home repair tips) to: cinemaretro@hotmail.com

Hi Lee,

Great review on Gran Torino. I appreciate your good work. I will make it a point to see the film over the holidays. In an earlier piece, you mentioned Baz Luhrmann remaking The Great Gatsby. His might actually be the 'fourth' movie version of that story. It was originally done in the 1920's as a silent film. Only the trailer for that version survives, but it's very striking. I understand the Alan Ladd version from the 1940's can be found in some bootleg videos, but a solid fine-grain 35mm print is unavailable. That leaves the 1970's Robert Redford version as the only available version by default. Not a bad movie, but kind of a backwards compliment, I suppose. Thanks again and Merry Christmas,

Bill Shaffer 

Retro Responds: Thanks, Bill - you're right - I had forgotten about the "lost" version of Gatsby that starred Warner Baxter. A pity it's been lost to the ages with only a one minute trailer preserved. As for the Alan Ladd version, it's never been released on home video supposedly because of legal issues, though the lack of of a decent master print may also have contributed to this dilemma. However, we both overlooked yet another filmed version of the story that no one seems to remember: this one was shot for the A&E TV network in the year 2000 and starred Toby Stephens and Mira Sorvino. Stephens, of course, would go on to play the Bond villain Gustav Graves in Die Another Day. - Lee Pfeiffer

Share your comments/criticisms on any topics by writing to: cinemaretro@hotmail.com

Just to say a huge thanks to you for sending the Man From U.N.C.L.E. DVD set-I have had it about a week now and am slowly watching through its many treasures ! It is a great service you are providing U.N.C.L.E. fans in the UK who would not otherwise be able to get this set so thanks again-it is much appreciated.Great issue 10 of Cinema Retro, too !

Best wishes for the New Year

Mark Rodman

Cinema Retro responds: Thanks, Mark. Quite a number of our UK subscribers have taken us up on our offer to order and ship the U.N.C.L.E. DVD sets to them. We hope that someday the sets will be available there for sale, but it doesn't appear likely in the short run. As a reminder, if you are a UK-based subscriber to our magazine, we will order and ship the DVD collection to you. See the entry in our U.N.C.L.E. HQ section for details or write to us at cinemaretro@hotmail.com Please note: this offer is only extended to subscribers to the print edition of Cinema Retro. U.S. fans can order the set from Time Life through our link in the right column. Order through this link to get free shipping!

Guys,

I just finished delving into the latest issue, which is like a sweet vacation every time I open a copy. The continued David McCallum interview is still a great read, but you're killing me by continuing it again! I want to read it to it's completion, but if you've got that much information out of him, go ahead and drag it out another year. I could easily read this most excellent detail of a still very contemporary actor.

Raymond Benson's top ten almost always draws me in. I may not agree with him on certain films, but his excellently worded reviews make me want to watch every film again, even if I've seen it hundreds of times. And sometimes he reminds me that I have to watch a film again. Keep this guy around, he's got a great way with the word.

The deep focuses on specific films, such as Dirty Harry or Salem's Lot, are always welcome. I love the stories from the various levels of production but there's one thing that I still think is lacking in articles of this nature. With surviving actors, it'd be nice to see what they're up to these days, if they have anything coming out, if they're retired, what have you. It's a rare thing to see this sort of thing and you'd be one up on other publications for it.

Ray Harryhausen? You slay me. As a huge Harryhausen fan, it's always a treat to see what the Master says. I still watch Jason and the Argonauts on a regular basis, I still think Nigel Green's portrayal of Hercules far surpassed any I'd seen before (prompting me to search for all his performances) and the skeleton fight scene is so beautiful to behold I still cheer for Jason's men even though I know they're going to die. Making the interview a multi-parter only makes me desire the next issue all the more.

The mention of Bruce Dern at The Players club reminded me that he was in one of the most overlooked science fiction movies of the seventies: Silent Running. I've seen stock footage of the movie show up in other, low budget science fiction shows and films, but none can beat the original. It's almost a one-man act and I'd love to see a retrospective of it some day.

Hell, I'd love to see a retrospective on Battlestar Galactica, the theatrical release. Having seen the remake, I have concluded that the original has yet to be surpassed in it's creation. I guess I just like model SFX versus the CGI stuff. You just can't beat it.

Great issue all around again, folks.

Jon Johnson

Cinema Retro responds: Thanks, Jon. We couldn't have written a more flattering letter ourselves (we know this is true, because we try all the time!) Issue #9 has proven to be our most popular to date as well as our best selling so far, thanks to the support of movie fans like yourself. As for the never--ending David McCallum interview, it's only because we were influenced by the plot of The Spy With My Face. We've actually got McCallum locked in a basement and forced to respond to our questions while an exact double is taking his place on NCIS. As for your suggestions, we're working on a profile of the long-neglected great British actor Nigel Green and we hope to get some comments from Bruce Dern about Silent Running in the near future. Re: Battlestar Gallactica, it's been suggested before, but we confess that we're not acquainted with the series very well. Once Lorne Greene traded his horse for a spaceship, it left us depressed. However, it might be featured as a web site article in the future. Thanks again for keeping the faith. - Lee and Dave

Q: I wonder if you could help me with something I'm curious about? This morning on Turner Classic Movies I watched Action of the Tiger (1957), directed by Terence Young, and featuring a very young Sean Connery. I'd never seen or even heard of this movie before and I was just wondering -- and please excuse my ignorance -- if you knew if Terence Young was chosen to direct Dr. No before Connery was cast as Bond, and if Young had anything to do with the choice of Connery, perhaps having remembered him from Action of the Tiger?- Rory Monteith

A: Cubby Broccoli and Harry Saltzman had chosen Terence Young to direct the first Bond movie, Dr. No long before the part of 007 had been cast. I once asked Cubby and his wife Dana to clear up the misconceptions about how Connery got the part. Cubby said that while he remained close friends with Terence Young (this was in the early 1990s), he practiced revisionist history when it came to casting James Bond and always tried to take credit for discovering Connery. It is true that Young took an immediate liking to young Connery and told him during the making of Action of the Tiger that he had star potential but this non-descript action film would not be his breakthrough role. Young promised to do what he could to assist Connery in his career. However, Cubby and Dana told me that even Cubby didn't see the potential for Connery to play Bond. It was Dana who convinced him that Connery had the requisite sex appeal after they saw a screening of Disney's Darby O'Gill and the Little People. Cubby and Harry were skeptical until they met with Connery and liked his brash, independent nature. Yet, when they told Young about their choice, he held his head in his hands and said, "Disaster! Disaster! Disaster!" Young thought Connery was a good actor but that he lacked the sophistication for the role of Bond - which even Connery later admitted was true. However, Young, who was among the most erudite and sophisticated of directors, took young Sean under his wing and personally gave him a crash course in the snobbier aspects of life: how to dress, how to order fine wines, etc. Connery proved to be an eager student and to this day still credits Young with playing a major role in his success.- Lee Pfeiffer

Cinema Retro welcomes reader correspondence. Please send any letters, suggestions or criticisms to cinemaretro@hotmail.com

Cinema Retro responds: Thanks Greg...We have to admit to not being fanatical over the franchise the way many others are and that's why we also appreciated the nature of Bill's article. It gave the a human side to the impact the film had as opposed to simply debating the exact measurements of a storm trooper's helmet. While the new entries in the series may have been constructed primarily to sell toys at Burger King, there is no denying that George Lucas has created something that will be an integral part of popular culture for years to come. Our guess is even if they made a hundred more episodes, fans will still have the most appreciation for the first SW and Empire.

DEBATING BOND

I recently visited the Cinema Retro website and carefully read the essay on the OHMSS screening at the Film Forum’s “Vintage 007 and 60s Spies A Go-Go” festival in New York City. I attended the early evening screening of OHMSS on Saturday and, I’m happy to report, there were lots of laughs and applause and cheers at that showing as well. I agree with almost all of the observations in your essay- but with one caveat. I’m of the belief that OHMSS would be honored as a classic 007 film, regardless of whether it was Sean Connery or George Lazenby wearing the shoulder holster. Lazenby’s performance is amazing – especially when you consider his near-total lack of acting experience. But it would seem to me that Peter Hunt was determined to bring Fleming’s (next-to-last) great Bond novel to the screen in its original vision and I believe Hunt’s decision would have held firm regardless of the actor portraying James Bond. The fact that George Lazenby didn’t do Diamonds Are Forever absolutely cheated fans out of a great follow-up to OHMSS, but (well publicized personality conflicts with the Producers aside) I can’t imagine Connery not at least considering OHMSS had he known the direction that Hunt was planning on taking the series; away from the gadgets and sci-fi and towards the commission of a witty, intelligent screenplay and the return to a From Russia With Love-type staging. There were so many moments in the script – no doubt the result of Richard Maibaum’s respect for Connery’s interpret – when the dialogue was so obviously tailored to a Connery-esque delivery. A simple case in point would be when Bond rolls out of Moneypenny’s office with his off-handed sign-off that he’s off for some “beachcombing.” That’s a Sean Connery moment. And, of course, having Connery cradle the late Mrs. Bond in the film’s final reel would have had a far greater emotional impact on theater-goers… there’s just so much history there, how could it not have? None of this is George Lazenby’s fault, of course, and having said all this, OHMSS remains one of the classic James Bond films and, unequivocally, ranks alongside FRWL and Goldfinger as the best of the series “first phase”. I’m not of the oft-repeated opinion that Connery mailed-in his performance in You Only Live Twice (and having watched the film for the umpteenth time at the Forum on Friday, I still believe that). George Lazenby was a great and credible James Bond - no doubt about it - and I would have loved to see him stay on. But this doesn’t change the argument that, sadly, Sean Connery walked away from the series (at least) one film too soon

Regards,

Hank Reineke

Cinema Retro responds: Thanks for the excellent observations, Hank. Actually, Peter Hunt only got the job of directing OHMSS because of the Connery departure. He was brought on board for his directorial debut largely because they felt they were going to do something bold to introduce the new 007.Thus, it's by no means certain that Hunt would have been given the job at all had Connery continued in the role. In fact, he had a falling out with the producers on You Only Live Twice because they backed off their promise to let him direct the film, opting instead for Lewis Gilbert. They very well may have continued with a known director had Connery not quit. In any event, we do agree the film would have been fascinating with Connery in the role - if they had remained respectful of the source novel. It's all speculation at this point with no clear answer. However, it seems unlikely this would have been the case simply because the series had ventured too far into the fantastic by that point. The same fate befell Pierce Brosnan- he could have done a hard-edged job in Casino Royale but he had been too closely associated with the gadget-laden Bonds that he had starred in. As for the dialogue, we agree- there were too many Connery-esque one-liners for Lazenby. As for Sean's performance in Twice, it's a matter of opinion. He's certainly fun to see in action , but we still think he had one eye on his watch while filming it.

ARE YOU LISTENING, FOX?

Lee and Dave,

Just in case you talk to anyone at Fox Home Entertainment soon, could you please let them know how much at least one fan appreciates what they're now doing featuring the original ad art and the old 20th Century-Fox logo on the covers of their Classics Collections. As a fan of pre-1970 Fox, it's like a dream come true for me.

Also, with the DVD special editions of Fantastic Voyage and Voyage to the Bottom of the Sea coming soon, I hope Fox is readying the same sort of thing for Journey to the Center of the Earth. I think the transfer they did for the DVD of this title is great, and I was thrilled to finally see the original trailer, but I wish like hell it had a commentary track and some extras. I think the movie has a lot of fans and deserves such a treatment, and comments from cast members Pat Boone and Arlene Dahl, both still alive and active, would be greatly appreciated (in case anyone at Fox reads this).

And speaking of Voyage to the Bottom of the Sea.... I'm really enjoying renting the TV series DVDs from Netflix (I can't afford to buy everything I want), and I wonder if Cinema Retro plans an article on the series soon? The transfers look fantastic and since I was a kid in the sixties (born in '59) seeing the Fox "Color by DeLuxe" look restored is a huge thrill.

Thanks,

Rory Monteith

Cinema Retro Responds: Thanks for sharing your insights, Rory. Your observations regarding the special edition commentary tracks for these films really make sense and we'll pass them on to Fox brass. There is almost a moral obligation on the part of studios to solicit the participation of key actors and filmmakers for popular films from bygone eras, even if they may not have been Oscar winners. That's why we were delighted that Fox is producing special editions of films such as Our Man Flint and Von Ryan's Express. When cast and crew members can't be found for commentary tracks, there are always knowledgeable scholars and authors who can enlighten fans as to how the films were made. Regarding Voyage to the Bottom of the Sea, we will indeed try to cover the series on the web site. The print magazine is still largely devoted to feature films, but with the enormous amount of potential articles and contributions that are always being submitted, we've launched the web site so we can accomodate more ideas. Thanks for your support!

AMERICA'S MOST WANTED: DVDS

Cinema Retro #7 is beautiful! Definitely worth 12 bucks! It's a great idea to have a DVDs Most Wanted column...Here's mine: the Traveling Executioner, Welcome Home Soldier Boys, The Farmer, If ( a Lindsay Anderson omnibus featuring O Lucky Man and Britannia Hospital also would be most welcome), Buster and Billie, Von Richtofen & Brown...I'll think of more later and send 'em on! Thanks.

Bill Ameen, North Carolina

Cinema Retro responds: All good suggestions, Bill. By the way, Von Richthofen and Brown (also known as The Red Baron) starring John Philip Law will be released on DVD in the USA in April. See posters below for the two different ad campaigns.

You asked for memories of seeing a movie. Heres mine: The early 70's..I was just 5 years old when I was taken to see On Her Majesty's Secret Service (on re-release). Even as a kid, what struck me was the movie's tremendous atmosphere. It left an indelible impression...I felt as if I was up there on Piz Gloria! The downhill ski chases...the avalanche...it just seemed to go on and on! Okay, this may sound crazy, but really OHMSS should have been the last 007 movie. How could you top it? It had the best villain, Bond girl, Barry score and the perfect Bond in George Lazenby.

Ed Reily, Ireland

Cinema Retro responds: We share your enthusiasm for OHMSS, Ed. It's great to see this long-neglected Bond film finally gets its due in recent years. Lazenby has also had the satisfaction of enjoying this re-evaluation of his work. He's mobbed at fan appearances and critics have also taken a much more enthusiastic view of his performance in the film. In fact, had he not made the mistake of quitting after one film, the series would arguably have avoided the turn to slapstick that began with Diamonds Are Forever.