BY LEE PFEIFFER

Francis Ford Coppola was used to bucking the studio honchos in terms of fighting to bring his vision of a film to the big screen. There were epic battles behind the scenes on "The Godfather" but his experiences on the ill-fated production of "The Cotton Club" in 1984 broke down his will to resist. The movie, which was set in the legendary Harlem nightclub in the heyday of great artists such as Duke Ellington and Louis Armstrong, went far over-budget. There were constantly legal squabbles, shady characters that would have been at home in the film itself, a real-life murder and racist pressure from the studio to cut out footage of the African-American stars, Gregory and Maurice Hines, the famous brothers who gained reach fame with their tandem dance numbers. By the time the film opened, the knives were out for it. The movie became an expensive bomb and Coppola always felt a sense of guilt that he had compromised his own production and the contributions of the Hines brothers.  He financed a complete re-edit of the film, adding back key scenes and musical production numbers so that the movie finally resembles the film he originally envisioned. It will premiere at the New York Film Festival on October 5 under the title "The Cotton Club Encore". Word-of-mouth is excellent and Coppola, who likes to amend some of his key films from an artistic standpoint, may finally see the acclaim for the production that he once envisioned. Click here to read more in Vanity Fair.

BY LEE PFEIFFER

In the 1970s and 1980s  director  Brian De Palma had some high profile hits with Hitchcockian thrillers such as "Sisters", "Obsession", "Dressed to Kill", "Blow Out" and "Body Double". De Palma's defenders extolled the virtues of these films as clever homages to Hitchcock while detractors accused De Palma of using The Master's formulas to make a fast buck. In 1982 director Robert Benton jumped on the same bandwagon with his own Hitchcockian  project, "Still of the Night", which was shot under the title "Stab" before the marketing campaign had been re-evaluated. A few years earlier Benton had triumphed at the Oscars with "Kramer vs. Kramer", taking home the Best Director Oscar. That film also provided an important career boost for Meryl Streep, who also won an Oscar for Best Supporting Actress. The two were reunited for this project which stands out on both of their credentials as an odd choice. Chances are that when you think of Streep's exalted status in the film community today, the thriller genre is unlikely to come to mind. (Though she did also appear in "The River Wild" and the remake of "The Manchurian Candidate".) Benton, who had directed relatively few films to date, was more accustomed to the genre and perhaps his involvement with this flawed production can be explained by the fact that the basis for the story (which he collaborated on with David Newman) was a real life experience that found him obsessed with a woman who simultaneously excited and frightened him. Certainly it's a sold premise for a thriller and through much of the movie Benton provides a compelling scenario complimented by two excellent actors: Streep and Roy Scheider. The film falls apart in the final act when it begins to resemble less of a homage to Hitchcock than an homage to De Palma's homages to Hitchcock- with a dose of "Play Misty for Me" thrown in (i.e knife wielding killer attacks protagonist on a balcony that overlooks the churning sea.) It's not that "Still of the Night" is bad (though Streep has gone on record as saying it is), it's simply that it hardly seems like it would ever have been compelling enough to attract two recent Oscar winners. 

The film opens in the office of New York City psychiatrist Sam Rice (Scheider). Like most cinematic headshrinkers, he appears to need psychiatric care more than his patients do. He's going through the miseries of a divorce and seems bored and depressed. The only significant female relationship he has is with his mother (Jessica Tandy, who perhaps not coincidentally starred in Hitchcock's "The Birds".) Sam's mundane daily routine takes a dramatic turn when he discovers that a long-time patient, businessman George Bynum (Josef Sommer) has been found stabbed to death in his car on a Manhattan street. From this point some key elements of the story are told in flashback sequences.  Sam remembers Bynum as a sexual predator who had been having an affair with one of his staff workers. Then he meets Brooke Reynolds (Streep), a gorgeous thirty-something blonde who seems both alluring and vulnerable. Bynum confesses that he is obsessed with her and cut off his previous affair in order to engage in one with Brooke. Shortly after Bynum's death, Sam is shocked when Brooke appears at his office, nervous, unsettled and chain-smoking. (Yes, you could smoke in an office in those days.) In the awkward conversation that follows she says the purpose of her visit is to return a wristwatch that Bynum had accidentally left at her apartment. She doesn't want to return it herself for fear of alerting Bynum's widow about the affair he was having with her. From minute one Sam is smitten and intrigued by this quirky, jittery- and stunningly beautiful- young woman. He also realizes that her cover story about the watch is thin. She actually wanted to meet him. Shortly thereafter Sam is visited by Detective Joe Vitucci (Joe Grifasi, channeling every personality cliche you can think of when it comes to a New York  City cop). He asks Sam if he can shed any light on who might be Bynum's killer. Sam informs him that anything he had discussed with Bynum would be protected under doctor/client privilege...but he also finds himself unable to inform Vitucci about Bynum's affair with Brooke. He realizes he is now obsessed with her, just as Bynum was. He strongly suspects that Brooke is Bynum's murderer but can't get her out of his mind. Like Bynum, he's simultaneously sexually stimulated and terrified of her. Nevertheless, he begins finding excuses to see her and his presence seems to have a calming effect on Brooke. The friendship goes to another stage when she responds to his kiss but Sam is too lacking in self-confidence to actually seduce her. Meanwhile he begins to experience some eerie occurrences. He believes someone is stalking him in the basement of his apartment building. As he follows the mysterious Brooke on a nighttime walk through Central Park (a chilling scenario for anyone in those days), he finds himself alone and so unnerved that when a man jumps out of the shadows to mug him, he is actually relieved to have another human being on the scene. Director Benton knows that a sure-fire way to ratchet up suspense is to put the protagonist in a creepy dark house or in an equally unnerving location. However he goes to the well with this plot device a little too often. For a man who lives in the heart of Manhattan, Sam seems to wind up repeatedly in eerie, isolated places. However, some of the sequences are genuinely suspenseful as in the scene in which Sam is in the laundry room of his apartment building, deep in the bowels of the basement. No one is around. There is total isolation when suddenly the lights in an adjoining room inexplicably go out. You can share his sense of increasing panic as he knows  someone is stalking him...but who and why? Refrehingly, Scheider portrays Sam as an everyday guy, not a tough-as-nails hero. He's vulnerable both physically and emotionally throughout.

The film's primary asset is its two stars, both of whom give intense and very convincing performances. There are also the usual plot twists and red herrings one would expect to find in a movie of this genre and Benton for the most part manages to wring some genuine suspense out of it even when he resorts to old gimmicks that include a dream sequence in which Bynum is menaced by an eerie little girl (are there any other kinds of little girls in dream sequences?) It's straight out of "The Shining"  but then again just about everything in "Still of the Night" seems recycled, even though it manages to be engrossing right up until the climax when Benton the screenwriter resorts to every time-worn cliche imaginable: an old dark house, a sacrificial lamb character, a vulnerable hero, a knife-wielding maniac...you get the picture. About all that is missing is John Carradine as a mad scientist. The weak ending feels like it was tossed together at the last minute and doesn't retain the suspense or logic that Benton has managed to build heretofore. Nonetheless, "Still of the Night" is still worth a look if only for the performances and those few genuinely spooky sequences.

The Blu-ray edition from Kino Lorber includes the original trailer and trailers for two other Roy Scheider films, "Last Embrace" and "52 Pick-Up."

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BY LEE PFEIFFER

"Dum-dee-dum dum. Dum-dee-dum dum dum."

Okay, that's as close as we can get to invoking the memory of one of the most famous TV themes songs of all time, from the long-running crime show "Dragnet". By the mid-1950s, the program was a national sensation. In  1954, the success of the series inspired star and producer Jack Webb to exploit the show's popularity by bringing it to the big screen. TV-to-cinema adaptations would become commonplace in the years to come with shows such as Walt Disney's Davy Crockett and "The Man From U.N.C.L.E." converting episodes into feature films. However, in the case of the 1954 movie version of "Dragnet", Webb oversaw a completely new production shot in full color. In an era in which all TV programming was telecast in B&W, it was a real treat to see "Dragnet" in color on the big screen. Webb, who also directed the film, stuck to the basics and didn't stray far from the formula that had served him so well. The movie features the same trademark, clipped dialogue. Seemingly no one completes an entire sentence and virtually everyone smokes like a chimney. (Aside from Howard Hawks' "Hatari!", I have never seen so much smoking in one film.) Webb retains his bizarre  mannerisms that made him a television icon: he speaks with machine gun fire-like rapidity and walks like he has a diving board under his suit jacket. Both his manner of movement and speech seem to emulate  a robot, but you can't deny that the gimmick works: you can't take your eyes off him and he dominates every scene he is in (which is virtually all of them).

The movie opens with an effective sequence in which two hoods are walking through an empty field when a third hood comes out of nowhere and murders one of the men with a shotgun in a sequence that must have been considered rather brutal for the time. The murderer and the other man flee the scene and before you know it, Webb's Sgt. Joe Friday is on the scene with his Sancho Panza, Officer Frank Smith (Ben Alexander). They try to pick up leads but, frankly, within minutes I became rather confused about the relationship of three suspects they focus in on. Most of the labored script has Friday and Smith doggedly trying to build a case against the three hoods but the D.A. says the evidence is too circumstantial. They utilize a "hi tech" secret tape recorder in order to eavesdrop on the suspects. The scene is unintentionally amusing because the "micro recorder" is about the size of a lap top computer. They also enlist the assistance of a sexy police woman (Ann Robinson) who goes undercover to imply she'll go under the covers with one of the suspects. This notion of presenting a female police officer as brave, competent and equal to men is the one progressive factor in the dated screenplay. Friday's disdain for the niceties of the law is apparent. He doesn't consider the constitution to be a vital element of our society, but rather a necessary evil. Whenever he doesn't get his way, there is some eye-rolling, sighs and  cynical comments. (In his review of the film, New York Times critic Bosley Crowther specifically noted Friday's obvious "distaste for the Fifth Amendment" and concluded he "is not a nice policeman to anticipate as a hero on the screen.")  Most of the pedantic action consists of Friday and Smith tailing a suspect and harassing him day and night in a clear case of police brutality. But, hey, this was an era in which Sen. Joe McCarthy was considered a national hero for rooting out all the commies under all those beds, so Friday's tactics fit in well with the spirit of the day. The movie drags to a conclusion so limp and unsatisfying that I thought there was still another fifteen minutes of running time left. Nevertheless, taken as a museum piece, "Dragnet" is fun to watch, thanks to Webb's undeniable screen presence. The supporting cast includes Virginia Gregg as a dame from the other side of the tracks and Richard Boone as Webb's superior officer. (Young Dennis Weaver has a minor role, as well.) There is precious little humor in the film aside from some small talk between Webb and Alexander. Webb would considerably improve on this aspect of "Dragnet" when he brought the series back in 1967 with Harry Morgan well-cast as his humorous co-star. 

The film has been released as part of Universal's burn-to-order program. The transfer is very good with exceptionally impressive color qualities.  The movie would make a great double-feature with the 1987 comedy version of "Dragnet" featuring Dan Aykroyd's remarkable impersonation of Jack Webb. 

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BY LEE PFEIFFER 

By 1969, Raquel Welch was at the peak of her cinematic career. Still a bit rough-around-the-edges as an actress, she nevertheless possessed a charming on-screen personality. Not surprisingly, that wasn't the aspect that movie studios chose to showcase when marketing her films. A prime example is Flareup, a 1969 thriller that heavily stressed images and clips of Welch gyrating in a sexy outfit as a go-go dancer. The fact that she is dressed in depressingly demure outfits except for this brief sequence represents something less than truth-in-advertising. Welch is Michele, a vivacious, independent minded Las Vegas strip club dancer whose best friend is murdered by her psychotic ex-husband Alan (Luke Askew). He gets away with the murder and kills another of his wife's friends, who he believes conspired to cause convince his ex to divorce him. Last on the list is Michele, who he relentless hunts. Although charismatic, Michele shows a distinct lack of common sense when it comes to self-protection. For reasons never explained, she turns down police protection and is immediately stalked by Alan. He trails her to Los Angeles, where her poor judgment flares up again (pardon the pun) when he pursues her in a high speed car chase. In the kind of logic made for "women-in-jeopardy" movies, Michele sails through the crowded streets of L.A. where she could seek help from hundreds of passersby, only to wind up in a remote and deserted section of Griffith Park where her would-be killer pursues her through a zoo. She later continues to show similar good sense by escaping from a guarded hospital room only to walk straight into the killer's next trap. 

Flareup epitomizes the guilty pleasure movie, from the faux Bond-like opening credits to some laughably bad acting. The film is directed in a clunky, erratic style by James Neilson, who doesn't miss an opportunity to use a zoom lens or a cliched situation. He does succeed, however, in making the most of impressive on-location shooting in both Vegas and L.A, which at least gives the movie a feeling of authenticity. Neilson also shoots topless go go girls at L.A's famed Losers Lounge,where "King Leer" himself, Russ Meyer, is said to have scouted for well-endowed "talent" for his own movies. James Stacy is the parking lot attendant who starts a love affair with Michele and, refreshingly, this is one movie that doesn't have the male play hero to rescue his girlfriend. Michele maybe lacking in good judgment but is brave and resourceful enough to take on the killer herself. The movie does have some genuine suspense and one particularly chilling sequence in which an elderly motorist realizes that the hitchhiker he has picked up is actually a cold blooded murderer. Here, director Neilson finally distinguishes himself in an extensive sequence that is quite haunting. 

The movie is good, passable fun and brings back some fond memories of the swinging Sixties. The region-free DVD from the Warner Archive contains an original trailer that emphasizes that Welch is now playing "herself", not a Mexican bandito or a cavegirl, a sly knock on her earlier films. The trailer, which is sexist enough to cause Gloria Steinem heart palpitations also presents Stacy with prominent billing- and spells his name wrong!  

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There was a lot more to the gentle giant Ted Cassidy than you may have known. He soared to fame in the mid-1960s with his immortal portrayal of Lurch on "The Addams Family" classic sitcom. However, as this short film informs us, Cassidy had also been quite the academic and was an over-achiever in school. His acting career extended far beyond "The Addams Family". He guest-starred on many classic television shows and went on to become a familiar face in feature films as well. Sadly, he passed away in 1979 at only 46 years of age, but he remains beloved by his baby boomer fans.

BY TIM GREAVES

Writer-director Michael Reeves passed away on February 11th 1969, aged just 25. He had helmed a mere three films in his short lifetime – all of them in various fields of exploitation cinema – the third and last of them, Witchfinder General, now widely acknowledged as a classic of 1960s British cinema. (The film was featured in ‘Cinema Retro’ Vol 2  No 5.)

As I was watching The Magnificent Obsession of Michael Reeves, the new documentary from filmmaker Dima Ballin, I found myself wondering, 50 years on from his death, just how far reaching among movie buffs at large Reeves and his films are. Although I can comprehend that mention of his name might draw a blank with many, it seems inconceivable to me that the title Witchfinder General would do so too. So I put it to the test. My daughter, who’s in her mid-20s and shares my passion for film – less mainstream fare in particular – said she’d heard of neither Reeves nor Witchfinder General. Although I couldn’t recall it being one I’d shown her myself, I was nevertheless surprised, it really wasn’t the response I’d expected. And if she – whose father (for better or worse) fed her a diet of classic screen terrors throughout her teenage years – was blithely unaware of the man and that revered film in particular, then the situation may be worse than I thought.

For her and anyone else who’s not heard of Reeves, Ballin’s film is essential viewing. For if the worth of any documentary about a filmmaker is gauged by its ability to fill the viewer with a desire to seek out the films discussed within, then The Magnificent Obsession of Michael Reeves is 24-carat gold. It provides a fascinating insight into both the man and his movies, with stories told not only by some of his admirers but by those who knew and worked with him too. Among the latter are actor Ian Ogilvy (who had starring roles in all three of Reeves’s films) and screenwriter Tom Baker.

Michael Reeves came from a privileged background insomuch as his mother was sufficiently well-heeled as to be able to bankroll his desire to make movies. Yet he was also something of a tragic figure, insular and blighted by mental health problems. Although his personal life is discussed in the documentary, the main focus is his films: Discussed at some length are Revenge of the Blood Beast (1966, aka The She Beast, starring Barbara Steele), The Sorcerers (1967, starring Boris Karloff and Catherine Lacey) and, of course, Witchfinder General (1968, aka The Conqueror Worm, starring Vincent Price). Just look at those names. His career may have been brief, but it can’t be said Reeves didn’t get to work with some of the greats.

Ian Ogilvy – Reeves’s close friend from a young age, even appearing some of his early home movies (of which tantalising glimpses are included here) – is particularly generous with his recollections, sharing many little nuggets I’d not heard before. For example, it is Reeves himself body-doubling Ogilvy in the car that’s about to explode at the climax of The Sorcerers, the actor having point blank refused to get in under concerns for his personal safety.

Witchfinder General was Reeves’s masterpiece, yet his lack of rapport with Vincent Price during shooting is well known. It didn’t help that the fledgling director constantly had to request that his seasoned leading man dial down his overly theatrical performance. How lovely then to learn that after seeing the finished film Price wrote to Reeves stating that his direction had been spot on and how he hoped they might work together again one day. Apparently Reeves carried that letter around with him always.

For fans of the director and his films, I can’t recommend this documentary highly enough. As for the less familiar, there’s a saying along the lines that you live on after your death until the last person who remembers you is gone. With that in mind, I just hope Dima Ballin’s outstanding film will also serve to introduce Michael Reeves to a new audience, a young audience that will help keep his memory alive for another 50 years. And many beyond.

Right, I’ve got to go and dig out my disc of Witchfinder General. I have a daughter to educate.

BY LEE PFEIFFER

"The Wilby Conspiracy" is primarily notable for the teaming of two big screen legends: Sidney Poitier and Michael Caine. The 1975 film itself aspires to be a bold indictment of South Africa's cruel apartheid regime which saw black residents of the country terrorized and humiliated by the white minority.  Most movies wouldn't go near the topic in the mid-1970s so the script, based on Peter Driscoll's novel, is to be commended for being ahead of the game in terms of raising awareness of the practices that would ultimately bring down the corrupt regime and see the seemingly impossible achievement of having one-time political prisoner Nelson Mandela elected as president. Yet, screenwriters Rod Amateau and Harold Nebenzal were obviously tasked with primarily delivering an action adventure "buddy" pic that starts off resembling Poiter's 1950s classic "The Defiant Ones" (the protagonists are even handcuffed together for a time.) Adding another note of nostalgia is that the film reunited Poitier with director Ralph Nelson, with whom he collaborated on "Lilies of the Field" and "Duel at Diablo".

The film opens with a courtroom scene in which a prisoner, Shack Twala (Poitier) is awaiting what is believed to be a predetermined sentence for political "crimes" that will see him sent back to prison. Twala is a prominent black activist who has gained international attention for his objections to social injustice. Much to the surprise of Twala and his lawyer, Rina Van Niekerk (Prunella Gee), Twala is absolved of the crime and is released as a free man. The good feelings don't last long, however. During the drive home, their car is stopped by police officers who harass Twala, who becomes enraged and fights back with the help of Rina's boyfriend, Jim Keogh (Caine), a mining executive who is largely apolitical. Now wanted by the law, the two men drop off Rina and flee to Johannesburg, a 900 mile journey. There, Twala hopes to unite with a fellow political activist who might be able to sneak them across the border into Botswana. They have plenty of close calls and are aggressively pursued by Major Horn (Nicol Williamson), a dreaded higher up in the nation's nefarious security forces that routinely employed torture. They also learn that there was an ulterior motive in the court case that saw the government drop charges against Twala. The plot gets increasingly burdened with secondary characters and the search for a large cache of stolen diamonds that went missing many years ago. Twala wants to recover them and deliver them to a man named Wilby (Joe de Graft), the head of the black resistance movement who resides freely in Botswana. The plan is to use the diamonds to finance Wilby's attempts to publicize and shame the apartheid regime. Along the way there are double crosses and people who turn out to be dubious allies to the men who are on the lam. Most amusing is Saeed Jaffrey as a timid dentist who nevertheless risks his life for the activists cause. He also employs a fellow conspirator, Persis (Persis Khambatta), who seems to have been primarily written into the film in order to shoehorn in a rather absurd and unconvincing sex scene between her and Twala. Caine is in top form as the meek man who turns into an action hero literally overnight and he has the movie's best one-liners. Poitier, while not wasted, is under-utilized and lacks any scenes of great dramatic power. Prunella Gee provides a fine, spirited performance but the scene stealer is Nicol Williamson, who presents a fascinating villain who is charismatic, yet cruel and totally dedicated to enshrining white supremacy in South Africa by whatever means he needs to employ. (Like his real life counterparts, he naturally considers himself to be a patriot.)

The film abounds with impressive action scenes though a couple come close to "jumping the shark" in terms of credibility. (Ironically, the most suspense was generated off screen when an errant camera crashed through a speeding car with Poitier and Caine in the front seats, almost killing them both.) The movie also has an adequate score by Lalo Schifrin, though the decision to open this action opus with a romantic love song over the credits is bewildering. Because South Africa was obviously not available as a film location, Kenya substituted nicely and director Nelson makes the most of the expansive landscapes. Interiors were shot at Pinewood Studios outside of London. There are quite a few "behind-the-cameras" talents from the James Bond films: Associate Producer Stanley Sopel, Sound Recordist Gordon K. McCallum, legendary stunt coordinator Bob Simmons, First Assistant Editor John Grover and and Stills Photographer George Whitear. Another trivia note: the film was produced by actor/director Helmut Dantine, who has a small role in the movie. So there's a lot of talent both on and off-screen and while the movie is certainly not a classic, it can be recommended as a fun and sometimes poignant action flick.

Kino Lorber has released a Blu-ray edition of "The Wilby Conspiracy". The transfer is generally fine but not overwhelmingly impressive. The only bonus feature is a trailer gallery of other Caine and Poitier films available from KL.

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BY LEE PFEIFFER

In the summer of 1977, New York City experienced a massive blackout that led to an explosion of crime as looters, muggers and other miscreants took to the streets to take advantage of the fact that the police were immediately over-stretched. I was traveling in Austria at the time while in college and in those pre-internet days had to watch appalling images of the chaos on television without knowing the full context of what was happening. It was a black eye for Gotham, the city that weathered the 1965 blackout in a civilized way. It wasn't long before a film capitalized on the incident, as evidenced by the Canadian production of "Blackout" which was released the following year. The modestly-budgeted film, directed by Eddy Matalon, uses some second unit footage of New York City to somewhat effectively mask the fact that most of the movie was shot in Montreal. The movie opens with a powerful storm bearing down on the city. Ultimately, there is a total blackout. It isn't long before crime starts to soar. Because of the limited budget, Matalon is forced to confine most of the action to an apartment building where various tenants are terrorized by an escaped group of murderous thugs led by the psychopath Christie (Robert Carradine). There is some suspense as the goons go through the building selecting their next victims, who include the standard characters who tended to pop up in disaster films. (i.e sexy single woman, a seriously ill man who attached to a respirator, a stereotypical elderly Jewish couple and a young mother who is going into labor at the height of the crisis. There's even a wedding celebration that is invaded by the gang.)  Among the recognizable victims are Belinda Montgomery, Jean-Pierre Aumont, June Allyson and Ray Milland. James Mitchum (billed here as "Jim") plays a harried New York City cop who stumbles onto the crime spree and who attempts to thwart the villains while at the same time looking after the victims in the pitch black apartments and hallways. Refreshingly, he's not a Dirty Harry superhero type. He makes misjudgments, gets captured twice and fires loads of shots without hitting his prey. For the most part, the performances are fine. Mitchum makes for a low-key good guy while Carradine provides a frightening portrait of a charismatic, soft-spoken killer. (Ten years earlier, Bruce Dern would have nabbed the part.) Milland also registers as a stuffy millionaire who doesn't flinch even in the face of death and June Allyson is sympathetic as a woman begging for her bedridden husband's life to be spared. "Blackout" is competently made when one considers the budget limitations but unlike similarly-themed disaster flicks, it isn't fun to watch. The screenplay is a smorgasbord of terrible, vicious things happening to sympathetic people. The only respite is a climactic car chase between Mitchum and Carradine that is set in a parking garage and is relatively well-staged.

Code Red has released "Blackout" as a special edition Blu-ray that has apparently restored some footage excised at one point from the theatrical cut. The film apparently has a cult following that will appreciate this even though the transfer leaves something to be desired with some action hard to discern because it's like staring into an ink well. The bonus extras include an enjoyable on camera interview with Robert Carradine and a feature length commentary with Belinda J. Montgomery. There is also a gallery of trailers and TV spots for this film and other Code Red releases. The company should be commended for presenting the film but they need to tighten quality control in regard to packaging. On the reverse of the sleeve, Jim Mitchum is listed as "Jim Mitchell" and the running time is incorrectly listed as 88 minutes. (I timed it at 92 minutes.) Also the company doesn't credit the film historians on the sleeve who conducted the commentary track with Montgomery. That's not an error but it is also not very thoughtful. Overall, a good presentation in terms of special features of a film that most retro movie lovers won't be familiar with.

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BY DARREN ALLISON

Cinema Retro has always prided itself on exploring the most diverse range of soundtrack genres. Not only do we cover the classics, but also the more obscure such as Production and Library music but also specialist labels such as All Score Media and Cineploit – a label which offers new soundtrack scores produced in a retro style and as homage to cult films of the past. At their heart, they are all projects devised to keep cult film music of the past very much alive and to the fore in the present day.

Rashomon – Ashcan copy – Filmmusic Vol. III (Cine 21) Release date 25th October 2019

Originally issued in 2011, Ashcan Copy is the third instalment in Rashomon's Film Music series of LPs. Cineploit Records is proud to present this re-release, and to introduce the record to a wider audience than the 150 lucky souls who snagged a copy of the ultra-limited initial release on Hlava Records. Active since 2009, Rashomon is the solo project of Matt Thompson, also of Cineploit mainstays Zoltan. This is his second release on the label under the Rashomon name, following 2014's LP/DVD extravaganza The Cameraman's Revenge: Film Music Vol. 4 – the final release in the Film Music series to date. The previous edition to this, 2009's The Finishing Line: Film Music Vol. 2, had focused on recreating the psychological mind-state of the wilder end of 1970s British public information films. By way of change Ashcan Copy is presented as an album of soundtrack cues from films that were, for one reason or another, never released. The films, hailing from Italy, Japan and the U.S. (among others) supposedly date from the 1950s to the 1970s and were (according to the extensive sleeve notes) exactingly sourced from film archives across Europe.

In reality, all the music is self-composed. The eight tracks include elements of noise, folk, psychedelia, prog and noir-jazz within their elaborate constructions, created with panoply of instrumentation including the atmospheric sounding Mellotron, zither, home-made percussion, Fender Rhodes, harmonium, Mini-Moog and more. Delicate and sensuous, heavy and oppressive – the record negotiates these musical contradictions while retaining a single-minded pursuit of strangeness and surprise.

Having finally found its spiritual place on soundtrack specialist label Cineploit, Ashcan Copy has finally come home. The album’s fabric is woven seamlessly throughout Cineploit’s core, signature sound. Running around 40 minutes, Ashcan Copy will take you on a dark, brooding journey - but it’s simply the nature of the beast. In context, the music would never sound out of place if set against some psychedelic piece of Giallo or (as in the album’s opening track) ‘Double Kill’ in a gritty slice of 70s Poliziotteschi . Cineploit excel in this particular area of subgenre film music. Freakish and fascinating, it hits the spot very nicely. The whole album has been completely remixed and includes a bonus new track. The whole package (while strictly limited) is again in line with Cineploit’s exceptional standards with an LP/CD set (180g Vinyl 300 coloured bone/red mix /200 black. housed in plastic outer sleeve) and the CD housed in a matching card gatefold sleeve.

BY TODD GARBARINI

The Silent Partner (1979) is an effective thriller that, to the eyes of today's viewer, may not seem all that intricate or even suspenseful. So many thrillers have been made in the intervening forty years, specifically heist-based movies, that Partner may seem derivative, insipid, or even dated given the presence of outmoded security equipment and the absence of omnipresent cell phones. This could not be further from the truth as there is a lot of subtext going on for even the most jaded cerebral viewer to enjoy here.

The title refers to the protagonist, Miles Cullen, played deftly by Elliot Gould. Miles leads an unremarkable life as a bank teller in a branch office located inside of a Toronto shopping mall that is besieged by Christmas cheer and decorations. As a loner who collects rare fish specimens for his apartment aquarium when he isn’t cowering from his bank manager, Charles Packard (Michael Kirby), to avoid being scolded should he make a mistake, he musters the courage to invite his co-worker Julie (Susannah York) out for a drink only to be rainchecked which affords him redirecting his attention to the hired and dubious Santa Claus mascot (Christopher Plummer) who is scoping out the office for nefarious purposes. Several additional clues tip Miles off that Santa will rob the bank and he gets the brilliant idea to set aside a huge chunk of the money to take for himself while Santa takes all the blame. The amount is just shy of $50,000 Canadian dollars which today is roughly four times that amount. The robbery that inevitably transpires yields little for the police as the security camera footage fails to capture Santa’s face. One must wonder about the wisdom of the bank’s sole security guard chasing the perp into the fully attended mall with his weapon drawn. Recall the security guards unloading their machine guns into the apartment complex at the beginning of Return of the Pink Panther (1975) which, incidentally, also co-starred Mr. Plummer? Not smart!

Reikle (Plummer) gets wind that Cullens stiffed him on the take and he aims to get the remainder of the money by engaging in a dangerous game of cat-and-mouse with Cullens, who proves to be a worthy adversary, surprising even himself at his newfound ingenuity and ballsy spirit. Much of their fencing takes place between the telephone booth outside Cullens’s apartment and Cullens’s landline, the former an obvious prop as it seems awkward and out-of-place but is placed geographically for the sake of the story. Cullens outwits and entraps Reikle by landing him back in jail, filling Reikle with the resolve to get out and kill Cullens.

For the first time in any contemporary film that I can remember seeing, main characters ponder aloud as to the insignificance of their lives, wondering where they are going and what the meaning of life is all about. Julie has foolishly permitted herself to become romantically entangled with their boss, knowing full well that he is a married man. When Cullens asks Julie if she is in love with him, she says yes and then no. She honestly has no idea. Julie, like so many other people, is looking for something outside of the repetitive, then-Nine-to-Five existence that befalls nearly everyone once they graduate high school or college. She ends up in Miles’s apartment for a nightcap and is perfectly willing to take their friendship out of the Friend Zone until Miles shuts the situation down for reasons which become apparent later.

BY DOUG OSWALD

Jack Lemmon is cast against type with co-star Glenn Ford in “Cowboy,” a gritty western available on Blu-ray by Twilight Time. The movie has a rousing start with titles by Saul Bass accompanied by a title score composed by George Duning, setting the mood for this western directed by Delmer Daves. No stranger to westerns, Daves also directed Ford in “Jubal” and “3:10 to Yuma.” The drama in Daves’ westerns was atypical of the genre and unfolded in a more realistic way with no clearly defined hero or villain in an era where the western followed a typical story pattern with clearly defined depictions of heroism and masculinity. Daves was part of a change which redefined the western in the 50s and in some ways prepared us for the inside-out world of the spaghetti westerns to come in the 1960s.

Frank Harris (Lemmon) is a Chicago hotel clerk seeking to make his fortune in the cattle business when he meets Tom Reese (Ford) who just happens to arrive at the hotel with his men after a two month cattle drive. Tom likes opera, gambling, drinking and enjoys a hot bath. Frank is more introspect and in love, but has just been informed by the wealthy Senor Vidal (Donald Randolph) that his daughter, Maria (Anna Kashfi), will never be allowed to marry him. Maria and her family return home to Mexico and Frank makes a deal with Tom to be his partner on his next cattle drive which will take the men to Senor Vidal’s ranch in Mexico. Tom initially rejects Frank, but takes him up on his offer after losing most of his money gambling and also due to Frank’s persistence.

The movie evokes, but only touches on, heroic mythology as the young wide-eyed idealist Frank, eager to make his fortune and find the woman he loves, joins the older and more experienced Tom who becomes his mentor and father figure. Tom warns the young idealist Frank by telling him no woman is worth going after when he should be focused on the quest for fortune. Along the way the cattle men face several trials of near epic proportions resulting in death and near death including the taming of a savage bull, an encounter with a deadly serpent, an attack by a band of Indians who attempt to steal the cattle and an attempt to rescue a friend who tempts fate in a Mexican border town. The sage advice of the experienced Tom is often ignored by Frank in this Homeric journey starting in Chicago by train to Texas and on horseback from Texas to Mexico and back again to Chicago. Frank’s admiration of Tom turns to dislike as they tussle with one another along the trail including a dramatic fight with a crowbar next to the camp fire pit. Both men compliment each another in spite of their struggles and come to a grudging admiration of one another after Frank takes the lead in rounding up the cattle lost during a stampede.

There’s more- a lot more- to enjoy in this unique and unconventional western. Stupid boyish pranks turn deadly and men who know better tempt fate by placing themselves in dangerous situations. There are no traditional heroes or villains in “Cowboy,” but rather men faced with a series of tasks and trials not unlike those which could unfold for all of us as we make choices and move through life. Lemmon and Ford are very good, especially Ford who gives a believable and effortless performance. The movie also features a great cast of supporting actors including Brian Donlevy, Dick York, Richard Jaeckel, Victor Manuel Mendoza, James Westerfield and Strother Martin in an early uncredited role.

BY LEE PFEIFFER

In 1971, a well-connected Dutch prostitute named Xavier Hollander published her memoirs under the title of "The Happy Hooker". The book became an international bestseller with its lighthearted recollections of her adventures in "the world's oldest profession". "The Happy Hooker" delighted readers who were relishing the new-found sexual freedoms that came about in the 1960s. Women, who would have been chastised for reading such a book ten years earlier, could openly read it on buses and in subway cars because everyone else was reading it. The content was erotic enough to be titillating but humorous enough to give it enough cachet to not be labeled pornographic. How much of it was true? Who knows. bestselling author Robin Moore ("The Green Berets", "The French Connection"), who actually took down Hollander's recorded comments on her life, came up with the title and the book was likely ghostwritten by Yvonne Dunleavy. With the success of the book, it was no surprise that a few years later Hollywood brought Hollander's exploits to the screen the film version of "The Happy Hooker". Released in 1975, it starred Lynn Redgrave in the title role. Not wanting to alienate mainstream audiences, the film was made as a saucy comedy. It was followed two years later by "The Happy Hooker Goes to Washington" with Joey Heatherton portraying Hollander. The third and final film in the official trilogy (we won't count an unauthorized hardcore production) was "The Happy Hooker Goes Hollywood", which was released in 1980 with Martine Beswick (billed here as "Beswicke") taking over the role.The film has been released as a Blu-ray special edition by Scorpion.

"The Happy Hooker Goes Hollywood" follows the tradition of the previous two films in that it stresses zany comedy. However, there are some surprisingly steamy softcore sex scenes between some very recognizable actors that makes for a bizarre mixture of slapstick and eroticism. It also features an eclectic cast of first-rate second bananas who finally get some plum roles on the big screen, albeit in a Cannon Films production. Cannon, of course, was notorious for being a highly profitable "cheese factory", churning out many modestly-budgeted exploitation flicks for undiscriminating audiences. The film opens with a wheelchair-bound Phil Silvers (yes, that Phil Silvers!) as legendary studio mogul William Warkoff, an obnoxious one-time titan of the industry whose fortunes have been in decline. When he reads that Xavier Hollander intends to bring her bestselling book to the big screen, he dispatches his long-suffering right-hand men Joseph Rottman (Richard Deacon) and his son Robby (Chris Lemmon) as well as Lionel Lamely (Adam West), to secure the screen rights by whatever underhanded methods are necessary. Lionel arranges a meeting with Xavier, who is immediately attracted to him. (In fact, she finds most men irresistible and even seduces her chauffeur en route to the meeting.) Before long, Lionel and Xavier are engaging in steamy sex sessions. She falls for him and agrees to allow Warkoff Studios to produce her film- that is, until she learns that Lionel actually has a longtime girlfriend and has been misleading her. She then announces she will make the film herself and secure her own financing, which outrages Warkoff. In order to raise money, Xavier employs her ever-ready squad of equally happy hookers. She sets up an exotic bordello in which men can live out any fantasy, including having sex with a call girl dressed like Little Bo Peep. (Imagine "Westworld" for fetishists.) Warkoff strikes a more lucrative deal with Xavier but intends to deceive her and cheat her out of ownership rights to the film but she is savvy enough to turn the tables on him.

Directed by Alan Roberts, "Hollywood" has a goofy charm primarily because of the good-natured performances of the cast. It's nice to see Martine Beswick in a rare leading role and she plays the part with a deft combination of wicked wit and eroticism. (Beswick unabashedly appears topless numerous times in the course of the film). Adam West, who looks he had barely aged a day since playing Batman two decades previously, also gets a chance to showcase his comedic abilities and admirable physique. The sex scene between Beswick and West's characters is a bit eye-opening because it's one of the few elements of the film that isn't played for laughs and there is some kind of pop culture appeal to watching the Uncaped Crusader getting it on with a two-time Bond girl. Phil Silvers overdoes the obnoxious aspect of his character but it's still enjoyable seeing him in a feature film this late in his career. Richard Deacon, who made a career of playing sycophantic "yes-men", is in top form and he and West share an amusing scene in which they are forced to dress in drag. Chris Lemmon is very appealing as a naive young man who gets caught up in Xavier's world with appreciable results. He exudes the same comic timing and mannerisms of his legendary father, Jack. One of the most unintentionally amusing aspects of the film is the virtual beatification of Xavier Hollander, whose approval of the movie must have been a prerequisite. In any event, she is referred to as a titan of business and a living legend, when, in fact, by 1980 her star had diminished appreciably. The whole plot climaxes (if you'll pardon the pun) at the "World Premiere" of the film...which is also unintentionally amusing because it is only a grand event by Cannon standards, though they did spring for getting a spotlight and a few dozen extras to act like a screaming mob as the stars arrive at a nondescript L.A. theater.

“THE DEFINITIVE PINTER”

By Raymond Benson

Cinema Retro has featured articles and reviews of several titles in the “American Film Theatre” series.

To recap: Back in 1973, producer Ely Landau and his wife Edie launched a daring and unprecedented cinema series that played in the U.S. for two “seasons,” with a total of fourteen titles (but only thirteen were shown), all renowned works—classic and modern—originally produced on the stage. It was called the American Film Theatre. (A review of a DVD box set of the entire series appeared on Cinema Retro. Click here to read.)

The concept tried something different. The directive was to take a great stage play, not change a word, and in most cases, use the actual play script as the screenplay. The next step was to hire an accomplished film director to interpret the text for the film medium but stay faithful to the play. Sometimes the director was the same person who helmed the original stage production. A further step was to persuade the original casts from the Broadway or London productions of those plays to star in the film; or, when that wasn’t possible, to cast big-name Hollywood or British actors. Thus, the result was indeed a filmed play—but you as an audience member wouldn’t be watching it from the middle of the orchestra or from the side or from the first balcony; instead you were up close and personal in a realistically-presented world (on studio sets and/or real interior or exterior locations)—just like in “regular” movies. You had the best seat in the house, so to speak, but there’s no proscenium arch. It’s a movie. But it’s a play.

Kino Lorber has slowly been re-releasing the titles from the American Film Theatre in individual packages, upgraded to high definition Blu-ray. The newest—and most anticipated for me personally—is Harold Pinter’s The Homecoming, directed by Peter Hall (who also directed the original London production), and featuring the original London cast, including the likes of Ian Holm, Vivien Merchant, and Paul Rogers.

Pinter is extremely difficult to stage, and even more problematic to film. Very few adaptations of Pinter’s works have made the transition from stage to screen, all with varying degrees of success (Cinema Retro recently reviewed Kino Lorber’s Blu-ray release of William Friedkin’s adaptation of The Birthday Party). When the American Film Theatre released The Homecoming, movie critics and theatre people were in unanimous agreement—this was the best representation of Harold Pinter we had seen (and probably will see, not counting screenplays Pinter wrote that were not adapted from his stage works).

The style, the mood, and the pace are extremely indicative of Pinter’s plays. There is an underlying, subtextual menace in nearly every line of dialogue. Famous for the pauses that are clearly written into his scripts, Pinter always insisted that every word (and pause) was adhered to when his plays were produced. It all amounted to the flow of the language and to that sinister and very black comedy which was the playwright’s hallmark. Yes, his plays can be extremely funny—and The Homecoming is very much so once one becomes accustomed to its heightened delivery.

Director Peter Hall was a regular interpreter of Pinter on stage, and here he beautifully adapts the writer’s Tony Award winning work. Yes, it takes place entirely in a shabby, austere working-class home in Britain, but there was no need to “open it up,” save for a few establishing shots of the street and tenement buildings. The goods are all in the acting and the dialogue.

The story? Well. It’s about an all-male household. The rooster is Max (Paul Rogers), who rules over the place like a dictator. His brother, Sam (Cyril Cusack), essentially serves as the butler, since he has always lived under Max’s shadow. Two grown sons—Lenny (Ian Holm) and Joey (Terence Rigby)—live in the house. Teddy (Michael Jayson), however, went off and got married to Ruth (Vivien Merchant). When Teddy brings Ruth home for a family “visit,” things become… well… tense. As the play/film unfolds, the situation becomes increasingly bizarre and creepy.

Ian Holm steals the picture with his acerbic, cynical take on his family and self. Those readers here who only know Holm from his appearances in The Lord of the Rings films or in Chariots of Fire need to see this performance. It is masterful. Paul Rogers is also spectacular in the showiest role. He’s not someone you want for a father.

Kino Lorber’s new Blu-ray is a 1920x1080p restored transfer and looks decidedly better than the previous DVD version. There are optional English SDH subtitles. The main supplement is an interesting, long interview with cinematographer David Watkin (who also shot the AFT’s A Delicate Balance). Repeated from other AFT Blu-ray titles are an interview with Edie Landau, who with her husband Ely produced the films in the series; a short promotional piece featuring Ely that was shown in theaters during the initial run; and several trailers for other AFT titles.

The Homecoming belongs on any list of “greatest black comedies.” For viewers unfamiliar with Pinter’s stage work, this is the definitive adaptation. For my money, it’s also the crown jewel of the American Film Theatre series.

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(Above: the famed Pinewood mansion house that served as Spectre HQ in "From Russia with Love")

Since the early days of the British film industry, Pinewood Studios, located on the outskirts of London in Iver Heath, has been an iconic presence in the motion picture industry. The long time home of the James Bond series has also seen countless other major franchises and other blockbusters utilize the studio's sound stages and nearby rural settings as backdrops for some of the most memorable films of all time. Now, however, the studio will be taken in a very different direction. Variety reports that Disney has signed a long-term deal to effectively take over all of the studio for a period of ten years commencing in 2020. With the exception of a few minor television studios on the premises, the deal will allow Disney to dominate production in the British film industry for the next ten years. Film production in England has been booming in recent years, a far cry from decades ago when draconian tax laws threatened the very existence of the studios.

 

Variety reports that Netflix has signed a similar deal with Shepperton Studios, the other major historic setting of classic British films.  Not coincidentally, Shepperton is under the ownership of Pinewood. Thus, available space for non-Disney or Netflix productions in Britain will be very limited in the years to come. Even Agent 007 would seem to be affected, as the franchise belongs to MGM and Eon Productions. Presumably, future Bond films might be excluded from the studio that has served as the franchise's home base since the early 1960s. The irony is that the fabled "Albert R. Broccoli 007 Stage" might be off limits to James Bond for the next decade.  For more, click here.

BY LEE PFEIFFER

Kino Lorber has released a Blu-ray edition of the obscure 1984 thriller "The Ambassador". Despite it's impressive cast, the film was barely seen in the United States and had only sporadic distribution in other parts of the globe. The movie was a production of the Cannon Group, the now legendary schlock factory owned and operated by passionate Israeli movie buffs Yoram Globus and Menahem Golan. Cannon specialized in building often sub-par movies on limited budgets around stars with name recognition. Usually backed by sensationalist ad campaigns, Cannon became the toast of the film industry for churning out product at an almost surreal pace. Initially, Cannon was awash with cash but as moviegoers tastes became more sophisticated their ratio of misses-to-hits increased and ultimately the company folded. Although Cannon is synonymous with low-end action films and tasteless comedies, the company did occasionally seek to elevate the quality of its output by producing higher quality productions. "The Ambassador" was one such instance. It was ambitious in terms of aspirations even if it fell short of delivering on them.

The film was shot entirely in Israel and was based on Elmore Leonard's crime novel "52 Pick-Up". However, when Leonard learned that the screenplay by Max Jack had discarded virtually all of the characters and set-pieces from his book, he disowned the film. (Curiously, Cannon would make this up to Leonard by producing a more literal version of the novel a couple of years later. It was released under the book's title and Leonard wrote the screenplay.) The titular character is Peter Hacker (Robert Mitchum), the U.S. ambassador to Israel. Hacker is an idealist who is determined to use his influence to bring about a two-state solution to the Middle East crisis that will allow Israelis and Palestinians to finally coexist peacefully. However, he not only has to overcome skepticism from mainstream people on both sides, there are also fringe terrorist groups determined to undermine his efforts. The film opens with Hacker and his embassy security man Frank Stevenson (Rock Hudson) attempting to broker a secret meeting in the desert between armed Palestinian and Israeli combatants. Against all odds, both parties send representatives but a terrorist group attacks by helicopter and slaughters most of the attendees. Undeterred, Hacker concentrates on courting young people on both sides in the hopes that he can convince them to use peaceful means to settle their differences. Hacker has other pressures in his personal life: his wife Alex (Ellen Burstyn) is suffering from alcoholism and makes a spectacle of herself at a high profile social occasion. More disturbingly, she's been carrying on an anonymous affair with a local Palestinian merchant, Mustapha Hashimi (Fabio Testi). He doesn't know that his lover is the wife of the American ambassador and she doesn't know that he is a bigwig in the Palestinian Liberation Organization and is under constant surveillance by the Mossad, the Israeli intelligence agency. It turns out someone has secretly filmed the lovers in bed. Hacker receives a phone call threatening to release the film unless he pays a million dollars ransom. This sets in motion a complex but interesting plot in which Hacker and Stevenson work to find the culprits and retrieve the film by any means necessary. The trail leads to mysterious and dangerous characters who attempt to assassinate Hacker even as he doggedly continues his obsession with finding a peaceful solution to Middle East violence.

"The Ambassador" features the three principals in very fine performances. An aging Mitchum still shows charisma and can deliver the goods in terms of a dramatic performance, despite the fact that he was said to be drunk throughout much of the shoot. Burstyn (in a role originally intended for Elizabeth Taylor) gives a daring performance for an actress over 50 years old by appearing topless in several scenes. Hudson, in his final feature film, cuts a handsome figure. He was still in fine athletic shape and performs quite a few action scenes with credibility. Mores the pity that the AIDS that would take his life within the next year was probably already beginning to take its toll on him. Donald Pleasence appears fleetingly but impressively as the head of the Mossad. The direction by the once-esteemed J. Lee Thompson is a step up from the celluloid claptrap he had been churning out for Cannon in recent years. It's also interesting to note that 22 years previously, he and Mitchum had teamed for the classic thriller "Cape Fear". "The Ambassador" has plenty of well-staged action scenes and Thompson makes the most of capitalizing on the Israeli locations, bringing a good sense of exotic atmosphere to the production. The script is more problematic because some aspects of the story stretch credibility. Ambassadors are to follow directions from the administration they serve. Peter Hacker is constantly freelancing by taking on well-intentioned but absurd secret missions and rendezvouses. In reality, he wouldn't last a day in the job. The film ends with a bloodbath but tries to mitigate the shock by tacking on a feel-good ending that comes across as contrived.

The Kino Lorber release has a very impressive transfer. There is a commentary track with film historians Nathaniel Thompson and Howard S. Berger, who present an informative discussion the film's editor, Mark Goldblatt. They provide a wealth of great information about the film (i.e. Rock Hudson was a last minute replacement for Telly Savalas). Goldblatt discusses the pros and cons of working for Cannon and bemoans the fact that the film was not widely seen. (He speculates it might have been made for tax shelter purposes.) There are times when the volume on Thompson's voice drops significantly, which is a bit annoying and, unless my ears deceive me, the track consists almost entirely of Thompson and Goldblatt with Berger only weighing in very infrequently. But the track is a great addition that gives valuable insights into a film that should have received more respect. The disc also contains two trailers: one for the American market and another for the international campaigns.

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BY LEE PFEIFFER

The checkered career of director Fritz Lang is amply illustrated by "Moonfleet", the 1955 MGM adaptation of the novel by J. Meade Falkner. Lang was arguably Europe's most esteemed filmmaker but the rise of National Socialism saw him immigrate to America before the worst aspects of Hitler's government were put into place. Lang was initially embraced by Hollywood studios but he soon wore out his welcome. His abrasive attitude and dictatorial style alienated studio brass and actors alike. He made some good films in America but the Hollywood studio system was still operating under the creaking conservative dictates of the Hays Code, which acted as a defacto censorship board. Fritz still managed to sneak through some progressive messages in his films but he was also often consigned to formula productions that didn't fully exploit his considerable talents. One such production was "Moonfleet". The story is set in Dorset, England in 1757 and casts Stewart Granger as Jeremy Fox, an aristocratic ladies man who has just returned from an extended trip to Europe with a beautiful mistress, Mrs. Minton (Viveca Lindfors) as his live-in lover. Fox has surrounded himself with a rogue's gallery of drunks and thieves who welcome him back to the fold, which in this case, is a successful smuggling operation that Fox oversees in the coastal community. He is also in cahoots with an equally disreputable noble, Lord Ashford (George Sanders) and his wife (Joan Greenwood), who openly attempts to seduce Fox. Into this mix arrives a young boy, John Mohune (Jon Whitely), who has been sent by his dying mother into the care of her former lover, Fox. (It is implied but not stated that Fox is the boy's father.) Fox is instantly dismissive of the lad, who he fears will infringe upon his lifestyle. He intends to send him to an upscale school but through a complicated set of circumstances, reverses his decision. Seems that the Mohunes were once a rich family in Dorset but their fortunes were undermined by another family that also victimized Fox. Young John has some clues to the whereabouts of his family's long-lost fortune, a revelation that gives Fox a reason to keep John in his care. The lad comes to idolize Fox even though the feelings of love aren't reciprocated. However, as the two share dangerous adventures and uncover the fortune in the form of a large diamond, Fox takes a more paternal view of the child.

"Moonfleet", which is the name of the town in which the action takes place, is a fairly mundane affair and a bizarre choice for a CinemaScope production since virtually every scene had been filmed in the cramped confines of MGM's sound stages in Hollywood. The film has a cheap look to it and most of it is set in dank locations in the dead of night, which also robs the movie of any visual splendor. The performances are all very good with Jon Whitely especially impressive and holding his own against his prestigious older co-stars. (For some reason, the cherubic Whitely never found stardom as a child actor.) Granger plays a more subdued character than usual in a costume drama but he does get to display some derring-do and Sanders is quite good playing a typical George Sanders role, the effete, morally bankrupt snob. The atmospheric score by Miklos Rozsa is another asset and the film's emotionally moving conclusion compensates for some of its drab production values. "Moonfleet" is never boring but it never rises to its potential, which may explain why it was a major bomb for MGM. Even Granger was said to have denounced it because if veered far off course from the source novel. However, "Moonfleet" is revered in France as one of Lang's greatest films. Viva la difference!

The Warner Archive Blu-ray presents a wonderful, top-notch transfer. The only bonus feature is an original trailer complete with sensationalistic narration and graphics.

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BY LEE PFEIFFER

The Warner Archive has released the 1966 spy spoof "The Glass Bottom Boat" starring Doris Day and Rod Taylor, who had teamed for "Do Not Disturb" the year before. Everyone was riding the James Bond-inspired mania for espionage flicks and Day and director Frank Tashlin came up with a winner. The action takes place entirely in and around Catalina Island, California. Day plays Jennifer Nelson, a widow who recently started a job at a NASA facility where she works as a tour guide. She also moonlights by donning a mermaid costume and swims beneath the glass bottom boat tour boat owned and operated by her father Axel Nordstrom (Arthur Godfrey), much to the delight of the customers. One day, her costume gets snagged on the line of Bruce Templeton (Rod Taylor), who is deep sea fishing. As in most films of this type, their initial encounter is unfriendly, which is a necessary ingredient for the couple to inevitably become lovers. When Jennifer is guiding a tour at NASA she is stunned to learn that Bruce is a world-acclaimed scientist who has developed a top-secret gravity simulation device that the government has hailed as a major step forward in the Cold War space race against the Soviets. Bruce hires Jennifer as his personal secretary despite her lack of credentials just so he can attempt to seduce her. She is immediately smitten by him but keeps his advances at arm's length even when she is agog at at his state-of-the-art mansion that is equipped with inventions of the future that seemed fantastic in 1966. (They include a forerunner of the microwave oven and a self-guided vacuum cleaning device.) Things start to heat up when an abundance of other characters are introduced who are either allied in keeping the formula for Bruce's invention (known as "Gizmo") secret or who are serving as enemy agents trying to steal it.

"The Glass Bottom Boat" afforded Doris Day one of her best roles from films of the 1960s. Once again, she disproved the myth that she only played over-aged virgins. True, she doesn't jump at the chance to bed Bruce, even though he's a millionaire who looks exactly like Rod Taylor. But it's made clear that she just wants to ensure he isn't going to treat her as a one night stand. By today's standards, this would be commended as a sign of female empowerment. When she does get ready to move their relationship to the next level, in true family comedy style, fate keeps intervening with a series of interruptions. Day plays well alongside Rod Taylor and they exhibit genuine screen chemistry. The multi-talented Taylor was always woefully underrated as an actor even though the native Australian could portray American, British and Irish characters with equal conviction. Most of the belly laughs are provided by the sterling assembly of great comedic character actors of the day. Dick Martin is Bruce's perpetually horny business partner who is willing to sell his friend down the river in his desperate attempts to bed Jennifer. There's also the great Edward Andrews as a pompous U.S. army general who is reduced to the level of fawning schoolboy in Jennifer's presence. The inimitable John McGiver turns up as a NASA paper-pusher who is enlisted in an ill-fated spy assignment and Alice Pearce (in her last screen role before succumbing to cancer) and George Tobias blatantly recreate their popular roles as the nosy neighbors from the sitcom "Bewitched" to very funny effect. Even Eric Fleming (recently fired as the lead actor in TV's "Rawhide) turns up in a rare comedic role as a double agent and acquits himself surprisingly well. Arthur Godfrey is equally funny as Jennifer's crusty-but-lovable dad and one can only ponder why this icon of American TV and radio eschewed pursuing a career on the big screen. The most inspired bits come from Dom DeLuise as a bumbling spy and Paul Lynde as a snarky security man obsessed with revealing Jennifer is really a Soviet agent. The script by Everett Freeman is racier than most Doris Day vehicles and even includes some gay-themed humor. (Martin and Andrews end up in bed together and Lynde gets to dress in drag.) If all that isn't enough, there's a blink-and-you'll-miss-him cameo by a tuxedo-clad Robert Vaughn set to the theme from "The Man from U.N.C.L.E.". (This was shrewd marketing on the part of MGM. When word leaked out about Vaughn's appearances, countless "U.N.C.L.E." fans went to see the movie for that reason alone. I know. As a 9 year-old fan of the show, I was among them, persuading my dad to take me to see "The Glass Bottom Boat" at a drive-in.)

Although the film isn't a musical, Doris Day does get to do some crooning, singing a love song ("Soft as the Starlight") that was co-written years before by Joe Lubin and Curly Howard of the Three Stooges! This song is reworked into the catchy title theme for the movie that will have you humming it to the point it becomes annoying. (Think "Chitty Chitty Bang Bang"). Day also does a duet of the song with Arthur Godfrey and slips in a few bars from her signature song "Que Sera Sera". She also gets to indulge in a fantasy sequence in which she appears as a scantily-clad Mata Hari.

The Warner Archive Blu-ray ports over all the extras from the previous DVD release. There are three vintage featurettes. One has Godfrey providing narration about the Catalina locations in a droll, humorous fashion. Day takes us on a tour of a NASA facility in another and there is a third featurette in which a young model tours the MGM back lot, which will afford retro movie lovers some glimpses of very familiar sets from movie and TV productions. There is also a trailer and a vintage cartoon. The transfer is right up to the Archive's generally high standards but the trailer could stand a facelift. 

I won't make the case that "The Glass Bottom Boat" is a comedy classic. It isn't. There's plenty of corn and gags that don't come off and some of the rear and front screen projection effects are crude even for 1966. But the film made me laugh quite a bit back then and revisiting it through this Blu-ray, I found that it still does. Highly recommended. 

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(Above: Lynley in the 1972 hit "The Poseidon Adventure")

BY LEE PFEIFFER

Actress Carol Lynley has died from a heart attack at age 77. She began her career as a child model before gravitating to the movie industry. With her stunning looks, Lynley showed great potential in an era in which studios groomed starlets to become full-blown stars. Lynley gained fine notices for her starring role in the 1959 drama "Blue Denim" in which she and Brandon DeWilde played middle-class teenagers dealing with the secret of her unintended pregnancy in an era in which such scenarios were met with repression instead of compassion. Prominent roles followed including "Hound Dog Man", "Return to Peyton Place" and "The Last Sunset" in which she co-starred with Hollywood icons Rock Hudson and Kirk Douglas. Other major films of the 1960s include "The Stripper", "Under the Yum Yum Tree", "Shock Treatment", "The Pleasure Seekers", "The Maltese Bippy", "Danger Route" and as a memorable villainess in "Once You Kiss a Stranger..." She worked twice with mercurial director Otto Preminger during the decade, first in "The Cardinal" and next in one of her most prominent roles in "Bunny Lake is Missing". By the end of the decade, however, it was clear that her star power had diminished. Lynley came back into prominence with a major role in Irwin Allen's 1972 disaster movie blockbuster "The Poseidon Adventure" but the film didn't jump-start her career.

(Above: Lynley with Robert Vaughn in "The Man from U.N.C.L.E."

Lynley had always worked simultaneously in television and appeared in many hit shows including "The Alfred Hitchcock Hour", "Run for Your Life", "The Virginian", "The Invaders","The Virginian", "The F.B.I.", "Hawaii Five-0", "Kojak", "Quincy, M.E.", "The Love Boat", "Fantasy Island",  "Charlie's Angels" and the classic TV movie "The Night Stalker". She also appeared in a two-part episode of "The Man from U.N.C.L.E." that was also released as the feature film "The Helicopter Spies". Lynley recently collaborated with Cinema Retro columnist Tom Lisanti on a forthcoming book about her life and career. For more click here.

 

The terrific retro web site Spy Vibe pays homage to the glorious mod era of London in the 60s and 70s  with a special look inside the Playboy Club. Bunny Deana, who worked at the club between 1969-1972, takes a trip down memory lane. To read the interview CLICK HERE

BY LEE PFEIFFER

Any movie fan who has enjoyed watching The Remains of the Day should also view the 1973 film The Hireling, a far more obscure production that nonetheless had been praised by critics at the time of its release (it also shared the Palm d'Or grand prize with Scarecrow at Cannes that year). Like Remains, The Hireling explores the rigid class structure in Great Britain. The film is set in the 1920s, a period when social mobility in England was limited by virtual caste-like economic barriers. Lady Helen Franklin (Sarah Miles) is a young woman who returns to her elegant country estate (and her snobbish and unfeeling mother) after a stay in a sanitarium where she was recovering from a nervous breakdown following the death of her husband. The fragile Helen finds it difficult to return to a normal life and shuns attempts to reintroduce her to the upper crust crowd she once associated with. She forms a friendly bond with Steven Ledbetter (Robert Shaw), a working man who is proud of the fact that he owns his own car hire company. The enterprise consists of a couple of cars and precisely one chauffeur- Ledbetter himself, as well as a helper who serves as a mechanic. Ledbetter is hired to drive Lady Franklin on pleasant outings in the countryside as well as the occasional picnic. The two form a friendship and before long Lady Franklin breaks social barriers by sitting upfront with Ledbetter- a development that starts tongues wagging in gossip circles. 

Over the course of the story, Ledbetter dares to imagine that the obsessive romantic interest he has developed for Lady Franklin is secretly shared by her. This sets in motion a series of events with Ledbetter trying to summon the nerve to express his feelings for her. Before he can do so, however, she is actively wooed by a handsome young artistocrat, Captain Hugh Cantrip (Peter Egan), an opportunist who is trying to use his distinguished military record as a stepping stone for a political career. Ledbetter has to silently endure chauffeuring the couple to various high society functions, while he is constantly reminded of his status as an employee. He becomes especially disturbed when his outings with Lady Franklin all but disappear as she spends more time with Cantrip. When Ledbetter discovers that Cantrip is a womanizer who is merely using Lady Franklin's social status to enhance his political ambitions, he comes to a dramatic decision that leads to the film's powerful conclusion.

The Hireling is about unrequited love told in a heartfelt and moving way. We recognize early on that Ledbetter's dream of establishing a romantic relationship with the woman he adores is more than likely doomed. Neither he or Lady Franklin are villains, but both of them are flawed human beings. Ledbetter's tendency to turn to drink in times of personal turmoil leads to making disastrous decisions; Lady Franklin's naive belief in Cantrip leads to their engagement- and she remains in denial of his unfaithfulness despite being presented with convincing evidence. The film is sensitively directed by Alan Bridges, who had been heretofore primarily known for his work in the British television industry. (Surprisingly, the critical success of this movie did not lead to a fruitful career in feature films.) The production values are excellent, adding immeasurably to establishing a convincing sense of period; Michael Reed's cinematography is superb and the script by Wolf Mankowitz (based on a novel) is brimming with terrific dialogue. The real pleasure of the movie, however, is watching two of England's best actors- Shaw and Miles- in their prime and delivering magnificent performances.

The Hireling is, in the end, a soap opera....but a grand one, indeed. 

Sony has released the film as a burn-to-order DVD title. The quality is excellent, though there are no extras.

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BY HANK REINEKE

It was never his intention to be remembered as the Alfred Hitchcock of the Chester-Delaware Counties of Eastern Pennsylvania. Director Irvin S. Yeaworth Jr. was a devout Christian whose real passion was turning out religious-themed short films that would bring the Gospel to the masses. But such proselytizing was cost prohibitive. So, at the suggestion of - and in partnership with - Philadelphia-based distributor/producer Jack H. Harris, Yeaworth signed on to direct a handful of low-budget teenage dramas and science-fiction films. Harris had convinced Yeaworth that there was a cash-grab market for such indie films, and these productions would bring in enough revenue to fund projects with loftier aspirations.

Yeaworth’s first feature film (as co-producer), The Flaming Teenage (1956), was not really his at all. It was instead a cobble of pre-existing footage from a drug-abuse morality fable now disguised and sold to distributors as an exploitation film. Things would evolve in the summer of 1957 when, working in tandem with the movie business-savvy Harris, Yeaworth’s Valley Forge Productions cameras cranked out the soon-to-be-cult-classic science-fiction film The Blob (1958) featuring twenty-seven year old Steve McQueen.

The partnership of Harris and Yeaworth proved to be a brief but modestly lucrative teaming of two disparate souls on separate life missions. Two additional sci-fi films, with Yeaworth directing and Harris co-producing, would follow in The Blob’s successful box-office wake: The 4D Man (1959) and Dinosauraus! (1960). Though neither of these subsequent films would inculcate their way into the American pop-culture psyche as had The Blob, The 4D Man, the first of the two, is an intelligent, under-praised minor contribution to the 1950’s sci-fi canon.

One of the bonus features included on this new Blu-ray release of The 4D Man from Kino Lorber is “Reflection from the Fourth Dimension,” a featurette ported over from the German SubKultur 2011 DVD issue of the film. These dimensional reflections come courtesy of Jack H. Harris (1918-2017) who muses unapologetically on a career of bringing exploitation films to the big screen. Aside from his participation in The Blob, Harris might be best remembered as the man who helped bring such post-college student cult films as Schlock! (1973) and Dark Star (1974) to movie houses. His penny-pinching patronage of young talent undoubtedly helped launch the careers of directors John Landis and John Carpenter, respectively.

Harris brags in the featurette that he never had to license any literary works to bring a story to the screen. There were, he muses, plenty of ideas already out there, so why pay to license any literary material? Having said that, the wily producer would admit the idea for The 4D Man was not entirely self-generated. It came to him courtesy of an illustration on the cover of Weird Tales magazine, where a man was pictured walking through a wall, his body mass co-mingling seamlessly with the atoms of the brick.

Harris was a film economist of the Roger Corman School, and Yeaworth was a dependable enough filmmaker to stay on budget. Shot entirely in Chester and Delaware Counties, Pennsylvania, fans of The Blob will recognize many of the same faces from that film in small supporting roles here: actors from Yeaworth’s personal troupe (George Karas, John Benson, Elbert Smith et. al.). And, in much the same manner that The Blob had helped introduce Steve McQueen to movie audiences, The 4D Man would mark the feature film debut of actress Lee Meriwether.

Crowned as Miss America in 1955 during the pageant’s very first televised edition, Meriwether would tour as a spokesman for the organization during most of the following year. She then began to pick-up small roles in early, live television productions, before being offered the substantial role of Linda Davis in The 4D Man. Looking back on her experience, Meriwether fretted that she was perhaps still “too green” as an actress for the assignment and unsatisfied with her performance. She thought the film’s screenplay (co-written by Theodore Simonson and Cy Chermak) was, in her own words, “very involved.”

She had a point. Trying to explain away the complex concepts of a scientist moving in and out of the fourth dimension was a tough task, though it must be said that the movie’s special effects are relatively impressive for a regional film shot on a modest budget. Meriwether’s character works at the Fairview Research Center, where some sort of secret federal government experimentations are underway. It’s no secret that she has to contend with her fair share of sexual harassment in the workplace. She’s engaged to Dr. Scott Nelson (Robert Lansing), in love with the doctor’s brother, Tony Nelson (James Congdon) and is routinely and unwelcomingly being hit up for dates by the shifty Roy Parker (Robert Strauss).

Tony Nelson is, to put it politely, a disruptor. Obsessed with his experimentations with the fourth dimension, he accidentally burned down the workplace of his previous employer. Understandably dismissed from his position following that inferno, he resurfaces at Fairview where his older brother Scott serves. The two appear to have a frosty relationship. Their grudging interactions become understandable when we learn that Tony has a history of running off with Scott’s paramours. Unfortunately for Scott, his inability to hold on to women will soon be the least of his troubles.

Not only are his inventions being co-opted by both a shifty coworker and an unscrupulous boss, he’s also beginning to suffer symptoms of muscular stiffness. The laboratory’s medical officer suggests his ever-worsening condition may be the result of exposure to excessive amounts of radiation. It’s also determined that he is sending out strong “electro-magnetic impulses” and other tests reveal his brainwaves are registering “different than most people.” Perhaps even enough to drive him mad.

These conditions ultimately result in his being able to pass through glass, metal, drywall, brick, and steel. The only way he can renew his personal energy and appearance is to literally suck the life out of his flesh-and-blood victims through a kiss or simply a mere touch. Having an intimate knowledge of the science brother Tony rues, “A man in the fourth dimension is indestructible.” Perhaps.

If The 4D Man was ambitious in its cerebral storyline, the final project pairing Harris and Yeaworth was ambitious in its scope… CinemaScope. Harris was able to sell an idea for a combination prehistoric monster/children’s film Dinosauraus! to Universal-International… where the film would play in some markets as the under-bill to the more adult-orientated Brides of Dracula. It’s the mostly visually impressive of Yeaworth’s films. Gone from the screen are the low-budget locations shoots mounted in and around the sleepy hamlets of the director’s hometown. They’ve now been replaced by the exotic beaches and townships of St. Croix, in the Virgin Islands, and the film comes replete with colorful underwater sequences, boasts its very own team of special effect experts and features a great Ronald Stein score.

BY SARA REINEKE

The Kino Lorber Blu-ray release of Stephen King’s 1993 Needful Things comes in the midst of Hollywood’s current remake fever. With such projects as Carrie (2013), IT (2017), Pet Sematary (2019) and the upcoming IT: Chapter Two (2019), this author’s works continue to draw movie audiences and infuse the horror genre as they had during the 1980s and 90s. Revisiting this original production of King’s 1991 novel - whereupon the devil comes to visit the small Maine town of Castle Rock - one is reminded why both his novels and films alike are regarded as iconic horror set pieces.

Following along on the heels of previous successes such as Carrie (1973), The Shining (1980), Pet Sematary (1989), and Misery (1990) - and released only a year before the iconic Shawshank Redemption (1994) - Needful Things shares many similarities to King’s other works. Meditating on the theme of human evil, this film puts the hateful hearts of the townspeople of Castle Rock in the forefront. The supernatural element of Needful Things’ shopkeeper Leland Gaunt’s omniscient devil is present as he instigates many of the townsfolk to action. But the most heinous and horrific acts are ultimately committed by ordinary people, those of whom are fueled by an underlying anger against their neighbors.

Unlike other Stephen King adaptations, this film does not bury its ideas in subtext. Gaunt reminisces boastfully about how, over the centuries, he has sold weaponry - but it was always the ordinary people around him that put these tools of mortality to work. So while supernatural elements certainly exist in this film, it’s also a morality play that begs us to look critically at ourselves.  It’s only by doing so that we can make sure we don’t become the Danforth Keetons, the Chris Hargensens, or the Annie Wilkes of the world. 

Max Von Sydow’s performance as the shadowy shopkeeper Leland Gaunt is particularly compelling. The townspeople's desired treasures he sells comes at a steep price, causing them to commit acts of sabotage and violence against one another. Ed Harris, who plays Castle Rock’s sheriff, is a central figure in a dangerous cat-and-mouse game… one that only intensifies when petty feuds drive the townspeople to commit heinous acts in retaliation for perceived wrongdoings. Amanda Plummer’s interpretation as the mousy and skittish Nettie Cobb should be recognized, as her character’s life is the first to be manipulated.  One is not entirely empathetic to the sad consequences of Gaunt’s cynical game until Nettie finds the remains of her beloved dog and is finally pushed to her breaking point. 

The quality of the film’s print is exceptional, presented here in a 1.85:1 aspect ratio and 1920x1080P, with a DTS a soundtrack. Bonus features include the original theatrical trailer and an informative and entertaining audio commentary with film historian Walt Olsen and director Fraser C. Heston. The commentary provides interesting insights into the production of the film, the on-set relationships between crew and cast, and the back stories to Heston’s first feature film. Film historians and Stephen King fans alike should enjoy this behind the scenes look at the making of the film. 

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BY LEE PFEIFFER

The Warner Archive has released a slew of worthwhile 60s spy movies and TV series. Among the under-rated gems is The Double Man, a 1967 Cold War thriller starring Yul Brynner, who gives a powerful performance as American intelligence agent Dan Slater. His teenage son is killed while skiing in Switzerland and Slater suspects it was actually murder. He finds he's been lured to Alps as part of a complex plot to kill him and replace him with an enemy agent with his identical facial features and characteristics. The plot was covered with moss even at the time since it formed the basis of a two-part Man From U.N.C.L.E. episode, The Double Affair, that was released theatrically the previous year as The Spy With My Face.  Still, this is a highly intelligent, gritty film with Brynner as the most hard-ass hero imaginable. Devoid of any humor, Slater suspects both friend and foe as he leaves no stone unturned in trying to thwart the plot. The film benefits from a good supporting cast including future Bond girl Britt Ekland who finds herself unable to distinguish between the two Slaters. Clive Revill and Anton Diffring are excellent in supporting roles.  There are some spectacular aerial sequences photographed by the late great cameraman Johnny Jordan, whose work on On Her Majesty's Secret Service bears a strong resemblance to this film, though both movies suffer from the shoddy rear screen projection technology of the time. The score by Ernie Freeman is sometimes overly-bombastic, but in the aggregate, this is one of the better spy films of the era thanks in no small part to the direction of Franklin J. Schaffner, who would win the Oscar several years later for Patton.

The transfer is crisp and clean and the DVD features the original theatrical trailer. 

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RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES

BY LEE PFEIFFER

Scorpion has released the complete version of the 3-part 1978 mini series "The Dain Curse" as a double DVD set. The show has a checkered history in terms of home video. A truncated version was available for a while on VHS, then Image released the full three episodes on DVD. Now Scorpion has done the same and the quality of the set is very good, capturing the relatively rich production values of the series. Those of us of a certain age can remember when the pre-cable major networks put a great deal of time, talent and financial resources into mini-series. In the 1970s and 1980s, many of these shows constituted "must-see" TV. In an age in which the average household didn't have video recorders, some shows were so special that people altered their lifestyles to ensure they could catch each episode. Today, those days seem long gone, with network TV now a haven for trashy game shows, indistinguishable cop shows and so-called "reality shows", most of which don't bear any resemblance to the world most of us live in. To top it all off, even if you are inclined to indulge in this fare, you have to sit through such a mind-numbing number of commercials, you'll probably forget where the story left off before the last break. The good news, of course, is that magnificently entertaining mini-series are still thriving. The bad news is that you have to pay even more to watch them via "premium" cable TV channels.  "The Dain Curse" was produced smack in the middle of the prestige craze of the 1970s when TV networks tried to outshine each other in terms of producing acclaimed mini-series. Unfortunately, this series, despite a promising concept, falls far short of the mark. 

The story, set in 1929, is based on a Dashiell Hammett novel, ordinarily a good source for a film noir production. Robert Mitchum had gotten the formula right a couple of years before with his portrayal of Philip Marlowe in "Farewell, My Lovely". Coburn would seem to be an appropriate leading man for another Hammett protagonist, private eye Hamilton Nash. However, whereas Mitchum looked sleepy, worn-out and perpetually pissed off, Coburn looks too much like a movie star.  He's immaculately attired and supremely self-confident. He does suffer the fate of all noirish detectives: he makes the occasional misjudgment that sees him beaten and battered, but for the most part Coburn is a bit too Hollywood to ever convince you that he's an employee of a private eye agency. Nonetheless, even miscast Coburn is a joy to watch, especially as he trades wisecracks with cops, crooks and dames. The problem with "The Dain Curse", however, is that there are far too many of all these characters. The plot is overly-complex and virtually impossible to follow. It opens with Nash investigating the alleged robbery of some diamonds from the home of a rich, middle-aged couple. In the process, he suspects there never was a robbery and begins to unravel the reasons for the staged crime. In the process, he meets the couple's daughter, a twenty-something beauty named Gabrielle, who turns out to be real handful. She's  a head-turner, but she's also insufferably cynical and self-obsessed and her party girl habits lead to a complicated scenario that ultimately involves murder, phony religious cults, drug addiction and kidnapping. (This is another staple of the private eye genre: the errant "wild daughter".)  Throughout, Nash has to deal with the usual eccentrics found in any detective story of the era: incompetent cops, a kindly boss who is exasperated by his star detective's independent streak, corrupt public officials and more red herrings than you would find in a fish factory. Within ten minutes, I found myself confused. By the one hour mark, I had given up in terms of trying to follow the plot and the character's motivations and just decided to sit back and enjoy the often impressive performances. These include Beatrice Straight as Gabrielle's mother, Hector Elizondo as a small time sheriff who assists Nash and, most impressively, Jason Miller, playing against type as a dandy writer in the Truman Capote mold (though he favors the opposite sex.) The best performance comes from Nancy Addison in the challenging role of Gabrielle. Addison successfully conveys the wide range of emotion the character has to display over the film's five hour running time. There are also welcome appearances by Jean Simmons, Paul Stewart, Roland Winters and New York's favorite raconteur, Malachy McCourt. 

The film has some riveting sequences such as Nash's investigation of a cult religious temple where a human sacrifice is being planned and his subsequent drugging by hallucinogen-causing gasses. The Long Island locations are also pleasing to the eye and Charles Gross's period jazz score is admirable. However, the screenplay drags on for far too long, testing one's ability to follow the nature of pivotal relationships and motivations. By the time the movie grinds to what should be a compelling courtroom climax, the revelations aren't shocking because you can barely understand their implications- and there is little that director E.W. Swackhamer (we love that name!) can do to sew these disparate elements into something comprehensible. 

The Scorpion DVD package features the cool original promotional art on the sleeve and also includes trailers for other Scorpion releases including Coburn's "The Internecine Project", Burt Lancaster in "Go Tell the Spartans" and an unusual trailer for "Saint Jack" hosted by director Peter Bogdanovich.

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BY LEE PFEIFFER

Once upon a time a highly successful film director named Blake Edwards teamed with his very popular actress wife to make a big budget Paramount musical called "Darling Lili". Released in 1970, the WWI-era movie was a major flop. Edwards blamed studio head Robert Evans for having made significant cuts to the final version of the film, though Paramount maintained that the film's budget had gone out of control and they had to exercise their right to salvage it through whatever means necessary. Several years later, Edwards had a contentious relationship with MGM that  was exacerbated by the studio altering his final cuts of "The Carey Treatment" and "Wild Rovers". Hell hath no fury like a director scorned, especially a director who was not lacking in self-esteem. Ultimately, Edwards sought his revenge with the release of his notorious 1981 madcap comedy "S.O.B."  The movie is a take-down of the film industry, presenting an ugly picture of Hollywood as a place populated by crooks, shnooks, disreputable studio brass and disloyal hangers-on all willing to sell their souls to advance their careers. Doubtless, Edwards was done wrong by certain studio executives but by all accounts, he wasn't "Mr. Popularity" either. Edwards had fractious working relationships with many people including Peter Sellers, with whom he made several successful "Pink Panther" films despite the fact the men came to loath one another. I was having lunch with a former studio big wig in 2010 when I informed him that the news just broke that Edwards had died. His response: "It's a shame it took so long." Ouch! 

Edwards was indeed multi-talented. He was capable of directing successful dramas ("Days of Wine and Roses") and the occasional thriller ("Experiment in Terror") but his niche was comedy and for a period of years he produced some great successes including "Operation Petticoat" and "Breakfast at Tiffanys" as well as the best-received Inspector Clouseau films ("A Shot in the Dark" and "The Pink Panther".) By the 1970s, however, his films were under-performing. In 1975, more out of necessity than sentimentality, he and Peter Sellers returned to the "Pink Panther" franchise and scored three more hits. "S.O.B." was his most personal film, however, and allowed him to figuratively put his considerable list of enemies in his cross-hairs. Edwards wrote, produced and directed the film which boasted an impressive all-star cast, including Julie Andrews, who would break new ground in her career by famously baring her breasts (thus causing Johnny Carson to quip to Andrews that he was thankful to see that "the hills were still alive!")

The film begins with a comical suicide attempt by once-esteemed film director Felix Farmer (Richard Mulligan), who can't cope with the demise of his career due to the catastrophic boxoffice returns on "Night Wind", his mega-budget family musical starring his wife Sally Miles (Julie Andrews). Felix bungles the attempt which will become a running gag throughout the film as fate keeps preventing him from taking his own life. Now suffering from a mental illness, Felix is convinced that he has heard advice from God about how to salvage his film and career. He approaches the Machiavellian studio chief David Blackman (Robert Vaughn, whose character is supposedly based on Robert Evans.) Felix offers to reimburse the studio for their investment in the musical so that he can own all the rights and reshoot it as a pornographic production complete with the songs intact, only with an S&M take. Blackman jumps at the chance to redeem his own reputation and agrees, but Sally is a tough sell. Her entire career has been built on playing sweet, innocent characters, much as Andrews's career was defined in the early days. She is appalled at Felix's mental state and the fact that he hocked their entire net worth to pull off this madcap scheme. She turns to the film's original director, Tim Culley (William Holden) for advice and he and their mutual friend, quack physician Irving Finegarten (Robert Preston) for counsel. They both convince her the daffy scheme might work and would prove to be a good career move. With Sally reluctantly immersing herself into a sex-filled musical, word around Hollywood gets out that Felix might actually be creating a potential blockbuster. This causes Blackman to renege on the deal. Felix now goes entirely off the deep end and "kidnaps" the reels of his completed film in order to thwart Blackman from exploiting him.

Movies that present Hollywood as a soulless climate are as old as the film industry itself but "S.O.B." is in a class of its own in this regard. There are no sympathetic characters. As Felix devolves into complete madness, his family, confidantes and friends all conspire to take advantage of him for their own selfish purposes. Edwards presents a Devil's Playground of cheating lovers, emotionless sex and untrustworthy partners. It was a parlor game back in the day to guess which real-life personalities were being portrayed on screen. For example, there was little doubt that Shelly Winters' obnoxious talent agent was based on the much-feared Sue Mengers. Loretta Swit, playing the film's most grating character, seems to be a compilation of every gossip columnist who Edwards grew to loathe. Other well-known stars are also used to good effect including Larry Hagman, Robert Webber, Robert Loggia, Marisa Berenson, Stuart Margolin and Craig Stevens. Ostensibly, the star is Richard Mulligan, who gives a very spirited performance that is ultimately undone by Edwards having him cross over into theater of the absurd. Because of the large cast, most of the actors don't get much screen time but those who do resonate very well especially Andrews, Holden, Preston, Webber and Vaughn. The latter has a show-stopping scene that almost rivals the unveiling of Andrews' prized bosoms when it is revealed that his character of the macho studio executive has a passion for making love to his mistress (Berenson) while he is attired in female lingerie.

"S.O.B." is genuinely funny but, as previously stated, Edwards goes overboard into silliness especially in the last third of the film. Until then the events that we witnessed have been mostly plausible but Edwards goes over the top and resorts to almost slapstick as well as introducing some characters such as a manic Asian chef and an Indian guru (played respectively by Benson Fong and Larry Storch) who would be far more at home in a Pink Panther movie. Still, it remains a biting satire that is mostly quite enjoyable- and it's all accompanied by a score from Edwards' frequent collaborator, Henry Mancini.

The Warner Archive Blu-ray looks gorgeous and contains the original trailer.

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“HITCHCOCK’S EARLY SOUND GEMS”

By Raymond Benson

Alfred Hitchcock’s early British period of work (1927-1939) has been in the public domain and/or out of copyright and available in poor quality renditions online and cheap home video bargain collections for many years. Most of these are unwatchable, not due to the films themselves, but because of the wretched condition of the images. Granted, not everything the Master of Suspense did during these years is up to par with his later Hollywood output that most of us know. Nevertheless, of the 25+ films Hitch made then (nine of them silent), there are indeed some select winners (The Lodger, The Man Who Knew Too Much, The 39 Steps, Sabotage, and The Lady Vanishes all come to mind).

There are also a handful of other admirable and worthwhile gems from the British period, and Kino Lorber has recently issued new high definition restorations of two that have been crying out for facelifts for some time.

Blackmail (1929) is touted as Britain’s first talkie, although it really isn’t. Nevertheless, as audio commentator Tim Lucas says, we’re not going to argue with that notion. Blackmail was such a step forward in technical innovation with its inventive use of sound that the picture deserves to be recognized as, at least, the first British talkie that did sound well. Interestingly, the film exists as a silent film, too. As in the USA, many cinemas across Britain were not yet wired for sound, so Hitchcock made two versions—a silent and a talkie. Originally, the silent picture was longer than the sound version, but some of that material is lost. A recent restoration brings the silent entry in at around 75 minutes, whereas the talkie is roughly 85.

It’s a rather sordid story (then again, it’s Hitchcock!). Alice (gorgeous Anny Ondra) is angry at her police detective boyfriend, Frank (John Longden), so she goes out with an artist, Mr. Crewe (Cyril Ritchard). Crewe attempts to rape her, so Alice murders him with a knife. Unfortunately, shifty street bum Tracy (Donald Calthrop) figures out she’s the one who did it, and he attempts to blackmail both Alice and Frank. Without giving too much away, let’s just say the picture ends with a moral ambiguity.

For an early sound motion picture, Blackmail is surprisingly engaging and suspenseful. Hitchcock’s playful use of the technology (such as in the now-famous scene in which Alice hears the word “knife” repeated and loses her cool over it) is apparent throughout. The picture is also notable for the director’s first big climactic sequence at a famous landmark (in this case, the British Museum).

That said, film buffs may very well find that the silent version of Blackmail to be superior. There is an economy to the purely visual storytelling that the sound entry subtly lacks. They’re both terrific, though.

Note: Although the packaging does not adequately make it clear, Blackmail comes with two Blu-ray disks. The first contains the silent version and the sound edition in 1.33:1 aspect ratio. On the other disk is the sound version in 1.20:1 aspect ratio, which is apparently closer to what the movie was when first released. There is some speculation online regarding the accuracy of these two aspect ratios (see the discussion at https://www.hometheaterforum.com/a-few-words-about-blackmail-in-blu-ray/), but these eyes can find no egregious fault with either presentation. Compared to what we’ve had before with Blackmail, the Kino Lorber release is a godsend. Ironically, the silent version looks the most pristine. Supplements include the previously mentioned audio commentary by Lucas (always listenable), an intro to the film by Noël Simsolo, an audio portion of the conversation between Hitchcock and François Truffaut conducted for the Hitchcock/Truffaut book, Anny Ondra’s celebrated brief screen test, and trailers for this and other Kino Lorber titles.

BY FRED BLOSSER

The fashions, set designs, and social conventions of “Midnight Lace” were finely tuned to the expectations of audiences who trooped to their local theaters to see the film on its release in 1960, making it the year’s eleventh highest-grossing production. Nearly sixty years later, those same glossy Hollywood trappings have an almost campy quaintness. How often do you see anyone wear a pillbox hat anymore, outside of a drag parade? Regardless, the film’s basic plot would still fit nicely into any of today’s TV soap operas. The principal characters would be a little younger, they’d sleep together in the same bed instead of by themselves in separate twin beds, and the male lead would take off his shirt at least once an episode to display his ripped physique -- that’s all.

Kit Preston (Doris Day), an American heiress newly married to British financier Anthony Preston (Rex Harrison) and relocated from the U.S. to London, begins receiving obscene, threatening phone calls from an anonymous stalker. Her husband and her friends are sympathetic at first, but gradually they begin to express skepticism because Kit is the only one who hears the calls. Inspector Byrnes of Scotland Yard (John Williams) is even more cynical: “We waste half our time looking for crank phone callers who don’t even exist, except in the minds of unhappy women. You’d be surprised how far a wife would go to make a neglectful husband toe the mark.” Today a comment like that would get a senior police officer censured for insensitivity if not kicked off the force, but in the mindset of 1960, his opinion seems to be supported by the circumstances. The charming but work-obsessed Anthony spends more time in the boardroom than at home, and as a newcomer to the U.K. the lonely Kit feels isolated. Even her visiting Aunt Bea (Myrna Loy, sharp as a tack and looking terrific at fifty-five) begins to wonder.

From the outset, though, the viewer knows that Kit is telling the truth, and the mystery for us becomes not whether she’s delusional, but who’s behind the threats? The script serves up a rich array of suspects. Is she being menaced by her housekeeper’s smarmy nephew (Roddy McDowell)? By her husband’s financially troubled associate (Herbert Marshall)? By Anthony’s assistant Daniel (Richard Ney), who seems to be nursing other ambitions under his obsequious facade? “So many red herrings!” as critic and writer Kat Ellinger observes in her fine audio commentary on a new Kino-Lorber Blu-ray release of the movie. A handsome construction manager overseeing a renovation next door seems to be a good guy (John Gavin), but he’s troubled by lingering wartime PTSD, and he’s been using the phone in the back room of the local pub to make calls of an undisclosed nature. When a stranger intrudes into Kit’s apartment, inconveniently disappearing when she summons help, he’s likely to become the viewer’s prime suspect, and not only because of his black overcoat and sinister cast of features. He’s played by Anthony Dawson, well-remembered (like John Williams as the police inspector) from “Dial M for Murder.” In the Hitchcock thriller, Dawson was the guy who attempted to strangle Grace Kelly. By and large, the script plays fair in planting its clues and casting our suspicions first on one character and then another, although the resolution may not surprise hardcore movie-mystery fans. The phrase “Midnight Lace” is uttered once in the film as the style of a black negligee that Kit promises to wear if Anthony takes her on their deferred honeymoon to Venice, but it doesn’t have any real bearing on the character’s plight. Still, it’s a classy and evocative title that was repurposed for an inferior, unrelated made-for-TV movie in 1981.

“ARE YOU FEELING LUCKY?”

By Raymond Benson

Although apparently it was not a hit when it was first released in 1956, Jean-Pierre Melville’s Bob le flambeur (aka Bob the Gambler) grew in reputation over the ensuing years and soon became a classic French film noir, often cited as one of the better crime films from that country in any decade.

Melville was an artist known for his minimalistic style that influenced many of the younger rebels who initiated the French New Wave. While Melville himself is usually not considered to be a New Wave director, he has been called the “godfather” of the movement. Both Jean-Luc Godard and François Truffaut have acknowledged him as a mentor of sorts, and in fact, Godard cast him in a small role—as a filmmaker—in his debut picture, Breathless.

Bob le flambeur is mostly a character study about a former thief/bank robber (played by the charismatic Roger Duchesne) who did time, is out of jail, and is attempting to lead a life without crime. His one vice, however, is gambling, and he can’t stop. Whenever he has money, he spends it on a dice game, at the races, at cards, or at the casino. He acknowledges that he has runs of bad luck… but when he’s feeling lucky, the world is his oyster. He tends to do kind things for people, such as help out a young woman, Anne (Isabelle Corey) who is one night away from being a streetwalker, or also showing a young protégé, Paolo (Daniel Cauchy), the ropes with regard to high stakes and the philosophical risks of life itself. Then temptation strikes—there’s the possibility of making a big score by robbing the safe at a casino with the help of a team of specialists. How the plot plays out produces the kind of irony that is reminiscent of what is displayed in, say, Kubrick’s The Killing.

The picture is an early one in Melville’s career, and he would go on to direct other, perhaps better, titles (Le Samouraï, Army of Shadows, Le Cercle rouge), but Bob le flambeur may be his best known work because of its striking style, the melancholic mood it evokes, and the central performance by Duchesne. It is a standout among the many French noirs being made in the 1950s.

Kino Lorber presents a beautifully restored 1920x1080p high definition transfer that looks gorgeous, and it comes with an audio commentary by film critic Nick Pinkerton. Also included is the approximately half-hour documentary, Diary of a Villain, about the influence of the picture and its striking style. The theatrical trailer and other Kino Lorber trailers round out the package.

Bob le flambeur is recommended for any fan of film noir and/or French cinema. You’re sure to be a winner with this one.

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Eon Productions have announced that the official title of the next James Bond film will be "No Time to Die". Daniel Craig returns for what is said to be his final appearance as 007. The film is scheduled to open in April, 2020.  Here is the official press release:

LOS ANGELES – August 20, 2019 – James Bond Producers, Michael G. Wilson and Barbara Broccoli today released the official title of the 25^th James Bond adventure, No Time To Die. The film, from Albert R. Broccoli’s EON Productions, Metro Goldwyn Mayer Studios (MGM), and Universal Pictures International is directed by Cary Joji Fukunaga (Beasts of No Nation, True Detective) and stars Daniel Craig, who returns for his fifth film as Ian Fleming’s James Bond 007. Written by Neal Purvis & Robert Wade (Spectre, Skyfall), Cary Joji Fukunaga, Scott Z. Burns (Contagion, The Bourne Ultimatum) and Phoebe Waller-Bridge (Killing Eve, Fleabag) No Time To Die is currently in production. The film will be released globally from April 3, 2020 in the U.K. through Universal Pictures International and in the U.S on April 8, from MGM via their United Artists Releasing banner.

No Time To Die also stars Rami Malek, Léa Seydoux, Lashana Lynch, Ben Whishaw, Naomie Harris, Billy Magnussen, Ana de Armas, Rory Kinnear, David Dencik, Dali Benssalah with Jeffrey Wright and Ralph Fiennes.

In No Time To Die, Bond has left active service and is enjoying a tranquil life in Jamaica. His peace is short-lived when his old friend Felix Leiter from the CIA turns up asking for help. The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.

Other members of the creative team are; Composer Dan Romer, Director of Photography Linus Sandgren, Editors Tom Cross and Elliot Graham, Production Designer Mark Tildesley, Costume Designer Suttirat Larlarb, Hair and Make-up Designer Daniel Phillips, Supervising Stunt Coordinator Olivier Schneider, Stunt Coordinator Lee Morrison and Visual Effects Supervisor Charlie Noble. Returning members to the team are; 2nd Unit Director Alexander Witt, Special Effects and Action Vehicles Supervisor Chris Corbould and Casting Director Debbie McWilliams.

Casino Royale, Quantum Of Solace, Skyfall and Spectre have grossed more than $3.1 billion in worldwide box office collectively. Skyfall ($1.1 billion) and Spectre ($880 million) are the two highest-grossing films in the franchise.

BY HANK REINEKE

Paging through a dog-eared magazine in a doctor’s waiting room, I happened across a checklist of the American Film Institute’s 100 Greatest Films. With a combination of surprise and disappointment, I was made aware that I’d only caught about fifty-percent of the films listed. Of the remaining 50% there were about half, assuming the proper mood, that I would be interested in seeing sometime. The remaining twenty-five percent were, to be perfectly honest, films too far out of the scope of personal interest. Regardless, I convinced myself that if I can hold on long enough to manage a pension… Well, perhaps there remained a possibility of catching up on a few of those titles as well.

Regardless, it was soul-searching time. While I have been issued an AARP card, I’m not a bona fide senior citizen yet. So why, I asked myself in painful self-reflection, have I not seen half of the one hundred greatest American films ever produced, yet have somehow managed to sit through Billy the Kid vs. Dracula at least a dozen times. Now that I think of it, I’ve sadly probably sat through this cinematic train wreck a dozen more times than even that calculation.

It goes without saying that John Carradine’s turn as Transylvania’s crown Prince of Darkness in Universal’s House of Frankenstein and House of Dracula was not nearly as iconic as Bela Lugosi’s. Carradine’s Dracula was certainly less menacingly foreign in his manner and accent. His was a more gentlemanly vampire, soft-spoken, elegantly dressed with top hat, cravat and walking stick. Though the “Immortal Count” had visibly aged since Carradine’s 1944 appropriation of the role, his sartorial style would not change a great deal when Billy the Kid vs. Dracula was unleashed in 1966. There were a few changes. While the top hat and cape remained in place, the well-manicured moustache he sported in the Universal films has been replaced with a drooping “Snidely Whiplash” soup strainer. Hanging from the pointed chin of Carradine’s triangular noggin sat a Salvador Dali-style goatee.

It was the same character in name only. In the 1940s, Carradine’s Dracula was an otherworldly figure, distinguished and mysterious. In this William Beaudine cult film he’s cast as more of a lecherous, carpet bagging lunatic with obvious bedroom eyes for the sweet and sassy Betty Bentley (Melinda Plowman). And while we’re on the subject of eyes; if Lugosi’s eyes were mesmerizing and hypnotic and Christopher Lee’s bloodshot and primal, Carradine’s are just… Well, plain goofy. Stretching his eye sockets to ridiculous parameters, Carradine’s sclera and pupils resemble a pair of bulging ping pong balls. The result is a gaze neither mesmerizing nor terrifying, but merely ridiculous. He bears the facial expression of man who witnessed in amazement as someone swallowed an enormous sandwich from the Carnegie Deli in a single bite.

“There are pictures I wish I hadn’t done,” Carradine would confess to interviewers on more than one occasion. Usually citing Billy the Kid vs. Dracula as one of these films, the actor routinely excused his signing on to such disasters since an aging actor still needed to work to pay the bills. Though the actor’s reflection is both gracious and understandable, a grain of salt is necessary to digest his belief that, “I started turning down the bad [roles following Billy the Kid vs. Dracula]. My conscience took over and I’d say I won’t read lines and vomit at the same time.” If this was true, then 1966 would have marked the demarcation line between the good, the bad, and the ugly of Carradine’s prodigious filmography. But if this is the case, then how does one explain Carradine’s presence in such delicious post-1966 cinematic trash as The Astro Zombies, House of the Black Death, Satan’s Cheerleaders, and Vampire Hookers – not to mention the four exploitative quickies he made in Mexico City in 1968? This, sadly, is to list only a few of his mid-to-late career titles. One must also graciously choose to ignore most of his walk-on work from 1970 through 1988.

There’s no point in describing the film’s ridiculous storyline in any detail. In the final tally, Billy the Kid vs. Dracula is neither a very good horror film nor a serviceable western. That’s not to say that the film is not entertaining. It’s just not entertaining in any commendable way. Director William Beaudine – famously referred to as “One Shot Beaudine” due to his economic, time-crunched shooting schedules – had been kicking around Hollywood’s second and third tier studios since near the beginning of the silent era. His specialties were second features - mostly westerns and mysteries - but he wasn’t opposed to taking on any film project if it helped to keep him employed.

Though not considered a “horror” film director by any measure, Beaudine would nonetheless helm two Bowery Boy comedies that brushed against the supernatural: Spook Busters (Monogram, 1946) and Ghosts on the Loose (Monogram, 1943). He would also work with Bela Lugosi on two “Poverty Row” horrors for Sam Katzman: The Ape Man (1943) and Voodoo Man (1944). In fact Carradine was cast in the latter film - a vintage horror film guilty pleasure if there ever was one - though the actor sadly relegated to a small supporting role with little dialogue. He and Beaudine would work together again. On this occasion the Shakespearian-trained Carradine managed top-billing status in the mad scientist flick The Face of Marble (Hollywood Pictures Corp., 1946).

Time-tested vampire tropes are pretty much honored and utilized in Carl Hittleman’s script for Billy the Kid vs. Dracula. Unless, of course, these folkloric blends might interfere with Beaudine’s frantic shooting schedule. One crew member suggested that that Beaudine managed to shoot Billy the Kid vs. Dracula in all of five days, though Beaudine insisted he shot both that film and its companion film Jesse James vs. Frankenstein’s Daughter in sixteen days total. In any event, this is the one vampire film that is unusual as it takes place almost entirely in the light of day. If a night scene had to be included as a dramatic necessity, nightfall is usually suggested – and not too convincingly - by setting a blue filter over the lens. The film’s shortfalls weren’t lost on Carradine. Once speaking of his career in film, Carradine opined, “I have worked in a dozen of the greatest, and I have worked in a dozen of the worst… I only regret Billy the Kid vs. Dracula.”

Writing in Variety, Joe Leydon outlines ten key retro films that feature in Quentin Tarantino's ode to 1969, "Once Upon a Time...in Hollywood". As one might expect from the director, the films range from boxoffice hits ("Valley of the Dolls", "Easy Rider", "The Wrecking Crew")  to obscure titles the average viewer will not be familiar with ("Fort Dobbs", "Model Shop"). Click here to read. 

“TWO JEAN GABIN CRIME NOIRS”

BY RAYMOND BENSON

The French caught on to Hollywood’s wave of crime movies in a big way. In fact, the French critics coined the term film noir to describe the types of B-budget, angst-ridden, expressionistic, hard boiled flicks that were made throughout the 1940s and 1950s in America. French filmmakers had been toying with this style of crime picture since the late 1930s, but in the 50s, they, too, emulated what Hollywood had been doing—only they notched up the violence and the darkness.

Classic French actor Jean Gabin, who became known to U.S. and U.K. audiences with his superb performances in Jean Renoir pictures of the 30s (Grand Illusion, The Human Beast) and early gangster flicks (Pépé le Moko), rejuvenated his career in the 50s by starring in several of these European gangster films. Gabin, who might be described as a French mixture of Spencer Tracy and Humphrey Bogart, was a wonderful, charismatic actor who could play tough guys with a touch of empathy, the same way Bogart could.

Touchez pas au grisbi (1954), which translates to, roughly, “Don’t Touch the Loot,” was released in the U.K. as Honour Among Thieves and apparently in the U.S. as simply Grisbi. Gabin is Max, a high-level gangster who has just pulled off a daring heist of gold bars. The idea is to lay low and fence the gold when it’s safe. Unfortunately, a dastardly femme fatale throws a monkey wrench into the plan. Max’s partner, Riton (René Dary) has said too much to his burlesque dancer girlfriend, Josy (a feisty young Jeanne Moreau), who of course blabs it to Angelo (Lino Ventura) a rival gang member who is sweet on her. Trouble ensues.

Razzia sur la chnouf (1955), which translates to, roughly, “Raid on the Dope, or Raid on the Drugs,” was released in the U.S. as simply Razzia. In this picture, Gabin is “Henri from Nantais,” another high-level gangster working in the U.S., who is summoned to France to take over and improve the heroin distribution operation run by a large syndicate. Henri manages a restaurant as cover, and then proceeds to clean house. In the process, he becomes romantically involved with the restaurant cashier, Lisette (the scintillating Magali Noël). As Henri lays down the law among the men, the body count increases, culminating toward an explosive climax.

Both pictures are terrific, but the edge goes to Razzia. While Grisbi employs a fascinating character study in Max, the first half is a slow burn and doesn’t become truly thrilling until the final third—which does indeed erupt in a brutal violence that was uncommon for the 1950s. Razzia is better constructed and is more “colorful” (even though it’s shot in black and white) with the depiction of Chinese and black user drug dens, underworld politics, and the details of the drug operation. Razzia also has a very satisfying twist ending. In both cases, the directors, Jacques Becker and Henri Decoin, respectively, handle the material with firm hands.

Kino Lorber’s two sold-separately Blu-ray packages contain gorgeous, sharp high definition 1920x1080p restorations, in French with optional subtitles, and both also feature an audio commentary by film critic Nick Pinkerton. The Grisbi disk has some supplements: a fun vintage interview with Jeanne Moreau; an interview with the director’s son, Jean Becker; and an interview with professor/film critic Ginette Vincendeau. Note that the information on the back of the jewel box states that the film’s run time is 83 minutes, when in fact it is 96. Razzia, unfortunately, does not contain any extras. Both disks offer the original theatrical trailers, plus other Kino Lorber title trailers.

Any fan of film noir, the actor Jean Gabin, and/or gritty crime pictures, will enjoy these two French gems. Sacrebleu!

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BY DOUG OSWALD

Ben Kingsley is an escaped Nazi living in Argentina in “Operation Finale” available on Blu-ray from Universal. Kingley is not just any escaped Nazi, but Adolph Eichmann, the highest ranking Nazi to escape justice after World War II. The so called “Architect of the Final Solution” has been living a quiet life in Argentina for 15 years when Israeli intelligence, Mosaad, receive information from blind German ex pat Lothar Hermann (Peter Strauss) and they set a plan in motion to kidnap Eichmann and bring him to Israel to stand trial.

The German community in Argentina is filled with former Nazis who gather for reunions and discuss their mutual hatred of Jews. Lothar’s daughter, Sylvia Hermann (Haley Lu Richardson), meets a boy named Klaus (Joe Alwyn) at the cinema. He invites her to a German party where she is appalled by the overt anti-Semitism. Lothar gets word to the Israelis that Eichmann may be the father of the boy his daughter is seeing. The Mosaad encourage Sylvia to visit the Eichmann home where she meets Vera (Greta Scacchi) and the children as well as Adolph Eichmann himself who is living under an assumed name and working as a mid-level manager. A Mossad agent confirms it is Adolph Eichmann, but they will not know for certain until they capture and interrogate him.

Mosaad agent Peter Malkin (Oscar Isaac) is part of the team assigned to develop a precision kidnapping and escape plan. As we know from history, the Israelis succeed in getting Eichmann in May 1960 and bringing him to Israel for a public trial. The agents held Eichmann at a safe house for nine days in order to confirm his identity and smuggled him out of Argentina on an El Al flight. The movie depicts the tense moments when the flight plan was waiting final approval until the flight was released for departure.

The days at the safe house are interesting as Eichmann was kept isolated, blindfolded and handcuffed to his bed. His interrogators finally get him to confirm his identity when the head of the Mosaad, Isser Harel (Lior Raz), purposely misreads Eichmann’s SS service number several times until Eichmann’s perfectionism gets the better of him and he corrects Harel. Eichmann states his desire to set the record straight on his role in the Third Reich as little more than a bureaucrat ensuring the trains ran on schedule. The fact that the trains contained human beings who were being transported to their deaths was of no concern to Eichmann and he took no responsibility for his role in the murder of millions under Nazi Germany.

The film was directed by the multi-talented actor, writer and producer Chris Weitz, best known for his work as director and writer on “About a Boy” and “The Golden Compass” as well as the writer of “Rogue One: A Star Wars Story.” The movie does a nice job dramatizing this post-script to World War II and the defeat of Nazi Germany. Oscar Isaac is very good as agent Malkin, especially his interrogation scenes with Kingsley. I do have a problem with Kingsley playing the younger Eichmann in flashback scenes during World War II which make him look like a wax-work figure. The movie ends with Eichmann departing Argentina followed by brief scenes of him on trial. The film includes a coda running prior to the end credits including film of the actual trial and profiles of the agents involved with Eichmann’s capture.

(Fonda and Dennis Hopper in "Easy Rider") 

BY LEE PFEIFFER

Peter Fonda, the actor, screenwriter, producer and director, has died at age 79 from lung cancer. His family represented one of America's most legendary acting dynasties. His father was Henry Fonda, his sister Jane Fonda and he was the father of actress Bridget Fonda. He and Jane had a fractured relationship with their father that ultimately saw them reconcile in Henry's later years. Their mother committed suicide when they were very young and they were initially told she had died of a heart attack. Peter almost died as a teenager when he accidentally shot himself in the stomach. He and Jane both found success as actors, following in their father's footsteps. Peter's early films found him in supporting roles but his breakthrough role as a leading man came in Roger Corman's 1966 biker film "The Wild Angels", which was made on a shoestring budget but ended up being a high grossing hit. He had another cult hit for Corman the following year with the drug-themed drama "The Trip". Fonda's position as an icon of Sixties pop culture was cemented with the 1969 release of "Easy Rider", which he co-wrote with Dennis Hopper (who also directed the film) and Terry Southern. Fonda produced the movie on a budget of less than $400,000 and sold the distribution rights to Columbia. The movie revolutionized international filmmaking and went on to staggering grosses and great acclaim, although Fonda and Hopper would have a personal falling out relating to the movie.

In the years after "Easy Rider", Fonda had a checkered career. He directed and starred in the 1971 revisionist western "The Hired Hand" which was a boxoffice flop but which went on to become an acclaimed cult movie, similar to Thomas McGuane's 1975 movie "92 in the Shade" in which Fonda also starred. He dropped out of acting and filmmaking for extended periods of time before gaining an Oscar nomination for Best Actor in the 1997 film "Ulee's Gold". Fonda had been back in the news in recent months in relation to the 50th anniversary of "Easy Rider". He was scheduled to introduce the film at a high profile screening of the movie this September at Radio City Music Hall. For more click here.

BY HANK REINEKE

Scream and Scream Again (1970) is the second of three films horror maestro Vincent Price would sign onto in his late-stage years of working for American-International Pictures. This film, a very peculiar one by many standards, was bracketed by two other British horrors for A.I.P., The Oblong Box (1969) and Cry of the Banshee (1970). All three films of these films were helmed by director Gordon Hessler, who also doubled as producer of these first and third efforts.

From 1960 through 1964 A.I.P. enjoyed great success with Roger Corman’s cycle of stylistic Gothic horrors. These films were similar in many ways, often featuring a tortured and/or haunted Vincent Price in Corman’s somewhat liberal adaptations of stories by the likes of literary horror masters Edgar Allan Poe and H.P. Lovecraft. The successes of these films were mostly in the studio’s rearview mirror by 1965. With the ticket-buying public’s interest in Gothic horror and costume period pieces clearly on the wane, A.I.P. was doing their best to exploit the talent and drawing power of their most bankable contract star. Depending on who you ask, some argue that this trio of British A.I.P. film projects (1960-1970) ministered by Hessler and starring Price were satisfying only to a base of faithful devotees.

Both Hessler’s The Oblong Box and Cry of the Banshee – not to mention Michael Reeve’s controversial Witchfinder General (1968) – were unrelentingly grim in the presentation of their subject matter. They were all very good films, mind you – some consider the Reeves’ film a masterpiece - but their dark and serious themes and depressing atmospherics simply did not allow Price to bring his trademark mix of Devilish charm and menace to his assigned characters. It wasn’t until the releases of The Abominable Dr. Phibes (A.I.P., 1971), Dr. Phibes Rises Again (A.I.P., 1972) and Theatre of Blood (United Artists, 1973), that the ship would be righted, all three capitalizing on the veteran actor’s talent as a colorfully self-mocking, blood-letting, and black-humored eccentric.

In Scream and Scream Again, a modern day sci-fi thriller rather than a traditional horror, Price again was burdened again in a humorless role as “Dr. Browning.” The not-so-good doctor is, in fact, a mad scientist engaged in the creation of super-human “composites,” whiling away his days in the laboratory of his stately manor house. Price is, sadly, wasted in a role that could have been played by anyone. Then again none of this film’s top billed players – Price, Christopher Lee and Peter Cushing – were given much to do. If Price’s is the principal star of this film, it’s simply by default. He merely enjoys the most screen time of the three principals listed… but a bit more on that later.

Dr. Browning is not a terribly interesting character; he’s too thinly drawn by screenwriter Christopher Wicking and we don’t see much of him until the film’s closing minutes. The best of Vincent Price’s on-screen characterizations are the ones where he seems relishing the role. One is never really certain if Price even has any idea what is going on around him in Scream and Scream Again. Director Hessler would more or less confirm this in subsequent interviews, confiding to one writer that he thought Price was not particularly fond of the three films he made under his direction. In the case of Scream and Scream Again, Hessler believed the actor “didn’t know what he was doing in the picture; he thought it was all weird and strange.”

If this was the case, Price was not alone in his confusion. Co-star Christopher Lee (who tragically only shares a brief single scene with Price) expressed similar sentiments. As Lee’s on screen time in this ninety-four minute film (U.S. version) lasts little more than eight minutes or so in total, he could more easily dismiss the film’s shortfalls as he wasn’t burdened with the responsibility of carrying the picture. And for a film that teamed the three-biggest horror movie icons of the 1960s and 1970s for the first of only two full-length features together, it’s something of a tragedy that poor Peter Cushing’s role is little more than a cameo. The scourge of missed opportunity is ever-present throughout Hessler’s opus.

Scream and Scream Again is credited as having been based on Peter Saxon’s 1966 sci-fi-novel The Disorientated Man. But, as with seemingly everything relating to this is film, even that’s vague. In fact there was no actual Peter Saxon; the name was a general pseudonym given to a stable of authors over-used and underpaid by a certain British publisher of mass market sci-fi paperbacks. As I’ve never read Saxon’s novel, I cannot say with any certainty if Hessler’s film is in any form a faithful, cinematic reproduction of the source material. I can attest that the director most assuredly captured the spirit of the book’s title. In the final analysis, it could be argued that Hessler’s multiple, shifting and confusing scenarios in Scream and Scream Again produced The Disorientated Viewer.

I won’t attempt to explain the film’s storyline here. In short Hessler’s mosaic narrative is a series of seemingly incongruous episodes bewilderingly stitched together. These threads do come together, somewhat un-satisfyingly, in the end. It was an unusual approach in telling this complex story cinematically but, in my personal opinion, only occasionally successful. On the other hand, the film is never dull, just confusing in its structure. It can also be argued that for a film masquerading as a police case or espionage caper, there’s no palpable sense of tension building to a satisfying climax. Nonetheless, many of the film’s scenes are memorable in standalone instances. Not particularly suspenseful, but memorable.

The mysterious villains of this film are adorned in both business suits and ersatz-Nazi regalia. It’s never overtly explained if these schemers are jack-booted Communists or Fascists, but they’re most certainly totalitarians. The bad guys are seemingly based out of some unnamed East European nation. The Stasi-like military helmets, the term “Comrade,” and a well- guarded checkpoint suggest a hostile regime resembling that of Communist East Germany. But their interest in scientifically developing an army of super-humans is… well, straight from the Nazi playbook.

Disappointingly, and as referenced earlier, the better part of the film does not prominently feature Price, Lee, or Cushing despite their shared star-billing. The film mostly follows the violent doings (and ensuing police investigation) of a renegade composite; a handsome but murderous, synthetic flesh-eating Cyborg who drives a nifty red sports coupe. His modus operandi in choosing victims is by befriending them at “The Busted Pot,” a swinging and noisy London nightclub. To tell more is to give things away. Should you require a more detailed synopsis there are plenty of erudite and thoughtful treatises on Scream and Scream Again published in books, magazines, and on-line.

BY EDDY FRIEDFELD

If you’re wondering whether the original Aston Martin DB5 from “Goldfinger”  is as beautiful in person as it is on screen, wonder no more: it is a pristine specimen, a preserved and likely restored testament to not only the greatest franchise in film history, but a metaphor for ingenuity and quality living.

Displayed prominently recently at New York’s Sotheby’s Auction House on Manhattan’s Upper East Side, I took pictures through the plate glass window, over the course of a few days, once to see the car with the bullet-proof plate raised over the trunk of the car, only to find it lowered back into the car the next day (I assumed that any shooting had stopped) and found the spike protruding from the hub of the rear wheels, which was designed to shred a pursuing car’s tires.

Now if you ask me what it was like to drive what is arguably the most famous car in world history (with the possible exception of the 1966 Batmobile, which I had the privilege of driving), I cannot help you. When I went back for a private media event and asked if it were possible to drive the car, I was politely dismissed by the event’s host and eyed carefully by a powerfully built security guard whose eyes send me a clear message: if I touched the car I would be both shaken and stirred.

The car, one of four James Bond 007 DB5 models built for the two films, of which only three survive, is schedule to be auctioned off this week, August 15, at the Monterey Conference Center in Monterrey, California. Estimate pre-sale for the auction is between four and six million dollars. According to the sleek auction catalog: “Both car and gadgetry have been fully restored by Roos Engineering in Switzerland, ensuring all gadgetry functions as Q intended.”

I am a few weeks away from my 20^th anniversary as a film and entertainment journalist and of the hundreds of articles and reviews that I have written, the most often quoted back to me is the following:

“Mounted on the dashboard of my black convertible are two plastic switches, "Grenade Launcher" and "Ejector Seat." They amuse friends and concern wary parking lot attendants. I own high tech gadgets ranging from a big screen television that can do virtually everything except fly, an IBM laptop with a Celeron processor (I do not know what that is either), to the George Foreman Grill, on which I can broil a steak in eight minutes. But I have never disarmed a thermonuclear device with seven seconds left to detonation, and I have never killed or otherwise disabled a dozen enemy agents while skiing backwards down the Swiss Alps. I have never devised a creative escape from a windowless room as the two opposite, spike-laden walls were closing in on me, and I have never had an arch enemy with plans for world conquest. But not unlike most men, regardless of race, religion, or age, I cannot look at myself in a mirror in a tuxedo without smiling wryly and thinking: "Bond, James Bond."

007 survived the Cold War, eleven sitting presidents, and after almost 60 years, still amasses millions of new fans each year, who watch the same movies over and over, and who quote dialogue like gospel. Bond has become the most enduring movie franchise in history. The signature theme punctuated by the four note riff that plays at the beginning of every Bond entry, where 007 walks to the center of the gun barrel, turns and shoots, is arguably the most recognizable movie theme and opening in history.

To anyone growing up in the 1960s and 70s, it was hard to escape the cultural influence and lure of James Bond and his imitators and progeny, ranging from Napoleon Solo and Illya Kuryakin, The Men from U.N.C.L.E to Maxell Smart and Agent 99 from “Get Smart” to Jay Bondrock from “The Flintstones” and “The Beverly Hillbillies”’ Jethro Bodine, who after seeing “Goldfinger”, decided he was going to be a “double-naught spy.” At least once a year for the last 20 years I ask my still good friend and now editor, Lee Pfeiffer to walk the streets of Upper East Side near the United Nations in search of Del Florias’s Tailor Shop, where pulling the hook in the fitting room opens the secret entrance to U.N.C.L.E headquarters, New York.. While he politely declines each year, I remain hopeful despite the fact I realize the tailor shop was located on MGM’s back lot.

Bond is still a powerful archetype–a blend of escapism and the need to put order to an otherwise disorderly world. The real enemies in Bond's world are boredom, frustration, and complacency. Bond was and is the rebel within the system: he “gets the job done.” He is a “closer.” In his world there are no complicated decisions or murky choices, no mortgage payments, or unavailable baby sitters. Megalomaniacs are not the people you want to work for, as they get sucked out of airplanes at 30,000 feet or get tossed off their own space platforms. Someone who cuts you off on the highway can be dispatched with a wing machine gun or a laser beam activated from a control panel concealed beneath the armrest and bad dates (despite the fact that they carry guns and scalpels) get killed by hulking silent adversaries with no necks or get dropped into tanks filled with piranha.

Bond was created and nurtured in the hopeful era when it was believed that one intelligent, passionate, and resourceful person could change the world for the better. President John F. Kennedy said “I wish I had James Bond on my staff.”

Ian Fleming created Bond as "an interesting man to whom extraordinary things happen." He appropriated the name "James Bond" from the author of Birds of the West Indies (which he pulled off his shelf) because he felt the name suitably "dull" and "anonymous." The prescient Fleming’s early insight about globalization was that it would be non-states and stateless organizations, not other countries, that would become villains and antagonists in an increasingly globalized world. In a way, Fleming predicted Google and Facebook having the influence they have today.

The James Bond Aston Martin DB5 represents the enduring legacy of 007 not only as quality entertainment but also as an iconic character of hope and progress. To borrow from another classic icon, “The Maltese Falcon”, “it is the stuff that dreams are made of.”

Cinema Retro contributor Eddy Friedfeld teaches film classes at NYU and Yale, including the history of James Bond

(For additional information about the Aston Martin that is up for auction, click here.)

REVIEW: JEAN-LUC GODARD'S "ALPHAVILLE" (1965) STARRING EDDIE CONSTANTINE; KINO LORBER BLU-RAY SPECIAL EDITION

CELEBRATING BERGMAN'S SUMMER MOVIES

SILVA SCREEN TO RELEASE GERRY ANDERSON'S "UFO" SOUNDTRACK ON CD AND VINYL

REVIEW: JESS FRANCO'S "ATTACK OF THE ROBOTS" (AKA "Cartes sur table") (1966) STARRING EDDIE CONSTANTINE; BLU-RAY SPECIAL EDITION

REVIEWS: "BUTLEY" (1974) AND "IN CELEBRATION" (1975) STARRING ALAN BATES; KINO LORBER BLU-RAY SPECIAL EDITIONS

DOUBLE-0 HEAVEN: CINEMA RETRO'S MARK CERULLI FINALLY CATCHES UP WITH THE 1970 "THUNDERBALL" & "YOU ONLY LIVE TWICE" DOUBLE FEATURE

REVIEW: "PORT OF SHADOWS" (1938) STARRING JEAN GABIN; KINO LORBER BLU-RAY SPECIAL EDITION

REVIEW: ROBERT DOWNEY SR.'S "PUTNEY SWOPE" (1969); DUAL FORMAT SPECIAL EDITION FROM VINEGAR SYNDROME

REVIEW: UMBERTO LENZI'S "THE TOUGH ONES" (1978); BLU-RAY SPECIAL EDITION FROM GRINDHOUSE

REVIEW: "LADY SCARFACE" (1941) STARRING DENNIS O'KEEFE, JUDITH ANDERSON AND FRANCES NEAL; WARNER ARCHIVE DVD RELEASE

REVIEW: QUENTIN TARANTINO'S "ONCE UPON A TIME...IN HOLLYWOOD"

REVIEW: "BETWEEN THE LINES" (1977); COHEN COLLECTION SPECIAL EDITION BLU-RAY

RUTGER HAUER DEAD AT AGE 75

ACTOR DAVID HEDISON DEAD AT AGE 92