to be mistaken for the cannibal monstrosity from Umberto Lenzi with which it
shares its title, Eaten Alive is a
1976 tale of terror set in the Louisiana swamps and was directed by Tobe Hooper
in the wake of his phenomenal success with The
Texas Chain Saw Massacre two years earlier. From the outset Eaten Alive shares its predecessor's
mien of ill ease (though not to such stomach-tightening effect), but little of
its wicked humour. Indeed it's an all-round far crueller film and positively bubbles
over with bloodshed.
Mardi Rustam – who also wrote the story with colleague Alvin L Fast, TCSM's Kim Henkel then adapting it for
the screen – was aiming to ride the tidal wave of Jaws' success; what the results lacked in quality (certainly if
Rustam felt truly inspired by
Spielberg’s film) was voraciously compensated for with lashings of cheap
thrills and squalid chills.
story kicks off with a very fresh-faced Robert Englund attempting to abuse 'the
new girl' in a grimy brothel. Immediately deciding that prostitution isn't for
her, the young lass packs her bags and sets off on foot into the night. But
it's very much a case of ‘out of the frying pan and into the fire’ when she
stumbles across the remote Starlight Hotel and its creepy proprietor Judd
(Neville Brand); after attempting to assault her, he prongs her to death on the
tines of a pitchfork and feeds her corpse to the huge crocodile he keeps in an
enclosure in the back yard. It’s a brutal and extremely graphic sequence but
one via which Hooper adeptly alerts the audience that he's upped the ante to
deliver something rather more visceral then he did with TCSM (which for all its notoriety is a largely bloodless affair,
functioning primarily on a psychological level). The rest of the movie’s
runtime pivots on Judd serving up hotel guests as crocodile chow for no
discernible reason beyond the fact he's mad as...well, as a box of baby crocs.
the unbridled success of Hooper's earlier film, it's no surprise that Eaten Alive is often given short shrift
and indeed it is inferior, mainly due
to sluggish pacing and the fact it was shot in its entirety on a soundstage;
although the hotel exteriors –wreathed in swirling mist and bathed in a
quease-inducing red glow – have an appealingly stylised look, it's also
painfully obvious one is looking at a studio-bound set, replete with the tell-tale
hollow sound resulting when interiors feebly posture as exteriors. However, if you
can look past this handicap, and claustrophobic dread coupled with sleaze by
the bucketful float your boat, then there's plenty on offer here to keep you
cast alone is worth tuning in for. Complementing Brand's frenetic turn as the
maniac hotel manager there are fun appearances from legends Mel Ferrer (whose
career had certainly seen better days) and Addams
Family icon Carolyn Jones (almost unrecognisable as the decrepit Madam of a
brothel). Also on hand are Stuart Whitman as a local sheriff oblivious to the
carnage being perpetrated on his patch and TCSM's leading lady Marilyn Burns, who fortuitously discards her
frightful wig early on but still ends up bound and gagged by our resident psychopath...
the poor girl didn't have a lot of luck in Hooper's films, did she? There's
also a bizarre turn from William Finley as a disgustingly sweaty guest with a
penchant for barking like a dog, giving Brand strong competition in the most deranged
lurking under titles such as Horror Hotel,
Starlight Slaughter and Legend of the Bayou, when Eaten Alive was issued in the UK on VHS
in the early 80s under the moniker Death
Trap it immediately drew unfortunate attention that earned it a place among
the infamous 'video nasties' and it was withdrawn from circulation. Previous DVD
releases have reportedly been pretty much substandard across the board (although
I haven't seen any of them to be able to comment fairly). But one thing's for
sure: Arrow's new uncut Blu-ray/DVD combination package is anything but substandard, in fact it's absolutely
terrific, doing Robert Caramico's stylish cinematography more fitting a service
than one could have ever imagined possible.
if such a superior, uncut presentation of the film alone doesn't make this one a
worthwhile purchase, Arrow has bundled in an impressive collection of
sweeteners. There are new interviews with Tobe Hooper (who also appears in a
blink-and-you'll-miss-it introduction tagged onto the start of the movie), supporting
actress Janus Blythe and make-up artist Craig Reardon, as well as older ones
with Hooper, Robert Englund and Marilyn Burns. Mardi Rustam provides an
informative commentary and there's also a 20-something minute featurette that
delves into the life of the Texas bar owner upon who the film is loosely based,
as well as a healthy selection of trailers, radio and TV spots, plus a gallery
of poster art and lurid lobby cards. A final gem appears in the form of a
gallery of original 'comment cards', collected from attendees at a preview
screening of the film back in 1976, with the incentive for filling them out being
a reward for the best 'new title' suggestion. Most of the remarks are pretty
uncharitable, with an amusing standout being the one on which the viewer
sarcastically requests to be informed of any subsequent title change so that
he/she doesn't inadvertently go to see it again!
When the “hardware widow” (Allyn Ann McClerie) asks
Monte Walsh (Lee Marvin) if he’d gotten used to the idea of his long-time
partner Chet Rollins (Jack Palance) and her being married, Monte says: “I never
had so many things to get used to in my whole life, as now.” That line of
dialogue in the middle of William Fraker’s “Monte Walsh” (1970) pretty much
sums up this first and best film adaptation of Jack Schaeffer’s novel about the
end of the Old West in general and the cowboy life in particular. It’s a true classic and even though it
features two of the toughest tough guy actors of the sixties and seventies,
it’s not a melodramatic shoot-em-up, full of violence, sound and fury. Rather it’s
an elegiac portrait of the way it must have really happened, presented in a style
as realistic as the Frederick Remington paintings shown under the opening
At the start of the story, Monte and Chet are two
cowboys riding back to Harmony, Montana, and the ranch where they work, only to
find that everything is gone. The winter was so severe the local ranchers gave
up and sold out to Consolidated Cattle, an Eastern syndicate “run by accountants,”
according to foreman Cal Brennan (Jim Davis). Brennan is managing the only
spread left by Consolidated and offers them jobs. The film’s first act
introduces the basic situation and most of the main characters which include
Shorty (Mitchell Ryan), a bronc buster full of mischief and braggadocio, and
Martine (Jeanne Moreau), a prostitute who Monte calls The Countess because of
her French accent and is in love with in his own way. There’s a bunkhouse full
of familiar actors you’ve seen before, including Bo Hopkins, Michael Conrad,
and J.D. Spradlin.
Once the mise en
scene is established, screen writers Lucas Heller and David Zelag Goodman
prepare us for the trouble lying ahead by introducing the character of Fightin’
Joe Hooker (John McLiam), an old, deranged Civil War veteran who rides fence
and keeps muttering, “I had a good life.” Chet and Monte remark to themselves that it appears Fightin’ Joe’s life
is about over. Riding fence is the lowest job a cowboy can have. Soon after,
when all the hands are out on the prairie, gathered around the chuck wagon,
they see Fightin’ Joe on his horse whooping and galloping in a suicide charge straight
off a cliff.
When they return to the ranch Brennan informs them that
Consolidated has ordered four layoffs and Shorty is one of those given his
walking papers. Monte gives him some money, knowing there just aren’t any
cowboy jobs available anymore. Chet meanwhile has had his eye on the widow who
owns the hardware store. In one scene, he asks Monte if he remembered how many
cowboys there were when they first got there. “There’s a hell of a lot fewer
now,” he says without waiting for an answer. He tells Monte he’s going to marry
the “hardware widow.” Too make matters worse for Monte, Martine is moving to a
town 40 miles away. There aren’t enough men left in Harmony for her to make a
After Chet’s wedding, Monte rides to see Martine and proposes
marriage. Only trouble is neither one had any money. He says he’ll come back
after he finds a job. Back in Harmony that night he walks down the dirt street
of the sleeping town and the bleak look on his face shows he’s finally aware of
how bad his situation has become. He discovers the grey bronc that Shorty had
never been able to break penned up in a corral belonging to the owner of a Wild
West show. Monte saddles up and rides the bronc, destroying half the buildings
in town in the process. The scene conveys Monte’s sense of growing frustration
as civilization has been taking away all the things and people he knew. The
destruction of the buildings may be only coincidental to Monte doing what he
does best perhaps for the last time, but it’s also meant to show a displaced
cowboy wreaking some revenge on the progress that is making him obsolete. The
Wild West Show operator offers him a job playing a fictitious outlaw. Monte
needs the money but he thinks about it and turns it down, saying. “I’m not
going to spit on my whole life.”
There have been many films about the ending of The Old
West. Sam Peckinpah’s “Ride the High Country,” “The Wild Bunch,” “Pat Garrett
and Billy the Kid” and “The Ballad of Cable Hogue” immediately come to mind, as does Tom Gries’s
“Will Penny,” with Charlton Heston. These are great films, but “Monte Walsh” is
more like “Will Penny” and “Cable Hogue” in the sense that Peckinpah’s action films
have plots revolving around violence and revenge, while “Monte Walsh” has very
little, if any, plot. There are shootings and fist fights, but are shown merely
as part of the everyday life of a cowboy. Instead of the heavy blood-letting found
in the “The Wild Bunch” most of the action in “Monte Walsh” is rather
good-natured and usually ends in laughter and a drink. These scenes are made
all the more poignant as we watch the impersonal and far more lethal forces moving
into the west, slowly killing the kind of life these people knew.
The times soon become so desperate economically the
characters are forced to change. Lack of employment and the possibility that
there will soon be no place for them, drives them to desperate acts. The
gradual erosion of the situation the cowboys and Monte’s lover face is
portrayed so subtly and realistically that it comes almost as a surprise when
things do suddenly take a violent turn.
“Monte Walsh” was remade in 2002 with Tom Selleck. Unlike
that version, the original film does not present the Eastern syndicate and the
railroad as evil villains. Fraker and his writers instead merely show the
inevitability of progress and how civilization’s forward expansion necessarily
makes some things and people extinct. It’s unfortunate but it’s just the way
Not enough can be said about the understated,
thoughtful performances by the three leads. Marvin reveals a sensitivity that
only a truly tough man can risk showing. His quiet, low key portrayal and his
gradual understanding of what is happening around him slowly builds to a truly
sad and tragic scene near the end of the film. Palance again reminded us of
what a great actor he was in the days when he played Mountain Rivera in Rod
Serling’s “Requiem for a Heavyweight,” on Playhouse 90. And Jeanne Moreau moves
us deeply as she accepts Monte’s proposal, and later, when he can’t find a job,
tells him “It’s okay.” She wasn’t expecting a wedding right away, knowing in
all likelihood there never would be one.
“Monte Walsh” was Fraker’s first directorial effort. He
is better known as a cinematographer who worked on “One Flew Over the Cuckoo’s
Nest” and “The Professionals,” also with Lee Marvin. His only other notable
directing job was “The Legend of the Lone Ranger.” On “Monte Walsh” he turned
the lensing over to David M. Walsh who captured some nice images of the area
around Tucson, subbing for Montana.
The music score was by John Barry with a tune “Good
Times Are Coming” sung by Mama Cass. Barry’s score has been highly praised, but
I found it too reminiscent of some of the Bond films he’d done, and for that
reason somewhat distracting. The Mama Cass vocal was another discordant
element, definitely a product of the time the film was made—the peace and love
music of the
Seventies “Flower Power” generation. However, the
ironic tone of the lyrics perfectly fit the movie’s theme.
The Kino Lorber Blu-ray give us “Monte Walsh” in full
2.41:1 aspect ratio, as it
was filmed. Earlier VHS versions cropped the film to 1.85:1 . Color and picture are excellent. Sound is monaural and a
bit bright, making Barry’s score shrill at times. However the dialog is clear,
with the music never overpowering the actors’ words. Unfortunately there are no
extras on this Blu-ray other than the original theatrical trailer.
“Monte Walsh,” especially on this Kino Lorber disc is
highly recommended to all lovers of the western and to those who enjoy films that
try to attain the status of a work of art simply by telling the truth.
(John M. Whalen is the author of "Hunting Monsters is My Business: The Mordecai Slate Stories" . Click here to order the book from Amazon)
By the late 1950s, the late French novelist Jules Verne was considered good boxoffice, with smash hits such as 20,000 Leagues Under the Sea and Around the World in 80 Days having been adapted from his books to the screen. Fox wanted to jump on the bandwagon and made plans to film one of Verne's most popular novels, Journey to the Center of the Earth. The studio had allocated a substantial budget, most of which went into production design and special effects. The project began with Clifton Webb attached at the star, but James Mason ultimately took over the key role of Sir Oliver Lindenbrook, as esteemed Scottish scientist who receives tantalizing evidence that one of his legendary peers, who disappeared two hundred years earlier, may have found a way to explore the deepest regions of the earth's nether regions. Obsessed with replicating this quest, Lindenbrook takes along Alec McKuen (Pat Boone), one of his most promising students. The expedition arrives in Iceland, where Lindenbrook also enlists the aid of Hans (Peter Ronson), a strapping young local man whose physical strength will prove to be useful in the ordeals to come. Unexpectedly, Lindenbrook finds himself having to rely on the support of Carla Goteborg (Arlene Dahl), the widow of a rival scientist who Lindnebrook had mistakenly confided in, only to find the man was trying to use the information to make the historic journey himself. The team is well-equipped for the dangerous mission, but once inside the bowels of the earth, they discover that yet another rival, Count Saknussem (Thayer David), is also competing to race them to the actual center of the planet- and he is willing to use deadly force to ensure he gains all the glory. The film is utterly delightful throughout, thanks in large part to the winning cast. Mason is perfect as the cranky, eccentric professor whose obsession for the mission inspires him to lead the team into the most dire circumstances. Most surprising is the performance of Pat Boone, who Scottish accent comes and goes on a whim, but who exudes genuine appeal on the big screen. (Boone also produced the movie, an investment that still pays him substantial dividends.) At the time, casting singing teenage idols in major film roles was a gimmick that often didn't work and proved to be a distraction. However, Boone acquits himself well throughout and limits his crooning to only one romantic number early in the film. Dahl is the ultimate liberated woman, insisting on holding her own amid some vile threats and Thayer David exudes icy menace as the cold-hearted explorer willing to murder for glory. Young Diane Baker plays Alec's fiancee, who spends most of the film back in Edinburgh worrying about the fate of her betrothed. (Although a few scenes were shot in Scotland, the principal actors never left the United States. Much of the footage was shoot at Carlsbad Caverns in New Mexico, as well as Lone Pine, California). Veteran director Henry Levin proved to be an inspired choice to helm the production, as he is equally adept with the human elements of the story as he is with the spectacle.
Twilight Time had previously released the film in 2012. However, this "new, improved" edition features new cover art, isolated score track of Bernard Herrmann's bombastic, impressive score and an audio commentary by Diane Baker and film historians Steven C. Smith and Nick Redman. There is also an original trailer and the usual informative collector's booklet with liner notes by Julie Kirgo. The limited edition (5,000 units) Blu-ray that does justice to the amazing set designs and special effects. While these aspects of the movie may seem quaint and retro in the age of CGI, they will amaze more sophisticated viewers who realize that they represent the work of true craftsmen who labored to come up with the incomparable look of the film. The climactic attack by an army of super-sized, flesh-eating lizards is especially impressive and downright chilling. This is one exotic Journey that is worth the investment.
Warner Home Entertainment has recently released their
special edition DVD of director Joe Dante’s “Innerspace” on Blu-ray. The 1987
film is a sci-fi comedy that afforded Martin Short and Meg Ryan early career leading roles in a tale of inspired lunacy. The premise of the script centers on a narcissistic former military test pilot Tuck Pendelton (Dennis Quaid) who volunteers for an unprecedented scientific experiment. Doctors have the technology to shrink him and inject him into the body of a rabbit. They also obviously have the ability to bring him back into the outside world where he can resume his normal activities at his normal size. The purpose of the experiment is to allow medical technicians to eventually inject operatives into human beings so that they can perform miracle surgeries. However, there are some bad guys who are looking to benefit from the amazing technology by selling it to the highest bidder. After Tuck has been reduced inside a hypodermic needle, there is an altercation between the villains and scientists. A chase ensues that extends outside of the laboratory. By happenstance, Jack Putter (Martin Short), a nondescript grocery store clerk, is injected by the needle. The result is that Tuck is now floating around the bloodstream of an unwitting, innocent man. The laughs result from Tuck's ability to communicate with Jack and convince him of what is happening. Drawn into the mix is Tuck's girlfriend Lydia (Meg Ryan), who Jack befriends at Tuck's urging. In the zany antics that follow, Lydia is finally convinced of the fantastic scenario after she has become targeted by the head villain, a zillionaire named Scrimshaw (Kevin McCarthy). By then, there is a desperate race against time to get Tuck back into the real world before he becomes a permanent part of Jack's DNA.
"Innerspace" is a throwback to an era when major studios would routinely turn out family friendly comedies that were devoid of today's mandatory gross-out jokes and mean-spirited pranks. The entire cast seems to be having a blast under Dante's direction, perhaps because his films are glorious evidence that he has never grown out of the wonder of the types of films that appealed to him as a kid. The movie is a particular triumph of sorts for Martin Short, who proved he could carry a major budget production as a leading man. The special effects hold up extremely well even today (no surprise the film won an Oscar in this category).
We caught up with Dante all these years later to ask him to reflect on his thoughts about "Innerspace".
CINEMA RETRO: How do you feel the film holds up into today's modern age?
JOE DANTE: I've always liked it and I had a lot of fun making it. I think you can tell when you watch it.
CR: It's especially evident listening to the commentary track on the Blu-ray. It's no secret that you have been heavily influenced in your work by the classic and cult horror and sci-fi movies of your youth. Is it fair to say that "Innerspace" was a satire of "Fantastic Voyage"?
JD: I can't vouch for that because I wasn't in on the creation of it. When I was first offered it, the script had no comedy at all. I didn't think it worked that way so I went off and did something else. When I came back, they had a new writer and he approached it as comedy from the concept of what would happen if we shrank Dean Martin down and injected him inside Jerry Lewis. That was a concept I could relate to.
CR: Steven Spielberg executive produced the film. Was he involved before you were?
JD: Actually no, because I was offered the picture by Peter Guber when it was in its serious incarnation. During the time I went off to do something else, Spielberg had become involved. He was probably an impetus for turning it into a comedy.
CR: Did he have any constraints on you regarding your vision of the film?
JD: The atmosphere at Amblin was pretty free. The thing Steven would do is protect you from the studio and sometimes from the other producers. It was a very filmmaker-friendly atmosphere over there. You got all the best equipment and all the best people and all the toys you wanted to play with. Plus you had somebody on your side who was also a filmmaker and they knew exactly what you were talking about when you had a problem or you had a question.
CR: In terms of casting, you seemed to have your own stock company of actors you liked to work with: Dick Miller, William Schallert, Rance Howard, Orson Bean, Kathleen Freeman and even Kenneth Tobey.
JD: I think when you look at a director's filmography, you see the same faces popping up all the time because these people are copacetic and sometimes they become your friend. You originally hire them because you like their work and you like to watch them do their stuff so, whether it's Ingmar Bergman, Preston Sturges or John Ford, they have "go to" people that they put into almost every one of their pictures. The only down side comes when you have made a lot of movies and now you have a lot of people you want to include but, of course, you don't have parts for them.
CR: That tradition doesn't seem to be as prevalent today.
JD: That's because the business has changed so much. The movies aren't made in one locale anymore. There are less opportunities for an actor to shine over and over in a supporting role because when a movie goes to Canada or Australia, you have to use their local people. All those people who built up followings from television and movies and sometimes even radio were constantly being seen by people. Today there's just no opportunity to do that. Not only are there less movies, there are fewer roles and most of the films aren't made in Hollywood any longer.
CR: With "Innerspace", were the leading roles already cast before you got involved? Did you rely much on the casting director?
JD: No, once you are involved with a movie, you're in on all those decisions. The good thing about casting directors is that you can tell them who you want to see and they have the ability to make that happen. They make deals, they make contracts. I was using Mike Fenton, who was one of the best casting directors in the business at the time. Many of my best pictures were cast by Mike. Today, it's a little more piecemeal because so many of the movies aren't made here. So you have dual casting directors. You have the Hollywood casting director and the Canadian casting director. When it gets down to the smaller roles, they almost always cast in the locality you are shooting in. I made enough movies in Vancouver that I actually started to build up a Vancouver stock company because the talent pool there isn't that vast. I sort of bemoan the fact that actors don't have the opportunity for that kind of career longevity. When they decided to start giving all that money to the stars it came out of the casting budget. All of a sudden there wasn't much money for the supporting actors.
Cinema Retro has received the following press release:
ADDS RARE TV SERIES ‘NICHOLS,’ ‘HONDO’
AND ‘A MAN CALLED SHENANDOAH’ TO SATURDAY WESTERNS BLOCK STARTING IN SEPTEMBER
will Air Mini-Marathon of One Series Each Week Starting Sept. 12 at 12 PM ET
CITY, CA –– Monday, August 24, 2015 - Acclaimed movie diginet getTV introduces classic TV series to its
lineup for the first time by adding a block of rarely seen Western series
starting Saturday, September 12 at 12 p.m. ET. The brand new block is a
part of the network's popular ongoing all-day Saturday Westerns lineup,
and will debut with five episodes of the 1971 series NICHOLS, starring
beloved leading man James Garner and a young Margot Kidder, in one of her first
getTV will present five episodes of the wandering gunslinger series HONDO,
starring Ralph Taeger and Michael Pate, on September 19; and 10 episodes
of 1965’s A MAN CALLED SHENANDOAH, starring Robert Horton,
on September 26; both starting at Noon ET. Following several
weeks of mini-marathons, all of the newly added Western series will join the
regular Saturday lineup on a weekly basis.
September 12th, James Garner is a man looking for a fresh start in NICHOLS, set
in small-town Arizona in the early 1900s. Having left an 18-year career in the
military, Garner as Nichols finds himself blackmailed into the role of town
sheriff by the villainous Ketcham Family, who run the town. Riding a motorcycle
instead of a horse, and forsaking guns in favor of more peaceful resolutions,
the newly-crowned lawman takes on bandits, manages town bullies and woos
beautiful bar maid Margot Kidder...all with his own unique style. Created by
Oscar®-winning screenwriter Frank Pierson (DOG DAY AFTERNOON, COOL HAND LUKE,
MAD MEN), with episodes directed by such notables as John Badham and Ivan
Dixon, Nichols also featured Garner’s eventual THE ROCKFORD FILES co-star
Stuart Margolin and included such guest stars as Tom Skerritt, Scatman
Crothers, THE WALTONS’ patriarch Ralph Waite, Alice Ghostley, and Ricardo
Montalban, and was well-known for being one of James Garner's favorite
on September 19, Ralph Taeger and his faithful canine sidekick Sam hit the
road in 1967’s HONDO. Based on the 1953 John Wayne drama of the same
name--which, in turn, was inspired by Louis L'Amour's sixth novel--HONDO stars
Taeger as a former Confederate officer who lived with the Apaches. Tasked with
preventing more violence from occurring between settlers and the remaining
tribes, Hondo embarks on a quest to avenge his Indian wife's death, while
battling dastardly land-grabbers, nosy reporters, and other outlaws, in the
process. Famed movie villain Michael Pate also stars, reprising his big screen
role as Apache Chief Vittoro, and the series features such guest stars as Ricky
Nelson, Fernando Lamas and Annette Funicello. Noah Beery Jr. (who played
James Garner’s father in THE ROCKFORD FILES) co-stars in this series.
month wraps up on September 26, with WAGON TRAIN’s Robert Horton in
10 episodes of the well-regarded half hour Western drama A MAN CALLED
SHENANDOAH. Horton stars as a man who wakes up after being brutally attacked,
with no memory of who he is or why anyone would want to harm him. Searching for
clues to his past life, the man dubbed "Shenandoah" travels through
the desert, running afoul of lynch mobs, dodging false charges, facing off
against violent criminals, and doling out Old West justice along the way. In
addition to Horton, the series boasted a number of impressive guest stars,
including Oscar® winners Cloris Leachman, Martin Landau, and George Kennedy,
and nominees Bruce Dern, Sally Kellerman, Nina Foch, John Ireland, and Arthur
A MAN CALLED SHENANDOAH
getTV, our fans love when we dig into the vaults and find something they
haven’t seen in awhile – or maybe ever. So, in addition to uncovering
hard-to-find movies, we also wanted to deliver our fans some rare TV series,”
said Jeff Meier, getTV’s senior vice president of programming. “One of
our most popular programming blocks on the channel is
our Saturday lineup of Westerns, so we’re especially proud to be able
to present lesser known gems from legends like James Garner and Robert Horton
that haven’t been seen on TV in decades. Although each of these series
originally had a short run, they all feature classic Old West action that will
have viewers agreeing that they were cancelled far too soon.”
a digital subchannel dedicated to showcasing Hollywood’s legendary movies and
is available over the air and on local cable systems. The network, operated by
Sony Pictures Television Networks, launched in February 2014. It features Academy Award® winning films and
other epic classics titles. getTV distribution is close to covering nearly
70 percent of all U.S. television households across 65 markets, including 40 of
the top 50 designated market areas (DMAs). The network is broadcast by
Sinclair Broadcast Group, Univision Television Group and Cox Media Group owned
stations and others. For information, visit get.tv
and connect with the network on Facebook
and Twitter @getTV.
Made months before the U.S.’s entrance into World War
II, “All Through the Night” (1941) stars Humphrey Bogart as “Gloves” Donahue, a
New York Irish gangster battling Nazi fifth columnists. “Gloves” runs a bookie
operation and he’s got the world by the tail until he gets a frantic call from
his mother (Jane Darwell) who is upset because Herman Miller, the baker who
makes “Gloves’ ” favorite cheesecake is suddenly missing. “Gloves”- with his
gang which includes William Demarest, Jackie Gleason, Frank McHugh, and Phil
Silvers- rush over to the bakery and find the baker stuffed in one of the
pastry bins in the basement. A mysterious blonde (Kaaren Verne) shows up and
disappears when the cops arrive.
Gloves and his pals can’t understand why anyone would
want to harm poor old Mr. Miller, but Gloves’ mother tells him that the blonde
who disappeared must know something, and she tells him to find her. Gloves
doesn’t have a clue where to look and is not inclined to pursue the matter
further. But Mom is last seen asking a peanut vender outside the bakery if he
noticed the girl. “Gloves” and his boys
go to his expensive apartment to relax, and no sooner does he light up his
cigar than he gets an angry phone call from Marty Callahan (Barton MacClain),
another Irish mug who owns a nightclub. He’s irate because “Gloves’“ mother is
there raising a ruckus.
“Gloves” and his boys run down to the club and his
mother insists that the girl who was in the bakery works at the club. How she
knows this is never explained. But I guess the peanut vendor must have known. We’ll
never know since his dialogue ended up on the cutting room floor. It’s an annoying gap in the continuity but it really doesn’t matter. The corkscrew script by
Leonard Spigelgass and Edwin Gilbtert is intended to keep the audience guessing
with one surprising reversal after another. What’s more little plot hole more
Meanwhile, the mysterious blonde is there on the stage
singing the “All Through the Night” theme song written by Johnny Mercer. “Gloves”
recognizes her, likes what he sees and tells his mom to go home. He investigates
and in the process of trying get to the girl, “Gloves” finds nightclub manager
Joe Denning (Edward Brophy) shot. Denning holds up the five fingers of his hand
as if trying to tell “Gloves” something. Witnesses see “Gloves” kneeling over the
body so naturally he has to scram. On his way out he sees a cab carrying the
girl and some shadowy figures rushing out of an alley. Through pals he knows at
the cab company, “Gloves” finds the address the cab went to and continues his
And that’s just the beginning. It turns out Denning holding up five fingers
was a warning that there was a fifth column movement of Nazis right there in
New York. The mysterious blonde is part of the movement (or is she?), which is
being run by Conrad Veidt and his pal Peter Lorre. They are planning to blow up
a battle ship in New York Harbor. To think, it all started because “Gloves”
couldn’t get his favorite cheesecake!
Movie studios had been under pressure for years by
isolationists in Congress to refrain from making films that would incite the
country to war. But with the growing threat of Nazism, the rumors of horrors
occurring in Germany, and the known presence of Nazis in cities all over the
U.S., by 1941 the atmosphere had changed. “All Through the Night,” according to
director Vincent Sherman who shares an interesting alternate audio commentary track
on the DVD with film historian Eric Lax, was an attempt by Warners to make an
anti-Nazi comedy. Sherman admits that reaction to it was mixed. I suppose audiences
weren’t sure what to make of a movie that plays like Damon Runyon meets “Watch
on the Rhine.”
The idea for the story is based on some fact. There
were Nazis in Brooklyn and other parts of New York in the late 1930s and the
only ones concerned about them were the local gangsters and newspaper men. The
general public and the police couldn’t have cared less. So the ending of “All
Through the Night,” with rival gangs of Irish gangsters uniting and battling
German saboteurs is not as far-fetched as it might seem.
“All Through the Night” is a chance to see a big cast
of Warners’ regulars at or near their peak in a lively film that more than puts
them through their paces. It’s not Bogart’s greatest film, but it continue to
help elevate him up from the B-movie gangster films and westerns he’d once been
relegated to. It would be only a short time later that he would once again be
battling Nazis Veidt and Lorre in “Casablanca.” By then the isolationists were
silent and the country was already at war.
“All Through the Night” presents a good many extras to
enjoy on the DVD release. The audio commentary by Sherman and Lax is highly
informative. Lax presents the historical facts and Sherman tells what it was
like to work under the Warners studio system. The place was loaded with sets
made for earlier movies. All he had to do was walk around and pick what he
needed to make a movie. In those days film makers rarely left the back lot. In
addition to the commentary, there is a cartoon, newsreel a trailer for
“Gentleman Jim” and a comedy short subject about quitting smoking. There’s a lot
to see and hear on this disc. It will definitely keep you watching “All Through
the Night,” and maybe the next night, too.
Truffaut had an all too short but certainly brilliant career as a filmmaker. He
began in the world of film criticism in France, but in the late 1950s he
decided to make movies himself. Truffaut quickly shot to the forefront of the
French New Wave in the late 1950s and early 60s, alongside the likes of
Jean-Luc Godard, Eric Rohmer, Alain Resnais, and others. By the time the 70s
rolled around, Truffaut was a national treasure in France and a mainstay in art
house cinemas in the U.S. and Britain.
1973 masterpiece, Day for Night (in France La Nuit Américaine, or “American
Night”), won the Oscar for Best Foreign Language Film of that year, the only
time Truffaut picked up an Academy Award. Due to odd eligibility rules, the
picture could be nominated for other categories the following year. For 1974, Truffaut
was nominated for Best Director, the script by Truffaut, Suzanne Schiffman, and
Jean-Louis Richard was up for Best Original Screenplay, and Valentina Cortese
was nominated for Supporting Actress. Thus, Day for Night is perhaps one of the
auteur’s best known works outside of France.
title refers to a technique used in Hollywood pictures to create night scenes
shot during the day by using a special filter. In France “day for night” was
also known as “American night,” because it was an inexpensive and less
complicated method to achieve the effect.
title is entirely appropriate because the movie is about making a movie.
Truffaut plays a director named Ferrand (the filmmaker often acted in his own
pictures; most non-French audiences will remember his major role in Spielberg’s
Close Encounters of the Third Kind). The film he is making is a trite melodrama
about an older man falling in love with his soon-to-be daughter-in-law—which is
a plot that might very well have been in a real Truffaut movie. In fact,
several of the talking heads in the disc’s supplements suggest that Truffaut
was slyly making fun of his own 1964 melodrama, The Soft Skin (reviewed here),
which at the time of its release was a financial and critical disappointment
for the filmmaker.
Bisset and Truffaut
“plot,” as it were, of Day for Night is
nothing more than a freeform documentation of the movie’s shoot, particularly
focusing on the actors and crew and the on-screen and off-screen relationships
they have while on location—who’s falling in love, who’s breaking up, who’s
sleeping with or cheating on whom, and so on. In fact, mimicking the love
triangle that’s in the film-within-the-film, two of the lead actors, Julie
(Jacqueline Bisset) and Alphonse (Jean-Pierre Leaud) have an affair, jeopardizing the actress’
marriage, especially when Alphonse becomes enraged with jealousy when Julie
decides to reconcile with her husband when the man visits the set. There are
other dalliances among crew members... at one point a wife visiting her
henpecked production manager husband shouts at the entire production staff, “What
is this movie business? Where everyone sleeps with everyone! Everyone lies! Do
you think it's normal? Your movie world...I think it stinks. I despise it!”
it’s a romantic comedy, and there are quite a few laughs and whimsical moments.
Truffaut was often guilty of injecting sentimentality into his films, and it’s
here in abundance. This is not a bad thing, for the director did this thing
well. Day for Night is indeed very light, its buoyancy aided by Georges
Delerue’s sparkling score. It’s a quintessential Truffaut picture in that it
hits his various auteur thematic signatures—love affairs, infidelity,
reconciliation, pathos, and even cinema history. In fact, the picture is in
itself an homage to the art of making motion pictures. A key recurring sequence
is when Ferrand has fitful dreams at night, picturing himself as a young boy
desperate to steal lobby cards and press photos from the local cinema. As the
American movie posters claimed in the tag line, “it’s a movie for people who
cast is sensational. Besides Truffaut, Bisset, and Leaud, Jean-Pierre Aumont
plays the older screen idol who is nearing retirement, Valentina Cortese is an
Italian screen idol whose major earlier work was “with Fellini” (and this is
true for Cortese herself!). Other Truffaut “regulars” such as Dani, Alexandra Stewart, and Nathalie Baye, make
picture was shot at the legendary Victorine Studios in Nice, France (now called
Riviera Studios), the site where many noted films were made, such as To Catch a
Thief, Children of Paradise, Lola Montes, Mon Oncle, And God Created Woman, and
more. These photos depict what the grounds looked like in 2000, when I visited
the location while researching my James Bond novel, Never Dream of Dying (the
studios were used as a model for a setting in the book). While I walked around
the grounds, I mostly thought of Day for Night, for Truffaut’s movie had stayed
with me for decades since I first saw it on its initial release.
Photos taken by Raymond Benson at the filming location in 2000.(Photos copyright Raymond Benson. All rights reserved.)
Criterion Collection presents a gorgeous new restored 2K digital transfer,
supervised by director of photography Pierre-William Glenn, with an
uncompressed monaural soundtrack. Most of the supplements that appeared on the
Warner Brothers DVD of 2001 have been ported over, such as vintage “making of”
documentaries; interviews with Truffaut, Bisset, and several other cast and
crew members; a documentary on the film featuring film scholar Annette Insdorf;
and vintage news clips such as Truffaut being interviewed at Cannes. New
supplements include a fascinating video essay by the extraordinary filmmaker ::
kogonada; new interviews with DOP Glenn and assistant editor Martine Barraqué;
and a new engrossing interview with film scholar Dudley Andrew about the rift
that occurred between Truffaut and Godard after the release of the film. An
essay by critic David Cairns adorns the booklet.
for Night is easily one of François Truffaut’s best films. If you haven’t seen
it, you owe it to the movie lover inside you to pick up this one.
LIEUTENANT’S WOMAN” (1981; Directed by
By Raymond Benson
Fowles’ 1969 novel, The French
Lieutenant’s Woman, was a literary sensation, a best-seller, and a work
deemed “impossible” to film because it broke conventions and played with
narrative structure and point of view. And yet, there were several attempts in
the 70s to adapt the difficult Victorian story to something cinematic.
Apparently Dennis Potter took a shot at writing a screenplay at one point, but
it was playwright Harold Pinter who cracked the problem and presented the tale of
obsession, infidelity, and shame as two parallel stories—one in the Victorian
past, as in the book, and one in the present, dealing with the actors making the film we’re watching.
It was a unique and original approach to the material. With Karel Reisz at the
helm, the film adaptation became a critically-acclaimed art house delight.
a Czech director working in England, was at the forefront of the British New
Wave of the 60s with such pictures as Saturday
Night and Sunday Morning, Morgan!,
and Isadora. He brilliantly realizes
Pinter’s script with the help of the gorgeous cinematography by the great Freddie
Francis and the superb performances by Meryl Streep and Jeremy Irons. It was
Streep’s first starring role (she had previously held supporting parts and won
her first Oscar for Supporting Actress for Kramer
vs. Kramer) and it earned the actress her first Oscar nomination in the
Leading Actress category. For many, especially in the U.S., this was the first
time Irons was seen on the big screen (he had previously done much work for
British television and had a small part in one feature film). Narratively, it’s
Irons’ movie—he plays the protagonist—but it is definitely Streep, with her
hauntingly quiet portrayal of Sarah, the fallen woman, who leaves an indelible
parallel stories follow illicit love affairs. In the present, actors Mike
(Irons) and Anna (Streep) are making a movie called The French Lieutenant’s Woman. Both are married to other people,
but they have an on-location affair while filming in West Dorset, England. Coincidentally,
the characters they play in the movie—Charles and Sarah—have a scandalous
affair in the same setting, but in the Victorian era. The point of the picture
seems to be that nothing has changed since the late 19th Century in terms of
morality, social mores, and how misplaced passion can wreck a life. Sarah is a
mysterious outcast in the seaside town of Lyme Regis, the subject of much gossip
as being the “French Lieutenant’s Whore,” i.e., she had an adulterous
relationship with a married, visiting French soldier. Charles is a
paleontologist working in the village; he is engaged to marry a well-to-do
local girl, but he unwittingly becomes obsessed with Sarah. This, of course,
leads to the man’s ruin. In both cases, the aftermath of the affairs leave
devastations... or do they?
Fowles’ novel, the consequences of Charles’ and Sarah’s affair is played out in
three different endings. It is up to the reader to decide which is the most
plausible—or morally acceptable. For the film, Pinter has twisted this conceit
into the two analogous storylines with dissimilar outcomes. Very clever indeed.
Perhaps Pinter’s script—which was nominated for an Adapted Screenplay Oscar—is
the real star of the picture.
the Oscar nods for Streep and Pinter, the film was nominated for Art Direction,
Costume Design, and Film Editing.
moody, beautifully shot, brilliantly written, and exquisitely acted, The French Lieutenant’s Woman is ripe
for rediscovery as an important piece of British cinema from the early 80s.
Criterion Collection does its usual bang-up job with a new 2K digital
restoration and an uncompressed monaural soundtrack. The images look marvelous.
Reisz’s attention to detail in the period setting is a feast for the eyes.
include new interviews with Streep and Irons, editor John Bloom, and composer
Carl Davis (whose score is evocative and sublime); a new interview with film
scholar Ian Christie about the making and meaning of the film; an episode from The South Bank Show from 1981 featuring
Reisz, Fowles, and Pinter; and the theatrical trailer. The essay in the booklet
is by film scholar Lucy Bolton.
Chariots of Fire may have taken the
Oscar gold for 1981, for me the finest British picture that year was The French Lieutenant’s Woman.
Cinema Retro has received the following press release:
“DARK WAS THE NIGHT received
an overwhelming response at ScreamFest and the Lincoln Center’s New York Film
Festival Sidebar Scary Movies Series and is now in theaters across the
country and available Day and Date on VOD, and Digital platforms including
ITunes and Amazon instant video.
Kevin Durand (The
Strain) and Lukas Haas (INCEPTION) star as local policemen who go to battle
against an ancient evil. The script, from Tyler Hisel, appeared on the 2009
Black List of best un-produced scripts, a rarity for the monster genre, under
the title THE TREES. Rounding out the cast are Bianca Kajlich
(Undateable), Sabina Gadecki (the ENTOURAGE movie), Heath Freeman (SKATELAND),
Steve Agee (@midnight) and Nick Damici (LATE PHASES).
Maiden Woods is a remote
and quiet town, but something stirs in the dark woods surrounding this isolated
community. Sheriff Paul Shields (Kevin Durand) and his deputy (Lukas Haas),
struggle to confront their own personal demons while facing down a new breed of
Kevin Durand, Lukas Haas, Bianca
Kajlich, Steve Agee, Nick Damici, Sabina Gadecki, and Heath
Dallas Sonnier, Jack
Heller, Stefan Nowicki, Dylan K. Narang, Joey Carey
Ross Dinerstein and Kevin Iwashina
Caliber Media, Sundial Pictures,
Preferred Content & P Street Films
Stars in a creature feature that is downright poignant.
Director Jack Heller
does a fantastic job of doling out the scares and ratcheting up the tension in
– AINT IT COOL NEWS
design and cinematic discretion, make the damn thing work! –
by withholding the usual genre tropes... A notch above standard horror,
suspense. Tech and design contributions are nicely turned all
certainly talent in Jack Heller’s fright film “Dark was the Night,” beginning
with its cast. (Kevin Durand) conveys tender sorrow and steely resolve
with understated dexterity.
A trip into the
woods that will give you chills, but provide you with the urge to press “play”
over and over again – highly recommended.
- DREAD CENTRAL
One hell of a
great movie! One of the best horror films of the year. Don’t miss it!
This could be the next great horror franchise. – FANGORIA
Jack Heller is a graduate of the University of Southern
California School of Cinematic Arts. Jack made his directorial debut with the
Micro Budget film Enter Nowhere, starring up and coming stars Scott
Eastwood (The Longest Ride), Sara Paxton and Katherine Waterston (Jobs,
Inherent Vice), the independent film was released by Lionsgate. As a music
video and commercial director, he has worked with artists including, Miley
Cyrus, Big Sean, and Chief Keef, as well as brands such as Beats By Dre, Pac
Sun, British Knights, Stussy, and Hood By Air. Heller has produced over
20 feature films including the upcoming Bone
Tomahawk starring Kurt Russell, Patrick Wilson, Matthew Fox, and Richard
Jenkins and is a founding member of the production company Caliber
Media. Dark Was the Night is his second feature film as Director.
One of Mel Brooks' least-discussed films, the 1991 comedy "Life Stinks", is also one of his most accomplished works. The film didn't click with Brooks's usual audience at the time, perhaps because the film is laced with social commentary. Brooks obviously ignored the old Hollywood advice to "Leave the messages to Western Union". Nonetheless, it's precisely because of this departure from his usual productions that gives "Life Stinks" a certain poignancy that isn't found in his earlier works. Granted, Brooks always included some sentiment in his films (even Zero Mostel's Max Byalystock in "The Producers" is con man with some admirable traits.) However, "Life Stinks" makes a plea for compassion toward society's most vulnerable people, even as it concentrates on the primary purpose of any Brooks film: to make the audience laugh.
The movie opens with a very amusing scene in which we are introduced to the central character, billionaire business magnate Goddard Bolt (Brooks) who calls a conference meeting with his team of corporate "yes" men and sniveling team of lawyers. Like Auric Goldfinger unveiling his plan to rob Fort Knox, Bolt uses a large scale model of the worst section of Los Angeles to announce his plans to buy up this property and turn it into a spectacular business compound that resembles a vacation resort. Naturally, it will bear his name and he is unconcerned about the fact that it will displace legions of homeless people who have erected a makeshift "city" on this property. As portrayed by Brooks, Bolt is an intentionally over-the-top egotist who never stops bragging about his accomplishments and who is clearly involved with in a passionate love affair -with himself. (If the film were made today, critics would immediately suspect that the character was based on Donald Trump.) Bolt's plans hit a snafu with the arrival of his arch business nemesis Vance Crasswell (Jeffrey Tambor) who announces that he has managed to already buy up the remaining half of the land that Bolt needs to carry out his dream. Neither man will budge in terms of selling his half of the land to the other so they decide to engage in a bizarre bet. The wager is that Bolt must forego his identity and all of his money and credit cards and attempt to survive as a homeless person within the confines of the geographic boundaries of the disputed land. If he can last 30 days living off his wits, he gets Crasswell's half of the land. If he fails, he cedes his half of the land to Crasswell. The movie chronicles the predictably rude awakening that Bolt gets from the first minute he enters the world of these hopeless souls. This is where the human side of the script kicks in. Bolt, a man who has commanded countless minions as the head of business empire, can't figure out how to even earn enough money to rent a $2.50 a night flop house hotel room. Nor can he come up with a plan for how to get a meal. Alone and destitute, he ultimately befriends some long time street people who pity him and take him under their wings. These include Sailor (Brooks' frequent co-star Howard Morris), a jovial but mentally unbalanced man who knows the ropes when it comes to surviving on the mean streets of L.A. Bolt also encounters Molly (Lesley Ann Warren), a former dancer who has hit on hard times. The fiery-tempered young woman has learned to get by the on streets by using physical violence to protect her "home", which is in reality a motley collection of discarded items gathered in a back alley.
The film is basically geared for humor and it delivers in spades. There are some laugh-out-loud sequences depicting Bolt and his friends contending with some local bullies. However, Brooks the director scores even more impressively with poignant sequences in which Bolt learns the value of the people around him. He may have billions in the bank but he finds that a free meal in a soup kitchen is worth his fortune. He begins to see the people around him in a different light. When Molly's "home" is destroyed by vandals, it becomes clear that to a homeless person this loss is as devastating as it would be for the average person to lose their house. The film points out how transient people who live in over-sized boxes can have their world demolished by a pounding rainstorm that washes away their shelter. Every day is a battle to survive on the street. Predictably, Bolt and Molly reawaken human elements in each other and a romance blossoms. In one lovely sequence, Bolt and Molly find shelter in a costume warehouse where he convinces her to dress up regally and dance with him. It's a charming scene, the likes of which no other contemporary movie would show for fear of it appearing to corny. The movie is enhanced by composer John Morris's wonderful score. By this point, Morris had composed the music for most of Brooks's films and his contributions are essential elements of each of them. The supporting cast is also terrific with Howard Morris scoring very well as the sympathetic street person who doesn't realize how desperate his plight is. Warren gives a knockout performance that hits all the right notes in terms of pathos and belly laughs. Jeffrey Tambor steals his every scene as a hilarious villain- and the scene in which he and Bolt square off using bulldozers in a monster-like battle is genuinely hilarious. Even famed character actor Billy Barty makes a brief appearance in a scene that is extremely amusing.
The Kino Lorber Blu-ray features a commentary track by Brooks and screewriters Rudy De Luca and Steve Hoberman. The three also appear in a short 2003 documentary about the making of the film. De Luca is another frequent collaborator of Brooks, having not only written scripts for him but also played supporting roles in the films. In "Life Stinks" De Luca appears as a demented man who thinks he is J. Paul Getty. Brooks, who doesn't get overly political in the film itself, uses his interview to say he was inspired to make the movie by dramatic cuts to social services and clinics that had been made by the Reagan administration, to which he attributes the explosive growth of the homeless population in the years that followed. While Brooks and De Luca's hearts are clearly in the right place, they make a politically incorrect faux pas by referring to the homeless people as "bums", which, to a certain generation was regarded as almost a term of endearment, along with "hobo". Nevertheless, for viewers of a younger generation, the it probably sounds harsh. The Blu-ray release also includes the theatrical trailer.
"Life Stinks" can be criticized for being predictable and occasionally overly sentimental. It's Brooks' version of a Frank Capra tale. In fact, Capra himself was not immune to criticism about the sentimental nature of his films, with some critics deriding them as "Capra Corn". However, this film represents the kind of comedy studios don't make today in this era of gross-out jokes. It is a celebration of kindness and generosity over greed. It has well-defined characters and a terrific cast. This "Life" doesn't stink. In fact, it's very much worth living.
I initially saw "Cops and Robbers" on its theatrical release in 1973. Strangely, I retained no memories of the film whatsoever except a few bars of the catchy title theme song by Michel Legrand. I say "strangely" because, upon watching the film's Blu-ray debut through Kino Lorber Studio Classics, I found the movie to be terrifically entertaining. Perhaps it's because terrifically entertaining films were a dime a dozen back in the 1970s that this particular movie didn't resonate with me at the time. Nevertheless, watching it today, it has a great many pleasures, not the least of which is two leading actors who were not familiar faces at the time, thus allowing the viewer to not have any preconceptions about their mannerisms or previous roles. The film was shot in New York City during a long period of urban decay. Poverty and crime were rising and the infrastructure was crumbling as the city came perilously close to declaring bankruptcy. It's a far cry from today's New York but at the time one benefit of all this chaos was that it inspired filmmakers to take advantage of the somber landscape and use it as fodder for some memorable films. Michael Winner's "Death Wish" and Martin Scorsese's "Taxi Driver" administered the cinematic coup de grace, painting a picture of Gotham as a foreboding urban jungle. This was always overstated, of course, as there was never a period in which New York was in danger of losing its reputation as the most exciting city on earth. However, the grime and grit certainly did much to tarnish its reputation for a good number of years.
Among the films that represented this era was the little-remembered "Cops and Robbers", which is an offbeat entry in the genre of "dirty cop" movies that became popular during the 1970s. The twist is that, unlike the exploits of larger-than-life cops such as Dirty Harry or Popeye Doyle, this film centers on the day-to-day frustrations of two every day patrolmen - Tom (Cliff Gorman) and Joe (Joseph Bologna)- trying to cope with the frustrations of risking their lives for a salary of $43 a day. We watch as they car pool from their cramped suburban housing units to Manhattan, a daily trek of seemingly endless traffic jams that they must endure in the sweltering heat. (Yes, kiddies, most of us working class clods didn't have air conditioning in our cars in the 1970s.) Their familiar grind includes wrestling with mentally unstable people, watching fellow officers getting shot and having an ungrateful populace take them for granted. With wives and kids to provide for, they are at the end of their ropes. One day, Joe casually confesses to Tom that he recently walked into a liquor store in full uniform and held the place up at gunpoint. He only got a couple of hundred dollars, but was amazed at how easy it was to get away with- largely because everyone assumed the culprit was someone disguised as a New York City police officer. After all, although corruption was widespread even in this post-Serpico period, it was mostly carried out discreetly through payoffs and freebies. New York City cops did not commit overt robberies while on the job. Tom is initially appalled, but is also mesmerized by the prospect of using their positions of trust to carry out an even grander robbery: one that would put them on East Street for the rest of their lives. Using a disguise, Tom visits the domain of a local mob kingpin and discloses he and his partner are genuine members of the NYPD- and they want his help to work out a scam that will net both cops $1 million each. They are told to rob untraceable securities in the amount of $10 million, for which they will be paid a $2 million "commission". Tom and Joe create a daring plan to gain access to a major finance company on Wall Street on the very day that the Apollo 11 astronauts are receiving a ticker tape parade. Knowing the employees will be distracted, they enter the premises on the premise of checking out a minor matter. They bluff their way into the inner sanctum of the company president and hold him hostage while his secretary escorts Joe to a vault and gets the appropriate securities. As is the case in most good caper movies, things initially go well but unexpected snafus arise that threaten the cops' getaway. To say more would be to spoil the fun but suffice it to say that the climax of the movie finds them trying to collect the $2 million from the mob in the middle of Central Park- where both sides try to double-cross each other. The result is a wild car chase seems to doom not only the cops' getaway but the cops themselves.
Director Aram Avakian, working with producer Elliott Kastner, makes the most of the New York locations, eschewing studio sets for real places. This adds immeasurably to the realistic feel of the production. Both Joe Bologna and Cliff Gorman were exceptionally well cast and are completely convincing as urban cops. Bologna was starting to ride high on the heels of he and his wife Renee Taylor's success with "Lovers and Other Strangers" and "Made for Each Other". Gorman was primarily known for his acclaimed stage performance as Lenny Bruce but also won kudos for his role in William Friedkin's 1969 film production of "The Boys in the Band". He's so good in this film, you wonder why major stardom eluded him. There is also an abundance of good character actors including Dolph Sweet, Joe Spinell and Shepperd Strudwick. The witty screenplay is the work of Donald E. Westlake, a noted crime novelist who would later turn his script for the film into a successful book. Westlake only makes one creative misstep. It is essential in most crime movies that feature charismatic cads as anti-heroes that their victims are established as villains who don't deserve the sympathy of the viewer. From the classic caper flick "The Sting" to the long-running British TV series "Hustle", the targets of the con men must always be deemed to be cads. In Westlake's screenplay, the victims of the errant cops are every day, working people. Joe's stickup of the liquor store (seen over the opening credits) terrorizes innocent people. Their protracted plan to rip off the Wall Street firm similarly puts non-criminals in harm's way (although Westlake throws in a twist that is designed to water down the victim's plight). Watching the film through a modern viewpoint, when police corruption is no longer considered to be an acceptable part of every day life, the movie's disturbing celebration of officers who are violating their sacred duty to protect the public seems more distasteful today than it did at the time of the film's release. Even viewed within the context of the era, we can certainly sympathize with the cops' frustrations, but their turning to crime makes a mockery of most police officers who resist taking that path. Nevertheless, if you can overlook the sociological factors and accept the film as pure entertainment, it works wonderfully well.
The Kino Blu-ray is top quality and includes the original trailer as well as a very recent interview with Joe Bologna, who provides some witty and interesting insights into the making of the movie. There is also a trailer for the similarly-themed crime caper comedy "Bank Shot" starring George C. Scott. (also available from Kino Lorber).
Until the sexual revolution of the mid-to-late 1960s was embraced by the film industry, the subject of homosexuality was dealt with in schizophrenic manner by studios. There were some bold attempts to address the subject in a serious and sympathetic manner, but fine movies like The Trials of Oscar Wilde and Victim were relegated to art-house hell and never enjoyed a wide audience. Indeed, it was the complete financial failure of the former film that motivated, in desperation, producer Cubby Broccoli to dust off the idea of adapting the James Bond novels for the screen. In other cases, the movies were more high profile (i.e Cat on a Hot Tin Roof, The Children's Hour) but studios forced the directors to substantially water down overt references to homosexuality. Within a few short years, however, the situation had changed dramatically. While many characters were often presented as comical stereotypes, there were other bold attempts to address more realistic approaches to the traumas faced by gays and lesbians. Going one rung further, a few films actually took on such issues as cross-dressing and transsexuals. One of the more notable films of the era was The Christine Jorgensen Story, released in 1970. However, as well-meaning as the movie was, it was generally regarded as an exploitation movie with a good dose of shlock and some unintended laughs. (Click here for review)
Far more impressive was the 1972 British film I Want What I Want...To Be a Woman starring Anne Heywood in a daring performance as an effeminate young man who secretly desires to be a woman. Unlike the real-life Christine Jorgensen, this story is not based on fact, but a novel by writer Geoff Brown. Roy is a sensitive twenty-something man who is living a nightmarish life. He's the son of a macho, ex-army officer (the always brilliant Harry Andrews) who spends most of his time drinking with high society types while he seduces their women. Roy and his father have a fractious relationship as the old man refuses to acknowledge the obvious fact that his son looks more like the daughter he never had. He tries to force Roy into macho behavior by having him escort women on fraudulent dates and making him sit with other men in drawing rooms to argue politics over cigars and brandy. Meanwhile, all Roy wants to do is explore his feminine side. Eventually he can't resist the urge to dress as a woman and is caught in the act by his appalled father, who slaps him around and humiliates him. Distraught, Roy leaves his home to establish a new life in a far away town. This represents his first public appearance as a woman and the film conveys the anxiety cross dressers must feel when they make such a "debut". Although Heywood makes a head-turning woman, we have to remember she's supposed to be a man. As such, she gives a riveting performance and demonstrates the inevitable paranoia that might accompany such a bold lifestyle decision. Roy is convinced that everyone he passes on the street knows his secret.
For those of us who are hopelessly addicted to spy movies of the 1960s, the Warner Archive provides a gift: the first DVD release of "The Scorpio Letters", one of the more obscure 007-inspired espionage films of the era. Produced by MGM, the movie was shown on American TV in early 1967 before enjoying a theatrical release in Europe. It seems the studio was trying to emulate the strategy that it was employing at the time for its phenomenally popular "Man From U.N.C.L.E." TV series. That show had proven to be such a hit with international audiences that MGM strung together two-part episodes and released them theatrically. (Three films were released in America but a total of eight were shown in international markets.) As "The Scorpio Letters" was produced with a theatrical run in mind, it has a bit more gloss than the average TV movie, which was then a genre in its infancy. Nevertheless, it still has all the earmarks of a production with a limited budget. Although set in London and France, you'd have to be pretty naive to believe any of the cast and crew ever got out of southern California. Grainy stock footage is used to simulate those locations and there is ample use of the very distinctive MGM back lot, which at times makes the film resemble an episode of "The Man From U.N.C.L.E." What the movie does provide is some nice chemistry between its two lead actors, Alex Cord, who had recently acquitted himself quite well in the underrated 1966 big screen remake of John Ford's "Stagecoach" and Shirley Eaton, then still riding the wave of popularity she enjoyed as the iconic "golden girl" from the Bond blockbuster "Goldfinger". The two play rival spies in London, both working for different British intelligence agencies, though whether it is MI5 or MI is never made clear.
The film is based on a novel by Victor Caning that had been adapted for the screen by the ironically named Adrian Spies, who had a long career working primarily in television. (Curiously, his one credited feature film was for the superb 1968 adventure "Dark of the Sun" (aka "The Mercenaries".) There is nothing remarkable about his work on "The Scorpio Letters". In fact, Spies provides a rather confusing plot. The film opens on a jarring note with a man taking a suicidal plunge from his apartment window in London. Turns out he was a British intelligence agent and the reasons for his suicide are of great interest to the higher ups in the spy business. Alex Cord plays Joe Christopher, an American ex-cop who now does work for one of the intelligence agencies run by Burr (the ever-reliable Laurence Naismith). Burr orders him to get to the bottom of the suicide case and in doing so, Joe gains access to the dead man's apartment just in time to encounter a mysterious man stealing a letter addressed to the dead agent. A foot chase ensues that ends with both men getting struck by a London double decker bus (yes, MGM had one of those laying around the back lot.) Still, Joe manages to steal back the letter the man had swiped and finds it is obviously a blackmail attempt made against the dead agent by a mystery person who goes by the name of Scorpio. From there the plot gets rather confusing and becomes one of those thrillers that is best enjoyed if you stop trying to figure out who is who and just sit back and enjoy the ride. Joe flirts with Phoebe Stewart (Shirley Eaton), who works in another intelligence agency. It appears her boss and Joe's boss are constantly trying to undermine each other in the attempt to solve major cases. Phoebe makes an attempt to seduce Joe, but he correctly suspects that she is trying to compromise him for information he knows about the case. Inevitably, a real romance blossoms but the love scenes are pretty mild, perhaps due to the fact that this film was made with a television broadcast in mind. (The plot invokes the old joke of having the would-be lovers get interrupted every time they attempt to get it on.)
Joe gets a lead that takes him to Paris where he discovers that Scorpio is the man behind a shadowy spy network that uses agents employed as waiters in an upscale restaurant. I imagine the reason for this is explained somewhere along the line but it's just one more confusing element to the script. Joe infiltrates the spies/waiters gang in the hopes of finding out who Scorpio is. Meanwhile, in the film's best scene, he is exposed, captured and tortured. There is even a modicum of suspense as there appears to be no logical way he will get out of this particular death trap. Refreshingly, Joe is no 007. He makes miscalculations, gets bruised and beaten and often has to rely on the intervention of others to save him. (In the film's climax, finding himself outmanned and outgunned, he actually does the logical thing and asks someone to call the local police for help.) Ultimately, Scorpio is revealed to be one of those standard, aristocratic spy villains of Sixties cinema. In this case he is played by the very able Oscar Beregi Jr. If you don't know the name, you'll know his face, as he excelled in playing urbane bad guys in countless TV shows and feature films of the era. There are numerous kidnappings, shootouts, double crosses and red herrings and one bizarre sequence that is ostensibly set in a French ski resort in which the ski lift is inexplicably in operation even though it's summer. Additionally, the California mountains look as much like France as Jersey City does.
Despite all of the gripes, I enjoyed watching "The Scorpio Letters". It's an entertaining, fast-moving diversion, directed with unremarkable efficiency by Richard Thorpe (his second-to-last film). Cord makes for a very capable leading man, tossing off the requisite wisecracks even while undergoing torture. Eaton possesses the kind of old world glamour you rarely see on screen nowadays. Together, they make an otherwise mediocre movie play out better than it probably should. (A minor trivia note: this represents the first film score of composer Dave Grusin, who would go on to become an Oscar winner.)
The Warner Archive DVD transfer is very impressive and the film contains an original trailer, which presumably was used in non-U.S. markets.
Christopher Lee and Boris Karloff collectively made countless films that varied widely in terms of quality. However, they always brought dignity to every role they performed. Sadly, the two icons of the horror film genre only worked together twice.The first time in the late 1950s in "Corridors of Blood" and the second and last time in what turned out to be the final film of Karloff's career, the 1968 Tigon Films production of "The Crimson Cult" (released in the UK as "Curse of the Crimson Altar" and in some territories as "The Crimson Altar" and "Black Horror"). Karloff barely got through the arduous shoot during a particularly cold and unpleasant British winter. However, always the ultimate professional, he persevered and continued the film until completion, even after having been hospitalized with pneumonia. The result is a film that is not particularly well-loved by horror film fans but which this writer enjoyed immensely on my first viewing, which came courtesy of the Blu-ray release from Kino Lorber Studio Classics. Perhaps the film looked better to me than it should have. It's got some loose plot points and the production doesn't fully utilize the skills of it's marvelous cast, which includes character actor Michael Gough and the iconic Barbara Steele. However, given the fact that we don't get lineups of great stars like this any more, I found the entire movie to be a joy to watch (despite of- or perhaps because of- it's sometimes blatant exploitation scenes.)
Things get off to a rather rollicking start with the very first frames of the movie which depict a woman clad only in leather panties and pasties who is mercilessly whipping another sexy young woman who is chained to an altar in a dungeon-like environment. Watching the action is Peter Manning (Denys Peek), who we learn is a respected antiques dealer who runs a high end shop with his brother Robert (Mark Eden). Peter looks completely out of place in this S&M scenario, even more so when we see the others who are witnessing what becomes evident as a Satanic Black Mass ceremony, which is taking place amid other scantily-clad men and women. Peter is approached by an exotic beauty who we will later learn is the reincarnation of a notorious witch named Lavinia, who was executed by local villagers a few centuries ago. As played by real life exotic beauty Barbara Steele in a largely wordless role, the character exudes both danger and sexual deviancy. She insists that Peter sign an ancient ledger after which he is given a dagger which he uses to promptly murder the young woman who is chained to the table.
The scene then switches to the antique shop where we find Robert concerned about his brother's whereabouts. He tells his secretary that Peter had gone to search for antiques for a few days in the remote rural village of Greymarsh, which coincidentally is the ancestral home of the Manning family. The only clue he has to his brother's movements is a cryptic note he had written to Robert from a manor house in the village. Robert decides to visit the house to see if he can trace Peter's location. Naturally, he chooses to arrive at the place in the dead of night and finds the villagers are engaged in riotous celebrations for an annual festival that rather tastelessly celebrates the execution of witches in a bygone era. The locals playfully recreate pagan rituals including the execution of an effigy of Lavinia. Arriving at Greymarsh Manor, Robert finds a wild party underway with a group of young people in an orgy-like state. The girls are pouring champagne over their nearly naked bodies and there are "cat fights" intermingled with lovemaking. Robert is understandably amused and fascinated. He makes the acquaintance of Eve (Virginia Wetherell), a fetching blonde with a flirtatious nature who informs him that she is the niece of the manor's owner, a sophisticated and erudite man named Morley, who greets Robert warmly but denies any knowledge of his brother. Morley says that he can't explain how Robert received a note from Peter on Greymarsh Manor stationary but nevertheless invites Robert to stay a few days at the manor while he continues his investigation. Predictably, Robert and Eve form a romantic bond in short order and she assists him in his efforts to find Peter. Meanwhile, Robert is introduced to Professor John Marsh (Boris Karloff), an elderly, wheelchair-bound academic who is the village's most prominent local historian. Fittingly, he is also a collector of ancient torture devices.
Most of the film centers on Robert and Eve attempting to track down Peter's doings in the village and his present whereabouts. It becomes pretty obvious that either Morley and/or Marsh are hiding some explosive secrets. The only question for the viewer is whether one or both of them have been complicit in Peter's vanishing. Robert's stay at the manor house is decidedly mixed experience for him. In the evenings he gets to enjoy rare, expensive liquors as he sits around chatting with Morley and Marsh. He also gets a willing bed mate in Eve. However, he is terrified by recurring nightmares that find him in the midst of a Black Mass ceremony where he finds his brother. In these bizarre dreams, Lavinia insists that Robert sign the ancient ledger, as Peter did, but Robert steadfastly refuses because he believes he will be murdered once he does. Robert discovers that his arm has been seriously cut by a knife- a key part of his nightmare. He thus begins to suspect that these aren't dreams at all, but real experiences that are taking place when he is in drugged condition. A trail of clues leads to some red herrings until Robert and Eve discover that the manor house has a hidden room where it is apparent Satanic ritual ceremonies are taking place. From that point, key plot devices begin to fall into place with a few minor surprises along the way. The movie is a great deal of fun from start to finish and seeing both Lee and Karloff on screen together is a real treat. Michael Gough makes welcome frequent appearances as an Igor-like butler who tries to warn Robert about the dangers of staying at Greymarsh Manor and Rupert Davies has a nice cameo as the local vicar. A few other observations: Virginia Wetherell is a first rate leading lady in this type of genre film so the fact that she never achieved greater name recognition seems unjust. Also the production design is first rate, as it generally is in British horror movies of this period. Kudos also to veteran director Vernon Sewell who crafts a consistently interesting film from a script that has some loose ends and weak plot points. He also has to contend with a good amount of T&A that seems to be inserted largely for exploitation reasons. The film's dramatic conclusion is meant to be intriguing and ambiguous but comes across as somewhat unsatisfying. However, in the aggregate, the movie is a great deal of fun- largely due to the presence of Lee, Karloff and Steele.
The film has been released by Kino Lorber as a Blu-ray special edition under its American title. The company has wisely ported over some of the content of special bonus materials that were available on a previous UK-only Blu-ray edition. These include a wonderful commentary track with Barbara Steele and well-known horror film historian David Del Valle, who has also produced a number of documentaries. Del Valle is uniquely suited to conduct the discussion of the film, as he personally knew many of the legendary figures of the horror film genre and his knowledge is encyclopedic. He and Steele have a good rapport because they are old friends. Both of them, however, denounce the movie because of its missed opportunities. The main criticisms revolve around the misuse of Christopher Lee and Boris Karloff in their only film together. Del Valle feels that there isn't much for them to do other than sit around parlors sipping drinks. He points out that this was Karloff's last film and he was in poor health during its production, yet was valiant enough to complete filming- and insist that a scene be rewritten so he could rise from his wheelchair, an act of defiance and courage considering his fragile state. Steele bemoans the fact that the screenwriters didn't allow her character to share any scenes with either Lee or Karloff, although she did spend time with them off set and clearly adored both men. However, the way the story is structured simply wouldn't allow the three characters to interact without fundamentally changing the story. One can understand Steele's frustrations as an actress, however, in not having the opportunity to share screen time with these cinematic legends. Del Valle also dismisses leading man Mark Eden (who resembles young George Lazenby) as a lightweight, a charge that seems debatable. I personally found Eden to be a likable and charismatic leading man. Both Del Valle and Steele acknowledge the film has some merits but you'd barely know it by the time they get done slicing it up scene by scene. Steele also provides some very interesting discussions about her non-horror films including quitting the production of "Flaming Star" in which she was Elvis Presley's leading lady. She also discusses her work with Fellini. In all, I found myself not agreeing with Steele and Del Valle's overall assessment of "The Crimson Cult" but I did find this to be an excellent commentary track, filled with wonderful anecdotes.
Barbara Steele as Lavinia, The Black Witch of Greymarsh.
The Kino Lorber Blu-ray contains other bonus extras. The most interesting is an interview with composer Kendall Schmidt, who relates why he receives screen credit for the musical score in the video versions of the film. (Peter Knight is still the composer of record on the theatrical prints.) Schmidt, who is now a well-regarded photographer, relates that when Orion acquired video rights to the American International Pictures library in the mid-1980s, there were many films they could not secure the music rights to. Thus, Schmidt, who was a 24 year old starving composer, was hired to re-score these films. In some cases, he emulated the original composer's scores while in most other cases he created wholly original compositions. His score suits this film well but, not having seen the theatrical version, I can't compare his work with Peter Knight's. The Blu-ray also includes both the U.S. and British trailers with their respective title differences.
It should be pointed out that the picture quality of this release is as close to perfect as you can get. Colors practically leap off the screen and the transfer does full justice to the production design. In all, I found this to be a first rate release of an extremely underrated film from the "Golden Age" of British horror productions.
Hey, guys, the next time you become intimidated about asking a gorgeous woman for a date, maybe polite chitchat isn't the best strategy. Consider the case of London photographer Ray Bellisario, who had a chance encounter with Brigitte Bardot in 1968. Bellisario was ballsy enough to dispense with polite talk and simply told the legendary sex symbol to "Come with me". To his amazement, she did. Bardot managed to slip away from her handlers and headed to a local pub where Bellisario took some remarkably candid photos of her. Even better for him, she agreed to spend the evening with him in his hotel room. Bellisario refrains from giving any details pertaining to that portion of the "petite affair" but admits that after she kissed him goodbye the following morning, she was gone from his life for good. But Bellisario does have some amazing memories of this unforgettable evening in the form of his photographs which he has now finally gotten around to making public. Click here for more.
It's easy to look back on the Blaxploitation film craze of the 1970s as a short-lived period that spawned some cinematic guilty pleasures. However, time has been kind to the genre and if retro movie buffs view some of the films that emerged during this era they will undoubtedly find more artistry at work than was originally realized. Case in point: "Truck Turner", a 1974 action flick released at the height of the Blaxploitation phenomenon. I had never seen the film prior to its release on the new Blu-ray special edition from Kino Lorber Studio Classics. It's a violent, brutal film filled with ugly characters and "heroes" who deserve that moniker only because they aren't quite as abhorrent as the cutthroat antagonists they face. Yet, there is something special about "Truck Turner". Amid the carnage and frequent, extended action sequences, there is real talent at work here. Most of it belongs to Jonathan Kaplan, the director who had recently emerged as yet another promising protege of Roger Corman. In fact, Kaplan had just recently completed filming another Blaxploitation film, "The Slams" with Jim Brown, before being drafted into "Truck Turner". The idea of a white, Jewish guy directing a Blaxploitation film may seem weird today but at the time, most of the creative forces behind these movies were white guys, an indication of just how few opportunities existed in Hollywood for black filmmakers in the 1970s. The movies were also largely financed by white studio executives who benefited the most financially. Yet, it cannot be denied that the genre went a long way in opening doors for a lot of talented black actors and musicians, who often provided the scores for the films. Until the release of "Shaft" in 1971 (which was directed by a black filmmaker, Gordon Parks), most of the action roles for black characters seemed to be hanging on the durable shoulders of Sidney Poitier, Jim Brown, Harry Belafonte and the great character actor Woody Strode. Suddenly, there were a great number of opportunities for black actors and actresses to display their talents on screen. The vehicles in which they toiled were often low-budget potboilers, but it did increase their visibility and name recognition. More importantly, black action characters became commonplace henceforth.
"Truck Turner" has emerged as a genuine cult movie in the decades since its initial release. The movie's oddball appeal begins with the casting of the titular character, who is played by legendary soul musician Isaac Hayes in his screen debut. While Laurence Olivier probably never lost sleep over Hayes's decision to enter the movie business, his casting was a stroke of genius on the part of the executives at American International Pictures, which specialized in exploitation films for the grindhouse and drive-in audiences. Hayes had recently won the Academy Award for his funky "Theme From 'Shaft'" and had an imposing and super-cool physical presence. He also proved to be a natural in front of the camera. His emotional range was limited but he exuded an arrogance and self-confidence that the role required. Turner is a skip tracer/bounty hunter employed by a bail bond agency in the slum area of Los Angeles. A stunning opening shot finds literally dozens of such agency dotting the urban landscape- an indication of how out of control crime was in the city during this period. Turner and his partner Jerry (Alan Weeks) agree to take on an assignment to track down a local notorious pimp and crime kingpin named 'Gator' Johnson (Paul Harris), who has skipped bail, thus leaving the agency's owner Nate Dinwiddle (Sam Laws) on the hook for the money. Turner and Jerry pursue 'Gator' in one of those requisite high octane car chases that were seemingly mandatory in 70s action movies. This one is quite spectacular and features some dazzling stunt driving. 'Gator' is ultimately killed by Turner and this leads to the main plot, which concerns his lover, Dorinda (Nichelle Nichols). She was 'Gator's partner in a lucrative prostitution business. The two pimped out beautiful young women who they keep as virtual prisoners on a large estate. Dorinda is the Captain Bligh of madams, routinely abusing her stable of girls and demeaning them at every opportunity. She is enraged by Turner's slaying of 'Gator' and offers a bounty for his murder: half of her stake in the prostitution ring. The offer draws more than a few professional assassins to her doorstep, all of whom promise they can kill Turner. However, the only one who seems to have the ability to do so is Harvard Blue (Yaphet Kotto), a soft-spoken but vicious crime boss who would like nothing more than to make easy money from a major pimping operation. With a small army of assassins, he sets out to make good on his promise to kill Turner.
Like most action movies of this genre, the plot points are predictable. As with Charles Bronson's character in the "Death Wish" films, virtually every person who befriends Turner comes to great misfortune. This kind of predictable emotional manipulation is par for the course when you're watching 70s crime films and doesn't overshadow the fact that there is a great deal of style evident in "Truck Turner". The dialogue is saucy and witty. For example, Dorinda describes one of her "girls" as "Kentucky Fried Chicken" because "she's finger-lickin' good!" and another as "Turnpike" because "you have to pay to get on and pay to get off." If you think that's politically incorrect, consider that every other line of dialogue has somebody calling somebody else a nigger. Then there's the character of Truck Turner, who - like his fellow cinematic tough ass crime fighters of the era ranging from Dirty Harry to 'Popeye' Doyle to John Wayne's McQ- seems oblivious to the fact that he is endangering an abundance of innocent people in his obsession to get the bad guys. Turner engages in carjacking and threatens the lives of people who he feels aren't cooperating fast enough. He also has a sensitive side, though, as we see in his scenes with the love of his life, Annie (Annazette Chase). She's recently completed a jail term and only wants to settle down with Turner to live a quiet, normal lifestyle. Good luck. When the contract is put out on Turner, she becomes a potential victim and is terrorized by Harvard Blue and his gang. The film concludes with some terrific action sequences, the best of which has Hayes and Kotto going mano-a-mano inside the corridors of a hospital. They chase and spray bullets at each other amid terrified patients in wheelchairs and on gurneys and in one scene, carry the shoot out into an operating room with doctors in the midst of working on a patient! The finale, which centers on Kotto's last scene in the movie, is shot with such style that it almost approaches being (dare I use the term?) poetic. The supporting cast is first rate with Alan Weeks scoring strongly as Robin to Turner's Batman. Annazette Chase is excellent as the ever-patient object of Turner's desire and, of course, Kotto is terrific, as usual, managing to steal scenes in his own unique, low-key way. The most enjoyable performance comes from Nichelle Nichols, who is 180 degrees from her "Star Trek" role. As the ultimate villainess, she seems to be having a blast insulting and threatening everyone in her line of vision. Her final confrontation with Turner makes for a memorable screen moment, to say the least.
The Kino Lorber Blu-ray is up to the company's usual high standards in all respects. Old Truck never looked better on screen and there are some welcome bonus materials. Director Kaplan provides a witty and highly informative audio commentary, relating how American International was more interested in the soundtrack album they would be able to market than the film itself. (Hayes provides the impressive score for the film, including some "Shaft"-like themes.). He also said that he was originally drawn to the project because he was told the film would star either Lee Marvin, Ernest Borgnine or Robert Mitchum! Nevertheless, he speaks with great affection for Hayes and his colleagues and points out various character actors his used in the film including the ubiquitous Dick Miller, James Millhollin, Scatman Crothers and even Matthew Beard, who played "Stymie" in the Our Gang comedies. Another welcome bonus is director Joe Dante,obviously an admirer of the film, in discussion at a 2008 screening of "Truck Turner" at the New Beverly Cinema in L.A. He's joined by director Kaplan and stuntman Bob Minor. The reaction of the audience indicates this film enjoys a loyal following. There is also a segment from Dante's popular "Trailers From Hell" web site that features director Ernest Dickerson introducing and narrating the original trailer for the film. The trailer is also included in the Blu-ray, as well as a double feature radio spot ad for "Truck Turner" and Pam Grier as "Foxy Brown". In all, an irresistible release for all retro movie lovers.
Biker films have been around for decades.
Although most cinephiles cite Marlon Brando’s The Wild One (1953) as the first great biker movie, it wasn’t until
the mid-1960s and the release of the 1966 Roger Corman-directed classic The Wild Angels that biker films really
exploded onto the scene. Made for $360,000 and grossing close to $16 million, The Wild Angels started a cinematic
cycle trend that lasted well into the 1970s.
Noticing that other enterprising filmmakers
were cashing in on their film’s success, legendary studio American
International Pictures quickly decided that another biker flick was in order.
They gathered Corman (to produce); Wild Angels
scribe Charles B. Griffith (Rock All
Night, A Bucket of Blood, The Little Shop of Horrors, Death Race 2000) to
write and, together, came up with the next biker extravaganza, 1967’s Devil’s Angels aka The Checkered Flag.
Directed by Daniel Haller (Buck Rogers in the 25th Century, The
Wild Racers, Dunwich Horror), Devil’s
Angels concerns a group of rebellious, anti-establishment bikers called the
Skulls who are searching for a police-free place they’ve dubbed Hole-in-the-Wall.
They roll into the small town of Brookville and are immediately ordered to
leave by the intimidated mayor (Paul Myer). The Skulls’ leader, Cody (played by
independent filmmaking icon; the late, great John Cassavetes), informs the
sheriff (Tobruk’s Leo Gordon) that
they’re not looking for trouble and that he, his girl Lynn (the beautiful Beverly
Adams from How to Stuff a Wild Bikini)
and the rest of the posse just need a place to crash for the night. The sheriff
decides to give Cody a chance and agrees to let the group spend the night on
the beach if they promise to remain there and then leave first thing in the
morning. Cody gives his word and the bikers take off along with a local beauty
contestant (Mimsy Farmer from Four Flies
on Grey Velvet) who’s infatuated with the group. The mayor berates the
sheriff for letting them stay in town, but the lawman doesn’t budge. While at
the beach, the group gets the girl high, teases her a bit and sends her running
back to town in fright. The mayor lies by telling the sheriff that the Skulls
raped the unharmed girl and Cody is arrested. When the sheriff learns the
truth, he immediately lets Cody go, but orders him and his friends to leave
town. Meanwhile, the Skulls, who don’t like being accused of rape, decide that
the town needs to be taught a lesson. With the help of a larger group of bikers
called the Stompers, they ride back into town (against Cody’s wishes),
completely take it over and put the authorities on trial. The mayor’s lie is
revealed and he is sentenced to a public beating which Cody goes along with.
The Skulls also feel that, because they were accused of rape, they are owed a
rape. Cody is totally against this. He tries his best to stop it, but all hell
winds up breaking loose. As the Stompers and the Skulls (including Lynn) tear
Brookville apart, Cody, realizing that his Hole-in-the-Wall doesn’t exist,
quits the group and rides off alone before the state police arrive.
With only a $4 million gross, Devil’s Angels may not have been a major
hit for AIP, but it’s still an
interesting and well-done biker film which features several highly recognizable
faces from 1960s/70s cinema and television such as Marc Cavell (Cool Hand Luke), Russ Bender (Bonanza), Buck Taylor (Gunsmoke), Bruce Kartalian (The Outlaw Josey Wales) and Mitzi Hoag (Deadly Game).
Although not nearly as well-remembered as the
Dennis Hopper/Peter Fonda 1969 classic Easy Rider nor as hard-hitting as Al
Adamson’s Satan’s Sadists from the
same year, Devil’s Angels is a solidly-made,
quirky and enjoyable exploitation film that benefits most from a wonderfully
complex performance by the legendary John Cassavetes as well as an entertaining
and thoughtful screenplay by the extremely underrated Charles Griffith. There’s
also a terrific musical score written by Mike Curb and performed by Sidewalk
Productions. Not to mention a catchy theme song by Jerry and the Portraits with
additional music courtesy of Dave Allen and the Arrows.
As far as the Skulls go, they’re mainly
benign (but not as cool as the goodhearted bikers from 1976’s Northville Cemetery Massacre) andjust looking for a place to be free.
The havoc they cause (with the exception of an accidental death) is mostly
light (and presented humorously) and they’re never really violent until the
very end, so if you’re looking for an intimidating band of evil hell raisers,
look elsewhere. As for me, I thoroughly enjoy this film; always have. It’s a
fun biker flick with a strong cast and a thought-provoking story. If you’re a
biker film fanatic or just a fan of AIP/Roger Corman in general, I definitely
recommend checking it out.
Devil’s Angels has been released
as a DVD-R from the MGM Limited Edition Collection. The film is presented in
its original 2:35:1 aspect ratio and, although it’s far from Blu-ray quality,
the movie is more than watchable. Also, the audio is clear, and the DVD’s
sleeve and menu feature the original and very cool-looking poster artwork.
In my review of Kino Lorber's Blu-ray release of the 1979 disaster film "Meteor", I observed that the disaster movie genre had peaked with the release of Irwin Allen's "The Towering Inferno" in 1974. Yet, that didn't stop studios from beating a dead horse in an attempt to squeeze some more juice out of the tried-and-true formula of gathering an all-star cast, then figuring out ways to drown, bury or incinerate the characters portrayed on screen. One of the more obscure attempts to keep the disaster film cycle relevant was "Avalanche", a movie produced by Roger Corman and directed and scripted by one of his proteges, Corey Allen, who would go on to establish a respectable career as a director of major television shows. When you approach a Corman production, you tend to give some special dispensation for certain cinematic sins that you wouldn't accord more mainstream productions. Corman, who happily embraces his legendary status as a man who made major profits from films with minor budgets, knew how to stretch the soup in the cinematic sense. Rarely armed with ample production funds, Corman cut corners whenever possible but still managed to retain a certain elegance to his productions. In 1978, he jumped on the fading disaster movie bandwagon with "Avalanche". He hired Rock Hudson as the leading man because Hudson, at this point in his career, realized that he was no longer a hot commodity as a boxoffice draw in feature films (although he did successfully transition to a popular presence on television.) Corman also cast Mia Farrow and respected supporting actor Robert Forster for additional name recognition. He secured permission to film at a major ski resort in Durango, Colorado and out-sourced the special effects work to a company called Excelsior!
The film follows the general formula of the disaster film genre in that the victims-to-be are gathered for a major social occasion, unaware that nature is working overtime to thwart their fun. Rock Hudson plays David Shelby, an arrogant developer who has invested his life savings to build a vacation paradise in the Rocky Mountains. He has disdain for local environmentalists who have warned him that his destruction of an an abundance of trees on his massive property has removed a natural barrier to the inevitable avalanches that will occur. Shelby is preoccupied with his grand opening festivities and is simultaneously trying to woo back his ex-wife Caroline (Mia Farrow), who is attending as his guest. He's also busy trying to entertain his sassy, wise-cracking mother, Florence (Jeanette Nolan), who is being shepherded around the resort by David's major domo Henry McDade (Steve Franken in a rare dramatic role.) Meanwhile, local environmental activist and nature photographer Nick Thorne (Robert Forster) becomes increasingly concerned about the massive buildup of snow on the mountain peaks that are directly in line with the resort. He attempts to alleviate some of the danger by strategically using a snow cannon to set off controlled mini avalanches. Intermingled with all of this are the expected subplots involving minor characters who are set up to be inevitable victims. Barry Primus is a TV sports announcer who is broadcasting from the grand opening and who must contend with the fact that his estranged wife Tina (Cathey Paine) is on premises and rubbing his nose in it by blatantly carrying on an affair with egotistical super star skier Bruce Scott (Rick Moses). Scott, in turn, is rubbing Tina's nose in it by blatantly sleeping with another woman, thus causing Tina to go ballistic and consider suicide. Meanwhile, David Shelby finds time to unwind by spending some quality time in a hot tub with with his naked secretary (thus allowing Roger Corman to slip in a bit of T&A). Although the story seems set up to have the disastrous avalanche occur during the opening night festivities, screenwriter Allen throws the audience a curve ball by avoiding that cliche and saving the action for the following afternoon when, amid a particularly vicious snow mobile race, a small plane piloted by one of Shelby's employees encounters bad weather and slams into a nearby mountain, thus triggering the avalanche. This is where the movie progresses beyond cliches and becomes unexpectedly enjoyable. All of the standard disaster movie shtick is present, as both lovable and loathsome characters meet predictable fates, but the film's limited production resources somehow work in its favor. We're well aware that we're watching a Corman production but somehow the inventiveness that is required to carry it all off is quite admirable. Certain plot points are introduced and inexplicably abandoned including an insinuation that Shelby has bribed local political officials to overlook his clear violation of environmental protection rules in order to build his resort. This was one of Rock Hudson's final films as an "above the title" leading man. He's grayer and a bit paunchier than we'd seen him during his heyday, but he still had star power to spare and made for a dashing leading man, whether its skinny dipping in the hot tub or personally leading rescue parties in acts of derring doo to extricate victims of the tragedy. The film's showpiece sequence is a climactic scene in which Shelby must rescue Caroline, who is dangling from wrecked bridge above a ravine. It's well-directed and genuinely suspenseful.
It' easy to pick apart a film like "Avalanche", as it squarely fits into the "guilty pleasure" category. However, the film does a lot with very little as opposed to other misfires in this genre that did very little with a lot (aka "The Swarm"). The Kino Lorber Blu-ray edition features the original trailer and a "making of" featurette in which Roger Corman extols the virtues of the film. He admits the effects were rather shoddy and recalls his outrage when he discovered the SFX company had added "red snow". Corman hit the roof and it was changed to a bluish substance that he admits still looks pretty phony. Robert Forster recalls that the "snow" was actually little pieces of plastic that were strewn by the hundreds of thousands over the scenic landscape. He remembers his dismay at the realization that none of these bits were biodegradable and many must still be contaminating the landscape of the Durango ski resort where the movie was filmed. Corman makes the claim that the film was actually a major financial success. He says his budget was only $1.7 million and that a TV sale for $2 million netted him an immediate $300,000 profit. The tale sounds a bit fanciful because it seems hard to believe that even in 1978 you could make a movie like this with three relatively big names for only $1.7 million. (Other sources give unsubstantiated estimates of the budget at around $6 million, which seems more plausible.) "Avalanche" is not near the top of the heap of disaster movies but it certainly doesn't rank at the bottom of the pack, either. The Kino Lorber release has an impressive transfer and the inclusion of those bonus extras make this title highly recommended for fans of this genre.
Artist Jeff Marshall created this tribute to Sir Christopher Lee, which was presented to him by Cinema Retro publishers Lee Pfeiffer and Dave Worrall.
BY LEE PFEIFFER
Sir Christopher Lee, the acclaimed British actor, passed away last Sunday in London. He was 93 years old. The family waited to make the announcement until all family members could be notified. Lee was an early contributor to Cinema Retro magazine and periodically provided interviews and personal insights into the making of his films. We, along with movie lovers everywhere, mourn his loss. Lee was more often than not associated with the horror film genre, a fact that often frustrated him. He would routinely point out that he made many diverse films and played many diverse roles in movies of all genres, from comedies to westerns. For many years he was most closely associated with the films of Hammer studios, the British production firm that revitalized the horror film genre in the 1950s. Lee starred in seemingly countless Hammer productions, often appearing opposite another British film legend, his friend and colleague Peter Cushing. In the late 1950s, the two co-starred in the first color version of Bram Stoker's "Dracula" (released in America under the title of "Horror of Dracula"). The film, which was controversial because of its use of sex and violence, was nevertheless a major hit and spawned numerous other Hammer appearances with Lee as Dracula. He would later tell Cinema Retro that he did some of them reluctantly because the quality of the scripts had deteriorated over time. In one film, he found the dialogue was so poor that he insisted that the play the role without speaking. Nevertheless, the films remained popular and added to Lee's status as a legend of the modern horror film genre. In 1962, Lee was proposed to play the villain Dr. No in the first James Bond movie by Ian Fleming himself (the two were distant relatives.) Lee was not available and the role went to Joseph Wiseman. However, in 1974, Lee was cast as the Bond villain Scaramanga opposite Roger Moore in "The Man With the Golden Gun." In 1973, he starred in the original version of "The Wicker Man" playing a larger than life villain that became legendary in cult film circles. The film was not a hit on initial release but over the decades has been considered as a classic of British cinema. Lee's extraordinary achievements were often overlooked because he also appeared in many films that were low-budget and sub-standard. However, he brought grace and dignity to every role he played. As the years passed, he found he had outlived most of his contemporaries. Of the other great horror icons he knew, he once lamented to this writer "I'm the last one left". He said he particularly missed Peter Cushing and Vincent Price, both of whom he considered to be among the most fascinating people he knew. He said that they would often speak by phone and had a long-running gag in which they would try to deceive each other by posing as a crank caller.
Christopher Lee with Cinema Retro publishers Dave Worrall and Lee Pfeiffer, years before the start of the magazine. The photo was taken at the offices of Eon Productions in London where Lee was signing some limited edition Bond lithographs by artist Jeff Marshall.
Christopher Lee saw a resurgence of appreciation for his talents from a younger generation of filmmakers who had literally grown up on his movies. He worked several times with Tim Burton. Peter Jackson cast him in "The Lord of the Rings" films and George Lucas gave him a high profile role as a villain in the reboot of the "Star Wars" franchise. He also worked with Steven Spielberg on the big budget 1979 WWII comedy "1941". In his public life, Lee was regarded as a serious man, not generally associated with humor. However, in private he was an outstanding raconteur with a wonderful sense of humor. Joining him for lunch or drinks would inevitably become a Master Class in some worthy subject. When in London, Cinema Retro co-publisher Dave Worrall and I would occasionally invite him to lunch at his favorite restaurant, Drones. Lunch with Lee was never a simple affair: you would be taught about what wines to order and the history of certain cuisine. The man seemed to be a walking textbook. He also loved classic cinema and discussing older films, which he had an encyclopedic knowledge of. Sometimes his conversations about film making led to unexpected humorous results. On one occasion, we were discussing Howard Hawks' 1959 western "Rio Bravo" and we both agreed that Walter Brennan stole the movie from John Wayne and Dean Martin by playing a cranky and amusing deputy. I then sought to impress Lee by doing what I thought was a spot-on impersonation of Brennan in the film. Lee scoffed so I challenged him by saying, "I suppose you could do a better Walter Brennan impression?" He said, "In fact, I can" and then proceeded to do so. The sight of the distinguished Lee doing impressions of Walter Brennan should have been captured on film but, alas, it was a moment lost in time. On another occasion, we met with Lee at Drones. I was attired in a jacket and necktie, but typically Dave Worrall decided to go casual. When we got to the restaurant, Lee looked disapprovingly at Worrall and drolly said, "If I knew we were dressing for the beach, I would have worn my bathing costume." Inside the restaurant, there was a very long mirror near our table. Lee turned abruptly and almost bumped into it, causing a nearby diner who had recognized him to quip, "That's understandable- you don't have a reflection!", a reference to his appearances as Dracula. Lee stared the man down and said, "As though I've never heard that one a hundred times before!"
Lee Pfeiffer introduces surprise guest Christopher Lee at a Cinema Retro movie tour event in London, 2006.
Lee was a private man who valued time with his wife Gitte, with whom he was married to for over 50 years. (They had one child, Christina). However, he would always make time to see Worrall and I when we were in London. On one occasion, I was meeting friends for afternoon tea at Harrods. On a whim, I called up Lee and asked if he would join us. He said yes and, to amazement of all, he turned up as a surprise guest and regaled us with wonderful stories. He also had a hobby that was passionate about: collecting patches from the various branches of the British military, which he once proudly showed us in his apartment. Lee served in WWII in the fight against Rommel in Africa. He rarely talked about his experiences because he said he was still technically under the Official Secrets Act. I would try to pry information from him by pointing out the unlikely scenario that Germany and England were about to go to war again, but he wouldn't budge. "When I give my word, I keep it", he would say. Indeed he did. I never got to hear much about his duties in helping to defeat The Desert Fox. Lee was also a sentimentalist, which might surprise many of his fans. He was especially saddened at the loss of Peter Cushing in 1994. The two men led very different lives. Cushing lived in the countryside and Lee preferred city life in London. They spoke often and would see each other occasionally. He told me that the last time he saw Cushing occurred shortly before Peter's death. The two actors were reunited for an interview session for a television program. Lee said that Cushing was clearly in poor health and near the end of his life. Both men knew it but didn't acknowledge it. They laughed and told stories as they usually did. However, when Cushing got into the car that was taking him home, Lee came to the realization that he would never see his best friend again. As Cushing looked back, Lee waved and said, "Goodbye, my friend". He said it was one of the most heart-wrenching moments of his life. Lee would say that he never again enjoyed the kinds of friendships he had with Cushing and Vincent Price, although he had the highest respect for Johnny Depp, with whom he worked on several films directed by Tim Burton.
Christopher Lee holding court as a surprise lunch guest at Harrods, 2002.
Lee was so devoted to his craft and so grateful for the opportunities afforded him that he seemed unaware of the aging process. Once Worrall and I had lunch with him when he had just returned from filming the first of his "Star Wars" appearances in New Zealand under the direction of George Lucas. In one pivotal scene, he had a light saber duel with the character of Yoda. Lee explained that there really wasn't a Yoda there, nor was there any light from the saber. They would be added later by a digital process. As an actor, he said this was particularly challenging. Yet he told George Lucas that he would do much of the scene himself to minimize the use of a stuntman. Lucas cautioned him but Lee reminded him that had been deemed a master fencer his youth and prided himself on his dueling skills. The scene proved to be very arduous and sure enough, later that night Lee began to feel some chest pains. He discretely visited a local doctor who asked him if he had done anything unusually strenuous. Lee initially said no but when the doctor heard he had been filming fencing scenes at his age, he informed him that most people would find that to be unusually strenuous. Lee admonished the doctor and told him that he had done all of his own fencing scenes in the "The Three Musketeers" and "The Four Musketeers". When the doctor reminded him that was thirty years earlier, Lee said it was the first time that he realized he really was getting old. Yet, he never acted old. He was a living, breathing example of how leading an interesting life can help you avoid many of the ravages of old age. Lee remained up to date on all aspects of the motion picture industry and was also very interested in politics. He was a loyal Tory and was also a devoted royalist who had disdain for those who wanted to do away with the British monarchy. Fittingly, he was knighted by Prince Charles in 2009 for his "Services to Drama and Charity". In the latter part of his career, Lee embarked on releasing audio CDs that featured him crooning famous songs as well as contributing to hard rock concepts.
Dave Worrall and I last saw Sir Christopher Lee in October 2012 at the royal premiere of "Skyfall" in London. We had a chance encounter in the cavernous Royal Albert Hall. He looked quite frail but still cut a handsome figure in his tuxedo. As we parted, I had the feeling that, as with his experience with Peter Cushing, we might not see him again, which added poignancy to this brief encounter. Then again, the thought of the world without Sir Christopher Lee was unthinkable. On a certain level, I think I had convinced myself that he would outlive all of us.
To fully encompass Sir Christopher Lee's contributions to the world of cinema would require a thesis-like study. Suffice it to say that he was not only a major talent but a larger-than-life personality. He was also a great friend as well as a that rarest of species today, a true gentleman. The world will still turn without his presence. It just won't be nearly as much fun, nor nearly as interesting.
"Goodbye, my friend".
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had no idea what to expect when I placed the DVD for “Scobie Malone” in my
player. Scobie, played by Jack Thompson, makes his way through traffic on a
sunny day in Sydney Australia as the movie credits begin. An Olivia Newton-John
sound-alike sings the Scobie Malone title song. Scobie breaks the third wall by
looking directly at the viewer as the title appears on-screen during his drive
as an invitation to join him on his adventure. Scobie gives the thumbs up to a
motorcycle cop during his drive. He winks, nods and flirts with pretty girls on
the way to his swinging bachelor pad.
lives at “Sunrise Patios” and the entry sign proclaims SINGLES ONLY with a
placard stating: NO VACANCIES. His bachelor pad is reached through the central
courtyard containing a large patio and pool. A pretty girl in a bikini is
changing the sign reading “Nude Sunbathing Prohibited” by crossing out “prohibited”
and writing “Encouraged!” She pauses in front of Scobie who reads the sign and
smiles as he catches her tossed bikini and she dives nude into the pool. Scobie
says hi to another sunbather and greets a pretty girl in his apartment with,
“Hello-Hello” as they strip and get into bed.
you had doubts that women can’t resist Scobie, the movie’s title song makes it clear
with lyrics like, “There’s a softness in his eyes. Try to catch him if you can.
If you catch him try to hold that man. Love him yes, but don’t expect to own
Scobie Malone. He’s an angel and a devil changing all the time.” The bedding is
interrupted with a flashback as we discover that Scobie is more than just a
swinging sex-craved bachelor, but also a serious homicide detective, Sergeant
Malone. He’s investigating the murder of a woman in the Sydney Opera House. The
credits continue with a new song, “Helga’s Web,” and we learn that Helga is the
name of the murdered woman at the center of this movie.
in 1975, “Scobie Malone” is billed as “a 70s ‘Ozploitation’ murder mystery with
a sexy wink to the crime genre.” The movie makes great use of location scenes
shot at the Sydney Opera House and uses a series of flashbacks to tell Helga’s
story which includes plenty of sex weaved into the mix of blackmail, mystery
and murder. Jack Thompson is terrific as Scobie Malone and it’s a pity that the
movie did not do better financially or receive a wider release outside of
Australia. Maybe it was all about timing because a few years later Australian
films and pop music were everywhere.
plays Scobie in his unique swaggering style. While not instantly recognizable outside
of Australia, he is certainly memorable from featured parts in “Breaker
Morant,” “The Man From Snowy River,” “Merry Christmas Mr. Lawrence,”
“Flesh+Blood,” “Midnight in the Garden of Good and Evil” and “Star Wars Episode
II: Attack of the Clones” in addition to many Australian screen and TV roles.
Morris plays Helga Brand. Morris is far less known here in America, but I’m
familiar with her from the down-under comedy TV series “Mother and Son” which
aired in Australia from 1984-1994 and played here in America on public TV. She
also appeared in the 1979 Peter Weir TV movie, “The Plumber” (better known as “The
Cars that Ate Paris”). She’s also the co-producer, co-writer and co-director of
the 2006 animated hit feature “Happy Feet.”
plays model, actress and high class prostitute Helga in “Scobie Malone.” She’s
also the mistress of the Australian Minister for Culture and blackmails him
with explicit pictures of them together. Their lives become even more
complicated when she convinces her boyfriend to blackmail a local gangster and
drug runner. Helga’s murderer is revealed in a series of flashbacks as Scobie exposes
those trapped in Helga’s web.
spite of the juxtaposition between swinging 70s bachelor Scobie Malone and
serious police detective sergeant Malone, the movie is quite entertaining and
an enjoyable slice of 1970s cop thriller with plenty of sex and nudity on the
side. In one scene, Scobie asks for advice on the case from a swimsuit-clad
woman lying next to the pool who is also an expert on photography. She eagerly
follows Scobie to his apartment and after advising him on cameras and film
exposures, she strips and heads for the bedroom.
on the novel “Helga’s Web” by Jon Cleary, this is actually the second movie based
on Cleary’s Scobie Malone book series. Rod Taylor played Scobie in the 1968
movie “Nobody Runs Forever” which was released as “The High Commissioner” in
America. The book series includes 20 novels, but to date there are only two
Scobie Malone movies.
movie, released by Australian label Umbrellas entertainment, is presented in widescreen on a region free DVD release. The picture image
is sharp and the movie sounds good with a couple artifact sounds left over from
the digital transfer. There are no extras on this bare bones release and there
are no subtitles. Overall this is a very worthwhile movie for fans of cop thrillers,
70s “Ozploitation” and fans of Scobie Malone.
"SCOBIE MALONE" is available as a region free DVD. Click here to order from Amazon.
Few actors had the screen and stage presence of Yul Brynner. There never was an actor quite like him and there hasn't been since. Like most thespians, Brynner had his share of good movies as well as those that fell considerably short of their potential. Nevertheless, the man never gave a false performance. He came across as supremely self-confidant even when he must have suspected the material he was given proved to be far below his considerable talents. Much of his self-confidence seemed to stem from an inflated ego. Robert Vaughn once told me that when Brynner arrived on the set of "The Magnificent Seven" in Mexico, he was still firmly in the King of Siam mode that had seen him win an Oscar. Vaughn said he carried himself as though he were real life royalty at all times. You didn't chat with him casually. Rather, he would grant you an audience. As Brynner's stature as a top boxoffice attraction began to wane, he returned over and over again to his signature role in stage productions of "The King and I" and found his mojo and star power were still very much intact when it came to touring in front of live audiences. His exotic look and manner of speaking were invariably intoxicating. Given Brynner's enduring legacy as a Hollywood icon it's rather surprising to remember that he had very few major hits. "The King and I" in 1956 was his star-making vehicle and his role in "The Ten Commandments", released the same year, helped build on his success. However, with the exception of the surprise success of "The Magnificent Seven" in 1960, Brynner proved to be more of a reliable boxoffice attraction than a powerhouse draw in the way that John Wayne, Cary Grant and Burt Lancaster were regarded. For most of Brynner's screen career, he top-lined in major studio releases that were relatively modest in terms of production budgets. Since this was during an era in which a decent profit for a film made it a success, Brynner remained popular for many years. By the 1970s, however, his clout had diminished considerably. He would have only one memorable big screen success during the decade- his brilliant appearance as the murderous robot in "Westworld" (1974). He would concentrate primarily on stage work until his death in 1985.
"Invitation to a Gunfighter" is the kind of mid-range vehicle that defined most of Brynner's career in Hollywood. Released in 1964 by Stanley Kramer's production company, the film is a perfect showcase for Brynner in that it lacked any rival star power and afforded him a smorgasbord of scene-stealing opportunities. The story opens in the wake of the Confederate surrender that marked the end of the Civil War. Matt Weaver (George Segal), a veteran of the Confederate army, is making an arduous journey home to his Texas ranch on foot through the desert. When the exhausted man finally reaches the small town he calls home, he gets a rude welcome. His ranch is now occupied by another man who claims he bought the deed from the township. Matt soon learns that he is despised by the locals because he is the only man to have served in the southern army. He is notified by the town's political kingpin, Sam Brewster (Pat Hingle), that a technicality has been used to seize ownership of his ranch. He also advises him to move on out of town because he is no longer welcome there. Matt, however, is not about to be cheated. He confronts the new owner of his house and is forced to shoot him dead in self-defense. Brewster manipulates the facts and accuses Matt of being a murderer. Matt takes possession of his ranch and uses firepower to hold off the townspeople. He is surreptitiously visited by his former lover Ruth (Janice Rule), who admits that she could no longer bear waiting for him to return from the war. She reluctantly married Crane Adams (Clifford David), a local union war veteran who lost an arm in the conflict. Since then, Crane has become an alcoholic with a violent temper and his relationship to Ruth has devolved into a loveless marriage of convenience.
Unable to lure Matt from his besieged homestead, Brewster takes the step of announcing to the town council that he will hire a gunslinger to kill him. Coincidentally, a man with the exotic name of Jules Gaspard d'Estaing overhears the offer. He is just passing through on a stagecoach ride but is immediately intrigued. d'Estaing convinces Brewster that he is a master gunfighter and demonstrates his prowess with a pistol. Brewster hires him on the spot but d'Estaing is in no hurry to carry out the mission. Instead, he sees the townspeople for what they are: cowardly hypocrites and delights in humiliating Brewster in front of them. d'Estaing is an intimidating presence to the townspeople. They can't pinpoint his ethnicity and know nothing of his background. He dresses immaculately, speak fluent French, plays the harpsichord and chain smokes Churchill cigars (though I wonder what they called them in this era before Churchill was born.) Ever provocative to his hosts, he stirs the pot even further by moving into the house of Crane and Ruth Adams. Predictably, it isn't long before Ruth is entranced by this larger-than-life man of mystery who dresses like a dandy and is highly cultured- the very opposite of her own husband and Matt. Tensions rise as Crane correctly suspects a romance may be brewing. d'Estaing insists he intends to carry out his mission to kill Matt, despite Ruth's protests, but he later makes it clear to her that he intends to manipulate the situation so that Matt is spared and Brewster is dragged down in disgrace.
The film, directed with admirable if unremarkable competence by Richard Wilson, is a slow-moving, talky affair that leads to some intelligent discussions about race relations and the horrors of bigotry. (This was, after all, a production financed by Stanley Kramer, who never heeded the old adage, "Leave the messages to Western Union!"). What saves the movie from devolving into a completely pedantic affair is the charisma of Yul Brynner. It also helps that he is playing an interesting character with a mysterious background and the revelations he makes to Ruth about his life only make him even more intriguing. This is a "thinking man's" western that touches on social issues as well as the desperate plight of women in the old West, when their survival often saw them entering dreadful marriages simply for financial security and protection. Brynner gets fine support from Janice Rule and rising star George Segal and Pat Hingle plays the town's pompous boss with appropriate, sneering superficial charm. The Kino Lorber Blu-ray boasts an excellent transfer and includes the original theatrical trailer.
"Invitation to a Gunfighter" is by no means a classic but it does afford viewers to spend some time with Yul Brynner and that is always time well-spent.
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have loved movies pretty much all my life. One of the most integral aspects in
my overall enjoyment of a film is my impression of it through the film's
advertising campaign, usually through the coming attractions trailer but mostly
through the advertising artwork, primarily the movie poster. Growing up in the 1970s,
I had no way of knowing anything about a film other than what was written about
it in Time or Newsweek or newspapers. The movie poster art, referred to as key
art in the industry, was really all I had to go on in terms of getting a feel
for what the movie would be like. Each week I would eagerly await Friday’s
newspaper as it showcased the advertising artwork of the new releases just
coming out in a much more overt fashion that it did from Monday to Thursday. In
those days, the advertising artwork was just that: it was artwork, designed, conceived and actually painted by an artist. This appears to be something that has gone by
the wayside as a result of the new tools that are available to studios, such as
computers and software programs like Adobe’s Photoshop and Illustrator, which
make it very easy for just about anyone to slap together homogenized key art
for DVD and Blu-ray covers. This new
type of advertising art appears to have been sapped of the most important
first two movies that I ever owned on home video were Star Wars (1977) and Poltergeist
(1982). I bought these on the long defunct Capacitance Electronic Disc system (CED)
which was designed and manufactured by RCA and sold from 1981 to 1986. The
artwork to these two films in particular made an enormous impression on me as
the oversized, LP-like format lent itself perfectly to the display of these
images. Some of my all-time favorite movies, which I first saw between 1983 and
1984, sported some of the most beautiful artwork I've ever seen: Phantasm (1979), Deadly Blessing (1981), Scanners
(1981)…just about anything horror-film related. With CED, you felt like you actually owned
the movie and that it was yours. It was tangible and you could hold it and
look at it.
first video cassette that I ever rented was Wes Craven's A Nightmare on Elm Street (1984), which I watched on Independence
Day in 1985, because it was not available on CED. I had seen the film
theatrically upon its initial release, but there was something about being able
to watch it on video that was enormously appealing to me. From that point on,
the artwork that I saw on the cover of VHS cassettes, in particular horror
movies, left me salivating in the video store aisles. After getting my driver’s
license, my friends and I made innumerable trips to local and independently
owned video stores to both rent movies and gaze at and admire the cover artwork
of all the boxes on display. This was my generation's equivalent of going to
the local drive-in and, just like the local drive-in, the independent video
store, in the year 2015, is nearly extinct.
long overdue and beautifully illustrated new coffee table book, appropriately
titled VHS Video Cover Art, is now
available from Schiffer Publishing. Compiled
by Tom “The Dude Designs” Hodge, it showcases nearly 300 pages worth of VHS
sleeve artwork from movies made in the 1980s and 1990s. The covers are derived
from the British VHS releases of these films and are broken into six genres: action,
comedy, horror, kids, sci-fi, and thriller. Being an admirer of these types of films, which are both cult movies and
forgettable flops (of the “so bad it’s good!” variety), what is truly amazing
to me is the number of films presented that I personally still have never even
heard of. A lot of the titles included have artwork that is very different from
the American VHS releases. Case in point: Searchers
of the Voodoo Mountain (1985), which is better known in the States as Warriors of the Apocalypse. Like a lot
of the schlock movie posters of films of the 1950s and 1960s, these colorful
cover art were sometimes better than the actual movie they were designed to
advertise. Fifty years ago, a movie poster was drawn up and the film was made
on the basis of the title and the poster. I’m sure the same held true for some of these VHS titles as the
availability of home video created a perfect opportunity for studios to make
movies that were released directly to VHS, completely bypassing cinemas
While working at the Tromaville Health Club
in 1984, goodhearted, 98lb. weakling Melvin “The Mop Boy” was tricked into
wearing a pink tutu and teased unmercifully until he fell from a two-story
window and landed in a vat of nuclear waste. The toxic chemicals changed little
Melvin, transforming him into a hideously deformed creature of superhuman size
and strength. Melvin became The Toxic Avenger, the first superhero from New Jersey!
Written and Directed by the great Lloyd
Kaufman (and co-directed by his partner-in-slime, Michael Herz), The Toxic Avenger, which is a thoroughly
entertaining and unique combination of the superhero genre, raunchy and over-the-top
comedy, as well as full-on horror movie-type gore,not only became an instant hit, but singlehandedly built Troma
films (Toxie is the company’s mascot much like Spider-man is to Marvel Comics).
The Toxic Avenger character became so popular that, over the years, fans were
treated to Tromatic goodies such as Toxie comic books, action figures, a
children’s cartoon series (Toxic
Crusaders) and even a musical; not to mention three hilarious sequels (with
a fourth on the way). The first sequel, also written by Kaufman, and, again,
directed by Lloyd and Herz, appeared in 1989.
Thanks to Toxie’s past heroics, The Toxic Avenger Part II begins with
the little people of Tromaville living in peace and harmony. That is, until the
evil chemical corporation Apocalypse Inc. comes to town and blows up the local
home for the blind which, incidentally, happens to be where Toxie (played by Ron
Fazio and John Altamura) is working, along with his blind girlfriend, Claire (singer/musician/artist/poet/filmmaker
Phoebe Legere). After Toxie mops up the floor with the corporation’s top
henchman, the evil Chairman (Rick Collins from Sgt. Kabukiman, N.Y.P.D.) and his partner Miss Malfaire (Class of Nuke ‘Em High 2’sLisa Gaye) devise a diabolical plan to
rid Tromaville of the Toxic Avenger once and for all. They convince Toxie to
travel to Tokyo in order to locate his long-lost father, Big Mac (Rikiya
Yasuoka from Black Rain). Not only
will Toxie’s absence allow Apocalypse Inc. to take over Tromaville hassle-free,
but, while he’s in Japan, Miss Malfaire and the evil Chairman will order their
Tokyo contacts to use state-of-the-art Japanese technology in order to rid
Toxie of the Troma-tons within his body which not only give him his superhuman
size and strength, but also act up whenever he’s in the presence of evil. Will
the oblivious monster-hero figure stop the evil corporation from taking over
both Tromaville and Japan or will Apocalypse Inc. reign supreme?
I first saw this film in 1989 at a (sadly)
now defunct grindhouse theater on New York’s famed 42nd street. I
was a bit disappointed as I felt that the sequel didn’t live up to the
greatness of the original. Over 25 years later, I still feel that it doesn’t
come close to the original film, but I do find it a lot more entertaining than
I did back then (probably because this is the Director’s Cut and not the
chopped up, R-rated version I saw on its original release). Like the first
film, it’s still a wild combo of super heroics, raunchy, over-the-top comedy
and excessive gore, and the movie barely stops to catch its breath during the
109-minute running time. The larger-than-life acting is a real joy to watch too.
In particular, Lisa Gaye (who studied under Strasberg) and Phoebe Legere both
shine in their insane roles and these two lovely ladies prove to be extremely
gifted comic actors. Also, for those who enjoy seeing stars before they hit the
big time, the incredibly talented Michael Jai White (Tyson, Spawn, Black Dynamite) makes his film debut as an evil, yet
Although, the film runs a bit too long and
isn’t as focused as the original, The
Toxic Avenger Part II is loaded with enjoyably campy humor and wonderfully
comic bookish situations, characters & performances as well as insane (in a
good way) direction. It also contains a fun, Heavy Metal Toxie song and the
classic theme of good vs. evil.
If you’re a true-blue Tromaniac, you’ll be
happy to know that Lloyd Kaufman and the terrific Troma team have put together
a lovely remastered, Troma-rrific HD transfer presented in its original 1:85:1
aspect ratio. The region free Blu-ray/DVD is also packed with a ton of special
features (most of which have been carried over from previous releases). Along
with the original theatrical trailer, we also get trailers for the remaining
three Toxic Avenger films as well as
several other Troma classics like Troma’s
War and Return to Nuke ‘Em High:
Volumes 1 & 2; not to mention the featurette: The American Cinematheque Honors 40 Years of Troma, two humorous,
retro features: At Home with Toxie and
Toxie on Japanese T.V., a brief interview
with Lisa Gaye who happily discusses her association with the fiercely
independent company, a brand new introduction by the King of Troma himself,
Lloyd Kaufman, as well as a retro DVD intro and, last, but certainly not least,
a full-length, hilarious and informative audio commentary from writer/director Kaufman,
who discusses a plethora of interesting subjects such as filming in New York,
New Jersey and Tokyo as well as his many battles with the MPAA. My only
complaint here is that the commentary is out of sync, as Lloyd seems to be six
minutes ahead of the visuals. Other than
that, it’s over four hours of toxic goodness, so if you’re a Troma fanatic, a
lover of Toxie or just enjoy off-the-wall insanity, this Blu-ray is an absolute
Remember the days when it seemed as if
every week a new slasher film with a holiday in the title would hit movie
theaters and you couldn’t wait to see it? How about waiting with baited breath
to see if Eddie Murphy would appear as Buckwheat on Saturday Night Live? Or walking around the neighborhood with your
boom box blasting awesome tunes from legendary groups like Blondieor The Police? Well, if you were a
teenager in the 1980s, you remember these things well. You probably also
remember trying to sneak into the local movie theater in order to see R-rated
sex comedies like Porky’s (1982)or hanging out with your friends at the
corner pizza shop and playing now classic video games such as Donkey Kong, Ms. Pac-Man and Galaga. If all this talk (especially the
sex comedy/video game part) is making you nostalgic for those unforgettable
days of fun, then you’re gonna love 1983’s Joysticks.
With the help of his idiotic nephews Arnie
(John Diehl from Stripes) and Max (Newhart’s John Voldstad), uptight
businessman Joseph Rutter (the great Joe Don Baker from Walking Tall, GoldenEye and Mars
Attacks!) does everything in his power to get the local video arcade shut
down. However, arcade owner Jefferson Bailey (Secret Admirer’sScott
McGinnis) doesn’t plan on going out without a fight. Jefferson enlists his
co-worker Eugene (Leif Green from Grease
2), his best friend McDorfus (Night
Shift’s Jim Greenleaf) as well as Rutter’s rebellious daughter Patsy (Corinne
Bohrer from Vice Versa) to help him
thwart the reactionary businessman’s misguided plan. The battle for the
arcade’s future culminates in a Super Pac-Man duel between the video
game-phobic Jefferson and Rutter’s Super Pac-Man champion, King Vidiot (Napoleon Dynamite’s Jon Gries).
If you don’t remember seeing this mindless,
but deliriously fun film way back when, then you probably at least recall
catching the trailer on TV. Joysticks was
the brainchild of independent filmmaking legend Greydon Clark (Satan’s Cheerleaders, Angel’s Brigade,
Without Warning) who, while at a screening of his 1982 slasher film parody Wacko, noticed a line of kids standing
in front of a video game in the lobby of the theater. Seeing how excited these
kids were over playing this game, Greydon immediately thought that a video
arcade would be the perfect location for a hot, new teenage sex comedy. The
creative director developed his timely idea further, began filming in the fall
of ’82, and by the following spring, Joysticks
was the #1 movie in the country.
The humorous film is filled with solid
direction, extremely loveable characters and fun performances (you may not
recognize most of that incredibly talented cast by name, but trust me when I
tell you that you’ll immediately recognize their faces as they’ve all gone on
to do a plethora of work over the years). Joysticks
also benefits from a simple and engaging story as well as contains enough laughs
to fill its brief 87 minute running time. The lighthearted comedy may not be in
the same league as, say, Animal House (1978)or Caddyshack
(1980), and it’s far from being an accurate depiction of teenage life in
the ‘80s à la Fast Times at Ridgemont High
(1982), but it’s a harmless and highly enjoyable film. If you were around
during the early ‘80s video game craze, will have you happily strolling down
Joysticks has been released
on DVD by Scorpion Releasing in a brand new 16x9 anamorphic (1.78:1) widescreen
transfer and, although the film shows some scratches and the colors aren’t as
vibrant as, say, Blu-ray, the movie is more than watchable and a huge
improvement over the previous DVD release. The disc also contains the original
theatrical trailer, a very interesting and informative audio commentary with
producer/director Clark who discusses many aspects of the film’s production
and, also, an onscreen interview with Clark who not only talks about several
films from his impressive filmography, but also details directing seasoned
veterans Joe Don Baker (who also starred in Wacko
and Final Justice for Clark),
George Kennedy (Wacko and Clark’s The Uninvited), Jack Palance (Angel’s Brigade, Without Warning),
Martin Landau (Without Warning and
Clark’s second sci-fi film The Return)
and Robert Englund (Clark’s Dance Macabre).
Rounding out the special features are several fun 70s/80s exploitation trailers
(the awesome trailer for 1981’s Kill and
Kill Again is priceless) which are guaranteed to bring back memories.
Whether you’re a fan of Greydon Clark, Joe
Don Baker, retro video games, ‘80s teen sex comedies or just like to sit back,
veg out and feel good, Joysticks is
the DVD for you.
(NOTE: Scorpion Releasing advises that this title has sold out. However, the company may do a re-pressing in the future. For now, it is available on Amazon through third party sources. Click here to order.)
"The Rape of Europa" is the acclaimed 2006 documentary that chronicles one of the lesser-known aspects of Adolf Hitler's corrupt regime: the widespread looting and destruction of priceless art masterpieces in the territories his conquered. The subject matter had been dealt with has far back as 1965 in John Frankenheimer's "The Train", and more recently in George Clooney's "The Monuments Men". The crimes against the cultural of a nation may pale in comparison to the human toll extracted by the Nazis on their victims. Nevertheless, the loss of historical treasures was a true tragedy tied to the rise of National Socialism. The documentary reiterates the fact that Hitler had been an aspiring artist who traveled to Vienna with the hope of being accepted into the art institute there. Had that occurred, the world would have been a very different place in the years to come. However, while he possessed a degree of artistic talent, he was deemed unsuitable for acceptance by the academy. Hitler's wounded pride, along with his pre-existing shame at Germany's compliance with the oppressive Treaty of Versailles, had helped instigate his rise as as an extreme right wing political leader. Upon taking over the National Socialist Party and ultimately rising to the rank of Chancellor, Hitler managed to turn the position into that of an all-powerful dictator. His first priority was to rearm Germany in violation of the Treaty. The Allies protested but took no action. Simultaneously, he instituted increasingly oppressive sanctions against those who he deemed to be his enemies: Jews, homosexuals, racial minorities and intellectuals who opposed his policies. Using the Nuremberg Laws to deprive Jews of all civil rights, Hitler and his paladins went to work appropriating valuable artworks, sculptures and even furniture from the now-dispossessed and largely doomed Jewish population. He also waged a culture war against what he considered to be the evil influence on German culture of the modern art movement, which he felt was degrading to Aryan culture. Under Hitler's direct orders, museums were emptied of art masterpieces that were either destroyed or sold off. Those works that Hitler approved of were appropriated for the Fuhrer and his top brass, each of whom took great pride in building their massive collection of stolen paintings. (Hitler's second-in-command, Herman Goering was the worst offender.) When Hitler annexed most of Western Europe, the policies were carried out in those territories.
"The Rape of Europa" traces the impact of the Nazi art thefts and their impact on the indigenous populations of the affected nations. Although France had the most modern army in Europe and was confident it could stop a possible German invasion, the staff at the Louvre had enough foresight to move most of the masterpieces into hidden locations, a massive project that was carried out just in time: the nation would fall to Germany within six weeks. The film shows the extravagant methods the Nazis used to locate these hidden treasures. In some cases they succeeded, but thanks to the efforts of many dedicated people, other artwork survived without being stolen and many priceless artifacts were recovered after the war. When Hitler launched his ultimately ill-fated invasion of his former ally, the Soviet Union in 1941, the staff at the massive Hermitage museum managed to remove all the valuable art masterpieces to hidden locations in Siberia. Germany never took possession of the museum, having been finally sent into retreat after a mutually grueling campaign that saw enormous losses on both sides. With the invasion of Italy in 1943, the Americans and their allies were sensitive about destroying the local culture in their quest to rid the nation of German troops. General Eisenhower issued orders to avoid bombing key cultural landmarks. In some cases it worked: American bombers carried out the destruction of rail lines in Florence without destroying nearby architectural landmarks. However, in the bloody battle for the Monte Cassino, the ancient abbey was destroyed in a bombing raid in the mistaken belief that it was occupied by German troops. All of these aspects of the war are covered in this fascinating documentary through rare original film footage and interviews with survivors of the period. Their tales are alternately heartbreaking and inspiring, as they relate the Herculean tasks undertaken by patriots to preserve their nation's heritage in the hope that one freedom would once again prevail. The film also covers the challenge of tracking down missing art masterpieces in the aftermath of the war and attempts by families to reclaim certain pieces which ended up in museums.
"The Rape of Europa" is a spellbinding experience throughout. Highly recommended.
There are no bonus items on the DVD from Menemesha Films aside from the original trailer, which is a pity because a movie of this significance cries out to have a commentary track with scholars furthering our knowledge of this important period in history.
the days before cable, video and on-line streaming, classic movie fans had to
work for their movie watching pleasure by hunting through local weekly
schedules based on what local broadcasters chose to schedule. Adventure movies,
comedies, war movies and westerns have always been at the top of my classic
movie viewing list. “The Password is Courage” is one of those movies discovered
years ago that remains a favorite of mine. Maybe because its a sort of big brother
to the Grand Poobah of all prisoner of war movies, “The Great Escape,” which
was released a year later in 1963.
movie, based on the true story of Sergeant Major Charlie Coward, is a
remarkable yet easy-going tale. One almost feels as though life was not all
that bad in a German POW camp during WWII. If the movie has a fault, it’s that
it treats the subject a little too cavalier at times. It’s a very minor
objection because the humor is always at the expense of the German captors and everything
else about this movie is pure movie watching joy.
Bogarde is perfectly cast as Charlie Coward, a man with an ironic name which
must have played a part in making him anything but a coward. The German
Luftwaffe ran POW camps through most of the war because most allied military
prisoners were aviators and air crew until the Normandy invasion in 1944. The
Germans also commonly segregated their camps by nationality and separated
officers and enlisted men into separate camps. Sergeant Major Charlie Coward
was among the senior enlisted members of one such camp, Stalag VIII-B Lamsdorf,
in what is now part of Poland.
movie is based on the popular book of the same name by Ronald Charles Payne and
John William Garrote writing as John Castle. Coward was transferred to
Auschwitz III-Monowitz, a labor camp which was near the infamous Auschwitz II-Birkenau
extermination camp which Coward allegedly infiltrated in a failed attempt to
liberate a Jewish doctor. According to the book, he also aided in the
liberation of hundreds of Jews, but Coward’s involvement in these activities is
Burbank, Calif. May 19, 2015 – On June 2, Warner
Bros. Home Entertainment (WBHE) will release The John Wayne Westerns Film
Collection – featuring five classic films on Blu-ray™ from the
larger-than-life American hero – just in time for Father’s Day. The Collection
features two new-to-Blu-ray titles, The Train Robbers and Cahill
U.S. Marshal plus fan favorites Fort Apache, The Searchers and a
long-awaited re-release of Rio Bravo. The pocketbook box set
will sell for $54.96 SRP; individual films $14.98 SRP.
Born Marion Robert Morrison in Winterset, Iowa, John
Wayne first worked in the film business as a laborer on the Fox lot during
summer vacations from University of Southern California, which he attended on a
football scholarship. He met and was befriended by John Ford,
a young director who was beginning to make a name for himself in action films,
comedies and dramas. It was Ford who recommended Wayne to director Raoul Walsh
for the male lead in the 1930 epic Western, The Big Trail,
and, although it was a box-office failure, the movie showed Wayne's potential.
For the next nine years, Wayne worked in a
multitude of B-Westerns and serials in between bit parts in larger features. Wayne’s
big break came in 1939, when Ford cast him as Ringo Kid in the adventure Stagecoach. Wayne nearly stole the picture
from his more seasoned co-stars, and his career as a box-office superstar began.
During his 50-year film career, Wayne played the lead in 142 movies, an as yet
unsurpassed record, and was nominated for three Academy Awards®[i],
winning the Best Actor Oscar® in 1970 for his performance in True Grit.
Details of The
John Wayne Westerns Film Collection
The Train Robbers (1973)
NEW TO BLU-RAY!
The action never stops in this western starring
Wayne, Ann-Margret and Ricardo Montalban. Three Civil War veterans team up with
a train robber’s attractive widow to recover a cool half-million in hidden
gold. The widow (Ann-Margret) wants to clear her husband’s name and the three
friends (John Wayne, Rod Taylor, Ben Johnson) want to aid her and collect a
$50,000 reward. But the dead man’s ex-partners just want the gold…and will kill
to get it.
The Train Robbers is a rollicking
caper from writer/director Burt Kennedy, a specialist in Westerns with a comic
touch (The Rounders, Support Your Local
Sheriff). Here he sets a mood of amiable adventure among colorful
characters, not stinting on the two-fisted action that’s part of all the best
Special features include:
·Featurette: John Wayne: Working with a Western Legend
·Featurette: The Wayne Train
Cahill U.S. Marshal (1973)
NEW TO BLU-RAY!
Lawman J.D. Cahill can stand alone against a
bad-guy army. But as a widower father, he’s on insecure footing raising two
sons, particularly when he suspects his boys are involved in a bank robbery…
and two killings.
Filmed on location in the high desert of Durango,
New Mexico, this suspenseful saga offers a hearty helping of the stoic charisma
that made John Wayne a long-time box-office champion. Summer of ’42 discovery Gary Grimes – as Cahill’s rebellious older
son – joins a cast of tough-guy favorites (Neville Brand, Denver Pyle, Harry
Carey Jr. and George Kennedy) and such other Hollywood greats as Marie Windsor
and Jackie Coogan in a deft blend of trigger-fast action and heroic sentiment.
Special features include:
Commentary by Andrew V. McLaglen
Featurette: The Man Behind the Star
Fort Apache (1948)
The soldiers at Fort Apache may
disagree with the tactics of their glory-seeking new commander. But to a man,
they’re duty-bound to obey – even when it means almost certain disaster.
John Wayne, Henry Fonda and many
familiar supporting players from master director John Ford’s “stock company:
saddle up for the first film in the director’s famed cavalry trilogy (She Wore a Yellow Ribbon and Rio Grande are the others). Roughhouse camaraderie,
sentimental vignettes of frontier life, massive action sequences staged in
Monument Valley – all are part of Fort
Apache. So is Ford’s explorationof the West’s darker side. Themes of justice,
heroism and honor that Ford would revisit in later Westerns are given rein in
this moving, thought-provoking film that, even as it salutes a legend, gives
reasons to question it.
released special features include:
·Commentary by F.X. Feeney
·Featurette: Monument Valley: John Ford
The Searchers (1956)
Working together for the 12th time,
John Wayne and director John Ford forged The Searchers into a landmark
Western offering an indelible image of the frontier and the men and women who
challenged it. Wayne plays an ex-Confederate soldier seeking his niece,
captured by Comanches who massacred his family. He won't surrender to hunger,
thirst, the elements or loneliness. And in his five-year
search, he encounters something unexpected: his own humanity. Beautifully shot by Winton
C. Hoch, thrillingly scored by Max Steiner and memorably acted by a wonderful
ensemble including Jeffrey Hunter, Vera Miles, Natalie Wood and Ward Bond, The
Searchers endures as "a great film of enormous scope and
breathtaking physical beauty" (Danny Peary, Guide for the Film Fanatic).
Previously released special features include:
The Searchers: An Appreciation - 2006 Documentary
A Turning of the Earth:John Ford, John Wayne andThe Searchers – 1998 documentary
narrated by John Milius
Introduction by John
Wayne’s son and The Searchers co-star Patrick Wayne
Commentary by director/John
Ford biographer Peter Bogdanovich
Vintage Behind the
cameras segments from the Warner Bros. Presents TV Series
Rio Bravo (1959)
On one side is an army of gunmen dead-set on
springing a murderous cohort from jail. On the other is Sheriff John T. Chance
(John Wayne) and two deputies: a recovering drunkard (Dean Martin) and a crippled
codger (Walter Brennan). Also in their ragtag ranks are a trigger-happy youth
(Ricky Nelson) and a woman with a past (Angie Dickinson) – and her eye on
Chance. Director Howard Hawks lifted the
Western to new heights with Red River. Capturing
the legendary West with a stellar cast in peak form, he does it again here.
Previously released special features include:
Commentary by John
Carpenter and Richard Schickel
Howard Hawks’ Rio Bravo
Tucson: Where the Legends Walked
Also available on Digital HD June 2, 2015
-- the JOHN WAYNE 10 FILM COLLECTION.This digital bundle
of 10 titles will include the followingfilms:
Founded by producers James H. Nicholson and Samuel Z. Arkoff, American International Pictures (A.I.P.) hit upon a formula of financing and releasing low-budget exploitation films for non-discriminating audiences (translation: the youth market). Specializing in horror films and goofy comedies, A.I.P. occasionally strayed into other genres. In 1963, the company capitalized on the always-popular WWII genre with the release of "Operation Bikini". Ostensibly, the movie's title referred to the obscure atoll in the Pacific where atomic bomb tests were conducted during the Cold War era. However, in true A.I.P. style, the advertising campaign was designed to imply that the title might also refer to the fact that the bikini bathing suit was popularized here by a French designer who conducted a photo shoot on the atoll just days after an atomic blast. (Ignorant of the risks from radiation poison, he merrily pronounced that "like the bomb, the bikini is small and devastating!") Still, the sexploitation angle in "Operation Bikini" was saved for late in the film. What precedes its appearance is a fairly routine combat flick made somewhat more interesting by the obvious attempts of the filmmakers to disguise the movie's very limited budget.
Tab Hunter, one of the top heart throbs of the era, had by this point seen his popularity in decline. He nonetheless received top billing over charismatic crooner Frankie Avalon, whose career was ascending and who would find great popularity as the star of several A.I.P. beach movies over the next few years. Hunter plays Lt. Morgan Hayes, the leader of a secret commando team that has been ordered to rendezvous with a U.S. submarine that has been ordered to transport them on a secret mission. The team is supposed to locate and destroy the sunken wreckage of an American sub that was recently sunk off the coast of Bikini by the Japanese. Seems the wreckage contains a prototype of a top secret sonar device that the Allies can't afford to fall into enemy hands. From minute one, Hayes' small group of rough house land-lubbers rubs the Captain of the submarine, Emmett Carey (Scott Brady) and his crew the wrong way. Hayes' men resent being cooped up in a floating "tin can" and the naval crew resents the presence of these brash soldiers who seem to be perpetually eager to provoke a fight. Carey gives Hayes a dressing down about keeping the tension levels low and the two men ultimately gain mutual respect for one another. Upon arriving at Bikini, Hayes and his men must sneak ashore and traverse the dense jungle in search of the area where the sunken submarine is located. They are guided by local partisans who conveniently include a stunning beauty named Reiko, played by Eva Six, a recent winner of the "Miss Golden Globes" honor. (I will refrain from making any tasteless jokes.) Reiko takes a shine to Hayes and gets his mind temporarily off his troubles by seducing him. When Hayes and his men finally arrive at their destination, they are dismayed to see a virtual fleet of Japanese vessels guarding the coast line where the sub is already being salvaged by the enemy. Hayes realizes that they are now probably on a suicide mission. Nevertheless, they persevere courageously, dodging and sometimes engaging Japanese patrols before sending in Hayes and some fellow scuba divers to attach time bombs to the hull of the sunken sub. (The sequence is rather absurd because the team accomplishes this in the dead of night despite not being able to employ any lighting equipment whatsoever.) Detected by the Japanese, Hayes and his heroes take some casualties in their desperate attempt to make it back to Capt. Carey's submarine.
Shaft! Superfly! Supersoul Brother? That’s right, boys and girls. There’s a new hero
in town and his name is Steve. Once a down-on-his-luck, homeless wino, Steve,
thanks to a freaky scientific experiment, has been transformed into an
incredible being who is faster than a…well, he’s actually not faster than much
of anything , but he is more powerful than your local wino and able to bag
chicks who are way out of his league!If
you’re a fan of the funky ‘70s Blaxploitation genre, you can rejoice as a real
rarity has been dug up for your viewing pleasure.
When speaking about Blaxploitation cinema,
most film buffs immediately think of classic action flicks such as Foxy Brown or Three the Hard Way (and rightly so), but there were plenty of other
wonderful genres covered. For instance, horror quickly comes to mind. Blacula and The Zombies of Sugar Hill are not only two solid entries in
Blaxploitation cinema, but in horror cinema as well. And then there’s comedy. Who
can forget Rudy Ray Moore’s uproarious classics like Dolemite or Disco Godfather?
Supersoul Brother sort of fits into
this last category as, like Dolemite,
it’s a spoof of crime/action movies; not to mention comic book superheroes (it
was originally going to be titled The
Black Superman) and the then enormously popular Six Million Dollar Man television show.
Directed by Rene Martinez who also co-wrote
with Laura S. Diaz, Supersoul Brother aka
The Six Thousand Dollar Nigger (I kid
you not) concerns small time hoods Bob (Benny Latimore) and Jim (Lee Cross) who
pay evil Dr. Dippy (Peter Conrad) six thousand dollars to create a super
strength serum that will enable them to easily rob a safe filled with diamonds.
There’s only one small problem: whoever takes the serum dies in six days. Enter
Steve (played by comedian Wildman Steve Gallon), a wino who has hit rock bottom.
The hoods inject the unwary Steve with the serum, convince him to carry out the
robbery (which Steve thinks is just a practical joke) and plan on keeping all
the diamonds for themselves once Steve croaks. However, Super-Steve catches
wind of their nefarious plan, hides the diamonds and, with the help of Nurse
Peggy (the gorgeous Joycelyn Norris), tries to elude the hoods and find an
antidote before it’s too late.
eleven-year old Indian girl is sold by her father to a thirty-year-old man for
a cow and a rusty bicycle. Torn from her mother’s arms the child is taken home,
beaten, raped and turned into a slave, all the while being abused and taunted
by the local villagers because she is from a lower caste. She runs away and
tries to go home, but is looked upon as an outcast. In a society where women are considered lower
than cattle, she grows up enduring terrible punishment, including more
beatings, rapes and eventual homelessness. She is kidnapped by bandits falls in love with the bandit leader and becomes
a legend known throughout India as “Bandit Queen,” stealing from the rich and
giving to the poor. She kills the 21 men she accused of gang-raping her, and
surrenders to authorities before a crowd of 10,000 supporters. She serves 11 years
in prison and when freed, runs on her popularity as a champion of the poor, and
is elected to Parliament, only to be assassinated by a member of a higher caste
at age 37.
is the story of Phoolan Devi, played as an adult by Seema Biswas, and although
it sounds like something that happened hundreds of years ago in a dark age of
ignorance and cruelty her story took place in India, between 1963 and 2001. She
was 37 years old when she died. Some of the things that happen in Shekar
Kapur’s biographical film “Bandit Queen” (1994) were disputed by the Indian
government, which sought to have the film banned. Even Devi sued to block the
film’s release, claiming it made her look too much like a “sniveling woman.”
But if only half the incidents portrayed in the movie are true, it is not only an
unflinchingly realistic drama of a woman’s guts and determination to survive
and overcome unbelievable adversity, it is also a searing indictment of a
nation whose laws and culture create an environment where such things can
happen. One can only hope that the situation in the rural areas of India, where
this story occurred, have improved by now.
indictment starts at the top, by attacking the mindset and religious beliefs
that permit a social system that divides people into upper and lower castes.
The film begins with a quote from a sacred Hindu text that states: “Animals,
drunks, illiterates, low castes and woman are worthy of beating.” The
powerlessness of women is shown when the 11-year old girl’s mother can only
watch in sorrow as her daughter is taken away and again when the bridegroom’s
mother can only sit silently outside the room listening to Phoolan’s screams as
her son beats and rapes the child.
film is deliberately infuriating and at times difficult to watch. And if all
Kapur wanted to do was create a diatribe against India’s caste system, and
extol the virtues of its central character, it wouldn’t be much of a film. But
his theme is larger. As he explains in audio commentary provided on the disc,
the central vision that guided him through what he admits was a challenging and
difficult movie to make, can be summed up in two words: oppression and
survival. No matter how difficult Phoolan’s circumstances became, she never submitted
to it willingly. Through everything she maintained an inborn defiance, and a
spirit of rebellion that got her through it all, though at considerable cost.
the middle of the film she falls in love with her bandit gang co-leader, but by
now she cannot stand the touch of a man. At first all she can do to respond to
him is to hit him and let him hit her back. He understands her psychology and
eventually breaks through to her. But by
now her mind is saturated with revenge and blood lust because of all the
hardships she endured and the climax of the story comes when she orders the massacre
of the 21 higher-caste men in a village who raped her. Significantly, in almost
a Sam Peckinpah-ish touch, Kapur has a naked baby standing at a well crying in
the midst of the carnage. It’s a telling image.
Time has released a limited edition BluRay of “Bandit Queen.” The image is for
the most part sharp and clear though some night scenes had too much grain,
which are probably in the original film elements The only special features are
the director’s audio commentary and a separate track containing the score by
composer Nusrat Fateh Ali Khan. There is also a booklet containing an
informative essay by Julie Kirgo.
film has ever presented such a realistic, disturbing, and uncompromising
portrayal of oppression and survival than “Bandit Queen.”
The word of mouth on this 1947 Warner Brothers thriller is that it was a disappointment at best and an outright dog at worst. The powerhouse teaming of superstars Humphrey Bogart and Barbara Stanwyck seemed to promise more than audiences and critics felt the film delivered. Consequently, it's generally put near the bottom rung of achievements in both star's careers. In viewing the Warner Archive DVD release, I had few expectations regarding its merits. However, I came away pleasantly surprised. This is a superior, moody and atmospheric film with both Stanwyck and Bogart at their best. Bogart had long played villains, but this is one of the most complex and fascinating characters he has ever brought to life. The movie is based on a hit stage play and its stage origins are quite apparent: it's quite a claustrophobic affair, with only a single sequence shot outside of the WB back lot. However, because most of the story takes place within the confines of a mansion, the lack of wide open spaces only enhances the atmosphere.
Bogart is cast against type as Geoffrey Carroll, a sophisticated and successful painter who has one weakness: he is an incurable womanizer. The film opens with Carroll and his girlfriend Sally (Barbara Stanwyck) enjoying a romantic trip to the mountains of Scotland. While there, she discovers he is actually married and breaks off the relationship. Shortly thereafter, Carroll's wife dies, leaving him in custody of their precocious young daughter Beatrice (a remarkable performance by Ann Carter). Now a widower, Carroll resumes his relationship with Sally, telling her that his wife was an invalid who died from health problems. The couple marry and enjoy a life of privilege in a manor house in the English countryside. Carroll's career is thriving and things seem to be going well- until another woman, Cecily Latham (Alexis Smith) enters their lives. Sally recognizes instantly that her husband has been smitten and correctly suspects the two are having an affair. Jealousy and heartbreak turn to fear when she also begins to suspect that Geoffrey had murdered his former wife and might be planning to do the same with her. Adding to the complexities is a local chemist who is blackmailing Geoffrey on the basis that he may have sold him the lethal mix that resulted in his first wife's death.
The Two Mrs. Carrolls has many similarities to Hitchcock's Suspicion including a key plot device involving a potentially fatal glass of milk served to the wife who may have been designated for murder. The film's primary strength is the genuine chemistry between Bogart and Stanwyck, who are terrific together. The suspense builds gradually to a chilling conclusion. Bogart is especially good in this film, which allows him to break some new ground as an outwardly charming, but narcissistic personality who will stop at nothing to get what he wants. Alexis Smith smolders as the bad girl who pretends to be Sally's friend so she can enjoy the company of her husband. There is also a very competent cast of supporting actors including the always reliable Nigel Bruce, playing a bumbling doctor in a role that doesn't veer very far from his portrayal of Doctor Watson in the Sherlock Holmes films. Director Peter Godfrey keeps the action flowing at a brisk pace and the movie is enhanced by a typically impressive score by Franz Waxman.
This writer is one of the few who will defend this film, but my belief is that, while it is certainly not a classic for the ages, it stands up well as consistently good entertainment. By all means, you could do worse than spend a couple of hours with Mr. Bogart and Ms. Stanwyck.
The burn-to-order DVD contains the original trailer.
Day of Anger is an enjoyable spaghetti western that top-lines a legend of the genre, Lee Van Cleef, as aging
gunfighter Frank Talby. In an attempt to regain his fearsom reputation, Talby shoots
and kills a local Sheriff. He then finds he must contend with his own young protégé, a street cleaner
Scott Mary (Giuliano Gemma), who happened to be the sheriff's close friend. The
climactic showdown finds Talby in a classic face off with his former pupil,
with each man knowing the other's every move and thought.
lively, intelligent western, notable for the chemistry between its charismatic
leads, some memorable action set-pieces (including a rifle duel on horseback
that has to be seen to be believed) and a jazzy Riz Ortolani score, is
presented here in an exclusive high-definition restoration from the original
Techniscope negative. Day of Anger remains a superior and much-loved Italian
western and was directed Sergio Leone’s original assistant, Tonino Valerii.
dual format release comes in both a High Definition Blu-ray (1080p) and
Standard Definition DVD presentation. The set also contains two versions of the
film, the original Italian theatrical release and the shortened version that
was screened internationally. Day of Anger boasts visuals that are both impressive and detailed,
especially in close-up shots of Van Cleef’s
chiselled facial features. As you would
expect from this particular genre of film, colours are bright and vivid with
true, tanned skin tones. Director Valerii makes excellent use of the 2.35:1
Techniscope frame, without ever feeling the need to use extreme close ups -
unlike his original influence, Sergio Leone. The film has a minimal amount of
grain. Audio is presented in the
form of a clear, uncompressed mono track, with English or Italian soundtracks
on the longer cut and an English soundtrack on the shorter version. There are
also newly translated English subtitles for Italian audio track. The film
really benefits from the brand new restoration struck from the original 35mm
Techniscope camera negative. It is both clean and free of any major defects.
disc's extras are also enjoyable. They include a deleted scene, which in honesty,
is nothing more than an extension of an existing scene. There is a selection of
trailers (all in varying quality) which serve their purpose well. Then we get
to the really good stuff. There is a brand new interview with screenwriter
Ernesto Gastaldi, who reveals many interesting stories. Gastaldi speaks in his
native tongue (enthusiastically) with his responses presented in the form of
English subtitles. There is a previously unreleased 2008 interview with director
Tonino Valerii – a little less enthusiastic then Gastaldi – but it is
interesting nevertheless. The interview which is arguably the most engrossing
is that of Tonino Valerii’s biographer Roberto Curti – which is conducted in
English. Curti provides a fascinating insight into the director and provides
detailed analysis on films, the genre and Sergio Leone –all of which proves
Arrow’s superb packaging
again includes a reversible sleeve featuring original and newly commissioned
artwork by Reinhard Kleist and a detailed booklet featuring new writing on the
film by Howard Hughes (author of Spaghetti Westerns) and illustrated with
original poster designs. Fans of the genre will love it.
CLICK HERE TO ORDER FROM THE ARROW VIDEO WEB SITE (UK-BASED)
In the wake of unexpected critical acclaim for director Richard Lester's A Hard Day's Night in 1964, studios scrambled to emulate the success of that first feature film starring The Beatles. Over a period of a few years, many bands found themselves top-lining major feature films. Most were mindless exploitation films, a few others more ambitious in their goals. Fitting snugly into the latter category was Having a Wild Weekend (released in the UK under the title Catch Us If You Can.) The film represents the only movie starring the Dave Clark Five, one of the more popular bands to emerge during that marvelous era in the 1960s when Great Britain shed its post WWII doldrums and came to dominate international pop culture. The band was one of many who rode the coattails of The Beatles to the top of the charts, but they had their own unique style of songs and music that resulted in some memorable hit songs that still hold up well today. At one point, the DC5 was so popular that they appeared on The Ed Sulllivan Show more than any other British band. Their feature film debut is impressive only in the sense that it afforded a young documentary maker named John Boorman the opportunity to make his feature film directorial debut. There is scant evidence that Boorman possessed the kind of unique vision that would result in Point Blank only two years later and Deliverance five years after that, but Weekend is different from most teen idol movies of the era both in terms of its visual content as well as its message. The script is also unique in that the DC5 don't appear as themselves, thus its the only film of its kind that doesn't showcase the band members playing music on screen. In fact, they don't even play musicians, but rather, stuntmen who are employed to appear in an expensive nationwide British ad campaign designed to encourage meat eating. This rather uncommercial message is prettied up by having the campaign center on a perky, sexy young blonde named Dinah (Barbara Ferris), who is an omnipresent force in London, appearing on billboards and TV ads to promote the meat industry in a fun way. The DC5 appear with her as window dressing, always in the background of the ads. During the shooting of a particularly frustrating TV commercial taping, Dinah and her boyfriend Steve (Dave Clark) engage in an abrupt act of rebellion by stealing a sports car they drive in the ad and absconding to an island that Dinah hopes to retire to. This sets in motion a massive search by the advertising agency executives that becomes a nationwide obsession. Rumors circulate that Steve has kidnapped Dinah, something that turns out to be an unexpected boon for the ad agency since it results in a great deal of free publicity for "The Meat Girl". Steve and Dinah's directionless meanderings around the island prove to be less joyful than expected. They encounter a colony of hippies but find they are as shallow as the Establishment types they are rebelling against. They also blunder into the middle of military war games in the film's zaniest and least credible sequence. Ultimately the other members of the DC5 join them but even they are being pursued by agents for the advertising agency as well as local police. Steve brings them to a farm run by a boyhood idol who he used to visit as a child only to find he has "sold out" too and is looking to use Dinah as a tourist attraction. Disillusioned, Steve and Dinah ultimately come face to face with their employers and Steve gets a downbeat life lesson on how shallow even Dinah's principals can be.
Having a Wild Weekend is a strangely humorless film with the DC5 songs rather awkwardly interwoven. Even a sequence (filmed in Bath) that depicts a massive, wild costume party doesn't deliver the amusement you might expect. However, it does offer the unique opportunity to see people dressed as Stan Laurel, the Marx Brothers and Frankenstein cavorting in the ancient Roman baths. Dave Clark has movie star looks and admirable screen presence. He should have pursued a career as an actor. However, the other band members have scant opportunity to present themselves as individuals. This includes lead singer Mike Smith, who sang most of the group's hit songs even though Clark would lip synch to them in live appearances to appear as though he sang them on the recordings. Plot angles appear promisingly but get dropped abruptly including a potentially promising sequence in which Steve and Dinah are invited home by a middle aged couple (excellently played by Robin Bailey and Yootha Joyce) who turn out to be setting them up for some sexual swinging. Director Boorman eschews studio sets for actual locations and this gives the movie a sense of vibrancy it might otherwise have lacked. Manny Wynn's black and white cinematography does justice to the British countryside and he presents the action through some interesting camera angles.
The downbeat storyline won praise from critics at the time because it so deftly avoids emulating the ridiculously cheery productions that were generally aimed at teens. It holds up well as a curiosity and affords some nostalgic insights into a time when the counterculture movement was on the verge of exploding. The DVD presentation by the Warner Archive presents a crisp, clean transfer sans any extras. One hopes that someday, Dave Clark might be asked to participate in a special edition of the movie.
Ford's WWII-era private plane in the aftermath of today's crash.
Iconic actor Harrison Ford has been injured in a private plane crash this afternoon. Ford, an experienced pilot, was flying his WWII-era plane when it crashed on a Los Angeles golf course this afternoon. Ford had been at the wheel of the plane and there were no other passengers. Witnesses said Ford suffered injuries and was bloodied. He was transported to a local hospital where he has been reportedly listed in critical condition. The story is developing...Details often change as more facts are known, but this is what is being reported by TMZ and NBC News. For more click here.
Well, it's that time of year again when pundits everywhere weigh in on the merits (or lack thereof) of the previous evening's Oscar telecast.
Here are my random observations:
Host Neil Patrick Harris was affable and likable and worked like hell to put on a good show. But there lies the rub. Traditionally, Oscar hosts never had to be chosen for their ability to carry Busby Berkeley-like song and dance extravaganzas. Dear old Jerry Lewis, Bob Hope and Johnny Carson were simply there to keep the traffic flowing to the podium in between rattling off some memorable one-liners. Billy Crystal quashed that tradition with his ever-outrageous opening production numbers that razzed the Academy and some of the nominees. The idea should have been retired with him when he announced he would no longer host the event. Last evening's opening act was certainly opulent and contained some funny zingers if you could discern them through the lightning-fast production. Throughout the rest of the show, Harris had some hits but plenty of misses. There were some witty lines (i.e "Tonight we honor Hollywood's best and whitest") but plenty of bizarre antics that either flopped or just went nowhere. Early on, he introduced a running gag in which he said he made predictions about the show that were kept in a locked box on the stage. No one knew the point of the joke, which he referred to numerous times. When the payoff finally came, it turns out there were printed pages that accurately predicted what certain winners and presenters would say and how they would act. It was impressive but only in the way that a guy at a cocktail party can impress others with the old "Pick a card...any card!" magic routine. It was completely pointless for an Oscar telecast that weighed in at 3 1/2 hours. Additionally, some of Harris's other jokes were so lame that, in one instance, he had to explain the meaning of a joke about Oprah Winfrey's wealth to Oprah herself. When you have to discuss why people should find a joke funny in retrospect, you're in trouble. I was reminded of a critic who once said that watching producer Samuel Bronston's "Circus World" was like sitting with an elephant on your lap. Perhaps last night's event wasn't the equivalent of an elephant but it came pretty close to holding a walrus on your lap. Harris gamely tried to keep the pace going fast but it was beyond his control. Overlong acceptance speeches are the bane of any Oscar host and they were out in full force last night. Overall, Harris tried hard and succeeded often enough not to have embarrassed himself. However, since the guy already hosts the Tony Awards, the Emmys, the TV Land Awards and probably the "Man of the Year" at your local Loyal Order of Moose Lodge, the Academy should pull out all the stops to bring back some proven hosts such as Steve Martin, Whoopi Goldberg or Ellen Degeneres, all of whom have a natural ability to improvise brilliantly.
Most of the talent on stage looked elegant. For the most part the males continued the welcome trend of shunning trendy tuxedos in favor of the standard black tie look. The ladies also avoided any over-the-top fashion disasters and most looked very stylish, with J-Lo knocking viewer's eyes out with a plunging neckline number that managed to be sexy without crossing over into tacky.
Harris's ill-constructed comedy sketch in which he strutted from backstage out to the main event clad only in white briefs was probably lost on 95% of the viewers who didn't realize that it was a spoof of a sequence in "Birdman". As such, countless millions of people around the globe were probably scratching their heads as they pondered the relevance of the largely superfluous routine. I have a sneaky feeling that the primary motive for Harris to strut out of the stage and show his fab abs. That doesn't make it appropriate for an event that once at least aspired to providing a classy atmosphere. This bit would have been better left to the Letterman show.
Harris struts his stuff in "Birdman" sketch that was more suited for "Letterman" than the Oscars.
Left-wing political speeches were back with a vengeance but they had a mixed impact. Long-time activist Patricia Arquette, a deserving Supporting Actress winner for her remarkable performance in "Boyhood", gave an impassioned speech about equal pay for women. It was somewhat appropriate, given the fact that her character in the film is a single mother who struggles her entire life with low pay in often menial jobs. However, anyone delivering a passionate speech about any topic should take note: it would have a bit more meaning and sincerity if it wasn't read word-for-word off a sheet of paper. These people are professional actors, for Pete's sake--- why can't they just speak extemporaneously about subjects that are supposed to be so important to them? The writers of the Oscar-winning song "Glory" from "Selma" were more effective, delivering a relevant criticism of exceptionally high incarceration rates for black males in America, along with successful attempts in recent years to weaken the Voting Rights Act. Alejandro G. Innaritu, the Mexican director who won the Oscar for "Birdman", worked in some respectful pleas regarding the plight of illegal immigrants when he initially won an award for co-writing the screenplay for the film. When Sean Penn strolled to the podium to announce the Best Director award for Innaritu, he pondered about "Who gave this sonofabitch a Green Card?" So Innaritu will always have that as part of his legacy. Penn may be one of our greatest actors, but the combination of his perpetual frown and his penchant for tasteless remarks should make him off-limits for future Oscar chores. The most effective "lecture" was the one delivered by Graham Moore, who won Best Adapted Screenplay for "The Imitation Game". The young, gay writer made a plea for tolerance in society and disclosed that age 16, he had tried to commit suicide. He inspired young viewers to be proud of who they are and to continue being "weird". It was a poignant and touching moment.
Least classy Oscar nominee: Michael Keaton, who chewed gum throughout the entire evening. The ghosts of Cary Grant and Laurence Olivier must have been doing cartwheels in their graves.
I was happy to see J.K. Simmons win Best Supporting Actor for his amazing - and terrifying performance- as a potentially psychotic music teacher in "Whiplash". Simmons encouraged everyone to call (not text, or E mail!) their parents, if they are fortunate enough to still have them, and express their love for them. Good advice...but it was kind of a weird Dr. Phil moment. More bizarrely, Simmons never uttered a word of thanks to his director or co-star.
I hope I never see another Oscar show in which the host enters the audience to toss jibes at attendees. Harris tried this and the results were deadly. As the clock kept ticking, he engaged in meaningless patter that he seemed to be improvising on the spot. This included humiliating various celebrities for no apparent reason and even making small talk with a "seat filler" (a person who takes a celeb's seat if they have to run to the bathroom.) It got so bad that I thought I had gone into a time warp and was watching an old episode of Monty Hall in "Let's Make a Deal".
There was so much time wasted on superfluous bits that went nowhere that I really resented the fact that honorary Oscar winners Maureen O'Hara and Harry Belafonte were relegated to a few seconds of film clips from an event held separately from the main show. Exactly how does a show that extols Hollywood tradition and glamour not find a few fleeting minutes for these legends to appear on the telecast? It was galling, especially when you saw another legend, Sidney Poitier, standing next to Belafonte. Can you imagine the emotional payoff if this had been played out on stage? But it didn't because we needed that valuable time to be used for Harris to stroll through the audience trying to find how to kill time.
One nice surprise was the tribute to the 50th anniversary of "The Sound of Music" in which a selection of classic songs from the film were performed by a surprisingly understated Lady Gaga- topped off by an on-stage appearance by the ageless Julie Andrews. With so few Hollywood legends still with us, this was especially nice to see.
The award for "Longest Winded Speech of the Night" went to Pawel Pawlikowski, the director of "Ida", the Polish movie that won for Best Foreign Film. We understand his pride in taking home his country's first Oscar but he simply wouldn't shut up-- even when the orchestra started playing over his words. It's as though he thought he was filming the pilot for the "Pawel Pawlikowski Show". Maybe next year, Oscar should consider reviving one of those big canes they used to use in Vaudeville to forcibly remove performers from the stage.
As usual, most of the nominees for Best Song were boring at best and at least one- from "The Lego Movie"- was awful. It may have been fun in the context of the film itself, but even an elaborately staged production number couldn't mask the fact that not one sane person would ever willingly play this at home or in their car. Similarly, seeing the audience explode in thunderous applause at John Legend's rendition of "Glory" from "Selma", one couldn't help but wonder just how often most of these folks ever listen to gospel music in their spare time.
There were numerous jibes about the recent controversy regarding the fact that all of the major nominees were white. This lead to conspiracy theories all around that there were devious forces afoot that belied a racist tone to the Academy. Really? For the record, after every year's nominees are announced, there is an inevitable backlash that so-and-so got cheated out of a nomination. This is nothing new. As for racism in the Academy, it's pretty fair to guess that the vast majority of the Academy members would be considered very liberal. For years, conservatives have lambasted this aspect of the awards, accusing the Academy of caving in to political correctness. Additionally, one only has to consider the fact that last year's Best Picture winner was "12 Years a Slave" and two of it's key artists- screenwriter John Ridley and actress Lupita Nyong'o, both of whom are black- received Oscars.The film was nominated for nine Oscars including a nomination for the film's director Steve McQueen, who is also black. It simply defies belief that the same members of the Academy became racist in the course of twelve months. Even if you do believe that, didn't anyone notice that a Mexican director won the top award?
Then there is the annual controversy about the memorial segment of artists who passed away in the last year. As usual, everyone can cite somebody who should have been included. Although Elaine Stritch was noted more for stage appearances and Joan Rivers was primarily a comedy star, both should have been included because they did have feature films on their resumes. (Rivers was actually one of the first female directors and she used to host the Oscar red carpet event for many years.) No mention was made of either of them, but there were plenty of people cited who worked behind the scenes as executives or agents that most people never heard of. My own personal gripe is that our old friend and Cinema Retro contributor, actor Richard Kiel, was also not commemorated despite the fact that he was a hugely popular figure in films, especially for his role as the immortal James Bond villain Jaws. Another affront we took personally was the omission of Brian G. Hutton, who directed "Where Eagles Dare", "Kelly's Heroes" and Frank Sinatra's last starring role in a feature film, "The First Deadly Sin". Apparently his contributions to the film industry were not deemed worthy of recognition. Can't they extend this sequence just another 60 seconds? Given all the padding in the show, time constraints should not be cited as a reason to diss major names such as these.
Lastly, the Academy deserves credit for nominating films that, by and large, were worthy of all the nominations they received. The year 2014 was a terrible one for Hollywood in terms of declining boxoffice. The industry depends more and more on fewer and fewer potential blockbuster movies. It's a recipe for disaster. Meanwhile, the Academy has correctly brought to the world's attention the existence of smaller, personal films that negate the common criticism that most good movies were made decades ago. In fact, some of those nominated will be regarded as classics and the attention the Oscars afford these smaller films will help them find the audiences they so richly deserve.
American Andrew Jessel (Tony Randall arrives in Marrakesh on a business trip,
he checks into the hotel and discovers a corpse in his wardrobe. This is the
beginning of a "wrong man" style adventure involving international
espionage and criminal gangs, but thankfully on his side is sexy super-spy Kyra
Stanovy (Senta Berger). The two set off to clear his name and solve the
mystery, and spend large parts of the film having to rescue each other from
assorted dangers, mainly involving local kingpin Casimir (Herbert Lom) and his
psychotic henchman Jonquil (Klaus Kinski). Also thrown into the mix are British
character actors Wilfrid Hyde-White, John Le Mesurier and Terry-Thomas,
providing a combination of plot exposition and comic relief, and the entire
plot builds to an inevitably happy conclusion where wrongs are made right, the
guilty are punished and the innocent get to ride off into the sunset.
Our Man in Marrakesh (known in the
States as Bang! Bang! You're Dead!) is a typical mid-Sixties Harry Alan
Towers production. An independent British producer who had made a name for
himself in radio and television before moving into feature films, he
specialised in European co-productions, pulling in A-list names and finance
from several different countries. His budgets were low, and his scripts were
often second-rate, but he seemed to have a no trouble persuading bankable stars
to take off around the world with him. He always preferred to shoot on
location, and Our Man in Marrakesh is no exception. Aside from some
rear-projection driving shots in a studio, most of the film is shot in
Marrakesh itself, giving it a seedy authenticity which gives puts it on a par
with the Bond films of the time. This film was one of hundreds of Bond-style
films produced during the 1960s. They became known as Eurospy films, although
other countries and continents got in on the act, too. Our Man in Marrakesh
mixes elements of Bond with Hitchcock's thrillers fairly successfully, and Tony
Randall makes a likeable comedic leading man. More fun, however, are the
various characters that rotate around him, most notably Klaus Kinski, who once
again looks unhinged and slightly dangerous. His piercing eyes and ease with
violent outbursts would of course be put to use in better films later on,
particularity in his collaborations with Werner Herzog.
Tasmanian director Don Sharp is best known for his Hammer films Rasputin the
Mad Monk (1966), The Kiss of the Vampire (1963) and The
Devil-Ship Pirates (1964), but his cult credentials include films like Curse
of the Fly (1965), two Fu-Manchu films with Christopher Lee (both produced
by Harry Alan Towers) and bizarre zombie-biker thriller Psychomania
(1973), a film that caused such despondency in star George Sanders that he
committed suicide shortly after its release. His direction is uncomplicated and
efficient. Although he rarely displays what could be called creative flair, he
gets the job done, and he was clearly reliable enough to be regularly employed
by producers for whom schedules and budgets were tight.
Our Man in Marrakesh, complete with
James Bond-style marketing materials, is a fun and exciting film with bullets,
car chases, corpses, bikini-clad babes, spies and gangsters, all wrapped up in
an exotic locale. It won't change your life, but it is fun and features more
entertainment value than many other Eurospy movies of the period. This has been
released by Network on R2 DVD as part of their 'The British Film' collection.
This is an exciting five-year plan, launched in 2013 with Studiocanal, to
release over 450 vintage British films. Sadly most of these DVDs have so far
featured very little in the way of extras, with just a theatrical trailer and
an image gallery to accompany the movie. However when films like these have not
been seen in any sort of decent print for decades the DVDs are well worth your time.
CLICK HERE TO VIEW CLIPS AND TRAILER AND TO PURCHASE THIS TITLE.
There was a time when the drive-in theater was a mainstay of American movie-going. However, the drive-ins got squeezed out of most urban area when the value of real estate skyrocketed. Suddenly it became far more attractive to lease land to a zillion dollar shopping center than to a guy who was showing double features. There are still drive-ins in the United States and they are, as is the case with all vanishing ways of life, highly cherished by retro movie lovers and nostalgia buffs. However, the demise of the drive-in theater craze wasn't entirely due to real estate values. As films became more sophisticated, so did audiences. Who wants to see the newest Star Wars or Bond flick at a venue where the screen was a football field away and the sound came through a tinny speaker inside your car? Adding to the challenge of running a successful drive-in were the new liberties available to filmmakers beginning in the mid-to-late 1960s. As major motion pictures increasingly depicted nudity, drive-in theaters became the focal point of local protests when parents complained that little Jack or little Jill could see those big bad bare bosoms- and worse- on the big screen in color when the family went for an outing. The result was a plethora of lawsuits and legal obstacles. Yet, some drive-ins continued to persevere- even those that switched to showing outright porn exclusively. In an article in the Daily Beast, writer Steve Miller looks back on the rise and fall of drive-ins and the legal challenges they faced. (There still is one drive-in operating in Texas that shows strictly porn, which gives a whole new interpretation to the old saying, "Everything is bigger in Texas!")Click here to read
Lizabeth Scott, the sultry blonde who epitomized cinematic "bad girls" in film noir productions, has passed away at age 92. Scott specialized in playing hard-bitten, self-confident femme fatales usually from the wrong side of the tracks. Her leading men included Robert Mithchum, Burt Lancaster, Michael Caine, Charlton Heston, Elvis Presley, Dean Martin, Jerry Lewis and Kirk Douglas. Her film credits include "Loving You", "Dark City", "I Walk Alone", "Too Late for Tears", "Pitfall" and "Scared Stiff". Her last screen appearance was in director Mike Hodges' acclaimed 1972 cult movie "Pulp", which was a send-up of the film noir genre. Scott's career began to fade in the late 1950s though she did make occasional appearances in TV series in the following years. In more recent years, she occasionally appeared at film festivals to discuss her work and career. Click here for more.
In her excellent analysis of the 1962 Elvis Presley film "Follow That Dream"- which is included in the limited edition Twilight Time Blu-ray release- film historian Julie Kirgo concisely but thoroughly explores the one aspect of The King's career that brought him more frustration than satisfaction: his stature as an international movie star. When Elvis first exploded on the international music scene in the 1950s, Hollywood came calling immediately. Presley, under the guidance of his Svengali-like manager Colonel Tom Parker, found himself starring in films that were primarily designed to promote his music but which afforded him intelligent story lines and the opportunity to showcase his considerable charms as a leading man. The word on Presley was that, given the proper nurturing from established screenwriters and directors, he could become an acclaimed actor in his own right. Then Uncle Sam intruded and Presley was drafted. Elvis' two-year stint in the U.S. Army became the stuff of pop culture legend. Without any fuss or any attempt to dodge the draft, he did his duty and was honorably discharged. When he re-entered civilian life, however, the Colonel had a different vision for his star's big screen career. Instead of holding out for roles that would have allowed Elvis to progress as an accomplished actor, the Colonel signed him to a long contract with legendary producer Hal Wallis, who agreed with the Colonel that the main objective would be to quickly crank out low budget flicks that would be highly profitable. If that offended Elvis' sensibilities, too bad. They pointed out that on the few occasions where Elvis had been allowed to play mature characters in intelligent films, the boxoffice receipts lagged behind his upbeat, teen-oriented musicals. Thus, the King found himself not in control of his own destiny, at least when it came to the silver screen. Before long, he was churning out indistinguishable lightweight fare that served as little more than an extended music videos to sell the accompanying soundtrack albums. The ploy worked, financially, at least, but left Elvis feeling frustrated and betrayed by the two mentors he had entrusted to guide him to a long, satisfying movie career.
One of Elvis' more accomplished and satisfying films was the aforementioned "Follow That Dream". The story was based on a humorous novel titled "Pioneer, Go Home!' by Richard Powell, who also authored the source novel for the fine 1959 Paul Newman film "The Young Philadelphians". It's an amusing, whimsical yarn that finds Elvis as Toby Kwimper, a hunky young man who is traveling through Florida with his father, known as Pop (Arthur O'Connell) and a comely teenage companion, Holly Jones (Anne Helm), who- for all intents and purposes- is his adopted sister. Also in tow are two young twin toddlers. Seems like Pop has a soft spot for caring for orphans and inviting them into his home. His motive, however, isn't entirely based on compassion. In the case of the twins, he has been getting child welfare payments from the state. Pop is adverse to doing an honest day's work and is systematically exploiting "The System" itself, figuring out how to maximize government handouts that are designed to help the genuinely poor. Pop and Toby are poor, alright- but it's by choice. They live a spartan, nomadic existence and learn to do without materialistic things. All the while, Pop prides himself on maintaining a staunch conservative political viewpoint- that big government is bad and corrupt and that everyone should fend for themselves. As Julie Kirgo points out in her liner notes, he is not unlike some hypocrites today who denounce all aspects of the government but seem to be first in line for any payouts when it comes to exploiting government programs. Pop's car breaks down on a patch of remote government land in central Florida. With the car immobile, Pop announces that the group will simply make this their home. Before long, he and Toby have constructed a ramshackle home complete with outhouse. When a local official tries to evict him, the wily Pop discovers that the precise land he is squatting on falls under an archaic law that allows him a loophole to claim it as his own. Much of the film is dedicated to Pop using his guile to outfox the city slickers who want him to move on. Meanwhile, he finds it beneficial to declare his one room shack a legal "community", which necessitates the appointment of a sheriff. Toby reluctantly accepts the job. The young man is more honest than his father but is naive in the ways of the world. Like the Clampetts of "The Beverly Hillbillies", Toby is more innocent than stupid and somehow finds a way to get the upper hand in every attempt made by others to undermine his family's homestead. Before long, he and Pop have built a successful fishing business that begins to thrive and deliver some legitimately-earned cash into their coffers.
British movie edition paperback tie-in.
The film is a bit off-kilter when it comes to explaining why Toby is so adverse to getting involved with girls. The explanation is shallow especially when one considers how hormones rage at that age. Joanna Moore is a social worker who attempts to seduce him but he turns her down. This sets in motion a major plot device in which she attempts to use loopholes in the law to take the twins away from the household unless they agree to leave the state. Meanwhile, "Sheriff" Toby has another problem: two big city gamblers (Simon Oakland and Jack Kruschen) have opened a adjoining all-night gambling den next to the Kwimper household. The two men pretend they want to be friends with the naive Toby, who they actually exploit to their benefit. The film climaxes in Toby taking on both the threat of the gamblers as well as the local officials, the latter in an amusing courtroom sequence.
"Follow That Dream" has Elvis croon a relatively light load of only five songs. They are of varying quality and, frankly are presented in ridiculous fashion. Elvis will be laying on the grass staring dreamily into the sky and when he begins singing, the sound of a band appears out of nowhere as he unconvincingly lip-synchs the lyrics. Nevertheless, the paucity of songs does allow Elvis to emote and he gives a fine, low-key and self-assured performance. He is helped by the fact that there are so many good character actors in the film and that the entire production is under the hand of an accomplished (if criminally underrated) director, Gordon Douglas. The screenplay is by another respected screen veteran, Charles Lederer.
Elvis sang five songs in the film but so hated the one titled "Sound Advice" that he refused to include it on the soundtrack album.
The film does end on a relatively uncomfortable note, with Toby and Holly becoming a romantic couple. They might not be blood relatives but they have been living in a brother/sister relationship, which gives this aspect of the story a bit of a disturbing aspect, much as similar relationship did in John Huston's "The Unforgiven" in which Audrey Hepburn seemed to have the hots for her adopted big brother Burt Lancaster. Still, "Follow That Dream" is one of Elvis' more impressive movies and illustrates the potential he would have had if he continued to be nurtured as an actor by seasoned professionals in the industry. What isn't explored in the Twilight Time liner notes are the specific missed opportunities. He had been offered a key role in "The Rainmaker" but the Colonel insisted that Elvis get top-billing in any motion picture- an absurdity considering this production wasn't a musical and top-lined two screen legends, Burt Lancaster and Katharine Hepburn. Years later, Hal Wallis did consider him for the second male lead in his 1969 production of "True Grit" but the Colonel would have none of it because Elvis wouldn't get top billing over John Wayne. The part went to Glen Campbell and the film was internationally hailed as a classic western. Frustrated, Elvis finally put his foot down and did his own western, a production called "Charro!" that was inspired by the Italian westerns made famous by Clint Eastwood and Sergio Leone. It wasn't half bad and Elvis acquitted himself well enough but by then his boxoffice appeal had dwindled. He would make only two more feature films, although he was the subject of two other acclaimed documentaries about his concert performances in the 1970s. The legendary performer had managed to salvage his musical career by ignoring the Colonel and getting back to basics with his sensational 1968 comeback TV special. Sadly, the same fate did not await him in the film industry and we are left to ponder what could have been.
The Twilight Time release of "Follow That Dream" is right up to the company's usual high standards. In addition to an illustrated collector's booklet, there is an isolated score track and an original trailer.
in American football has been a big issue during the last year. After former
Baltimore Ravens running back Ray Rice was videotaped knocking his girlfriend
unconscious in an elevator and other players were reportedly involved in
incidents of domestic abuse, the National Football League issued a Code of
Conduct for players. Violation of the code can result in a player being
suspended or kicked out of the sport altogether. In Great Britain, however, it’s
not the players who are guilty of off-the-field violence, it’s the fans.
“Football hooliganism” as it is known, is and has been a problem for years.
Nick Love’s 2008 film, “The Firm” tells a story set in the midst of this violent
those who don’t know, football hooliganism refers to the organized gangs of
young soccer fans, almost all young men, who meet one another when the mood
strikes them to have a go at bashing each other’s heads in. These organized groups,
sometimes consisting of 100 or 200 young men, are known as “firms.” According
to Nick Love’s film, however, football has little to do with the violent
encounters these groups instigate. In fact, there was not a single frame of
film shot at a soccer stadium during a game.
Firm” was originally a television play broadcast in the 1980’s and featured
Gary Oldman as Bex, the leader of one of the firms. Reviews indicate it was
told from Bex’s point of view. Love’s adaptation
keeps the time frame, but changes the point of view and makes it more of a
coming of age story. In this version, the viewpoint character is Dom, a boy in
his teens who still lives with his parents, and encounters Bex and immediately
succumbs to a kind of hero worship.
Anderson plays Bex in this version, and Calum MacNab is Dom. Both give very
good, very real performances. And the shifting point of view between the two
main characters provides an interesting contrast between the two characters’
lifestyles. By day Bex wears a suit and tie and sells real estate. At night, he
wears Adidas and bright-colored jogging suits. He hangs out at a local pub with
members of his “firm,” and sets strategy for the next coming fight.
on the other hand, lives in an “estate,” an ugly housing project. and works
with his father in a construction business. Dom’s parents are shown to be mindless
cogs in the lower class of society. A chance encounter in a pub brings Dom and Bex
together, and the younger boy is impressed with the older man’s ferocity and
ruthlessness. When he’s invited to join Bex’s firm he jumps at the chance. He
immediately goes out and begs for money from his dad to buy the kind of clothes
Bex wears. He leaves his former best friend in the dust, and begins using
hooligan slang, that his parents don’t understand.
it is this emulation of Bex that leads to the beginning of Dom’s disenchantment
with his idol. The turning point comes in a scene where Dom shows up at a firm
meeting wearing the same exact red jogging suit and shoes that Bex is wearing.
When the rest of the firm ridicules Dom for this faux pas Bex simply
shrugs his shoulders and lets them rag on him until they’ve had enough. When he
finally tells the others to leave him alone, you can see the disappointment in
the story progresses, Dom begins to see the man he thought was so cool is
actually some kind of psychotic, a man full of violent rage. He leads his firm
in several clashes with another group, the Setis, with the violence escalating
with each encounter. Dom watches as Bex’s lieutenants try to reason with him,
but to no avail. He seems determined to lead his gang and himself into suicidal
Firm” is an interesting film, and keeps you glued to the screen to see how it
finally turns out. And unlike so many films today, it’s about something real,
not spaceships and superheroes. I give Love credit for carrying on a long
tradition of realism in British films that dates back to the days of Tony
Richardson, John Osborne and Alan Sillitoe. Love is not as good a writer as any
of those three. This film contains none of the indicting dialogue of England’s so-called
“Angry Young Men” characters who were so prevalent in films of the 1960s.
tells his story visually. Dialogue is minimal and what there is of it can
barely be understood because of the characters’ heavy accents. It’s all surface
level action. That combined with the loud soundtrack full of music from the ‘80s
results in an accurate portrait of the England of Margaret Thatcher, but it
does not go very deep into what really motivates men like Bex and Dom.
it’s a film well worth watching. The Twilight Time limited edition Blu-ray
transfer is first rate. The disc contains extras, including the usual deleted
scenes and “making of” featurettes. Another on how the gang fights were
choreographed also was of interest. A booklet containing notes by Julie Kirgo i
also illuminating. The disc also has an isolated soundtrack score. All in all,
a nice package.
This release is limited to only 3,000 units. Click here to order.
(John M. Whalen is the author of "Hunting Monsters is My Business: The Mordecai Slate Stories" . Click here to order the book from Amazon)
Vinegar Syndrome has released yet another retro erotica double feature on one DVD. Both flicks are from the big hair era of the 1980s and both features center on similar themes: a frustrated young woman whose workaholic lifestyle leaves virtually no time for their love life. "Purely Physical" (1982) is the more impressive feature, largely because it has some production values and a reasonably intelligent plot, coupled with relatively accomplished actors and actresses. Laura Lazare plays Kathy, a young, overworked college girl who needs extra income. She applies for and gets a job as the night clerk at a local motel. It doesn't take long for the outwardly prim and proper Kathy to observe that the place's primary source of income is as a "hot sheet" destination for people who want to carry out their sexual fantasies. She keeps a poker face even when confronted with the obvious intentions of her clients. There is a nervous young teenage boy who has barely cobbled together the $32 room fee in order to finally consummate his love for his cute girlfriend. There is a dorky, chunky guy who believes the hot number who picked him up in a bar really just wants to sit around the motel room and indulge in his passion for movie trivia. (She turns out to be a conniving hooker.) There is the frustrated traveling saleswoman (Juliet Anderson as "Aunt Peg", the original screen cougar) who finds she has no time for lovers so has to take sexual matters into her own hands. Finally, there is an exhausted businessman whose friend sends up two hookers to please him. He rejects their offer but when they inform him that they are actually lovers, he relents and let's them indulge. Predictably, his exhaustion fades pretty quickly and he gets in on the action. Then there's the attractive and wealthy young woman who want to indulge in her fantasies by renting a room and bringing in her two male tennis instructors. Faced with this sexual tidal wave on her doorstep every night, Kathy finally succumbs to make her own fantasies come true. "Purely Physical" was apparently filmed, at least in part, at a sizable motel, though one wonders if the owners who consented knew exactly what kind of movie was being made on their premises. The opening credits are actually rather impressive, with some good photography of Kathy bicycling through busy city streets. Lazare, who appeared in numerous porn films throughout the 1980s, overcomes the bad hairstyles of the day and gives a fairly accomplished performance. The film only disappoints on one level: the much-hinted-at match-up between Kathy and Aunt Peg never occurs, beyond some mild flirting. Still, "Purely Physical" is one of the better porn efforts of the era.
"Cathouse Fever" (1984), on the other hand, is a lazy "quickie" feature with Becky Savage as a young L.A. secretary whose work hours deprive her of any romantic relationships. She makes the bold decision to join a bordello in Las Vegas. Aside from some "B" roll footage of Vegas in the era, the rest of the film is shot in one-room settings with the exception of a few beach scenes in which Becky is seen walking on the beach. Once at the bordello, Kathy enthusiastically embraces her work, bedding and pleasing an oddball selection of guys, some of whom probably mirror the real life experience of hookers in that they are decidedly unattractive. The movie stresses comedy, with some slapstick sequences inserted into the action. The routine script includes the usual standard sequences involving lesbians and group sex but most of it plays out in mundane fashion.
Both features boast excellent transfers and include the original trailers.
Western movie lovers of a certain age often reminisce about the era in which going to big ticket films was a special experience. "Roadshow" presentations played in select big city movie houses for extended runs before the film was released to local theaters nationally. In some cases, films could play for months in roadshow engagements before people in small towns and suburbia could see a blockbuster flick in their local theater. This trend is all but dead today. Even the biggest hits have short theatrical runs, at least compared to the old days. That's because studios want to capitalize on the recent marketing campaigns by moving quickly to pay-per-view, home video and cable exploitation of a hit movie. However, in India- where passions for all things cinematic run deep- one particular film has been running consistently in a Mumbai cinema for twenty years. The simple love story titled "Dilwale Duhhania Le Jayenge" touched a nerve with Indian audiences. It centers on a young Indian woman who is living in London and is about to wed through a marriage arranged by her father. This is an old and revered Indian custom that is still widely adhered to even by the younger generation. Prior to the young woman moving to a village in India where she will wed and reside, she has a chance encounter with an attractive young man and they fall in love. What sets the film apart from most cinematic depictions of such dilemmas is that the young couple doesn't simply run off but, rather, try to convince the girl's father to rescind the agreement through which his daughter will marry. Such a notion is quite controversial in India and the situation depicted on screen has consistently spoken to audiences that identify with the young couple, as well as the girl's father. The film still often plays to sold-out audiences. For more (and to view the trailer) click here.
Donna Douglas, the former beauty queen who became an icon of 1960s TV, has passed away at age 82. Douglas started as a model in the 1950s and landed small roles in feature films before being cast as Elly May Clampett, the sexy but naive daughter of backwoods millionaire Jed Clampett on the smash hit TV series "The Beverly Hillbillies". The show was met with open disdain by CBS brass, who felt it was beneath the dignity of the network. However, viewers warmed to the Clampett clan immediately and the show became a smash hit that ran for nine seasons. It was still near the top of the ratings when it was canceled in a purge by network executives of its rural-themed hit shows in the early 1970s. Douglas' character was always relentlessly jovial and upbeat on the show and Elly May's penchant for bringing exotic animals onto the Clampett estate generated many laughs. Although she was type-cast, Douglas never complained. She went on to record gospel music, co-star with Elvis Presley and in her later years, attend autograph shows where she greeted her many fans. With her death, actor Max Baer Jr., who played Jethro, is the last living member of the cast of "The Beverly Hillbillies".-Lee Pfeiffer
anyone with any knowledge of the history of film could tell you, Bruce Lee is
an icon of both the worlds of martial arts and action cinema. He was a dynamic
and exciting performer who seemed born to be on the big screen. His untimely
death -just as his career was poised to become bigger than any previous Asian
film actor- is only one element of his legendary status. Lee was an astonishing
onscreen presence whose athletic abilities and kinetic style made him the
center of attention whenever he was present. Until he was afforded the chance
to star in his own movies, his bit roles such as a violent thug in Marlowe (1969) showed how thrilling he was to watch. His role in the short-lived TV
series The Green Hornet cast him as the sidekick but it was Lee who provided
the most memorable element in every one of those twenty six episodes. Once
you've watched him onscreen his natural charisma is evident and it is no
surprise that pictures of him often adorn the same walls as other 'gone too
soon' icons as Marilyn Monroe and James Dean. Like those screen legends, Lee
died in his prime with much promise laid out for the future and- like them- his
loss will be felt by his fans forever.
Bruce Lee's short film legacy is mostly unseen these days by martial arts movie
fans. Other than his last completed film, Enter The Dragon (1973), his film
history seems to have disappeared from the minds of most action fans. It almost
as if Lee's contribution to martial arts cinema began and ended with that one
excellent movie. Luckily, the fine folks at Shout! Factory have produced a
fantastic, affordable Blu-Ray set that presents Lee's earlier films in nearly
perfect transfers- and they have even
included a few hours of extras to provide some context for modern viewers.
up is 1971's The Big Boss which in many ways is the standard template for an
entire sub-set of Chinese martial arts adventures. Lee plays Cheng, a young man
from the countryside who is traveling to a bigger village to get a job (a
common fate for males living in rural China). He intends to work hard and send
money back home to his mother, who has extracted from him a promise not to
utilize his considerable skills as a street fighter in the big city.. Cheng's
uncle gets him a job in the local ice making factory but in just a few days our
hero discovers that the business owner is using the industrial-sized blocks of
ice to transport heroin. Cheng confronts the boss's henchmen and things get
violent quickly- and become even worse when his his co-workers turn up murdered.
Soon Cheng's (almost) girlfriend is kidnapped for the depraved boss' lustful
attentions and it is time for wrongs to be righted in vengeful style.
Big Boss was a huge financial success worldwide and made Lee's stardom
concrete. In many ways it is typical of the type of action film being produced
at the time in Hong Kong. The story is set in contemporary times and used the
usual plotline of drug smuggling as the story's engine. There were at least a
few dozen similar movies made in the 1970s what sets this production apart is
the presence of Bruce Lee. His experience in American television and film is
evident in his careful and fairly nuanced performance. Indeed, his more natural
style often contrasts sharply with some of his co-stars as they mug their way
across the screen like thy were projecting to the cheap seats. Lee's amazing
physical skills are shown well here, too, even if I cringe at the silly
trampoline work used to enhance the fights. The stunts are impressive and the
action well choreographed with the only real complaint being that the film's
pace is often leisurely to the point of irritation. The film clocks in at
nearly two hours and could have been a good deal shorter.
up is 1972's Fist of Fury which is a period piece set in the early 1900's in
Shanghai with Lee playing Chen Zhen. In many ways this is very much a typical
martial arts film of the time with a plot seen often. Chen has returned to his
old school to marry his beloved but learns upon his arrival that his martial
arts master has died from what appears to have been natural causes. Chen is
incredibly upset and angry about this and doesn't believe his master's death
was natural. At the funeral students from a rival Japanese school insult Cheng even
going so far as too slap him repeatedly. Cheng refuses to disgrace his master's
funeral but he later goes to the rival school to challenge his harassers. In an
impressive display of ability, he defeats the entire Japanese school including
the master. This sets up an ongoing series of attacks and retaliations of
various kinds that culminates in much mayhem, death and vengeance leading to a
surprisingly downbeat ending. No one really wins in this terrible war.
a modern viewer it is interesting to see how strong a statement this film makes
about the horrors of racism. The war between these rival schools is based
mostly on ethnicity and is ginned up by wounded pride and the inability to let
old wounds heal. The emotions on display can feel over the top at times but
they seem to reflect the blind hatreds of these groups as rational thought is
ignored in the rush to inflict pain on rivals. Of course, this somewhat
depressing takeaway doesn't alter the fact that the action scenes are
incredible as a showcase for Lee, who demonstrates some amazing skills.. My
favorite fight scene in Fist of Fury has to be the excellent dojo battle wherein
Lee takes on an entire room of opponents and walks away unscathed. (The scene
is marred only by the distraction of flying dummies and bad wigs.)
The year 1972 saw Lee taking control of his
film career in a new way by writing and directing his next screen role. Way of
the Dragon was released in the United States as Return of the Dragon but no
matter what the title, it is a fascinating film. In Rome a Chinese restaurant
owner is having trouble with the local crime bosses. Help from home is
requested but when only one person appears in response to their plea, the
victims despair. Luckily for them this one person is Bruce Lee as Tang Lung.
Tang insists he is capable and even shows his open mindedness by stating that
any fighting style is good and can be incorporated into your own form. Soon the
mobsters are causing trouble, demanding payment and harassing the restaurant
owners in any way they can. After a missed opportunity because of a poorly
timed bathroom trip, Tang establishes his skills and warns the mafia bosses
that these people and their establishment are under his protection. Even though
a death threat on Tang is issued, he refuses to leave and ultimately is forced to take on his would-be
assassins. Seeing that the local killers are not up to the task, a Japanese and
an American martial arts experts are hired to finally take Tang out and it is
in these confrontations that the conflict will be resolved.
First Run Features has released director Lucia Puenzo's acclaimed 2013 film "The German Doctor" on DVD. The movie is the highest profile Argentinian release in years and was honored at numerous international film festivals. Puenzo, who also wrote the screenplay, based on the film on her novel, which- in turn- is said to have been inspired by the real-life experiences of a family who interacted with the infamous Nazi war criminal Dr. Josef Mengele. During WWII, Mengele was known as "The Angel of Death" at Auschwitz. Here, he utilized his considerable medical skills for evil purposes, selecting who would live and die among the wretched masses who arrived daily at the death camp. Those who were spared were consigned to a living hell of torture and slave labor. The few children who were not put immediately to death were used as human guinea pigs in Mengele's bizarre and cruel medical experiments. He was obsessed with genetics in his goal of helping Hitler fulfill his ambition of creating a "Master Race". Mengele played a key role in attempting to manipulate pregnancies to ensure that only Aryan children would be born in nations under Nazi control. His bizarre theories have long been discredited by the mainstream medical establishment, particularly his obsession with twins. Mengele studied pairs of twin children through inhumane methods, often operating on them without any pain-killers. The few prisoners who interacted with him and managed to survive the war report that, for all his barbaric practices, Mengele had a calm, almost soothing demeanor that would often lull his victims into thinking he was a benign presence in the camp. He would pat children on the head and offer them candy, only to dispose of them like rubbish hours later. In the aftermath of the war and the chaos that ensued in Europe, Mengele managed to escape (along with many other Nazis) to South America. In his case, he found refuge in Argentina, where the corrupt government sheltered him, presumably in return for his "expertise" about how to fine-tune torture tactics.
It is against this backdrop- what we inherently know about Mengele- that Puenzo's story begins. It is 1960 and we see Mengele (Alex Brendemuhl), using the assumed name of Helmut Gregor, lost on a remote country road. He has a chance encounter with a young couple, Eva (Natalia Oreiro) and Enzo (Diego Peretti), who are traveling with their three children. Mengele befriends the family, who consent to having him follow them in his car along the desolate roadways. Along the way, Mengele charms each member of the family and he explains that he is a doctor en route to an institute where he will be working. Coincidentally, the institute is very close to the family's destination, which is a resort hotel that they have inherited. The couple intends to reopen the hotel and hope to make a financial success of it. Enzo, it appears, has not been successful in financially providing for his family. He fancies himself an inventor and his real passion is creating a unique doll that can marketed to little girls. He finds a sympathetic ear from Mengele, who reinforces his bond with the family by becoming their first tenant at the hotel. Eva is immediately smitten by the charming German doctor but he seems more interested in the couple's oldest daughter, Lilith (Florencia Bado). Although twelve years-old, she is very short and slight of build, giving the impression she is much younger. This results in terrible bullying at the local school, where there are children of German ex-pats who are particularly cliquish and cruel to Lilith. Both Eva and Lilith are charmed by Mengele, who professes to help them by offering to inject Lilith with hormone injections that will spur her growth. Enzo is adamantly against the idea, but Eva secretly gives the doctor permission to proceed. Before long, Lilith is experiencing strange medical complications. Simultaneously, Mengele discovers that Eva is pregnant with twins. This smorgasbord of potential medical experiments excites him and before long, he has convinced Eva to also undergo some of his quack medical treatments. He has also ingratiated himself with Enzo by finding a financial backer who will mass produce Enzo's dolls. (A sequence set in a doll factory is brilliantly staged and genuinely eerie, with row after row of hollow-eyed dolls evoking memories of a death camp.) However, when Enzo sees his wife and daughter suffering from mysterious illnesses, he begins to suspect that his new friend is really a villain. He is not alone. A local photographer (Elena Roger) is, in fact, an Israeli intelligence agent who also begins to believe that the seemingly benign and charming man of medicine may actually be one of the most wanted men in the world.
"The German Doctor" plays out at a slow, deliberate pace that is refreshing in a film industry defined by fast-editing and mindless action sequences. The script allows each character to be fully developed and the relationships between the key players becomes fascinating, as Mengele uses psychological methods to manipulate his next victims. The performances are uniformly extraordinary, with Brandemuhl particularly impressive. Although portraying one of the most notorious criminals in history, he deftly manages to make him charming and likable, both necessary ingredients if we are to understand why the family he has befriended can be so easily manipulated by him. The film is engrossing throughout and, even though we know through history how Mengele finally met his fate, it doesn't deprive director Puenzo from milking a considerable amount of suspense from the scenario.
The First Run Pictures DVD offers an excellent transfer but is frustratingly devoid of any bonus materials. It would be a worthwhile ambition for the label to eventually put out a special edition of this excellent film with a commentary track that helps viewers understand the historical context of what they are seeing.
The Warner Archive has released the 1962 political thriller "Guns of Darkness" starring David Niven and Leslie Caron. It's a modestly-budgeted affair, filmed in black and white. The film is set in a fictional South American "banana republic" where local dignitaries are being hosted at a cocktail party at the presidential palace. Among the guests are Tom and Claire Jordan (Niven and Caron), a married couple. Tom is employed as the manager of a major sugar plantation owned and run by Hugo Bryant (James Robertson Justice). The drunken Tom enjoys taunting Bryant and publicly embarrassing him with snide criticisms about his sniveling attempts to appease whoever is in power politically so that his plantation can continue to operate without any impediments. Returning home after the party, it becomes clear that the Jordan's marriage is on the rocks. Claire protests Tom's reckless ways and says his drinking and insolent behavior towards others has resulted in his inability to keep a job very long. Another source of stress on the couple is Claire's inability to conceive the child they both so desperately want. When a military coup deposes the democratic, reform-minded President Rivera (David Opatashu), the Jordan's barely register any interest. As long as Bryant keeps paying off local officials, the plantation doesn't seem to be in jeopardy. However, Rivera, who has been severely wounded in making his escape, is the subject of a nation wide manhunt- and he ends up seeking refuge in Tom Jordan's car. Although apolitical by nature, Jordan feels compelled by humanitarian reasons to assist Rivera. He initially hides him at the Jordan's hacienda but when the manhunt gets too close, Jordan makes the bold decision to attempt to smuggle Rivera over the border. This requires he and Claire to drive over arduous and very dangerous jungle roads. Along the way they confront death at every turn, from natural obstacles to roving bands of police and bounty hunters all intent on murdering Rivera. The new regime has a complex plot to denounce the former President...and the last thing they need is for him to make it to freedom and give the real story to the international press.
"Guns of Darkness" is ably directed by Anthony Asquith and the script, based on the novel "An Act of Mercy", is literate and intelligent. The film is consistently engrossing largely because Niven excels at playing an every day man who is unexpectedly thrust into death-defying situations. He's scared and often inept but finds his inner courage. In doing so, he gradually earns the respect of Claire. In the film's most chilling sequence, their car becomes trapped in a quicksand bog. Asquith's direction here is terrific, as the extended sequence milks every ounce of suspense imaginable from this scenario. The chemistry between Niven and Caron is excellent but it's Niven's show. He's in top form throughout. David Opatashu is also fine as the victimized president who Tom begins to think may not be the noble crusader that he has risked his life to save.The film represents the kind of movie they don't make any more. It wasn't designed to be a blockbuster, just good, compelling entertainment. In that regard, it succeeds on all levels.
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was completely gob-smacked by this one, folks. From the title and description of this 1980 release, I
was expecting a smarmy slasher film that used the holiday season for a cheap
backdrop and even cheaper jokes. What I got instead was a very well-made
character study reminiscent of Polanski's Repulsion. Although not as good
as that classic, it stands proudly beside it as a fascinating picture of a slow
descent into madness and murder. If anything, Harry Standling is a more
sympathetic main character as we are shown in a brief prologue the genesis of
both his fixation on Christmas and the reason for his awkwardness with people.
At an impressionable age the young Harry crept downstairs on Christmas Eve to
see Santa sexually gratifying his mother. That this Santa was actually his father
didn't register and the traumatized boy never really got over the sight of
Jolly Old Saint Nick pleasuring Mom. But let me tell you the story.....
Standling (Brandon Maggart) is an introverted middle-aged man whose hobby is
all things Christmas. Perfectly in sync with his obsessive regard for the
season, he has worked in a toy factory for most of his adult life. Harry's
years of experience have finally landed him a management job in the company and
he seems to have thought that his new position would allow him to make better
toys for kids. With the Christmas season approaching, he finds the hostile
anti-holiday attitudes of his co-workers and the disappointment of no longer
working directly with the toys getting to him. But what starts off looking like
a bout of holiday depression begins to turn nasty.
sad and disappointed by the adults around him, he begins to focus on the joys
Christmas brings to kids. For years Harry has kept detailed written accounts of
the actions of the children that live in his neighborhood and bound books
listing "bad" and "good" kids line his shelves. As he
starts spending more time going through them, adding black & white marks,
he becomes more unstable.
his home workshop he fashions a Santa costume, paints an elaborate mural of
Santa's sleigh on the sides of his van and begins to make plans. Learning from
a snide PR man of his company's halfhearted stab at charity by donating toys to
the local children's hospital, Harry is livid. Dressing as Santa he sneaks into
the factory at night, stealing a van load of toys, and on Christmas Eve
delivers them to the surprised and happy hospital staff. Elated by this near
perfect moment of holiday cheer he tracks the company PR man to a church where
he's attending a Christmas service. After waiting outside, a silent Santa,
Harry is taunted by some of the churchgoers and stabs two of them to death with
a toy solider! Driving away he next goes to the house of a co-worker who has
insulted and belittled him repeatedly. After a failed attempt to go down the
chimney he finds an open basement window, creeps in and kills the man right in
front of his wife. Disturbingly, the dead man's awakened kids wave happily to
the departing Santa just as their mother's screams ring out.
Christmas Day the cops are running around hunting a killer Santa, even going so
far as to put a bunch of them in a line up for witnesses from the church. But
an APB on St. Nick on December the 25th isn't exactly the best move and does
not net them their guy. Harry has spent the night in his van outside the toy
factory and awakens to the realization of his plight. Afraid to go home he
breaks into the place and, as if in a fantasy about really being Santa Claus,
turns on all the toy making equipment. As news reports stoke the fears of the
public Harry's younger brother Philip (Jeffery DeMunn) begins to think his
brother is involved. He becomes convinced that his unbalanced sibling is the
killer after a rambling phone call from him that afternoon. When night falls on
Christmas, Harry ventures out again but ends up being chased through the
streets by an actual torch-bearing mob until he escapes to his brother's home.
An enraged Philip demands answers, resulting in a family fight that brings the
tragic tale to a close.
a film with many things to praise the first should be the performance of
Brandon Maggart. He does a truly brilliant job of getting inside Harry's head,
showing us the broken way his mind functions. The moment I knew he was simply
not going to make a wrong step was in a sequence midway through his Christmas
Eve rounds. He has stopped outside a community house and is watching a
neighborhood party through a window. Spotted in his Santa outfit, he's pulled
inside and asked to join in the celebration with children and adults alike.
It's a beautiful scene that shows what his life could have been like as he
happily dances with everyone and enjoys a few drinks. Maggart is note perfect
here — he even elicits a chill as he says goodbye to the kids with a stern warning
about being good.
thing to single out is the exceptionally fine cinematography of the film. For a
movie made on such a small budget Christmas Evil looks incredible.
From one of the three (!) commentary tracks included in this release I learned
that director Lewis Jackson spent a lot his budget to get Ricardo Aronovich as
his Director of Photography; his skill certainly makes the film a joy to look
at. There are more than a dozen shots here that rival the best Christmas images
I've seen captured in the movies, with some of them being heartbreakingly well
composed. Jackson points out in brief liner notes that his prime visual
inspiration was the Christmas paintings of Thomas Nast and it really shows.
That a film of this type can be so beautiful puts to shame the sad Christmas
movies pumped out every year by Hollywood.
much as I liked the movie I have to admit it's not perfect. The last third of
the film isn't as sure footed as the beginning It's as if the focus has been
lost as Harry parades around the toy factory and it comes dangerously close to
derailing as he’s being pursued by the mob of angry parents. But by the time
the brothers have fought and credits roll over the haunting final image I found
it easy to forgive these small hiccups. Of course, a movie about a murderous
Santa Claus isn't going to be an easy sell for 90% of the public but I think
plenty of folks would love this were it given a chance.
Twilight Time has released the delightful 1962 hit comedy "Mr. Hobbs Takes a Vacation" as a limited edition (3,000 units) Blu-ray release. The film is the very definition of old Hollywood star power, with James Stewart and Maureen O'Hara top-lining a cast that includes some first-rate character actors. Stewart plays Roger Hobbs, a burned out banking executive who is introduced to as he makes the daily grind of a commute amid traffic-choked, smog-filled roads. He narrates the story as a flashback, relating how he had planned a romantic getaway for he and his wife Peggy (Maureen O'Hara). She put the kabosh on his plans to tour London and Paris in favor of bringing their kids on a family vacation at a California beach house an acquaintance has offered them for free. Roger is less than enthusiastic about the idea. It will mean bringing along their insecure teenage daughter Katey (Lauri Peters) and her younger brother Danny (Michael Burns), a kid who rarely leaves the confines of his bedroom where he is obsessed with watching TV Westerns. (This was 1962, after all, when seemingly every other TV program was a Western!) Also invited are the Hobbs' grown daughters Susan (Natalie Trundy) and Janie (Lili Gentle), both of whom have more issues than Time magazine. Susan's and her husband Stan (Josh Peine) are parents to small children and are clearly embittered in their relationship due to the fact that Stan has been secretly unemployed for an extended period of time. Janie and her husband Byron (John Saxon, playing against type in a very amusing performance) have a young son and Roger can't stand being around them for any extended period of time. Byron is a pompous intellectual with a superiority complex and the couple's son, for whatever reason, hates grandpa Roger. All of these problems are just the undercurrent for what is shaping up to be a disastrous vacation from minute one. The lovely beach house Peggy has envisioned turns out to look like the set from "House on Haunted Hill", a once-stately home that has fallen into complete disrepair. Roger's first challenge is to get a complex water pumping system working, which leads to an amusing running gag about man vs. machine.
Roger, who is clearly not the typical dad found in sitcoms of the era, tries mightily to control his anger as his self-centered family members burden each other with their problems and emotional conflicts. It's a joy watching Stewart engage in his "slow burn" routine, barely able to restrain himself from exploding. Adding to the pressure is the arrival of an eccentric couple (the marvelous character actors John McGiver and Marie Wilson), who may be prospective employers for Stan- if they enjoy their stay at the beach home. This is the most amusing part of the movie as Roger finds himself valiantly trying to entertain this boring, prudish couple who on the surface seem to have no vices but who are secretly hiding a lifestyle of heavy drinking and sexual frustration. The sequence in which Stewart and McGiver go bird-watching is full of genuine belly laughs.
As film historian Julie Kirgo writes in the very perceptive liner notes in the accompanying booklet, "Mr. Hobbs Takes a Vacation" is much deeper than the standard family comedy you might assume it to be. It reflects the changing attitudes of 1960s society and hints at the blossoming rebellion of young people in regard to parental authority. It also takes a much franker look at discussions and representations of sex. Roger and Peggy are aghast when Janie shamelessly announces she intends to start in on the process of having another baby immediately. Roger must contend with a busty, air-headed seductress (Valerie Varda) who cozies up to him every day on the beach in an overt attempt to lure him into bed. Finally, there is the only solace Roger can find at the end of a long, frustrating day: cozying under the sheets with Peggy. During this time sitcom married couples may still have been sleeping in separate beds, but big screen couples had matured to a more natural setting. The film makes quite clear that the Hobbs still enjoy an active love life (how could Roger ever resist a wife who looks like Maureen O'Hara?) Kirgo also points out that this was one of the first films to depict the gradual disintegration of the American family unit. Everyone seems to want to be in their own space doing their own thing- and this was decades before cell phone and video games. In an extended and highly prescient sequence, Roger attempts to gather the entire clan in the living room for a simple toast. However, he is interrupted by numerous mini-crisis that ultimately leave him entirely alone with a full glass in his hand.
Under the expert direction of Henry Koster, who also directed Stewart in his signature starring role in "Harvey", the pace is brisk and the script by noted scribe Nunnally Johnson provides plenty of funny quips that flow naturally and believably from the characters. The movie mixes laughter with some emotionally touching sequences. Roger takes his estranged son Danny on a simple boating trip only to experience the terror of being caught in a heavy fog and drifting far from shore. Stewart is excellent in this sequence. Roger is clearly frightened to death but manages to retain his calm in order to convince his son that he has the situation under control. The experience finally bonds both father and son. Roger also tries to help 14 year-old Katey cope with the insecurity of feeling unattractive because she wears braces. He brings her to a local dance for teens only to find her sitting as a wallflower. He bribes a young man (then teen idol Fabian) to show some interest in her, and the boy movingly returns the money to Hobbs because he genuinely likes her. (In the film's worst scene, Fabian croons a sugary love song to his new flame, which was due to an obvious contractual clause designed to sell some records.) Gradually, the frustrations of Roger's vacation week begin to resolve themselves and there is the expected happy ending. However, the film has a certain bite that was lacking in most family comedy features until that time. Roger Hobbs clearly loves and cares about his family but he's also not ashamed to be a bit self-indulgent in his desire to put his needs first occasionally.
The Twilight Time release boasts an excellent transfer, an isolated music track for Henry Mancini's score, the original theatrical trailer, an illustrated collector's booklet and a brief Fox Movietone News segment that goes behind the scenes on the set.
There is a frightening scene in “Prince of The Night” when
Klaus Kinski chases a woman through the streets of Venice. She runs into
an empty building, but like a jungle cat bringing down an impala, Kinski catches
her and smashes her to the stone floor. Actresses Barbara De Rossi and Elvire Audray
complained that Kinski was too rough on them during the making of this 1988
Italian production, but when Kinski is hired to play Nosferatu, a creature
“belched forth by the Devil,” one can’t expect the off-screen neck nibbles of
Bela Lugosi. As he did throughout his hellacious career, Kinski played the role
with an utter lack of restraint. De Rossi and Audray were lucky he
didn’t actually tear open their jugulars.
It turns out that Kinski’s untamed acting had a payoff.
As we can see in the recently released DVD from One 7 Movies, Kinski outshines
the rest of the cast, including such gallant journeymen as Christopher Plummer
and Donald Pleasence. If a few
actresses got scuffed up along the way, so be it.
The cast should have known what to expect when, on his
first day of shooting, Kinski and director Mario Caiano got into a violent
argument. Part of the beef was that Kinski was reprising his character
from Werner Herzog’s 1979 picture “Nosferatu the Vampyre” and was supposed to
wear the same bald head, and corpse-white makeup. However, the petulant
Kinski arrived on the set wearing long hair and asserting that he had no intention
of enduring another painful make-up sessions. This is why Nosferatu of
the 1988 film looks like Aguirre and nothing like the original character
from the Herzog movie (or for that matter, the F.W. Murnau silent
film). Kinski’s only nod to tradition was that he wore the same rodent teeth
he’d worn for Herzog.
Waylaid by Kinski’s bellicose attitude, Caiano left the
production after being paid his full salary. Caiano’s departure wasn’t a
surprise, since the film had already been through several personnel changes.
Producer Augusto Caminito had already hired and fired directors Maurizio Lucidi
and Pasquale Squitieri before hiring Caiano. When Kinski forced Caiano off the
set, Caminito decided to direct the film himself. Since Caminito had little directing
experience, he enlisted the help of Luigi Cozzi, a veteran of many Italian
horror films (as well as the Lou Ferrigno “Hercules” of 1983). Not
surprisingly, even Kinski is alleged to have directed a few scenes.
Somehow, this debacle of a production yielded a highly
watchable movie (originally titled “Vampire In Venice”). I imagine some
of the credit must go to cinematographer Tonino Nardi, who lovingly feeds us
one eye-popping scene after another. It’s as if Nardi knew, while
chaos swirled all around him, that all one needed to make this vampire movie
was Kinski, a few beautiful women, and the gorgeous scenery of Venice.
One can almost turn the sound off, ignore the rickety plot, and simply
enjoy the movie for its visual delights.
The movie is supposed to take place in 1780s
Venice, a time of plagues and death. The
streets are a weird mix of the morbid and the frivolous. You’re as likely to
step over a corpse as to be pestered by a dancing harlequin. Yet, one of my
favorite moments is when an extra steering a gondola is not in period costume,
but is instead wearing a denim jacket and tight fitting jeans, as if a member
of The Doobie Brothers had been somehow teleported into the 18th century.
Caminito was probably so sick of reshoots that he hoped no one would notice the
As regular readers know, I have a soft spot in my heart for "B" spy movies of the 1960s. But you'd have to have a soft spot in your head to find much value in "Salt & Pepper", a 1968 Bond spoof with former Rat Packers Sammy Davis Jr. and Peter Lawford slumming for a quick paycheck and a good time in London. The film was improbably directed by Richard Donner, who displays none of the skills that would make him a world-class action movie director in the next decade. However, Donner is given some pretty skimpy material to work with. The hobbled-together screenplay finds Salt and Pepper as local legends in London's Soho district, then the epicenter of the mod movement. It's a measure of the script's level of wit that Salt is played by Davis and Pepper is played by Lawford (get it?). The duo operate Soho's hippest and most exclusive nightclub. Pepper represents old world elegance, strolling his domain in a tuxedo while Salt appeals to the "mods" by dressing in some eye-popping outfits that even Liberace would have considered to be over-the-top. The two men are happily ensconed in their world of go-go girls, chain smoking and sex with willing younger women when they become embroiled in an espionage plot that involves the hijacking of a Royal Navy nuclear submarine as part of a plan to bring about a coup in the British government. Salt & Pepper try to alert the authorities but are disbelieved. They are also framed for a series of murders and are being constantly harassed by a local police inspector (Michael Bates), a relentless grouch who, in another sign of the screenwriter's level of wit, is named Inspector Crabbe. The film consists of a series of endless chases including a bizarre central action sequence in which Salt & Pepper somehow employ their own gadget-laden spy car, albeit one that doesn't function very effectively. Even in the midst of an absurd comedy such as this, there has to be some degree of logic. It's never explained why two nightclub owners would be in possession of a super spy car. There are endless scenes of Salt & Pepper being locked in various rooms and using improbable means to escape. Davis is a ball of energy and even gets to sign a bad song in a disco sequence that at least features the redeeming quality of go-go girls in mini-skirts.
Davis and Lawford are fun to watch together and there is an occasional modestly amusing joke or set piece. However, the humor largely consists of Davis vamping his idol Jerry Lewis and the sequences with Michael Bates as the police inspector feature silent-era Keystone Cops gags that are not only cringe-inducing but were about as relevant in the late 1960s as Fatty Arbuckle. The only distinction that sets the film apart from the Eurotrash spy movies of the day is the use of some exotic locations in the British countryside. Beyond that, however, the movie suffers from awful rear-screen projection and sets that look like a high school production of a Bond epic. Nevertheless, "Salt & Pepper" did find an audience and was sufficiently successful to merit a sequel, "One More Time" which was directed by -wait for it!- Jerry Lewis.