Cinema Retro has received the following press release:

Kevin Costner stars in and directs the triumphant cinematic masterpiece Dances with Wolves, based on the novel by Michael Blake. Available November 13th, 2018 from Shout! Factory, this breathtaking three-disc Steelbook Collector’s Edition includes the original theatrical cut for the first time on Blu-ray, an extended cut of the film and an entire disc of bonus features. 

Winner of seven Academy Awards®, including Best Directing and Best Picture, this modern classic tells the story of Lt. Dunbar (Costner), a Civil War hero who befriends a tribe of Native Americans while stationed at a desolate outpost on the frontier. What follows is a series of unforgettable moments — from Dunbar’s tender scenes with Stands With A Fist (Mary McDonnell), to the thrilling, action-packed buffalo hunt. Experience the excitement, emotion and sweeping beauty of this cinematic treasure as never before on Blu-ray!

Dances with Wolves Bonus Features

Disc One: Theatrical Cut

Disc Two: Extended Cut

·        Audio Commentary with actor/producer/director Kevin Costner and producer Jim Wilson

·        Audio Commentary with director of photography Dean Semler and editor Neil Travis

Disc Three: Bonus Features

·        A Day in the Life on the Western Frontier

·        The Original Making of Dances with Wolves

·        The Creation of an Epic - A Retrospective Documentary

·        Music Video

·        Five Vignettes (Second Wind, Confederate March and Music, Getting the Point, Burying the Hatchet, Animatronic Buffalo)

·        TV Spots

·        Theatrical Trailer

·        Poster and Photo Galleries

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BY JOHN M. WHALEN 

How you’ll feel about MGM’s “The Last Hunt” (1956), a grim depiction of the decimation of the buffalo herds out west in the 1880s, depends on how you feel about actually seeing buffalo shot down before your eyes while the cameras rolled. Writer/director Richard Brooks wanted the film to be a searing indictment of the men who ravaged the western frontier, especially those who made their living hunting bison. For the sake of authenticity, he and producer Dore Schary went out on location to Custer National Park, South Dakota, where they still have a small herd of buffalo. They got some spectacular footage of the buffalo stampeding over the Black Hills and had government permission to film during the annual “thinning of the herd,” when sharpshooters are invited to kill a limited number of buffs to keep them from overpopulating. As a result. there are scenes in “The Last Hunt” in which we see buffalo hunters Charlie Gilson (Robert Taylor) and Sandy McKenzie (Stewart Granger) shooting down a dozen or more of the majestic beasts as they sit peacefully unaware by a watering hole. It is isn’t a reenactment. It’s real and it’s disturbing to watch.

But that was Brooks’ intent. He wanted to show how greed and hatred of the Indian brought the buffalo to near extinction. Buffalo hides not only brought the hunters a good price but in their minds a dead buffalo meant less meat for the Indians. Brooks personifies these attitudes most vividly in the psychopathic Charlie Gilson. He is a man who hates everything, especially buffalo and Indians. He gets a real kick out of killing, too. He says it makes him feel alive. Taylor is convincing as a truly bad man, although his performance is somewhat one-dimensional. In most of the scenes, he’s either drunk and surly or just plain mean and surly.

On the other hand, McKenzie is a gentler soul who only agrees to go on the hunt when his small herd of cattle is wiped out by a buffalo stampede. He has no animosity against Native Americans and keeps telling Charlie he needs to chill out. Granger gives a good performance as a nice guy, but he’s almost too nice to be believable. Also in the hunting party are Lloyd Nolan as Woodfoot, a skinner with a peg leg and Russ Tamblyn as Jimmy, a redheaded half-breed, whom Charlie can barely tolerate. Woodfoot could have been an Ahab-type character with a grudge against buffalo for losing his leg, but he’s more philosophical than that. He’s seen a lot. He explains Charlie’s hatred for Indians to Jimmy by showing how much alike they are. He says Charlie eats without a fork, just like an Indian, he’s free with his women just like an Indian, he even blows his nose in his fingers like an Indian. “But you see, Charlie don’t like himself very much,” Woodfoot says, “so it’s only natural he’d hate Indians.”

The four men manage an uneasy coexistence until their pack mules are stolen one night by a small band of roving Indians. Sandy and Woodfoot are willing to let it go, but Charlie rides off after them with blood in his eye. He tracks them down, kills them and wounds an Indian Girl (Debra Paget) traveling with a small boy. He brings the girl and boy back to camp and beds down with her, much to Sandy’s dislike. Charlie gets drunk and mistreats the girl, while Sandy seethes, but remains silent. Sandy and the Indian girl begin to get closer, however, when Charlie’s not around or just passed out and tension slowly builds.

Things come to a head when Sandy hesitates to shoot a white buffalo because he knows it has religious significance to the Indians. Charlie has no such qualms. He knows the hide will bring a price of $2,000. He kills it and now both the Indian girl and the white buffalo hide become the sources of conflict that eventually leads to a violent and chilling climax.

“The Last Hunt” is an interesting film made by an interesting director. Like some of Richard Brooks’ other films, such as “In Cold Blood” and “Bite the Bullet,” it’s hard-hitting, almost merciless, in its portrayal of the darkness that lies just below the thin veneer of civilization. It could have been a classic, but it has become a victim of the era in which it was made. It’s not likely that any major studio today would release a film showing the deliberate killing of live animals, no matter what the reason. For one thing PETA would make life miserable for the film makers, and today’s audiences would most likely condemn it as well. The casting of Debra Paget as the unnamed “Indian Girl” is another strike against it. The casting was not Richard Brooks’ fault. Movie studios in 1956 never cast Native Americans in major roles. Indian characters were usually played by Mexican actors like Delores Del Rio or Gilbert Roland. Paget does a great job, but it’s a false note in a film that tries so hard to be authentic.

But the biggest problems with “The Last Hunt” is its slow pace. The film focuses too much on the five main characters bogged down in their own personal conflicts. It takes forever for McKenzie to finally have his fill of Charlie’s constant bullying and mean-tempered treatment of the woman and the half-breed. He’s too mild-mannered and when the final showdown does happen it’s a long, drawn out affair that lacks suspense.

“IT WAS SOMETHING ELSE, ALL RIGHT!”

By Raymond Benson

The tag-line on the theatrical poster for Brewster McCloud, Robert Altman’s 1970 black comedy, proclaimed, “Something Else from the Director of M*A*S*H.”

It was something else, all right.

M*A*S*H, of course, was a surprise hit earlier in the year, catapulting Altman into the A-List in Hollywood. The picture was an irreverent commentary on the Vietnam War (although the story takes place during the Korean War). It radically bucked the system in terms of the sound recording and overlapping dialogue, and it initiated the director’s penchant for using an ensemble cast and an improvisatory, free-for-all sensibility. This was a new kind of cinema, an entry in what film historians call New Hollywood.

Released for Christmas the same year, Brewster McCloud was Altman’s anticipated follow-up. Most critics and audiences felt it was very different from M*A*S*H—a zanier, loosely-plotted ramshackle of a film that was considered weird and unlike anything seen before. In retrospect, however, and especially considering Altman’s further career of making large, unconventional and improvisatory ensemble pictures, Brewster seems very much in keeping with the auteur’s stylistic and thematic traits that populated nearly all his movies.

Brewster is the story of a young man (played by Bud Cort) who lives in a secluded area of the recently-built Houston Astrodome, and he is building a wing-apparatus that will enable him to fly. He’s encouraged and protected by a beautiful guardian angel (fallen, perhaps?) named Louise (Sally Kellerman), but Brewster is infatuated with a pretty Astrodome tour guide, Suzanne (Shelley Duvall, in her debut film role). Meanwhile, there are serial killings going on around Houston being investigated by hotshot detective Frank Shaft (Michael Murphy). The common “fingerprint” in the murders is that each victim is covered in bird droppings. On top of these proceedings are classroom scenes in which a very odd “Lecturer” (Rene Auberjonois) instructs us about ornithology as he slowly becomes birdlike himself throughout the film.

That is indeed an eccentric premise for a movie, and Robert Altman excels with it. Make no mistake—this is an inventive, funny, bewildering, and fascinating picture. I consider it to be one of Altman’s best films, one that solidified not only his haphazard way of shooting a movie, but his use of a repertory company of actors (many of the cast from M*A*S*H appear here, along with newcomers who would continue to work with the director in the future, such as Duvall).

Speaking of the cast, they all play colorful characters right out of a modern urban fairytale on acid. Even Margaret Hamilton, the famed Wicked Witch of the West from The Wizard of Oz shows up wearing ruby slippers. The performances are excellent, especially that of Duvall, Murphy, and good old John Schuck, who plays a traffic cop caught up in Shaft’s investigation (Schuck was the “Painless” dentist in M*A*S*H and worked with Altman several more times).

Warner Archive has upgraded their previously-released DVD version of the film to a region-free Blu-ray in 1080p High Definition with DTS-HD Master Audio 2.0 Mono. There is a lot of grain present in the darker scenes, but that is to be expected with the film stock from this era. There are no supplements other than the theatrical trailer.

If you’re an Altman fan, or can appreciate wacky, trippy comedies that smoothly slip into theatre of the absurd, then Brewster McCloud is for you. Frankly, this “something else” is a gem.

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Cinema Retro has received the following press release:

Universal City, California, November 1, 2018 – Five of some of the most timeless holiday films come together on Blu-ray™ and DVD in The Original Christmas Specials Collection: Deluxe Edition available now from Universal Pictures Home Entertainment. Featuring all-new bonus features and unforgettable characters, experience these five classic holiday specials with your whole family.

‘Tis the season to enjoy the timeless holiday classics in The Original Christmas Specials Collection: Deluxe Edition featuring 5 unforgettable stories.  Produced by the legendary Rankin/Bass, Rudolph the Red-Nosed Reindeer, Santa Claus is Comin’ to Town and The Little Drummer Boy feature iconic Animagicâ„¢ stop-motion animation and Frosty the Snowman and Cricket on the Hearth are beautifully illustrated. Starring the voice talents of Fred Astaire, Jimmy Durante, Mickey Rooney, Danny Thomas, Burl Ives and many more, these favorites also feature some of the most beloved songs of the season and are sure to entertain audiences of all ages for generations to come!

The Original Christmas Specials Collection: Deluxe Edition includes Rudolph the Red-Nosed Reindeer (1964), Frosty the Snowman (1969), Santa Claus is Comin’ to Town (1970), The Little Drummer Boy (1968), Cricket on the Hearth (1967). Along with The Original Christmas Specials Collection: Deluxe Edition, Rudolph the Red-Nosed Reindeer, Frosty the Snowman and Santa Claus is Comin’ to Town are also available in individual new Deluxe Editions on Blu-RayTM and DVD.

BONUS FEATURES:

·        The Animagic World of Rankin/Bass: An all-new documentary celebrating the legacy of the holiday specials created by Arthur Rankin, Jr. and Jules Bass including interviews with filmmakers and historians.

·        Restoring the Puppets of Rudolph: Discover how the puppets from the beloved special were restored.

·        Reimagining Rudolph in 4D: A behind-the-scenes look at the making of the new Rudolph the Red-Nosed Reindeer attraction film.

·        Rudolph the Red-Nosed Reindeer Attraction Film: A short stop-motion film originally created for a Rudolph 4D experience.

·        T.E.A.M. Rudolph and the Reindeer Games: A video storybook including the untold story of the Reindeer Games

·        Frosty the Snowman Original Pencil Test

·        Commentaries on Frosty the Snowman and Santa Claus is Comin’ to Town

·        And much more!

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BY TIM MCGLYNN

“You probably think I’m beautiful, but I’m not.”

Super model Tina Cassidy (Kathryn Witt) visits Hollywood plastic surgeon Larry Roberts with a specific list of tiny imperfections that need to be corrected at the request of Reston Industries, a producer of glossy television commercials. Dr. Roberts becomes curious when he realizes that several of his recent patients have had the same type of list.

What follows is a science fiction/police procedural that involves the murder of these same models. The police become suspicious when it is discovered that all the victims were patients of Dr. Roberts

Director/Writer Michael Crichton once again makes predictions based on emerging technologies. His first feature film, Westworld (1973), pioneered the use of digitized imagery to present the point of view of Yul Brynner’s android gunslinger.

In Looker, we have actors being converted to computerized images that may be manipulated through animation. These digital actors communicate subliminal messages that cue the audience to respond favorably to the product. Once these models are scanned by the L.O.O.K.E.R. (Light Ocular-Oriented Kinetic Emotive Responses) program, there’s no need for humans to create commercials. And if the process works so well at convincing television viewers to buy, why not use it to manipulate a national election and allow a corporate-friendly Senator to be elected President?

In one effective scene, Tina returns to her home to visit with her parents and finds that they can’t take their eyes away from a comedy show they are watching. Mom and Dad have been drawn in by L.O.O.K.E.R.

Reston Industries is also preparing the L.O.O.K.E.R. technology for military applications with a gun that renders an enemy immobile for several minutes leaving no memory of the event. A henchman hired to kill Dr. Roberts employs the weapon to almost humorous effect as he taunts his victim.

A good thriller requires a great cast and director Crichton chose wisely with Albert Finney as the mild mannered surgeon Dr. Roberts. One might wonder if this character was at all inspired by the Beatles’ song of the same name. Also on hand are James Coburn as sleazy corporate head John Reston, Susan Dey as model Cindy Fairmont, the always beautiful Leigh-Taylor Young as marketing director Jennifer Long and Dorian Heywood as Lieutenant Masters.

Most people may be aware of this film only from its claustrophobic pan and scan showings on pay cable during the 80s and 90s. The Warner Archive’s’widescreen Blu-ray provides a beautifully restored edition of Looker in all its Panavision glory. The stereo sound is properly re-mastered and showcases the music score by Barry De Vorzon, who created a terrific techno-thriller soundtrack that avoided the cheese factor and aged well. And then there’s that title song, performed by Sue Saad, that will definitely earworm its way into your head for days.

This new Blu-ray version of Looker will propel you back to the 80s in style and comfort.  Bonus features are the original trailer, an informative introduction by Michael Creighton and a deleted scene that was included in the TV broadcast of the film. Another great addition to the Warner Archive library.

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Cinema Retro has received the following announcement:

Just in time for the holidays, McFarland publications has released John Farkis’s latest book The Making of Tombstone: Behind the Scenes of the Classic Modern Western. Which is only appropriate as Disney/Buena Vista premiered this film on December 25, 1993, 25 years ago this month. While other books have been written about Wyatt Earp, Doc Holliday, and the O.K. Corral, this is the only book written solely about the making of that iconic film. With numerous behind-the-scene photos and interviews from over 140 cast and crew members, stuntmen, extras, wranglers and Buckaroos, this book is a virtual day-by-day summarization of how the film was made. Starring Kurt Russell, Powers Boothe, Michael Biehn, Sam Elliott, Dana Delany, Bill Paxton, and Val Kilmer in his Oscar-deserved role of Doc Holliday, Tombstone is the story of Wyatt Earp, his brothers, Holliday, the Clantons and McLaurys, and their tumultuous relationship, cumulating in the historic gunfight at the O.K. Corral, and subsequent Vendetta ride.

Farkis details the stormy creation of the project, from script development, financing and casting, to site location and construction. Along the way, he also explores Kevin Costner’s Wyatt Earp, which at the time, was in direct production competition with Tombstone. In fact, Costner was screenwriter/director Kevin Jarre’s first choice for the role of Wyatt. Known for his screenplay of Glory (1989), Jarre was replaced early in filming by action-director George Cosmatos. While extremely proud of their work on the film, virtually everyone associated with the project said it was an extremely tough, miserable experience. And Farkis details the trials and tribulations in exquisite detail. With access to numerous script iterations, call-sheets, daily production reports and internal communications, he unpacks the story behind the story. Photographs supplied by cast and crew members serve to enhance this experience. Not only does he explain the film’s concept and production, he also describes the historical tale, from the founding of Tombstone, to the conclusion of Earp’s Vendetta ride. And, he adds a postscript appendix of the film’s recent 25th anniversary celebration.

Released on Monday, November26, this book can currently be purchased through McFarland, Barnes & Noble, Amazon, and numerous other sites. If one wishes to have a personalized autographed copy, they can be ordered directly from the author. Jkfarkis@earthlink.net.

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BY LEE PFEIFFER

It took Sean Connery years to successfully cast aside the shadow of James Bond and establish himself as a diverse actor. Connery had made some fine non-Bond films even during the peak of 007 mania - The Hill, Woman of Straw, A Fine Madness and Marnie. Each of these worthy efforts afforded Connery a role that was significantly different than that of Bond but, much to his frustration, all of them were box-office disappointments, although he did have the satisfaction of seeing The Hill win international acclaim. When Connery left the Bond series in 1968, he made some more fine films. The Western Shalako was an international box-office success, as was The Anderson Tapes, which cast him as a charismatic crook.  Yet, Martin Ritt's The Molly Maguires, an ambitious film about exploited coal miners, failed to click with audiences, as did The Red Tent, which afforded Connery top-billing even though he only had a supporting role. Connery returned to the Bond fold in 1971 for Diamonds Are Forever and then quit the part once again. He gave one of the finest performances of his career in Sidney Lumet's micro-budget drama The Offence, but it played in only a few art houses before slipping into oblivion. John Boorman's Zardoz, which has attracted a cult following today, was a critical and box-office flop at the time of its release, as was a minor Connery thriller The Terrorists (aka Ransom). But Connery was not about to be counted out. He scored with Murder on the Orient Express, The Wind and the Lion, Robin and Marian, The Great Train Robbery and, most significantly, The Man Who Would Be King. All were critical successes even if they were not blockbusters. Connery also played a key role in the WWII epic A Bridge Too Far, a fine and underrated film. Soon thereafter, however, his choice of film projects became erratic. Although the films Cuba, Wrong is Right and Outland all under-performed at the box-office, they at least afforded him the opportunity to work with acclaimed directors Richard Lester, Richard Brooks and Peter Hyams, respectively. But the cheesy disaster flick Meteor could only be attributed to the desire to make a fast buck. 

As Connery matured as a man and actor he still would take on films with limited commercial appeal if he felt the project was artistically rewarding. This was the case with the 1982 film Five Days One Summer which proved to be the final cinematic work of Oscar-winning director Fred Zinnemann, who had made such classics as High Noon and From Here to Eternity. Zinnemann had scored a late career triumph in 1977 with Julia but hadn't made a film since. The movie was an odd choice for both men since the story was small in scale and seemed to have no hope of attracting mainstream audiences. Five Days is very much an art house movie that was nevertheless given wide release based solely on Connery's presence as the leading man. Predictably, it had a quick playoff to largely empty theaters but perhaps more surprisingly, the critics who had lauded Zinnemann with praise for Julia now accused him of making a film that was too small in scope for a collaborative project with Sean Connery. Zinnemann was seventy-four years old when he made the movie and perhaps he felt he had paid his dues to the big studios over the decades. Now in the twilight of his years he might have simply wanted to make a very personal film that appealed to him, if not everyone else. The script is based on a 1929 short story, Maiden Maiden by Kay Boyle. The film was shot under this title before the decision was made to change it to the equally ambiguous Five Days One Summer. In fact, Maiden Maiden was a more intriguing title because it has a dual reference. The first is the the female protagonist of the story and the second is to The Maiden, an imposing mountain in the Swiss Alps where some dramatic events occur. The story concerns the taboo relationship between Kate (Betsy Brantley), an attractive young woman in her mid-twenties and her uncle Douglas (Sean Connery), a successful doctor in his fifties. Since she was a little girl Kate has had an uncontrollable crush on Douglas and as she grew older, came to resent his wife Sarah (Jennifer Hilary). Director Zinnemann zig-zags back and forth in time to show how a schoolgirl crush developed into a forbidden sexual relationship that finds Kate excluding any other potential lover in favor of Douglas. She alternates between joy and depression, the latter mood hitting her whenever she dwells on the fact that she can never be in anything but a secret relationship with the man she loves. Even if Douglas were to get a divorce, the incestuous love affair could never be made public.

The main part of the film concerns Douglas and Kate pulling off a risky holiday trip that will allow them to spend time together in a remote lodge in the Swiss Alps where they can indulge in their mutual passion for hiking and climbing. To avoid any suspicions, she poses as Douglas's wife in a May/December romance.  At first she is as giddy as a schoolgirl because she can finally share a bed with Douglas and they can openly express affection for each other. Things get complicated, however, when their hiking guide turns out to be Johann (Lambert Wilson), a handsome young man who is Kate's age. From minute one he awakens long suppressed sexual desires in her for someone other than Douglas, who immediately perceives the unspoken attraction between the two. The trio enjoy a cordial and professional relationship as the hike and take in the scenic wonders around them. However, Johann becomes more forthright when he learns that Kate isn't married to Douglas (though she does not confide he is her uncle). Johann is outraged and tries to convince her to leave him, telling her that she is in a dead-end love affair with a married man  that can't end well. Meanwhile, on a dangerous hike with Douglas, Johann also confronts him while they are atop the summit of the Maiden (not the most opportune place to have an argument with each other.) Douglas maintains that he is not using Kate and really loves her. Meanwhile, she has made up her mind to leave Douglas and marry Johann. Before she can give Douglas a "Dear John"  letter, word comes that there has been a disaster on the mountain and that one of the men in her life has been killed in an avalanche. In the final scene, she sees a distant figure emerging from the snowy mountain landscape, staggering towards her and a group of rescuers. Is it her lover or her would-be lover? Either way, the result will affect her life in a dramatic way forever. 

"Five Days One Summer" has been likened to the German "mountain romances" that were enormously popular in pre-WWII Germany. These films were known to have skimpy plots but magnificent scenery. If critics were kind to any aspect of the movie, it was Giussepe Rotunno's impressive cinematographer. Most reviewers wondered what it was about this modest story that appealed to Fred Zinnemann, who worked infrequently but generally made "important" movies. Despite the low-key nature of the scenario that unfolds on-screen, there is much to like about the film. The performances are first-rate with newcomers Brantley and Wilson making  both faring well in their first major roles in a feature film. (Ironically, Wilson screen-tested for the role of James Bond in "Octopussy" when it seemed doubtful that Roger Moore would return to the 007 franchise.)  Connery dominates the film, however, with an excellent performance playing a complex character who at times is sympathetic and at other times somewhat of a villain. He's all superficial charm but he cruelly risks destroying his niece's own life by using her as a bed mate. There's no doubt he loves her, but it's clear he isn't about to endanger his marriage to be closer to her. When she finally expresses her frustration and threatens to leave him for Johann, he reacts violently and slaps her. Equally complex is the character of Kate. We're left to speculate as to just why her obsession with Douglas has presumably led to the exclusion of any other men in her life. In this respect, the script is either lacking or intriguing, depending upon the views of individuals in the audience. The only easily definable character is that of Johann. He's a young man of simple means who has no interest in the world outside of the immediate domain in which he was raised. When he is smitten by Kate, his goal isn't to share her life experiences but rather, to incorporate her into his own world. In this respect, Kate's choices of lovers have one thing in common: they both want her to submit to their ideas about what is in her best interests. Douglas has clearly deluded himself into believing that his relationship with Kate is not harmful to her. Johann offers her a more independent, traditional life but still makes it clear that if she marries him, she would have to be content to live in a beautiful but remote mountain region. The end of the tale finds Kate finally exerting her own will and finding a determination to pursue her own destiny. 

"Five Days One Summer" is barely remembered, let alone discussed, in evaluations of Sean Connery and Fred Zinnemann's careers. However that shouldn't negate its many merits. I liked the film far more today than I did upon its initial release. The Warner Archive has released the film on DVD. The transfer is a bit problematic. Some of the sequences in the lush mountain areas do justice to the magnificent cinematography but certain other scenes have excessive grain. Additionally, interiors are over-saturated to the point that characters who are seen in dimly lit rooms are sometimes reduced to shadowy blobs. The film is a prime candidate for a Blu-ray, remastered edition. The only bonus extra is the original trailer. It is a region-free release. 

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BY LEE PFEIFFER

A controversy over the style of drapes for a mansion's library would not seem to be the fodder for a sizzling screen drama but it is the catalyst for the events that unwind in The Cobweb, a 1955 soap opera that involves the talents of some very impressive actors and filmmakers. The film was directed by Vincente Minnelli and produced by John Houseman, based on the bestselling novel by William Gibson. The cast features an impressive array of seasoned veterans as well as up-and-comers. Among them: Richard Widmark, Lauren, Bacall, Charles Boyer, Gloria Grahame, Lillian Gish, Oscar Levant, Susan Strasberg and John Kerr. The action all takes place in a psychiatric institute called "The Castle". It's actually a mansion house and the patients are seemingly there voluntarily. They are an assortment of eclectic types ranging from elderly eccentrics to young people with severe problems interacting with others. The nominal head of the institute is Dr. Devenal (Charles Boyer), an erudite, once-respected professional who long ago ceded actual power to his second-in-command, Dr. Stewart MacIver (Richard Widmark), who has implemented very progressive and controversial theories about patient treatment that involve giving those afflicted with psychiatric disorders a voice in the policies and events pertaining to the institute. He's routinely criticized for going too far in trying to build patient self-esteem but MacIver is convinced that such programs are the only way to ensure that those in his care can become self-sustaining members of society. The Castle is hardly the kind of loony bin depicted in most Hollywood films of the era. In fact, it looks more like an upscale bed and breakfast. Everyone is nattily dressed, exceedingly polite and indulges in social activities. MacIver is the one who seems closest to a complete breakdown. His marriage to his sultry young wife Karen (Gloria Grahame) is on the skids. She accuses him of being a workaholic who puts his career before the needs of his wife and young son (Tommy Rettig). On a more personal level, she makes it clear that she is sexually frustrated, as MacIver has moved into a separate bedroom, telling Karen that she is a self-obsessed party girl. There is truth in both accusations. The chain smoking MacIver does seem to be married to his job. Predictably, things get more complicated when MacIver has an affair with a co-worker at the institute (Lauren Bacall) and Karen's ill-conceived flirtations with the perpetually horny Dr. Devenal backfire and cause distress for both of them.  The fragile tranquility among the patients also becomes strained when a controversy erupts over MacIver's plan to allow them to design and create new draperies for the library. This inspires the most problematic inmate, a young man named Steve Holte (John Kerr) who is traditionally anti-social but who comes alive by using his creative talents for the project. However, the institute's busy-body secretary, Victoria Inch (Lillian Gish) has already ordered expensive draperies from a company and she objects to using the patients' creations. This sets in motion a series of dramatic circumstances that has major consequences for all the main characters.  

The premise of the screenplay reads like something out of a Monty Python sketch and critics at the time of the film's release pointed out the absurdity of having draperies serve as the catalyst for such dark goings-on. The film was considered a major disappointment and has largely been forgotten. However, looking at the movie today, one is impressed with the sheer amount of talent involved in the production. It should also be pointed out that saying the movie is about curtains is as inaccurate as saying The Titanic is a movie about icebergs. In fact, The Cobweb is a reasonably compelling drama that sustains interest despite an "everything but the kitchen" sink formula for introducing crisis after crisis for the main characters and a tacked on happy ending that deviated from the book. Widmark is a commanding screen presence and Gloria Grahame excels as his sex-starved wife. Grahame completely overshadows the presence of Lauren Bacall, who underplays to the point of invisibility. There is also a scene-stealing performance by Lillian Gish as an insecure administrator with no life outside of her office duties and who is immediately threatened by any incursion into her spheres of influence. Charles Boyer is an odd but inspired choice as the institute's director, a  man who has sold out in terms of his professional ethics simply to enjoy a cozy life and a fat pay check. John Kerr and Susan Strasberg also impress as anti-social young people who predictably become attracted to each other.

The Cobweb is a potboiler, pure and simple. While it's not a "lost classic" by any means, it seems the film does deserve to be re-evaluated for its many merits.

The movie is available on DVD through the Warner Archive and is region-free. The transfer is very good and includes the original theatrical trailer.  

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BY LEE PFEIFFER

"The Shakiest Gun in the West" was one of the feature film Don Knotts starred in for Universal after leaving his role as Deputy Barney Fife on "The Andy Griffith Show"- a role that saw him win multiple Emmy awards. Released in 1968, the comedy is as plain vanilla as all of Knotts's Universal flicks, as it's family friendly throughout. There is one unusual aspect to this production, however, in that it is a remake of the 1948 Bob Hope comedy hit "The Paleface". Directed by Alan Rafkin, who helmed Knotts's first film for Universal, "The Ghost and Mr. Chicken", "Shakiest" follows the formula that Knotts knew his fans wanted to see. He always played essentially the same character- a likable nerd with a lack of self-esteem who blunders into becoming a local hero only to be discredited and shamed. The conclusion of every Knotts film finds him performing some act of extraordinary courage that results in him becoming a legitimate hero and winning the girl, as well. Oh, yes, there's usually a scene in which Knotts's character ends up getting very drunk, thus allowing Knotts to slip and slobber, much to the delight of his audience. Although the original film was written for Bob Hope, a few tweaks by long-time "Andy Griffith Show" screenwriters Jim Fritzell and Everett Greenbaum easily convert the story into a suitable vehicle for Knott's signature nervous guy persona. Both Hope and Knotts excelled at playing cowards. Hope would respond to dangerous situations with a string of quips delivered with the rapidity of a machine gun. Knotts, however, would fall physically and mentally into a virtual nervous breakdown. The result was always amusing and Knotts lived by the adage "If it ain't broke, don't fix it". Audiences- especially in rural areas- made his modestly-budgeted feature films very profitable.

"Shakiest" opens in Philadelphia in 1870. Knotts plays Jesse Heywood, a dental student who must complete an examination on a patient in order to get his degree in dentistry. Unfortunately, the patient is a woman who refuses to open her mouth.  Jesse tries to cajole her with childlike sweet talk but when she still refuses, the situation turns into a physical battle royal with both of them engaging in a knock-down wrestling match that starts the film off on a very funny note. Jesse then decides to follow the advice of Horace Greeley and "Go West, young man." Presuming there is a dearth of available dentists in the newly-settled territories, the meek city slicker joins a wagon train (after being bilked by used-wagon salesman Carl Ballantine). A simultaneous plot line revolves around Penelope Cushings (Barbara Rhoades), a vivacious redhead who also happens to be a notorious bandit. When federal agents catch up to her, she is offered a deal: she can avoid a jail sentence if she acts as an undercover agent for the government and joins the wagon train to find out who among the passengers are intending to smuggle a cache of rifles to the Indians. At the last minute, the agent who was to pose as her husband is shot dead, leaving her with a dilemma: no single woman can be unaccompanied on the wagon train. Desperate, she uses Jesse as a pawn, fawning over the incredulous newly-minted dentist who can hardly believe his good fortune. Within hours they end up getting married but the minute the ink is dry on the license, Penelope gives a cold shoulder to her new husband. (The only sexually suggestive aspect to the film revolves around a running gag of Jesse being increasingly frustrated by his wife's stalling techniques when it comes to consummating their marriage.)

Once the wagon train is on the move, Penelope snoops around for the gun smugglers, who turn out to be a phony preacher (Donald Barry) and his partner (Jackie Coogan) who are secreting the weapons inside cases marked as containing bibles. Along the way, Jesse allows his wagon to fall behind the others and it is attacked by Indians. In mounting a seemingly futile defense, he is shocked to find that he has killed a dozen of his attackers, not realizing that the deadly shots were actually fired by Penelope. When word gets out of his achievement, Jesse is hailed and feted as a hero. The legend is reinforced when he is challenged by a notorious outlaw, Arnold the Kid (Robert Yuro), who is also slain in a gundown with Penelope secretly firing the fatal shot. (Shades of "The Man Who Shot Liberty Valance"!) Ultimately, Jesse learns the truth and courageously admits to his fellow travelers that he really isn't a hero. He is rewarded for his honesty by being shunned and mocked. His misfortune continues with the admission by Penelope that she was only using him as part of her cover operation. The dejected Jesse is at a low point in his life when Penelope is kidnapped by the gun smugglers and brought to the Indian camp. Determined to save her, Jesse manages to locate the camp and infiltrate it while dressed as an Indian maiden(!). Needless to say, he finds his inner strength and in acts of courage saves the day and redeems his reputation.

Virgil Films has released the remarkable documentary "The Coolest Guy Movie Ever", a unique look at the 1963 WWII classic "The Great Escape". The film cemented Steve McQueen as a newly-minted superstar of the big screen and featured one of the all-time great casts: James Garner, Richard Attenborough, Charles Bronson, James Coburn, David McCallum, Donald Pleasence, James Donald among them. United Artists originally intended the movie to be shot in Hollywood but director John Sturges argued that it would only be convincing if shot on location in Germany. "The Coolest Guy Movie Ever" visits those locations and presents how they look today. In some cases, the iconic locations have changed considerably while others remain instantly recognizable. The documentary was conceived, directed, photographed and edited by Christophe Espenan, a devoted fan of the film. Espenan and a team of dedicated assistants and enthusiasts of the movie painstakingly tracked down even the most minor locations. The documentary details the challenges this presented in Germany's ever-changing landscape. Most vitally, he also tracked down people whose families interacted with the film crew. Most interesting is the small hotel where key members of the cast, including Steve McQueen, stayed during production. The son of the couple who ran the hotel at the time (and who still operates it today) gives first-hand memories of what it was like to have legendary celebrities staying in the cozy venue and how polite everyone was to the family. The documentary is chock full of such wonderful anecdotes and is enhanced by ample film clips from the movie and very rare production photos. 

We spoke to Joe Amodei, the President and CEO of Virgil Films, which has released the film as a region-free DVD. Here, Amodei shares his thoughts about the production.

When did you first learn of the existence of “The Coolest Guy Movie Ever” documentary?

Somewhere around three years ago Steven Jay Rubin introduced me to Chris Espenan who was directing the doc. I had previously released Steve’s documentary “East LA Marine” about WWII hero Guy Gabaldon. Steve knew I was a “Great Escape” fan and told me about the movie. I immediately said “Tally Ho, I am in.”

What attracted you in terms of agreeing to distribute the film through Virgil?

”The Great Escape” was the film that did it for me as a kid going to the movies in Northeast Philadelphia. In those days I could walk to the theatre so I went three or four times a week. I learned the meaning of “cool” while watching the film. Steve McQueen was the definition of that word. We are always on the lookout for film- related docs and this one really came close to home. I also knew it was something I might be able to get my friend Michael Meister involved in. He is a fellow “Great Escape” lover who ended up coming in with finishing funds that allowed us to screen the film in the market at Cannes. BTW Michael LOVES Cinema Retro!

Where did the rare production photos seen in the documentary originate?

A lot of them came from Walter Rimi’s son Christian who graciously allowed us the use of his father’s photos. Walter was second unit director of photography. Christian is in the film and gives a very emotional talk about freedom and how important it s.

What was WWII historian Steve Rubin’s role in making the documentary a reality?

He is the Producer of the film. Our very own Big X. My Dad and I had the pleasure of seeing the film at Grauman’s Theatre (I still call it that) in Hollywood a few years back during the Turner Classic Movies Film Fest. Was very cool seeing it on the big screen with my father sitting next to me. It’s not something I will ever forget.

What are your personal memories of “The Great Escape”? When did you first see it?

The summer of 1963. The Merben Movie Theatre. Philadelphia PA. I remember building a ramp for my bicycle to jump over. I was lucky if I got the bike a foot or two off the ground. But it felt unbelievably cool!!!!

What qualities about the movie do you feel resonate most after so many years?

The POW’s never give up. They try to escape from the minute they get into the camp. They never give up. It is this heroism that the real Stalag Luft 3 inhabitants had when they made the real escape in March of 1944. John Surges and crew made sure that courage was on display throughout the film.

Who is your favorite character in the film?

Simply put Virgil Hilts. But I do have a love for Charles Bronson’s portrayal of “Tunnel King” Danny as well.

…your favorite scene?

Nothing like that motorcycle jump over the fence to get me going. There is also a scene where McQueen takes down a German soldier about to shoot his friend, “The Mole” Ives. He doesn’t get to save him but the gymnastic leap off the ground of McQueen’s body into the German added to the coolness of the character. No one had done this in movies before. We had cool actors like William Holden in “Stalag 17” or James Dean in “Rebel Without a Cause.” But no one was cool like McQueen. No one.

Any reflections on Elmer Bernstein’s score?

In the top two or three of all time. It is the ringer on my phone. I got the chance to thank him at a screening of “Sweet Smell of Success” a while back. He was a nice and gracious man.

Your thoughts on John Sturges as a director and other films of his that have impressed you.

Sturges never gets the credit he deserves because a lot of his films were big time audience favorites but not necessarily critical favorites. This guy not only made “The Great Escape” but he also brought us “The Magnificent Seven", “Bad Day at Black Rock,” “The Old Man and the Sea” and “Gunfight at the OK Corral.” Those are some heavyweights!!

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BY JOHN M. WHALEN

Sam Peckinpah’s “The Ballad of Cable Hogue,” (1970) recently released on Blu-ray by the Warner Archive Collection, is a movie that doesn’t fit neatly into any specific category. Peckinpah, more notable for his violent action pictures about outlaws who’ve run out their string and go down in a blaze of glory, maintained that “Hogue” is a comedy. But co-star Stella Stevens, in an interview included on this Blu-Ray release, disagrees. She claims it’s a love story—a tragic love story. The answer, in my opinion, is that it probably falls somewhere in between. It’s both a comedy and a love story, and as such, is probably the most honest film about the human condition the hard-nosed Peckinpah ever made.

The story is a simple one. Jason Robards plays the titular character, a man left to die in the Arizona desert by two disreputable partners, Taggert (L. Q. Jones) and Bowen (Strother Martin). Hogue swears he’ll survive somehow and someday get vengeance on the double crossers. He wanders in the desert for 4 days without water, occasionally raising his eyes heavenward, to address the Almighty. “Ain’t had no water since yesterday, Lord,” he says at one point. “Gettin’ a little thirsty. Just thought I’d mention it. Amen” Just when he’s about finished he discovers a spring, the only water for 50 miles either way along a stagecoach road. He builds a house there and calls the place Cable Springs.

A wandering preacher by the name of the Rev. Joshua Duncan Sloan (David Warner) rides in. The Reverend claims to be the head of a church of his own revelation. As dubious as he appears he reminds Cable that he had better file a claim on the land he’s on if he wants to keep it. Cable takes the preacher’s horse and rides into the town of Dead Dog. One of the first things he catches sight of is Hildy (Stella Stevens), the town prostitute. After he files his claim and secures a loan from a bank, he pays a visit to Hildy, who lives in a room on the second floor of the town saloon. He’s immediately smitten with her but when he tries making love to her, the sound of a preacher holding a Bible meeting next door reminds him of Rev. Sloan, who at this very moment might be trying to jump his claim. He runs out on Hildy, promising he’ll be back soon as he can.

The rest of the film is about the Cable/Hildy relationship in which Peckinpah presents about as honest a portrayal of human beings and their struggle to survive and find comfort in one another in a brutal world as has ever been put on film. At one point Hildy asks Cable if her being a prostitute bothered him.

“Hell no, it never bothered me,” he answers. “I enjoyed it. Now what the hell are you? A human being? Trying the best you can. We all got our own ways of living.”

“And loving?” Hildy asks.

“Gets mighty lonesome without it.”

Despite the hard-boiled attitude both characters profess to adopt, after they’ve spent some time living together in his house, in one brief moment it all comes down like a house of cards. They’re having dinner with the Rev. Sloan and talk turns to Hogue’s penny pinching ways, charging everyone for water and food when they stop at the Springs. The reverend says he’s surprised Cable doesn’t charge Hildy for supper. “Why would I charge you?” Cable tells her. “You never charge me.” And, because of that one thoughtless sentence, suddenly you see a dream die on Hildy’s face. It’s the end of their relationship. The scene -for all its subtlety - has a devastating emotional impact.

There’s more to the story, including Hildy’s return after living in San Francisco, and the long- awaited showdown between Cable and his erstwhile partners, Taggert and Bowen. Strother Martin and L. Q. Jones, who were part of Peckinpah’s informal stock company, having appeared in several of his films, are perfect here. Nobody took a bullet and died on film better than L. Q. Nobody.

The ending is not comedic at all. It is filled with a sad irony that shows as simply and as understatedly as possible, what a puzzling thing life really is.

BY LEE PFEIFFER

As with any major film star who dies young, Jean Seberg has become a cult of personality to some film fans, partly due to the fact that she died in Paris from an overdose of barbiturates at age 40 in 1979.  Her death was ruled a suicide but conspiracy theories still abound because she was deemed a political radical by the FBI due to her association with far left wing causes and her support of the Black Panther party. On screen, however, Seberg's characters were generally  not radical, although her breakthrough film did find her as the female lead in Godard's classic 1960 crime flick Breathless. Still, there were some hints of Seberg's liberated woman persona in her early career. One such film was In the French Style, a largely forgotten 1963 production based on Irwin Shaw's novel. Shaw wrote the screenplay and the film was directed by Robert Parrish, a respected veteran of the movie industry who never enjoyed a career-defining major hit. (The closest he came was directing segments of the bloated 1967 spoof version of Casino Royale.) The movie opens in Paris with Seberg as Christina James, a 19 year old free spirited girl from Chicago who has come to the City of Light to hone her skills as a painter. In the process of trying to acclimate herself to the metropolitan lifestyle, she meets Guy ((Philippe Forquet), a headstrong, sometimes arrogant 21 year-old who is nonetheless charismatic and quite handsome. He woos Christina and before long, they are a couple swept up in a whirlwind romance. However, it isn't long before there are strains due in part to their impoverished lifestyle. Guy, being a typical guy, tries to get Christina into bed, but she says when it happens, it will be on her terms and conditions. When the big moment arises, Guy's romantic evening turns into a disaster because he only has enough money to rent a room at a flophouse hotel without heat. In the course of the strained evening,  Guy confesses to Christina that he cannot perform sexually because he is too nervous. He makes a shocking confession: he is actually a 16 year old high school boy and a virgin at that. While this does bring the story into a completely unexpected direction, it's the one element of the film that strains credibility largely due to the fact that Forquet was actually 23 years old at the time and looks it. Nevertheless, this plot device takes us away from what was shaping up as a conventional "boy meets girl" romance and plunges the viewer into unknown waters. 

The story then jumps ahead in time and we find Christina now in her early twenties and very much in step with the Parisian lifestyle. She is the toast of her neighborhood's social scene and the belle of the ball in terms of attracting male suitors. In a rather progressive depiction of a single woman for the year 1963, it is made abundantly clear that Christina has her pick of lovers and routinely engages in short-term sexual affairs. Every time she meets the "right man", it turns out that differences in their lifestyles prevent them from enjoying a traditional relationship. Her father (very well played by Addison Powell) visits her from Chicago and, again Shaw's script goes against the conventional depiction of father and daughter relationships generally seen in movies during this era. Instead of being a square old fuddy duddy, Dad is actually amused by his daughter's somewhat hedonistic lifestyle and he asks her how many lovers she has had. "A couple", she replies, but it becomes clear that both of them regard that as a drastic understatement. When her father asks to see the paintings she has been working on for years, he gently informs her that they are below the quality he had expected. He cautions her that her party-filled lifestyle may be compromising her potential. Christina objects and two part company under a strain, but it becomes clear that her father's words have resonated with her and that it might be time to develop plans for a more productive career path. 

All of that changes when she has a chance encounter with Walter Beddoes (Stanley Baker), a hard-drinking international newspaper journalist. They enjoy a torrid affair and fall in love but, alas, fate rears its ugly head once again when Walter's requirements to travel extensively takes him away from Christina for months at a time. He confesses to her that, while abroad "I don't live like a monk". Christina says she accepts that he will have other lovers but makes it clear that she will, too. Such behavior from a young couple was rarely depicted so honestly on screen in 1963, an era in which sexually assertive women were generally painted as floozies. By the time Walter returns from a three month stint in Africa, he finds Christina has a new boyfriend, an American doctor from San Francisco (James Leo Herlihy), who she says she intends to marry. She has a civilized lunch with both men, as Walter tries to persuade her to resume her affair with him. She confesses that she has seen her share of former lovers ultimately drop her to marry the girl of her dreams, a status she somehow never attains in their eyes.  This climactic sequence left me a bit disappointed because in the end, Christina- that most liberated of young women- decides to throw in the towel to become a doctor's wife and live in San Francisco. However, director Parrish does afford us the nagging possibility that she knows she is selling out by doing so. 

In the French Style is a very worthwhile experience. The Parisian locations add immeasurably to its pleasures and the crisp B&W cinematography Michel Kelber is impressive, as is the Joseph Kosma's atmospheric score. Not much happens dramatically in the film. You keep waiting for some earth-shaking development to emerge but it never does. However, that's part of the movie's charm. It recalls an era in which studios routinely backed small films with fine actors (they are all wonderful here) and gave them intelligent dialogue and direction.

Twilight Time has issued an impressive limited edition (3,000) Blu-ray edition that does justice to the fine B&W cinematography. The bonus extras include an isolated score track, informative commentary by film historians Lem Dobbs, Julie Kirgo and Nick Redman, a theatrical trailer and a collector's booklet with liner notes by Kirgo. 

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BY LEE PFEIFFER

Some of the best private eye thrillers tend to be complex and sometimes incomprehensible affairs. Howard Hawks' "The Big Sleep", for example, had a plot that could not be comprehended even by the people who made the film, but it ranks as one of the great movies in the crime genre. Similarly, director Arthur Penn's 1975 mystery "Night Moves" (the title is- appropriately enough- a metaphor) sat on a shelf for over a year before it went into general release, only to be greeted by an apathetic public. There were some prescient critics like Roger Ebert who foresaw the film's enduring qualities but, for the most part, "Night Moves" didn't get much attention in a year in which the likes of great films like "Jaws", "One Flew Over the Cuckoo's Nest', "Dog Day Afternoon" and "Barry Lyndon" were in release. The movie began to gain steam over the decades with the critical establishment and is now considered to be a classic by many, thus its arrival on Blu-ray from the Warner Archive is much appreciated by retro movie lovers.

The film reunited Gene Hackman with Arthur Penn after their triumphant work on "Bonnie and Clyde" (1967). Hackman was a supporting character in that film but received an Oscar nomination. In "Night Moves" he is the front-and-center star, in almost every scene and he dominates the movie with a superb, laid-back performance that is so natural that it reminds us of how Hackman's genius was to make you think you are watching a real-life person. He plays Harry Moseby, an L.A. private eye who isn't down-and-out like most of his cinematic counterparts, but is not setting the world on fire, either. He's a complex man haunted by bad childhood memories and he's got some contemporary problems, as well. His wife Ellen (Susan Clark) is bored and frustrated that Harry is too remote and spends far too much of his time on low-paying cases. He catches her having an affair but it's clear her lover (Harris Yulin) is more of a distraction than a passion. While Harry is trying to reconcile with Ellen, he's hired by Arlene Iverson (Janet Ward), a one-time minor starlet with a knack for marrying rich men. She wants Harry to find her wayward, runaway 16 year-old daughter Delly (Melanie Griffith), with whom she has a terrible relationship. Seems Arlene is dependent upon the funds from a trust that her late husband set up for Delly. As long as Arlene lives with the girl, she can continue residing in a mansion and enjoy a lavish lifestyle. However, once Delly turns 25, the spigot is turned off and Delly gets control of her fortune. The case leads Harry to the Florida Keys where Delly's stepfather, Tom Iverson (John Crawford) (divorced from Arlene) runs a charting plane service. He's surrounded by plenty of unsavory types, some of whom are employed as stuntmen in the movie business. At least two of them- Marv Ellman (Anthony Costello) and Quentin (James Woods)- have had sexual flings with the free-spirited Delly. Harry discovers Delly living openly with Tom Iverson and she resents having to be brought back to L.A. by Harry. She tells him her mother only views her as a source of income. While at Tom's place, Harry also becomes involved with another female with a troubled past, Paula (Jennifer Warren), who had once been both a stripper and a hooker before latching onto Tom and helping him with the plane charter business.She speaks in riddles and her dialogue with Harry is marvelously coy. (When she asks him where he was when Kennedy was assassinated, he replies "Which Kennedy"?).

Alan Sharp's terrific screenplay is witty and complex and chances are that when some of the mysteries are resolved, you'll end up scratching your head wondering what it all meant. "Night Moves" is a film that requires a few viewings before it all makes sense but that's part of the delight in seeing it for the first time. The dialogue crackles with bon mots and there are numerous intriguing sub-plots that sometimes overshadow Harry's primary mission, which, it turns out is explained in part by a MacGuffin. Hackman is superb, as is Arthur Penn's direction. The film has a moody, menacing atmosphere throughout, aided considerably by Bruce Surtees' typically dark cinematography. The supporting cast is letter-perfect with Jennifer Warren outstanding in an early screen role (she should have become a much bigger star, though she has found success as a director.) Also seen in an early role, James Woods impresses substantially in his limited screen time. Susan Clark (long underrated as an actress) is very good indeed, as is veteran character actor Edward Binns and Janet Ward. Young Melanie Griffith also impresses, though, ironically she played essentially the same role in another gumshoe flick that same year, "The Drowning Pool".  I also admired the jazzy score by Michael Small. The finale of the film is most memorable. It's not only suspenseful and exciting but also intriguingly ambiguous with Harry on a boat literally spinning in circles, as the viewer may well be in terms of comprehending what has just occurred.

Because the original film elements of "Night Moves" were in decline, the Warner Archive spent a good time of time and money to restore the movie to its initial grandeur. The results paid off with an excellent transfer that does justice to Penn's artistic vision. Kudos to all involved. There are also some bonus extras: an original trailer and a vintage featurette, "The Day of the Director" that provides some very good behind-the-scenes footage of the movie in production.  However, the Blu-ray cries out for an audio commentary to allow analysis of the film's many complex aspects. Perhaps a future release will include one. For now, this is a "must-have" for your video library.

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BY LEE PFEIFFER

The film must have seemed to have the makings of a classic. Director Vincente Minnelli reuniting with Kirk Douglas for the first time since their triumphant The Bad and the Beautiful a decade earlier. Edward G. Robinson co-starring and a supporting cast that included Cyd Charrise, Claire Trevor, James Gregory, George MacReady, George Hamilton and lovely up-and-coming actresses Rosanna Schiaffino and Daliah Lavi. Add to this exotic Rome locations during the era when La Dolce Vita was all the rage plus a source novel by Irwin Shaw -- this had to be a project that couldn't miss. Alas, it did indeed go off-target, but the fact that the 1962 screen version of 2 Weeks in Another Town falls short of its potential doesn't mean it isn't a gloriously trashy spectacle to behold.

Douglas plays Jack Andrus, a washed up, one-time screen legend who is driven to the brink of insanity by the philandering nature of his Italian wife (Charisse), who ended up having an affair with Douglas' friend and collaborator, screen director Maurice Kruger (Robinson). Years later, Andrus is contacted by Kruger, whose career is also in decline, to reunite for a Rome-based major film that could revive their reputations and popularity. When Andrus gets to Italy, he discovers there is no part for him in the picture, but Kruger felt it would be therapeutic to have him assist in the dubbing of the film. Before long, the love/hate relationship between the two men sparks jealous and anger, with Kruger's Lady MacBeth-like wife (Trevor) constantly finding ways to cause friction. Adding to the soap opera aspects of the story is the presence of an Italian screen diva (Schiaffino), whose temper tantrums have everyone on edge. Andrus does find solace in the arms of a young lovely (Lavi) but before long is embroiled in enough personal intrigue and frustration to once again threaten his sanity.

The film is certainly not high art. Douglas dominates the landscape with the type of eye-popping antics that made him a favorite of impressionists during the era. Robinson is far more understated and it's great fun to watch the two conflicting acting styles in the same scenes. The film benefits from some good location scenery including rare glimpses of fabled Cinecitta Studios during its heyday, but Minnelli relies far too often on cheesy rear-screen projection shots that distract from the byplay among the actors. The story is often overly melodramatic and somewhat confusing, with the vast number of characters intertwined in each other's scandals. However, it never reaches the so-bad-it's-good status the similarly- themed The Oscar, which is somewhat of a mixed blessing.  With a few more "over-the-top" elements, Minnelli could have created a trash classic. As it stands, 2 Weeks in Another Town is too campy to be called a truly good film, and not campy enough to emerge as a cult movie. Still, with all the powerhouse talent involved, it never commits the cardinal sin of being dull.

The Warner Archive Blu-ray features a very good transfer and includes the original theatrical trailer.

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If you're among the many Cinema Retro readers who have read our Movie Classics special issue devoted to epic films of the 1960s, you'll know that the story behind producer Samuel Bronston's ill-fated 1964 epic "The Fall of the Roman Empire" played out like a Greek tragedy (with apologies to the Romans.) Director Joe Dante's addictive "Trailers from Hell" web site presents another esteemed director, John Landis, analyzing the film through its original trailer.  While we don't agree with his conclusion that it is a "terrible movie", we did laugh out loud at some of his observations: especially the bizarre tag lines used on screen during the trailer that promise the film displays not just a few emotions, but ALL emotions! In fact, the trailer appears to have put together by someone for whom English was a fourth language.

Retro movie lover Steven Thompson has put together a marvelous web site that pays tribute to his favorite year: 1966. It's hard to argue with his logic, especially if you were growing up then. The Beatles, James Bond, Batman, The Man From U.N.C.L.E., British invasion rock, great comic books, and so much more all at your fingertips. The site features vintage ads for movies, TV shows and products of the day, as well as vintage comic strips and film clips. Click here to view  

(The impressive and Gothic Oakley Court, star of many horror pics.)

BY MARK MAWSTON

Cinema Retro’s Mark Mawston was invited to cover a rather special event being held at the wonderful Oakley Court near Windsor, just across the river and virtually facing Hammers old studios at Bray. Oakley, the setting for many a Hammer and Amicus film, was utilized for its Gothic look and proximity from Bray, starting way back in 1949 when Hammer were still under their Exclusive Films moniker. Film fans will immediately recognize Oakley as the home of Tim Curry’s Dr. Frankenfurter in the 1975 cult classic The Rocky Horror Picture Show, so a more apt location for a memorabilia fair would be hard to find. The timing was also perfect as it was held just before Halloween. Collectors and dealers from all over the country (and further afield) met to exchange stories as well as merchandise at the event which was expertly organized by Harry Malcolm and Mark Hochman of Vintage Movie posters.

 (Organizers Harry Malcolm and Mark Hockman.)

(Mark & Harry at the Hotel entrance which featured in the movie shown later that day, Brides Of Dracula. It seemed unchanged.)

Hopefully this will be the first of many such events, as those gathered, including legendary poster artist Graham Humphreys and Bond optical effects designer Alan Church, all agreed that this was a resounding success and the perfect venue in which to celebrate classic film at this spookiest time of year. The day was rounded off by a Venture Films screening of the 1960 Hammer classic Brides Of Dracula starring Peter Cushing, just one of the many classics filmed at Oakley, the entrance of which featured several times in the film. The spot hasn't changed since filming and the imposing towers were inspiration on the DVD releases of the Hammer House of Horror series. All in all, this was a wonderful day for all as the fans and indeed the fangs were out in force. Though no one offered to recreate The Time Warp, this was a celebration of one of UK cinema’s most creative periods when Hammer films were as Gothic as Oakley.

(All photos copyright Mark Mawston. All rights reserved.) 

Cinema Retro has received the following press release:

Get ready for a laugh in the cult-classic comedy that has captured everyone’s hearts when The Big Lebowski 20th Anniversary Limited Edition debuts for the first time ever on 4K Ultra Combo Pack that also includes Blu-rayâ„¢ and Digital via the digital movie app MOVIES ANYWHERE on October 16, 2018, from Universal Pictures Home Entertainment. Fans can relive the hilariously freewheeling plot of one of the most beloved films of all-time with the twisted crime-comedy starring Jeff Bridges (Crazy Heart, True Grit), John Goodman (10 Cloverfield Lane, Argo), Julianne Moore (The Hours, Still Alice), Steve Buscemi (Fargo, Ghost World), Philip Seymour Hoffman (The Master, Capote) and John Turturro (Barton Fink, Fading Gigolo). The Big Lebowski 20th Anniversary Limited Edition is the perfect gift for any fan and the exclusive set includes a collectible bag, bowling ball pencil holder, polishing cloth and sweater packaging offering an experience like no other to look back on the cultural phenomenon of The Dude in the “#1 cult film of all time” (The Boston Globe).  

With unforgettable scenes and outrageous humor, The Big Lebowski 20th Anniversary Edition showcases hours of bonus features including retrospective documentaries, an interactive map, an in-depth look at the phenomenon known as the Lebowski Fest taking audiences deeper than ever before into the upside down world of “The Dude.”

From the Academy Award®-winning Coen brothers, The Big Lebowski is a hilariously quirky comedy about bowling, a severed toe, White Russians and a guy named…The Dude. Jeff “The Dude” Lebowski doesn’t want any drama in his life…heck, he can’t even be bothered with a job. But, he must embark on a quest with his bowling buddies after his rug is destroyed in a twisted case of mistaken identity.

BONUS FEATURES:

·        The Dude’s Life: Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi and John Turturro take a look back at their performances and how their delivery of the Coen brothers’ dialog became classic movie lines.

·        The Dude Abides: The Big Lebowski Ten Years Later: A conversation with the cast about the film’s decade-long reign as a cult classic.

·        Making of The Big Lebowski

·        The Lebowski Fest: An Achiever’s Story: An in-depth look at the annual Lebowski Fest, a celebration of The Dude and his world, attended by thousands each year.

·        Flying Carpets and Bowling Pin Dreams: The Dream Sequences of The Dude: A look at some of the Dude’s trippiest fantasies so fans can learn for the first time how these innovative scenes were created.

·        Interactive Map: Take a tour of the locations of The Big Lebowski, then and now.

·        Jeff Bridges Photo Book: For more than 30 years, Jeff Bridges has been snapping pictures on movie sets. The accomplished photographer presents a portfolio of shots taken on the set of The Big Lebowski.

·        Photo Gallery

·        And Much More!

The Big Lebowski 20th Anniversary Edition will be available on 4K Ultra HD combo pack which includes Blu-rayTM and Digital, and Movies Anywhere.

4K Ultra HD is the ultimate movie watching experience. 4K Ultra HD features the combination of 4K resolution for four times sharper picture than HD, the color brilliance of High Dynamic Range (HDR) with immersive audio delivering a multidimensional sound experience.

Blu-rayTM unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.

Digital lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download.

Movies Anywhere is the digital app that simplifies and enhances the digital movie collection and viewing experience by allowing consumers to access their favorite digital movies in one place when purchased or redeemed through participating digital retailers. Consumers can also redeem digital copy codes found in eligible Blu-rayTM and DVD disc packages from participating studios and stream or download them through Movies Anywhere. MOVIES ANYWHERE is only available in the United States. For more information, visit https://moviesanywhere.com.     

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 (Click here to order limited edition gift set)

BY FRED BLOSSER

Two 1960s murder thrillers with Joan Crawford have been released by Mill Creek Entertainment on single-disc Blu-ray. The cover sleeve bills the package as a “Psycho Biddy Double Feature.” The films are “Strait-Jacket” (1964), the first of Crawford’s three pictures with producer-director William Castle, and “Berserk!” (1967), her first of two with producer Herman Cohen. In using the possibly ageist and definitely sexist phrase “Psycho Biddy,” Mill Creek’s marketing department clearly hopes that audiences will have fond memories of the frenzied, middle-aged Joan Crawford in 1981’s “Mommie Dearest,” shrieking “I told you! No . . . wire . . . hangers -- ever!” at her terrified adopted child, Christina. Never mind that the belittling term “biddy” is problematic in the case of Joan Crawford. There may be plenty of biddies in the world, but the imperious Joan was never one of them. Never mind either that it was Faye Dunaway impersonating Joan Crawford in “Mommie Dearest,” not Crawford herself. For most casual movie fans, the distinctions are not likely to matter.

In “Strait-Jacket,” scripted by Robert Bloch, prosperous farm owner Lucy Harbin (Crawford) returns unexpectedly from a trip to find her younger husband (Lee Majors -- his first film role) in bed with another woman. Enraged, Lucy seizes an ax and butchers the pair as her young daughter Carol watches. Released from a mental institution twenty years later, Lucy is welcomed home by her brother Bill and her sister-in-law Emily (Leif Erickson and Rochelle Hudson), who have reared Carol in the meantime. Carol (Diane Baker) encourages her mother to ease back into a normal routine by looking and dressing as she had, two decades before. The gray-haired Lucy dons a black, ‘40s-style wig and trades in her dowdy outfit for a tight dress. The tactic goes awry when Lucy, drinking too much out of nervousness and getting tipsy, puts a move on Carol’s uptight boyfriend Michael. More stresses mount. Lucy hears things, sees things, and dreads meeting Michael’s even stuffier parents, who are unaware of her history. As they skip rope outside a store where Lucy is shopping, two little girls appear to be chanting, “Lucy Harbin took an ax . . .” Bill’s creepy, disheveled hired hand, Leo (George Kennedy, almost unrecognizable at first glance), asks if she wants to use his ax to chop the head off a chicken. Lucy’s therapist drops in for a visit and observing how tense she is, gravely suggests that she’s at risk of a relapse. Then one murder occurs, followed by a second, and evidence points to Lucy.

After the headlong pace and gruesome CGI of modern slasher movies, even older viewers are likely to find “Strait-Jacket” quaint at best. A similar production today would probably wind up as a made-for-cable, “my mom is a murderer” melodrama on the Lifetime Movie Network. The film’s pacing is deliberate, and the carnage is low-tech and mostly implied, despite the old lobby poster’s promise in grand William Castle style that “Strait-Jacket vividly depicts ax murders!” Although the restrictions on movie violence had relaxed a little by 1964, and a melodrama filmed in black-and-white like “Strait-Jacket” might tease the MPAA standards on mayhem with slightly more success than one photographed in color, studios were still careful not to push their luck too far. Of the three ax attacks in the film, only one explicitly shows grievous bodily harm. Even so, with quick editing and minimal gore, the effect is more impressionistic than realistic. These days, grislier special effects routinely appear on prime-time TV crime shows.

Cinema Retro has received the following press release:

The foundation established by legendary special effects visionary Ray Harryhausen is pleased to announce a joint effort with Morningside Productions, the company of late film producer Charles Schneer. Discovery of new materials in the vast archives of the Ray and Diana Harryhausen Foundation will be the basis of a spectacularly new and original theatrical motion picture in the style of such Harryhausen/Schneer classics such as Clash of the Titans, the duo's most significant box office collaboration from 1981.

This project, tentatively entitled Force of the Trojans, is based on a screenplay by Beverley Cross, and original production art and sculptures conceived by Ray Harryhausen that are on par with some of his most iconic screen creatures.

Force of the Trojans will embody the spirit of the original Harryhausen films with all the fun, vibrant action, epic scope and dedication to craftsmanship that has made Ray Harryhausen's films timeless.

Unlike other revisits to the fantasy adventure genre, Force of the Trojans will bring together stop-motion animation with the photo-real world of CGI, marking the first time that a monster battle will mix both techniques on screen in a major motion picture. In homage to a bygone era, this film will bring both worlds crashing together. For the first time, we can put on screen sequences that were not possible for Ray due to the limitations of special effects photography at the time.

The Harryhausen Foundation oversees and curates a vast creative archive of 60 years’ worth of artefacts in its 50,000-strong collection from the father of animated special effects, making this the most complete and comprehensive fantasy cinema and animation collection anywhere in the world. We are excited and challenged to have unearthed this lost gem and a look forward to creating a film that will delight both the fans of Ray Harryhausen and moviegoers everywhere.

John Walsh

Foundation Trustee, filmmaker and friend of Ray Harryhausen

Ray Harryhausen 1920 - 2013

Ray Harryhausen was a young puppeteer and animator heavily influenced by King Kong in 1933 and then went on to work as apprentice animator with Kong animator Willis O’Brien on Mighty Joe Young. Ray went on to have a spectacular career establishing himself as the most influential animators and special effects wizards in film history. From Jason and the Argonauts, the 7th Voyage of Sinbad and Clash of the Titans his imagery and iconic creations are known the world over. His sixteen feature films represent the most influential fantasy and science fiction cinema of the century.

“Without Ray Harryhausen, there would likely have been no Star Wars."

George Lucas

Ray set up the Foundation in the, and he intended that future generations should enjoy his work but also learn about the craft of filmmaking. I am delighted that audiences want to visit the artefacts on display. We have over 50,000 items in the collection making it the largest of its kind outside of the Disney Studios.

John Walsh

John Walsh is an award-winning film maker and trustee of the Harryhausen Foundation. In 2019 his new book Harryhausen: The Lost Films is published by Titan Books.

www.rayharryhausen.com

BY MARK CERULLI

Customers at London’s Bond in Motion exhibit could be forgiven for wondering about the steady stream of distinguished-looking people heading through the vehicle displays towards a private area – but they were witnessing a bit of James Bond history in the making. On on Thursday, October 11^th, the Ian Fleming Foundation, EON Productions, IFF founder Doug Redenius and this writer  hosted a remarkable book signing for Charles “Jerry” Juroe, the executive who ran publicity on 14 Bond movies, from Dr. No right up to the dawn of the Pierce Brosnan era. His memoir, Bond, The Beatles and My Year with Marilyn is just out from McFarland Press. (Shameless Plug: Doug and I “line produced” it and the book is a fascinating read, not just for Bond fans but for anyone interested in movie history.) For 50 years, Jerry knew, worked with or encountered “Anyone who was anyone”. From Sean Connery to Daniel Craig, Mary Pickford to John Wayne, William Holden, Alfred Hitchcock and, yes, the Fab Four. Jerry even crossed paths with the legendary Howard Hughes. Bond was only part of Juroe’s remarkable career – he served as Marilyn Monroe’s publicist (not an easy gig!) when she was making The Prince And the Showgirl with Laurence Olivier in England. Jerry was an executive at United Artists, Paramount and other major studios. Movies aside, Jerry is also a World War II veteran who took part in one of the most significant military actions in modern history – the D Day Invasion.

 Credit: Danny Gibbons.

The event’s guest list included many prominent alumni from the Bond series – director John Glen, line producer Anthony Waye, Oscar-winning production designer Peter Lamont, talent such as Carole Ashby, Valerie Leon, Jenny Hanley, Margaret Nolan, Caron Gardner, Sylvana Henriques and Terry Mountain, Roger Moore’s daughter Deborah, Harry Saltzman’s son Steven, former EON marketing executives Anne Bennett and John Parkinson, along with a number of staff members from EON, who graciously provided all manner of support for the event. (The signing was preceded by a private lunch for Jerry arranged and attended by Bond producers Barbara Broccoli and Michael G. Wilson) American actor Billy Zane was on hand – meeting up with Peter Lamont who created the stunning sets for the “little” film they made together in 1997, Titanic. The Bond community was well represented with Cinema Retro’s Dave Worrall, From Sweden with Love’s Anders Frejdh, Some Kind of Hero authors Ajay Chowdhury and Matthew Field, Catching Bullets: Memoirs of a Bond Fan author Mark O’Connell and French Bond Club co-founder and Bond historian, Laurent Perriot in the crowd. Designer Mark Witherspoon was a photographer.

Above: Actor Billy Zane and director John Glen.Credit: Mark Cerulli.

Doug and I each made a brief address – reading well wishes from the likes of Pierce Brosnan and top Hollywood publicist Dick Guttman (a protégé of Jerry’s) then turned the floor over to the Man himself. Jerry, long famous in the industry for his tough exterior, was visibly moved. He thanked everyone for coming and simply wished them “My longevity” (he’s 95) which got a big round of applause. Many hadn’t seen Jerry – or each other – in decades so as the old saying goes, “There was a lot of love in the room”. One thinks that actors and filmmakers hang out with each other constantly, but in reality they do a film then it’s on to the next project and they may never work with the same people again. Since working on a Bond film is arguably a highlight of any career, these few hours in each other’s company were priceless- an All Time High, for real. It was a privilege to be there.

(Photos copyright Mark Cerulli. All rights reserved.)

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Tiffany has always been a magnet for fans who emulate Audrey Hepburn's iconic appearance in the film. (Photo copyright Cinema Retro. All rights reserved.)

There are legions of retro movie lovers around the world who hold the 1961 film version of "Breakfast at Tiffany's" close to their hearts. Now the iconic New York landmark- the symbol of unabashed self-indulgence- is making it possible to follow in the footsteps of Audrey Hepburn's Holly Golightly. Tiffany has opened an on-premises upscale restaurant that movie fans have been flocking to in order to live out a cinematic fantasy and enjoy a sumptuous meal in dazzling surroundings. White-gloved waiters serve the fare on the finest crockery amidst tables populated by diners who are dressed to the nines (and sometimes adorned as Holly). Washington Post writer Megan McDonough recently decided to experience the real breakfast at Tiffany's. Click here to read.

BY MARK MAWSTON

Three days before the launch of the new Halloween film and 40 years since the original was released, Cinema Retro’s Mark Mawston was invited to photograph the London leg of the new tour by the original films director John Carpenter. As with his concert here two years ago, John’s set was littered with some of his finest moments; themes that have transcended their mere film score monikers to become rock music synth classics in their own right. Tunes such as The Fog, accompanied as it was by dry ice and clips from the film itself, projected onto screens around the stage, were nirvana for those many fans gathered to witnesses the maverick director’s other great contribution to cinema: his music, played live on stage.

Movie marketing sure has changed. Studios rarely advertise films in newspapers today (assuming you can still find a newspaper today) but that medium was once the most effective method of promoting new films. Not only were traditional ads run but clever off-beat ancillary campaigns were also featured in the guise of entertainment. For example, here is a promotional campaign for the 1966 epic "Khartoum" starring Charlton Heston and Laurence Olivier that was squarely aimed at kids despite the fact that the intended audience was adults. This promotional block seen above was featured in the United Artists pressbook sent to American theater owners to suggest creative local publicity campaigns.

(For extensive coverage of the making of "Khartoum", get the Cinema Retro Movie Classic Roadshow Epics of the 1960s issue by clicking here.)

Cinema Retro reader and contributor Kev Wilkinson was kind enough to provide these rare photos of the British sexploitation film The Pleasure Girls playing at London theaters in 1965. For Adrian Smith's extensive articles on the British sex film industry in the 60s and 70s, see Cinema Retro issues #23 and #24.

BY LEE PFEIFFER

Kino Lorber continues its welcome habit of unearthing cinematic rarities and making them available to retro movie lovers. Case in point: "Tiger by the Tail", a long-forgotten crime thriller filmed in 1968 as an independent production but not released until 1970. The film is the epitome of a good "B" movie from the era: lean, fast-moving and efficiently made with an impressive cast. The movie is typical of low-brow fare from the 1960s. It's primary purpose was to shot quickly and turn a modest profit. Many of these films, which often played as the second feature on double bills, had the asset of affording leading roles to actors and actresses who rarely had the opportunity to get top billing. Such is the case with this film which features Christopher George in the leading role. He plays Steve Michaelis, a recently discharged U.S. Army Vietnam War veteran who is returning home to New Mexico. However, he makes a nearly fatal pit stop in Mexico and the opening scene is a bit of a shocker.  He's a about to bed a local beauty when two thugs enter the room and a brutal fight ensues that he barely escapes. This seems like an irrelevant scene, given all that follows, but we find out later its pertinent to his fate. Steve arrives in New Mexico where he reunites with his older brother Frank (Dennis Patrick), who raised him after their parents died. While Steve is down-and-out and broke, Frank has prospered as the majority share holder in the local horse racing track which fuels the local economy. The two men have a frosty reunion that is strained even further when Steve discovers that his former girlfriend Rita (Tippi Hedren) is now romantically involved with Frank. Nevertheless, the two men reconcile and things appear to be heading in the right direction. However, fate takes a tragic turn when the racetrack is robbed and Frank is murdered in cold blood. This sets in motion a complicated series of events. Steve learns he will inherit his brother's share of the racetrack stock, something that doesn't sit well with Frank's partners who inform Steve they intend to use a legal loophole to pay him off at a bargain basement price and assume total control of the operation. Steve soon discovers that he may not even get that money, as it becomes apparent someone has ordered him to be killed. Worse, he is being framed for the murder of his brother. The film follows the formula of old film noir crime thrillers and that isn't a bad thing. We see him use his wits and considerable fighting ability to thwart attempts on his life as he tries to find out who is out to get him. The logical suspects are the racetrack shareholders, a group of greedy elitists who don't want to be in business with him. Red herrings abound and Steve learns he can't trust anyone including Rita who informs him she wants them to resume their relationship now that Frank is in his grave.

"Tiger by the Tail" feels and looks like a TV movie of the era and that isn't a coincidence. Director R.G. Springsteen was best known for his work in television where he excelled in directing episodes of classic western  series, and his colleague on those shows, writer Charles A. Wallace wrote the screenplay for the film. (This would prove to be Springsteen's final work in the film industry before his death in 1989.) Springsteen's direction is workmanlike in some areas but more inspired in others. He milks a good deal of suspense from the plot and keeps the action moving at a brisk pace across the movie's 99 minute running time. Springsteen, perhaps because of budget limitations, shoots virtually every scene in a real location which adds authenticity to the production. The film boasts a good cast of supporting actors, all in top form: Lloyd Bochner and Alan Hale as the greedy stockholders, Dean Jagger as a Scrooge-like banker and most intriguing, John Dehner as the local sheriff (in an excellent performance) with a penchant for using twenty dollars words in his vocabulary and who, along with his hot-headed deputy (Skip Homeier) may be complicit in working with the bad guys. Steve's only friends are Sarah Harvey (Glenda Farrell), the perky owner of a gun and souvenir shop who performs ballistics tests in the shop and New Mexico State Trooper Ben Holmes (R.G. Armstrong) who offers Steve whatever limited advice and support he can. The singer Charo (yes, that Charo) is cast in a superfluous role to provide a couple of songs in a local bar and to add a bit of additional sex appeal when we aren't gawking at Tippi Hedren sunning herself poolside in a bikini. As a leading man, Christopher George is top-notch. He's handsome, rugged and capable with fists and a gun as he takes on seemingly insurmountable odds. George should have been a success on the big screen. He was coming off a run in the hit TV series "The Rat Patrol" but never quite got his opportunity to shine on the big screen. "Tiger by the Tale" represents one of his few leading roles in a feature film, though he impressed as villains in the John Wayne westerns "El Dorado" (1967) and "Chisum" (1970). He died in 1983 at only 51 years of age from heart complications.

The Kino Lorber transfer is impressive, as usual, though there are some occasional speckles and artifacts. However, it's doubtful that there are many pristine prints of the film floating around, given its lowly stature. The Blu-ray features a very good commentary track by film historians Howard S. Berger and Nathaniel Thompson, both of whom show a good deal of respect for the movie and all involved in its production. They are especially kind to Tippi Hedren, pointing out that she was long underrated as an actress. (She unfairly took most of the blame for the failure of Alfred Hitchcock's "Marnie" in which she starred.) The release also includes a gallery of other action films and mysteries available from KL, though no trailer is included for "Tiger by the Tail". I don't want to overstate the movie's merits. It certainly isn't a lost classic but I suspect you'll find it far more impressive than you might have suspected. Recommended.

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RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES

BY LEE PFEIFFER

Even astute fans of retro cinematic classics may be unfamiliar with Billy Wilder's 1951 gem "Ace in the Hole". The film was a boxoffice flop in its American release back in the day but over the decades it has become regarded as a genuine classic and one of the best movies of its era. Kirk Douglas, in one of the truly great performances of his career, is cast as Chuck Tatum, a once-lauded reporter for a major New York newspaper, who finds his career on the skids. His cynical nature, overbearing personality and weakness for liquor has resulted in him being displaced to New Mexico, where- out of desperation- he convinces the editor of an Albuquerque paper to give him a job. Within hours, Tatum is bored by the sleepy atmosphere and passive nature of his co-workers, most of whom have no ambition beyond reporting minor stories of local interest. Things change radically when Tatum stumbles onto a crisis in the desert that could make for a compelling story. Leo Minosa (Richard Benedict) is the owner of a cafe located on a remote road who finds himself trapped in a cave after venturing inside to look for ancient Indian artifacts. Tatum sees that rescue plans for the man are rather poorly staged by the local deputy sheriff (Gene Evans). He enters the cave at great danger to himself and makes a connection with Leo, whose legs and midsection are buried under debris. Tatum is able to communicate with him from a small opening in a dirt mound and he assures Leo that he will get food, water and cigars while he organizes a rescue team. Grateful, Leo looks upon Tatum as his guardian angel. However, it becomes clear that Tatum is using his relationship with Leo for his own selfish purposes. He sees the potential as one of those "child stuck in a well" scenarios that tends to galvanize the entire nation. By personally taking charge of the rescue effort, Tatum makes himself a national hero overnight, as hundreds of people stream to the remote location and erect a tent city in order to be on the scene when Leo is eventually saved. Tatum, fully aware of American's eagerness to embrace the bizarre elements of any story, also plays up the notion that Leo is the victim of an ancient Indian curse for prowling around sacred tribal grounds.

Tatum has some disturbing factors to contend with, however. The primary problem is dealing with Leo's bombshell, self-centered wife Lorraine (Jan Sterling in a terrific performance). She was already looking to get out of a boring marriage with a boring man and decides to leave town during Leo's moment of crisis. Tatum uses a combination of charm and threats to convince her that staying put and playing the role of loyal wife would be in everyone's benefit. His prediction comes true in the financial sense, as the Minosa's cash-starved cafe begins to burst at the seams with visitors due to its proximity to the cave. Ironically, Leo's life-threatening predicament is finally bringing him the financial success that has eluded him. While Tatum becomes obsessed with manipulating the crisis, he also finds that his dispatches from the scene and his exclusive access to Leo have put him back in demand as a writer. He bypasses his own employer to sell updates to his ex-boss in New York at extortionist rates. He also has a hot/cold relationship with Lorraine, who clearly has a submissive sexual aspect to her moody demeanor. She's excited when Tatum mistreats her, though it's never made clear if their relationship goes beyond the flirtation stage. Tatum gets some disturbing news when he learns that the rescue team can use an expedited method to rescue Leo. Not wanting to kill the goose who laid the golden egg, Tatum manipulates the corrupt local sheriff (Roy Teal) into ordering a more labored method of rescue, even though it will result in a delay of days before reaching the victim. The decision has startling consequences for all involved. To say any more would negate the surprising turn of events depicted in the film. Suffice it to say, the intensity of the story continues to build throughout, making "Ace in the Hole" a truly mesmerizing cinematic experience.  

Criterion has released "Ace in the Hole" as a dual format Blu-ray/DVD. The quality, as one might expect, is up to the company's superb standards. The package is loaded with fascinating extras including a rare extended interview with Billy Wilder at the American Film Institute in 1986. In it, Wilder talks about "Ace in the Hole" and other aspects of his career. The film was an early directorial effort for him and the first movie he produced, following his career as one of the industry's most in-demand filmmakers. By his own admission, "Ace in the Hole" was a major source of frustration for him. The movie was ignored by American critics and audiences and even re-titled "The Big Carnival". In the post-WWII era, it was probably deemed far too cynical for U.S. audiences. In fact, the "hero" of the film is a cad, the leading lady is a self-obsessed phony and the local law officials are corrupt. Except for a few minor characters, there is no one in the film with a truly moral center. Wilder says he took heart from the fact that the movie was quite successful in its European release. The set also contains a 1988 interview with Kirk Douglas, who discusses the film and his respect for Wilder in a very informative segment. Most impressive is the inclusion of "Portrait of a 60% Perfect Man", a 1980 documentary by French film critic Michel Clement in which Wilder gives extraordinary access to his private life. We see him at home and at the office with long-time collaborator, I.A.L. Diamond as they laze around trying to come up with ideas for future projects. Wilder comes across as a symbol of Hollywood's bygone Golden Age. Speaking in a thick Austrian accent with his ever-present stogie at hand, Wilder regales the viewer with insights about his family's escape from the Nazi occupation and his unlikely meteoric rise up the film industry's food chain. Almost from the beginning he was a hot property and would remain a revered director, producer and writer throughout his entire career. The set also includes a vintage audio interview with another Wilder collaborator, screenwriter Walter Newman and an insightful and creatively designed "newspaper" with essays by critic Molly Haskell and filmmaker Guy Maddin. Director Spike Lee provides a brief video "afterword" in which he extols the virtues of the film and also shows off a cool original lobby card that he treasures because it is signed by both Wilder and Douglas. Topping off the "extras" is a truly excellent audio commentary track by film scholar Neil Sinyard, who provides so many interesting background observations about the film that it will open any viewer's eyes to the latent meanings of certain sequences and images. Even if you consider audio commentaries to be dry and academic, I do urge you to give this one a listen. It's first rate throughout. 

In summary, this is a first rate presentation of one of the most unfairly neglected American film classics; one that in recent years is finally getting the acclaim that it should have received on its initial release. Criterion has surpassed even its usual high standards. 

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Writer Jim George provides an unpublished interview with Stella Stevens conducted in the 1990s in our latest issue of Cinema Retro magazine, #42. It seems fitting to raid Jim's blog to resurrect an article he originally wrote in 1981 about Stevens' co-star in "The Nutty Professor", Jerry Lewis. Click here to read.

BY LEE PFEIFFER

Mel Gibson has announced that he will co-write and direct a remake of Sam Peckinpah's controversial 1969 Western classic "The Wild Bunch". We can hear retro movie lovers around the globe shout "Oh, no!" But Gibson, who is enjoying a career renaissance since making some drunken, racist rants years ago, has a knack for making hit films out of seemingly unpromising ideas. He won the Oscar for Best Director for "Braveheart" and turned "The Passion of the Christ" and "Apocalypto" into surprise boxoffice hits. Still, tampering with Peckinpah's revisionist Western, which is better regarded today than it was at the time of its release, will be seen as treading on dangerous ground. No details are known at this time, as Gibson is working on a WWII film, "Destroyer" after which he is to commence work on "The Wild Bunch".  Gibson's co-scripter Bryan Bagby,  has a slim list of credits on IMDB. This much is known- Warner Bros., which released the original film, has been eager to remake the movie for many years. Gibson expressed interest in the project as early as 2009. One thing is sure: Gibson won't be able to improve on the original so the best that can be hoped for is that he turns out a credible effort that stands on its own merits. Hopefully, the remake will be set in the old West and not updated as an urban crime thriller. If you're dreading the remake anyway, you might take heart in the fact that Warner Bros. hinted many years ago that a remake of "Bullitt" was in the works but it never materialized. For more click here.

BY LEE PFEIFFER

Cinema Retro tries to remain neutral when it comes to weighing in on political issues of the day. About the only time politics enters our pages is when it's in the context of a review or analysis of the political elements of a film or stage production. However, this is an intriguing story reported by The Washington Post that is of interest to retro movie fans in the  sense that it relates how the 1954 film version of Herman Wouk's bestseller "The Caine Mutiny" actually influenced one of the most important elements of American law: the 25th amendment, which indicates under what extreme conditions a president can be removed from power either temporarily or permanently. The amendment was drafted in the 1950s when "Caine" was very much on people's minds. The fictional tale centers on eccentric U.S. Naval Captain Queeg (memorably portrayed in the film by Humphrey Bogart in an Oscar-nominated performance.) He runs his ship as a strict disciplinarian but his quirky habits lead the officers and crew to doubt if he's sane. During a hurricane, Queeg appears to be a in state of panic and is unable or unwilling to give his executive officer, Maryk (played by Van Johnson) explicit orders in regards to navigating the deadly storm. Fearing that the ship will founder, the exec notifies the crew that he is taking command and he ultimately gets the vessel back to port safely.  Maryk is placed on trial in a court martial and things look grim. Queeg, after all, is a career officer with a distinguished record and he comes across initially as the voice of reason when he is on the witness stand. However, he soon deteriorates under questioning from the defense counsel (Jose Ferrer) and has a form of breakdown that makes it clear he suffers from paranoia. The Washington Post article outlines how American lawmakers were concerned that there was no constitutional solution for addressing a situation in which a president is physically or mentally unable to perform the duties of office. Ultimately, the 25 amendment was drafted. It's understandably conceived to make it a very tall order to remove any president from power and requires overwhelming support among the president's cabinet and lawmakers in order to enact the amendment. The law is actually quite vague in certain key areas leaving plenty of loopholes to be disputed in the unlikely event the amendment is ever attempted to be enacted- but most interesting is the role "The Caine Mutiny" played in the very creation of the law. Click here to read.

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BY FRED BLOSSER

Kino Lorber Studio Classics has released “A Minute to Pray, a Second to Die!,” a 1968 Italian Western, in a Blu-ray edition. In the movie, Gov. Lem Carter (Robert Ryan) offers amnesty to outlaws in a bid to quell lawlessness in 1880s New Mexico. On the run from deputies and bounty hunters, desperado Clay McCord (Alex Cord) decides to seek the governor’s clemency. McCord suffers from paralytic spasms of his gun hand. The attacks have become more frequent and more severe, and he fears that they represent the onset of epilepsy, the malady that disabled and eventually killed his father. But enemies on both sides of the law make it difficult for him to go straight as he wishes to do. Bounty hunters surround the town of Tascosa, where McCord must go to sign the needed papers, and even if he can elude them, the cynical marshal, Roy Colby (Arthur Kennedy), is disinclined to give him a break. The gunfighter is equally unwelcome in nearby Escondido, a haven for fugitives, after antagonizing Kraut (Mario Brega), the brutal hardcase who controls the rundown settlement. It’s even money on who will bring McCord down first, Kraut’s pistoleros or Colby’s deputies. Although I can’t find any sources to either confirm or refute the speculation, I believe that Brega’s dubbed English voice as Kraut belongs to American actor Walter Barnes, who made several Italian and German Westerns in the 1960s.

With an American executive producer, three high-profile ‘60s American actors in starring roles, an Italian producer, an Italian director, and an Italian supporting cast dubbed into English, “A Minute to Pray, a Second to Die” straddles the divide between the earnest tradition of U.S. Westerns and the violent, anything-goes approach of the Italian kind. It opens with a long (actually, too long) outdoor sequence of McCord and a pal eluding a posse, like characters in “One-Eyed Jacks” and any number of other classic Westerns. Then follows a scene of two sadistic gunmen roughing up a frightened priest in front of an altar, and eventually shooting him in the back. Try to find a situation like that in a John Wayne or Roy Rogers movie. The two gunmen are played by Aldo Sambrell and Antonio Molino Rojo, who -- like Mario Brega, the Ernest Borgnine of Italian Westerns -- are instantly recognizable from Sergio Leone’s stock company of scruffy character actors. An unsympathetic critic might speculate that a respectable if unexceptional American Western could have resulted had the moviemakers tightened the script, dialed back the film’s high body count, and substituted homegrown character actors for Italian ones in the supporting cast. On the other hand, for those of us whose moviegoing tastes were formed in the Cinema Retro era, the manic unevenness of the picture as it exists has a certain freewheeling charm of its own.

Kino Lorber’s cover notes advertise the Blu-ray as a new high-definition master from a 4K scan of the original negative. Although the daytime scenes have some graininess, the nighttime lights and darks are clear and sharp. The label’s resident Spaghetti expert, Alex Cox, contributes an informative, droll, but respectful audio commentary. Those new to Italian Westerns will learn a lot about the genre from Cox’s remarks, while fans will have fun matching their knowledge against his in spotting familiar Italian faces in the movie’s supporting cast. As another supplement, the disc also includes the original ending from the European print of the movie, transposed from an old, overseas VHS tape. This bleak denouement is stronger by far than that of the U.S. cut.

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FRED BLOSSER IS THE AUTHOR OF "SAVAGE SCROLLS: VOLUME ONE: SCHOLARSHIP FROM THE HYBORIAN AGE". CLICK HERE TO ORDER ON AMAZON

As any retro movie lover knows, the 1961 John Huston film "The Misfits" was steeped in tragedy. Both Clark Gable and Marilyn Monroe would be dead by the time the film was released, making the production the final time either star would be seen on the big screen. Now the Daily Mail reveals that footage of a controversial nude scene Monroe had filmed has been discovered...along with numerous takes of the bedroom scene. Director John Huston ultimately decided not to use the footage in his final cut. Click here to read the fascinating story of a historic find.

RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES. 

BY LEE PFEIFFER

Leni Riefenstahl's "Triumph of the Will" has long posed a conundrum for film critics and historians. How do you assess a film that is brilliantly made but which promotes a hateful message? The 1934 production which was created as a love letter to Adolf Hitler and his rapidly-rising National Socialist movement has been relatively shunned at film festivals and the art house circuit over the decades. It's undoubtedly been most widely seen in classrooms and on home video. Yet the passing of time has allowed the film to be more actively shown in recent years and it is nearly always accompanied by an introduction that rightly explains its relevance both to the period in which it was made but also as it pertains to today's world. Director Riefenstahl had been a popular actress in German cinema who had caught the eye of Adolf Hitler, who was quite the movie fan (his favorites included "Gone With the Wind" and Laurel and Hardy.) Riefenstahl had recently become a pioneer as one of the first women to enter directing in the era of sound films. Hitler commissioned her to film the Nazi party's annual meeting in Nuremberg in the expectation that it would bolster the movement as well as increase the fanatical cult of personality that was already attached to him. Hitler had tried to overthrow the German government a decade earlier but ended up in jail. He turned this to his advantage by becoming a martyr to the cause and writing his personal bible Mein Kampf from his jail cell. By the time he was released, even those who had prosecuted him were trying to curry favor with the future dictator. Hitler ran for office and won the election to become Germany's chancellor. In reality he had most of the political power but was prudent enough to bide his time until the ceremonial head of state, Von Hindenburg, passed away from natural causes. Hitler knew that the public would not abide him disrespecting the beloved Von Hindenburg, who was regarded as a national war hero.As it had so many times in these early days of Hitler's rise, fate cooperated with his interests. Von Hindenburg passed away and Hitler went full throttle to establish himself as a virtual dictator. His first order of business was to eradicate Germany's fragile hold on democracy, first attacking the free press and then nationalizing it as a propaganda arm. The nation had come out on the losing side in WWI and was suffering terribly from onerous war reparations that had to be paid to the Allies, who were basically using Germany as a cash cow. Hitler quickly put to rest the last remnants of the loathed Weimar Republic and combined the offices of chancellor and president, thus giving himself unchallenged power over the country. He then persuaded the Reichstag to voluntarily cede most of their powers to him, thus making the series of checks and balances in the government a rubber stamp for Hitler's policies. Hitler still had important goals to fulfill. It was important to mobilize the nation as a fighting force in the expectation of war. However, he was bound by the Treaty of Versailles which mandated that Germany's armed forces number no more than 100,000 men. Hitler got around this by organizing numerous civic and political groups and turning them into paramilitary organizations. In this way he was able to train millions of Germans as soldiers even if they carried picks and shovels instead of rifles. Hitler also did some controversial "house cleaning" within his party by personally ordering the murders of SA head Ernst Rohm and his top lieutenants. The SA was Hitler's personal bodyguard but had grown to the size of an army. He worried that Rohm had political aspirations of his own and that he might orchestrate a coup. On the so-called Night of the Long Knives, the top echelon of the SA was systematically executed. Hitler appointed a more benign stooge, Viktor Lutze, as the new head of the SA. Hitler's biggest challenge was to ensure that he and Lutze could convince the rank and file SA men to stay loyal to the party and Hitler himself. This he intended to do at the Nuremberg rally, where he would give speech extolling his appreciation of the SA. The ploy worked and any dissension never spilled over into a threat to Hitler. 

"Triumph of the Will" presents a sanitized picture of all these dastardly goings-on. What emerges is a nation that is completely behind Hitler and the Nazi cause. This was nonsense, of course. There were countless people who opposed the regime and over the course of the next few years they would pay dearly for their protests against the demise of German democracy. Nevertheless, as a propaganda piece the film is probably unrivaled in its impact. Although the movie was shown internationally, it didn't quite have the alarming impact one might have assumed. The Western democracies still thought of Hitler as primarily a quirky crank whose influence would be confined within Germany's borders. Hitler's propaganda chief Joseph Goebbels was a master of using cinema as a tool of manipulation. Not wanting to alarm the Allies before Germany had been rebuilt militarily, the film was given rather non-threatening sub-titles to accommodate its international showings. Meanwhile, within Germany, the messages were more ominous. When viewing the film even today one gets the feeling that Germany was an invincible power. One can only imagine the trepidation Allied troops must have felt when they finally had to go up against what had become a seemingly unstoppable war machine. The clues were in the film. The legions of robot-like paramilitary adherents are presented as fanatical loyalists to the new dictator. In fact the "real" armed forces were featured so slightly in the film that they raised protests. To appease them, Hitler commissioned a second film by Riefehstahl titled "Day of Freedom" (also included in this set). The movie has her trademark use of imaginary camera angles but it amounts to basically a sop to the armed forces by showcasing their prowess through military training exercises. More powerful are the scenes in "Triumph of the Will" that carefully showcase Hitler as a demi-god. He is seen traveling to Nuremberg by the small plane he favored for use in his political campaign stops. (Hitler was the first politician to eschew the traditional whistle stop train tours in favor of using a plane in order to cover more territory.) The images of his plane flying through the spectacular cloud formations are truly stunning. We also watch him as he stares down at the massive rally forming in expectation of his arrival. When Hitler does arrive at the rally he is preceded by a small army of his top officials who were being formally introduced to the German people through this film. In retrospect, they formed the perfect "Rogue's Gallery" and would go on to perpetrate some of the most heinous crimes of the 20th century. Most paid for their sins with their lives though others were sentenced to jail terms in the aftermath of  the war. When Hitler takes to the podium he uses his trademark practice of starting his speech in a low voice but gradually rising in tone and emotion into a virtual scream. The most disturbing part of the film occurs when all of the countless thousands of participants march past the podium and pledge their  loyalty, not to Germany, but to Hitler personally. The film then concentrates on the ancillary fanfare that took place during this seminal week in the nation's history as we watch torchlight parades march past Hitler's hotel balcony where he looks on approvingly. At all times Riefenstahl diminishes the notion of individualism in order to present Hitler in an almost superhuman manner. He is photographed from angles that make him seem literally larger than life. 

The Synapse Blu-ray, which features a restoration by Robert A. Harris,  contains some valuable extras, the most informative being a feature-length commentary track by Dr. Anthony R. Santoro, an expert on German history. Santoro's calm, laid-back manner is somewhat jolting at times, given the gravity of what we are viewing, but he provides excellent information regarding the nuances of these scenes and the fate of the individual Nazi top brass.Where the track falls a bit short is in Santoro's discussions of Riefenstahl and her legacy. He acknowledges her talents as a director but doesn't put much meat on the bone in regard to her personal life and legacy. (She lived until the age of 101 and never fully repented for her association with Hitler, nor was she ever prosecuted. She would defensively point out that she never actually joined the Nazi party, which is indeed surprising.) She would go on to make another important propaganda film for Hitler in 1938, "Olympiad", an equally whitewashed account of the 1936 Olympics that were held in Berlin and which also managed to elevate Hitler as a star attraction even though he was largely a bystander. Arguably, "Olympiad" was the more important and effective film as it was meant to appease foreign concerns about the atrocities that were just being implemented in Germany. Some of the slack from the commentary is addressed in excellent liner notes written by director and film historian Roy Frumkes, who delves deeper into Riefenstahl's fascinating life. Frumkes points out that the film should not really be considered a documentary because many of the "spontaneous" scenes were staged by Riefenstahl and some were shot repeatedly in order to get the desired footage. The new 2K restoration is impressive on all counts and does justice to Riefenstahl's astonishing camera angles. This presentation also boasts newly interpreted English sub-titles that accommodate the film's original German language version. It's beneficial to watch the film first then view it again with Dr. Santoro's commentary to provide context.

Compromised genius: Riefenstahl directing Triumph of the Will.

"Triumph of the Will" is indeed a major cinematic achievement- but tragically it promoted the greatest evil of the 20th century. The mind reels at what Leni Riefenstahl could have achieved had she not been compromised by her political beliefs. More importantly, the movie clearly illustrates that democracies are fragile states that can deconstruct under the influence and spell of one man.

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Cinema Retro has received the following press release:

MURDOCH MYSTERIES: Home for the Holidays

DVD/Blu-ray Debut from Acorn TV on September 18, 2018

Special feature-length episode of the hit Canadian and Acorn TV period mystery series

Praise for Murdoch Mysteries:

“If you haven’t seen it, you must.” —Globe & Mail

“A terrific procedural police drama” —The Philadelphia Inquirer

“Yannick Bisson is perfect as Murdoch.” —Deseret News

“Smart, fast-paced fun” —The Globe and Mail

Garnering more than two dozen Gemini® nominations and the sole 2016 ‘Fan’s Choice Award’ at the Canadian Screen Awards for Yannick Bisson, MURDOCH MYSTERIES: Home for the Holidays makes its DVD/Blu-ray debut on September 18, 2018 from Acorn TV. Set in Toronto in the late 1890s and early 1900s during the age of invention, Murdoch Mysteries (aka The Artful Detective) centers on Detective William Murdoch (Bisson), a methodical and dashing detective, who enlists radical new forensic techniques to solve some of the city’s most gruesome murders. This DVD/Blu-ray 1-Disc features a feature-length Christmas special from Season 11 and bonus behind-the-scenes featurettes ($24.99, Amazon.com). Murdoch Mysteries: Home for the Holidays made its U.S. debut in December 2017 on Acorn TV. The series is currently in production on Season 12. Called a “glorious streaming service… an essential must-have” (The Hollywood Reporter), Acorn TV is North America’s most popular and largest streaming service focused on British and international television.

Dashing detective William Murdoch (Yannick Bisson, Sue Thomas: F.B.Eye) must solve a holiday whodunit in this feature-length special of the award-winning mystery series set in Edwardian Toronto. Days before Christmas, Murdoch and his wife, Dr. Julia Ogden (Gemini® winner Hélène Joy, Durham County), travel to Victoria, British Columbia, to spend time with Murdoch’s eccentric brother. But instead of a relaxing holiday with Jasper (Dylan Neal, Dawson’s Creek) and his family, they end up investigating a murder at an archaeological site.

Back in Toronto, Constables Crabtree (Jonny Harris, Still Standing) and Higgins (Lachlan Murdoch, Copper) try to impress their sweethearts before a skiing outing, and Inspector Brackenreid (Thomas Craig, Where the Heart Is) and his wife invest in a money-making scheme run by a man named Ponzi. Guest stars include Kate Hewlett (The Girlfriend Experience), Jake Epstein (Degrassi: The Next Generation), and Megan Follows (Reign, Anne of Green Gables).

Street Date: September 18, 2018

DVD 1-Disc: Feature length episode – Approx. 89 min., plus bonus – SDH Subtitles – UPC 054961265893

Blu-ray 1-Disc: Feature-length episode – Approx. 89 min., plus bonus – SDH Subtitles – UPC 054961265992

Bonus: Behind-the-scenes featurette (3 min.)

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Please note: Cinema Retro issue #9 is now permanently sold out. 

NOW SHIPPING WORLDWIDE!

Cinema Retro proudly announces its annual Movie Classics special edition for 2018: Roadshow Epics of the '60s! This is an 80-page special that provides in-depth coverage of the making of five memorable epic films:

Mutiny on the Bounty

Lawrence of Arabia

The Fall of the Roman Empire

The Greatest Story Ever Told

Khartoum

The behind-the-scenes struggles to bring these monumental productions to the screen often equaled the events depicted in the screenplays. Indeed, all but Lawrence of Arabia proved to be boxoffice failures (or disasters). However, Cinema Retro provides compelling evidence that all of them were superbly filmed and provided many grand, memorable moments. This special edition provides fascinating insights into the often seemingly insurmountable challenges directors, writers, producers and actors had to overcome in order to bring the films to completion. These are the kind of movies we think of when we hear it said "They don't make 'em like that anymore!". This special Movie Classics issue is packed with hundreds of rare production stills and on-set photos, as well as rare international advertising and publicity materials.

As with all Cinema Retro issues, this is a limited edition so order now and don't miss out!

(This Movie Classics special edition is not part of the subscription plan. It must be ordered separately.)

ALL PRICES INCLUDE POSTAGE.

Note: This issue is now sold out in the USA. American customers can order it by using "Rest of the World" option below.

UK: MOVIE CLASSICS EPICS

MOVIE CLASSICS EPICS £10.50 GBP

EUROPE: MOVIE CLASSICS EPICS

MOVIE CLASSICS EPICS £13.95 GBP

REST OF WORLD: MOVIE CLASSICS EPICS

MOVIE CLASSICS EPICS $29.95 USD

BY DARREN ALLISON

AUGUST 2018, VOCALION BOOKS, The Mood Modern, – 486 pages, Foreword by Keith Mansfield, Hardback and paperback editions – ISBNs: 978-1-9996796-0-6 (hardback) / 978-1-9996796-1-3 (paperback) – Fully indexed – Two sixteen-page photo sections, one in b/w, one in colour, both containing many never-before-published images: from the Phillips family archive, and of composers, musicians, recording sessions, catalogues, music scores and studio brochures.

I’ve had the pleasure of working with Oliver Lomax for well over a decade. His superbly produced Dutton Vocalion CD’s have regularly graced the pages of Cinema Retro. So when he hinted to me some months ago that he had been working on a book, I knew that it would materialise as something very special. After reading Oliver’s meticulously detailed liner notes which had accompanied many of his KPM and Bruton re-releases, it was perhaps no surprise that he had chosen the history of these legendary labels as the subject of Vocalion’s publishing debut.

Also known as mood, stock, background or production music, for decades library music has made an important though anonymous contribution to the broadcast media, supplying film, radio and television with innumerable themes and underscores.

The Mood Modern is three books in one, weaving together the separate strands of company history, biography and critical assessment of some of the most important music collectively produced by the KPM and Bruton libraries during the course of a quarter century, spanning the years from 1956 to 1980. At the heart of the book, however, is the Phillips family, one of Britain’s great music publishing dynasties, but in particular Robin Phillips (1939-2006).

The mid-1960s through the ’70s have come to be regarded as library music’s golden age. In Britain, it was when this somewhat mysterious branch of the music industry emerged from the chrysalis of its light music heritage, into a vibrant new era of modern, colourful sounds. Robin Phillips played a fundamental role in this transformation when, in 1966, he established a new library – the KPM 1000 Series. Robin would also introduce several new composers who would quickly become some of the best-known and most successful names in the library music field: Keith Mansfield, Johnny Pearson, Syd Dale, Alan Hawkshaw, James Clarke, David Lindup, Brian Bennett and Steve Gray among others. And thanks to Robin’s guidance, by the early ’70s the 1000 Series had become one of the world’s foremost libraries, its music a ubiquitous presence in countless films, documentaries, radio programmes and television series.

But in 1977, at the height of his success, Robin left KPM for ATV Music – taking with him his right-hand man, Aaron Harry, and the major composers – where he formed the Bruton Library under the auspices of his brother Peter (who by now was ATV Music’s managing director) and show business mogul Lew Grade’s financial adviser, Jack Gill.

Drawing on interviews with members of the Phillips family (including Peter Phillips) and many of the composers, recording engineers, musicians and staff of both libraries, The Mood Modern tells the remarkable inside story of how KPM and, subsequently, Bruton came to be dominant forces in library music, both in Britain and internationally.

In addition to charting the origin and history of the music publishing firms – Keith Prowse and Peter Maurice – that merged to form KPM, The Mood Modern covers numerous related areas. These include the birth of Britain’s library music industry; the early British libraries and their inseparable link to the English light music tradition; how the arrival of commercial television in Britain led to the formation of the Keith Prowse library in 1956 under the aegis of its manager, Patrick Howgill, which paved the way for the KPM library; KPM’s legacy as a famous popular music publisher and its place in the history of Denmark Street (London’s Tin Pan Alley); Robin’s father, legendary music publisher Jimmy Phillips; the corporate manoeuvring that saw Keith Prowse, Peter Maurice and KPM bought and sold; and the clash with management that eventually caused Peter and Robin Phillips to leave KPM for ATV Music.

The importance of the recording engineer is acknowledged in The Mood Modern, and those who largely shaped the “sound” of the KPM and Bruton libraries are featured: Ted Fletcher, Adrian Kerridge, Mike Clements, Richard Elen (KPM) and Chris Dibble (Bruton Music). There’s detailed coverage of all the KPM 1000 Series’ overseas sessions – including personnel, dates, locations and what was recorded – and chapters respectively devoted to the sessions in Bickendorf, Cologne (along with the stellar lineup of international jazz talent that played on them) and in KPM’s two in-house studios. The Musicians’ Union embargo, which had forced British libraries to record much of their material on the Continent, is also scrutinised, as are the negotiations with the MU of the late ’70s that finally allowed British libraries to resume recording in British studios with British musicians.

As well as delineating the setting up of the Bruton Library, its struggle to get established and the background of the parent company, ATV Music (itself a division of entertainment conglomerate Associated Television [ATV]), Bruton’s recording sessions and early output are placed under the spotlight.

Another aspect of The Mood Modern is the chapter-length biographical portraits of five of the KPM 1000 Series’ principal composers: Syd Dale, Johnny Pearson, Keith Mansfield, James Clarke and David Lindup. This is the first time that any of them have been the subject of an in-depth portrait, and these chapters take in many associated areas: KPM library offshoots Aristocrat, Radio Program Music and the KPM International series; the litany of famous and not-so-famous TV and radio themes within the KPM library; Lansdowne Studios; British jazz and pop; classical music; commissioned film and TV scores; BBC Television and Radio; Independent Television (ITV); the Mechanical Copyright Protection Society; the Performing Right Society; Phonographic Performance Ltd. and so much more.

A host of other composers also feature in The Mood Modern. These include KPM and Bruton stalwarts Laurie Johnson, Neil Richardson, Steve Gray, Dave Gold, Francis Monkman, Brian Bennett, Alan Hawkshaw, John Dankworth, John Scott, Duncan Lamont, John Fiddy and John Cameron as well as the KPM 1000 Series’ house bands, WASP and SHARKS.

Putting everything into further perspective is a thorough examination of the pre-1000 Series KPM library, and a chapter that focuses on a leading music editor of the ’70s, who describes the processes and equipment that were used in transferring library music onto the soundtracks of films, documentaries and television programmes.

The Mood Modern is arguably the most fascinating and in-depth study of an essential genre within the music industry and a must for anyone with an intent interest in the history of soundtrack music.

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The 1966 WWII film "The Heroes of Telemark" starred Kirk Douglas and Richard Harris in the true story of Norwegian resistance fighters who thwarted the Third Reich's plans to develop the heavy water necessary to build atomic weapons. Although the film had many fictional elements, the basics were accurate: including a devastating decision to sink a ferry boat that was secretly transporting the heavy water, even though it would ensure the deaths of innocent passengers. Now a team of National Geographic researchers will bring the true story to the NG Channel on September 6 along with footage of the 40 barrels of heavy water that was recently discovered the sunken ferry. Click here for more.

(For extensive coverage on the making of "The Heroes of Telemark", order the Cinema Retro Movie Classics WW II Classics issue by clicking here.)

BY LEE PFEIFFER

The final film of Orson Welles is the stuff of movie legend because the temperamental genius had spent about 15 years working on the project which remained unfinished upon his death in 1985. Since then, the troubled film, "The Other Side of the Wind", which Welles had hoped would restore him to the kind of glory he had not enjoyed since the 1940s, sat in a disjointed state, its rights the subject of seemingly endless lawsuits and other obstacles. Director Peter Bogdanovich, who viewed Welles as a mentor and friend, took up the task of trying to salvage "Wind" by raising enough funds to construct a coherent film based on Welles' notes and the many discussions they had on the set of the film, in which Bogdanovich appeared in a sizable role. Every time Bogdanovich thought he had found the funding for completion, his hopes were dashed- until recently when Netflix rode to the rescue and provided enough resources for the movie to finally emerge in a coherent state. The film will enjoy a limited theatrical release followed by telecast on Netflix on November 2. It stars John Huston as a grumpy, headstrong, once-great director trying to reclaim his reputation by producing one last classic film. (Welles claimed the movie wasn't autobiographical, but few believed him). Advance reviews indicate that the movie is not a masterpiece but does emerge as a serious and important work from a great talent. Pretty soon retro movie lovers will be able to judge for themselves. Click here for more.

Please note: Cinema Retro issue #6 is now sold out and is no longer available from our back issues section. Other sold out issues are: #'s 4,5,7,8,10,12 and "Kelly's Heroes" special edition.

RETRO-ACTIVE: THE BEST OF THE CINEMA RETRO ARCHIVES

"THE SON-OF- A -BITCH CAN ACT!"

By Raymond Benson

It’s well-known that when John Ford, who had worked with actor John Wayne on a number of films prior to seeing him in Howard Hawks’ Red River, proclaimed that he didn’t know that “the son-of- a- bitch could act!”

His words were apt. Prior to the release of Red River in 1948 (it was shot in 1946 but didn’t appear in theaters until ’48), Wayne had mostly played the likable, stalwart “John Wayne” character that had first appeared in Ford’s Stagecoach (1939). But in Red River, Wayne plays a role that turned critical and public opinion of the actor’s thespian abilities. He pulls off a remarkable feat—Wayne’s character, Thomas Dunson, is a first-class S.O.B., a guy you really want someone to punch out throughout the movie; and yet, Wayne manages to make him likable. He carries an audience through over two hours of hardcore western, and he delivers one of his two or three best performances. It doesn’t hurt that Wayne is ably supported by Montgomery Clift, who plays Wayne’s adopted son. In many ways, it’s really Clift’s picture—he’s the protagonist, and the story is seen through his eyes. But wait—maybe it’s seen through Walter Brennan’s eyes in the original, rare theatrical cut, released here in a glorious 2K digital restoration on Blu-ray.

In fact, I had never seen the theatrical cut, the version preferred by director Hawks. A longer cut, by about six minutes, was the one that was shown on television and appeared on previous home video releases. The longer version was actually intended as a preview for studio execs; it utilizes on-screen textual transitions (as if the audience is reading from a book) and an extended final confrontation between Wayne and Clift. The theatrical cut dispenses with the textual transitions and instead substitutes sequences narrated by Walter Brennan, who then, arguably, becomes the character through whose eyes we see the story. Why this version, which originally played to audiences in 1948, didn’t become the standard edition after that is a mystery; in actuality, Hawks was quite right—the theatrical cut is the better one, except for the trimmed final fight between the two leads. As Hawks tells Peter Bogdanovich in an audio interview included as an extra in the Criterion Collection’s elaborate box set, the best way to watch Red River is to view the theatrical cut up until the last few minutes, and then change to the preview cut at the point when Wayne marches through the heads of cattle to confront Clift at the corral.

Another thing that is remarkable about Red River is that it was Hawks’ first western. He would go on to make a handful more (good ones, too!), and was known for making pictures in all genres, but the fact that he went out of the gate with one of the greatest westerns of all time is truly an achievement. Red River, without question, is one of the five best American films of the genre.

The story is a fictional account of the first cattle drive from Texas to Kansas along the Chisholm Trail, the hardships the men overcome, and the battle of wills between Wayne, the tyrannical leader and father, and Clift, the calmer, perhaps smarter right-hand cowpoke and adopted son. Hawks manages to capture the perilous trek with uncanny realism, assured composition and tempo, and drama. Hawks once said that the key to a good film was “three good scenes and no bad ones.” Well, Red River has far more than three good scenes. The stampede sequence is nothing short of astounding.

Criterion went all out on this one. It’s a four-disk set—two Blu-rays and two DVDs containing identical material. Both versions of the film are included, along with a couple of interviews with Bogdanovich, who explains the difference between the two cuts and presents his views on the picture. Critic Molly Haskell talks about Hawks in a new video interview, and film scholar Lee Clark Mitchell tells us all about the western genre in an interesting piece. There are audio excerpts from interviews with Hawks and novelist Borden Chase, as well as a Lux Radio Theatre adaptation of Red River featuring Wayne, Joanne Dru, and Brennan. Besides the usual essay-filled booklet, the box comes with Chase’s original novel, Blazing Guns on the Chisholm Trail, from which the film was adapted.

Great stuff, and worth every penny.

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"Lawrence of Arabia". "The Godfather". "Gone with the Wind". "Casablanca". Is it time for "Ant-Man and the Wasp" to also enjoy Oscar gold?

BY LEE PFEIFFER, Cinema Retro Editor-in- Chief

The Academy of Motion Picture Arts & Sciences has announced changes to its annual Oscars broadcast. The event will be confined to three hours and certain awards will not be seen live on the broadcast. Instead, they will be given out during commercial broadcasts then edited into a segment that will be shown later in the telecast. After all, who wants to see some science-obsessed geek get honored for inventing something that enhanced the film industry when, instead, we can all enjoy some innovative ads for erectile dysfunction? Additionally, in an admitted attempt to gin up ratings, AMPAS will introduce a new awards category for outstanding achievement in popular film. That's right, movie lovers...you might live to see the day when the producers of a "Transformers" movie stroll on stage to be honored in the manner in which the greatest filmmakers of all time were. In fact, "popular" movies have long been recipients of major nominations. Films such as "Jaws" , "Star Wars" and "The Towering Inferno" were nominated for Best Picture, while a little flick from 1997 named "Titanic" won the coveted award. Exactly how the Academy will distinguish which "popular film" releases should be relegated to the new category is not known. What if the "popular film" that is honored happens to also gain a Best Picture nomination- or will the categories be mutually exclusive? AMPAS isn't saying.

AMPAS has been grappling with sagging ratings for the Oscars for years. Unless there is a major blockbuster to liven up the proceedings, audiences tend to drift away from the broadcast. Not helping matters is that the Golden Age of great Hollywood stars is also long over. That isn't anyone's fault but the lack of legends on any given broadcast only serves to diminish the special quality of the evening, as does the fact that there are now so many movie awards shows that ol' Oscar is struggling to remain relevant. The producers of the show are undermining the very people the ceremony was designed to honor. This is nothing new. AMPAS decided years ago that it was too boring to broadcast honorary awards to older people in the industry, thus these have now been consigned to a couple of snippets from an earlier ceremony. Ditto with the geniuses who are honored with technical awards. Under the current scenario, Charles Chaplin's acceptance of an honorary Oscar in 1972 (one of the great moments in Hollywood history) would now be deemed unworthy of being telecast. Instead, the broadcast has morphed into a quasi-comedy special hosted by late night hosts who replicate inane (and often embarrassing) extended skits that seem to drone on forever. It's the height of irony that there is plenty of time to allocate to such nonsense but it comes at the expense of the true artists who are supposed to be the focus of the show. As we point out every year in our review of the ceremony, even the tastefully creative tribute to talents who passed away in the last year has become contentious. Rather than simply extend the segment for a few additional minutes to include more qualified artists, the truncated tribute now not only excludes legendary personalities but even famed artists who were once nominated for an Oscar. 

The reaction in the industry over these proposed changes has been universally negative, leading us to think this is the worst marketing "improvement" plan since the introduction of New Coke in the 1080s. Hopefully, the backlash with cause those who make the decisions at AMPAS to rethink their position- otherwise we're likely to soon see the creation of the Steven Seagal Lifetime Achievement Award. 

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Does this screen grab show an innocuous image of an unidentified extra in "Jaws"- or does it depict a young woman who would be murdered shortly thereafter?

In the summer of 1974 Steven Spielberg was filming his soon-to-be legendary blockbuster "Jaws" on Martha's Vineyard. One hundred miles away in Provincetown, Mass, a badly decomposed and mutilated body of a woman was discovered near a beach area. Police have doggedly tried to solve the crime ever since and the victim has become known as "The Lady in the Dunes". Enter writer Joe Hillstrom King, who writes novels under the nom-de-plume of Joe Hill. King, the eldest song of legendary horror writer Stephen King, became intrigued by the case after reading about it in a book about amateur sleuths attempting to solve cold cases. Shortly thereafter,  King happened to attend a retro movie screening of "Jaws". At the 54 minute and 2 second mark, there is a scene in the film showing masses of tourists arriving at the fictitious town of Amity (in reality Martha's Vineyard). King immediately took note of a fleeting glimpse of a female extra who appears at this precise moment in the film. The blink-and-you'll-miss-it flash haunted him because he felt the extra bore a remarkable resemblance to police artist's conceptions of the murder victim. King recently revisited his theory, which was not dismissed by the police out of hand,  on a podcast he hosts relating to the movie "Jaws". King doesn't claim he knows that the film extra and murder victim are one-and-the-same but he is still sufficiently intrigued to find out for sure. Someone out there knows who the woman in the film is...perhaps a Cinema Retro reader can shed light on the mystery?

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Michael Coate of The Digital Bits web site has once again done yeoman work by rounding up a panel of James Bond scholars (including Cinema Retro's Lee Pfeiffer) to reflect on the 45th anniversary of Roger Moore's first James Bond film, "Live and Let Die".

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BY LEE PFEIFFER

Like Marlon Brando, director John Huston was often considered to be a has-been during much of the 1960s into the early 1970s. He worked steadily, but- like Brando- it was assumed his glory days were behind him simply because most of his films during this period didn't generate sparks at the boxoffice. (The success of his 1975 film The Man Who Would Be King would temporarily restore his luster.) His acting career got a boost from his great performance in Chinatown, but even some of his directorial flops look far better today than they did at the time of their theatrical release. One major disappointment, artistically as well as financially, was the seemingly sure-fire hit The Life and Times of Judge Roy Bean, made in 1972 and starring Paul Newman fairly fresh from his triumph in Butch Cassidy and the Sundance Kid. The movie is a whimsical tale that is nevertheless loaded with violence and gallows humor (literally). The story is (very) loosely based on the real Roy Bean, an outlaw who became a self-appointed judge who called himself the "only law West of the Pecos" at a time when parts of Texas were a no-man's land of thieves, murderers and swindlers. Bean became known as a hard-ass judge who dispensed lethal justice. In reality, he only sentenced two men to be hanged and one managed to escape. Nevertheless, his colorful background provides screenwriter John Milius with plenty of imaginative fodder for fictitious encounters and incidents. We first meet Bean when he ambles into a remote outpost where he is robbed and beaten mercilessly by the denizens. He returns shortly thereafter and single-handed kills them all, thus instantly making him a local legend among the peasants who live in the area. Bean becomes obsessed with studying the law and showing mercy on the poorest elements of society. He even takes a lover, a young Hispanic woman (Victoria Principal, in her screen debut). Bean appoints himself as a "judge" despite not having any legal authority to do so. He enlists a group of slovenly "deputies" to dispense justice in his courtroom, which is the bar in which he was robbed. Before long, Bean is holding kangaroo trials and routinely lynching anyone who incurs his wrath. Despite this, he gains a reputation for being fair and defending the defenseless.  He adopts a bear and the movie presents some amusing sequences of Bean and his friends interacting with this over-sized "pet". The film traces his experiences over a period of years as the remote outpost becomes a bustling town. Bean is gradually sidelined as a force of influence. The death of his young wife during the birth of their daughter depresses him further and he rides off into oblivion. Twenty years later he returns to find that oil has been discovered on his property and that the corrupt mayor (Roddy McDowall) is using legally questionable methods to displace Bean's 20 year old daughter (Jacqueline Bisset) so he can control the oil on her land. Bean's reappearance causes a sensation as he rounds up his motley, aging group of former deputies to help his daughter fight for her rights. A fairly spectacular battle climaxes the film.

Bean offers many pleasures, not the least of which is a terrific supporting cast that includes cameos by Anthony Perkins, Tab Hunter (surprisingly good in an off-beat role), Anthony Zerbe, Stacy Keach (wonderful as a crazed, albino gunslinger), Ava Gardner as the legendary Lily Langtree, the object of Bean's romantic obsession even though he never meets her, and John Huston himself in an amusing appearance as Grizzly Adams. There are also plenty of familiar faces in the supporting cast including Ned Beatty, Bill McKinney (reunited from Deliverance with happier results) Richard Farnsworth and stuntmen Dean Smith and Neil Summers. The attempt to capitalize on the success of Butch Cassidy is fairly apparent, as evidenced by a fairly sappy love song and romantic montage that is obviously meant to emulate the famed Raindrops Keep Falling on My Head sequence from the former film. Nevertheless, Bean is a consistently enjoyable, rousing Western that probably plays much better today, when we can realize just how special acting ensembles like this truly are. Maurice Jarre's fine score adds immeasurably to the the enjoyment of the experience. 

The Warner Archive has released the film as fine-looking Blu-ray. The only bonus extra is the amusing original trailer. 

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Cinema Retro contributor David Dorward found this interesting photo of young Steve McQueen and his wife posing with his Ferrari Lusso. The license plate number reads 007! We think this may be just a coincidence that one of real-life coolest guys on the planet had a license plate pertaining to the one of the coolest fictional characters, as the Bond phenomenon hadn't totally kicked in yet...unless McQueen was so smitten by the Ian Fleming novels and the release of Dr. No on screen that he was inspired to request "007". Either way, it makes for a fascinating photo.

BY TIM GREAVES

It was arguably the success of A Fistful of Dollars that really set the ball rolling on the slew of shameless spaghetti western rip-offs and cash-ins that proliferated throughout the 1960s, as film-makers jostled to get a taste of the sauce and chow down on a cut of the rewards from what quickly became a very profitable arena in which to be operating. 

Sartana rode into town a little later than popular gunslingers such as Sabata, Django and Ringo, but he made enough of an impression to warrant a number of official sequels – and several unofficial ones too. Just five legitimate Sartana films were lensed, with Gianni Garko (billed as John Garko) headlining in four of them and George Hilton just one. Cucumber cool antihero Sartana was notably more dapper than most of his mud-spattered box office rivals, a real snappy dresser in fact; with his black cape lined in red silk, sharp matching cravat and crisp white shirt, he cut a fine figure riding through desolate wasteland, deck of cards in one hand, natty miniature four-shooter in the other, always ready to spit out a death sentence when the moment was called for. In the first film he even retrieved a musical pocket watch from a corpse and proceeded to use its tinkly chime to taunt his nemesis.

The fabulously contrived titles of the five films belied a series of enjoyable enough but not exactly top-tier western actioners. Dripping with all the requisite tropes of the genre, and occasionally sprinkling a few unexpected condiments into the pot, they’re perfectly watchable fare, but it’s unlikely many would favour any of them over a Sabata instalment or, indeed, an Eastwood classic. If, for this writer, there’s any problem at all with the Sartana series – and it’s one that prevents them from residing up there among the genre’s finest – it’s that in every instance a plot suited at best to the 50-minute TV episode format was, out of necessity, stretched to feature length, the resultant slightness of narrative rendering them all far too leisurely paced.

The five official Sartana films have now been issued on Blu-ray by Arrow Video in an impressive collectors’ box set. Accompanied by an illustrated book, each film is individually packaged and boasts reversible sleeve art, and the entire collection is housed in an attractive slipcase.

The series kickstarter was 1968’s If you meet Sartana pray for your eath (O.T. Se incontri Sartana prega per la tua morte), directed by Frank Kramer, a.k.a. Gianfranco Parolini. (Note: in Italian film titles, only the first word is capitalised.) Among the most enjoyable of the quintet, the plot concerns a pair of dodgy bankers who hire a group of Mexicans to steal a strongbox filled with gold, subsequently allowing them to claim on the insurance. In fact, the precious cargo has been substituted with rocks, the valuable contents having already been squirrelled away in a coffin. Following the heist, the Mexicans are quickly eliminated to wipe out any evidence of the scam. It’s up to Sartana to uncover the truth and retrieve the gold. Any anticipation engendered by the opening credit “with the special participation of Klaus Kinsky” (sic) is swiftly quelled; it’s anything but special, for the A-class actor – who possessed one of cinema’s most expressive faces (and intimidating grimaces!) – is relegated to sideline status for much of the action. At least any disappointment on that score is appeased by the presence of a satisfyingly formidable bad guy in the shape of wild-eyed, buttercup-chewing William Berger as Lasky, who, when he’s not gleefully massacring bandits with his hand-cranked Gatling gun, proves to be a single-shot marksman, planting bullets centre-forehead in more unfortunates than it’s possible to keep tally of. An ace cardsharp, Sartana makes a fast enemy of Lasky when he cleans him out at the poker table. Despite the paucity of plot, director Kramer manages to sustain interest, layering in double and triple crosses as Sartana gently manipulates the wrong-doers into turning on each other. There’s a stab at comic relief too in the form of Franco Pesce as the town’s undertaker, but for this writer his theatrical gurning and cartoonish mannerisms eclipse the intended amiable quirkiness to become distractingly irksome.

Arrow’s 2K restoration from the original film materials displays a fair amount of grain, but aside from one brief moment of picture damage at the outset and a slightly protracted patch of vertical scratching further along, the print is in very respectable shape. The film can be viewed in either an English dub or its original Italian with newly translated English subtitles. Supplements comprise a commentary from film historian (and Cinema Retro contributor) Mike Siegel, an interview with director Kramer, a helpful guide to the characters in the Sartana universe, and a gallery of artwork and stills.

A year later, in 1969, I am Sartana, your angel of death (O.T. Sono Sartana, il vostro becchino) was unleashed. In this one our man (Garko again) appears to have been involved in a bank robbery and finds himself at the top of the most wanted list, with a $10,000 dead or alive price on his head. He didn’t do it, of course, so has to hunt down the real perpetrator to clear his name, whilst evading bounty hunters hot on his trail and intent on bagging the reward. It’s a decent enough follow-up from director Giuliano Carnimeo (credited as Anthony Ascott), which showcases another fine Garko performance (with Sartana now displaying a knack for sleight of hand card tricks) and the return of Klaus Kinski (spelt with the “I” this time) in a meatier, albeit less threatening role, that of a gambler-cum-bounty hunter with the best character name of anyone in the entire run of Sartana pictures: Hot Dead. Unfortunately, Franco Pesce (uncredited this time) is also back, now promoted to town mayor, fortuitously only briefly on screen but every bit as annoying. The story unfolds at a sedate price, but Ascott and cinematographer Giovanni Bergamini keep things percolating with some stylish set-ups, the camera lurching sideways whenever bodies spin and hit the dust. One brief scene stands out for this writer, if not for the right reason; when Sartana dodges a spray of bullets from a trio of pursuing gunmen by zigzagging left and right, any sense of suspense is undermined by spurred memories of the amusing Peter Falk/Alan Arkin ‘serpentine’ sequence in 1979’s The In-Laws!

Arrow had access to the original camera negative for this one and the 2K restoration is very nice indeed. Again sound options are English and Italian. Extras comprise a commentary from historian and filmmakers C Courtney Joyner and Henry Peake, interviews with screenwriter Ernesto Gastaldi and stuntman Sal Borgese, plus a gallery of European poster art and German lobby cards.

The Orlebar Brown Company has released a super cool, officially licensed line of retro-based James Bond swimwear for men. The imaginatively-designed, high quality bathing trunks are available in four designs: "Dr. No", "Thunderball", "You Only Live Twice" and "Live and Let Die" and each designs features graphics from original 007 posters and promotional photos. The items are part of the company's "Bulldog" brand, so-named because of the sentimental connection between "M" and her ceramic bulldog that plays a role in the plots of "Skyfall" and "Spectre". The price of the swimwear might require the budget of Goldfinger himself with the trunks carrying a $395/ 245 GBP retail price. However, we are assured that each item has an official James Bond label sewn inside and comes with a limited edition, waterproof custom storage bag (illustrated above) for those blokes who regularly find themselves having to dispense with their trunks on short notice. We'll go out on limb and presume that the deadly spear gun, infra-red underwater camera and mini atomic bomb tow sled are not included with the swim trunks. 

Click here for official web site to order.

BY LEE PFEIFFER

My only memory of "Swashbuckler" was seeing it for the first time when it was already in release for a year. The occasion was that this was an in-flight movie on my first trip to Europe in the summer of 1977. In those ancient times, films were still shown on 16mm projectors on pull-down screens in the main cabin. I remember being unimpressed with the film but the distraction of the  (then) free liquor service might have affected my opinion. As Cinema Retro's latest issue features coverage of the 1977 film "The Deep" starring Robert Shaw, I decided to revisit "Swashbuckler" largely because it also stars the estimable Shaw, who never gave a bad performance. I found my opinion of the pirate tale had improved considerably since the first viewing. It's a raucous, old-fashioned yarn that perhaps too earnestly tries to recapture the vim and vigor of those old screen adventures that would star Errol Flynn or young Burt Lancaster. Ably directed by James Goldstone, who takes full advantage of the lush Mexican locations (representing old Jamaica), the film opens in the court of Lord Durant (Peter Boyle), the corrupt British governor of Jamaica who rules the island like a tyrant. When honest nobleman Sir James Durant (Bernard Behrens) runs afoul of him, Durant has him arrested and imprisoned to await execution of a death sentence. He also commands that Durant's wife (Louisa Horton) and daughter Jane (Genevieve Bujold) be evicted from the family estate and forced to live in a tenement. Durant's main nemesis is the pirate Ned Lynch (Robert Shaw), who- along with his merry men- acts as a sort of Robin Hood, stealing from the corrupt rich and dispensing much of their fortunes to the poor. Predictably, Jane has an encounter with Ned and professes to loathe him, but as these things inevitably play out, we know the two are attracted to each other. After much griping and fighting that literally includes a duel between Jane and Ned, she implores him to come to the aid of her father, who is facing imminent execution. Ned and his men launch a full-throttle attack on Durant and- if you haven't guessed it- save the day.

"Swashbuckler" is undistinguished on most levels except for the fact that it is exciting and lives up to its title by including an abundance of terrific sword fights. Kudos to all the actors, who performed these extended and exhausting duels with great professionalism, including Bujold, whose slight build must have certainly posed an obstacle in filming these scenes. The supporting cast includes some esteemed names including Geoffrey Holder (in full "Live and Let Die" Baron Samedi mode) and Beau Bridges as a bumbling British army officer appropriately named Major Folly. The action is impressively filmed by cinematographer Philip H. Lathrop and it's all set to a lively score by John Addison. Shaw seems to be having the time of his life in what must have been a physically taxing role for him. Although the stuntmen are in abundance, it's quite clear he did many of his own action scenes. (Shaw says in the production featurette on the DVD that the film was more physically challenging than "Jaws"). Bujold does well as the gutsy young woman who defies sexual stereotypes and Peter Boyle is a great deal of fun as the evil Durant, even if he is miscast as a British nobleman. James Earl Jones has a prominent role as Ned Lynch's right-hand pirate. "Swashbuckler" wasn't designed to win awards or become a boxoffice blockbuster. It represents the kind of modest production that was designed to entertain and make a quick profit in an era before every release represented a major financial risk for the studio.

The Universal DVD features a very nice transfer and some welcome extras including an interesting original production featurette about the making of the film, cast and crew biographies and production notes and the original trailer. Recommended.

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Cinema Retro has received the following press release:

Available for the Very First Time at Retail, the 6-Disc Set Features 24 Complete, Remastered Episodes Loaded with Classic Sketches and Incredible Guest Stars Including Raquel Welch, Steve Allen, Johnny Cash, Bing Crosby, Gene Hackman, Rita Hayworth, Hugh Hefner, Bob Hope, Liza Minnelli, Carroll O’Connor, Carl Reiner, John Wayne, Henny Youngman and Many More!

PROGRAM SYNOPSIS

Political correctness met its match with Rowan & Martin’s Laugh-In, NBC-TV’s groundbreaking variety series that became a cultural touchstone and part of the fabric of ‘60s-‘70s era America. Every Monday night at 8pm from 1968-1973, straight man Dan Rowan and wisecracking co-host Dick Martin led a supremely talented comic ensemble through a gut-busting assault of one-liners, skits, bits and non sequiturs that left viewers in hysterics and disbelief. ROWAN & MARTIN’S LAUGH-IN: THE COMPLETE FIFTH SEASON, from the award-winning TV DVD archivists at Time Life, makes its retail debut on July 10 in an uproarious set featuring all 24 re-mastered episodes from the fifth season (September 13,1971-March 20, 1972).

In THE COMPLETE FIFTH SEASON, after years of shameless name dropping, Dick finally gets his wish when bombshell Raquel Welch kicks off the new season with her first and only appearance on the show. Former Hogan’s Heroes POWs Richard Dawson and Larry Hovis escaped CBS to join the cast. And, along with alumni Judy Carne, Arte Johnson, Henry Gibson, Jo Anne Worley and Teresa Graves, they help to celebrate Laugh-In’s landmark 100^th episode (September 1, 1971). THE COMPLETE FIFTH SEASON also trots out many of the 20th century’s greatest talents, including Steve Allen, Johnny Carson, Johnny Cash, Carol Channing, Charo, Petula Clark, Bing Crosby, Tony Curtis, Henry Gibson, Gene Hackman, Rita Hayworth, Hugh Hefner, Bob Hope, Arte Johnson, Paul Lynde, Liza Minnelli, Agnes Moorehead, Joe Namath, Carroll O’Connor, Vincent Price, Carl Reiner, Debbie Reynolds, Sugar Ray Robinson, Bill Russell, Vin Scully, Doc Severinsen, Jacqueline Susann, Tiny Tim, John Wayne, Raquel Welch, Henny Youngman, and more!

THE COMPLETE FIFTH SEASON also includes such classic features as “Cocktail Party,” “Fickle Finger of Fate,” “Joke Wall,” “Gladys and Tyrone,” “General Bull Right,” “Big Al,” Lily Tomlin’s legendary “Ernestine” and “Edith Ann,” “Tasteful Lady,” and “Ruth Buzzi’s Hollywood Report”. Additionally, Mod, Mod World takes on sports, toys and games, families, politics, nutrition, leisure, year’s end, Manhattan, television, small towns, crazy people, and the theater, Robert Goulet, Charo, and Three Dog Night perform the Laugh-In news song and there’s a hilarious “Salute to Santa” and a very modern Christmas Carol.

CAST:

Dan Rowan, Dick Martin, Lily Tomlin, Ruth Buzzi, Arte Johnson, Gary Owens, Alan Sues, Ann Elder, Dennis Allen, Barbara Sharma, Johnny Brown, Larry Hovis, Richard Dawson

PROGRAM INFORMATION

Format: DVD/6 Discs

Running Time: 1239 minutes

Genre: TV DVD/Comedy

Aspect Ratio: 1.33:1

Audio: Stereo

About Time Life

Time Life is one of the world's pre-eminent creators and direct marketers of unique music and video/DVD products, specializing in distinctive multi-media collections that evoke memories of yesterday, capture the spirit of today, and can be enjoyed for a lifetime. TIME LIFE and the TIME LIFE logo are registered trademarks of Time Warner Inc. and affiliated companies used under license by Direct Holdings Americas Inc., which is not affiliated with Time Warner Inc. or Time Inc.