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10021CLINT EASTWOOD'S "AMERICAN SNIPER" 4K UHD EDITION COMING IN MAY
http://www.cinemaretro.com/index.php?/archives/12600-CLINT-EASTWOODS-AMERICAN-SNIPER-4K-UHD-EDITION-COMING-IN-MAY.html
<p>Cinema Retro has received the following press release from Warner Home Entertainment : </p>
<p class="MsoNormal"><font face="verdana, arial, helvetica, sans-serif"><strong><em>AMERICAN
SNIPER</em></strong><strong> COMES
TO 4K ULTRA HD BLU-RAY AND DIGITAL<o:p /></strong></font></p>
<p class="MsoNormal"><strong><font face="verdana, arial, helvetica, sans-serif">THE 2014
BIOGRAPHICAL WAR DRAMA DIRECTED BY CLINT EASTWOOD AND STARRING BRADLEY COOPER
WILL BE AVAILABLE FOR THE FIRST TIME IN 4K RESOLUTION WITH HIGH DYNAMIC RANGE
(HDR)<o:p /></font></strong></p>
<p class="xmsonormal" style="margin: 0in; background: white;"> </p>
<p class="MsoNormal"><strong><font face="verdana, arial, helvetica, sans-serif">Purchase
the film on 4K Ultra HD Disc with Collectible Steelbook Packaging, 4K Ultra HD
Disc and Digital on May 14</font><font face="Verdana, sans-serif"><o:p /></font></strong></p>
<p><!-- s9ymdb:12523 --><img class="serendipity_image_center" width="500" height="633" src="http://www.cinemaretro.com/uploads/AmerSniper_WW_4KOSLV_FINALSKEW_2D_1000829682.png" /> </p>
<p> </p>
<p class="xmsonormal" style="margin: 0in; background: white;" aria-hidden="true"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"> <o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">Burbank, Calif., March 26, 2024 – <strong><em>American Sniper</em></strong>,
the 2014 biographical war drama directed by Academy Award Winning Director
Clint Eastwood and starring Academy Award nominee Bradley Coopers as will be
available for purchase on 4K Ultra HD Disc and Digital for the first time on
May 14.</span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"> </span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><strong><em><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">American Sniper</span></em></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"> will be available to
purchase on May 14 on Ultra HD Blu-ray Disc from online and in-store at major
retailers and available for purchase Digitally from Amazon Prime Video,
AppleTV, Google Play, Vudu and more.</span></p>
<p> </p>
<p class="xmsonormal" style="margin: 0in; background: white;"><strong><em><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"> </span></em></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><strong><em><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;">American Sniper</span></em></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"> stars Bradley Cooper as
Chris Kyle. A two-time Oscar® nominee for his work in “Silver Linings Playbook”
and “American Hustle,” Cooper stars alongside Sienna Miller, Luke Grimes, Jake
McDorman, Cory Hardrict, Kevin Lacz, Navid Negahban and Keir O’Donnell. <o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;" aria-hidden="true"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"> <o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;">Oscar®-winning filmmaker Clint Eastwood (“Million Dollar Baby,”
“Unforgiven”) directed <strong><em>American Sniper</em></strong> from a
screenplay written by Jason Hall, based on the book by Chris Kyle, with Scott
McEwen and Jim DeFelice. The autobiography was a runaway bestseller, spending
18 weeks on the New York Times bestseller list, 13 of those at number
one. </span><span style="color: #242424; font-family: Verdana, sans-serif; font-size: 10pt;">The film is produced by Eastwood, Robert Lorenz, Andrew Lazar,
Bradley Cooper and Peter Morgan. Tim Moore, Jason Hall, Sheroum Kim, Steven
Mnuchin and Bruce Berman served as executive producers.</span></p>
<p> </p>
<p class="xmsonormal" style="margin: 0in; background: white;"><strong><em><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"> </span></em></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><strong><em><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;">American Sniper</span></em></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"> was nominated for 6
Academy Awards including Best Picture and Best Actor and won the Academy Award
for Best Sound Editing.<o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;" aria-hidden="true"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"> <o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><strong><em><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;">American Sniper</span></em></strong><em><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"> </span></em><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">will
be available on Ultra HD Blu-ray Disc with collectible steelbook packaging
for $40.43 ERP and includes an Ultra HD Blu-ray disc with the
theatrical version of the feature film in 4K with HDR and a Digital download of
the film, and on Ultra HD Blu-ray Disc for $33.99 ERP and includes an
Ultra HD Blu-ray disc with the theatrical version of the feature film in 4K
with HDR and a Digital download of the film. Fans can also own </span><strong><em><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;">American
Sniper </span></em></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">in 4K Ultra HD via purchase from select digital retailers beginning
on May 14.  </span></p>
<p> </p>
<p class="xmsonormal" style="margin: 0in; background: white;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"> </span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"> </span></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;">About the Film</span></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><span style="font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; color: inherit;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424; border: 1pt none windowtext; padding: 0in;">From director Clint Eastwood comes “<strong>American Sniper</strong>,”
starring Bradley Cooper as Chris Kyle, whose skills as a sniper made him a hero
on the battlefield. But there was much more to him than his skill as a
sharpshooter. Navy SEAL Chris Kyle is sent to Iraq with only one mission:
to protect his brothers-in-arms. His pinpoint accuracy saves countless lives on
the battlefield, and as stories of his courageous exploits spread, he earns the
nickname “Legend.” However, his reputation is also growing behind enemy lines,
putting a price on his head and making him a prime target of insurgents. He is
also facing a different kind of battle on the home front: striving to be a good
husband and father from halfway around the world. Despite the danger, as well
as the toll on his family at home, Chris serves through four harrowing tours of
duty in Iraq, personifying the spirit of the SEAL creed to “leave no one
behind.” But upon returning to his wife, Taya (Sienna Miller), and kids, Chris
finds that it is the war he can’t leave behind. </span></span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><span style="font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; color: inherit;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424; border: 1pt none windowtext; padding: 0in;"> </span></span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><span style="font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; color: inherit;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424; border: 1pt none windowtext; padding: 0in;">Warner Bros. Pictures presents, in association with Village
Roadshow Pictures, A Mad Chance Production, A 22nd & Indiana Production.</span></span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><strong><em><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"> </span></em></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="margin: 0in; background: white;"><strong><em><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">American Sniper </span></em></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">Ultra HD Blu-ray disc contains
the following previously released special features:</span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsolistparagraph" style="margin: 0in 0in 0in 0.5in; text-indent: -0.25in; background: white;"><!--[if !supportLists]--><span style="font-size: 10pt; font-family: Symbol; color: black;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><!--[endif]--><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"><span style="font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; color: inherit;">One Soldier's Story: The Journey of <strong><em>American Sniper</em></strong></span></span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black;"><o:p /></span></p>
<p class="xmsolistparagraph" style="margin: 0in 0in 0in 0.5in; text-indent: -0.25in; background: white;"><!--[if !supportLists]--><span style="font-size: 10pt; font-family: Symbol; color: black;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><!--[endif]--><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">Chris Kyle: The Man Behind the Legend</span><span style="font-size: 10pt; font-family: Arial, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">?</span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black;"></span><o:p /></p> <span style="font-style: inherit; font-variant: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; color: inherit;">
<p class="xmsolistparagraph" style="font-weight: inherit; margin: 0in 0in 0in 0.5in; text-indent: -0.25in; background: white;"><!--[if !supportLists]--><span style="font-size: 10pt; font-family: Symbol; color: black;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><!--[endif]--><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"><span style="font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; color: inherit;">Clint Eastwood: A Cinematic Legacy – The Heart of a Hero</span></span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black;"><o:p /></span></p>
<p class="xmsolistparagraph" style="font-weight: inherit; margin: 0in 0in 0in 0.5in; text-indent: -0.25in; background: white;"><!--[if !supportLists]--><span style="font-size: 10pt; font-family: Symbol; color: black;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><!--[endif]--><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"><span style="font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; color: inherit;">Navy SEALs: In War and Peace</span></span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black;"><o:p /></span></p>
<p class="xmsolistparagraph" style="font-weight: inherit; margin: 0in 0in 0in 0.5in; text-indent: -0.25in; background: white;"><!--[if !supportLists]--><span style="font-size: 10pt; font-family: Symbol; color: #242424;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><!--[endif]--><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"><span style="font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit;">Bringing
the War Home: The Cost of Heroism</span></span><span style="font-size: 10pt; font-family: Arial, sans-serif; color: #242424; border: 1pt none windowtext; padding: 0in;"><span style="font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; color: inherit;">?</span></span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsolistparagraph" style="font-weight: inherit; margin: 0in 0in 0in 0.5in; text-indent: -0.25in; background: white;"><!--[if !supportLists]--><span style="font-size: 10pt; font-family: Symbol; color: #242424;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><!--[endif]--><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"><span style="font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit;">The
Making of <strong><em>American Sniper</em></strong></span></span><strong><em><span style="font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; color: inherit;"><span style="font-size: 10pt; font-family: Arial, sans-serif; color: #242424; border: 1pt none windowtext; padding: 0in;">?</span></span></em></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"></span><o:p /></p> <span style="font-style: inherit; font-variant: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; color: inherit;">
<p class="xmsolistparagraph" style="font-weight: inherit; margin: 0in 0in 0in 0.5in; text-indent: -0.25in; background: white;"><!--[if !supportLists]--><span style="font-size: 10pt; font-family: Symbol; color: black;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><!--[endif]--><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"><span style="font-style: inherit; font-variant: inherit; font-weight: inherit; font-stretch: inherit; font-size: inherit; line-height: inherit; font-optical-sizing: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; color: inherit;">Guardian</span></span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black;"><o:p /></span></p>
<p class="xmsonormal" style="font-weight: inherit; margin: 0in; background: white;"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"> </span></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="font-weight: inherit; margin: 0in; background: white;"><br /></p>
<p class="xmsonormal" style="font-weight: inherit; margin: 0in; background: white;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;"> </span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="font-weight: inherit; margin: 0in; background: white;"><strong><u><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">American Sniper</span></u></strong><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="font-weight: inherit; margin: 0in; background: white;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">Ultra HD Blu-ray Languages: English, French, Spanish</span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="font-weight: inherit; margin: 0in; background: white;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">Ultra HD Blu-ray Subtitles: English French, SDH, Spanish</span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="font-weight: inherit; margin: 0in; background: white;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">Run Time: 132 minutes</span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="font-weight: inherit; margin: 0in; background: white;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">Rating: R</span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="font-weight: inherit; margin: 0in; background: white;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">Street Date: May 14, 2024</span><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: #242424;"><o:p /></span></p>
<p class="xmsonormal" style="font-weight: inherit; margin: 0in; background: white;"><span style="font-size: 10pt; font-family: Verdana, sans-serif; color: black; border: 1pt none windowtext; padding: 0in;">Digital Street Date: May 14, 2024</span></p>
<p><strong><a href="https://amzn.to/4cBjxAy">Click here</a> to pre-order from Amazon</strong><span style="font-weight: inherit;"> </span></p>
<p class="xmsonormal" align="center" style="font-weight: inherit; margin: 0in; text-align: center; background: white;"><span style="color: black; border: 1pt none windowtext; padding: 0in;"> </span><span style="color: #242424;"><o:p /></span></p>
<p class="MsoNormal" style="font-weight: inherit;"><o:p> </o:p></p></span></span>
Cinema Retronospam@example.com (Cinema Retro)
Blu-ray/DVD/Streaming Reviews & News, 2024-03-28T20:06:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=126000http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12600REVIEW: STEPHEN KING'S "THE SHINING" (1997 TELEVISION VERSION); SHOUT! FACTORY BLU-RAY SPECIAL EDITION
http://www.cinemaretro.com/index.php?/archives/12601-REVIEW-STEPHEN-KINGS-THE-SHINING-1997-TELEVISION-VERSION;-SHOUT!-FACTORY-BLU-RAY-SPECIAL-EDITION.html
<p><!-- s9ymdb:12524 --><img class="serendipity_image_center" width="500" height="629" src="http://www.cinemaretro.com/uploads/2024_03_18-THESHININGMini-seriesBlu-rayReview.jpg" /> </p>
<p><strong>By Todd Garbarini</strong> </p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">As
a huge fan of Stanley Kubrick’s 1980 film version of Stephen King’s 1977 novel <em>The
Shining</em>, which I saw at the age of fifteen and was completely terrified by,
it is a daunting task indeed to watch any other (excuse the pun) incarnation of
this fantastic story as seen through the eyes of another filmmaker without
being drawn back to Mr. Kubrick’s much-maligned interpretation that was
initially criticized but subsequently revered by some as the greatest horror
film ever made. <em>The Shining</em> is a film that has affected me profoundly in
ways that only a handful of other films ever have. I felt a compelling
obsession with it that was nearly impossible to verbalize. It was my second
Jack Nicholson film, and it made me a lifelong fan of his; it introduced me to
pre-existing music and its use in a contemporary film; and perhaps, most
significantly, it was my introduction into the world of Mr. King’s writings.
Having read the novel a mere two months after seeing the film for the first
time, I was completely surprised to see how much Mr. Kubrick altered the source
material. Much has been written about his decision to jettison nearly all but
the bare bones plot of a former alcoholic schoolteacher-turned-writer taking on
the position of the caretaker of a Colorado hotel during the winter months with
his wife and young son. The film’s most vocal critic is perhaps the author
himself who, while acknowledging Mr. Kubrick’s genius as a film director, has
never held back his disdain for <em>The Shining</em> for which he wrote a
screenplay that was subsequently rejected by the director in favor of his own
collaboration with novelist Diane Johnson. Mr. King’s disappointment in the
film made him vow to make his own version one day, and <em>The Shining</em>, as
presented in a three-part mini-series on ABC in April and May of 1997 and
directed by Mick Garris, is the result. <o:p /></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Jack
Torrance (Stephen Webber) is a recovering alcoholic who has been fired for beating
up a student following the latter cutting the former’s car tire after an
argument. To say that Jack is skating on thin ice would be an understatement,
even after many AA meetings. His marriage is on the rocks with his wife Wendy
(Rebecca De Mornay) following him breaking their son Danny’s (Courtland Mead)
arm after a drinking bout. All he really wants is quiet time to write his play.
Taking care of the remotely located Overlook Hotel during the brutal winter
months is his opportunity to do just that. Stuart Ullman (Elliott Gould), the stern
and surly hotel manager, has been apprised of Jack’s past and is not too
pleased to have to offer him the job as a favor. Dick Halloran (Melvin Van
Peebles), the Overlook’s head chef, gives Wendy and Danny a tour of the
kitchen, and discovers that he shares
the gift of the Shining with Danny, a force described as a “psychic ability to
see visions of the past, present, and future, as well as communicate
telepathically with others who possess similar abilities.” <o:p /></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Once
on their own following the hotel’s seasonal shutdown, the Torrances spend time
acclimating themselves to the quiet solitude of the hotel and their quarters. It
does not take long for them, however, to realize that strange things are going
on in their midst. Unfortunately for Jack, there are evil forces at work that
threaten to unravel the very fabric of his family unit as well as his sanity. Evidence
of past horrors that occurred within the hotel begin to emerge in the form of an
undead and decaying woman in room 217, an anthropomorphized topiary, a hornet’s
nest of not-quite-dead wasps, and a scrapbook of news articles providing
evidence of the hotel’s sordid history. Wendy’s attempts to seduce her husband
into a night of lovemaking while dressed seductively are spurned multiple times
by a distracted Jack who is thinking of incorporating elements of the Overlook
into his play while also dealing with the demons of his alcoholism. In the
midst of this is their seven-year-old son Danny who plays referee between them while
trying to make sense of all that conspires to destroy his family. It isn’t long
before the ghosts of the Overlook’s past begin to show up in their evening
gowns and Jack loses his grip on reality, attempting to destroy his family
while Danny telepathically summons Mr. Halloran who comes to their rescue. <o:p /></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">At
four-and-a-half hours, this version of <em>The Shining</em> is highly faithful to
Mr. King’s story and, except for the genuinely frightening woman in Room 217,
there is little in the way of tension and scares. Steven Webber does an
admirable job of portraying a man modeled after Mr. King himself who is trying
to go sober and keep his temper in check. Rebecca De Mornay, who was just
twenty years-old when she was cast in late 1980 as an understudy in Francis
Ford Coppola’s extravagant <em>One from the Heart</em> (1982) and found overnight
fame as Lana in Paul Brickman’s highly successful <em>Risky Business</em> (1983)
opposite Tom Cruise, plays Wendy much closer to Mr. King’s original vision in
his novel. She is a strong-willed mother fiercely protective of her young
charge against the adversity unfurling within the family unit. The film is
ultimately undone by the not-ready-for-prime-time computer-generated imagery
effects (CGI) that come off as silly and unfinished. <o:p /></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">It
is impossible to avoid comparisons between this and Mr. Kubrick’s film, the
scariest film I have ever seen and which has only become more revered,
iconoclastic, studied and analyzed in the years since its original release, so
I will tread lightly. There are many areas that make Mr. Kubrick’s version,
which was faked on backlots and massive sets at Elstree Studios in England, a
standout. In his film, the Overlook, as represented by Oregon’s Timberline
Lodge, became a character of its own. The Torrance’s, as played by Jack
Nicholson, Shelly Duvall, and Danny Lloyd, felt as though they were really and
truly snowbound and had absolutely no recourse from the outside world. The same
cannot be said for the hotel in this version which, ironically, is the very
hotel that inspired the story: the Stanley Hotel in Estes Park, Colorado. <o:p /></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">The
one area that neither film version touches upon that is a big fear of Danny’s
in the novel of the notion his parents will divorce, which is further
italicized to emphasize innate fear. The other words that <em>do</em> make their
way into both films are, of course, REDRUM and MURDER.<o:p /></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">The
miniseries is now available on a double disc Blu-ray from Scream! Factory. Blu-ray
Disc One contains Parts One and Two, and Blu-ray Disc Two contains Part Three
and additional scenes that were cut from the film. The film begins with a
disclaimer: “To provide the most complete version of the film, a few scenes
have been upgraded from the best available, non-Interpositive source.” This
verbiage will go over the heads of the uninitiated, and as such it merely
states that the folks at Scream! Factory did their best to locate the best
available film elements for this high-resolution transfer. I must admit that
even to my trained eyes, I had difficulty differentiating between the best film
elements and whatever less-than-stellar footage was used in the transfer, which
is excellent. There is a highly enjoyable audio commentary by author Stephen
King, director Mick Garris, actor Steven Weber, actress Cynthia Garris, visual effects
supervisor Boyd Shermis, makeup supervisor Bill Curso, and cinematographer
Shelly Johnson that is worth the price of the movie alone. They give great
insight into how the film came to be, especially author King who discusses
staying at the Stanley Hotel in October 1974 with his wife. He explains that,
had the concierge not asked the Kings if they could pay cash to stay overnight,
the book would never have come to be. Talk about a fortuitous exchange. He also
talks about his own experiences and struggles with alcoholism and his relation
to Jack Torrance.<o:p /></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Director
Garris discusses how his version is not intended as a remake of Stanley
Kubrick’s film (which would have been a fool’s errand) but instead a filmed
representation of author Mr. King’s novel, and discusses the challenges of
making a film of a beloved book and working with a child actor, made easier
thanks to Dawn Jeffory-Nelson, an acting teacher. She appears as an unwitting
victim in David Schmoeller’s ultra-creepy <em>Tourist Trap</em> (1979), and worked
extensively with young actor Mead. Steven Weber provides his insights into
working with Ms. De Mornay and how the most difficult scene they did consisted
of nine pages of dialog and had to be in the can in one day. <o:p /></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">The
film was originally released on DVD in 2003 and the commentary and additional
eleven scenes that run a total of sixteen-minutes appear to have been ported
over from that release. The image quality of this new double-disc Blu-ray,
however, easily bests that DVD so if you are a fan of this film this is a
worthy upgrade. </span></p>
<p><strong><a href="https://amzn.to/3PHOsBk">Click here</a> to order from Amazon</strong> </p>
Cinema Retronospam@example.com (Cinema Retro)
Todd Garbarini, 2024-03-28T00:56:42Zhttp://www.cinemaretro.com/wfwcomment.php?cid=126010http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12601EXCLUSIVE: ARLO GUTHRIE REFLECTS ON "ALICE'S RESTAURANT" (INTERVIEW BY HANK REINEKE)
http://www.cinemaretro.com/index.php?/archives/12560-EXCLUSIVE-ARLO-GUTHRIE-REFLECTS-ON-ALICES-RESTAURANT-INTERVIEW-BY-HANK-REINEKE.html
<p> </p>
<div class="serendipity_imageComment_center" style="width: 500px;">
<div class="serendipity_imageComment_img"><!-- s9ymdb:12516 --><img class="serendipity_image_center" width="500" height="625" src="http://www.cinemaretro.com/uploads/arlo-guthrie-9-6720-1557433977.jpg" /></div>
<div class="serendipity_imageComment_txt">(Photo: Marti Ladd)</div>
</div>
<p> </p>
<p class="BodyA"><strong><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">By Hank Reineke</span></strong><strong><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></strong></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">In
the aftermath of the surprise runaway success of Arthur Penn’s <em>Bonnie and
Clyde</em> – the Warner Bros. crime-drama garnering a fifty-million dollar
profit on a two million dollar investment by the close of 1967 – rival studio
United Artists wisely chose to give the director free-reign in choosing his
follow-up project. Ultimately, Penn
chose to give folksinger Arlo Guthrie’s already fabled talking-blues, the
“Alice’s Restaurant Massacree,” a big screen treatment. The timing seemed right.</span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Though
Penn’s new film would be far removed in temperament and style (and certainly
less violent) than his previous effort it was, in many respects, a prudent
choice. Such anti-establishment films as
<em>Easy Rider</em>, <em>Medium Cool</em> and <em>Wild in the Streets</em> had proven
critical and box successes in the years 1968-1969. Such free-spirited films brought in young,
enthusiastic audiences, the movie industry’s most important target demographic. But Penn was also aware that this recent
trend from literary to reality-based story-telling on film signaled an
important shift. He told the <em>Los
Angeles Times</em> that filmmakers were in increasingly “moving more and more
into direct relationship with the populace.” </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Guthrie’s
meandering, sardonic epic – one seamlessly weaving an innocent’s view of
government inanities, the overreach of small-town policing, of “American Blind
Justice,” the travails of Selective Service draft board induction and of U.S.
foreign policy in Vietnam – was blistering clear-eyed and acutely withering in
its impossibly gentle, but mocking satire. </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">In
March of 1968 Guthrie’s manager, Harold Leventhal, was in process of inking the
film deal with Penn and UA. That very
same month Guthrie’s debut album, also titled <em>Alice’s Restaurant</em>, had
climbed to the no. 29 spot on the <em>Billboard</em> Top 100 album chart. Guthrie’s album had, improbably, been
charting steadily upward since it’s entry in the no. 180 position in November
of 1967. This was a particularly impressive
feat for an album whose signature song was eighteen minutes and twenty seconds
long. The song’s maddeningly memorable
and cyclical melody was supported only by the most basic backing
instrumentation: Guthrie’s acoustic guitar, a sparse standup bass and an impish
typewriter-cadence drum beat. </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">By
all measures, the commercial success of the “Alice’s Restaurant Massacree” was
implausible. Guthrie’s studio recording was understandably ignored on
ever-important AM radio – partly as no broadcast-length version was made
available to them.* But long before Guthrie would <em>formally</em> record his
shaggy-dog studio version of the “Massacree” in a professional setting in June
of 1967, the song was already well-known by those listening to such free-form
underground radio stations as New York City’s WBAI and Philadelphia’s
WMMR. The song had been pirated – in
several differing “live” versions and iterations – from reel-to-reel recordings
sourced from Guthrie’s appearances during late-night on-air radio show
appearances. </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Thanks
to the underground circulation of those recordings, the “Massacree” was quickly
adopted as an anthem of the counter-culture, and by writers, artists and
anti-war activists. In time, Guthrie’s
talking-blues filtered up from underground radio to a more mainstream
audience. The song particularly appealed
to open-minded listeners, draft-age youngsters, journalists and
social-political pundits. They
immediately recognized that many of Guthrie’s satirical observations were acute
and perhaps too-closely reflected a society going amiss.</span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Upon
its release in September of 1969, Penn’s cinematic version of <em>Alice’s
Restaurant</em> wasn’t the box-office blockbuster that <em>Bonnie and Clyde</em>
was – but no one expected it to be. It
was a more personal low-budget film, but one that still did great
business. The film would bring in some
6.3 million dollars and sell just shy of 4.5 million paid admissions in the
domestic North American theatrical market alone. The film’s cast of professional actors were
supplemented by the townspeople of Stockbridge, Massachusetts, and by Guthrie’s
own friends working as extras on the edges. Penn estimated that ninety percent of the extras in the film were of the
community. </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Penn’s
cinema vérité style dabbles are evident throughout. The film’s primary strength is in its
glimpses of the otherwise private involvements of the community congregating at
Alice and Ray Brock’s Old Trinity Church in Great Barrington. The film, on occasion, has a documentary feel
to it. This was Penn’s choice, his
personal way of doing things. “I work
very fluidly, with almost no preconceptions,” he told a visiting journalist on
set. Penn also shared that he did not
work from storyboards nor even visit locations prior to shooting. “I just sort of set up how life would be if
you were in that situation.” It could be
argued that the biggest issue with this approach was Penn’s viewing the
unfolding drama through a lens of presumption: the film’s reality and fictional
episodes are uneasily juxtaposed throughout. </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Though
Arlo Guthrie holds mixed feelings about the resulting film <em>(“I only made one
film,”</em> he’d tell concert audiences over ensuing decades, <em>“…’cause I saw
it.”), </em>his memories of working with the creative team involved remain
warm. He thought Penn’s effort was an
“honest” one, his efforts allowing outsiders a small peek into the “scene”
built around the Old Trinity Church. But
Guthrie was also aware that the scene at Trinity circa 1965 – the time of
Guthrie’s Thanksgiving Day crime of littering - was a fluid one. Penn’s film could only provide a brief
snapshot of a time already passed since, in coming days, Guthrie reckoned,
“there’ll be a whole new scene up there, as everywhere else.”</span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Guthrie
was only twenty-years old when the film went into production - and had not
acted professionally in any capacity. Many on set in the summer of ’68 found the folksinger private and
distant, “elusive” in answers to both crew members and visiting
journalists. According to a long essay
in <em>Playboy</em> magazine, even old friends at the Trinity suggested that
Guthrie was “thought by some” to have already “left the family.” Certainly, his visits to the Trinity were
less frequent due to his new touring and recording commitments. On the brighter side, manager Leventhal was
impressed by his young client’s professionalism. He told the <em>New York Times</em>, “Here’s a
kid who likes to sleep until 3:30 in the afternoon who had to make a 7:30 A.M.
movie call every day for three months of shooting, and he did.” </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">In
November of 2023 the University of Oklahoma Press published a biography of the
folk-rock singer in which he and I collaborated: <em>Rising Son: The Life and
Music of Arlo Guthrie</em>. <em>Cinema
Retro</em> editor Lee Pfeiffer asked if Arlo might be willing to share some
memories of his experience working on the <em>Alice’s Restaurant</em> film with
Arthur Penn. Though it’s been nearly
fifty-six years since production on the film began in June of 1968, Guthrie
graciously offered to share some of his remembrances of that time with
readers: </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Q:
My first question to you is a pretty general one. As a kid growing up in the 1950s and early
‘60s, how would describe your interest in cinema? Were you a big fan of the movies? If so, what sort of films were you attracted
to? </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Arlo: I wasn’t so much into films as I was more into TV
shows. Obviously, films that came out when I was a little older - the mid to
late 60s - had a bigger impact on me. “Bonnie & Clyde” for example.</span></em><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></em></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Q:
What were you favorite TV programs? I
understand you were a big fan of </span><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Star Trek</span></em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"> –
and just missed out on being cast on an episode. What was the story behind that?</span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Arlo: I got a phone call from Leonard Nimoy one time, out
of the blue! I couldn’t believe I was chatting with Spock! But I have no memory
of being asked to participate with Star Trek. **</span></em><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></em></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Q:
I have a news-cutting from <em>Variety</em> reporting from your overseas
promotional tour for the <em>Alice’</em></span><em><span lang="DE" style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">s Restaurant</span></em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"> film. In this case, from Paris in May of 1970. At the press conference you suggested that following the release of the <em>Alice</em>
film in the U.S. you were suddenly <em>“offered ten films about hippies but
would prefer to do a western.” </em> </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Arlo:</span></em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"> <em>We didn’t do any promotional tours
in the US, as they were un-needed. But when I was asked to do a promotional
tour of Europe I jumped on it. I wanted to go to Europe. I had offers for more
acting roles, but mostly on TV shows that were popular at the time. Hawaii 5-O,
etc. But in those days everyone who had long hair was cast as a drug-addled
thief or a murderer. So I kindly
declined those invitations. </em></span><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></em></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Q:
In any case, you did accept a number of television acting assignments in the
1990s. Our readers might recall your
reoccurring role as the graying-hippie Alan Moon on ABC’s </span><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Byrds
of Paradise</span></em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">. My
personal favorite of your television work was your role as a 1960s
folk-singing, Weather Underground-style fugitive on the Lorenzo Lamas series </span><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Renegade</span></em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">. How did those opportunities come about? </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Arlo: I don’t remember exactly. </span></em><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif; color: windowtext;">But my
booking agents, David Helfant and later Paul Smith, made those roles possible.
Those offers came through their offices. I wasn’t looking for acting jobs.</span></em></p>
<p> </p>
<div class="serendipity_imageComment_center" style="width: 500px;">
<div class="serendipity_imageComment_img"><!-- s9ymdb:12519 --><img class="serendipity_image_center" width="500" height="399" src="http://www.cinemaretro.com/uploads/alicearlo500.jpg" /></div>
<div class="serendipity_imageComment_txt">(Photo: Cinema Retro Archive)</div>
</div>
<p> </p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Q:<strong> </strong>Since you are a musician first and foremost,<strong> </strong>I’d like to ask you a
few questions about the soundtrack accompanying the <em>Alice’</em></span><em><span lang="DE" style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">s Restaurant</span></em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"> film. Prior to his work on <em>Alice’</em></span><em><span lang="FR" style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">s Restaurant, </span></em><span lang="FR" style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Gary Sherman<em> </em>was</span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"> the arranger and conductor for John
Barry’s soundtrack for <em>Midnight Cowboy</em>. On <em>Alice’s Restaurant</em>, Sherman is billed as “Musical Supervisor,”
credited as composer and arranger of the film’s “Additional music.” What exactly was Sherman’s contribution? Did
you work closely with him on the arrangements? </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Arlo: Gary Sherman wasn’t very familiar with the kinds of
instruments I wanted to be used as a sound track. But he was very knowledgeable with regards as
to how music supported a film. We worked very closely together trying to
integrate our different skills. </span></em><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></em></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Q:<strong> </strong>Fred Hellerman, the producer of your first two albums for Reprise - is
credited on screen as the film’s “</span><span lang="PT" style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Musical
Director.</span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">” What exactly was
Hellerman’s role in creating the soundtrack? </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Arlo: Fred had some knowledge of the kinds of musical
instrumentation - and songs - I was into at the time. He may have worked with
Gary more than I was aware of, but I think the credit was more of an honorific
title.</span></em><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></em></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Q:<strong> </strong>In <em>Rising Son: The Life and Music of Arlo Guthrie</em>, you recall your
enthusiasm of having partnered with John Pilla on the soundtrack sessions. Pilla, of course, would soon become the
“Spiritual Advisor,” producer and/or co-producer of all of your albums from <em>Running
Down the Road</em> (1969) through <em>Someday</em> (1986). What was it about this earlier collaboration
that made you so trusting of John as someone musically simpatico? </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Arlo: John and I loved the traditional songs and
instruments that became the underlying sound track for the film. For example,
we made extensive use of the autoharp which had not been used before (or since)
in Hollywood movies.</span></em><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></em></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Q:
Any particular fond (or perhaps not-so-fond) memories of working on the <em>Alice’</em></span><em><span lang="DE" style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">s Restaurant</span></em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"> soundtrack sessions with
Pilla and Sherman? </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Arlo:</span></em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"> A<em>rguing about music became the
hallmark of my collaboration with John Pilla. He was very traditional in his assessment of what was good while I was a
little too experimental. Gary was good at determining what worked. So between
us we arrived at a consensus.</em></span><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></em></p>
<p class="BodyA"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Q:<strong> </strong>The Old Trinity Church is central to Arthur Penn’s imagining of the <em>Alice’</em></span><em><span lang="DE" style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">s Restaurant</span></em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"> film. What role did Ray and Alice’s deconsecrated
church-home play in your life? </span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></p>
<p class="BodyA"><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Arlo: I always felt very much at home at the church. Long
before we began working on the film, I had stayed there often. It wasn’t very
long after Thanksgiving 1965 that I was to spend more time traveling around and
less time at the church. Using the church as a central location was fabulous. </span></em><em><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><o:p /></span></em></p> <br /><a href="http://www.cinemaretro.com/index.php?/archives/12560-EXCLUSIVE-ARLO-GUTHRIE-REFLECTS-ON-ALICES-RESTAURANT-INTERVIEW-BY-HANK-REINEKE.html#extended">Continue reading "EXCLUSIVE: ARLO GUTHRIE REFLECTS ON "ALICE'S RESTAURANT" (INTERVIEW BY HANK REINEKE)"</a>
Cinema Retronospam@example.com (Cinema Retro)
Interviews, 2024-03-26T16:20:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125600http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12560MOVIE MAGS SITE OFFERS A TREASURE TROVE OF VINTAGE UK FILM MAGAZINE COVERS
http://www.cinemaretro.com/index.php?/archives/12598-MOVIE-MAGS-SITE-OFFERS-A-TREASURE-TROVE-OF-VINTAGE-UK-FILM-MAGAZINE-COVERS.html
<p><!-- s9ymdb:12520 --><img class="serendipity_image_center" width="450" height="596" src="http://www.cinemaretro.com/uploads/abcfilmreview6507.jpg" /> </p>
<p><!-- s9ymdb:12521 --><img class="serendipity_image_center" width="450" height="598" src="http://www.cinemaretro.com/uploads/abcfilmreview6608.jpg" /> </p>
<p><!-- s9ymdb:12522 --><img class="serendipity_image_center" width="400" height="552" src="http://www.cinemaretro.com/uploads/abcfilmreview6708.jpg" /> </p>
<p><a href="https://www.moviemags.com/main.php?title=ABC%20FILM%20REVIEW">Click here </a>to visit the Movie Mags web site, which features an impressive data base of cover illustrations from the legendary ABC Film Review magazine. The now sadly defunct publication entertained British moviegoers for decades with the latest film industry news, reviews and great photos. The site features hundreds of cover illustrations from the 1950s-1972. Click on the thumbnail cover images on the site to enlarge them.</p>
Cinema Retronospam@example.com (Cinema Retro)
Out of the Past, 2024-03-26T12:25:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125980http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12598FERRANTE & TEICHER PERFORM THE THEME FROM "THE 7TH DAWN" ON "THE ED SULLIVAN SHOW"
http://www.cinemaretro.com/index.php?/archives/12597-FERRANTE-TEICHER-PERFORM-THE-THEME-FROM-THE-7TH-DAWN-ON-THE-ED-SULLIVAN-SHOW.html
<iframe width="560" height="315" src="https://www.youtube.com/embed/j2G92BY8eoo?si=vJ9nwAO02R7InuNh" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin"></iframe>
<p> </p>
<p> </p>
<p> </p>
<p>In the 1960s, musicians Ferrante & Teicher were the kings of cover versions of film score soundtracks. n record stores, racks were filled with their albums. In this June, 1964 segment from "The Ed Sullivan" show they perform Riz Ortolani's main theme from director Lewis Gilbert's Cold War political thriller "The 7th Dawn" which starred William Holden, Capucine and Tetsuro Tamba. 
</p>
Cinema Retronospam@example.com (Cinema Retro)
Out of the Past, 2024-03-25T12:27:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125970http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12597JONATHAN HARRIS DISCUSSES HOW HE WAS CAST IN "LOST IN SPACE"
http://www.cinemaretro.com/index.php?/archives/12570-JONATHAN-HARRIS-DISCUSSES-HOW-HE-WAS-CAST-IN-LOST-IN-SPACE.html
<iframe width="560" height="315" src="https://www.youtube.com/embed/-Hg9LPr-Glc?si=4BI-ERy-KfWtsyfw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share"></iframe>
<p> </p>
<p>The American Archive of Television presents this marvelous archival interview with Jonathan Harris, who discusses how he came to be cast in Irwin Allen's "Lost in Space". We won't spill the beans but his recollections of meeting with the ingenious but eccentric Allen, who created and produced the series, are hilarious. 
</p>
Cinema Retronospam@example.com (Cinema Retro)
Out of the Past, 2024-03-24T13:24:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125700http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12570COMING FROM KINO LORBER: "TEASERAMA"
http://www.cinemaretro.com/index.php?/archives/12593-COMING-FROM-KINO-LORBER-TEASERAMA.html
<p><!-- s9ymdb:12513 --><img class="serendipity_image_center" width="500" height="780" src="http://www.cinemaretro.com/uploads/bettiepage500.jpg" /> </p>
<p><strong>Cinema Retro has received the following press release from Kino Lorber. If you're politically correct, then stop reading now!: </strong></p>
<div class="products__description" style="box-sizing: border-box; line-height: 24px; padding-top: 20px; padding-bottom: 20px; color: #343a40; background-color: #ffffff;">
<p style="box-sizing: border-box; margin: 0px 0px 10px;"><span data-sheets-root="1" data-sheets-value="{"1":2,"2":"Experience the golden age of burlesque in this titillating triple feature of 1950s grindhouse classics, newly restored from the original negatives. Pinup goddess Bettie Page shares the screen with striptease legend Tempest Storm in the holy grails of full-color burlesque films: Varietease (1954) and Teaserama (1955). Directed by girlie-pix impresario Irving Klaw, the dance card includes performances by strip queens Lili St. Cyr, tantalizing Trudy Wayne, and “female impersonator” Vickie Lynn, interspersed with obligatory appearances by baggy-pants comics and sunny songsters. Concluding the trilogy is Klaw’s Buxom Beautease (1956), which incorporates the short color film Striptease Revealed, and features incendiary performances by Blaze Starr and Dorian Dennis. Working in collaboration with Something Weird, the Sonney Amusement Enterprises Film Collection, and the UCLA Film & Television Archive, Kino Lorber has performed meticulous 4K restorations of these essential films, introducing them to a new generation of burlesque aficionados."}" data-sheets-userformat="{"2":14911,"3":{"1":0},"4":{"1":2,"2":16777215},"5":{"1":[{"1":2,"2":0,"5":{"1":2,"2":0}},{"1":0,"2":0,"3":3},{"1":1,"2":0,"4":1}]},"6":{"1":[{"1":2,"2":0,"5":{"1":2,"2":0}},{"1":0,"2":0,"3":3},{"1":1,"2":0,"4":1}]},"7":{"1":[{"1":2,"2":0,"5":{"1":2,"2":0}},{"1":0,"2":0,"3":3},{"1":1,"2":0,"4":1}]},"8":{"1":[{"1":2,"2":0,"5":{"1":2,"2":0}},{"1":0,"2":0,"3":3},{"1":1,"2":0,"4":1}]},"12":0,"14":{"1":2,"2":275199},"15":"Calibri","16":12}" style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">Experience the golden age of burlesque in this titillating triple feature of 1950s grindhouse classics, newly restored from the original negatives. Pinup goddess Bettie Page shares the screen with striptease legend Tempest Storm in the holy grails of full-color burlesque films: Varietease (1954) and Teaserama (1955). Directed by girlie-pix impresario Irving Klaw, the dance card includes performances by strip queens Lili St. Cyr, tantalizing Trudy Wayne, and “female impersonator” Vickie Lynn, interspersed with obligatory appearances by baggy-pants comics and sunny songsters. Concluding the trilogy is Klaw’s Buxom Beautease (1956), which incorporates the short color film Striptease Revealed, and features incendiary performances by Blaze Starr and Dorian Dennis. Working in collaboration with Something Weird, the Sonney Amusement Enterprises Film Collection, and the UCLA Film & Television Archive, Kino Lorber has performed meticulous 4K restorations of these essential films, introducing them to a new generation of burlesque aficionados.</font></span></p>
</div>
<div class="products__attributes" style="box-sizing: border-box; border-top: 1px solid #1b9cfc; padding-top: 30px; overflow-wrap: break-word; color: #343a40; background-color: #ffffff;">
<p><!-- s9ymdb:12514 --><img class="serendipity_image_center" width="500" height="637" src="http://www.cinemaretro.com/uploads/BETTIEPAGE2.jpg" /> </p>
<div style="box-sizing: border-box;">
<p><font size="2" face="verdana, arial, helvetica, sans-serif"><span style="box-sizing: border-box; font-weight: 700;">Product Extras</span> :</font> </p>
<ul style="box-sizing: border-box; margin-top: 0px; margin-bottom: 10px;">
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">4K Restorations of TEASERAMA and VARIETEASE from the 16mm Original Camera Negatives</font></li>
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">4K Restoration of BUXOM BEAUTEASE from the 35mm Camera Negative and 16mm Materials</font></li>
</ul>
<p style="box-sizing: border-box; margin: 0px 0px 10px;"><span style="box-sizing: border-box; font-weight: 700;"><font size="2" face="verdana, arial, helvetica, sans-serif">DISC 1: TEASERAMA</font></span></p>
<ul style="box-sizing: border-box; margin-top: 0px; margin-bottom: 10px;">
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">TEASERAMA – 4K Restoration</font></li>
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">Audio Commentary by Jo Weldon, Author of The Burlesque Handbook</font></li>
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">TEASERAMA – <span style="box-sizing: border-box; font-weight: 700;"><em style="box-sizing: border-box;">Something Weird Video</em></span> Edition</font></li>
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">Audio Commentary by David F. Friedman and Mike Vraney</font></li>
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">BUXOM BEAUTEASE – 4K Restoration</font></li>
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">TEASERAMA – Theatrical Trailer</font></li>
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">BUXOM BEAUTEASE – Theatrical Trailer</font></li>
</ul>
<p style="box-sizing: border-box; margin: 0px 0px 10px;"><span style="box-sizing: border-box; font-weight: 700;"><font size="2" face="verdana, arial, helvetica, sans-serif">DISC 2: VARIETEASE</font></span></p>
<ul style="box-sizing: border-box; margin-top: 0px; margin-bottom: 10px;">
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">VARIETEASE – 4K Restoration</font></li>
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">Audio Commentary by Film Historian Alexandra Heller-Nicholas</font></li>
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">VARIETEASE – <span style="box-sizing: border-box; font-weight: 700;"><em style="box-sizing: border-box;">Something Weird Video</em></span> Edition</font></li>
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">Audio Commentary by David F. Friedman and Mike Vraney</font></li>
<li style="box-sizing: border-box;"><font size="2" face="verdana, arial, helvetica, sans-serif">VARIETEASE – Theatrical Trailer</font></li>
<p><strong><a href="https://amzn.to/3IOq5Ol">Click here</a> to order from Amazon</strong> </p>
</ul>
</div>
</div>
Cinema Retronospam@example.com (Cinema Retro)
Blu-ray/DVD/Streaming Reviews & News, 2024-03-23T13:49:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125930http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12593REVIEW: “ACE HIGH” (1970), STARRING ELI WALLCH, TERENCE HILL, BUD SPENCER AND BROCK PETERS; KINO LORBER BLU-RAY SPECIAL EDITION,
http://www.cinemaretro.com/index.php?/archives/12592-REVIEW-ACE-HIGH-1970,-STARRING-ELI-WALLCH,-TERENCE-HILL,-BUD-SPENCER-AND-BROCK-PETERS;-KINO-LORBER-BLU-RAY-SPECIAL-EDITION,.html
<p><!-- s9ymdb:12512 --><img class="serendipity_image_center" width="500" height="632" src="http://www.cinemaretro.com/uploads/acehigh500.jpg" /> </p>
<p><strong>By Fred Blosser</strong> </p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">When
I was in college, my friend Bill Davis and I spent nearly half a day one
Saturday from 11 a.m. to 9 p.m. at a local movie theatre for a ten-hour
marathon.  The lineup included Sergio
Leone’s </span><span dir="rtl"></span><span dir="rtl"></span><span lang="AR-SA" dir="rtl" style="font-size: 10pt; font-family: "Arial Unicode MS", serif;"><span dir="rtl"></span><span dir="rtl"></span>“</span><span style="font-size: 10pt; font-family: Verdana, sans-serif;">A Fistful of Dollars,”
“For a Few Dollars More,” and </span><span dir="rtl"></span><span dir="rtl"></span><span lang="AR-SA" dir="rtl" style="font-size: 10pt; font-family: "Arial Unicode MS", serif;"><span dir="rtl"></span><span dir="rtl"></span>“</span><span style="font-size: 10pt; font-family: Verdana, sans-serif;">The Good, the Bad,
and the Ugly,” capped with Clint Eastwood’s American Western, “Hang ‘Em High,”
an attempt to replicate the Italian filmmaker’s violent, gritty style. It was the equivalent of binge-watching in
those long-ago days, before home video and streaming services made it easy to
access older films. To revisit favourite
movies in that Neolithic age, you had to hope they would return for second- or
third runs on the big screen, or wait until they resurfaced on TV in visually
degraded, ad-infested prints. The fact
that the Leone movies were still pulling in healthy ticket sales on rerun, four
years after their initial U.S. release, attests to their popularity. Aside from special events like the periodic
return of “Ben-Hur” or “The Ten Commandments,” the only other pictures with the
same level of second-run durability at the time were the first five James Bond
features with Sean Connery. <o:p /></span></p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">The
initial success and ongoing appeal of the Leone trilogy prompted Hollywood to
import other Spaghetti Westerns in hopes of matching (or at least approaching)
the same level of commercial success. The era ran from 1968 to the mid-1970s, surviving even the U.S.
box-office disaster of Leone’s fourth Western, “Once Upon a Time in the
West.” The operatic epic starring
Charles Bronson, Henry Fonda, and Jason Robards was lamely marketed here as a
conventional Western, baffling fans of John Wayne and “Gunsmoke.” Adding insult to injury, it suffered
wholesale cuts that rendered entire sections of the story incoherent. On smaller investments, more modest
imitations in the mode of “The Good, the Bad, and the Ugly” fared better. One such picture was Giuseppe Colizzi’s
Western, </span><em><span lang="IT" style="font-size: 10pt; font-family: Verdana, sans-serif;">I quattro dell'Ave Maria</span></em><span style="font-size: 10pt; font-family: Verdana, sans-serif;">, a tremendous hit in
Europe. The Italian title cryptically
translates to “The Four of the Hail Mary,” which sounds more like a farce about
comedic nuns than a Western. Paramount
Pictures (the same studio that, ironically, mishandled “Once Upon a Time in the
West”) wisely retitled the production “Ace High” for U.S. release.<o:p /></span></p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">In
Colizzi’s film, bounty hunters Cat Stevens (Terence Hill) and Hutch Bessy (Bud
Spencer) ride into El Paso with $300,000 in stolen money recovered from train
robber Bill San Antonio. They intend to
turn in the money and claim a hefty reward. The Bill San Antonio back story referred to Colizzi’s previous Western
with Hill and Spencer, “God Forgives . . . I Don’t!” (1967; U.S. release,
1969), but you needn’t have seen the predecessor to get up to speed. Cat and Hutch discover that the bank
president in El Paso was Bill San Antonio’s partner, not his victim, and
instead of settling for the reward, they demand the entire $300,000, else
they’ll expose the banker’s secret. In
turn, the banker approaches an outlaw, Cacopoulos (Eli Wallach), who sits in
jail waiting to be hanged the next morning. He offers to free Caco (as the scruffy felon is called) if he’ll kill
Cat and Hutch. <o:p /></span></p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">This
being a Spaghetti Western, a genre that reveres double-crosses like no other,
thanks to the template set by Leone, Caco correctly guesses that the banker
plans to do away with him too, as soon as the bounty hunters are out of the
way. Grabbing the $300,000, he flees
town on his own quest for vengeance. The
money will finance his long-delayed pursuit of two former friends, Paco and
Drake, who left him to take the fall for a heist years before. Cat and Hutch follow after him to reclaim the
$300,000. Caco finds Paco south of the
Border, presiding over the summary execution of rebellious peons, and Drake
(Kevin McCarthy, in hardly more than a brief guest appearance) as the owner of
a lavish gambling house on the Mississippi. Drake is still a crook who swindles his rich patrons with a rigged
roulette wheel. Along the way, Caco and
the bounty hunters befriend a Black high-wire artist, Thomas (Brock Peters),
whose talent is pivotal for the bounty hunters’ scheme to break into the
impregnable casino to take control of the wheel and clean Drake out. Italian viewers probably realized that Caco,
Cat, Hutch, and Thomas were “the four of the Hail Mary” in Colizzi’s original
title, planning their break-in as Caco fingers his rosary. Following Sergio Leone’s lead, the Italian
Westerns loved to tweak Catholic piety.<o:p /></span></p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Colizzi
also dutifully copies other elements of the Leone playbook, especially those
featured in “The Good, the Bad, and the Ugly.” Alliances are made to be broken, greed and expediency always overrule
loyalty, and the sins of thieves and hired killers are dwarfed by the inherent
corruption and callousness of society as a whole. But Colizzi’s cynicism seems superficial
compared with Leone’s, and his violence toned down. In the Leone movies, showdowns are “hideous
fantasies of sudden death,” to quote the late film critic Bosley Crowther, in
which the losers literally line up in groups to be gunned down. When my friend Bill and I watched the Leone
marathon all those years ago, we counted a hundred casualties even before we
were well into the third feature, “The Good, the Bad, and the Ugly.” In one gunfight in “Ace High,” Hutch, Cat,
and Thomas simply shoot the hats off their opponents’ heads, the kind of
slapstick more likely to appear in a comedy Western with Bob Hope or Don
Knotts. The final shootout with Drake
and his henchman is a parody of Leone’s showdowns, which invariably were
choreographed to Ennio Morricone’s dramatic music. Caco has dreamed for years that his reckoning
with his traitorous partner would be accompanied by “slow, sweet” music, and so
Cat and Hutch order Drake’s house orchestra to play a waltz as the “Four of the
Hail Mary” square off against Drake and his henchmen. On one hand it’s a clever idea for viewers
who recognise the joke, but on the other, it trivialises the revenge motif in a
way Leone never would have.<o:p /></span></p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">In
another connective thread with “The Good, the Bad, and the Ugly,” Eli Wallach’s
scruffy character is virtually a clone of his bandit “Tuco” from the Leone
epic, even to a nearly identical name. But Leone shrewdly counter-balanced Wallach’s manic performance with
Eastwood’s laconic presence and Lee Van Cleef’s steely menace. In “Ace High,” Colizzi already has two
mismatched characters who play off each other—Terence Hill’s terse, handsome
Cat and Bud Spencer’s burly, grouchy Hutch. Wallach is mostly left to his own Actors Studio devices of grins, tics,
and swagger, which is good for fans who couldn’t get enough Tuco but not so
good for others who just want the story to move on. Tied up by villagers who intend to torture
him to learn the location of his stolen $300,000, Caco relates a long,
soporific account of his childhood. The
scene serves a dramatic purpose, since Caco is trying to lull a drowsy guard to
sleep, but it goes on and on. You’re
likely to nod off before the sentry does.<o:p /></span></p>
<p class="Body"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p> <span style="font-size: 10pt; font-family: Verdana, sans-serif;">“Ace High” is
available in a fine Blu-ray edition from Kino Lorber Studio Classics, offering
Colizzi’s film at the correct 2.35:1 ratio in a rich Technicolor transfer. Films like this always looked good on the big
screen, but most casual fans probably remember them instead from lousy,
pan-and-scan TV prints in the old days. The Blu-ray includes the original trailer, plus trailers for several
other Spaghetti Westerns released by KL. The company’s go-to expert on the genre, Alex Cox, contributes a new
audio commentary. Cox has always been
forthright in his dour opinion of directors like Giuseppe Colizzi, Gianfranco
(Frank Kramer) Parolini, and </span><span lang="IT" style="font-size: 10pt; font-family: Verdana, sans-serif;">Giuliano </span><span style="font-size: 10pt; font-family: Verdana, sans-serif;">(Anthony Ascott) Carnimeo, who turned the
Italian Western in the direction of burlesque in the late 1960s, and away from
the gritty style of Sergio Leone, Sergio Corbucci, and Sergio Sollima. But his comments on “Ace High” are
even-handed, informative, and entertaining.</span></p>
<p><strong><a href="https://amzn.to/3PUMpKn">Click here</a> to order from Amazon</strong></p>
<p> <!-- s9ymdb:10659 --><img class="serendipity_image_center" width="100" height="159" src="http://www.cinemaretro.com/uploads/SONSRINGO2.jpg" /></p>
<p><span style="color: #000000; font-family: Verdana, sans-serif; font-size: 13.3333px;">(Fred Blosser is the author of "Sons of Ringo: The Great Spaghetti Western Heroes". </span><a href="http://www.amazon.com/dp/B084G56GDP/?tag=cinemaretroco-20" style="font-family: Verdana, sans-serif; font-size: 13.3333px;">Click here</a><span style="color: #000000; font-family: Verdana, sans-serif; font-size: 13.3333px;"> to order from Amazon)</span> </p>
Cinema Retronospam@example.com (Cinema Retro)
Blu-ray/DVD/Streaming Reviews & News, 2024-03-22T13:28:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125920http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12592CINEMA RETRO'S "DR. NO" SPECIAL EDITION ISSUE NOW SOLD OUT
http://www.cinemaretro.com/index.php?/archives/12591-CINEMA-RETROS-DR.-NO-SPECIAL-EDITION-ISSUE-NOW-SOLD-OUT.html
<p> </p>
<p><!-- s9ymdb:12511 --><img class="serendipity_image_center" width="490" height="677" src="http://www.cinemaretro.com/uploads/DRNO500WEBCROP1.jpg" /> </p>
<p><strong><font size="4">Sorry to report that we have just sold the last issue of our "Dr. No" special edition. Thanks to all who made it such a success.  </font></strong></p>
Cinema Retronospam@example.com (Cinema Retro)
Magazine News, 2024-03-21T18:48:38Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125910http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12591"VON RYAN'S EXPRESS" (1965): WATCH THE ORIGINAL TRAILER
http://www.cinemaretro.com/index.php?/archives/12564-VON-RYANS-EXPRESS-1965-WATCH-THE-ORIGINAL-TRAILER.html
<iframe width="560" height="315" src="https://www.youtube.com/embed/3JPChJ9gyGQ?si=WFrEOA_ZKR7ISjQ8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share"></iframe>
<p> </p>
<p>Director Mark Robson's film adaptation of the novel "Von Ryan's Express" is one of the best war films of its era. The trailer is also very good, if you can withstand the hokey, over-the-top narration!
</p>
Cinema Retronospam@example.com (Cinema Retro)
Out of the Past, 2024-03-21T13:39:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125640http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12564BOOK REVIEW: "MAGIC TIME: THE FILMS AND SCRIPTS OF BILLY WILDER" BY J.R JORDAN (BEARMANOR MEDIA)
http://www.cinemaretro.com/index.php?/archives/12590-BOOK-REVIEW-MAGIC-TIME-THE-FILMS-AND-SCRIPTS-OF-BILLY-WILDER-BY-J.R-JORDAN-BEARMANOR-MEDIA.html
<p><!-- s9ymdb:12510 --><img class="serendipity_image_center" width="500" height="732" src="http://www.cinemaretro.com/uploads/magictimewilder.png" /> </p>
<p><strong>By Dean Brierly</strong> </p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">Joe Jordan, the writer and
film historian who applied his prodigious research and keen analysis to acclaimed
books on the movies of Robert Wise and William Castle, has now focused his
critical acumen on one of Hollywood’s most legendary directors in “Magic Time:
The Films and Scripts of Billy Wilder.” (BearManor Media, 2023)<o:p /></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">Born in 1906, Wilder worked
as a journalist before turning to film. He initially made his mark writing film
scripts in Germany before emigrating to America and pairing up with screenwriter
Charles Brackett on such classic pictures as “Midnight” (1939), “Ninotchka”
(1939) and “Ball of Fire” (1941). The two continued working together as Wilder
graduated to the director’s chair on “Double Indemnity” (1944), “The Lost
Weekend” (1945) and “Sunset Boulevard” (1950), before terminating their
partnership upon completion of the latter. Wilder then teamed with screenwriter
I.A.L. Diamond on another run of classics, inclusive of “Ace in the Hole”
(1951), “Some Like it Hot” (1959 and “The Apartment” (1960).<o:p /></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">From the beginning to end of
his directing career, Wilder was an authentic auteur, one whose films were
easily identifiable by their visual elegance, sardonic wit and often-dark take
on human nature. Few were his equal at blending cynicism and romanticism. Wilder
maintained this distinctiveness over an extraordinary range of material—film
noir, screwball comedy, wartime thriller, courtroom drama, Cold War satire. <o:p /></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">“Magic Time” is another
standout addition to the body of critical literature devoted to the great
filmmaker. Following the recipe of his book “Robert Wise: The Motion Pictures”
(2020), Jordan treats each film to its own chapter. Chapters 1 through 10 cover
the films Wilder worked on as screenwriter only; chapters 11 through 35 on
those he made as a director/writer. Jordan briefly describes the historical and
social context at the start of each new production—including Wilder’s personal
and professional circumstances, his state of mind, his thoughts about the
actors and crew—before launching into a lengthy comprehensive synopsis, leaving
out no detail or plot point. The effect is almost like watching the film unfold
in one’s mind, so if it’s been awhile since you’ve seen, say, “A Foreign
Affair” (1948), Jordan brings you up to speed as he touches on narrative, theme,
tone, performance—the total fabric of the film, liberally interspersed with
classic quotes courtesy of Wilder–Bracket or Wilder–Diamond. <o:p /></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">Despite including an amazing
amount of exposition, detail, observation and analysis about each film, the
chapters are relatively brief, with Jordan’s insights and information delivered
in clear, user-friendly language. Thanks to its structure, one can read the book
straight through from start to finish, or simply open to a random chapter to get
a fun, fresh slant on a favorite Wilder film. <o:p /></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">Even if you’ve seen a
particular film many times, Jordan can still surprise and enrich you with his
critical acumen. I thought I was on familiar terms with every narrative aspect
of “Sunset Boulevard,” which is in essence the story of three aspiring writers,
but I never gave much thought as to the myriad ways in which those three
narratives contrast and compete with one another, or the degree to which they
inform and direct the film’s overall narrative.<o:p /></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">There are many such examples
embedded within this book. One cannot come away from reading it without having
gained new insight and appreciation for the classic Wilder films that we almost
know by heart. But if Jordan helps us see familiar favorites through new eyes,
he also makes a strong case for getting to know lesser-regarded Wilder films
such as “The Emperor Waltz” (1948) and “Fedora” (1978). <o:p /></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">Jordan amusingly ends “Magic
Time” with an extended addendum titled “101 Motifs, Catchphrases and More (From
A to Z)” that rounds the book off in an offbeat manner, listing numerous recurring
narrative, object and dialog tropes—including Bolsheviks, catchphrases, card
games, cities in Ohio, close calls, monocles, sharing of cigarettes and more—that
can only be termed Wilderian.</span></p>
<p><strong><a href="https://amzn.to/496ZLJY">Click here</a> to order from Amazon</strong> </p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p>
Cinema Retronospam@example.com (Cinema Retro)
Sandra de Bruin & Dean Brierly, 2024-03-20T13:54:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125900http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12590COMING IN MAY: "A QUEEN'S RANSOM" BLU-RAY STARRING GEORGE LAZENBY
http://www.cinemaretro.com/index.php?/archives/12577-COMING-IN-MAY-A-QUEENS-RANSOM-BLU-RAY-STARRING-GEORGE-LAZENBY.html
<p><!-- s9ymdb:12499 --><img class="serendipity_image_center" width="500" height="693" src="http://www.cinemaretro.com/uploads/queensransombox.jpg" /> </p>
<p>Cinema Retro has received the following press release:</p>
<p> <span style="font-family: Verdana, sans-serif; font-size: 10pt;">Perhaps even God can't save the Queen in Golden Harvest's
A Queen's Ransom (also known as International Assassin), an explosive
action-thriller starring George Lazenby (The Man from Hong Kong), Angela Mao
(Lady Whirlwind) and the legendary Jimmy Wang Yu (The One-Armed Swordsman).</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">As Queen Elizabeth II arrives in Hong Kong for a state
visit, a band of skilled mercenaries plan her assassination. Contracted by an
Irish Republican (Lazenby), the international group of hired killers includes a
Japanese explosives expert (Chang Pei-shan), a Thai boxer (Bolo Yeung), a
Filipino sniper (Peter Chan Lung) and a veteran of the National Liberation
Front of South Vietnam (Wang Yu). As the conspirators move to carry out their
plot, two police officials (Ko Chun-Hsiung and Charles Heung) work with a young
socialite (Tanny Tien Ni) in a race against time to save the Monarch's head -
while also trying to manage a crisis that has brought a huge number of refugees
to Hong Kong, including a young Cambodian princess (Mao).</span></p>
<p><!-- s9ymdb:12500 --><img class="serendipity_image_center" width="550" height="230" src="http://www.cinemaretro.com/uploads/queensransomb550.jpg" /> </p>
<p class="MsoNormal"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Written and directed by Ting Shan-hsi (Rebel Boxer), A
Queen's Ransom was Golden Harvest's attempt to capitalize on the popular
success of the political thriller in the wake of The Day of the Jackal. Eureka
Classics is proud to present the film for the first time ever on Blu-ray from a
brand new 2K restoration.</span></p>
<p><!-- s9ymdb:12502 --><img class="serendipity_image_center" width="550" height="230" src="http://www.cinemaretro.com/uploads/queensransom550d.jpg" /> </p>
<p class="MsoNormal"><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;"><strong>BONUS FEATURES:</strong><o:p /></span></p>
<p class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in;"> </p><span style="font-size: 10pt; line-height: 107%; font-family: Symbol;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">1080p HD presentation on Blu-ray of the
original Hong Kong theatrical cut from a brand new 2K restoration</span><br /><span style="font-size: 10pt; line-height: 107%; font-family: Symbol;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">1080p HD presentation on Blu-ray of the
original English language export cut from a brand new 2K restoration</span><br /><span style="font-size: 10pt; line-height: 107%; font-family: Symbol;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Original Mandarin and optional classic
English dub (Hong Kong theatrical cut)</span><br /><span style="font-size: 10pt; line-height: 107%; font-family: Symbol;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Classic English dub (Export version)</span><br /><span style="font-size: 10pt; line-height: 107%; font-family: Symbol;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Optional English subtitles, newly translated
for this release</span><br /><span style="font-size: 10pt; line-height: 107%; font-family: Symbol;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Brand new audio commentary on the Hong Kong
theatrical version by Asian film expert Frank Djeng (NY Asian Film Festival)</span><br /><span style="font-size: 10pt; line-height: 107%; font-family: Symbol;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Brand new audio commentary on the export
version by action cinema experts Mike Leeder and Arne Venema</span><br /><span style="font-size: 10pt; line-height: 107%; font-family: Symbol;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Brand new documentary featurette by martial
artist and actor Michael Worth</span><br /><span style="font-size: 10pt; line-height: 107%; font-family: Symbol;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Reversible sleeve featuring original poster
artwork</span><br /><span style="font-size: 10pt; line-height: 107%; font-family: Symbol;">·<span style="font-variant-numeric: normal; font-variant-east-asian: normal; font-variant-alternates: normal; font-kerning: auto; font-optical-sizing: auto; font-feature-settings: normal; font-variation-settings: normal; font-variant-position: normal; font-stretch: normal; font-size: 7pt; line-height: normal; font-family: "Times New Roman";"> </span></span><span style="font-size: 10pt; line-height: 107%; font-family: Verdana, sans-serif;">Trailers</span><br />
<ul> </ul><!--[if !supportLists]-->
<p> </p>
<p><strong><a href="https://amzn.to/49Io7e9">Click here </a>to pre-order from Amazon</strong> </p>
<p> </p>
Cinema Retronospam@example.com (Cinema Retro)
Blu-ray/DVD/Streaming Reviews & News, 2024-03-19T14:30:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125770http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12577OUT OF THE PAST: MOVIES PLAYING IN WINNIPEG, CANADA, 1966
http://www.cinemaretro.com/index.php?/archives/7891-OUT-OF-THE-PAST-MOVIES-PLAYING-IN-WINNIPEG,-CANADA,-1966.html
<p> </p>
<p><!-- s9ymdb:12503 --><img class="serendipity_image_center" width="500" height="667" src="http://www.cinemaretro.com/uploads/winnipegbw.jpg" /><br /></p>
<p>What a year it was! In 1966, you could see the following movies playing locally in Winnipeg, Canada: Dean Martin as Matt Helm in The Silencers, James Coburn as Our Man Flint, The Trouble With Angels, Carry on Cleo, The Sound of Music and a quadruple feature of monsters flicks: Die Monster, Die, Eegah, Tomb of Ligeia and Planet of the Vampires.  <br /></p>
Cinema Retronospam@example.com (Cinema Retro)
Out of the Past, 2024-03-19T14:30:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=78910http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=7891HUMPHREY BOGART PHOTO ESSAY
http://www.cinemaretro.com/index.php?/archives/12580-HUMPHREY-BOGART-PHOTO-ESSAY.html
<iframe width="560" height="315" src="https://www.youtube.com/embed/mq2FEFDdT7c?si=Am5rzGs950tuReCF" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share"></iframe>
<p> </p>
<p>Here's a look at the life and career of Humphrey Bogart illustrated with some great still photos.
</p>
Cinema Retronospam@example.com (Cinema Retro)
Out of the Past, 2024-03-19T13:28:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125800http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12580"TRAILERS FROM HELL" PRESENTS CHARLES BRONSON IN "DEATH WISH"
http://www.cinemaretro.com/index.php?/archives/12584-TRAILERS-FROM-HELL-PRESENTS-CHARLES-BRONSON-IN-DEATH-WISH.html
<iframe width="560" height="315" src="https://www.youtube.com/embed/g6Yo8ltiU5c?si=1JO4mzL3Ts_bjHgT" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share"></iframe>
<p> </p>
<p>From Joe Dante's "Trailers from Hell":</p>
<p> <span style="background-color: rgba(0, 0, 0, 0.05); color: #131313; font-family: Roboto, Arial, sans-serif; font-size: 14px; white-space-collapse: preserve;">Although Charles Bronson had been making movies for nearly 25 years and was quite popular in Europe, this international smash hit made him a superstar for the rest of his career. Michael Winner's provocative saga of a grieving father's vigilante vengeance became a Nixon-era touchstone that engendered four increasingly exploitative sequels over the next two decades. Hard to imagine what originally slated director Sidney Lumet would have made of this with Jack Lemmon in the lead.</span></p>
<p><span class="yt-core-attributed-string--link-inherit-color" style="margin: 0px; padding: 0px; border: 0px; background: rgba(0, 0, 0, 0.05); font-family: Roboto, Arial, sans-serif; font-size: 14px; white-space-collapse: preserve; color: #131313;">
As always, you can find more commentaries, more reviews, more podcasts, and more deep-dives into the films you don't know you love yet over on the Trailers From Hell mothership:
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Cinema Retronospam@example.com (Cinema Retro)
Out of the Past, 2024-03-18T13:37:00Zhttp://www.cinemaretro.com/wfwcomment.php?cid=125840http://www.cinemaretro.com/rss.php?version=1.0&type=comments&cid=12584