Cinema Retro has received the following announcement:
The Morning After was established in
February/March 1991 as the official The Persuaders!/ITC Appreciation Society by
the then copyright owners, the ITC Entertainment Group Ltd.
The society mainly concentrated on The Persuaders! in
the club magazine, The Morning After but some issues were 'specials' dedicated
to other ITC action-adventure series made in the 1960s and 70s such as The
Champions, Man In A Suitcase, Department S and The Baron.
This book reproduces the first 10 issues of The
Morning After in their entirety. These issues have long been out of print and
were printed in very small quantities. Original copies rarely turn up and now
sell on auction sites for anything between £15 – £20 per issue.
Son Terry (left) watches his Father Dickie, dance with lead vocalist Kerry Schultz and guitarist David D'Andrade (far right) during the band's performance of The Man With the Golden Gun.
By Dave Worrall
Last weekend (Saturday 22nd March) I had
the pleasure of being invited to Jean and Dickie Bamber's Diamond Wedding
anniversary celebrations held at Heatherden Hall, Pinewood Studios. Dickie has
worked in the film industry for over 50 years on productions such as Genevieve, The Ipcress File, Thunderball,
Battle of Britain, A Bridge Too Far and many of the Carry On comedies, to name but a few. Their
son Terry, himself a veteran of the industry, and who I first met on the set of
the James Bond film GoldenEye, did
his parent's proud. Following a champagne reception we dined in the Pinewood
house restaurant (remember the scene in Who
Dares Wins where the hostages are held around a dining table in the US
Ambassador's residence? Well, we were in the same room.)
The evening's cabaret
was provided by the 14-piece band 'Q the Music' who specialize in performing
music from the James Bond films. From Dr.
No to Skyfall, this
mini-orchestra performed some of the best cover versions I have ever heard.
They were brilliant. Bond fans themselves, their renditions of even the
instrumentals such as 'Bond 77' from The
Spy Who Loved Me and 'Runaway' from For
Your Eyes Only, were spot on. Kit Mlynar on saxaphone, and David D'Andrade
on guitar, were excellent, as was lead vocalist Kerry Schultz. Wow, what a
voice. This was professionalism at its best.
Lead vocalist Kerry Schultz belts out a Bond hit song.
If you are a James Bond fan, or
simply like to hear movie music live, I highly recommend this band. In fact,
they are at The Lincoln Drill Hall on April 18/19, and in Wycombe on May 11th.
Check out their web site for further details and treat yourself to a fabulous
night out. www.QTheMusicShow.com
American
Hustle, one of the
best Martin Scorsese films not directed by Martin Scorsese (James Toback’s Fingers (1978) is another film that
falls into this camp), opens with an amusing sequence in a hotel room wherein
con artist Irving Rosenfeld (a nearly unrecognizable Christian Bale) is
attempting to hide his male pattern baldness. It is April 1978 and confederates Sydney Prosser (Amy Adams), who is
presenting herself as an English aristocrat named Lady Edith Greensly and Richard
DiMaso (Bradley Cooper) are in the midst of trying to sting Carmen Polito
(Jeremy Renner), the Mayor of Camden, NJ. Irving has to get it together and be
convincing (what we don’t know at this point of the film is how conflicted he
is about what he is doing regarding the mayor). He comes to blows with Richard, who eggs him on and ruffles his hair in
a hilarious moment of awkwardness and discomfort, and we wonder if Irving will
blow a gasket and go Joe Pesci on Richard or if he will simply attend to his
ridiculous comb-over. The question of
why they want to sting the mayor is eventually revealed as the story flashes
back to when Irving and Sydney first meet and bond over their love and
admiration of Duke Ellington. They
realize they are kindred souls and their attraction to one another intensifies. As we come to learn, however, nothing is
quite as it seems because as David Mamet showed us in both House of Games (1987) and The
Spanish Prisoner (1997), everyone is potentially a mark and each mark is
played for someone else’s gain. Irving is
married and has a son but like professional thief Neil Mccauley (Robert De Niro)
in Michael Mann’s Heat (1995) he is
good at what he does, and in this case he knows how to not only conduct loan
scams but forge fake paintings even when hiding behind a legitimate business of
being a dry cleaner for tax purposes. Unfortunately, he and Sydney attempt to con Richard,
who turns out to be an FBI agent who cuts them a deal: he forces them into aiding
him entrap some other targets and promises that if their help results in four
good arrests, they will both end up with tabula
rasas, effectively avoiding jail time.
American
Hustle, which opened
theatrically in December 2013, is set within the framework of the Abscam scandal
of the late 1970’s and early 1980’s, which also provided the backdrop for the
Al Pacino/Johnny Depp vehicle Donnie
Brasco (1997). It was the first time
in history that undercover FBI agents videotaped the taking of bribes by
politicians. This factors into the film, which was directed by David O. Russell
who also directed Flirting with Disaster
(1996), I Heart Huckabees (2004), and
Silver Linings Playbook (2012). Mr. Russell has meticulously recreated the
1970s to such a degree that you cannot help but marvel at all of the details,
looking carefully to try and spot any obvious anachronisms. Amy Adams stars opposite Mr. Bale (who
followed in Mr. De Niro’s thespian footsteps and gained some 40 pounds to play
the role) and she gives a multi-layered performance as Sydney, impersonating a
refined British woman. It becomes a game
between Irving and Richard trying to tell which person they are talking to, Sydney
or Lady Greensly. Jennifer Lawrence
portrays Irving’s wife, Rosalyn, and proves why she is one of the best
actresses working today. Rosalyn is a
loose cannon. Like Sharon Stone’s impetuous
Ginger McKenna in Casino, she has a
big mouth and messes with dangerous people when she isn’t starting fires by microwaving
metal or vacuuming her house while belting out the famous songs of the day. She hates Sydney and lets her know it, and
underneath the hardened and tough veneer is a woman who is hurt by her
husband’s betrayal.
Goodfellas (1990) and Casino (1995) are obvious stylistic influences here, ranging from
effective use of period music to the inclusion of an uncredited Robert De Niro
as a mobster, Victor Tellegio, who actually speaks Arabic! The scene where he attempt to communicate
with a supposedly wealthy Arab sheikh (in reality a fraud who speaks Spanish
and English) is both tense and funny. Jeremy
Renner is his usual brilliant self as the Mayor of Camden, based upon Angelo J.
Errichetti who in reality served three years in prison for his role in the
Abscam scandal (in the film, which is highly fictionalized, he serves 18
months). Mr. Errichetti passed away
seven months prior to the release of American
Hustle at the age of 84.
The use of voiceover is also effective,
a device that Mr. Scorsese also employed to great effect in his aforementioned
gangster epics. The film runs a quick 138
minutes, but I have seen 90-minute movies much longer than this.
The Blu-ray is the way to go for this
release as it comes with a DVD and digital copy. The extras are slim, which is unfortunate
considering the high number of Oscar nominations and accolades the film
received. They consist of a behind-the-scenes
look at the making of the film which runs 16 minutes, and an extended deleted
scenes section that runs 22 minutes. The
requisite theatrical trailer is also included. I would have loved a running commentary from the director as the film
was obviously a labor of love. That
being said, its exclusion should not detract from your enjoyment of watching
this highly watchable recreation of a specific moment in time in New York and
New Jersey’s history.
Production Code Basics – For Movie Still Collectors is the first reference book written on how to use movie still production codes to help identify unknown movie stills and costumes.
Production codes came into use around 1912 as the United States became the major international supplier of films and movie studios were driven to increase their production due to increased demand. By 1920 production codes were used by every major film studio and became an indispensable tool utilized in almost every department. Some studios even used production codes to mark their costumes and props.
Production Code Basics – For Movie Still Collectors covers every phase from the initial creation and why they were needed and then, moves through the filming process to show the use of stills through each department. Also included is a breakdown of major studios and different variations each studio used. Explanations are included on the process outside of the major studios and cover such area as states rights, exports, independent studios, distribution, multiple markings and much more.
Production Code Basics – For Movie Still Collectors is the reference companion book to the authors popular Movie Still Identification Book that features over 45,000 production codes and is the only book of its kind as well. Ed and Susan Poole are film accessory researchers that have been in the industry for over 35 years. This is their 15th industry related reference book. The Pooles are on a quest to make sure that film accessories such as posters, stills, and pressbooks are not lost through neglect as silent films have been. To purchase this book directly from the publisher click here
Advance Sale
Production Code Basics is scheduled for release AT CINEVENT (May 22-25). Anyone who buys the new PC Basics can either pick up their copy at Cinevent or we will start shipping immediate upon our return from Cinevent
Regular Price - $19.95
Pre- release Sale at $15.00 and includes U.S. shipping ORDER YOURS NOW!
Much
has already been written about Ingmar Bergman’s 1966 head-scratcher, Persona—it’s been analyzed, dissected,
reconstructed, and debated, and it still remains a cinematic enigma, and a
brilliant one at that. Of all of the Swedish master’s challenging works, Persona is undoubtedly the most complex,
audacious, radical, and experimental film Bergman ever made. It’s also been
widely parodied and imitated. Its influence on other filmmakers, and on pop
culture itself, cannot be taken lightly.
Persona, which means
“mask†in Latin, is all about artifice. Bergman makes no pretentions that what
the audience is viewing is make-believe—it is an invented drama about
personalities hiding behind “masks,†if you will, performed for a camera that
translates the images onto celluloid. In fact, Bergman begins Persona with an extraordinary prologue
consisting of the arc lights igniting inside a projector and the film starting
to move through the sprockets. An extra on this new Criterion Collection
release is Bergman scholar Peter Cowie’s analysis and visual essay on this
first several minutes of the picture—and
it is enlightening for those of us who have studied and pondered over the
meanings behind the seemingly haphazard images (including an erect penis!) that
assault the viewer at the start of the film. It’s interesting to note that
Bergman’s original working title on his script was Cinematography.
Once
the story starts proper, we find ourselves in the sphere of two women. One, a
nurse (Bibi Andersson), is taking care of an actress (Liv Ullmann) who has lost
her ability—or will—to speak. They are alone on an island off the coast of
Sweden (it was actually filmed on Fårö, where many of Bergman’s pictures from the period were
made, and where the director lived and died), and go through a series of
emotional soul-searching moments together. That’s putting it simplistically. By
the end of the short film (83 minutes), the two women have exchanged selves. Or
traded masks. Or become one. Or maybe the characters were two sides of the same
person all along. Or... something. In other words, Persona is totally open to interpretation, and it demands multiple
viewings to fully appreciate. It helps that the film is immensely entertaining.
You can’t keep your eyes off these two incredible actresses who are giving
their all to us.
While Andersson had worked with Bergman
many times prior to Persona, this was
the first picture featuring Ullmann, who would also become a regular member of
the director’s “stock company†as well as his lover. Another extra in the
package is a feature-length documentary, Liv
& Ingmar, directed by Dheeraj Akolkar, which examines the remarkable
forty year relationship between the two. It’s certainly one of those great
cinematic behind-the-scenes love stories, like Burton and Taylor or Tracy and
Hepburn. Ullmann is breathtakingly beautiful in Persona, and, since her character is silent, her acting is
displayed entirely in the expressions on her face. On the other hand, the film
is a tour de force for the also-gorgeous Andersson, who talks non-stop. It’s
certainly the best thing Andersson ever did, and her performance was worthy of
Academy Award consideration (she did win other awards for the film around the
world).
What everyone takes away from Persona, though, is the magnificent
black and white cinematography by Sven Nykvist. His manipulation of light and
shadow is nothing short of magical. And the close-ups!
The tale is all in the up-close and personal examination of these women’s
faces. We’ve all seen the iconic stills of Andersson and Ullmann together, looking
directly at the audience... or the even more startling image of their two faces
merged. There have been many tight director-cinematographer relationships over
the years, but the partnership between Bergman and Nykvist was one of the most
profound.
And thank goodness for The Criterion
Collection’s new 2K digital restoration! The Blu-ray looks far better than the
MGM/UA edition that was released several years ago. Along with the
above-mentioned extras, the package includes a dual Blu-ray/DVD format; new
interviews with Liv Ullmann and filmmaker Paul Schrader; archival interviews
with Bergman, Ullmann, and Andersson; on-set footage with audio commentary by
Bergman historian Birgitta Steene; and the usual slick booklet jam-packed with
more photos, essays, and interviews.
Can you unravel the mystery that is Persona? Consider it a challenge, as
well as an opportunity to experience a cinematic wonder.
Cinema Retro has received the following press release:
Dear Bond fan,
If you haven't already ordered your
copy of MI6 Confidential issue #24 or (better yet!) a 2014 subscription,
here's a little taste of what you've been missing:
Purvis & Wade on ‘Die Another Day’ being too far-fetched: "We asked if ithe invisible car could be
turned down a bit, so that something more was visible, but it’s up to
Lee Tamahori in the end, the way he wanted to do it. We could talk about
kite surfing as well... but maybe we should leave that one alone. It’s
difficult for us to talk about because we don’t want to criticize... but
it did get a bit over the top. We were busy pretty much throughout the
production because at the 11th hour, just before we started shooting,
there was a change of the whole of the third act. We had a heck of a lot
of work to do to try and make that all fit. So, it wasn’t ideal.â€
Pierce Brosnan on his off-screen relationship with Teri Hatcher in ‘Tomorrow Never Dies’:
Brosnan explained, “She was late to the set because she was newly
pregnant. I didn’t know that until the end of the day. I was vexed
because I had a call time of six or seven A.M., and we didn’t do any
work until three or four in the afternoon. I got very upset with her -
she was always keeping me waiting for hours. When we finally got her in
front of the cameras, it was great. Getting her there was the problem. I
must admit I let slip a few words, which weren’t very nice. No one told
me her situation until afterward. By that time I’d already shot my
mouth off and cussed and moaned and groaned.â€
Director John Glen on filming during a war: “The Argentinean War was taking place at the
time of Octopussy. We went down to Northolt airfield and Peter Lamont,
the production designer, very cleverly made palm trees out of plaster to
double for a generic South American nation that 007 single-handedly
invades.†Whilst Glen was shooting at Northolt, a member of his crew
overheard a curious conversation in a local pub: “They were discussing
why there were palm trees at Northolt Airport and someone said, ‘It’s to
make the Argentinean prisoners of war feel at home!’ They were quite
serious in the pub."
If you have not subscribed yet, you can still pre-order 5 issues for the price of 4: subscribe or renew for 2014.
Use
of the term "cult film" has been around for some time now, but it
still seems difficult to ascertain a true definition. Cult, it would seem, is
in the eye of the beholder; it is not easily described, but you know a cult
film when you see it. This series of slim volumes (around 100 pages each) from
Wallflower Press sees a variety of writers and academics wrestle their own
personal cult film demons as they give analysis, behind-the-scenes tidbits and
biographical details of all the major players concerned.
Two
of their latest books are on Frankenstein (1931) and Faster,
Pussycat! Kill! Kill! (1965). Robert Horton successfully argues that
although the original Frankenstein was such a mainstream hit that one
may not consider that it qualifies as part of a cult series, it has become a
cult in the manner of a religion, through its hundreds of sequels and the
iconography that has arisen. The face of Frankenstein's monster, as played by
Boris Karloff, is one of the most recognisable images of the twentieth century.
From model kits to sweets dispensers, thanks to endless sequels and the repeats
of Universal horrors on TV throughout the fifties and sixties, Frankenstein
provided the monster that kids most empathised with. Boris Karloff became an
elder statesman of horror and was hugely loved and respected in the sixties,
because despite his many other roles over the years, it was the monster
stitched from reclaimed corpses that people remembered with the most fondness.
Horton
manages to avoid this book simply being a rehash of the same old material we
have read elsewhere, and he points out in great detail Frankenstein's
ability to still shock today, thanks not only to Karloff's performance but also
to James Whale's inventive and mischievous direction. The film may be over
eighty years old but this does not mean it cannot still be frightening.
Whereas
Horton is tackling a series of films, and as he argues, a "cult" in
itself, Dean De Fino is taking on what could initially seem an easier task: one
single film by noted smut-peddler Russ Meyer. However Faster Pussycat! Kill!
Kill! is no ordinary film. Made relatively early in Meyer's career, it
marks his move away from "nudie-cuties" and "roughies" into
something new. Although the film borrows freely from other genres (beach party,
biker flick, drag race, juvenile delinquent), he seems to create something
entirely different. From the jazz-infused opening sequence to the improbably
large bosoms of his female cast, Meyer's film is a fever dream that grind-house
fans and art-house enthusiasts can both appreciate.
The
book is again a mixture of biographical information, behind-the-scenes gossip
and analysis, and each element is equally fascinating to read. Using such
sources as Russ Meyer's own autobiography and other reminiscences the story
behind the making of the scene makes for as entertaining a tale as what ended
up on the screen. He allegedly allowed for no fraternisation between cast and
crew members in order to ensure that all the sexual tension was up on screen (this
was later used as a plot device in Meyer-fan John Waters' Cecil B. DeMented
(2000)). Russ Meyer allegedly allowed this rule to be broken only once in his
entire career, and that was to allow Tura Satana secret trysts with a crew
member. Even he could not say no to her. Satana plays Varla, the leader of a
vicious gang of go-go dancers, and her performance is terrifying. Men are not
safe when she is around. Tura Satana's own history is incredible, and sadly her
recent death has left her memoirs so far unpublished. According to De Fino she
was gang-raped and sent to reform school at 10 and married off to a 17-year old
at 13. She ran away and was posing nude for Harold Lloyd and working as a
stripper by the age of 15, and by 25 she was teaching Shirley MacLaine
burlesque and had slept with Elvis. And then she met Russ Meyer. If ever two
people were destined to work together and form a life-long friendship, it was
them.
De
Fino makes connections from the film to the cultural and political unrest in
1965. He posits that Meyer was playing out issues from the civil rights and
sexual revolution right there in the dust Mojave Desert. This interpretation
backs up the argument that Meyer infused his films with political relevance,
and explains why his films have survived to be hailed as worthy of serious
attention whilst many of his erotic contemporaries have been forgotten.
With
books on other cult titles such as This is Spinal Tap (1984), Bring
Me the Head of Alfredo Garcia (1974) and Quadraphenia (1979), the
Cultographies series is an excellent way to become conversant in the cult film
of your choice.
Amphibious Lotus Esprit seen in The Spy Who Loved Me (1977)
This model helicopter used in Skyfall (2012) is on display in the foyer.
The Cougar driven by Diana Rigg in On Her Majesty's Secret Service (1969)
Cinema Retro London reporter Matthew Field admires the art gallery section of the exhibition.
Cinema Retro's Dave Worrall with Ken Adam's early sketches of the legendary Aston Martin DB5 that was first seen in Goldfinger (1964).
Blofeld's Bath-O-Sub, as seen in Diamonds Are Forever (1971)
Speedboat driven by Roger Moore in his first Bond film, Live and Let Die (1973)
Dave and Matt get to ham it up with some "real" Bond girls: some of the ladies from Eon Productions. This souvenir photo puts attendees inside the legendary gun barrel and will be available at the Bond in Motion exhibition.
Entrance to the exhibition at the London Film Museum.
On Tuesday 18th
March Cinema Retro was invited to the opening of Bond In Motion at the
London Film Museum
in Covent Garden. The exhibition, which is the largest collection of
official James Bond vehicles ever assembled, had previously been on
display at Beaulieu Motor Museum. The cars looked fabulous in their new
home and the design of the exhibits allows visitors to
get closer to the vehicles than ever before. Iconic cars that have featured in the high octane, all action Bond films on display, include the underwater Lotus Esprit from The Spy Who Loved Me, the Rolls-Royce Phantom III from Goldfinger, and the Aston Martin DB5 from GoldenEye, to name but a few.Additionally a mezzanine
level showcases an array of storyboards, sketches and production design
drawings on display to the public for the first time. New to the
exhibition is a 1/3 scale model of an Agusta Westland
AW101 helicopter used in Skyfall. Museum founder Jonathan Sands and Meg
Simmonds of Eon Productions welcomed VIPs to the champagne reception.To visit the London Film Museum web site click here.
Bond in Motion opens to the public on Friday March 21st at the London Film Museum, 45 Wellington Street, London WC2E 7BN. Tel: 020 7202 7043. The exhibition is open seven days a week from 10am to 8pm. (last entry 5pm). Advance tickets available from Ticketmaster, www.ticketmaster.co.uk
(All photos copyright Cinema Retro. All rights reserved.)
Although Hammer Films is best known for its lineup of horror movies, the British studio routinely produced a diverse line of product ranging from adventure movies to crime melodramas. As the popularity of the horror flicks soared in the mid-1960s, Hammer began to concentrate almost exclusively on that genre. One of the better non-horror films was The Scarlet Blade, produced in 1964. The film was inexplicably retitled as The Crimson Blade for U.S. audiences, thus rendering meaningless the tie-in to the titular character, a swashbuckling do-gooder who rallies country folk in support of the king during the English Civil War of the 17th century. The film opens with King Charles I (Robert Rietty) on the run from the forces of Cromwell, who want to arrest him and execute him after a show trial. The king is being protected by a small band of royalists but is nevertheless captured. With the countryside terrorized by the arrival of Cromwell's local governor, Col. Judd (Lionel Jeffries), a plot is nonetheless is hatched by a group of rebels to rescue the king when he is being transported to the Tower of London. The man who is orchestrating this is Edward Beverly (Jack Hedley), who is has the secret alter ego of The Scarlet Blade. In that role, he is a constant thorn in the side of Judd. The Scarlet Blade and his small group of derring-doers raid Judd's compounds, attack his forces and inspire the locals to resist Cromwell's reign. Thus, Judd becomes obsessed with his capture and execution. Unbeknownst to Judd, his own daughter Clair (June Thorburn) is secretly assisting the rebels. Judd can barely stand the the fact that she has openly loyalist sentiments but doesn't suspect she is actually in collusion with The Scarlet Blade. Clair is being wooed by Judd's right hand man, Capt. Tom Sylvester (Oliver Reed), an arrogant egotist who learns that she is in league with the rebels. He offers to keep her secret and quietly assist her activities but only if she pledges her love for him. Clair is initially resistant to Tom's boorish personality but agrees to his offer. Tom is as good as his word and meets with the Scarlet Blade and his men and offers genuine assistance. However, when Clair tells him she actually has fallen in love with Edward Beverly, Tom's loyalties change once more.
The Crimson Blade is a fun, rousing and intelligently scripted story that has the hallmarks of Hammer productions of the period (i.e modest budget but rich production values, crisp color cinematography and a first-rate cast). It's a pleasure to see Lionel Jeffries playing an outright villain instead of a lovable old eccentric and he delivers an excellent performance in a role that seemed to have been envisioned for Christopher Lee. Oliver Reed is equally impressive in this early career role and June Thorburn is fetching as the requisite damsel in distress. The action sequences are frequent and very well-staged and as the Scarlet Blade, Jack Hedley has plenty of swash in his buckle and makes a fine action hero.
The film boasts an excellent transfer and is now available as a Sony burn-to-order title. There are no bonus extras.
Ossie Morris signs a copy of his 2006 autobiography 'Houston, We Have a Problem' for Matthew Field in February of this year.
Oscar-winning
British cinematographer Oswald Morris passed away Monday evening at his home in
Dorset, England. He was 98 years old.
A founding
member and former president of the BSC (the British Society of
Cinematographers), 'Ossie', as he was known to all in the business, won an
Academy Award in 1971 for the musical Fiddler
on the Roof and four Baftas, including one for The Hill (1965) starring Sean Connery. His early career included
working on David Lean's Oliver Twist
and John Huston's Moulin Rouge. Ossie
worked on over 40 major productions in his life, including Oliver!,The Wiz, The Guns of Navarone, Equus, The Man Who Would be King, and many, many more.
Retro's
Matthew Field met the great man at his home just a few weeks ago, in what has
now turned out to be his last interview. The September issue of Cinema Retro
will feature part of Matt's interview in our tribute to this legendary man.
RETRO-ACTIVE: THE BEST ARTICLES FROM CINEMA RETRO'S ARCHIVES
By Lee Pfeiffer
Last year, the Harris Poll reported that John Wayne ranked among America's top ten favorite actors. This may seem like an incredible feat for a man who's been six-feet under since 1979, but the Duke's popularity continues to grow as evidenced by the tidal wave of DVD titles and tributes afforded him this year on what would have been his 100th birthday. Unlike many actors of the past, Wayne is not being rediscovered by a new generation. In fact, he's never been out of style. While younger generations have to be educated about the work of legends such as Bogart and Cagney, it seems people become acquainted with Wayne's image while still in the womb. Warner Brothers and Paramount have teamed up for a major Wayne DVD promotion that will put a dent in any collector's wallet if they hope to acquire all the latest releases and it's bound to evoke mixed emotions in many fans. (Henny Youngman once defined "mixed emotions" as having your mother-in-law drive off a cliff in your new Mercedes.) On the one hand, all of the new releases are "must-haves" for serious collectors. On the other hand, there are so many titles being released simultaneously that not only your eyeballs but your wallet will be overtaxed if you try to absorb them all at once. Tops on the list is WB's "Ultimate Collector's Edition" of Howard Hawks' 1959 classic Rio Bravo. The film is available in several different scaled-down versions, but we'll pretend those don't exist. If you like the movie, there is only one choice and it's the Ultimate Edition.
The web site Do You Remember? pays tribute to the great James Cagney and his Irish roots through some terrific film clips on this St. Patrick's Day. Click here to view
The addictive pop culture blog Hill Place presents an impassioned defense of Tina Louise as Ginger over Dawn Wells as Mary Ann on the Gilligan's Island TV sitcom. Retro TV lovers have long been debating who was the hottest chick on the isle: sweet but sexy "good girl Mary Ann or "bad girl" diva Ginger. It's amazing how compelling this article actually is, as it delves into the behind-the-scenes rivalry between the two actresses. Click here to read
The Warner Archive has reissued Paramount's out-of-print DVD of director Anthony Mann's 1957 Western The Tin Star. Henry Fonda stars as Morg Hickman, a ex-lawman-turned-bounty hunter who delivers the body of a wanted man to a small town's sheriff's office. He gets a hostile reaction from the local population because of his unsavory profession. Nevertheless, Morg has to stay around a few days in order to collect the $500 reward money from Sheriff Ben Owens (Anthony Perkins), a young greenhorn who has reluctantly accepted the position of lawman after his predecessor was murdered. Morg perceives the likable young man as nervous and easily manipulated by some of the more obnoxious men in town. Morg ends up boarding with a young widow, Nona Mayfield (Betsy Palmer), who is a bit of a social outcast because her son Kip (Michael Ray) is half Indian. Before long, Morg and Nona form a chaste but loving relationship and he finds himself not only acting as surrogate father to Kip but also a mentor to Ben Owens. When a beloved local citizen is murdered by two brothers (Lee Van Cleef, Peter Baldwin), a local firebrand, Bart Bogardus (Neville Brand), goes against the sheriff's wishes and organizes a posse that is out for blood. Determined to take the men alive and ensure they get a fair trial, Ben enlists Morg's assistance. Under Morg's guidance, the pair bring the brothers back to jail- only to find that Bogardus intends to lead a lynch party to the jail that night. Ben knows that this is the ultimate test of his ability to finally earn respect from the citizens of the town. But in order to gain that respect, he'll have to face down a heavily armed, drunken mob.
The Tin Star is a superior Western, filmed in B&W in VistaVision and bearing the hallmarks of any Anthony Mann film: intelligent script (by legendary Dudley Nichols) and fine, realistic performances from an excellent cast that also includes a wonderful turn by veteran supporting actor John McIntire. Like The Ox Bow Incident, which also starred Fonda, the movie goes beneath the standard action sequences found in horse operas of this period and delves in to the issues of racism, justice and the price that must often be paid for displaying personal courage.
The DVD boasts a crystal clear transfer but does not contain any extras.
Timeless Media have released the epic 1976 adventure film Shout at the Devil as a Blu-ray/DVD combo pack. The movie, produced by Michael Klinger and directed by Peter Hunt, is an big budget affair very much in the style of John Huston's The Man Who Would Be King, which was released the previous year. Both films follow the antics of a couple of charismatic rogues in exotic settings. The film is based on the novel by author Wilbur Smith, who also co-wrote the screenplay. The movie was shot in between Roger Moore's second and third James Bond films, The Man With the Golden Gun and The Spy Who Loved Me and boasts a "who's who" of Eon Productions talent. Peter Hunt had edited the early Bond films and directed On Her Majesty's Secret Service. Ironically, Moore and Hunt never worked on a 007 film together but in 1974 Moore starred in Hunt's excellent adventure film Gold, which was also a Michael Klinger production. Among the Bond veterans moonlighting on Shout at the Devil were main titles designer Maurice Binder, cinematographer Michael Reed and camera operators Alec Mills and Alan Hume, special effects wizard Derek Meddings, production designer Syd Cain, future Bond director John Glen, assistant director Frank Ernst, stills photographer George Whitear and publicist Geoff Freeman. All that was missing was Cubby Broccoli's name above the title. With so many old pros working on the movie, it's no surprise that Shout at the Devil is an opulent production, impressive in many ways.
The story is set in East Africa in 1913 in the days leading up to WWI. Flynn O'Flynn (Lee Marvin) is an American of Irish descent who is living the good life on the African continent. A poacher of ivory and a shameless con man, Flynn and his mute right hand man Mohammed (Ian Holm) routinely line up gullible victims for exploitation. Among them is a British dandy named Sebastian Oldsmith (Roger Moore), a man who is en route to Australia when he makes the fatal decision to spend a few days in a port city. He is befriended by Flynn, who robs him of every cent then gains his gratitude by pretending to lend him money-- which in fact came from his own wallet. O'Flynn coerces Sebastian to become a partner in the ivy poaching trade and brings him back to his comfortable lodge located in the African bush. Here, Sebastian meets and falls in love with O'Flynn's daughter Rosa (Barbara Parkins). The two marry and have a baby much to the bemusement of O'Flynn, who, more often than not, is drunk. O'Flynn and Sebastian's poaching ventures are occasionally thwarted by their arch nemesis, a German military bureaucrat named Fleischer (Rene Kolldehoff), who is the local government administrator and who is known for his heartless exploitation of natives and his ruthless methods of enforcing German law in the region. O'Flynn and Sebastian delight in playing cat-and-mouse games with Fleischer and wreaking havoc on his activities. However, when Germany and England go to war, Fleischer is allowed unlimited local power and he extracts a terrible revenge. O'Flynn and Sebastian are later coerced into volunteering to serve on a mission for the British navy. They must locate, infiltrate and blow up a German war ship that is deemed an imminent danger to Allied shipping interests in the region. The deadly mission allows O'Flynn and Sebastian the opportunity to finally settle their scores with Fleischer.
The film's leisurely running time of 150 minutes actually passes very quickly thanks to the brisk pace afforded by director Hunt, who once told this writer that the film was originally shot as an even longer roadshow presentation and that he had the only remaining uncut print of it in his garage (!) (One can only wonder what became of it after Hunt's death in 2002). This version at least restores a half hour of footage that was not seen in the American theatrical release. The movie also benefits from Michael Reed's widescreen cinematography, Maurice Jarre's rousing score and the excellent special effects work of future F/X legend Derek Meddings. There is also the delightful aspect of enjoying the genuine on-screen chemistry between Roger Moore and Lee Marvin. Moore plays straight man to Marvin's scenery-chewing character. This isn't the cool, understated Marvin of Point Blank and The Killers, but the eyeball-rolling, over-the-top Marvin of Paint Your Wagon and The Great Scout and Cathouse Thursday. At times his facial expressions would seem to be more fitting in a cartoon. Nevertheless, he's never dull to watch and his lovable rogue schtick never wears thin with this viewer. (Moore and Marvin also have the kind of extended, knock-down, drag 'em out fist fight that permeated John Ford's films.) Midway through this largely comedic storyline, the script takes a sharp turn due to an act of unspeakable savagery that effects the lives of the three main characters and fills them with an obsession for getting even with Fleischer, who- until this point in the story- has been portrayed as a rather buffoonish, Sgt. Schultz-like character. The jarring disparity in tone may be off-putting to some viewers but the storyline that encompasses the mission to infiltrate and blow up the German war ship quickly dominates the action and leads to a compelling and action-packed conclusion.
Shout at the Devil was a hit with international audiences but a rather bungled release in America led to the movie being very under-exposed here over the decades. The Timeless Blu-ray/DVD combo boasts an excellent transfer but unfortunately the only extras are a selection of still photos, some of which look suspiciously like screen grabs. Nevertheless, this is an outstanding, old-fashioned adventure that retro movie lovers will definitely want to embrace.
In 1994 producers were making plans to bring James Bond back to the silver screen after a six year absence. Many actors were considered but according to Liam Neeson, who had just hit it big as the star of Schindler's List, he was offered the role. He was enthused about playing the part in the film that would become GoldenEye, but was talked out of his decision. To find out the details click here
Cinema Retro is pleased to announce the premiere of a new column: Criterion Corner, which will highlight reviews and interviews pertaining to new Criterion video releases. For our debut column, we are honored to have Raymond Benson's exclusive interview with Suzanne Lloyd, granddaughter of legendary comedy star Harold Lloyd.
By Raymond Benson
On
the advent of The Criterion Collection’s upcoming release of Harold Lloyd’s The Freshman on Blu-ray and DVD, it’s
high time that the silent film star gain some recognition from at least two
generations that missed out on seeing this master comedian in action. Last
year’s release of Safety Last! certainly
got the ball rolling, and with Lloyd’s granddaughter, Suzanne Lloyd, working as
the trustee to his film library and head of Harold Lloyd Entertainment, Inc.,
the goal is to bring the pictures of the “third genius†(after Chaplin and
Keaton) to a wider audience, especially in America.
Despite
the fact that Harold Lloyd was a superstar during the silent era, I had never seen
a Harold Lloyd film when I was growing up. Except for some hardcore film
historians and enthusiasts, very few people had a chance to become familiar
with Lloyd’s work over the last seventy-odd years, mainly because Lloyd had
refused to sell his pictures to television. Not only was the offer not high
enough, but he felt that the medium wasn’t right for his movies. If timing and
pace were critical in his comedies, as well as the carefully-planned camera
set-ups, why should he allow television to hack them up with unapproved edits,
insert commercials, and perhaps “cheapen†his work?
Suzanne
admits he made a mistake. “He lost so many generations who don’t know him,†she
says from her office in Los Angeles. “Laurel and Hardy, Chaplin, Keaton, W. C.
Fields—they were all on television, and that’s who the baby boomers got to
know. In the 1970s, HBO and Time-Life did some of his films for TV in Europe,
but he missed that boat in America.†In the 1980s, however, Suzanne set about
having her grandfather’s films restored. By the New Millennium, she had made a
deal with Turner Classic Movies, and they now have approximately fifty titles
(shorts and features) that are shown regularly. It’s
ironic, because Harold Lloyd made tons of
more films than his counterparts. Nearly two-hundred of them! And while
Chaplin’s individual features were more profitable, Lloyd was overall more
commercially successful because he was so prolific. Lloyd made twelve features
in the 1920s, while Chaplin made only four.
Born
on April 20, 1893 in Burchard, Nebraska, Lloyd wanted to be an actor from an
early age. After moving to Hollywood in 1912, he quickly rose from bit player
to leading man, especially after teaming up with producer Hal Roach. Between
1915 and 1917, Lloyd’s onscreen characters, such as “Lonesome Luke,†were
admittedly knockoffs of Chaplin and others. That changed in 1917, when Lloyd
put on a pair of horn-rimmed glasses. The “Glass†character, as he called it,
became Lloyd’s signature role that he would play for the rest of his career.
The
Glass character, often named “Harold†in the pictures, was an Everyman with
whom audiences of the 1910s and 20s could easily identify. Optimistic,
ambitious, and kind-hearted, and perhaps a little naive, Harold was the Boy
Next Door. And every one of his pictures involved the Boy chasing the Girl Next
Door. It was a template for what later became known as romantic comedy.
“That’s
his legacy,†Suzanne asserts. “He is quite simply the grandfather of the genre.
In his movies he always falls in love with the girl, and then the stories are
all about the chase, trying to impress her, almost losing her, and then finally
getting her in the end. I do believe that our modern romantic comedies owe a
great debt to Harold.â€
One
of the reasons Lloyd was so likable onscreen was that the actor was truly that guy. “He wasn’t someone who ran
around telling jokes, although he would tell jokes; rather he was a lot like
the character—inquisitive, wanting to be first, winning the game, getting
around obstacles, and getting the girl,†Suzanne says. She laughs and
remembers, “He hated losing at a card game, though! He was not a good loser. He
always had to win at any type of game, and he was a great bowler, a champion
handball player, and a good golfer.He
loved the sport of winning, and that
tied into his Glass character as well. He was all about enjoying life and
trying to make it better. He was ‘the glass is half full and not half empty’
kind of man. And this is even more remarkable after what he went through in
1919.â€
That
year, while posing for publicity shots to promote his current work-in-progress,
the short From Hand to Mouth, a
supposedly fake “bomb†(the big black ball-shaped kind that resembles a cartoon
prop) that he was holding in his right hand actually exploded. It took off his
thumb, index finger, and a third of his palm. Lloyd was blinded and his face
was burned. His sight eventually returned and his face healed, but for an actor
who relied on “thrill comedyâ€â€”action stunts, climbing, falling, and the
like—his hand’s disability could have been a career-killer. Instead, after
eight months out of commission, Lloyd bolstered himself up and kept going.
“They fashioned a special glove for him to wear,†Suzanne says. “It looked like
he had all five fingers, and there was an old-fashioned wooden clothes pin
contraption with a strap up his arm. With that, he could make his hand look
whole, and he always wore it in every picture he made afterwards. Luckily, he
was ahead of the game with his releases. He had some in the can, so his studio
staggered the releases while he recovered. News articles said that he had been
hurt, but no one knew how bad it really was.â€
Nevertheless,
the 1920s were good to Lloyd. His films, such as Grandma’s Boy, Safety Last!,
Why Worry?, Girl Shy, The Freshman, The Kid Brother, and Speedy, to name a few, were extremely
popular. And unlike many silent film stars, Lloyd made a smooth transition into
talkies, making several successful sound pictures in the thirties. Suzanne says
that her grandfather embraced sound. “He was dedicated to giving his audience
what they wanted, and he was willing to go to the edge. He was always
progressing. And his voice fit his character, which helped!â€
Lloyd’s
estate in Beverly Hills, “Greenacres,†was a popular destination for the
children of other silent film stars during those exciting years in Hollywood.
Since Lloyd socialized and played tennis with Charlie Chaplin, the Little
Tramp’s first two sons, Charles Jr. and Sydney, often came over to play with
Lloyd’s children—Gloria, Harold Jr., and Peggy. “They would always want to
spend the night and stay over,†Suzanne says. “The boys would tell my mother, ‘your
dad is so generous, he plays with us, plays golf with us, swims with us, throws
ball with us... our dad never does
that!†Shirley Temple was also a frequent visitor to Greenacres. “She actually
lost her first front tooth eating sponge cake at my grandparents’ house, and
boy, was that a big drama for Mrs. Temple,†Suzanne remembers being told. “My family
had to call Darryl Zanuck and say, ‘uhm, guess what!’†Suzanne, who was raised
at Greenacres, had similar experiences with her own friends.“They really liked my grandfather, too. They
asked if they could call him ‘Harry,’ as a nickname, and he let them.He was absolutely a great grandfather—he took
me to Beatles concerts, Las Vegas, and Disneyland. He was happy to be with
younger people.â€
For many years an ad hoc group of volunteers struggled to save the landmark Loew's Theatre in Journal Square, the hub of commerce in Jersey City. The one-time movie palace had been allowed to disintegrate into a crumbling ruin by the 1980s and was slated for the wrecking ball. Concerned citizens from within and outside the city formed a group called The Friends of the Loew's. Working with sometimes reluctant city officials, they got landmark status on the theater where young Frank Sinatra saw Bing Crosby perform and became inspired to become a crooner himself. As the theater was painstakingly restored over a period of decades, crowds have been flocking to see presentations of classic movie screenings as well as live concerts. The theater is not 100% restored, however, and is still suffering from a lack of funding to pay for essential repairs such as the air conditioning system. The theater is only openly periodically, mostly on weekends and has operated at a slight financial loss. Still, the theater has been drawing enthusiastic crowds with many classic movie lovers taking the short PATH train ride from Manhattan to Journal Square. Cinema Retro has occasionally helped to host some of these screenings.
The Loew's in 1932.
There is now trouble in paradise, however. The new mayor of Jersey City, Steven Fulop, has determined that its time to bring the Loew's to its full potential. He is bringing in private investors to turn the venue into a world class entertainment palace. No one disputes the theater has more potential than is presently being realized but the Friends of the Loew's say they are being marginalized and pushed out of the equation with little recognition or appreciation for the work they have done in running the theater. They fear that if corporate bigwigs take over, the theater will lose its appeal for the core audience that has kept it going over the years. Consequently, the Friends of the Loew's have taken legal action against Jersey City and its Redevelopment Agency to stop the corporate takeover. For his part, Mayor Fulop claims that the Friends have been treated with all due respect but that only corporate funding and involvement will make the Loew's truly thrive again. Fulop, who was recently elected on a reformist agenda, has also been in the national news in regard to the controversial New Jersey "Bridgegate" scandal after Governor Chris Christy's staff canceled a number of promised meetings allegedly because he refused to endorse the governor for re-election. One thing is certain: New Jersey thrives on political controversy and now its even seeped into the seemingly uncontroversial topic of saving a wonderful old movie theater. For more on the Loews situation, visit the Friends of the Loew's web site by clicking here.
Click here for photo galleries of the Loew's including vintage shots from decades ago.
Diabolique magazine has launched an on-line petition drive to convince Warner Home Video to release Hammer horror classics on Blu-ray to the American market. Some of these titles are available in restored Blu-ray editions in the UK but American Hammer fans have had to sit silently and salivate while their overseas friends relish watching first-rate releases of these films. As our readers know, Cinema Retro has the greatest respect for the work done by Warner Home Video and the Warner Archive- and we believe this is a cause worth supporting because it would benefit not only the studio but legions of grateful Hammer fans as well.
Joe Dante's Trailers From Hell web site presents the original theatrical trailer for the British crime classic Get Carter starring Michael Caine, directed by Mike Hodges. Diretor Neil Marshall is an admirer of the film and provides the commentary track over the trailer, which can also be viewed without commentary. Click here to view
The Stanley Theatre still adorns Journal Square in Jersey City. Jehovah's Witnesses painstakingly saved the theatre from the wrecking ball many years ago and restored it to its original splendor. However, they also removed the screen and projection equipment so the theatre no longer is capable of showing films.
The Star Ledger takes a brief break from covering the current crop of New Jersey political scandals to remind us about the state's rich history of great movie theaters. Click here for a wonderful trip back in time to relish photos of some great theaters, most of which are long gone.
NOTE: THIS REVIEW PERTAINS TO THE UK REGION 2 BLU-RAY RELEASE
By Darren Allison
Based
on the short story by Ernest Hemingway, Don Siegel’s movie was a remake of the 1946
Robert Siodmak film of the same name. Originally, the film was to be one of the
first to be made for American TV; however NBC deemed the film too violent for
TV and subsequently the film was shown in theatres. The move to theatres may
have been considered as a blessing in disguise, as the film enjoyed some rather
good reviews in America. In Europe however, it proved even more successful, in
fact, in the UK, The Killers went on to receive a 1966 BAFTA for Lee Marvin in
the Best Foreign Actor category. So it is with a great deal of excitement that
we welcome Arrow’s new Blu Ray release of this cult classic and consider how it
holds up some 50 years on.
Charlie
Strom (Lee Marvin) is a cold blooded and experienced hit man. Along with his
young partner Lee (Clu Gulager), we join them as they enter a suburban school
for the blind. Suited smartly and wearing dark glasses, it soon becomes apparent
that the nature of their visit is far from pleasant. After violently attacking
the (blind) receptionist, Charlie and Lee proceed to search the corridors of
the school in search of their prey Johnny North (John Cassavetes). North, a onetime
big shot race driver, is now teaching car engineering at the school. Whilst
North is alerted that two men are in the school and closing in on him, he makes
no attempt to flee from the scene. After Charlie and Lee crash the classroom
and get confirmation of their target, North stands there, unflinching in his
fate – and openly receives the killers’ bullets.
Following
on from the opening ‘hit’, Charlie and Lee are on a train, Charlie is somewhat troubled
by North’s final actions, he’s never seen a man just stand there and take it.
Figuring there may have been more to this than a simple hit, they decide to
investigate deeper. They detour to Miami and track down North’s racing partner Earl
Sylvester (Claude Akins) who spills the story of North’s involvement with the
stunning Sheila Farr (Angie Dickinson). From here on, the back story of a mail
heist is slowly revealed involving Mickey Farmer (Norman Fell) and Jack
Browning (Ronald Reagan). Reagan appears here in his last film role before
taking up politics and eventually becoming governor of California in 1966.
Gathering up the information and setting the pieces of the jigsaw in place,
Charlie and Lee track down the individuals in order to find the missing loot
and retire on the proceeds. A path of deceit, revenge and double crosses soon
begins to emerge and eventually leads to a bloody climax.
Arrow’s
Blu Ray release of The Killers looks far better than I could have ever imagined.It is certainly a stylish presentation, apart
from a very rare blemish or dirt spec it is a very nice, clean print which also
benefits from a fine level of film grain. The Black detail is fairly consistent
throughout, whilst colours are vibrant (as one would expect for a title of this
period), resulting in a rich, realistic pallet with beautifully detailed flesh tones.
Unlike a lot of 60s films, The Killers offers little room to hide in terms of detail,
there are no soft focus shots when it comes to close ups of Angie Dickinson -
but it remains clear, with great depth and fine texture. Obvious composites
such as back projection on the train with Charlie and Lee can look a little fuzzier,
but hey, this is the 1960s and representative of everything that we’ve come to
love about the period. Sound is presented in clear, uncompressed 2.0 mono PCM
audio.
Because
the film was originally filmed in Academy Ratio (for TV) Arrow has had the good
sense to present both the 1.33:1 version and the theatrical matted 1.85:1
(16:9) version. I have to say, after watching both versions I was very impressed
by the matted version. I’m usually somewhat critical of this process, as of
course the 1.33:1 contains more picture information. But the framing here is
really very good indeed, and naturally this is down to director Siegel. With
Arrow including both versions on their disc, they have certainly eliminated
themselves from any negative criticism – ‘should have used this, shouldn’t have
used that…’ so top marks for making that decision.
Original American lobby card showing Ronald Reagan in his last screen appearance before entering politics.
Unfortunately,
the check disc I received for review purposes arrived in a generic clear case,
but the retail version comes with a reversible sleeve containing both the
wonderful original artwork (contained here) and a newly commissioned design by Nathanael
Marsh. Again, Arrow seems to have covered every eventuality in this department,
satisfying both the purists and those open to more modern concepts. Whilst
unable to give full details, there is also a booklet featuring new writing on
the film by Mike Sutton, extracts from Don Siegel’s autobiography and
contemporary reviews plus illustrations of original lobby cards, which I’m
sure, would have been a most enjoyable read. Overall, The Killers remains both
an important and incredibly powerful film that continues to flex a whole lot of
muscle. Lovers of 60s Cinema, Screen heroes, Don Siegel or simply great movies in
general, will certainly lap this one up. Miss it at your peril!
Gail Gerber passed away on
March 2, 2014 due to complications from lung cancer. Gerber was born on October
4, 1937 in Edmonton, Alberta, Canada and began studying ballet at age seven. Extremely
talented, at fifteen she became the youngest member of Les Grandes Ballets
Canadiennes in Montreal. Quitting the ballet troupe in the late 1950s and
abandoning a husband who was a jazz musician, she moved to Toronto to work as
an actress. She appeared on stage and in many live CBC television dramas. As
part of the act of legendary vaudeville entertainers Smith and Dale (who were
the basis for The Sunshine Boys), she
appeared on The Wayne and Schuster Show
and The Ed Sullivan Show. Moving to
Hollywood in 1963, the talented blonde with a flair for comedy quickly snagged
the lead role in the play Under the Yum
Yum Tree and appeared on such popular TV series as My Three Sons, Perry Mason,
and Wagon Train. She made her film
debut in The Girls on the Beach
(1965) co-starring The Beach Boys before her agent suggested she change her
name and, as Gail Gilmore, she went on to appear opposite Elvis Presley in Girl Happy (1965) and Harum Scarum (1965). She then returned
to the sands of Malibu to co-star with Edd “Kookie†Byrnes in Beach Ball (1965) before growing to
gigantic proportions along with five other delinquent teenagers, including Beau
Bridges and Tisha Sterling, who terrorize a town in Village of the Giants (1965). Gerber had a minor role as a cosmetician
in The Loved One, directed by Academy
Award winner Tony Richardson, and that is where she met its screenwriter Terry
Southern who was riding high due to the success of his satirical
novels Candy and The Magic Christian and the movie Dr. Strangelove for which he co-wrote the script. The two hit it
off immediately and, despite their marriages to others, became inseparable. Gail
even abandoned her acting career in 1966 to live with him in New York then
Connecticut where she remained his longtime companion until his death thirty
years later. During that time she taught
ballet for over twenty five years.
Gail Gerber and Cinema Retro columnist Tom Lisanti at the Independent Publishers Book Award ceremonies in 2011.
After Southern’s death in
1995, Gail spent most of her time living in New York City. During the last
twenty years of her life, she was the secretary of the Terry Southern Trust and
returned to acting playing a dotty old woman in the independent film Lucky Days (2008) directed, written, and
starring her friend Angelica Page Torn; and played a Wake Guest in avant-garde
filmmaker Matthew Barney’s just completed film River of Fundament (2014). She also, with myself, wrote her memoir,
Trippin’ with Terry Southern: What I
Think I Remember (from publisher McFarland and Company, Inc.) where she
detailed what life was like with “the hippest guy on the planet,†as they
traveled from LA to New York to Europe and back again. Gerber revealed
what went on behind the scenes of her movies and Southern’s including The Cincinnati Kid, End of the Road,
and, most infamously, Easy Rider. And
she relived the “highs†hanging out with The Rolling Stones, Peter Sellers,
Lenny Bruce, Roger Vadim and Jane Fonda, William Burroughs, Rip Torn and
Geraldine Page, George Segal, Ringo Starr to the lows barely scraping by on a
Berkshires farm during the 1970s & 1980s. The book received a Independent
Publishers Book Award Silver Medal for Best Autobiography/Memoir of 2011.
It's getting harder to indulge in the annual ritual of eviscerating the Oscar ceremonies as boring and ineptly staged. As Cinema Retro readers may know, in recent years I have been among the few critics who have defended the staging of most of the telecasts. They certainly are lengthy but, with the exception of one or two ceremonies, most have been creatively staged and well-paced. Last evening's presentation of the 86th annual Oscar awards held true to that trend. Host Ellen DeGeneres, returning after a seven year absence, was genuinely funny and kept the action rolling at a brisk clip even though the show went a half-hour over its allocated three hour time slot. DeGeneres also worked surprisingly clean with the only tasteless joke made at the expense of a virtually unrecognizable Liza Minnelli. DeGeneres infused the often stuffy ceremonies with a sense of -dare I say it?- gayety. Her mood was infectious with the crowd and it became immediately apparent that even the losers were having a hell of a great time. If DeGeneres overdid any angle, it was working the audience- literally. She spent so much time running amidst the star-packed audience that it began to resemble an old "Stump the Band" segment on Johnny Carson's Tonight Show. Some of this schtick worked better than others but DeGeneres' gamble on having pizzas delivered to the cavernous auditorium went over very well. Good thing, too...it was a risky gag that, if it had not been successful, the result would have been cringe-inducing. Similarly, DeGeneres put together an impromptu star-packed "selfie" of superstars that resulted in her meeting her goal of making this the most "Tweeted" photo ever.The ceremony was rather awkwardly built around an ill-defined theme of screen heroes. This resulted in a padded running time as montages of clips of famous screen heroes were shown. They were fun to watch but the segments were rather pointless as we watched disjointed examples of cinematic bravery that ranged from The Terminator to Atticus Fitch, James Bond and Batman.
The ceremony continued to the trend of having major stars show up to support the Oscars. Some years ago, it was considered chic not to attend. But last night featured a powerhouse lineup that included most of the nominees as well as genuine legends like Robert De Niro, Harrison Ford and even Kim Novak, who emerged from self-imposed exile. It was also great to see a true icon, Sidney Poiter (frail, but dignified), on stage fifty years after his ground-breaking Oscar win for Lilies of the Field. Bette Midler, looking better than ever, rendered a wonderful rendition of The Wind Beneath My Wings following the always-moving memorial film clip montage of all the great artists we have lost in the last year. Pink appeared on stage to sing a lovely version of Somewhere Over the Rainbow in tribute to the 75th anniversary of The Wizard of Oz. It was a beautifully staged segment that was made all the more poignant by the presence in the audience of Judy Garland's daughters. The four Best Song nominees were well-staged including a soulful performance by U-2 that couldn't quite compensate for the fact that most of the songs were merely pleasant, but hardly memorable. A seemingly ageless Jim Carrey did a dead-on imitation of nominee Bruce Dern in the 1972 film The Cowboys. Sally Field made a presentation and looked wonderfully elegant. The Oscar winner's speeches seemed classier and more heartfelt this year. Jared Leto, winner of Supporting Actor for Dallas Buyers Club, gave a very moving speech that seemed to set a trend in which several Oscar winners took pains to thank their moms, a nice gesture that was enhanced by the fact that some of those moms were in the audience. Lupita Nyongo'o's speech showed sheer, sincere exuberance at having won, in contrast to some of the more pretentious "surprise" moments shown by some winners in previous years. Cate Blanchett's win for Blue Jasmine was well-deserved but her heartfelt speech droned on so long that one thought she would acknowledge every person in the Sydney phone book. John Ridley, winner for Best Adapted Screenplay for 12 Years a Slave, was quite moving in thanking a mentor who gave him solid advice throughout his years as a screenwriter. Matthew McConaughey reined in his eccentric behavior and gave a rambling but still inspiring acceptance speech after winning Best Actor for his triumphant performance in Dallas Buyers Club.
As for the prizes themselves, virtually all were justified. Surprises were few and included Spike Jonez winning for Best Original Screenplay for the little-seen comedy Her and Alfonso Curaon winning Best Director for Gravity but seeing his film lose Best Picture to 12 Years a Slave. American Hustle became the third film in Oscar history (along with Gangs of New York and the remake of True Grit) to score ten nominations only to end up being shut out.
In all, a solid evening of classy entertainment...and here's hoping Ms. DeGeneres is up for hosting next year.
"Goldfinger" is not only the name of Sean Connery's classic 1964 James Bond flick, but its also the monicker that the Spanish press has attached to a high profile real estate scandal that has been plaguing Connery for years.
Sir Sean Connery is man known to value his privacy. So he is not a bit pleased to be the marquee name in a slow-rolling but high profile real estate scandal in Spain, where he resided for many years in the town of Marbella. Connery and his wife sold their property in 1999 and relocated permanently to the Bahamas. Shortly after the Connerys sold their estate, it was demolished and a massive apartment complex was built on the land. Spanish prosecutors claim that the construction project was a boondoggle orchestrated by local politicians in violation of the law and various zoning ordinances. The Connerys have been fighting attempts to get them to appear in Spanish courts since 2010. They deny knowing the politicians involved in the scandal on a personal basis and also deny that they dodged paying taxes on the proceeds of the sale of their home. Sir Sean is particularly outraged because the story, which is front page news in the Spanish press, resulted in his home address being publicly revealed. He probably also isn't pleased that he is being linked to the scandal through the very name it is being referred to, which is a reference to his film Goldfinger. For more on the complex case click here.
Will Smith was "honored" as Worst Supporting Actor for his role in the bomb sci-fi flick After Earth at the annual Razzie Awards, designed to celebrate the worst achievements in filmmaking. His co-conspirator, son Jaden Smith, did not escape recognition, winning Worst Actor in a Leading Role. Jaden and dad were also accorded Worst Screen Duo for the film which earned scorned from both critics and the public. Poppa Smith is generally immune to critical notices but After Earth was seen as a blatant, expensive attempt to build a career for his son. It lost mega bucks at the boxoffice. The sketch comedy Movie 43 also won numerous Razzies. For the complete list click here.
Alain Resnais, the acclaimed director of controversial films such as Last Year at Marienbad, has passed away at age 91. To his admirers, Resnais was the epitome of the avant garde filmmaker, producing movies in the name of art, not commerce. His detractors felt some of his work represented style over substance and dripped with artistic pretensions. However, his 1955 30 minute film Night and Fog remains to many as the most devastating record of the Holocaust ever filmed. For more click here
Well, here we go again. The annual pointless but fun ritual of weighing in on my predictions for the major Oscar categories. This year is more challenging than most because there are plenty of fine films but no clear front runners, though certainly there are a number of nominees that are far more favored than others. I'll put out my predictions, but I have to admit I don't feel certain about any of them. Keep in mind that these predictions don't always reflect my own personal preferences
BEST PICTURE
12 Years a Slave- Oscar loves "message" movies and although this film is difficult to watch, it does relate a true and inspiring story about one man's incredible courage. My pick for the Best Picture Oscar. Runner up: American Hustle. The acclaimed film Gravity seems to have some serious momentum but Oscar generally snubs sci-fi and horror-related flicks.
BEST DIRECTOR
Steve McQueen for 12 Years a Slave. It's rare that the best picture doesn't result in an Oscar for its director, though last year Argo won Best Picture and it's director, Ben Affleck, wasn't even nominated. Still, that was a fluke that has rarely happened in the past and I don't think it will occur again this year. Runner up: David O. Russell for American Hustle.
BEST ACTRESS
Cate Blanchett for her amazing performance in Woody Allen's Blue Jasmine. Runner up: Amy Adams for American Hustlealthough you can never count out sentimental favorite Judi Dench who many people feel was unjustly snubbed for a Supporting Actress snub for Skyfall.
BEST ACTOR
It's a toss-up between Chiwetel Ejifor for 12 Years a Slave and Matthew McConaughey for Dallas Buyers Club. It could go either way. Ejifor might be seen as a newcomer with plenty of opportunities ahead of him (plus there are probably only ten people in the Academy who can pronounce his name.) McConaughey has been kicking around for twenty years, making some good films and a lot of celluloid garbage, but his performance in this film is true method acting and a brilliant achievement on any level. My choice: McConaughey.My preference: Bruce Dern for Nebraska, admittedly partially out of sentiment and the fact that he has been underrated as an actor for decades.
SUPPORTING ACTRESS
Jennifer Lawrence in American Hustle would be the lead contender but she won Best Actress last year for Silver Linings Playbook which was also directed by David O. Russell. The Academy might think they are overdoing it by giving her the award two years in a row. My choice: newcomer Lupita Nyong'o for 12 Years a Slave.
SUPPORTING ACTOR
Jared Leto gave an amazing performance as a transvestite hooker in Dallas Buyers Club and critics love streetwise, eccentric characters. He could be the favorite but I think Barkhad Abdi is strong competition for Captain Phillips. It's a really tough call but I'll go with Leto.
ORIGINAL SCREENPLAY
American Hustle- This might be the consolation prize for not winning in other major categories. The fact that the film is an almost entirely fictionalized look at the Abscam caper of the late 1970s/early 1980s won't hurt it since the film doesn't present itself as anything other than a playful romp "inspired" by some true life events.
ADAPTED SCREENPLAY
12 Years a Slave
We'll know in a matter of hours how off the mark I am! Enjoy the show.
Long before David McCallum became one of the most popular cast members on the long-running hit series NCIS, he made teenage girls swoon as Illya Kuryakin, the mysterious blonde Russian-born agent on The Man From U.N.C.L.E. McCallum teen mania probably peaked in 1966 when the stores were flooded with action figures, posters and lunchboxes featuring his likeness and that of his co-star and fellow teen Robert Vaughn. We thought we had seen it all when it came to U.N.C.L.E. fandom but then we became aware of a 1966 45 RPM titled "Love Ya, Illya" by Angela and the Fans that was released as a 45 RPM record. If you're a McCallum fan, it doesn't get any groovier than this!
