Nancy Sinatra and Aron Kincaid are menaced by George Barrows.
Enjoy the original trailer for the so-bad-it's-fun 1966 horror movie spoof "The Ghost in the Invisible Bikini" that somehow boasts an eclectic cast consisting of esteemed movie greats along with cult film favorites. It's painful to see such fine, legendary actors as Boris Karloff and Basil Rathbone so discarded by the major studios that they had to appear in celluloid dreck such as this. There were some brighter horizons for some of those involved: Nancy Sinatra would go on to star in "The Wild Angels" and "Speedway" (opposite Elvis Presley). Karloff would still get to appear in two genuinely good films - "The Venetian Affair" and Bogdanovich's classic "Targets", but poor Rathbone only had one more film on his horizon: the equally abysmal "Hillbillies in a Haunted House".
Two years before "Bonnie and Clyde" revolutionized the American crime movie genre a far more modest production centered on a star-crossed pair of lovers who were young, in love and killed people. "Young Dillinger" starred Nick Adams in the titular role, playing notorious gangster John Dillinger who was among the "Most Wanted" criminals of the Depression era. Although the real Dillinger had a hardscrabble life and a dramatic death (ambushed by police when benignly exiting a movie theater), any resemblance to the historic figure and the character portrayed by Adams on screen is purely coincidental. The film was distributed by Allied Artists, which would go on to release some top-shelf hits in the 1970s including "Cabaret", "Papillon", "The Man Who Would be King" and "The Wild Geese". However, in 1965 Allied was strictly a Poverty Row studio that churned out low-budget movies for undiscriminating audiences in hopes of making a quick, modest profit. Shot in B&W, "Young Dillinger" opens with "Johnny" and his girlfriend Elaine (former Miss America Mary Ann Mobley) necking in a car and bemoaning the fact that they are too broke to get married. Elaine must still live at home under the rules set by her mother and father, an inconvenience that intrudes on her not-inconsiderable sex drive. She spontaneously comes up with a plan of action: they can break into her father's office and steal a load of cash that he keeps in the safe. Dillinger is all in immediately but the plan goes awry when they are spotted by a watchman. Still, they get the loot and head off on a cross-country spending spree, indulging in expensive meals, liquor, gambling and hotel rooms. It all comes to an end when the cops track them down and arrest them. Dillinger makes a deal: he will plead guilty if Elaine is not charged. Consequently, he is sent to jail for several years, an experience that leaves him even more cynical and disillusioned. Sure enough, Elaine is waiting for him when he emerges and they immediately take to crime again. Dillinger is hired by professional gangsters to carry out an audacious plan to spring 'Pretty Boy' Floyd (Robert Conrad) and 'Baby Face' Nelson (John Ashley) from a prison farm. When he succeeds in carrying out the plan, Floyd invites him to join him and 'Baby Face' in their newly-formed gang. With Elaine along for the ride, the group terrorizes the Midwest through small-time robberies that eventually lead to daring bank jobs. Before long, Dillinger is on the F.B.I's "Most Wanted" list.
Directed by Terry O. Morse, who was primarily known as an editor, the movie breezes along at a brisk pace even if the style is quite unimpressive and pedestrian. In fact, the film looks like a standard TV episode of "The Untouchables" in terms of production values. Even a fleeting glimpse at Dillinger's biography will make it immediately apparent that story is almost entirely fictionalized. The performances are adequate, nothing more. Adams, who was a seasoned actor, tries to bring some intensity to the role but the script presents Dillinger as a superficial gangster type with no effort expended to provide some of the more interesting aspects of his background. Similarly, we know nothing about Elaine aside from the fact that this "girl next door" type can turn into a hardened criminal on a whim. Why? We never learn anything about her background, either. The supporting actors don't fare much better. Robert Conrad, who would soon find stardom with the hit TV series "The Wild, Wild West" is given little to work with as 'Pretty Boy' Floyd and is mostly seen shooting at the cops. One exception is the inimitable and delightful Victor Buono, who makes a couple of cameos as "The Professor", an eccentric mastermind who provides the gang with operational plans for bank jobs. Equally good is John Hoyt as a mob doctor who Dillinger hires to undergo some plastic surgery (a rare instance of the film depicting an actual event). The doctor botches the surgery but while Dillinger is lying helpless in bed in terrible pain and his face wrapped up like The Mummy, the surgeon takes advantage of the situation by trying to rape Elaine. She has to keep him at bay with a loaded gun while not alerting Dillinger to the crisis when he's helpless to assist her. It's the best scene in the film and the only one that provides a bit of suspense. It also allows Mary Ann Mobley to display her acting chops instead of being presented as Gidget as opposed to a Depression-era gun moll.
Stan Lee, the man who transformed Marvel Comics into an entertainment phenomenon, has passed away at age 95. Lee, along with superb artists such as Jack Kirby and Steve Ditko, introduced a line of super hero characters that were the antithesis of the popular heroes in rival D.C. Comics. Lee's characters, such as Spiderman, the Hulk and the Fantastic Four, were somewhat grounded in reality. They protagonists had plenty of human flaws, insecurities and resentments. In his WWII comic book "Sgt. Fury and his Howling Commandos" (the main character of which is better known today as Nick Fury, Agent of S.H.I.E.L.D), Lee broke new ground by making the commando squad integrated with a black soldier as well as a Jewish member of the unit. The series dealt realistically with matters of racial intolerance and also featured the unthinkable: the deaths of beloved characters. Over the decades, Lee became a guiding force that saw screen adaptations of Marvel characters evolve from low-budget, cheesy productions to major studio blockbusters. Click here for more.
The film must have seemed to have the makings of a classic. Director Vincente Minnelli reuniting with Kirk Douglas for the first time since their triumphant The Bad and the Beautiful a decade earlier. Edward G. Robinson co-starring and a supporting cast that included Cyd Charrise, Claire Trevor, James Gregory, George MacReady, George Hamilton and lovely up-and-coming actresses Rosanna Schiaffino and Daliah Lavi. Add to this exotic Rome locations during the era when La Dolce Vita was all the rage plus a source novel by Irwin Shaw -- this had to be a project that couldn't miss. Alas, it did indeed go off-target, but the fact that the 1962 screen version of 2 Weeks in Another Town falls short of its potential doesn't mean it isn't a gloriously trashy spectacle to behold.
Douglas plays Jack Andrus, a washed up, one-time screen legend who is
driven to the brink of insanity by the philandering nature of his
Italian wife (Charisse), who ended up having an affair with Douglas'
friend and collaborator, screen director Maurice Kruger (Robinson).
Years later, Andrus is contacted by Kruger, whose career is also in
decline, to reunite for a Rome-based major film that could revive their
reputations and popularity. When Andrus gets to Italy, he discovers
there is no part for him in the picture, but Kruger felt it would be
therapeutic to have him assist in the dubbing of the film. Before long,
the love/hate relationship between the two men sparks jealous and anger,
with Kruger's Lady MacBeth-like wife (Trevor) constantly finding ways
to cause friction. Adding to the soap opera aspects of the story is the
presence of an Italian screen diva (Schiaffino), whose temper tantrums
have everyone on edge. Andrus does find solace in the arms of a young
lovely (Lavi) but before long is embroiled in enough personal intrigue
and frustration to once again threaten his sanity.
The film is certainly not high art. Douglas dominates the landscape
with the type of eye-popping antics that made him a favorite of
impressionists during the era. Robinson is far more understated and it's
great fun to watch the two conflicting acting styles in the same
scenes. The film benefits from some good location scenery including rare
glimpses of fabled Cinecitta Studios during its heyday, but Minnelli
relies far too often on cheesy rear-screen projection shots that
distract from the byplay among the actors. The story is often overly
melodramatic and somewhat confusing, with the vast number of characters
intertwined in each other's scandals. However, it never reaches the
so-bad-it's-good status the similarly- themed The Oscar, which is
somewhat of a mixed blessing. With a few more "over-the-top" elements,
Minnelli could have created a trash classic. As it stands, 2 Weeks in Another Town is
too campy to be called a truly good film, and not campy enough to
emerge as a cult movie. Still, with all the powerhouse talent involved,
it never commits the cardinal sin of being dull.
The Warner Archive Blu-ray features a very good transfer and includes the original theatrical trailer.
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If you're among the many Cinema Retro readers who have read our Movie Classics special issue devoted to epic films of the 1960s, you'll know that the story behind producer Samuel Bronston's ill-fated 1964 epic "The Fall of the Roman Empire" played out like a Greek tragedy (with apologies to the Romans.) Director Joe Dante's addictive "Trailers from Hell" web site presents another esteemed director, John Landis, analyzing the film through its original trailer. While we don't agree with his conclusion that it is a "terrible movie", we did laugh out loud at some of his observations: especially the bizarre tag lines used on screen during the trailer that promise the film displays not just a few emotions, but ALL emotions! In fact, the trailer appears to have put together by someone for whom English was a fourth language.
Retro movie lover Steven Thompson has put together a marvelous web site that pays tribute to his favorite year: 1966. It's hard to argue with his logic, especially if you were growing up then. The Beatles, James Bond, Batman, The Man From U.N.C.L.E., British invasion rock, great comic books, and so much more all at your fingertips. The site features vintage ads for movies, TV shows and products of the day, as well as vintage comic strips and film clips. Click here to view
It doesn't get any better than this: closing out the year with the release of "The Mule", directed by and starring Clint Eastwood, who made his last acting appearance in "Trouble with the Curve" in 2012. In "The Mule", Eastwood, who is going on 90 years old, plays a man with a troubled past who gets caught up in the drug-smuggling trade. If the film plays as well as the trailer, it may prove to be a real gem.
I've long had admiration for the work of actor Robert Shaw ever since he impressed me at age 8 with his chilling interpretation of the SPECTRE psychotic killer Red Grant in "From Russia With Love". Shaw could always be counted on to deliver a fine performance even if the material he chose was sometimes underwhelming. Shaw was also a talented writer and playwright, having won acclaim for his play "The Man in the Glass Booth", which was inspired by the war criminal trial of Adolf Eichmann. Shaw, like many actors, participated in many questionable films in order to enable his real passion, which was to bring avante garde movie projects to fruition, even if they only appealed to the art cinema crowd. One of Shaw's most interesting vehicles is one of his least seen. "Figures in a Landscape" was his 1970 adaptation of an allegorical novel by Barry England that abounded with reference to the (then) on-going Vietnam war. Shaw dispensed with that aspect of the novel and instead played up its more opaque aspects, particularly those that concern the two protagonists in what is basically a two-character adventure. The film opens with Shaw and co-star Malcolm McDowell on the run in an unnamed country being pursued by unnamed forces (presumably the police and/or military) for unspecified crimes. One senses they are political prisoners in a totalitarian state but this is never addressed directly. Shaw is MacConnachie ("Mac"), a middle-aged man with a colorful past that often found him on the opposite side of the law. McDowell is Ansell, a twenty-something free spirited type from London whose social values are the polar opposite of Mac's old fashioned values. When we first see the men, they are running at a high rate of speed and have to contend with the major obstacle of having their hands bound behind their backs. We never learn how they effected their escape and from whom but these are just several key questions that Shaw's screenplay goes to lengths in terms of not filling in the audience on the details. The two men, bound by their mutual need for one another, bicker and bark at each other like Tony Curtis and Sidney Poitier in "The Defiant Ones" with Mac channeling his future performance as Quint in "Jaws" by constantly attacking the younger man for being the product of a soft generation. As these types of films generally play out, Mac and Ansell are able to win some small victories through mutual efforts and begin to develop a grudging but sincere admiration for each other. (In one of the script's few instances of humor, we learn that Mac is somewhat of a prude by the way he chastises the younger generation for the sexual promiscuity afforded by "The Pill".) They finally figure out a way to free their bonds and obtain food, water and arms. However, they find themselves relentlessly pursued by a helicopter piloted by faceless, nameless men who coordinate a widespread army of pursuers on the ground The image of the helicopter haunts Mac and Ansell throughout their desperate race across a harsh landscape that contains both deserts and high, snow-covered mountains. Throughout their ordeal, the men come to know each other better though Shaw's screenplay, perhaps not coincidentally, gives his character far meatier material than McDowell gets to work with. Shaw is at his best in the quiet sequences, reminiscing about his beloved wife who waits for his return home.
The film falls short of its Kafkaesque pretensions but is never less than engaging, thanks in no small part to the skill of director Joseph Losey in keeping the bizarre aspects of the scripts from becoming too alienating for the audience. There is also superb cinematography that does justice to the magnificent, if sometimes foreboding, Spanish landscapes and a fine score by the estimable Richard Rodney Bennett. It's unclear what Shaw was trying to say in this sometimes puzzling film that at times evokes aspects of Patrick McGoohan's classic TV series "The Prisoner". This jumbled aspect of the story robs the film of some of its potential dramatic payoffs but there is real satisfaction in watching Shaw and McDowell in parts that are this meaty. We only learn enough about each character to tantalize us even further regarding how they ended up in this dilemma and it's probably best that Shaw never provides any easy answers. However, some of the men's actions and interactions cry out for a bit more clarification especially in the exciting climax when Mac is motivated to take on downing the hated helicopter even at an unnecessary risk to his own life.
"Figures in a Landscape" has been released by Kino Lorber on Blu-ray. As with most of the company's titles, this one boasts a superb transfer that does justice to the impressive filming locations. Unfortunately, no extras are included. A pity because this film cries out for a commentary track that could have covered not only the movie itself but also Shaw's remarkable career, one that never completely fulfilled its potential because of his own personal demons.
Carl Kolchak (Darren McGavin) returns in The Night Strangler (1973), a follow-up
TV-movie to the previous year’s unexpectedly successful The Night Stalker. Kolchak has been booted out of Las Vegas and
settles in Seattle and teams up with his old boss Tony Vincenzo (Simon Oakland)
just as a string of suspicious murders begin to plague the metropolis. It comes
to his attention that the victims, young female exotic dancers, are turning up
dead after having had their necks crushed, drained
of a small amount of blood, and most disturbingly all had instances of rotting
flesh on their necks. The murders occur over a period of 18 days.
a researcher, Carl learns that a nearly identical series of killings took place
in 1952 (21 years earlier) for the same duration, and then 21 years prior to
that, all the way back to at least 1889 (this notion was exploited to horrific
effect in Stephen King’s masterful 1986 novel, It, wherein a malevolent creature appears every 27 years under the
guise of Pennywise the Dancing Clown and goes on a murder spree to remain alive).
The police want Kolchak to cease his own investigation and temporarily arrest
him so that he won’t print anything that will alarm the public.
later uncovers information that leads him to a surgeon who was stationed on the
Union Army side of the Civil War and the “Underground City” of Seattle figures
into this surprising revelation of the identity of the man who is attempting to
remain immortal over the millennia. It’s a really cool idea in theory, although
in practice the sequence drags on a bit longer than it should.
The Night Strangler, shot in July of 1972 and aired on
January 16, 1973, follows Kolchak and his aggravated boss as they bicker, yell,
and disagree on what the facts are. The producers of the original film figured
that if the public liked the original so much, they may as well give them
something similar the second time around, and that’s just what they got. Robert
Cobert returns to provide a spooky and playful score and Richard Matheson is on
board again helming the teleplay. Sitting in the director’s chair this time
around is Dan Curtis, the creator of Dark
Shadows, the long-running TV horror series as well as its two theatrical
films from the early 1970s. He went on to direct what is widely considered to
be one of the scariest TV movies of all-time, Trilogy of Terror (1975), and the theatrical film of Robert Marasco’s
Burnt Offerings (1976), an equally
frightening thriller. He does a fine job building suspense and keeping the
streets of Seattle lit like a film noir,
although the film suffers a bit from its extended running time with sequences wherein
Kolchak enlists the help of a lady friend (JoAnne Pflug) walking the streets in
the middle of the night to entrap the killer, or later when he roams the
streets of the “Underground City” searching for the killer. Why is it that
whenever women start being killed off, others feel the need to walk home alone
on deserted streets?
Lorber has released the film in a 4K restoration and the film looks like it was
just shot. In addition to this, there are some great new extras:
commentary with Tim Lucas – Mr. Lucas provided the wonderful commentary on this
film’s predecessor and he does the same here. He has been writing about movies
for well over 35 years. I first read his articles in Video Times Magazine in
the mid-1980’s and published Video Watchdog magazine from 1990 to 2018. He has
done some terrific commentaries in the past for Mario Bava’s work among many
others, and he does the same here. One thing viewers will notice is that this
second Kolchak outing runs 90 minutes as opposed to the first film’s 74 minutes.
This is due to the fact that the original TV version, which also ran 74
minutes, is considered lost, and this 90-minute cut is actually the theatrical
version that was released in Europe, something that was also done with Steven
Spielberg’s 1971 TV-movie Duel. That
telecast also received a theatrical release here in the States in April 1983
and it’s the 90-minute cut of that film that audiences know today.
is also a high definition, ten-minute 2018 interview with music composer Robert
Cobert who is an absolute delight to listen to. This is the same interview that
appears on the Blu-ray of The Night
Stalker. At nearly 94 years of age he describes how he comes up with music
as he watches the rough cut and also discusses the stressful deadlines he was
handed to compose and conduct the score simply because he was the last person
brought in on the project. I have loved his music since I saw Burnt Offerings on television in 1981
and he has a signature sound. If you can find it, this CD has some of his best work.
is a standard definition interview with producer Dan Curtis that was shot
around 2003/2004 (he passed away in 2006) that runs seven and-a-half minutes
wherein he talks about how wonderful and fun it was to make these films, and I
really got a sense from him that he meant what he said when he reminisced about
the good old days.
is also a trailer for Burnt Offerings
(1976); a limited edition booklet essay by film critic and author Simon Abrams;
and beautiful new artwork by artist Sean Phillips.
also nice to have subtitles for a change and I’m happy to report that Kino
Lorber has provided those on this release, too. Let’s hope that they continue
this practice I with their future releases.
filmmaker and stage director Ingmar Bergman famously said that he was “married
to the theatre,” but that “film was his mistress.” In a vintage interview in
Margarethe von Trotta’s new documentary on Bergman, the Swedish artist is asked
to define “film director.” Bergman’s brow wrinkles and he is lost in thought
for a moment… and then he replies that being a film director is “someone who has
so many problems to deal with he doesn’t have time to think.”
then, is a cruel mistress, indeed.
official selection of the New York Film Festival and released to U.S. theaters in
November in time to help celebrate Bergman’s centenary, Searching for Ingmar Bergman is a welcome and lovingly-made
examination of the filmmaker’s life and work. Director von Trotta, one of the
major figures of the New German Cinema movement of the 70s and 80s, shines a
light on this somewhat enigmatic and complicated man through a succession of
film clips from Bergman’s oeuvre,
interviews with various actors, crew, family, and other filmmakers, and scenic
tours of what was Bergman’s physical world.
with the help of author Stig Björkman (Bergman on Bergman), von Trotta traces
Bergman’s movements in Stockholm, Farö Island, and Munich
(where Bergman spent his voluntary banishment from Sweden after he was falsely
accused of tax evasion in the mid-70s). The portion of the documentary that
deals with the “German period” is enlightening and not typically recorded.
Bergman’s repertory company, Liv Ullmann is of course a top-billed
interviewee—a documentary on Bergman would not be complete without her. Gunnel
Lindblom, Rita Russek, and Julia Dufvenius also make appearances, but,
curiously, Max von Sydow and Harriet Andersson are missing. Sadly, most of the
actors associated with Bergman’s films—Erland Josephson, Gunnar Björnstrand,
Ingrid Thulin—are no longer with us, and Bibi Andersson is tragically incapacitated
by a stroke.
Ruben Östlund (The
Square), Olivier Assayas (Personal
Shopper, Clouds of Sils Maria),
Mia Hansen-Løve (Maya,
Things to Come), and Carlos Saura (Carmen, Tango), screenwriter Jean-Claude Carrière
(The Discreet Charm of the Bourgeoisie),
and Bergman’s “script girl” for thirty years, Katinka Faragó,
all deliver poignant and insightful analyses of Bergman’s style and the themes
that run through his work.
interesting are the comments from Bergman’s sons, Daniel and Ingmar Jr., and
grandson Halfdan Ullmann Tøndel. Bergman was
married five times and had numerous love affairs. He fathered nine children,
but according to Daniel and Ingmar Jr., Bergman wasn’t close to his children.
One gets the impression that he loved his actors more than his immediate family,
and that he was only truly at “home” when he was in the theatre or on a film
set. At one point, an anecdote is told of how Bergman, sitting with some of his
grown children, once complained that he “missed his actors.” One of the
children snapped back, “What about your children?” Bergman shrugged and
replied, “I don’t miss you.”
Bergman may not have been the best father or family-man, but his dedication to
his art, his perception of the human condition, and especially his presentation of liberated women in his films, place
the filmmaker on any serious cinephile’s Greatest Directors list.
testament to Bergman’s standing in the world of cinema is the upcoming Blu-ray
39-film box set that will be released by The Criterion Collection on November
20. In the meantime, a good introductory course for Bergman-beginners might be
von Trotta’s new documentary. Search for it at an art-house near you.
(The impressive and Gothic Oakley Court, star of many horror pics.)
BY MARK MAWSTON
Cinema Retro’s Mark
Mawston was invited to cover a rather special event being held at the wonderful
Oakley Court near Windsor, just across the river and virtually facing Hammers old
studios at Bray. Oakley, the setting for many a Hammer and Amicus film, was
utilized for its Gothic look and proximity from Bray, starting way back in 1949
when Hammer were still under their Exclusive Films moniker. Film fans will
immediately recognize Oakley as the home of Tim Curry’s Dr. Frankenfurter in the 1975 cult classic The Rocky Horror Picture Show, so a more apt
location for a memorabilia fair would be hard to find. The timing was also
perfect as it was held just before Halloween. Collectors and dealers from
all over the country (and further afield) met to exchange stories as well as merchandise
at the event which was expertly organized by Harry Malcolm and Mark Hochman of
Vintage Movie posters.
(Organizers Harry Malcolm and Mark Hockman.)
(Mark & Harry at the Hotel entrance which featured in the movie shown later that day, Brides Of Dracula. It seemed unchanged.)
Hopefully this will be the first of many such events, as
those gathered, including legendary poster artist Graham Humphreys and Bond optical effects designer Alan Church, all agreed that this was a resounding success and
the perfect venue in which to celebrate classic film at this spookiest time of
year. The day was rounded off by a Venture Films screening of the 1960 Hammer classic Brides
Of Dracula starring Peter Cushing, just one of the many classics filmed at
Oakley, the entrance of which featured several times in the film. The spot hasn't changed since filming and the imposing towers were inspiration on the DVD releases of
the Hammer House of Horror series. All
in all, this was a wonderful day for all as the fans and indeed the fangs were
out in force. Though no one offered to recreate The Time Warp, this was a
celebration of one of UK cinema’s most creative periods when Hammer films were
as Gothic as Oakley.
(All photos copyright Mark Mawston. All rights reserved.)
"Saturday Night Live" spawned many a memorable comic character, some of whom were exploited in feature films. While "The Coneheads" proved to be popular on the big screen, other TV-to-cinema transfers of iconic "SNL" pop culture figures proved to be duds. Al Franken's memorable incarnation of Stuart Smalley was the subject of "Stuart Saves His Family", a 1995 production directed by Harold Ramis that received some surprisingly favorable reviews but ended up with a North American boxoffice gross of less than $1 million. That ranks as a major success compared to "It's Pat: The Movie", released the prior year and starring Julia Sweeney as the androgynous character that proved to be a popular staple of "SNL" during this period. Pat was a visually unattractive figure with an obnoxious manner of speaking that repulsed his/her coworkers, who were constantly striving to discover whether Pat was a male or female. Inevitably, Pat would provide unintentionally ambiguous answers to leading questions that would only heighten the mystery and thwart those who were seeking to unveil Pat's genetic makeup. As the subject of five-minute comedy sketches the concept worked great and Sweeney's Pat became a popular staple of the show. Then Hollywood came knocking. Fox approached Sweeney to turn the concept into a feature film. Sweeney admitted she couldn't envision how Pat could remain interesting to viewers in any format other than TV skits. After putting some development money into the film, Fox agreed and backed off only to have Disney's Touchstone Pictures ride to the rescue and give the production the green light. The result was a disaster. The film was given some sporadic openings only to be pulled within a week due to complete rejection by audiences. The movie's boxoffice gross in North America stands at $61,000. Although modestly-budgeted, the movie still had cost more than $10 million to make. Time has not been kind to dear Pat, as it boasts a Rotten Tomatoes score of 0%. Now those brave souls at Kino Lorber have released a Blu-ray of "Pat: The Movie" and, consequently, it's time to revisit the film.
The plot (such as it is) opens with Pat alienating everyone in his/her orbit with obnoxious behavior. A local store owner gives Pat items for free just to expedite his/her departure. Pat tries various career moves but inevitably loses every job due to ineptness. Just when things seem hopeless, Pat finds love with Chris (Dave Foley in a role originated by Dana Carvey on "SNL"), another androgynous individual. The two set up house together and live as a normal couple, though both seem blissfully unaware that their sexuality is a mystery to those around them. Are they a straight couple? A gay couple? Two men? Two women? A subplot is introduced in which a hunky new neighbor, Kyle (Charles Rocket) and his wife Stacy (Julie Hayden) find their lives disrupted by Kyle's increasing obsession with Pat. He is sexually attracted to him/her, much to the alarm of Stacy, and that attraction turns into a psychological mania that finds Kyle dressing like Pat and even stroking a doll that resembles him/her. Meanwhile, the hapless Pat blunders into some successful career steps by making an appearance with a rock band that leads to him/ her becoming a media sensation. When he/she drops by a radio station to visit a friend, Kathy (Kathy Griffin), who hosts a popular romantic advice show, Pat unintentionally upstages her and gets the hosting gig. Pat's success has alienated Chris, who breaks up the relationship and decides to move abroad. The finale finds Pat coming to grips with his/her faults and making a mad dash to a cruise ship line to prevent Chris from leaving the country.
"THE NIGHT OF THE IGUANA: CLOSE ENCOUNTERS IN THE
BY EVE GOLDBERG
The Night of the Iguana, Tennessee Williams’s last great
play, was turned into a 1964 movie which, in its day, was as famous for its
behind-the-scenes spectacle as for what actually appeared on screen.
Today, Iguana is rarely mentioned alongside the other
classic Tennessee Williams film adaptations: Streetcar Named Desire, Cat on a
Hot Tin Roof, and Suddenly, Last Summer. Despite a tremendously talented cast,
compelling characters, and a can’t-look-away examination of our anguished,
redeemable humanity, Iguana is often neglected.
So, it’s high time for a fresh look at this movie — with
a focus on its journey from stage to screen.
"Shannon!" shouts Maxine Faulk from the veranda
of her run-down hotel on the coast of Mexico. Thus opens Tennessee Williams’
1961 play. The setting is 1940. Recently widowed Maxine greets her old friend,
Reverend Shannon, a disgraced minister who has been reduced to leading low-rent
bus tours. He is currently shepherding a group of middle-aged Baptist women
through Mexico. Shannon is in crisis. He has become sexually involved with
Charlotte, a 17-year-old girl on the tour, whose jealous, closeted chaperone,
Miss Fellows, is determined to get him fired. Already locked out of his church
for having an affair with a young Sunday School teacher, Shannon is at the end
of his rope. In a desperate attempt to stop Miss Fellows from phoning the
States and exposing him, he pockets the ignition key and strands his charges at
Maxine’s secluded hotel.
Vacationing at the hotel is a pro-Nazi German family who
stay glued to the radio throughout the play, gleefully reporting on Hitler’s
progress. Soon, another unexpected visitor arrives: the beautiful spinster artist,
Hannah Jelkes, escorting her 97-year-old grandfather, “the world’s oldest
practicing poet.” To eek out a living, Hannah sketches and her grandfather
recites poetry as they wander the globe. Right now they are broke. Shannon
convinces Maxine to let the pair spend the night at her hotel.
Earthy, sensual Maxine wants Shannon to stay on at the
hotel and fill her late husband’s shoes. Persistent Charlotte wants to seduce
him. Vengeful Miss Fellows wants to get him fired. Shannon wants some peace of
mind. As he fights against his own desires for both Charlotte and alcohol, he
becomes increasingly distraught and emotionally unstable. He finally falls to
pieces after the bus driver wrests the ignition key away from him and leaves
with the women to continue their tour. To prevent Shannon from running down to
the beach to take that “long swim to China,” Maxine ties him up in a hammock on
the verandah. During a stormy night of soul-searching (while strapped to the
hammock), Shannon connects deeply with the serene and understanding Hannah. He
admits to his “spooks,” she to her “blue devils.” Hannah, who has never had
sexual relations, describes to Shannon what she calls her “love experience”
with an underwear salesman. When Shannon asks whether she was disgusted by the
man’s request to hold a piece of her clothing, Hannah replies with the most
famous line of the play: “Nothing human disgusts me, unless it’s unkind,
As a result of the profound communication and connection
Shannon experiences with Hannah, his torment subsides. He frees himself from
the hammock. Then, at Hannah’s request, he cuts loose the iguana which is being
held captive under the verandah by Maxine’s houseboys. At the end of the play,
Hannah’s grandfather finishes his final poem and dies; Hannah leaves to travel
alone; and Shannon reluctantly agrees to stay on with Maxine and help her run
Night of the Iguana opened on Broadway with legendary
Bette Davis in the role of Maxine. The play was well-received, and ran for 361
performances. It won the New York Drama Critic’s Circle award for Best Play,
and was nominated for a Tony for Best Play. However, unhappy with the
production and her role, Davis left the show after a few months. According to
the actress, “There was no camaraderie, no sense of kinship, no attitude of
pulling together to make the play work.” According to Tennessee Williams, “If
she had ever truly had a command of her talent on the stage, she had lost it by
that time.” Davis was replaced by Shelley Winters. Still, Davis hoped to play
Maxine on screen. It was not to be.
When producer Ray Stark brought a screenplay for Night of
the Iguana to John Huston, the director was immediately interested in making
the movie. “I was a great admirer of Tennessee Williams,” said Huston. “I had
seen the play and liked it, with reservations.”
At that time, Huston was at the peak of a long and
illustrious career. His prior films included such popular and critical hits as
The Maltese Falcon, The African Queen, The Treasure of Sierra Madre, and The
Asphalt Jungle. In the sexist vernacular of the day, Huston was known as a
“man’s man” — he was a former boxer, unrepentant boozer, and lover of women,
danger, and adventure — who enjoyed making his films in exotic, challenging
locations. He was also one of the most literate of American filmmakers. He had
been a contract writer at Warner Brothers, penning adaptations of great novels
including Moby Dick and Red Badge of Courage. In Iguana, he saw an opportunity
to explore Tennessee Williams’s meaty theme of “loose, random souls trying to
account for themselves and finally being able to do so through love.”
Huston hoped to cast his movie with big-time stars:
Richard Burton, Ava Gardner, Deborah Kerr, and Sue Lyon.
Richard Burton was just coming off mega-movie Cleopatra,
where he met, co-starred, and began a torrid affair with Elizabeth Taylor. The
stunningly beautiful Taylor was the top female box office attraction in the
world. Burton, an acclaimed Shakespearean actor, had become a screen sensation
with starring roles in Look Back In Anger and Becket. Both Burton and Taylor
were married to others when they began their affair — Taylor to crooner Eddie
Fisher whom she infamously “stole” from girl-next-door actress Debbie Reynolds.
At a time in American culture when divorce, much less extra-marital affairs,
was still semi-taboo, the public couldn't get enough of "Liz and
Dick." Their scandalous relationship and glamorous lifestyle captivated
millions. Their photos and personal lives were constant fan mag fodder — solid
gold for the Hollywood publicity machine.
If anybody could rival Liz Taylor in both the beauty and
scandal departments it was Ava Gardner. Brought to Hollywood more for her looks
and legs than her acting ability — which, according to the actress herself, was
close to zilch — Gardner signed a contract with MGM at age 19. She then
progressed from pin-up girl, to small roles in B movies, to femme fatale icon.
She exuded a magnetic, sultry sex appeal. And she was gorgeous. According to Humphrey
Bogart, "Whatever it is, whether you're born with it, or catch it from a
public drinking cup, she's got it."
Gardner gained additional fame for three high-profile
marriages to three high-profile celebrities: actor Mickey Rooney, band leader
Artie Shaw, and no-introduction-needed Frank Sinatra. The tumultuous
Frank-and-Ava marriage was chronicled in the press as avidly as the
Liz-and-Dick affair. After six years of a passionately volatile relationship,
Gardner and Sinatra divorced in 1957. By the time Iguana came around, Ava
Gardner was 44 years old and living in Spain where she hung out with Ernest
Hemingway and a bevy of bullfighters. Huston decided that her unique blend of
beauty, maturity, and lusty sensuality made her ideally suited for the role of
hotel owner Maxine.
As for Bette Davis, who openly coveted the role she had
pioneered on Broadway, Huston decided she wasn’t right for the part. He felt
she came across as “too threatening” for the kind of Maxine he had in mind.
When 18-year-old Sue Lyon was cast in Iguana as seductive
teenager Charlotte, she had exactly one film credit to her name: the title role
in Lolita. 'Nuf said.
On the opposite end of the spectrum, Deborah Kerr already
had 42 films under her belt. She had played a troubled nun in Black Narcissus;
a neglected military wife in From Here to Eternity (iconic beach make-out scene
with Burt Lancaster!); a widowed school teacher in The King and I; and the
tragically romantic heroine in An Affair to Remember. She had been nominated for
an Academy Award as Best Actress six times. On screen and off, Kerr had gained
a reputation as a class act. Huston thought she'd be perfect as the chaste
"We went to see them, one after another" Huston
wrote in his memoir, Open Book. "Richard, in Switzerland, promptly
accepted; likewise Deborah in London. That took us to Madrid and Ava
Gardner." According to Huston, Gardner was unsure whether she had the
ability to do the part. However, after the requisite wooing, she agreed to be
in the film.
Now the stars were set. The press closed in. The fun was
about to begin.
"We've got more reporters up here than
iguanas." -- producer Ray Stark.
In 1964, when Iguana's cast and crew descended upon it,
Puerto Vallarta was still a small fishing town with a few hotels; 24-hour
electrical service had only recently arrived. Eight miles up the coast,
accessible only by boat, was an isolated rain forest peninsula called
Mismaloya. High atop the cliff at this lush, mosquito-infested spot is where Huston
decided to film Night of the Iguana. A strong believer in location shooting, he
thought the wild, sweaty atmosphere of Mismaloya would visually reflect the
inner tumult of the movie's characters. He also hoped that the challenging
environment would force the actors out of their comfort zones and enhance their
Up on this jungle mountaintop, a construction crew built
the movie's weathered hotel set. They also erected 40 bungalows to house the
125 cast and crew members who would live there for the entire 72-day shoot. In
addition to living quarters, the crew built an editing room; a large kitchen,
bar and restaurant; water tanks and an electrical plant; plus various paths and
roads. All materials and supplies had to be carried up 134 earthen steps from
the beach to the cliff-top location. It took 280 men and 80 burros to complete
As construction of the miniature city proceeded, Huston
and his co-writer, Anthony Veiller, worked on the script.
Finally, Iguana's cast arrived in Puerto Vallarta. As did
more than 100 members of the press and paparazzi. Fascinated by the
high-wattage gathering of filmdom glitterati, reporters expected plenty of
behind-the-scenes fireworks. Especially because Burton was accompanied by his
lover, Elizabeth Taylor. With sexy co-stars Ava Gardner and Sue Lyon roaming
the set, the press assumed that Taylor wanted to keep an eye on Burton. "I
trust Richard completely," she told reporters. "It's just that I
don't trust Fate. After all, Fate threw us together on Cleopatra."
And there was plenty more to feed the gossip-hungry
public: Burton brought along his publicist, Michael Wilding, who had been Liz
Taylor's second husband. Teenager Sue Lyon was visited on location by her
25-year-old fiancé, actor Hampton Fancher III. And Ava Gardner took up with
several hunky beach boys. Director Huston, married at the time, was accompanied
by his mistress, Zoe Sallis. Deborah Kerr brought along her husband, writer
Peter Viertel, who had once been Ava Gardner's lover. Viertel was the author of
White Hunter, Black Heart — a novel based on the making of The African Queen —
which featured an unflattering portrait of a Huston-like movie director.
Before filming began, Huston assembled his stars, plus
Taylor and Stark, and presented each one with a velvet-lined box. Inside the
box was a derringer pistol and five gold-plated bullets. Each bullet was
engraved with the name of one of the others. A photo from that moment shows the
assembled group examining their pistols and sharing a hearty laugh. The
atmosphere was loose and fun — regardless of what the press hoped for.
While most of the cast and crew lived at the Mismaloya
mini-city for the duration of the shoot, top stars Burton, Kerr, Gardner, and
Lyon stayed in Puerto Vallarta.
Wrote Kerr about their accommodations in town:
"Never have there been such raucous donkeys, such snuffling and screeching
pigs, such shrill and insistent roosters and babbling turkeys. Top this off
with a thick sauce of mariachi music, plus phonographs and radios at full
blast, season with firecrackers and rockets at all hours of the night, and you
have a fairly tasty idea of what the sleeping conditions are like in this
Early each morning, the stars boarded motor boats to make
the 25-minute ride to Mismaloya. Documentary footage shows Deborah Kerr being
carried by a crew member, who is waist-deep in the surf, and being placed in a
Lines were drawn on the first day of shooting when Kerr
and Lyon announced that they expected the set to be "dry." Burton, a
devout alcoholic, said this was "preposterous." He ordered a bar to
be set up at each end of the crude staircase which connected beach to
cliff-top. Huston and Gardner, both committed drinkers, did not object. Thus,
beer and tequila flowed freely during the shoot. Burton took his first drink
early each morning before the cameras rolled. Gardner had a personal icebox
stocked with her favorite Mexican beer. For her part, Elizabeth Taylor ordered
gourmet hamburgers imported daily from the U.S. and brought up to the set.
Despite prodigious alcohol consumption, filming
progressed fairly smoothly. While the press anticipated juicy sex scandal and
interpersonal catastrophe, the most serious mishap of the production was
actually due to the sub-standard materials used to construct the housing at
Mismaloya. One night, assistant director Tom Shaw was standing on his balcony
when it collapsed. Shaw broke his back and had to be flown back to the U.S. for
surgery. Fortunately, his injuries healed and he would work with Huston again.
The State Theatre in New Brunswick, New Jersey, launched their Broadway season for 2018. The theatre has long been regarded as a historic venue where outstanding productions have been presented, from theatrical performances to legendary rock stars, classic film shows and the New Jersey Symphony Orchestra in concert. Last year, the State initiated a bold new program: a full season of Broadway hits. The results exceeded expectations and today marked the second season's debut with a production of the zany, Tony-nominated "Something's Rotten". The comedy musical is set in the 1590s and incorporates such diverse topics as William Shakespeare and his works, women's liberation, "Les Miserables" and Nazis (don't ask!). It's Monty Python by way of Mel Brooks, with a bit of Woody Allen tossed in. As with the previous season's presentations, this was a first-class, expensive production that could be moved intact back to Broadway. The cast is uniformly first-rate and the packed house howled with laughter throughout. You'll have to move quickly if you want to see it at the State, however, as the show moves on to a national tour after the performances on Sunday, November 3. Broadway fans need not despair, however, because there are some other gems forthcoming in the theater's new season: "The King and I", "Finding Neverland", "Rent", "Stomp" and "Chicago: The Musical". The theatre's proximity to Manhattan ensures an abundance of talent is available and many of the performers are seasoned Broadway veterans. Click here for more information about the Broadway series. Click here for future play dates for the "Something Rotten" national tour.
Cinema Retro has received the following press release:
Get ready for a laugh in the cult-classic comedy that has
captured everyone’s hearts when The Big Lebowski 20th Anniversary Limited
Edition debuts for the first time ever on 4K Ultra Combo Pack that also
includes Blu-ray™ and Digital via the digital movie app MOVIES ANYWHERE on
October 16, 2018, from Universal Pictures Home Entertainment. Fans can relive
the hilariously freewheeling plot of one of the most beloved films of all-time
with the twisted crime-comedy starring Jeff Bridges (Crazy Heart, True Grit),
John Goodman (10 Cloverfield Lane, Argo), Julianne Moore (The Hours, Still
Alice), Steve Buscemi (Fargo, Ghost World), Philip Seymour Hoffman (The Master,
Capote) and John Turturro (Barton Fink, Fading Gigolo). The Big Lebowski 20th
Anniversary Limited Edition is the perfect gift for any fan and the exclusive
set includes a collectible bag, bowling ball pencil holder, polishing cloth and
sweater packaging offering an experience like no other to look back on the
cultural phenomenon of The Dude in the “#1 cult film of all time” (The Boston
With unforgettable scenes and outrageous humor, The Big
Lebowski 20th Anniversary Edition showcases hours of bonus features including
retrospective documentaries, an interactive map, an in-depth look at the
phenomenon known as the Lebowski Fest taking audiences deeper than ever before
into the upside down world of “The Dude.”
From the Academy Award®-winning Coen brothers, The Big
Lebowski is a hilariously quirky comedy about bowling, a severed toe, White
Russians and a guy named…The Dude. Jeff “The Dude” Lebowski doesn’t want any
drama in his life…heck, he can’t even be bothered with a job. But, he must
embark on a quest with his bowling buddies after his rug is destroyed in a
twisted case of mistaken identity.
· The Dude’s
Life: Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi and John
Turturro take a look back at their performances and how their delivery of the
Coen brothers’ dialog became classic movie lines.
· The Dude
Abides: The Big Lebowski Ten Years Later: A conversation with the cast about
the film’s decade-long reign as a cult classic.
· Making of The
· The Lebowski
Fest: An Achiever’s Story: An in-depth look at the annual Lebowski Fest, a
celebration of The Dude and his world, attended by thousands each year.
Carpets and Bowling Pin Dreams: The Dream Sequences of The Dude: A look at some
of the Dude’s trippiest fantasies so fans can learn for the first time how
these innovative scenes were created.
Map: Take a tour of the locations of The Big Lebowski, then and now.
· Jeff Bridges
Photo Book: For more than 30 years, Jeff Bridges has been snapping pictures on
movie sets. The accomplished photographer presents a portfolio of shots taken
on the set of The Big Lebowski.
· Photo Gallery
· And Much
The Big Lebowski 20th Anniversary Edition will be
available on 4K Ultra HD combo pack which includes Blu-rayTM and Digital, and
4K Ultra HD is the ultimate movie watching experience. 4K
Ultra HD features the combination of 4K resolution for four times sharper
picture than HD, the color brilliance of High Dynamic Range (HDR) with
immersive audio delivering a multidimensional sound experience.
Blu-rayTM unleashes the power of your HDTV and is the
best way to watch movies at home, featuring 6X the picture resolution of DVD,
exclusive extras and theater-quality surround sound.
Digital lets fans watch movies anywhere on their favorite
devices. Users can instantly stream or download.
Movies Anywhere is the digital app that simplifies and
enhances the digital movie collection and viewing experience by allowing
consumers to access their favorite digital movies in one place when purchased
or redeemed through participating digital retailers. Consumers can also redeem
digital copy codes found in eligible Blu-rayTM and DVD disc packages from
participating studios and stream or download them through Movies Anywhere.
MOVIES ANYWHERE is only available in the United States. For more information,
came to fame with his trademark comedy style of portraying a meek, excessively
nervous character. He was Woody Allen before Woody Allen was Woody Allen.
Knotts honed his skills on Steve Allen's show in the 1950s, with his "man
on the street" Nervous Nellie routine sending audiences into fits of
laughter. He co-starred with fellow up-and-comer Andy Griffith in the hit
Broadway production of "No Time for Sergeants" and the subsequent
film version. When Griffith landed his own TV series in 1960 in which he played
the sheriff of fictional small town Mayberry, Knotts imposed upon him to write
a small, occasional part he could play as Barney Fife, Griffith's inept but
loyal sheriff. Griffith complied and the role made Knotts an icon of American
comedy, allowing him to win an astonishing five Emmys for playing the same
character. Five years into the series, Knotts was offered a multi-feature deal
by Lew Wasserman, the reigning mogul of Universal Pictures. Knotts took the
bait and enjoyed creative control over the films to a certain degree. He could
pretty much do what he wanted as long has he played the same nervous schlep audiences wanted to
see. The films had to be low-budget, shot quickly and enjoy modest profits from
rural audiences where Knotts' popularity skewed the highest. His first feature
film was The Ghost and Mr.
Chicken, released in 1966 and written by the same writing team from
the "The Andy Griffith Show". (Griffith actually co-wrote the script
but declined taking a writing credit.) The film astonished the industry,
rolling up big grosses in small markets where it proved to have remarkable
staying power. Similarly, his next film, The
Reluctant Astronaut also proved to be a big hit, as was his
1969 western spoof The
Shakiest Gun in the West. Within a few years, however,
changing audience tastes had rendered Knotts' brand of innocent, gentle humor
somewhat moot. By the late 1960s audiences were getting their laughs from the
new film freedoms. It was hard to find the antics of a middle-aged virgin much
fun when you could see Bob and Carol and Ted and Alice cavorting in the same
bed. Still, Knotts soldiered on, providing fare for the drive-in markets that
still wanted his films. In 1969 he made The
Love God?, a very funny and underrated film that tried to be more
contemporary by casting Knotts as an innocent ninny who is manipulated into
fronting what he thinks is a magazine for bird watchers but, in reality, is a
cover for a pornography empire. Knotts' traditional audience balked at the
relatively tame sex jokes and for his final film for Universal, How to Frame a Figg, he
reverted back to his old formula.
1971, Figg casts
Don Knotts as the titular character, Hollis Figg, a nondescript wimp who toils
as an overlooked accountant in a basement of city hall. The film is set in a
Mayberry-like small town environment but any other similarity ends there. In
Mayberry, only the visiting city slickers were ever corrupt. The citizenry may
have been comprised of goofballs and eccentrics, but they were all scrupulously
honest. In Figg's world, however, the top government officials are all con-men
and crooks. They are ruled by the town's beloved paternal father figure, Old
Charley Spaulding (Parker Fennelly), a decrepit character who hands out pennies
to everyone he encounters, with the heart-warming greeting "A shiny penny
for your future!" In fact, Old Charley has plenty of those pennies
stashed away. He and his hand-picked fellow crooks, including the mayor and
police chief, have been systemically ripping off the state by grossly inflating
the costs of local building projects and secretly pocketing the overages.
Concerned that the accountants might get wind of their activities, they
summarily fire them all except for Figg, who is deemed to be too naive to ever
catch on. They justify the firings by saying it's fiscally prudent and replace
the accountants with a gigantic computer that is supposed to be even more
efficient. Through a quirk of fate, Figg and his equally naive friend, Prentiss
(Frank Welker), the janitor for city hall, discover exactly what is going on.
Figg dutifully reports his findings to the mayor (Edward Andrews), who
convinces him to keep it secret while he launches his own investigation. Old
Charley, the mayor and their cohorts decide to make Figg the fall guy for the
corrupt practices. They give him a big promotion, a new red convertible and
even hire a private secretary for him. She's Glorianna (Yvonne Craig), a leggy
femme fatale who wears mini skirts and oozes sex. When her attempts to seduce
Figg leave him paralyzed with fear because of his allegiance to his new
girlfriend, the equally virginal waitress Ema Letha (Elaine Joyce), Glorianna
gets Figg drunk, takes some embarrassing photos of him and then proceeds to have
him sign a stream of incriminating documents that he has not bothered to read.
Before long, Figg is blamed for all the missing funds and faces a jail
sentence- unless he and the dim-witted Prentiss can figure out how to use the
computer to thwart the real crooks.
13 Hilarious Discs, Lovers of the Three Stooges Will Find Over
Incredible Hours of Content, Including All of the Columbia Pictures
(1934-1945), Four Feature Films, Vintage Animated Cartoons,
9-Part Documentary Series "Hey Moe! Hey Dad!," a Collectible,
Memory Book and More!
Nyuk Nyuk...Why I Oughta..."
over 50 years, The Three Stooges presented a brand of pie-throwing, eye-poking
and head-bonking routines that cracked up multiple generations. They were the
masters of mirth, merriment and mayhem, turning slapstick comedy into an art
form. And, with a body of work including over 300 films, television, stage
shows, cartoons and more - they're forever ingrained in popular culture. Now,
one of the greatest comedy troupes of all time is here to poke, smack, slap and
bonk their way onto your screens with THE BEST OF THE THREE STOOGES!
this riotous DVD set, Time Life has brought together the Stooges greatest hits
in one exclusive collection, priced at $99.95 and available only at
ThreeStoogesDVDs.com. Across 13 uproarious discs, viewers will yuk it up with
over 45 hours of knee-slapping content brought together for the very first
THE BEST OF THE
THREE STOOGES: COLUMBIA PICTURES SHORTS 1934-1945 -- These two
volumes feature 87 hilarious short films from 1934 to 1945. Witness the
rise of these comedy icons in this high-spirited collection containing the
first of the iconic Columbia Pictures Shorts. Watch as the Stooges hit
their stride and began to settle into their definitive roles- Moe as boss,
Larry the middleman, and Curly as their foil -- and experience what has
become regarded as the high point in the Three Stooges career - the Golden
Age! (8 Discs; 1496 mins)
THE BEST OF THE
THREE STOOGES: SHORTS, CARTOONS, & FEATURE FILMS -- From
feature-length films to rare cartoons and vintage shorts - this
collection is sure to leave a smile on your face and a bump on
the back of your noggin! It includes Shemp Howard Comedy Shorts (14
classics from the '30s & '40s); Joe Besser Comedy Shorts (10
side-splitters from the '40s & '50s), Joe DeRita Comedy
Shorts (4 smackers from the '40s), Feature Films (The
Three Stooges (2000, biopic); Have Rocket, Will Travel; The Outlaws Is
Coming and Rockin' in the Rockies; The Three Stooges Cartoons,
inludingBon Bon Parade (1935), Merry Mutineers (1936), A Hollywood Detour
(1942), as well as the bonus 9-part documentary series "Hey Moe! Hey
Dad!," which takes fans behind the scenes with the family of The
Three Stooges as they share never-before-seen footage and photos. (5
discs; 1309 mins)
Life is one of the world's pre-eminent creators and direct marketers of unique
music and video/DVD products, specializing in distinctive multi-media
collections that evoke memories of yesterday, capture the spirit of today, and
can be enjoyed for a lifetime. TIME LIFE and the TIME LIFE logo are registered
trademarks of Time Warner Inc. and affiliated companies used under license by
Direct Holdings Americas Inc., which is not affiliated with Time Warner Inc. or