Actress and director Sondra Locke has died at age 74. She passed away in November but for reasons unknown, her death wasn't reported until six weeks later. Locke first gained attention in the film industry when she received a Best Supporting Actress nomination for the 1968 film "The Heart is a Lonely Hunter". She worked steadily in films and television in supporting roles until 1976 when she co-starred with Clint Eastwood in "The Outlaw Josey Wales". The film formed the basis of a long-time working and personal relationship between Locke and Eastwood. They would go on to co-star in five more films together but their relationship was an increasingly tumultuous one, complicated by the fact that although Locke was living with Eastwood, she was married to another man in what she described as a platonic marriage. Ultimately, the couple's personal troubles resulted in their breakup and a high profile palimony suit against Eastwood by Locke. It all became fodder for the gossip columns with Locke publicly accusing Eastwood of mistreating her both emotionally and financially and claiming he pressured her into getting two abortions. The palimony suit was eventually settled when Eastwood arranged for Locke to get a deal at Warner Brothers to direct and act in films she would develop. However, this, too, resulted in lawsuit when Locke claimed that the one feature released under the deal, the 1986 film "Ratboy", was virtually buried by the studio, which never gave the green light to any of her other projects. Locke filed suit accusing Eastwood of concocting a phony production deal with Warner Brothers that was designed to ensure that none of her films went into production. After a high profile trial in which Eastwood was compelled to give testimony, he made an undisclosed financial settlement with Locke. Although Locke claimed to take satisfaction from a woman prevailing over one of the industry's most powerful men, her career never recuperated, though she did present her side of the story in her autobiography titled "The Good, the Bad and the Very Ugly". In recent years, she had been battling bone and breast cancer. The official cause of death was cardiac arrest related to the illnesses. For more click here.
Ahrya Fine Arts Theatre in Los Angeles will be presenting a 45th
anniversary screening of Nicholas Roeg’s masterful 1973 thriller Don’t Look Now. The 110-minute film
stars Donald Sutherland and Julie Christie as recently bereaved parents
struggling to cope with the loss of their daughter, based upon the short story
of the same name by author Daphne du Maurier and published in the 1971 story
collection “Not After Midnight.”
film will be screened on Tuesday, December 18th, 2018 at 7:30 pm.
PLEASE NOTE: At press time the film’s cinematographer,
Anthony Richmond, is scheduled to participate in a Q&A following the
screening. PLEASE CHECK BACK WITH THE AHRYA’S WEBSITE FOR UPDATES.
the press release:
Laemmle Theatres and the
Anniversary Classics Series present a tribute to director Nicolas Roeg with a
screening of his eerie, atmospheric thriller, 'Don’t Look Now.' Roeg, who began
as a master cinematographer, had a distinctive visual style that received
perhaps its most brilliant expression in this suspenseful film adapted from a
story by Daphne Du Maurier, the author of 'Rebecca.' Screenwriters Allan Scott
and Chris Bryant retained the basic premise of the story but embellished and
expanded it under Roeg’s guidance.
Julie Christie and Donald
Sutherland play a married couple whose young daughter drowns in the movie’s
opening scene. A few months later, they are in Venice, where Sutherland is
working to restore an old church. But they are still grief-stricken and
traumatized, and when they meet two elderly sisters who claim to be able to
communicate with their dead daughter, the couple embark on a supernatural
journey that takes them in unexpected directions. Christie finds comfort in the
sisters’ message, while Sutherland is more skeptical, though it turns out he
has clairvoyant gifts that he tries to suppress.
Set in the gray of winter,
the film avoids the usual Venice tourist spots and instead creates an indelible
vision of a labyrinthine city cloaked in shadows and sinister portents, as a
murderer also haunts the canals and byways and threatens the lives of the two
lead characters. Roeg’s fractured editing style adds to the unsettling nature
of the film, but this editing also contributes to one of the most famous
interludes in the film, a lovemaking scene between Christie and Sutherland that
has been called one of the most erotic and influential in cinema history.
Anthony Richmond was the film’s cinematographer, Graeme Clifford was the
editor, and Pino Donaggio composed the evocative score.
Pauline Kael had high
praise for the performances: “Julie Christie and Donald Sutherland team up
Paul D. Zimmerman called the film “a dark and frightening experience unlike
anything ever filmed…Roeg, a masterly technician, builds up an atmosphere of
dread you can taste in your throat.” TIME magazine’s Jay Cocks agreed, writing “this is a film
of deep terrors and troubling insights—one that works a spell of continual,
mounting anxiety,” and he concluded, “Roeg’s is one of those rare talents that
can effect a new way of seeing.”
Roeg oversaw some of the
astonishing second unit photography in 'Lawrence of Arabia' before graduating
to cinematographer of such films as 'Fahrenheit 451,' 'Far from the Madding
Crowd,' and 'Petulia' (all starring Christie). He made his directing debut
(sharing credit with screenwriter Donald Cammell) on the Mick Jagger film
'Performance.' His other memorable films include 'Walkabout,' 'The Man Who Fell
to Earth' with David Bowie, and 'Bad Timing,' which teamed Art Garfunkel with
Theresa Russell, the actress who became Roeg’s wife and the star of many of his
late films. The director’s nonlinear storytelling and visual acuity had a
tremendous influence on other directors, including Danny Boyle, Steven
Soderbergh, and Martin McDonagh, who have all paid tribute to Roeg’s gifts.
The Ahrya Fine
Arts Theatre is located at 8556 Wilshire Blvd., Beverly Hills, CA 90211. The
phone number is 310-478-3836.
Cinema Retro has received the following press release:
Universal City, California, November 1, 2018 – Five of
some of the most timeless holiday films come together on Blu-ray™ and DVD in The
Original Christmas Specials Collection: Deluxe Edition available now from
Universal Pictures Home Entertainment. Featuring all-new bonus features and
unforgettable characters, experience these five classic holiday specials with
your whole family.
‘Tis the season to enjoy the timeless holiday classics in
The Original Christmas Specials Collection: Deluxe Edition featuring 5
unforgettable stories. Produced by the legendary Rankin/Bass, Rudolph the
Red-Nosed Reindeer, Santa Claus is Comin’ to Town and The Little Drummer Boy
feature iconic Animagic™ stop-motion animation and Frosty the Snowman and Cricket
on the Hearth are beautifully illustrated. Starring the voice talents of Fred
Astaire, Jimmy Durante, Mickey Rooney, Danny Thomas, Burl Ives and many more,
these favorites also feature some of the most beloved songs of the season and
are sure to entertain audiences of all ages for generations to come!
The Original Christmas Specials Collection: Deluxe
Edition includes Rudolph the Red-Nosed Reindeer (1964), Frosty the Snowman (1969),
Santa Claus is Comin’ to Town (1970), The Little Drummer Boy (1968), Cricket on
the Hearth (1967). Along with The Original Christmas Specials Collection:
Deluxe Edition, Rudolph the Red-Nosed Reindeer, Frosty the Snowman and Santa
Claus is Comin’ to Town are also available in individual new Deluxe Editions on
Blu-RayTM and DVD.
· The Animagic
World of Rankin/Bass: An all-new documentary celebrating the legacy of the
holiday specials created by Arthur Rankin, Jr. and Jules Bass including
interviews with filmmakers and historians.
· Restoring the
Puppets of Rudolph: Discover how the puppets from the beloved special were
· Reimagining Rudolph
in 4D: A behind-the-scenes look at the making of the new Rudolph the Red-Nosed
Reindeer attraction film.
· Rudolph the
Red-Nosed Reindeer Attraction Film: A short stop-motion film originally created
for a Rudolph 4D experience.
Rudolph and the Reindeer Games: A video storybook including the untold story of
the Reindeer Games
· Frosty the
Snowman Original Pencil Test
on Frosty the Snowman and Santa Claus is Comin’ to Town
has released an interesting time capsule of a boxed set that features early work
by director Brian De Palma and starring a very young Robert De Niro before
either of them were significant names in the motion picture industry. The films
are The Wedding Party (made in 1963,
released in 1969), Greetings (1968),
and Hi, Mom! (1970).
Palma had embarked on a film career in the very early 1960s when he was a
student at various institutions. While at Sarah Lawrence College in New York,
he collaborated with then-theatre-professor Wilford Leach (who went on to
become a major stage director, designer, and writer) and Cynthia Munroe (who
provided much of the script and funding) to make a feature entitled The Wedding Party. Most accounts (including
IMDb) state that the movie was made in 1963; however, an essay by Brad Stevens
in the accompanying Blu-ray booklet claims that the film was shot in 1964-65. It
was eventually copyrighted in 1966, but wasn’t released until 1969, after the
moderate success of De Palma’s first mainstream (of sorts) picture, Greetings (released a year earlier in ‘68).
most interesting thing going for The
Wedding Party is that it also sports the movie debut of De Niro, as well as
Jill Clayburgh, William Finley, and Jennifer Salt (although De Niro’s name is
misspelled in the credits as “Denero”—go figure). It’s one odd little movie,
very low-budget, shot in black and white, and in a style reminiscent of early
silent comedies (although it has sound). In a supplemental featurette, critic
and filmmaker Howard S. Berger cites Richard Lester’s The Running, Jumping, and Standing Still Film (1959) as an
influence, and one can see that. There is speeded-up footage in which
characters run around, jump, fall, and drive cars in a comic, Keystone Cops
fashion. There is also a French New Wave feel in that the picture is full of
radical jump cuts. De Niro’s character, Cecil, is really a supporting role/groomsman
to protagonist Charlie (Charles Pfluger), the groom of the titular event, and
Josephine (Clayburgh), the bride. William Finley, who went on to star in other
De Palma pictures, particularly Phantom
of the Paradise, is another groomsman. The
Wedding Party is a black comedy about the hypocritical rites of a wedding
and the familial events leading up to it. There’s a laugh or two.
Greetings was another black
comedy made in collaboration with co-writer/producer Charles Hirsch as the kind
of pseudo-underground, low-budget, counterculture art film that budding
filmmakers were creating to appeal to the college crowd in the late 60s (movies
like Bob Rafelson’s Head or some of
Roger Corman’s hippie-biker pictures come to mind). De Niro shares protagonist
status with Gerrit Graham and Jonathan Warden as Jon, Lloyd, and Paul,
respectively. Each young man is rebelling against society in some way. Paul
wants to avoid the draft (so his pals help him be “gay”); Lloyd is obsessed
with the Kennedy assassination and seeks to uncover its secrets; and Jon wants
to be a pornographer. The picture is shot in a similar vein as was Wedding Party, albeit in color this
time, with even more uncompromising editing. This time it’s got the whole
late-60s pop thing going for it—shock-value subject matter, political
commentary, drugs, violence, and sex. In fact, the latter component earned Greetings the distinction of being the
first American mainstream movie to be officially given the “X” rating by the
newly-established MPAA (it has since been re-rated “R”).
to Hirsch, Greetings got mixed
reviews but did good business, especially in New York, where it played well at
art houses. It was decided that a sequel was in order, originally called Son of Greetings, but the title was
eventually changed to Hi, Mom!
Released in 1970, Mom almost received
an “X” rating, but De Palma deleted part of a scene to get an “R.”
Hi, Mom! is yet another black
comedy, and this one’s particularly subversive. It focuses solely on De Niro’s
character, Jon, who has returned to New York after serving in Vietnam. Now he’s
radicalized and wants to make a statement to the world. Hirsch calls the character
“Taxi Driver Light,” and one can see a glimpse of Travis Bickle here in De
Niro’s Jon. This time, Jon continues his venture into smut-making (with the
help of pornographer Allen Garfield, continuing a role he started in Greetings) by filming across the street
into people’s apartment windows, Rear
Window-style. He falls for one of the victims of his voyeurism, Judy
(Jennifer Salt). Most notable in the picture is a disturbing black and white
sequence in which an off-off-Broadway troupe of black actors perform a show
entitled “Baby, Be Black,” in which white audience members are forced to participate
in the show, put on blackface, eat soul food, and then be terrorized by the
actors (who are painted in whiteface). Not sure how this sequence would play
for a modern audience! Look for early appearances by Charles Durning (credited
as Charles Durnham) and Paul Bartel.
has done a top-notch job with these cinematic oddities. The High Definition
Blu-ray (1080p) presentations with original English mono audio (uncompressed
LPCM) look and sound surprisingly good. There are optional English subtitles. Supplements
are plentiful. There’s a new audio commentary on Greetings by Glenn Kenny, author of Robert De Niro: Anatomy of an Actor; a new appreciation of De Palma’s
and De Niro’s collaborations by critic and filmmaker Howard S. Berger; new
interviews with Charles Hirsch; the pressbook for Greetings; the theatrical trailer for Hi, Mom!; reversible sleeves on the two jewel cases with
commissioned artwork by Matthew Griffin; and booklets featuring pieces on the
films by Brad Stevens, Chris Dumas, and Christina Newland, and an archival
interview with De Palma and Hirsch.
three films are curiosities, certainly fare for film historians and serious
enthusiasts of De Palma and De Niro. For others, the trio will be considered
very strange pieces of cinema that merely reflect the times in which they were
Criterion Collection has upgraded to Blu-ray their earlier DVD release of
Ingmar Bergman’s 1953 feature, Sawdust
and Tinsel (titled The Naked Night when
the picture was first released theatrically in the U.S.). The visual quality
has improved with a new 2K digital restoration that looks razor sharp with gorgeous
contrasting black and white imagery, and it comes with an uncompressed monaural
Sawdust was a major step
forward in the evolution of Bergman’s filmography, although it was not
well-received by Swedish audiences at the time of release. It was most likely
deemed too disturbing for what appeared to be a movie about a traveling circus.
Note that this was before Bergman’s international breakthrough, which would
occur a couple of years later with Smiles
of a Summer Night. At the time of Sawdust
and Tinsel, Bergman was mostly known just in his native country and at the
various film festivals around the world where his work had been submitted.
first several pictures in Bergman’s oeuvre,
especially in the late 1940s,were
often melodramatic tales of entanglement, lost love, betrayal, and working-class
misfits struggling to enrich their lives. It wasn’t until Summer Interlude, in 1951, that a singular stylistic and thematic voice
emerged that can now be identified as Bergman-esque. Earlier in 1953, Summer with Monika was released, and
that caused something of a sensation with its frank portrayal of what the U.S.
distributor called “The Story of a Bad Girl.” That one made a star out of
Harriet Andersson, who would work on several other pictures with Bergman over
the next four decades.
Sawdust and Tinsel was a very different
picture from Monika. Taking place in
the early 1900s, the story concerns a poor, shoddy traveling circus that barely
supports itself. It is run by Albert (Åke Grönberg),
a middle-aged man who left his wife and sons in a small town in order to be a
ringmaster. His mistress, Anne (Harriet Andersson), is the bareback rider,
younger and yearning for something better. Frost the Clown (Anders Ek) and his
wife Alma (Gudrun Brost), who has an act with a sickly bear, are oddballs and constant
thorns in Albert’s side. When the circus sets up near the town where Albert’s
family lives, he decides to go for a visit. First, though, the troupe must
borrow costumes from the local theater run by creepy manager Sjuberg (played by
Bergman stalwart Gunnar Björnstrand). There,
Anne meets the mysterious actor, Frans (Hasse Ekman), who seduces her away from
sound like a good time at the cinema? Hogwash. This is a fascinating and haunting
battle of the sexes—a typical Bergman theme—but the carnival milieu is so
unique to the director that Sawdust and
Tinsel is immediately visually striking with its dreamlike photography (it
was the first collaboration between Bergman and longtime cinematographer Sven
Nykvist), its colorful and eccentric characters, and its moody and often
the story’s core is a treatise on how human beings react to humiliation. The
opening scene, in which Frost must rescue his wife from the taunting of the
Swedish military performing exercises near the beach, is a nightmarish, nearly silent
mime show of anguish and terror (and the facial contortions that Ek’s Frost
makes are worth a study in skin elasticity!). The meat of the picture is how the
ultimate shattering of both Albert’s and Anne’s dreams force them to re-examine
their lots in life.
all powerful stuff.
on the disk include an audio commentary from 2007 by Bergman scholar Peter
Cowie, a video introduction from 2003 by Bergman himself, and an essay in the
booklet by critic John Simon.
For those of you looking for the sold-out boxed set retrospective of Bergman’s
career that was released in November, Ingmar
Bergman’s Cinema, new copies will be available February 26, 2019.
CLICK HERE TO ORDER "SAWDUST AND TINSEL" FROM AMAZON
wonders if Billy Wilder’s magnificent comedy-drama, The Apartment, could be made today in the age of #MeToo. Probably
not, despite its brilliant script, exceptional cast and performances, perfect
direction, and its positive message against sexual harassment in the workplace.
so, in some circles The Apartment was
considered controversial upon its release in 1960. Hollis Alpert in the Saturday Review called it a “dirty fairy
tale.” Then again, The Apartment was
coming off the heels of the hugely successful and popular Some Like it Hot, which the more-Puritan side of America may have
called illicit and tawdry, too. Or perhaps co-writer and director Wilder was
simply good at telling grown-up tales for adults within the context of a
rapidly-maturing culture that was on the verge of a decade known for its freedom
of expression. The 1960s was an explosion in breaking taboos—in all the arts, as
well as in politics, civil rights, and sexual mores. It was the decade of revolution,
protest, and the Pill.
Weiner was most assuredly influenced by The
Apartment to create his groundbreaking television series, Mad Men, which also spotlighted sexual
harassment in corporate America in the 1960s. The executives of Mad Men’s Manhattan advertising firm
often behaved like their counterparts in the New York insurance company that is
at the center of The Apartment. To
think that Wilder did it first, and at the beginning of the actual decade in
question, is a kind of eerie premonition.
the film, written by Wilder and his relatively new (since 1957) scribe partner,
I.A.L. Diamond, several executives at the firm take advantage of schlemiel C.
C. “Bud” Baxter (a career-defining performance for Jack Lemmon) by borrowing
the underling’s Upper West Side apartment for extramarital affairs, often with
women from the office. Baxter hopes for a promotion out of the deal. One of the
bosses, Jeff Sheldrake (Fred MacMurray, playing against type once again for
Wilder) wants the apartment for a liaison with Fran Kubelik (Shirley MacLaine,
in a career-making performance), who
is a lowly elevator operator at the firm. The problem is that Bud is sweet on
a screwball comedy, a love story, a treatise on gender politics, and a cynical
take on American morality, all done with Billy Wilder’s singular flare for
caustic wit and irony. Oscar voters thought it was special, too, for the
picture walked away with the statues for Best Picture, Best Director, and Best
Original Screenplay, as well as Art/Set Direction (black and white) and
Editing. Lemmon and MacLaine were nominated in the leading acting categories,
as was Jack Kruschen (who plays an initially bewildered—and then
helpful—neighbor) for Supporting Actor.
Blu-ray release is a marvel. The brand new 4K restoration looks astonishingly sharp
and crystal clear, an absolute perfect representation of the film. It comes
with an uncompressed PCM mono soundtrack, with an optional 5.1 remix in
lossless DTS-HD Master Audio. There’s an audio commentary by film producer and
historian Bruce Block.
previous home video releases, this Arrow release contains loads of supplements.
The Key to the Apartment is a
wonderful and concise introduction to the movie by film historian Philip Kemp,
who also provides selected scene commentary throughout the picture. The Flawed Couple is a new video piece
by filmmaker David Cairns on the unique collaboration between Wilder and
Lemmon. Hope Holiday, who plays one of Bud’s bar pickups, is featured in a
short interview with anecdotes about the making of the movie. Of interest to
budding screenwriters is an archival interview with Wilder for the WGA Oral
Histories program on how he writes a script. Also included are
previously-released documentaries from 2007, Inside the Apartment, a making-of featurette, and Magic Time: The Art of Jack Lemmon—but
now presented in high definition. A reverse sleeve on the jewel case presents
the original artwork for the film poster and newly commissioned artwork by
Academy is rapidly becoming one of the great classic film restorers on Blu-ray.
The Apartment is a testament to its quality-control.
Billy Wilder’s masterpiece (one of several!) is also a work of genius that, considering
today’s sexual politics, still stands the test of time.
Warner Archive has just released the 1951 RKO science-fiction classic The Thing
From Another World on Blu-ray and it is a definite improvement over the current
Hawks produced this tight 87-minute thriller from a script by Charles Lederer
and the original story Who Goes There? by John W. Campbell.Lederer removed the shape shifter aspects of
the alien visitor and dialed back the paranoia that John Carpenter explored in
his graphic 1982 remake.Here, the
scientists who discovered the crashed remains of a flying saucer under the ice
near the North Pole are shocked to find the remains of an
extra-terrestrial.After returning to
the base camp with their frozen visitor, an accident allows the creature to
thaw and wreak havoc upon the researchers and the Air Force team sent to
creature, played by James Arness, needs blood to survive and reproduce, and two
members of the crew are found hung upside down with their throats slit.Kenneth Tobey leads the team of soldiers and
scientists, now isolated due to a storm, in a desperate battle to subdue the
alien before they are all killed.
strong supporting cast includes Robert Cornthwaite, Margaret Sheridan, Dewey
Martin, Douglas Spencer and in a rare on-screen appearance, voiceover master
Paul Frees.The pace is fast and furious
with not a scene or line of dialogue wasted in this chilling story of do-or-die
survival against a seemingly undefeatable foe.The monster, compared by the scientists to a form of plant-life, is
unaffected by bullets and demonstrates it has the ability to reproduce itself
after a sled dog attack severs its arm.A spectacular sequence features an attempt to incinerate the creature by
dousing it with kerosene and setting it ablaze.What follows is a thrilling action set that critic Roger Ebert admitted
scared him to death as a youth.Director
James Cameron, in the sci-fi documentary Watch the Skies, noted it as the first
full body burn in a Hollywood movie and marveled that “the entire scene was lit
by the guy on fire.”
followed the completion of The Thing as to who actually helmed the film.Direction is credited to Christian Nyby, but
many critics claim that the film is very close to producer Hawks in style and
execution.Subsequent interviews with
several cast members reveal that even the actors weren’t sure who was in
and Nyby were clever in never showing an extended close up of Arness as the
Thing, thus keeping him more mysterious and anonymous.Later interviews revealed that Hawks was
never satisfied with the look of the creature and actor Arness was somewhat
embarrassed by the costume and make-up effects.The story comes to an electrifying conclusion that asks the world, in the
midst of numerous real-life UFO sightings across the country, to “watch the
technicians at Warner Archive have done a masterful job at rescuing this
favorite classic from the ravages of time.The new disc was created from a 1080p high-definition master in 1.37
preserving Russell Harlan’s claustrophobic framing and his beautiful black and
white photography.All scratches, dirt, pops
and instances of flicker have been removed.The contrast is sharp and the blacks are rich with fantastic detail now
revealed in every scene.What might have
been stock footage of the Air Force plane landing at the North Pole is crisp
and appears to be second-unit work specifically for this film.Several sequences that were inserted back
into the original print, such as the “close the door” scene with General
Fogarty, are nearly as clear as the rest of the film.Watch for the scene where we first meet Dr.
Carrington and notice that the elements on the periodic table above his head
may be clearly read.
mono sound is very crisp and makes it easier to follow the rapid-fire dialogue,
which was a hallmark of Hawks’ productions.The humorous romantic exchanges between Tobey and Sheridan are
especially helped by this sonic enhancement.The re-mastered soundtrack also allows us to fully appreciate the
growling brass and eerie theremin tonalities from Dimitri Tiomkin’s score.The opening credits might remind you of
Tiomkin’s themes during the graveyard scene in It’s a Wonderful Life, which was
made at RKO six year prior to this film.
Warner Archive Blu-ray release of The Thing from Another World is an occasion
where it is definitely worth the cost of upgrading from the DVD, although the only bonus extras are a couple of trailers.This is a film that John Carpenter, Steven
Spielberg, George Lucas and James Cameron all cite as a major inspiration for
their own works.This new print shimmers
and would make a worthy addition to your home library.
Universal has released the 1967 Don Knotts comedy "The Reluctant Astronaut" as a Blu-ray release. The film was Knotts's second feature film for the studio following the surprise success of "The Ghost and Mr. Chicken". This time Universal raised the production budget, thus allowing director Edward Montagne to shoot on location at both the Johnson and Kennedy Space Centers. Knotts again recreates what is essentially his Emmy-winning portrayal of Deputy Barney Fife from "The Andy Griffith Show", complete with that character's requisite "salt-and-pepper" suit. When we first see his character, Roy Fleming, he's a 35 year-old nervous type whose "career" is playing an astronaut on a rocket ship ride in a children's amusement park. He still lives at home with his doting mother (Jeanette Nolan) and his overbearing father, Buck (Arthur O'Connell), who keeps bragging about his heroics in WWI and instills military discipline in the household. ("Well, he was a corporal, and you know how bossy they could be!" explains Roy's mom.) Buck wants his son to live up to his own self-proclaimed achievements in the Great War and without Roy's knowledge, sends in an application to NASA under his son's name. The goal is to get Roy into the astronaut training program. When an acceptance letter to report to NASA arrives in the mail, Roy goes into panic mode at the prospect of being an astronaut. He's suffered from a fear of heights since childhood and he reminds his mother that he can't even bring himself to get on the step stool to reach the marmalade jar. Attempts to share his fears with his father fall on deaf ears as Buck is a big-mouthed blowhard who immediately starts bragging to the entire town about his son's achievement. Soon, Roy is the reluctant guest at a party in which he is already cited as a local hero. Not wanting to humiliate himself or his father- not to mention local girl Ellie (Joan Freeman), who is trying to impress- Roy leaves for the NASA training center. (An amusing, on-going gag finds Roy pretending to board planes but secretly slipping away so he can take a safer mode of transportation: a Greyhound bus.)
Once he reports to NASA, Roy is both relieved and bemused by the fact that he has not been accepted for astronaut training but, in fact, is a janitor-in-training. When his father and his friends make a surprise visit to the facility, Roy tries to cover up his shame by dressing as an astronaut and demonstrating a new rocket sled with predictably disastrous results. Upon being fired and unmasked as a fraud, he returns to his hometown in shame, leaving his father heartbroken. However, this familiar dilemma in all of Knotts's feature films is resolved in predictable fashion by fate allowing him a chance to redeem himself. NASA learns that the Soviets are about to demonstrate the effectiveness of their new automated space capsule by launching a dentist who has no experience with astronaut training. NASA is eager to beat them to the punch and decides to ask Roy to volunteer. The scenes of the panic-stricken nerd trying to cope with space travel are among the funniest bits in the film. Naturally, a disaster occurs and Roy saves the day by summoning hidden courage that even he didn't know he possessed.
"The Reluctant Astronaut" doesn't have the cult following that "The Ghost and Mr. Chicken" has built but it's equally good and at times laugh-out-loud funny thanks to Knotts' comedic genius and an inspired supporting cast that includes Leslie Nielsen (still trapped in pre- "Airplane" mode when studios didn't realize his comic potential), Arthur O'Connell, Jesse White, Jeanette Nolan, Frank McGrath and Paul Hartman. There are other familiar elements of the Knotts feature films: a good script by Everett Greenbaum and Jim Fritzell (head writers of "The Andy Griffith Show") and fine direction by Knotts's frequent collaborator, Edward Montagne. Naturally, there's also a zippy and amusing score by Vic Mizzy.
Universal has once again provided a terrific Blu-ray transfer with eye-popping colors. Not to sound like an ingrate, but I feel compelled to repeat my only criticism of these Knotts releases, which is their complete lack of bonus materials, especially since the DVD editions contained the original trailers which are easily available for the Blu-ray releases. However, even if you have the DVD editions in your library, the quality of the Blu-rays releases merits upgrading if you're a true Knotts fan.
CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE
model Tina Cassidy (Kathryn Witt) visits Hollywood plastic surgeon Larry
Roberts with a specific list of tiny imperfections that need to be corrected at
the request of Reston Industries, a producer of glossy television
commercials.Dr. Roberts becomes curious
when he realizes that several of his recent patients have had the same type of
follows is a science fiction/police procedural that involves the murder of
these same models.The police become
suspicious when it is discovered that all the victims were patients of Dr.
Michael Crichton once again makes predictions based on emerging
technologies.His first feature film, Westworld
(1973), pioneered the use of digitized imagery to present the point of view of
Yul Brynner’s android gunslinger.
Looker, we have actors being converted to computerized images that may be
manipulated through animation.These
digital actors communicate subliminal messages that cue the audience to respond
favorably to the product.Once these
models are scanned by the L.O.O.K.E.R. (Light Ocular-Oriented Kinetic Emotive
Responses) program, there’s no need for humans to create commercials.And if the process works so well at
convincing television viewers to buy, why not use it to manipulate a national
election and allow a corporate-friendly Senator to be elected President?
one effective scene, Tina returns to her home to visit with her parents and
finds that they can’t take their eyes away from a comedy show they are
watching.Mom and Dad have been drawn in
Industries is also preparing the L.O.O.K.E.R. technology for military
applications with a gun that renders an enemy immobile for several minutes
leaving no memory of the event.A
henchman hired to kill Dr. Roberts employs the weapon to almost humorous effect
as he taunts his victim.
good thriller requires a great cast and director Crichton chose wisely with
Albert Finney as the mild mannered
surgeon Dr. Roberts.One might wonder if
this character was at all inspired by the Beatles’ song of the same name.Also on hand are James Coburn as sleazy corporate head John Reston, Susan
Dey as model Cindy Fairmont, the always
beautiful Leigh-Taylor Young as marketing director
Jennifer Long and Dorian Heywood as
people may be aware of this film only from its claustrophobic pan and scan
showings on pay cable during the 80s and 90s.The Warner Archive’s’widescreen Blu-ray provides a beautifully restored
edition of Looker in all its Panavision glory.The stereo sound is properly re-mastered and showcases the music score
by Barry De Vorzon, who created a terrific techno-thriller
soundtrack that avoided the cheese factor and aged well.And then there’s that title song, performed
by Sue Saad, that will definitely earworm its way into your head for days.
new Blu-ray version of Looker will propel you back to the 80s in style and
comfort. Bonus features are the original trailer, an informative introduction by Michael Creighton and a deleted scene that was included in the TV broadcast of the film. Another great addition to the
Warner Archive library.
CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE
handsome, beautifully-illustrated, and affordable entry in Turner Classic
Movies’ series of books on film history, genres, and trivia, comes just in time
for the holidays. Christmas in the
Movies—30 Classics to Celebrate the Season offers a selection of excellent
choices in chronological order. Author Arnold, a film historian and TCM
commentator, provides enough background, offscreen anecdotes, and justification
for his picks to satisfy the most critical movie buff.
Christmas in the
to tick all the obvious suspects (Holiday
Inn; It’s a Wonderful Life; Miracle on 34th Street, White
Christmas; A Christmas Story; The Nightmare Before Christmas), but
Arnold also throws a spotlight on some lesser-known gems such as Remember the Night (1940), with a
screenplay by Preston Sturges—although I’d haggle that the Sturges’-helmed
piece, Christmas in July (also 1940)
might be a better option. Other worthy entries include The Man Who Came to Dinner (1942), 3 Godfathers (1948—yes, a John Ford western!), The Lion in Winter (1968—Christmas in medieval England with Henry
II and Eleanor!), Gremlins (1984), and
Die Hard (1988—yes, this action flick
is certainly a Christmas movie!).
is particularly gratifying that Arnold chose the 1951 Scrooge (released as A
Christmas Carol in the U.S.) with Alistair Sim in the titular role. Arnold
is quite correct that this is the
definitive adaptation of Charles Dickens’ classic tale, as there have been “far
too many to count.”
film’s discussion ends with a “Holiday Moment” sidebar. Here, Arnold highlights
a specific bit from the picture that epitomizes the selection as one of the
great Christmas movies. For example, the Holiday Moment from Meet Me in St. Louis (1944) is Judy
Garland’s iconic rendering of “Have Yourself a Merry Little Christmas.” Arnold
provides the lyrics of the song the way Garland sang it, juxtaposed with the
original lyrics, which were oddly much darker and cynical.
book or list that deems to choose a finite number of movies to represent a
specific genre or theme will invariably incite calls of “But what about ___?”
Perhaps one neglected title that brings out the Christmas spirit for James Bond
fans is the 1969 On Her Majesty’s Secret
Service, which had a Christmas song (“Do You Know How Christmas Trees Are
Grown?”), Christmas morning at Blofeld’s hideaway, and 007’s proposal to his
future bride on Christmas Eve!
minor quibble aside, Christmas in the
Movies is comprehensive, informative, and fun. It might well be the perfect
gift this season for the movie lover in your family!
a fascinating interview supplement contained on this amazing new release by The
Criterion Collection, film historian Joseph McBride calls The Magnificent Ambersons one of the great Hollywood tragedies in
that the film we got from writer/director Orson Welles was not the one he
intended. It is widely known that RKO Radio, the studio behind the production,
deleted forty-three minutes from Welles’ final cut, reshot the ending, and
released the film their way—all
against Welles’ wishes—and then promptly destroyed the cut footage so that the
movie could never be reconstructed.
is a stolen masterpiece.
said, the film is still a great
movie. In fact, it earned Oscar nominations for Best Picture, Best Supporting
Actress (Agnes Moorehead), Best Cinematography (Black & White, by Stanley
Cortez), and Best Art/Interior Set Decoration (Black & White).
Ambersons, based on Booth
Tarkington’s 1918 novel (Welles claims that Tarkington was a “friend” of his
father’s), the picture was the director’s follow-up to Citizen Kane. Once again featuring some of the Mercury Players
(Joseph Cotten, Ray Collins, and Moorehead) and new casting choices (Dolores
Costello, Tim Holt, Anne Baxter), the production of Ambersons went well, with the picture going only a little over
budget. Welles delivered a 148-minute cut—and then Pearl Harbor happened.
Welles was appointed by Nelson Rockefeller to be a goodwill ambassador to Latin
America so that he could attempt to persuade South American countries from
entering the war on the Axis side.
dutifully went to Brazil and started shooting a film (It’s All True, another picture sabotaged by RKO) and was
essentially unavailable to receive notes and requests from RKO regarding Ambersons. RKO, unhappy with the film,
then took it upon themselves to change it to suit their needs, and there was
nothing Welles could do about it. The picture released in July 1942 was
88-minutes in length.
a Magnificent Ambersons that is an
hour longer be a better film than it already is? We can only assume. For one
thing, the ending was drastically different. Welles’ version was cynical, dark,
and ironic. Given the wartime climate, RKO wanted a more upbeat ending—never
mind that it really doesn’t make sense that the characters suddenly change
entire attitudes they have held throughout the film. Never mind that the final
half-hour of the movie feels choppy, rushed, and out-of-rhythm from the first
hour. The 88-minute version is what we have and must live with.
should be stated again—The Magnificent
Ambersons is still a great picture.
story concerns the wealthy Amberson family in the early 1900s Indianapolis. Beautiful
Isabel Amberson (Costello) marries Wilbur Minafer (Don Dillaway) instead of
Eugene Morgan (Cotten), but she regrets it… and she and Morgan carry torches
for each other for the remainder of their days. Enter Isabel and Wilbur’s
bratty son, George (Holt), who terrorizes the town with his bad manners,
arrogance, and boorishness. Things get complicated when he begins to woo
Morgan’s daughter Lucy (Baxter) and at the same time insult and humiliate her
father. All the while, Wilbur’s sister Fanny (Moorehead) also carries
unrequited love for Morgan and inserts herself into the already-touchy
Ambersons is about the downfall of a
respected and wealthy family to that thing called Progress—namely, the
invention and proliferation of the automobile and other industrial evolutions.
Welles makes an ecological statement with the picture (back in 1942!) which is
something else RKO was unhappy with, seeing that American industries had to
ramp up to support the war effort.
new 4K digital restoration looks marvelous, and it contains two separate audio
commentaries with scholars Robert L. Carringer and James Naremore, and critic
packaging is first-rate. The numerous and excellent supplements alone make the
product a 5-star purchase. Especially interesting and informative are the new
interviews with (previously mentioned) McBride and one with film historian
Simon Callow. Both men relate different insights into the history of the
production and the editing debacle. Director Welles appears on a 1970 segment
of The Dick Cavett Show (along with second
guest Jack Lemmon) for an often-hilarious and always-entertaining half-hour
discussion. New video essays on the cinematography and Bernard Herrmann’s uncredited score (that was also chopped
up with RKO’s editing), by Francois Thomas and Christopher Husted,
respectively, are a welcome addition.
included is the silent version of Ambersons,
originally called Pampered Youth (1925),
and re-edited for the U.K. as Two to One (1927).
If that wasn’t enough, we get two Mercury Theatre radio plays: the 1939
adaptation by Welles of Ambersons (with
Welles playing the role of George), and a 1938 adaptation of Seventeen, another Booth Tarkington
creation. There’s more, such as audio interviews with Welles by Peter
Bogdanovich and at an AFI symposium, and the theatrical trailer. The booklet
comes in a stapled “manuscript” that resembles a typed screenplay. It contains
essays by authors and critics (Molly Haskell, Luc Sante, Geoffrey O’Brien,
Farran Smith Nehme, and Jonathan Lethem), and excerpts from a Welles memoir.
even in its sadly truncated form,further
illustrates the genius that was Orson Welles. This Criterion release is a
There's plenty to celebrate this time of year and at least one event isn't related to the holidays: it's the launch of Cinema Retro's 15th season. Thanks to our loyal readers, the world's most unique film magazine is entering another exciting year with every issue packed with the kind of coverage of classic cinema that you've come to expect. The season launches with issue #43 which ships shortly in the UK and Europe and in early/mid-January in North America and the rest of the world. So start the New Year off the right way by subscribing or renewing today and get all three issues for the year 2019. (Issue #44 will ship in April/May and issue #45 ships in September/October.) Don't forget, a subscription to Cinema Retro makes the perfect holiday gift for that movie lover in your life, so you can forget re-gifting the velvet painting of dogs playing poker and sign up that special someone today for a full season of great reading in print format.
Cinema Retro has received the following announcement:
Just in time for the holidays,
McFarland publications has released John Farkis’s latest book The Making of
Tombstone: Behind the Scenes of the Classic Modern Western. Which is only
appropriate as Disney/Buena Vista premiered this film on December 25, 1993, 25
years ago this month. While other books have been written about Wyatt Earp, Doc
Holliday, and the O.K. Corral, this is the only book written solely about the
making of that iconic film. With numerous behind-the-scene photos and
interviews from over 140 cast and crew members, stuntmen, extras, wranglers and
Buckaroos, this book is a virtual day-by-day summarization of how the film was
made. Starring Kurt Russell, Powers Boothe, Michael Biehn, Sam Elliott, Dana
Delany, Bill Paxton, and Val Kilmer in his Oscar-deserved role of Doc Holliday,
Tombstone is the story of Wyatt Earp, his brothers, Holliday, the Clantons and
McLaurys, and their tumultuous relationship, cumulating in the historic
gunfight at the O.K. Corral, and subsequent Vendetta ride.
Farkis details the stormy creation of
the project, from script development, financing and casting, to site location
and construction.Along the way, he also
explores Kevin Costner’s Wyatt Earp, which at the time, was in direct
production competition with Tombstone. In fact, Costner was
screenwriter/director Kevin Jarre’s first choice for the role of Wyatt. Known
for his screenplay of Glory (1989), Jarre was replaced early in filming by
action-director George Cosmatos. While extremely proud of their work on the
film, virtually everyone associated with the project said it was an extremely
tough, miserable experience. And Farkis details the trials and tribulations in
exquisite detail. With access to numerous script iterations, call-sheets, daily
production reports and internal communications, he unpacks the story behind the
story. Photographs supplied by cast and crew members serve to enhance this
experience. Not only does he explain the film’s concept and production, he also
describes the historical tale, from the founding of Tombstone, to the
conclusion of Earp’s Vendetta ride. And, he adds a postscript appendix of the
film’s recent 25th anniversary celebration.
Released on Monday, November26, this
book can currently be purchased through McFarland, Barnes & Noble, Amazon,
and numerous other sites. If one wishes to have a personalized autographed
copy, they can be ordered directly from the author. Jkfarkis@earthlink.net.
Relive the moving moment at the 1996 Academy Awards at which Kirk Douglas received an honorary (and well-deserved) Oscar, presented by Steven Spielberg. Though compromised by the effects of a stroke, the screen legend looked as handsome as ever and was gracious in his acceptance of the award.
Criterion has released a dual format Blu-ray/DVD edition of director Michael Mann's 1981 crime thriller Thief starring James Caan. It's a highly impressive film on many levels, especially when one considers this was Mann's big screen feature debut. He had previously directed the acclaimed 1979 TV movie The Jericho Mile, which was set in Folsom Prison. Mann was inspired by his interaction with the world of convicts and wrote the screenplay for Thief, which is credited as being based on author Frank Hohimer's novel The Home Invaders, but he maintains virtually none of the source material ended up on screen. The story centers on Frank (James Caan), a bitter man with a troubled past. As a child he was raised in state-run homes before being sent to jail for a petty crime. Inside prison, he committed violent acts in order to defend himself but this only resulted in lengthier jail terms. By the time he has been released, he has spent half of his life behind bars. While in jail, Frank befriended Okla (Willie Nelson), a older man and master thief who is doing a life sentence. He becomes Frank's mentor and father figure and teaches him the tools of the trade. When Frank is finally released, he becomes a master at his craft, which is pulling off seemingly impossible heists of cash and diamonds. Before long, he has become a legend in his field. As a cover, Frank runs a major used car dealership and a small bar. However, he realizes that his luck will certainly run out at some point and he is determined to retire after making a few more high end scores. He works with a small team consisting of two confederates (James Belushi, Willam LaValley) who are also pros in gaining access to seemingly impenetrable vaults. The headstrong Frank wants to also settle down and raise a family. He makes an awkward introduction to Jessie (Tuesday Weld), an equally head strong, down-on-her luck character who nevertheless becomes smitten by him and ends up marrying him. The couple face frustration, however, when their attempts to adopt a baby are thwarted by Frank's criminal record. Frank is ultimately approached by Leo (Robert Prosky), a local crime lord who entices him to stop working independently and pull off a high profile heist for a fortune in diamonds. Frank rejects the offer but eventually he relents, though he is reluctant to work with a new partner. Leo has managed to break through Frank's cynicism by showering him with praise the benefits of his influence, which include arranging for Frank and Jessie to illegally adopt the baby they want so desperately. The lure of being able to retire after this one huge score leads Frank to go against his better judgment and he agrees to work for Leo on this one big job. The diamonds are located in a vault so secure that it would seem to be better suited for Fort Knox. In order to break in, Frank and his team must use highly sophisticated drills and other equipment that would rival the top gear used by any branch of the military. On the verge of realizing his greatest score, however, things go terribly wrong on any number of levels. Frank, seeing his world crumble around him, goes on a violent rampage of destruction and self-destruction.
Thief is a highly stylized movie that moves at a rapid clip and features one of James Caan's strongest performances. The problem, however, is that the character of Frank is so obnoxious, he is difficult to relate to. Peckinpah, Scorsese and Coppola always had a knack for making disreputable characters seem appealing, but Frank is nasty, arrogant and self-centered. This is certainly realistic, given the bitter feelings he has toward society, but the viewer never warms to him in any meaningful way. He is only sympathetic because the people he deals with are so much worse. Nevertheless, Thief is a crackling good yarn that boasts some fine performances especially by Tuesday Weld and character actor Robert Prosky, who is brilliant in a scene-stealing role. Willie Nelson's screen time is very limited but he makes effective use of his two scenes. The film features superb cinematography by Donald E. Thorin, who made his debut here as Director of Cinematography. His night sequences on the rain-slicked streets of Chicago evoke visions of neon-lit nightmare. The film features an electronic score by Tangerine Dream, the band that provided the music for Willliam Friedkin's Sorcerer. Strangely, their score for that films holds up well but their work in Thief comes across as a bit monotonous and dated. The film's ultra-violent conclusion is exciting but rather cliched with Frank turning into yet another pissed off screen hero who decides to take down all of his enemies in an orgy of shootouts and destruction. (I know it sounds petty but I can never accept such sequences when they are set in urban neighborhoods in which no one ever seems to call the police even as houses explode and machine gun fire is sprayed all over the place.). The film excels, however, in the break-in sequences which are superbly directed and feature camerawork that make the crime scene look like an attraction from Disney World, with fireworks-like sparks filling the air.
The Criterion Blu-ray transfer is superb on every level. Extras, which are carried over to the DVD, include a commentary track by Michael Mann and James Caan that was recorded in 1995. There are also fresh video interviews with both men that are rather candid. (Caan, who has worked consistently through his career, modestly says "I was rather popular at one time" in reference to his work on the film. Mann says he is still debating in his mind whether he regrets using Tangerine Dream's score) There is also an interview with Johannes Schmoelling of the band, who discusses working with Mann to create the score. An original trailer is included as is a nicely illustrated booklet with an informative essay by film critic Nick James.
Ken Berry, who rose to fame in the 1960s as one of the stars of the "F Troop" TV series, has died at age 85. Berry entered show business thanks to the efforts of Leonard Nimoy, who was Berry's sergeant in the U.S. Army. After Nimoy left the service and entered the acting profession, he helped find opportunities for Berry, who went on to stardom in the mid-1960s as Captain Parmenter, the likable but inept commanding officer of U.S. Cavalry post in the old West that was populated by con men and incompetents. Forrest Tucker and Larry Storch co-starred with Berry in the show that ran from 1965 to 1967. When Andy Griffith decided to retire from his immensely popular sitcom, he created a spin-off series, "Mayberry R.F.D" that featured Berry as the male lead. The show defied expectations and began a ratings hit, thanks in no small part to Berry's pleasant, "guy next door" persona. Despite this, "Mayberry R.F.D" was a casualty of CBS's infamous cancellation of its most popular sitcoms because they skewed towards older, rural audiences. Berry went on to co-star in a spinoff of "The Carol Burnett Show", "Mama's Family" in the 1980s. He was also occasionally seen in feature films such as Disney's "The Cat from Outer Space" and "Herbie Rides Again". For more click here.
Those of us who share the rather unusual- and sometimes bizarre-profession of reviewing films for a living all share a nasty little secret: there are countless classic movies that we haven't seen. I'm not alone in making this mea culpa. No less than the late, great Robert Osborne, whose insightful introductions on Turner Classic Movies helped launch that channel's success, once confided in me that even he could list numerous classic movies that he had yet to catch up with. When he confessed this to Lauren Bacall, she told him that she envied him because she wish she could recapture the sheer joy of seeing a great film for the first time. I've never seen the 1942 musical "Holiday Inn". I can't say why but perhaps it's because that as a boy growing up in the Sixties, such productions seemed quaint and unappealing when I had a celluloid tidal wave of WWII flicks, Westerns and Bond-inspired spy movies. After all, John Wayne and Steve McQueen never danced on film, so why bother watching anyone else do so? Thus, when I attended the Papermill Playhouse's stage production of the much-beloved Irving Berlin song fest, I was in the unique position of not being acquainted with the property at all. At the risk of invoking the names of Rodgers and Hammerstein, the corn is as high as an elephant's eye, to be sure. However, the Papermill has outdone itself in presenting the ultimate "feel good" production for the holiday season.
The story is as sappy and sentimental as I suspected when I was a kid, but with the passing of decades, I've warmed to sappy and sentimental musicals and "Holiday Inn" turns the old concept of "Hey, kids- we can put the show on in the barn!" into a slight variation that boils down to "Hey, kids- we can put the show on right here at the inn!". The story opens with a song and dance trio just finishing a successful engagement. They are Jim Hardy (Nicholas Rodriguez), his girlfriend and dance partner Lila Dixon (Paige Faure) and Ted Hanover (Jeff Kready). Backstage, Jim drops a bombshell by proposing to Lila and announcing that they can now leave show business and move to a farm he has just purchased sight unseen in rural Connecticut. Although Lila accepts the marriage proposal, she says she wants to continue the act on the road for another six months with Ted while Jim prepares the farm for her to move in following their marriage. Jim agrees but when he gets to the historic Mason Farm that he has purchased, he discovers he's been snookered. The place is run down and he is immediately served with demands to pay back taxes and assorted other staggering debts he didn't know existed. While he struggles to cope, he is visited by Linda Mason (Hayley Podschun), the previous owner the farm, which had been in her family for generations. Seems Linda couldn't afford the upkeep and had been evicted, thus allowing Jim to secure the place while in foreclosure. In a coincidence that only occurs in musicals of this type, she is attractive and has a talent for performing on stage, though she gave up her career to become a teacher when sufficient opportunities didn't appear for her to make a living in show business. Jim imposes on her to sing a bit and he recognizes she has star power. Meanwhile, Lila makes a surprise visit and confesses she is so caught up in her own thriving career that she is calling off the marriage and going back on the road with Ted. You don't have to be the kind of person who wears a deerstalker hat and smokes a pipe to detect what happens next: Jim falls head over heels for Linda and they devise a plan to transform the failing farm into a hotel that presents musical productions. The plan proves to be an immediate success, drawing crowds from far and wide but things unravel when Ted turns up and announces that Lila has kicked him to the curb and broken up their act when a millionaire proposed to her. Desperate to jump start his career, Ted worms his way into the inn's revue, in the process falling for Linda, who is clearly smitten by Ted's talents as well as he egotistical self-assurance which is in contrast to Jim's modest nature.
The well-oiled plot device of a city slicker finding himself hapless as a farmer must date back to the invention of celluloid but it persists because it's a genuinely funny one, as evidenced by films such as "The Egg and I", "Mr. Blandings Builds His Dream House", "The Money Pit" and the still amusing "Green Acres" 1960s TV series. The fish-out-water concept provides some genuine laughs but it is the wealth of Berlin songs that elevate "Holiday Inn" to a special status. Just consider all of these classic numbers in one show: "Heat Wave", "Blue Skies", "Happy Holiday", "Cheek to Cheek", "Easter Parade" and a little number called "White Christmas" that might actually catch on. All of them are superbly performed by a flawless and talented cast under the outstanding musical direction of Shawn Gough with equally impressive choreography by Denis Jones. Gordon Greenberg is the director of the overall production which practically had the enthusiastic audience dancing in the aisles. Kudos to costume designer Alejo Vietti for providing some eye-popping creations and especially to scene designer Anna Louizos, whose creative sets are not only impressive but are miraculously changed literally in the blink of an eye without the slightest interruption. The four leads in the show illustrate the Papermill's painstaking casting process pays off. Rodriguez, Podschun, Kready and Faure are delightful to watch throughout. Each of them has the ability to knock 'em dead during the musical numbers but they also deliver the witty bon mots in a style that ensures big laughs. There is also a spot-on supporting performance by Ann Harada as a local handywoman who finds plenty of work repairing Jim's dilapidated inn. The book has been tweaked a slight bit to make the dialogue more relevant for today's audiences but there are some quaint references to Connecticut as a dull, largely rural state, which gets big laughs from tri-state audiences who have suffered the endless traffic jams on the I-95 corridor.The film version was released in 1942 during the early days of WWII, which accounts for the sentimental success of "White Christmas", but for reasons unknown, the stage production takes place in 1946. A notorious blackface musical number in praise of Abraham Lincoln that appeared in the film has also been mercifully left out of the stage production.
The Papermill's presentation of "Holiday Inn" illustrates why the venue is the gold standard of regional playhouses. The show delighted the audience so much that even the rude nitwits that generally walk out before the show ends in order to get a head start on reaching the parking lot seemed transfixed by all the talent on stage and remained to join in the roaring standing ovation. It's the perfect holiday show and runs through December 30. Don't miss it.
great Italian filmmaker Luchino Visconti’s film The Leopard (Il Gattopardo)
will be the subject of a 55th anniversary screening at three Los
Angeles theatres. The 187-minute film, which stars Burt
Lancaster, Alain Delon, Claudia Cardinale, Terrence Hill, and Paola Stoppa,
will be screened on Wednesday, December 5th, 2018 at 7:00 pm. This
is the Italian language version with English subtitles.
From the press release:
Part of our Anniversary Classics series. For details, visit: laemmle.com/ac.
THE LEOPARD (1963)
55th Anniversary Screenings at Three Laemmle Locations
Wednesday, December 5 at 7:00 PM
Laemmle Theatres and the Anniversary Classics Series present 55th anniversary
screenings of acclaimed director Luchino Visconti’s sumptuous masterpiece, THE
LEOPARD ('Il Gattopardo'). The film will close out the year for the popular
Anniversary Classics Abroad program of showcasing vintage foreign-language
THE LEOPARD is based on the historical novel by Giuseppe Tomasi de Lampedusa,
an international best seller upon publication in 1958. The story is set in the
1860s during the turbulent period of the “Risorgimento,” the struggle for the
unification of Italy. All this is reflected in the fate of one Sicilian
aristocratic family, headed by Prince Fabrizio de Salina (Burt Lancaster). The
Prince (the Leopard) at first resists all the political and social changes, but
comes to accept them after their embrace by his pragmatic nephew (Alain Delon),
who joins Garibaldi’s Red Shirts and marries the daughter (Claudia Cardinale)
of an ambitious small-town merchant-mayor to secure the family’s place in the
new Italy. Visconti was drawn to the material about fading aristocracy from his
own heritage, as he was born to nobility in Milan. He had previously explored
his country’s past with another historical adaptation, Senso, in 1954, and that
film is also considered a masterwork.
THE LEOPARD won the Palme D’or at the 1963 Cannes Film Festival and has been
reissued on several occasions. The film is notable for its rich production
design by Mario Garbuglia, cinematography by Giuseppe Rotunno, and
Oscar-nominated costume design by Piero Tosi, who won an honorary Oscar in
2014. The original release reaped praise from The New York Times’ Bosley
Crowther, who called it “a stunning visualization of a mood of melancholy and
nostalgia at the passing of an age.” Admiration has grown through the decades,
with The London Observer calling it “that rare thing—a great film from a great
book.” J. Hoberman in the Village Voice exclaimed, “The greatest film of its
kind since World War II.” Martin Scorsese is one of the film’s champions,
placing it on his own personal list of the 12 greatest films ever made,
extolling “the deeply measured tone…its use of vast spaces, and also the
richness of every detail.” As a lament for a lost world, the film is considered
Italy’s 'Gone With the Wind.'
Terrence Hill (Mario Girotti) and Paola Stoppa co-star. Music by Nino Rota ('La
Strada,' 'Romeo and Juliet,' 'The Godfather'). Visconti co-wrote the screenplay
with Suso Cecchi d’Amico, Pasquale Festa Campanile, Enrico Medioli, and Massimo
THE LEOPARD screens December 5 at 7:00 PM at the Playhouse, Royal, and Town
Director: Luchino Visconti
Writers: Giuseppe Tomasi di Lampedusa (novel), Suso Cecchi d’Amico, Pasquale
Festa Campanile, Enrico Medioli, and Massimo Franciosca (screenplay)
Stars: Burt Lancaster, Alain Delon, Claudia Cardinale, Terrence Hill (Mario
Girotti) and Paola Stoppa.
for tickets and theatre locations/information.