Cinema Retro has received the following press release:
Valentine’s Day, give the special people in your life a gift they’re sure to
love: film collections featuring their favorite movie stars.
new Audrey Hepburn 7-Movie DVD Collection features the luminous actress in beloved
classics including Breakfast at Tiffany’s, My Fair Lady, Funny Face, Roman
Holiday, Sabrina, Paris When It Sizzles and War and Peace.This is a sensationally affordable gift that sparkles like diamonds. Click here to order from Amazon.
new Paul Newman 6-Movie DVD Collection boasts classic films highlighted by
Newman’s Oscar®-nominated performance in Hud. The collection also includes
dramas Road to Perdition and Fat Man and Little Boy, the comedy/drama Nobody’s
Fool, the romantic comedy A New Kind of Love, and the acclaimed whodunit Twilight. Click here to order from Amazon.
Mark Wahlberg 5-Film DVD Collection celebrates the charisma and range of one of
today’s biggest stars.Featuring
action-packed thrills, dark comedy and drama, the collection includes Shooter, Pain
& Gain, The Fighter, The Italian Job and The Gambler. Click here to order from Amazon.
Oscar winner Al Pacino is the latest major star to move into the realm of streaming TV series. He will star in Amazon's 10-episode series "The Hunt", a thriller set in 1977 in New York City that centers on the search for murderous ex-Nazis, a premise that seems to call to mind elements of the 1976 classic "Marathon Man". Pacino has won two Emmys for previous work in television but this marks the first time he has committed to starring in a series. The show will be produced by director Jordan Peele. For more click here.
Broadway legend Carol Channing has passed away from natural causes at age 97. To call her inimitable would be a misstatement as Ms. Channing was one of the most impersonated stars of all time. With her shocking white hairdo, expansive smile and gravelly voice, she endeared audiences and inspired careers for countless entertainers on the drag queen circuit. Channing became a Broadway star in 1949 with "Gentlemen Prefer Blondes" and later became inextricably linked to the title role in the 1964 Broadway smash "Hello, Dolly!", for which she received the Tony Award. She was frustrated however, when she was not cast in the film versions of either musical, losing the roles to Marilyn Monroe and Barbra Streisand respectively. Ms. Channing also starred in her own television variety series in the 1960s. Surprisingly, she appeared in only a handful of feature films. She earned a Golden Globe and a Best Supporting Actress nomination for the 1967 movie musical "Thoroughly Modern Millie" and was among the all star cast in director Otto Preminger's bizarre 1968 comedy flop "Skidoo". Seemingly ageless, Channing performed on stage for decades often in revivals or road productions of "Hello, Dolly!" in which she starred over 4500 times. For more click here.
Variety is reporting that Martin Scorsese is deeply involved in creating a new documentary about Bob Dylan titled "Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese". The Oscar-winning director had previously released "No Direction Home: Bob Dylan" which covered the iconic folk singer's controversial embrace of the electronic sound he adopted in the 1960s. The new film will cover Dylan's acclaimed 1975-76 Rolling Thunder tour, that featured an eclectic group of artists performing in a largely unscripted format. Dylan, who rarely gives interviews, is said to have provided one for Scorsese to use in the new documentary, which is still shrouded in mystery. Netflix will be producing the project. For more click here.
RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES
BY LEE PFEIFFER
It may seem hard to believe in an era in which every personality on screen seems to be wearing a cape and tights but there are some intelligent films still being made for discriminating, mature viewers. The problem is that you often have to search to find them. Case in point: "The Lady in the Van", a 2015 British comedy/drama that found its intended audience but was relegated largely to the art house circuits in big cities. The movie is about as off-beat as you can imagine in terms of the central premise but we are told that it is mostly based on fact. Alex Jennings plays the film's real-life British playwright Alan Bennett, on whose experience the screenplay is based. Jennings was an aspiring playwright in 1974 when he moved to a relatively upscale neighborhood in London's Camden Town section. Bennett was enjoying some success with a show on the West End and was leading a fairly comfortable existence, though - at least in the film- he was frustrated by the fact that he no significant other. As a gay man, his unease was understandable- until 1969 homosexuality was a felony crime in Britain. Coming out of the closet was not something most gay people felt comfortable doing. The film presents Bennett creating his own live-in companion- an imaginary alter-ego with whom he trades barbs and discusses problems ranging from writers block to everyday household chores. His life takes an unexpected turn when a homeless woman arrives on his street driving a barely operable old van. She identifies herself as Mary Shepherd and is about as lovable as a tarantula. Mary becomes the talk of the posh neighborhood, moving her van occasionally to park in front of various houses. Some of the locals are kindly to her while others clearly disdain her, but all of them tolerate her presence and gets used to her. Mary keeps her "alternate side of the street" lifestyle going for several years. The van is her abode and she defends it with pride. She accepts handouts from neighbors but her prickly nature never results in her uttering the words "Thank you". Alan, like most of the locals, regards her with a bit of frustration as well as fascination. When a parking ordinance forces her van off the street, Alan offers his driveway as a place she can park "temporarily". You know how these things go. Before long, Mary has not only established the driveway as a permanent residence but is also making various demands on Alan to allow more privileges. Slowly, the months turn into years and both become accustomed to the bizarre living arrangements.(Mary never enters his home and the resulting effect on her hygiene is played for laughs). The two have a sometimes uneasy relationship but the gentle, meek Alan begins to care about her more than he will even admit to his alter-ego. He is wracked by guilt because his own aging mother is slowly deteriorating both mentally and physically and he feels guilty about having to have her committed to a nursing home. He uses Mary has her proxy so that an act of kindness towards her might help Alan alleviate some of his guilt about his mother.
Ultimately Alan's relationship turns to caregiver. Some of Mary's demands are reasonable (jury-rigging wires from his house so she can watch TV in her van) while others are too extravagant to comply with (constructing a tent so she can indulge in more hoarding of useless objects.) He also learns what the viewer has known from the opening, shocking frames: that Mary is hiding a terrible secret and lives in constant fear of being arrested. She, too, is wracked by guilt because she once killed a motorcyclist in an accident and fled the scene. We also learn that she is being blackmailed by an eyewitness (Jim Broadbent) to the event. Gradually, Alan sees her as a source of material for a writing project. He tracks down her only living relative, a brother who is somewhat estranged from her. He relates some remarkable details about her once-promising life and how it all went wrong when she sacrificed a musical career in order to join a convent. (The Catholic Church and religion play key roles in her life.) Nothing overly dramatic takes place in the leisurely-paced story but there is something remarkable the fact that Alan Bennett allowed this eccentric woman to spend a full 15 years residing in his driveway until her death in 1989.
Bennett published a journal about the experience titled "The Lady in the Van". In 1999, he adapted it into a play starring Maggie Smith. It was a major hit, running over 900 performances on the West End. The play's director, Nicholas Hynter, is a frequent collaborator of Bennett's, having worked with him on adapting Bennett's plays "The History Boys" and "The Madness of King George" for the screen. In 2015 they finally brought "The Lady in the Van" to the screen as well with Maggie Smith reprising the title role. Smith was now of an age where she could be even more convincing as the elderly eccentric and Bennett ensured that the movie was shot in the very house in Camden Town where the actual events took place. For all its charming aspects and the fact that the production presents two extraordinary performances by Smith and Alex Jennings, the end result is a mixed bag that you expect to move you in a more emotional way than it actually does. This is largely because Smith's character remains crusty, self-centered and pretty much an ingrate throughout. In the film's final moments, which details her death, Bennett and Hytner do manage to convey a softening of her persona in the final moments of her life but they then attempt to make her more lovable with an ill-advised funeral sequence in which we see the ghost of Miss Shepherd assuring us that she has found happiness in Eternity. The scene smacks of being a well-intentioned gimmick and seems somewhat out of place with the rest of the film. Jennings, known primarily as a stage actor, gives a marvelous performance as Bennett and manages the considerable achievement of not being overshadowed by the great Dame Maggie. The film starts off rather weakly but becomes more engrossing and satisfying if you stick with it. This is largely due to Bennett slowly unveiling key details about Miss Shepherd's challenges in life and the fact that she missed out on a promising musical career. Although Smith is very amusing in the comedic sequences, she is even more impressive in these dark, dramatic scenes. The end result is a mixed bag. The film is to be commended for presenting that rarest of screen experiences nowadays: an intelligent story aimed at adult audiences who seek fine performances and dialogue rather than mindless explosions. There are uneven and unsatisfying patches throughout but the performances alone merit it for recommended viewing.
Sony has released an impressive special edition Blu-ray of "The Lady in the Van". There are numerous featurettes including extensive interviews with Maggie Smith, Alan Bennett, Alex Jennings and Nicholas Hytner that give some interesting perspectives on the long history of the real life events that inspired the play and film. There is also a director's commentary with Hytner and some deleted scenes, some of which clearly show that Miss Shepherd is actually nt only extremely eccentric but is also suffering from dementia, as evidenced by her belief that she can be elected Prime Minister.
The web site Curbed provides an informative guide to 15 classic movie theaters in Los Angeles, each of which is distinguished not only by its design but also by an eclectic schedule of programming that any retro movie lover will appreciate. Click here to read.
If you think extremist talk radio is a relatively new phenomenon, the release of the 1970 film WUSA on DVD by Olive Films shows just how far back the not-so-grand tradition goes. The notion of reaching out to the fringe elements of society is well-documented here, with Paul Newman as a down-and-out musician with some broadcasting experience who sells his soul by taking a job as a DJ on right wing extremist radio station WUSA in New Orleans. Newman knows he's being used as a pawn for white supremicist tycoon Pat Hingle, but willingly accepts the fame and fortune that he receives when his star begins to rise - despite personally despising the words he reads on the air. In between playing cornporn patriotic ballads, Newman's character, known as Rheinhardt, spouts incendiary rhetoric designed to empower racists who want to combat expansion of the welfare state. Along the way, he hooks up with sexy-as-hell Joanne Woodward, playing an equally down-and-out woman whose fortunes have declined so badly that she is rejected when she applies to be a stripper. If the film seems especially harsh on the right wing fringe, liberals aren't spared, either. Anthony Perkins plays a stereotypical do-gooder, a true believer that LBJ's war on poverty would result in the establishment of his Great Society. What he fails to realize is that he, too, is being used as a dupe by community leaders who are secretly being paid off by WUSA management. Thus, both the forces of right and left collaborate to ensure inertia among opportunities for the impoverished.
Bloom with Clint Eastwood in "High Plains Drifter".
Veteran actress Verna Bloom has died at age 80. Bloom made her screen debut as the female lead in Haskell Wexler's acclaimed 1969 film "Medium Cool". Her performance gained her much traction in the film industry and she went on to star opposite Clint Eastwood in "High Plains Drifter" and "Honkytonk Man". She also memorably appeared in director John Landis's "National Lampoon's Animal House" playing the dean's wife who had a penchant for bedding college students. Her other film credits include "Badge 373", "The Hired Hand", "The Last Temptation of Christ" and the Frank Sinatra TV movie "Pickup on Cherry Street". Click here for more.
The YouTube channel Stanley & Us is devoted to the works and life of Stanley Kubrick. Here they present an interview that was done years ago with the late, esteemed British film critic and historian Alexander Walker, a friend of Kubrick's, who reflects on the fractious relationship Kubrick had with the volatile but ingenious Peter Sellers. While Walker downplays the extent of the disputes they had on the set of "Dr. Strangelove", he does provide some interesting insights into their work together.
It's arguable that Orson Welles's "The Other Side of the Wind" was the most famous unseen film of all time. However, with it's recent release there seems to be little doubt that "The Day the Clown Cried" can take the title. Jerry Lewis went into production in 1972 on the Holocaust drama only to immediately run into a tidal wave of problems ranging from unreliable funding sources to complex copyright disputes. Lewis finished the film but the elements were scattered to, well, the other side of the wind as various investors and stake-holders in the production all claimed their pound of flesh. The end result: there apparently isn't a complete version of the movie anywhere, though substantial portions ended up in Lewis's possession and he cobbled together something akin to a final cut. Very few people were shown the movie and response ranged from underwhelming to appalling. Lewis at various times indicated he wanted the movie to be seen if the legal problems could be resolved but at one point seemed to change his mind, saying he didn't want it shown because he was ashamed of the poor workmanship on the production. New York Times writer Peter Tonguette looks at the current status of the legendary, unseen work. Click here to read.
Once again TCM has created a hauntingly beautiful video tribute to the artists from the film world who passed away in 2018. Inevitably, we find ourselves shocked that some names from the past had left us without getting any attention or fanfare. You will probably be surprised, as well. It's always sobering to recognize how many irreplaceable talents have left us in any given year and 2018 was no exception. The TCM tributes are truly wonderful and makes one wonder why the Academy can't expand their memorial segment on the Oscars broadcast to include the wealth of talents that are represented here. Inevitably, the Oscars tribute, while sensitively done, causes controversy because of the prominent names who are not deemed worthy of mention, including people who were once nominated for Academy Awards. Thanks, TCM, for doing it right.
The mega-budget Waterworld laid a gigantic egg at the boxoffice when it was released in 1995. However, as with many commercial failures, there is considerable interest in the production even today, as evidenced by the ambitious release of a special edition Blu-ray through Arrow Films. Here is their official press release:
The most expensive film ever made at the time of its release,
Waterworld has thrilled audiences through the years with its awe-inspiring
action scenes, gargantuan maritime sets and ground-breaking special effects. A
definitive post-apocalypse blockbuster, Waterworld stars Kevin Costner (The
Untouchables) as The Mariner - a mutant trader, adrift in a dystopian future
where Earth is submerged under water and humankind struggles to survive on
boats and in ramshackle floating cities. The Mariner becomes embroiled with the
Smokers, a gang of pirates who, led by villainous leader Deacon (Dennis Hopper,
Blue Velvet), are seeking Enola (Tina Majorino, Napoleon Dynamite), a girl with
a map to the mythical realm of "Dryland" tattooed on her back. Famous
for both its epic scale and the controversy that swirled around its production,
Waterworld is a key cult film of the 1990s, and an essential entry into the
subgenre of ecologically-minded blockbusters. Presented here in an exclusive
new restoration, in three different cuts, and with a wealth of extra material,
this high-water mark of high-concept Hollywood can now be enjoyed as never
New restoration from a 4K scan of the original negative
by Arrow Films, presenting the film in three cuts
Original 5.1 DTS-HD Master Audio and 2.0 stereo audio
Optional English subtitles for the deaf and hard of
Six collector’s postcards
Double-sided fold-out poster
Limited edition 60-page perfect-bound book featuring new
writing on the film by David J. Moore and Daniel Griffith, archival articles
and original reviews
Reversible sleeve featuring original and newly
commissioned artwork by Paul Shipper
High Definition Blu-ray (1080p) presentation of the
original theatrical cut
Maelstrom: The Odyssey of Waterworld, an all-new,
feature-length making-of documentary including extensive cast and crew
interviews and behind the scenes footage
Original archival featurette capturing the film's
Global Warnings, film critic Glenn Kenny explores the
subgenre of ecologically aware Hollywood blockbusters
Production and promotional stills gallery
Visual effects stills gallery
Original trailers and TV spots
High Definition Blu-ray (1080p) presentation of the
extended US TV cut, which runs over 40 minutes longer than the theatrical cut
High Definition Blu-ray (1080p) presentation of the
extended European “Ulysses” cut, which includes censored shots and dialogue
RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES
“BLOOD AND PRESTIGE”
By Raymond Benson
of this review are reprinted from the article “Playboy Goes to Hollywood,” by
the same author, which appeared in Cinema
Retro, Volume 2, Issue #5, 2006.)
Criterion Collection has seen fit to release on Blu-ray and DVD (separate
packaging) Roman Polanski’s striking film adaptation of William Shakespeare’s Macbeth, originally released in 1971.
Not very well received at first, the picture’s reputation has grown over the
years such that it is now arguably considered the definitive version of the “Scottish
play” on celluloid (although Akira Kurosawa’s 1957 Throne of Blood is certainly a contender). Gritty, realistic, and
violent, Polanski’s vision is dark and troubling—as the story is meant to be.
It’s possible that some of the negative
press it received in 1971 was due to the fact that it was the first major
motion picture produced by Playboy Productions, with Hugh M. Hefner serving as
executive producer, while Playboy executive Victor Lownes II served as assistant
executive producer (Andrew Braunsberg, a close friend of Polanski’s, was credited
as producer). The film came about as a result of the friendship between
Polanski and Lownes.The director had
been recovering from the tremendous amount of grief he had suffered after the
murder of his wife Sharon Tate at the hands of the Manson family in 1969—he
needed something that would help purge himself of the ugly and violent images
in his head and heart. Shakespeare’s controversial and bloody play seemed to be
the right vehicle. (Some say the play is unlucky—there are still theatre people
who refuse to refer to it by name.)
Indeed, making the film was something
of a catharsis for Polanski—there were a few occasions in which he unwittingly
referred to the lead actress as “Sharon.” Adapted by renowned playwright and
critic Kenneth Tynan, Polanski’s Macbeth
became a poster child for the handful of ultra-violent pictures to be released
in 1971—the same year as A Clockwork
Orange, Dirty Harry, and Straw Dogs. The blood flows freely in Macbeth—a decapitation is even presented
most realistically—but to focus solely on the film’s violence does not do it
justice. The film is a remarkably faithful adaptation of the play.
“Corporate was initially against the
idea,” Hugh Hefner said in a 2006 interview for Cinema Retro. “It was not a very commercial undertaking, and I knew
it wouldn’t make any money. Victor made a strong case to do it and I agreed
with him. It was more of a prestige thing for Playboy. Playboy and Shakespeare?
Who would have thought?”
The film was made in Scotland, of
course, and featured mostly unknown but highly talented stage actors—Jon Finch
as Macbeth, Francesca Annis as Lady Macbeth, Nicholas Selby as Duncan, Stephen
Chase as Malcolm, Martin Shaw as Banquo, and Terence Bayler as Macduff. At one
point during production, Polanski ran over schedule and over budget, causing
the insurance backers to drop the guarantee. Hefner had to fly to London, take
stock of the situation, and personally guarantee the completion of the film
with Playboy Productions’ money.
Back home in the States, Hefner viewed
the dailies at the Playboy Mansion. Hefner remembered, “For my birthday that
year, the cast—on film—suddenly stopped the action of a scene and began singing
‘Happy Birthday’ to me.”
The film did receive a number of very positive reviews and a few awards,
too—it won Best Picture from the National Board of Review and won a BAFTA for
Costume Design. “Of course, as I predicted, it didn’t make any money,” Hefner
said. “In fact, it lost money. But we
didn’t really care. It was a good picture and I’m proud of it. I believe since
its release the film has gone into the black.”
Criterion’s new 4K digital restoration,
approved by Polanski, with 3.0 surround DTS-HD Master Audio soundtrack is
assuredly the best possible presentation of this remarkable film. The dreary
Scottish landscapes are gorgeous in their own way, and you can feel the mud and
slop in every scene. Extras include a new documentary featuring interviews with
Polanski, Braunsberg, Lownes, and actors Annis and Shaw; a 1971 documentary
featuring rare footage of the cast and crew at work; an interview with Kenneth
Tynan from a 1971 episode of The Dick
Cavett Show; and a segment from the 1972 British TV series Aquarius featuring Polanski and theatre
director Peter Coe. Critic Terrence Rafferty’s essay in the booklet rounds out
this exceptional package from The Criterion Collection.
Grab it! Just don’t ever pronounce the
name of the play aloud!
Cinema Retro's latest season began with issue #43, which has shipped to subscribers in the UK and Europe. Generally, it ships from our North American office to all other worldwide subscribers sometime in mid-January. However, some complications concerning the shipping industry in the UK has caused a two-week delivery delay across the board that has affected all exporters using this service. The factors were industry-related and outside of our control. We now expect delivery of issue #43 to the USA office of Cinema Retro sometime around January 30th. The issue will be sent out to subscribers immediately. The UK shipping industry delay also affects some back issues of Cinema Retro that are due in the same shipment. This primarily affects orders for the Movie Classics Sergio Leone and Roadshow Epics issues which are currently sold out in the USA. You can place orders for these issues but they won't be available for shipment until late January. We appreciate your patience. Meanwhile, you can subscribe or renew for season 15 by clicking here.
Shirley Jackson's famed ghost story novel "The Haunting of Hill House" was originally made into an MGM film by director Robert Wise in 1963 Jan de Bont's 1999 remake was poorly received and most recently, there is a hit Netflix series inspired by Jackson's book. However, for pure brilliance, Wise's interpretation of the story still stands as a masterpiece of the horror film genre in which ambiguity and unexplained events prove to be more chilling than most films that employ over-the-top special effects. For all of respect accorded the film today, it was not particularly well-received by critics when it originally opened. One of the more positive and insightful reviews was written by James Powers for The Hollywood Reporter. Click here to read.
The web site Looper provides some video evidence of mega-budget cinematic misfires that caused their studios and/or production companies to fold. With the benefit of hindsight, we can all say "What were they thinking???" but at the time these were deemed to be "can't miss" blockbusters.
The New Jersey Symphony Orchestra will screen "The Empire Strikes Back" at the Count Basie Theatre and State Theatre in Red Bank and New Brunswick, New Jersey on January4-6. Click here to check the performance dates for each venue.
At the time of its release in 1962 critics treated director J. Lee Thompson's "Taras Bulba" as just another action epic. Well, back in those days, every week seemed to see the release of a worthwhile action epic. However, retro movie fans have long held this film in a place of honor. It has an intelligent script, fine performances and sequences that are truly magnificent in their scope- all set to the legendary Franz Waxman's superb, Oscar-nominated score. The film is unusual on many levels beginning with the period of history it covers: the battles between the Cossacks and Poles for control of the Ukraine Steppes in the early 16th century. When the film opens, the Cossacks are fighting with the Poles to thwart an invading Turkish army. However, the Poles double-cross their allies after victory has been achieved, slaughtering many of the Cossacks, whom they fear will be a future threat. The mantle of Cossack leadership falls to the courageous warrior Taras Bulba, who vows revenge against Poland no matter how long it takes. The Cossacks spend many years rebuilding their strength. During this time, Bulba fathers two sons: Andrei (Tony Curtis) and Ostap (Perry Lopez), both of whom do instill him with pride for adapting the rough-and-tumble ways of the Cossack warriors. When tensions ease with the Polish government, Taras instructs his sons to attend university in Kiev, ostensibly to get an education. In reality, he wants them to study Polish customs and habits, all the better to serve in the forthcoming war against them that he is planning. While in Kiev, the boys suffer the indignities of ridicule, beatings and hazings. (There is an amusing, if unintended,homo erotic aspect to some of these scenes, with sweaty, shirtless men whipping each other.) Andrei finds it's all worthwhile when he catches a glimpse of Natalia Dubrov (Christine Kaufmann), a beautiful young Polish girl who is from an influential family. Against all odds, he manages to catch her eye and ingratiate himself to her. The would-be lovers find ways to secretly meet to carry out their forbidden romance. (The notion of a Polish noblewoman carrying on a love affair with a crude Cossack warrior may seem far-fetched, but if the Cossack is Tony Curtis, I guess anything is possible.) When Andrei's interest in Natalia is discovered by her brother, a sword fight ensues in which Ostap mortally wounds the Polish army officer. The brothers escape back to the Steppes and the arms of their mother and father but Andrei still pines away for his lost love. Taras rallies the various Cossack tribes to join him in an assault on a city held by Poles. After a vicious battle, he bottles up his enemies inside the walls of the town and begins to starve them out. However, Andrei learns that Natalia is within the city and when plague breaks out, he makes an ill-fated decision to attempt to rescue her. This leads to the film's dramatic and very emotional climactic seen between Taras and Andrei.
"Taras Bulba" has been released on Blu-ray by Kino Lorber Studio Classics. The transfer is outstanding and is so clear that some of the film's technical weaknesses appear more prominent than they probably did on the big screen. The scenes within Kiev are clearly achieved through the use of studio sets and matte paintings. Some scenes have a noticeable graininess to them and in certain cavalry charges, you might observe horsemen moving at sped up motion in the manner of the Keystone Cops. Nevertheless, this is an epic film indeed when it comes to the action sequences. One scene in particular is literally thrilling: the joining of the Cossack warriors on the open plain, all galloping at high speed to Franz Waxman's addictive musical score. The performances are also first-rate with Brynner giving a larger-than-life interpretation of Bulba in manner that no other actor of this era could achieve. Tony Curtis once again overcomes a New York accent (as he did in "The Vikings") and somehow appears completely credible. (An interesting footnote: Bulba's right hand man Shilo is played by Brynner's "Magnificent Seven" co-star Brad Dexter.) Christine Kaufmann was only 16 years old at the time of filming and the on-screen love affair with Tony Curtis replicated itself in real life: they began dating on the set and ended up getting married, though they divorced in 1968.
The Blu-ray disc includes an original trailer that absurdly proclaims, in the typical hyperbole of the day, that the film should be added to the list of "Wonders of the World"! Not quite. But say this for "Taras Bulba": it represents the kind of first rate action adventure epic of which it is often said "They sure as hell don't make 'em like that anymore."
Andrew V. McLaglen was almost predestined to be a movie director. The son of the legendary character actor Victor McLaglen, Andrew came of age on movie sets. His father often appeared in John Ford Westerns and Andrew developed a passion for the genre. He ultimately gained a foothold in the television industry during the late 1950s and early 1960s when TV Westerns were all the rage. He proved himself to be a capable and reliable director and eventually moved on to feature films. McLaglen scored a major hit with the rollicking Western comedy "McLintock!" starring John Wayne and Maureen O'Hara in 1963. Two years later, he teamed with James Stewart for the poignant Civil War drama "Shenandoah". The film was a big success with both critics and at the boxoffice. Thus, Universal, the studio that released "Shenandoah", hoped to capitalize on the film's success and re-teamed McLaglen and Stewart for a Western, "The Rare Breed". Adding to the reunion aspect of the production, it co-starred Maureen O'Hara and Brian Keith. O'Hara had co-starred with Stewart in the 1962 comedy "Mr. Hobbs Takes a Vacation" and Keith was O'Hara's leading man in the Disney classic "The Parent Trap". Got all that? The script by Ric Hardman takes an unusual aspect of the Old West for its central plot line. Martha Price (O'Hara) and her daughter Hilary (Juliet Mills) have arrived in Texas from their home in England. They are bringing with them their prized Hereford bull, a breed not known in America. Their hope is to sell the animal at auction so that cross breeding American cows will eventually result in superior stock. The prim and proper upper-crust British ladies have endured a tragedy that isn't depicted on screen: the death of Martha's husband on the ship en route to America, although they seem fairly unperturbed, as they only fleetingly reference the dearly departed in the course of what follows. The Hereford is mocked by the cattle barons because it lacks the signature horns of traditional Texas steers. In a convoluted plot device, a smarmy rich man (David Brian) with an obsession for seducing Martha, bids on the Hereford to impress her. When his awkward attempts to bed her fail, somehow another unseen buyer steps forward and the beast must be transported to him via the efforts of a wrangler named Burnett (James Stewart). At this point, the story becomes difficult to follow. Suffice it to say that Burnett agrees to escort Martha, Hilary and their prized bull to the far-off destination to conclude the deal. Along the way, they are ambushed by Simons (Jack Elam), a greedy crook who causes a stampede of another cattle herd being escorted by Burnett's friend Jamie (Don Galloway.) In the resulting chaos, Simons intends to steal the Hereford as well as the money Martha has been paid to deliver the bull. If all of this sounds confusing, watching it unfurl on screen makes the plot even more fragmented when Martha accuses Burnett of also trying to swindle her. Ultimately, they all wind up at the outpost of the new owner, Bowen (Brian Keith), a Scottish eccentric who runs his own cattle empire and sees the possibility of crossbreeding the Hereford with his own herd.