I wanted to bring to your attention -- and recommend to your readers -- a book that I've "loved" as a film buff ever since I bought my first copy back in 1970.  It's The New York Times' "GUIDE TO MOVIES ON TV," edited by Howard Thompson.  It's an eleven by eight and a half inch soft-bound  book with 223 pages of some 2000 capsule reviews taken from the pages of the Times.  Though not in the same league as the Leonard Maltin books or even other well-known film guides, this book was unique in that it included a black and white still from each film next to the review.  The Times only published this guide once (in 1970), which is a shame, but used copies can still be found at Amazon and other internet sources.  The films covered date from the late 1930's to the end of 1968.

I've scanned the cover and some sample reviews.  The book is often fascinating in that many movies considered a classics now were not that highly regarded back then.  A good example is the review of "The Good, the Bad, and the Ugly."- Rory Monteith

Retro Responds: All movie geeks must think alike. I agree this was one of my most beloved books about film criticism and a dog-eared  edition of the book adorns my bookshelf. You're right- many films considered classics today were scorned by the Times when they were originally released. I would advise any retro movie lover to hunt this book down and add it to their research library. - Lee Pfeiffer

To Our Fellow Readers,

As a writer at CinemaRetro.com, I want to thank you all for your support and kind comments regarding our work.  It is very gratifying to know that the movies that we writers love are equally admired by others out there! 

As most of us have been movie fans for virtually our entire lives, there are inevitably titles that we want to see again, but were too young to take notice of the title.  There is one film that I am looking for, and have been looking for since the late 1970s, and I am asking for your help.  All I have is a description of the film, and if anyone out there is able to identify it or point me in the right direction, I will personally thank you on this website.  Here is my description:

In the late 1970s, I saw a film in my elementary school that I have not forgotten. I want to say that this film is European(?) and was made in either the 1960 or 1970’s, but I am not sure.  In the film, a young boy gets a white teddy bear for Christmas and is disappointed because He wanted a brown teddy bear instead.  He takes the bear with him on a train ride and tells the bear that he wants the brown one instead.  He gets to the North Pole and asks Santa for the other bear, but when Santa gives it to him, he is told that he has to hand over the white teddy bear.  He can only have one.  I don't recall if he goes home with the original bear, or does the exchange.  This film is not animated, it is live-action. 

If you have any information about this film, please email me at horrorexpress1968 at yahoo.com (please replace the "at" with the actual "@" sign).  Please put "Santa 16mm Children's Film" in the subject line.  Thank you in advance!

-Todd Garbarini

I just read Lee Pfeiffer's notice of Mitch Miller's passing. Part of one sentence struck me as being awfully peculiar: the bit about Miller's being mentioned in Queen's Bohemian Rhapsody. Because he ain't.

Here's  the lyrics. If you can find Mitch in here, please let me know where because I'm missing something.

All the best,

Bryon Cannon

Is this the real life?
Is this just fantasy?
Caught in a landslide
No escape from reality
Open your eyes
Look up to the skies and see
I'm just a poor boy, I need no sympathy
Because I'm easy come, easy go
A little high, little low
Anyway the wind blows, doesn't really matter to me, to me

Mama, just killed a man
Put a gun against his head
Pulled my trigger, now he's dead
Mama, life had just begun
But now I've gone and thrown it all away
Mama, ooo
Didn't mean to make you cry
If I'm not back again this time tomorrow
Carry on, carry on, as if nothing really matters

Too late, my time has come
Sends shivers down my spine
Body's aching all the time
Goodbye everybody - I've got to go
Gotta leave you all behind and face the truth
Mama, ooo - (anyway the wind blows)
I don't want to die
I sometimes wish I'd never been born at all

I see a little silhouetto of a man
Scaramouch, scaramouch will you do the fandango
Thunderbolt and lightning - very very frightening me
Gallileo, Gallileo,
Gallileo, Gallileo,
Gallileo Figaro - magnifico

But I'm just a poor boy and nobody loves me
He's just a poor boy from a poor family
Spare him his life from this monstrosity
Easy come easy go - will you let me go
Bismillah! No - we will not let you go - let him go
Bismillah! We will not let you go - let him go
Bismillah! We will not let you go - let me go
Will not let you go - let me go (never)
Never let you go - let me go
Never let me go - ooo
No, no, no, no, no, no, no -
Oh mama mia, mama mia, mama mia let me go
Beelzebub has a devil put aside for me
for me
for me

So you think you can stone me and spit in my eye
So you think you can love me and leave me to die
Oh baby - can't do this to me baby
Just gotta get out - just gotta get right outta here

Ooh yeah, ooh yeah
Nothing really matters
Anyone can see
Nothing really matters - nothing really matters to me

Anyway the wind blows...

Retro Responds: Bryon, we always take delight in debunking false urban legends - especially if we have been unintentionally complicit in spreading them. The line in question reads "Bismillah" - which many people have thought to be "Mitch Miller!". So widespread was this belief that when the song first came out, people at parties would sing "Mitch Miller!" and that false notion was repeated throughout the mainstream media in Miller's obituary. The premise that Mitch Miller might have been mentioned in the Queen classic didn't strike anyone as particularly absurd, given the fact that the song haphazardly name drops other seemingly disconnected prominent people, albeit in retrospect, Mitch Miller wouldn't have the same historical significance as Galileo or Beelzebub. I confess to never having heard the word "bismillah", but some research shows it is an Arabic term for "The Word of God." Thank you for setting the record straight on this erroneous legend- but please don't try to convince me that Elvis isn't alive and shacking up with elderly James Dean. -  Lee Pfeiffer

(The following posts relate to the British crime thriller Corruption, which was recently aired by Turner Classic Movies)

We've just received the following from one of favorite directors, Joe Dante, who runs the highly entertaining web site Trailers From Hell:

http://trailersfromhell.com/trailers/292

Retro Responds: Thanks for the head's up, Joe...your site continues to provide more entertainment through your presentation of cult trailers than most contemporary feature films do!- Lee Pfeiffer

It is a shame that the UK branch of TCM doesn't often show films as interesting or varied as Robert Hartford Davis' Corruption (actual copyright is 1967).  It will be interesting to see whether you goes over the pond get the UK edit, or the much more gory/sexy European cut.  The latter has an extraodinary (no to say offensive) scene where Cushing attacks a topless woman with a knife, and wipes his bloodied hands all over her bare breasts after he kills her.  He then proceeds to hack off her head!  The only version of this film I have seen was this nastier edit under the title Laser Killer; a bootleg taken off a substandard French VHS.  Let us all know which edit you guys get?

Rick Curzon

Retro Responds: That's interesting, Rick...I didn't realize there were different versions of the film. As I have it already on DVD, perhaps some stalwart readers will alert us as to which version TCM shows this weekend.  - Lee Pfeiffer

I really like the ideas being posted for a DVD of A Man Called Dagger. Another action flick that is impossible to find on DVD, or even VHS, is Blake Edward's Gunn, a feature film version of his famous Peter Gunn film. I have always wanted to see this movie, but there have been no videos, trailers, or even a soundtrack album. The only things I have seen of this rather elusive film are the poster, and a semi-nude publicity still of Sherry Jackson. Fans of Peter Gunn, Blake Edwards, Henry Mancini, and Ms. Jackson would love to finally see this lost treasure if it still exists somewhere. Please.-

Steven Handzel

Retro Responds: Good suggestion, Steven. Despite the fact that Edwards directed the film, it's largely been buried over the years. Did you know that William Friedkin was approached to direct it? He blatantly told Edwards and screenwriter William Peter Blatty that he hated the script. Blatty so admired Friedkin's honesty that he suggested him as the director of The Exorcist years later.- Lee Pfeiffer

Well, nothing is more exciting (kind of Christmas in May) than when I open my mailbox and that white plastic package calls to me to open, open!! Now I'm just a some times documentary filmmaker and a regular reader of Cinema Retro and it is the joy of this publication that pulls all of us fans together! Issue volume 6 # 17 is the most packed with the finest variety of articles ever. I always read each issue with great interest but I am currently salivating over each and every article with a kid's excitement. The Valerie Leon article is fantastic!The wonderful How The West Was Won piece : how cool to see and read about the making of that film. Dave Worrall's Storm in a D-Cup tribute to June Wilkinson is delicious and tasty...and I have waited so long to get more insights on the making of The Haunting  - perfection! Well I could go on and on but I need to get back to what I think will be a very quick sell out issue. So much thanks from us regular guys and gals  who are fans of Cinema Retro. BRAVO! I will always renew and  rejoice in Cinema Retro!- Paul Jilbert

Retro responds:  Paul, the check is in the mail! Seriously, it's letters like these that keep us motivated. Niche market publishing is a tough business in these times but we find that people like yourself who support Cinema Retro by subscribing are always very excited by the content. A lot of talented people from around the world contribute to every issue and we couldn't do it without them. We do urge our web site readers to help support our efforts by at least sampling one issue. We think they'll see why so many world class actors and filmmakers are part of the Cinema Retro universe. Thanks again for your support.

I noticed that the Charlton Heston film Dark City from 1950 will be available on DVD this July. Now if they would only release these other prominent Heston films: Counterpoint (1968), Number One (1969), The Hawaiians (1970), Antony and Cleopatra (1972) and Mother Lode (1982).

- William Burge

Retro Responds: To that list, we would add The Private War of Major Benson, The Pigeon That Took Rome, 55 Days at Peking, The Awakening (released on DVD in the UK, but not the USA), The Last Hard Men, and Cecil B. DeMille's The Buccaneer and The President's Lady with Chuck playing Andrew Jackson in both of the latter films. We'd also like to finally see a widescreen release of The Mountain Men instead of the pan-and-scan version currently available.- Lee Pfeiffer

I recently discovered Cinema Retro Magazine, and I just wanted to tell you how happy I am to find a publication devoted to classic films. Not only am I a big fan of retro movies, I am something of mash-up editor with a penchant for retro sensibilities... Please check out some of my mash-ups if you get the chance. I think you folks will enjoy them. Here's a link to my Youtube page: http://www.youtube.com/whoiseyevan

Keep up the great work!

Sincerely,

Ivan Guerrero

Retro responds: Excellent work, Ivan...our readers will really enjoy your clever mixing of original film trailers with new concepts. I especially like the way you turned Gone With the Wind into a vampire flick!- Lee Pfeiffer

Oh, Lee, I have no problem with an article on celebrity cleavage. They're
celebrities; they're inherently objectified. But why is it necessary to
say such an article "unites all movie fans"?

Please remember that many, many movie fans are not cleavage-drooling straight males. It is really not too much to ask that when you think of fans, you think beyond the constraints of your own orientation and genitalia.
 
Best,
 

Deborah

Retro responds: Gosh, Deborah - won't anybody give middle-aged, white, cleavage-drooling, straight males a break? Actually, you are right...I should have said that the cleavage at the Oscars article (which actually ran on the Huffington Post- we just linked to it), had united "cleavage-drooling, straight male" movie fans all over the globe. We obviously don't know your sexual orientation, but if its any consolation, please keep in mind that we often run equal-time photos of hunky male stars and routinely get favorable letters from both straight women and gay guys for doing so. We have always provided an equal-opportunity for straight, gay, lesbian, bi-sexual and trans-gender droolers around the world. To prove it, see early cheesecake photo of Clint Eastwood above. Now that we've resolved all of this, I'm going back to my drooling, which, by the way is not limited to ogling photos of sexy women (as anyone who has had the misfortune of watching me eat a bowl of chili can attest)-Lee Pfeiffer

I just picked up the latest issue of Cinema Reto today. Full marks to Tim Greaves for finally giving Lust for a Vampire it's just due. I have always thought this was a very fine film and that all the fuss about the song "Strange Love" was absurd. A lovely song which by all means doesn't ruin the film by its inclusion. Regarding the alternate "clothed" scenes. These did surface in the U.S. on television. When the film shown a few times on Channel 7 in Los Angeles the print was titled To Love a Vampire and the alternate clothed scenes of both the dormitorygirls and Judy Matheson's seduction were included.

I actually met Yutte Stensgaard a number of years ago when she had "disappeared". I was working in Beverly Hills and this lovely woman came into the office from the Beverly Hills Chamber of Commerce. I instantly recognized her as Yutte Stensgaard. She was less than pleased to be recognized and refused to give me her autograph or discuss her films. I assured her that Lust for a Vampire was nothing to be ashamed of and that she had a considerable cult following. I felt badly that she was so down on her film career. But I heard that she later re-evaluated this and was more comfortable discussing her movies.

Gary Smith

Retro Responds: Many thanks for the support, Gary...and thanks for the update on Ms. Stensgaard. Like many actors and actresses who starred in "B" or cult movies, they sometimes felt ashamed of their participation in such films. However, as they see the genuine affection they have accumulated from fans over the decades, these artists often eventually take pride in the fact they were part of the film's legacies. If it's any consolation to Ms. Stensgaard, the issue bearing her cover is proving to be one hot seller for Cinema Retro!

I had not heard of Cinema Retro until I heard about the interview with David Hedison about Richard Basehart.  Then I read the first part of the story about Richard Basehart and was glad to find this website.  So much about people I remembered from films and television of my childhood.  I just rediscovered Richard Basehart and David Hedison with the release of the DVD's of "Voyage to the Bottom of the Sea".  I have been viewing the films of both actors, and have gained a greater appreciation of Richard Basehart's acting ability.  He was so much underrated as an actor.  Even when the scripts on "Voyage" were not as good as they could have been, Richard Basehart put the effort into his role to make it good throughout the life the series.  The chemistry between Richard Basehart and David Hedison helped keep the series exciting.  Thank you for giving us a wonderful website.

- Sue Clark

Retro responds: Thanks very much, Sue. Herb Shadrak's article about Mr. Basehart has certainly generated a good response. I think there are plenty of people who appreciate it when under-rated actors are given their due on our site. We'll be posting an article shortly about a website devoted entirely to Mr. Basehart's work.

Dear Cinema Retro:
 
The reason I love and subscribe to Cinema Retro is because you understand just how great actors like Richard Basehart really were. I grew up with Richard Basehart watching Voyage to the Bottom of the Sea when I was just 6 years old - then later on discovered him in his many film roles. Everything he was in was improved because of his talent. He had something very very few actors have today -  quality. No matter what the part, he brought an air of quality to the portrayal, and the movie/show. Thank you for keeping the memory and appreciation of great actors like Richard Basehart alive. 
 
Sincerely,
 
Patrick Weidinger
Lancaster, PA USA

Retro Responds: Thank you,Patrick and all the other readers who support our endeavors by subscribing to the magazine. Of course, all the credit has to go to writer Herb Shadrak and the many other talented writers from around the world who so generously provide these articles. I don't mind bragging a bit on their behalf by pointing out that these people are the best of the best and their dedication to keeping the artists and films from the Golden Age of cinema in public focus  is appreciated by movie fans around the world. The Waynes, Gables and Bogarts of the world will always be celebrated, but it is the under-rated talents like Richard Basehart whose work benefits so much from the dedication of our writers. I can't tell you how many people say they watched certain films they were unaware of because of articles in our magazine and on our web site. It gives us a great deal of satisfaction to know that artists who might otherwise be ignored are having their work appreciated once again. - Lee Pfeiffer

 
Since your inception as a magazine I am on board and loved each and every issue and the special issue.  Your site is also great to read every day but today I found it sad to read that you take a person like Heather Mills as subject for an item on your blog!  What does Heather Mills have to do with your concept of retro movies from the golden decades of movie making?  NOTHING.
 
I try to stay away from the type of readings like Hello and OK magazine with all the fake people like the Victoria Beckhams, David Beckhams, Lindsay Lohans,... of this world and all those types of non stars.  So to see now this, it is sad that you devote an item to a person who started in London as a ruthless high class hooker to work way up the greed ladder to becoming Paul McCartney's wife and now using her fake prominence to gather still money and spend on plastic surgery and what else!
 
Please stop giving us this crap of entries!
 
A loyal reader,
 

Mirko di Wallenberg

Retro responds: Ouch, that hurts! We appreciate your loyalty, Mirko, but as we've pointed out on previous occasions, while our magazine sticks with films of the 60s and 70s, our web site covers a much broader canvas and contains commentary on personalities across the board of the entertainment industry. We publish numerous articles every day and it would be very difficult to just stick with stories about older movies. Naturally, not every article will appeal to every reader, but I think you're over-reacting. This is one article out of well over a thousand we have posted on line. When you read a newspaper, you don't expect every single article to be of interest to you, and it's the same with web sites. Just glance down the articles currently on our home page...virtually every single one has relevance to the subjects that interest you. We only very rarely even mention the name of lightweight "celebrities" such as Ms. Mills.  We just can't stand the hypocrisy of some public personalities and call them out when we can. By the way, we are also celebrating our third anniversary of being a "Lindsay Lohan, Britney Spears and Paris Hilton- Free Zone." And to show you there are differences of opinions, see letter below. - Lee Pfeiffer

It's about time someone called out Heather Mills for using charity work as a way of boosting her reputation. What a shame that a true humanitarian like Paul McCartney would have been so short-sighted to have gotten involved with someone like this. Thanks for helping to expose her. I always enjoy the broad subject range of your web site and would like to suggest more reviews of DVDs that many readers may not be aware are out. I just read your review of The Internecine Project with James Coburn and ordered the DVD. If it wasn't for you guys, I wouldn't have even known about this movie.

Jim O'Connell

Retro responds: Thanks, Jim. Regarding those DVD reviews, look for an increase in the number of articles pertaining to more obscure releases by niche market DVD labels in the weeks to come. There are some great titles out there that we'll be showcasing. The same will be true with giving exposure to many interesting book titles that don't often get the proper exposure. And by the way, none of the DVDs or books will feature Heather Mills! - Lee Pfeiffer

 

I'm writing to you today because it's January 31st and that was the birthday of the late James Franciscus, who would be 76 today.  Probably best recalled now for only BENEATH THE PLANET OF THE APES (1970), Franciscus was part of a crop of handsome TV actors (he was the original star of THE NAKED CITY TV series) in the late fifties who longed for movie star status (and likely watched with burning resentment in the sixties as Steve McQueen shot past them all).  Franciscus tried for that brass ring several times (anyone remember YOUNGBLOOD HAWKE from 1964?) only to return again and again to series television to support his family.  Jane Fonda's "first" (according to her recent autobiography), Franciscus had a reasonably successful acting career by most standards, but was reportedly bitter that he never gained real leading man status in films and died young and rather tragically in 1991 from emphysema caused by a suicidally dumb four-pack-a-day smoking habit.  The attached image from his best remembered film is not meant as a tasteless joke, but a poetic comment on the sad fate of this once promising "Hollywood" actor. - Rory Monteith

Retro responds: Thanks for your tribute to an often overlooked actor. Franciscus - like so many other actors- lived in the shadows of contemporaries who went on to greater things. Still, the fact that his name is still well known among movie and TV fans is an indication that he did gain respect in the industry. I always thought he must have felt awkward in Beneath the Planet of the Apes. Fox did all they could to get Charlton Heston to star again, but all they could muster was a brief cameo that he reluctantly performed. Thus, Franciscus was groomed to be a virtual clone of Heston and while the resemblance was remarkable, he must have felt somewhat belittled by this process- especially in the scenes in which he had to perform with Heston. Still, he was a good, sold leading man and his talents are missed.- Lee Pfeiffer

******

There are some of us who remembered James Franciscus from his stint as TV's "Mr. Novak", when we heard he would be in the sequel to "Planet of the Apes"! I can remember feeling embarrassed for Mr. Franciscus, as it was so obvious to we, the audience, that he was supposed to be a "clone" of Heston. However, we enjoyed his performance anyhow. (Heston and Franciscus are so great when they finally meet on screen, it was like watching two long lost brothers! ) Franciscus was better served in that under appreciated Harryhausen epic, "Valley of Gwangi". But we fans really rooted for him as the blind investigator cum martial artist, Longstreet. Sort of a precursor (in the U.S. anyway) of Zatoichi minus the sword! It is good to see he is well appreciated by his fans!--A. Rivera, New York, NY

Dear Cinema Retro,
 
I absolutely love the Where Eagles Dare Special Tribute Issue. It is the best behind the scenes history of a film magazine that I have ever seen. I hope that this will be the first of many special film tribute issues that you will release in the future. May I suggest that the following films would make for very interesting special tribute issues in the future.
 
                                                    1. Bullitt
                                                    2. The Great Escape
                                                    3. Kelly's Heroes
                                                    4. The Magnificent Seven
                                                    5. The Wild Bunch
 
I hope that you will seriously consider my suggestions for future special film tribute editions. Keep up the good work!

Sincerely,

Jay Barrick

Retro responds: Thanks for the kind words, Jay. We really appreciate all the support that our readers gave us for the Where Eagles Dare issue. We especially appreciate the efforts of over twenty contributors from around the world to make this issue a reality. Your suggestions are all great ones and are on our "must do" list. We're now researching for a major article on Kelly's Heroes for a future edition of the magazine, though it won't be a Movie Classics special. As for The Great Escape, we did some extensive coverage on the making of the film in Cinema Retro issue#1, which is still available as a back issue. Stay tuned for some announcements regarding our most ambitious project ever, the forthcoming Movie Classics special on the Clint Eastwood/Sergio Leone Dollars films that will include an abundance of rare photos, including some that have never been published before. Meanwhile, if you don't have Where Eagles Dare issue, supplies are rapidly dwindling. Click here for ordering info.
 
                                                                                                

Lee,
Actually I own a copy of this great film on DVD . . . it's available as part of the Tohokushinsa Classic Library collection in Japan: Region 1, 160 minutes . . . and the artwork is fabulous!

Phil

Retro responds: Thanks for the tip, Phil. The Weinstein Company owns the rights to the Samuel Bronston films they did a magnificent job of releasing both El Cid and The Fall of the Roman Empire as deluxe DVD editions, packed with extras. The plan was to also release 55 Days at Peking and Circus World, but to date, they have not appeared. By the way, if you search under these titles on Amazon, you'll see some DVDs come up. Be wary: the ones that say "all region" are bootlegs and the quality can be something to be desired. It appears as though Peking was released on DVD officially, but apparently never in an English-speaking country.

***************************************************

I'm happy that you mentioned the upcoming broadcast of 55 Days at Peking on TCM. Like you, I really like that film, too, and think it's terribly underrated. I have an Asian DVD of the film which, while it isn't perfect, at least is in the correct 2:35 ratio and anamorphic as well.

The film has a fascinating and very troubled production history. The original director Nicholas Ray (who does a cameo as the American ambassador in the film) was fired after several weeks of shooting when he suffered a heart attack after taking speed to cure his alcoholism. he was replaced by Andrew Marton, who was already working on the film as the second unit director for the action sequences, which is the reason why the action sequences are so good. (I read an interview with Marton in which he said his first day as the main director was the ball sequence that Heston and Ava Gardner attend together in the film) Gardner, who was also heavily drinking at the time,walked off the film the day after character actor Paul Lukas called her out about her habit in front of the crew. This is why there's no final death scene between her and Heston in the film, as there was in the original script (which, of course, was written by several writers - credited and uncredited)

Sergio Mims

Retro responds: Thanks for the insights, Sergio. The film was clearly a troubled production and set in motion the decline of Bronstan's career. He was a good filmmaker but a terrible businessman. Still, Peking makes for magnificent entertainment. It makes true the cliche that "they don't make 'em like that anymore". 

Click here to order deluxe collector's DVD edition of El Cid. (Click here for review)

Click here to order deluxe collector's DVD edition of The Fall of the Roman Empire

Cinema Retro has been requested to post the the following letter from a relative of actor Ken Clark. If anyone can help locate him, please write to Tim at the E mail address in his letter.(For Dean Brierly's tribute to Ken Clark's Euro spy movies of the 60s click here)

Ken Clark, star of such cult classics as "Attack of the Giant Leeches" and "12 To the Moon" as well as over a dozen EuroSpy movies in the 1960s is my great uncle.
 
He is also subject of a family mystery.
 
When his movie career in the States seemed destined to fail, and all he was being offered was TV roles, he left the US to go to Europe.  His career there is well-documented.  However, when he left, he also broke contact with his entire family.... wife, kids, parents, sisters, everyone.
 
His sister is now 81 and in failing health.  I am trying to track down Ken Clark to see if, after all this time, he has any interest at all in talking to his sister once again.  Even if he wanted to, there would be almost no way for him to find her.  He never knew her married name, and she moved from their home in Ohio to Rhode Island decades ago. 
 
I have tried SAG but they want his SAG membership number in order to give me any information.  Obviously, I do not have that.  If anyone has any means of learning his whereabouts or has any source I might contact to try and find him I would be most appreciative.  Feel free to email me directly, or to contact me through the web site.
 
Thank you,
 
Tim Lamont

tmthylmnt@gmail.com

I noticed that, although Cinema Retro offers extensive coverage of the TV industry, there has been nary a word about the big story of the week: Sarah Palin joining Fox News as an analyst. Do I detect some political bias?- Jim S.,Florida

Retro responds: Jim, you do indeed detect a bias, but not the one you probably perceive. I'm amazed at how many of our readers want political coverage on this site, but the fact of the matter is (as I have to state once a month) that Cinema Retro is dedicated to the entertainment industry. The stories we cover about television pertain to mostly entertainment programs, though I do admit to falling off the wagon and editorializing once in a blue moon about some particularly absurd story that it getting disproportionate air play. (i.e; the notorious "balloon boy.") Not only was the biggest story in TV this week not the hiring of Sarah Palin by Fox News (a move expected by virtually everyone since she resigned as governor last July), but the on-going mess at NBC over the Jay Leno/Conan O'Brien situation. Like most Americans, I have very strong feelings regarding Sarah Palin, but whether they are favorable or unfavorable wouldn't be of the slightest interest to any of our readers. We stick with what we do best: covering both classic cinema and the contemporary entertainment industry. Generally, our political coverage extends only to stories that legitimately involve entertainment personalities. For example, we gave coverage to Sidney Poitier being among those honored by President Obama. If it makes you feel any better, should Al Gore get hired as a news analyst by any network, I hereby pledge not to cover that story but if John McCain makes a sitcom or a Western, I promise we will cover it.  - Lee Pfeiffer

We've received quite a bit of mail on the topic of films that deserve to be released on DVD for the American market. Here are some of the more inspired suggestions:

Otley w/ Tom Courtney

Sebastian w/ Dirk Bogarde and Susannah York

Villain w/ Richard Burton

Assault on a Queen w/ Frank

Mr. Ricco (Dean-o + blaxploitation)

A Bequest to the Nation w/ Peter Finch and Glenda Jackson

Lady Caroline Lamb w/ Sarah Miles

The Black Windmill w/ Michael Caine

When Eight Bells Toll w/ Anthony Hopkins

A Study in Terror w/ John Neville

The Next Man w/ Sean Connery

Charlie Muffin w/ David Hemmings

Ok, I'm a bit confused about this new Universal Wolfman film. The posters say "coming soon" and give a date of 12/2/10. Are we seeing trailers and promos for a film with a release date that is actually more than a year away??? That's some sort of pre-release publicity record in my book. 

Bill Shaffer

Topeka, Kansas 

Retro responds: Bill, it's long been said that Americans and Brits are two peoples separated by a common language. You can extend that to how we designate dates on the calendar, as well. The posters in question were designed for the British market, which puts the day first, followed by month, then year. Thus, the anticipated release date is 12 February 2010. Universal executives would have heart palpitations if they were to carry this expensive film through the end of 2010 before releasing it. The movie seems to have been in production since Lon Chaney Jr. originally played the role...- Lee Pfeiffer

Thanks for the identification of Claudia Cardinale in the masthead. I've always wondered about the guy on the left. Who is it? I sometimes think it looks like Sean Connery, but I can only think of one Western he was in. Any help appreciated!

Martin

Retro responds: Right you are, Martin- it's Connery in the title role of the 1968 Western Shalako. Thanks for asking- it's gives us an excuse to reproduce the movie's cool original U.S. one sheet. For an interview with producer Euan Lloyd about the trials and tribulations of bringing this Louis L'Amour story to the screen, see Cinema Retro issue #2. Before anyone asks, the actor to the left of Clint Eastwood is Robert Vaughn in the Man From U.N.C.L.E. feature film The Spy With My Face.

Love your website, although I have one question regarding your banner. Who is  the guy pointing the gun (the guy between Raquel Welch and Christopher Lee)? I used to think it was Dr. Cornelius from Planet of the Apes... Is it McQueen?  If it is McQueen it's a very unflattering picture... It's driving me crazy.

l

 

Hi Lee, 

 
Scott Sanders here again, writer and director of BLACK DYNAMITE.

Black Dynamite is expanding to new markets.  A current list of scheduled Midnight Shows is available on the official Black Dynamite website, and below in this email.

I am reaching out in hopes that you can help us get the word out.

Thanks again for your help in making BLACK DYNAMITE a cult sensation.

Sincerely,
 
Scott "Put yo' ankles in it" Sanders


BLACK DYNAMITE Midnight Shows

November 13 – Columbus, OH
Studio 35 Cinema & Draft House
3055 Indianola Avenue in
Columbus, Ohio 43202
http://www.studio35.com

November Weekends Beginning the 13th – Boston, MA
Coolidge Corner Theatre
290 Harvard St
Brookline MA 02446
http://www.coolidge.org

November 13 - 19 – Columbia, MO
Ragtag Cinema
10 Hitt Street
Columbia, MO 65201
http://www.ragtagfilm.com
   
November 13 & 14 – Springfield, MO
Moxie Cinema LLC
431 S. Jefferson, #108
Springfield, MO 65806
http://www.moxiecinema.com

November 13 & 14 – Fort Collins, CO
Lyric Cinema
300 E Mountain Ave
Fort Collins, CO 80524
http://www.lyriccinemacafe.com

November 13 & 14 – Spokane, WA
The Magic Lantern Theatre
25 W. Main Ave
Spokane, Washington 99201
http://www.magiclanternspokane.com

November 20 – San Francisco, CA
Castro Theatre
A presentation of the Oakland Underground Film Festival
429 Castro Street
San Francisco, CA 94114
http://www.castrotheatre.com/

November 20 & 21 – Minneapolis, MN
Uptown Theatre
2906 Hennepin Ave S
Minneapolis, Minnesota 55408
http://www.landmarktheatres.com/Market/Minneapolis/UptownTheatre.htm

November 21 – Oakland, CA
Grand Lake
A presentation of the Oakland Underground Film Festival
3200 Grand Ave
Oakland, CA 94610
http://www.renaissancerialto.com/    
 
December 4 & 5 – Houston, TX
River Oaks
2009 West Gray
Houston, TX 77019
http://www.landmarktheatres.com/Market/Houston/RiverOaksTheatre.htm

December 11 & 12 – Denver, CO
Esquire Theater
590 Downing St
Denver, CO 80218
http://www.landmarktheatres.com/Market/Denver/EsquireTheatre.htm

January 2 – Rochester, NY
Dryden Theatre
900 East Ave
Rochester, NY 14607
http://dryden.eastmanhouse.org/ 

January 9 – San Diego, CA
Ken Cinema
4061 Adams Ave
San Diego, California 92116          
http://www.landmarktheatres.com/market/SanDiego/KenCinema.htm

A reader we'll identify as Ed J. has written a lengthy letter taking me to task for calling actor Kirk Cameron a "nutcase" for his campaign to undermine the theory of evolution and tie it in with the practices of Adolf Hitler. Ed believes that my comments in the humorous Cameron piece displayed a bias against Christianity and that we at Cinema Retro should stick to writing about movies. His letter presents an intelligently written stance on why he shares Cameron's skepticism about the theory of evolution and how Hitler and others appropriated Darwin's theories for evil purposes. He also states that my tongue-in-cheek advice for Cameron to watch Inherit the Wind should also be taken to task, as Ed apparently feels that the film offered a biased and inaccurate view of the famed Monkey Trial. (In fairness, the film and the play it is based on never pretends to be anything but a loose, fictionalized account of the trial.)

Cinema Retro readers are a talented lot...take Patrick Humphries, who just received the green light on his long-planned radio documentary on the history of film trailers. Radio 4 in the UK will be backing his project and Patrick is looking for input from people who worked on film trailers in the 1950s and 1960s. Here is his letter:

Just to say I have just received my copy of the "Where Eagles Dare" special edition and have to say what a fantastic Magazine you have all produced .  It covers everything you always wanted to know about WED . Absolutely brilliant !!!  The amount of detail and the great pics are all you could ask for.

Now to dig out the DVD !

My congratulations to all involved .
Regards,

Mike Davis
Gravesend, Kent
England
RETRO RESPONDS: Many thanks, Mike...Looks like this issue is going over far beyond our expectations. We greatly appreciate the extraordinary support from our readers for this first Cinema Retro Movie Classics edition...the best is yet to come!

The chart that adjusts grosses for inflation is indeed a valuable tool to rank box office success. However, it  still ignores several factors. For one, the US population is twice what it was in 1939. On the other hand, films from that era had no competition from television.

I like the Hollywood Reporter approach which ranks the top five films in a year.
When people talk about how the James Bond films are more popular than ever I point out the facts regarding Thunderball that you mentioned and this bit of info:
The last 007 flic to be ranked in the top five films for the year was Diamonds Are Forever. The others are from From Russia With Love, Goldfinger, Thunderball.
So Sean is still the king. Sorry, Daniel

Bruce Marshall

(Bruce Marshall wrote the article about the restoration of Lee Van Cleef's The Big Gundown in Cinema Retro issue #13. Look for his interview with Escape From Alcatraz screenwriter Richard Tuggle in issue #15) 

Retro Responds: All valid points, Bruce, but I think you have to also factor that in the early days of the Bond movies, the series was new and ground-breaking in many ways. Bond has had to endure decades of competition from countless films that wouldn't exist if it weren't for the 007 franchise. They've also had to survive their own artistic missteps (remember two appearances by Sheriff Pepper???), six different actors in the role and the challenge of remaining relevant to young audiences. The fact that the Bond films even exist almost fifty years later is remarkable, not to mention that they still pull in over a half billion dollars in worldwide grosses each - and that doesn't count home video sales. 

Thanks for the story about all time boxoffice champs.  As a former theatre manager, I've always said that you don't rank movies from different eras by their boxoffice gross, you rank them by the number of paid admissions.  Inflation may inflate the gross, but an admission is still an admission - and that levels the playing field. The $2.00 admission price of 1968 can't compete with the $10 admission price of 2009.  Considering today's ticket prices, what current movie wouldn't out-gross a picture from 40 years ago?  They could do it with just 20% to 25% of the admissions of the earlier movies.
One could argue that older movies like Gone With The Wind had several re-issues to bolster their all time gross and that's true.  But by the same token, older movies did not have alternative markets like home video or pay per view for the first several decades of their existence. - Bob Collins

 Retro responds: You're right, Bob...adjusting for inflation greatly alters our perception of what films are the most popular. As you point out, perhaps the best way to judge is to compare the number of tickets sold. For example, while Casino Royale is the highest grossing James Bond film with well over $500 million worldwide gross, in fact the 1965 release Thunderball is still by far the king of the series in terms of the numbers of tickets sold. Comparable statistics can be run on any classic film and the results would certainly surprise today's movie-goers. - Lee Pfeiffer

This is regarding the decision by A.M.P.A.S. to increase the number of best picture nominees to from five to ten. In my view this is going to really water down the value of the Best Picture Oscar.  I'm having trouble thinking of ten Oscar worthy movies each year, especially over the last decade.  I could give you ten worthy movies in 1939 or 1974.  But since 2000, most movies winning the Best Picture prize would only get technical awards back in the 1970s.  There are a lot of reasons for this but the primary one is that from a creative standpoint Hollywood is bankrupt.  (So is Broadway, but that's the Tony's problem and I don't really care about them.)

It has been suggested that this change in Academy policy is to get higher television ratings.  Increasing the number of competing movies will make the Oscar telecast longer.  Unless, of course acceptance speeches are whittled down to 15 seconds.  Maybe they can dump the monologue.  I know it's a staple of television, but the Oscars aren't Conan O'Brien.  Being a life long fan of the movies, I've always held them in higher esteem.

With last year's Oscar-cast being one of the lowest rated in history, many people said that if the Academy would nominate more movies the general public is interested in seeing, the ratings might go up.  That may be true, but I don't want the Academy nominating "The Hangover" for Best Picture just to try and inflate the ratings.  What needs to be done with the Oscar telecast is is a trimming down of non-essential things to improve the show's pacing.  How's this for starters, eliminate the monologue and all dance numbers.  Then take the 5 best song nominees and condense them into one four or five minute montage.  Use the music from the soundtrack and play it under clips from the movie.  That alone will save 12 to 15 minutes.

Dear Lee;

The copies of Cinema Retro arrived. You did a beautiful layout and Raymond Benson wrote a magnificent and compelling article. The photos and words match perfectly. I read the article out loud to my wife Holly and she said, "Raymond captured your whole life." I am deeply grateful to be in your splendid film magazine. I feel very moved. What an honor to be in Cinema Retro!

With gratitude & respect,

Harry Northup 

Retro Responds: Harry, it is we who are honored. We've admired your performances for many years and appreciate you sharing your insights on working with heavyweights such as Martin Scorsese, Jonathan Demme and Steve McQueen.Keep up the great work -we're sure the best is yet to come.

(Acclaimed actor and poet Harry Northup is interviewed in issue #14 of Cinema Retro. He shares fascinating insights about co-starring in such films as Mean Streets, Taxi Driver and Tom Horn.)

Seems everyone has an opinion regarding our recent editorial about Julia Roberts' use of expletives in her Lincoln Center tribute to Tom Hanks. Reader Doug Gerbino now weighs in:

I have just read the reply to your article on Julia Roberts language, and I think your reader is off the mark in her rebuttal of your first article. It is not what Ms. Roberts said, it is where she it. There is a time and a place for everything, and that award ceremony was not it. Your comments on the dumbing down of society are so true. As a school teacher, I see the daily sad effects of this trend. Forget Swine Flu...the Cultural Illiteracy is the real panedmic. As the Marschallin in Strauss' Der Rosenkavalier says, "In the 'how'...there lays the difference."

- Doug Gerbino

Retro Responds: Doug, you took the words write out of my mouth. I don't know how many times I've used Strauss' Der Rosenkavalier to illustrate a point! Not that I want to contribute to the cultural illiteracy that we both agree is a plague on society, but isn't Der Rosenkavalier the German release title for Don Knotts' The Ghost and Mr. Chicken?

 

Reader Michele Rice takes issue with Lee Pfeiffer's recent article criticizing Julia Roberts for using foul language at the Lincoln Center tribute to Tom Hanks:

Without making any comment on the acceptance of crass language at an Lincoln Center Event, I just want to quote the wonderful man & legendary talk show host Mike Douglas who said, "The color of a woman's speech isn't what makes her a lady. It's how she lives her life and what she stands for."  He was talking about "a lady named Carole Lombard".

He continues: "Everybody I've ever spoken to who knew her agrees she was a great comedienne. But I also gathered that there were many who would not call an actress with a working vocabulary like Carole's, a 'lady'. She could have given a language course in Advanced Obscenity to the crew of the ship that bore her name. The color of a woman's speech isn't what makes her a lady. It's how she lives her life and what she stands for. How she does her job and how she relates to her fellow workers. It's integrity! Gallantry!"

People either accept foul language or are offended by it. That's their prerogative. But we can't look back on the past with rose-colored glasses and dismiss everything about today as crap. So while I definitely couldn't imagine Princess Grace making such foul remarks to Cary Grant, I do realize that the idea of a homogenized Hollywood "Class" of the Golden Age is probably more image than reality and that a potty mouth isn't necessarily an important factor in judging someone's character.

~Michele Rice

Retro Responds: You raise a valid point, Michele and certainly state it convincingly. For the record, I'm not casting any criticism at what people do in private, nor am I a hypocrite. Cinema Retro rarely passes up an opportunity to run a provocative photo. I also count among my friends women whose ability to tell a dirty joke would make a longshoreman blush. However, my point was about the place and context in which public figures use such language. Actors are no different than anyone else- we all generally say things in private that we wouldn't say in polite company. However, the line has been blurred in recent years, not just among actors, but with virtually all celebrities. I've noticed a trend even among notable writers and columnists to prove they are hip by including an abundance of crass language in their columns. I believe that when Mike Douglas referred to Carole Lombard, he was obviously referring to her behavior among friends and colleagues - not at the Academy Awards. The dumbing down and slumming down of society extends to everyday people as well, which is why one must endure drunks and boors at baseball games, concerts and every other conceivable public event. My criticism of Julia Roberts has nothing to do with her worth as a person. I don't know her personally (much to my chagrin), and her language would be perfectly appropriate in places I frequent such as the Friar's Club where no one claims to have virgin ears. However, I still think it crosses the line to engage in such behavior at a venue like Lincoln Center. Thus, out of principle, I am publicly declaring my refusal to co-star with Julia Roberts as her leading man at any point in the future. Please, no letter-writing campaigns - my mind is made up! - Lee Pfeiffer

Our report on the upcoming remake of Sam Peckinpah's Straw Dogs has united Cinema Retro readers in opposition to the project. Bob Collins, subscriber and voice-over artist extraordinaire, vents his opinion, which is typical of the reaction we've seen.

Lee,

One more log on the fire that Hollywood has lost all creativity. Even if they wanted to set this in England, why remake it at all  Of course we know the answer. No talent hack writers. As a Yankee transplanted in the south, this does offer some possibilities:

Max Baer stars in the David Warner role as Jethro Bodean actually becomes the village idiot.

Morgan Freeman can star as the movie is retitled, "Driving Miss Daisy To Trencher's Farm"

Best,

Bob Collins

bobvox.com and bobcollins.voice123.com

Retro responds: Right you are, Bob. I wonder if someone is getting Clifton James to reprise his Sheriff J.W. Pepper character from the Bond movies to lead the assault on the farmhouse.

Hi Lee,

Thanks for the nice write-up on Hammer's version of Phantom of the Opera.With all the hype attributed to previous film versions and the stage musical, this version often gets lost in the shuffle and it's far superior to all the others. It knows it's a horror movie. I wish you'd consider having someone on your staff write up a piece on that film. It was planned for Cary Grant to actually play the Herbert Lom role, but that casting arrangement fell apart. I think Grant might have been excellent as the Phantom (he was always desparate to play a character he could disappear into), but I have a very hard time seeing him as Professor Petrie, don't you? In any case, Hammer's Phantom has always been my favorite just for its raft of character actors alone - Michael Ripper and Miles Malleson as cabbies, Patrick Troughton as the Rat Catcher and on and on. Thanks again,

Bill Shaffer
Topeka, Kansas
Retro responds: Thanks, Bill - and we will surely do a major piece on the film in a future issue of Retro. We've been hounding Herbert Lom for an interview, but every time it looks like it's ready to happen, scheduling problems have interfered. We remain hopeful, however. It's true that Cary Grant was considering the film, but as I understand it, he got cold feet about deviating so far from his established image. I can't picture him in the role, but the experiment would have been fascinating. You're right about those wonderful Hammer character actors. Don't forget, the film also feature such stalwarts as Thorley Walters and Michael Gough, playing one of the most sinister villains ever. The Hammer version is far superior to the storyline of most other films based on this story, because the use of the chandelier is brilliantly and dramatically incorporated into the tragic ending. In the Broadway production, I was dumbfounded when the big chandelier scene came half way through the play and merely consisted of the Phantom riding atop the fixture as it swung out toward the audience - a neat technical trick, to be sure, but devoid of any emotion. Does anyone remember the 1990 TV version starring Burt Lancaster (who incidentally, was not cast as the Phantom)? It always escaped me and I was wondering what it's merits (or demerits) may be. Meanwhile, here's a bonus Australian release poster from the Hammer version. - Lee Pfeiffer

We keep getting letters from readers around the world that add interesting insights into the fact that Fox reused portions of Jerry Goldsmith's previous scores for the 1976 western The Last Hard Men.

Now comes this informative letter:

My name is Gergely Hubai. I'm a Hungarian film music author.

Jerry Goldsmith never worked on The Last Hard Men (he was working on The Omen at that time). What happened was that Andrew. McLaglen requested an avantgarde score from composer Leonard Rosenman, which was eventually thrown out because it turned out it wasn't what he was looking for. Apparently he wanted to reflect the early 20th century setting by having contemporary avantgarde music playing in the picture or something to that effect. Eventually the studio pulled out a number of cues from previous Goldsmith Westerns, including 100 Rifles and Stagecoach. These were done without any consultation from the composer, so no, Jerry Goldsmith didn't reuse his own music.

Gergely also addresses the issue of John Barry reusing his score from Zulu for Cry the Beloved Country:

John Barry doesn't reuse his own score - the common melody he reuses in both scores were done deliberately as it is based on a native piece. The theme was used deliberately since both pictures take place in South Africa. There are many cases when composers use shorthand and freely quote from their previous works - I have written whole article series on that subject! These two titles however do not qualify for that.

Graham Rye's letter regarding Jerry Goldsmith's score for 100 Rifles which was recycled for The Last Hard Men, has drawn a number of comments from readers, some of whom have shed some light on the mystery of why such a revered composer might want to use a previous score in a new movie:

Hi Lee

Well Graham is both correct and incorrect about the soundtrack for the above. The story of The Last Hard Men score is that a score by Leonard Rosenman was rejected and, whether due to time constraints or cost, Fox simply chose to track the movie with cues from three Jerry Goldsmith Fox westerns (100 Rifles, Rio Conchos and the remake of Stagecoach) and also his score for the thriller Morituri.Therefore, Jerry received the music credit even though no original score was written for the movie by him. Hope this clears things up?

Kind Regards.


Dave Norris

Projection Manager

Empire Leicester Square Theatre- London

Retro responds: Thanks, Dave...Graham was perceptive in picking up on this, as I wouldn't have noticed. You've added some context to the situation. In my view, Goldsmith was actually harmed by having his name credited on the film because movie music lovers probably thought he was just making a lazy effort, when in fact, he had no control over the situation because he was under contract at Fox at the time and studio executives called the shots on such matters. By the way, the mention of Morituri brings up yet another underrated film that Cinema Retro should turn its attention to. This compelling 1965 WWII spy thriller (shot in glorious black-and-white), featured the pairing of two legends: Marlon Brando and Yul Brynner. It's an outstanding film that bombed at the box-office in an age where the spy movie craze favored Bond movies and their knock-offs. Curiously, Fox attempted to re-marketed the film in mid-release by changing the title to the rather cumbersome The Saboteur- Code Name: Morituri. The film also features the only screen pairing of Brando and Wally Cox, his former New York City room mate when the two were struggling actors.(For info about the soundtrack to Morituri, click here)

I have just seen the latest post regarding Jerry Goldsmith, having visited the IMDB site over the years, I believe the original composer was sacked for his score on The Last Hard Men and time was running out. So you are right in saying Jerry recycled the score from 100 Rifles. There must be studio executives from who sit and twiddle their pens wondering how to sell movies to the public. If they would only go through their back catalogue, they would see people are crying out for films that have not seen the light of day on DVD.Your magazine is a godsend because you have inspired me to obtain my own copy of The Outrage with Paul Newman plus try and get the newly restored version of The Big Gundown. As Columbo would say "Just one more thing, sir..."  My girlfriend and I visited New York in January where we saw Gran Torino. It received a positive reaction  from the audience. Last Friday, I gave the movie a second viewing in my own town. Strong applause drowned out Jamie Cullen's song at the end. So keep up the good work!

Ian Draycott

Retro Responds: Ian, you're correct on The Last Hard Men, as Dave Norris notes above. Thanks for your kind support of Retro. We really appreciate the fact we're having such an impact on popular opinion when it comes to sharing news of classic and underrated films. I'm also delighted that Gran Torino is being well received in the UK, as indicated by your experience. In an age where great movie songs are as rare as hen's teeth, it's all the more lamentable that he and Jamie Cullen's superb end title song for the film was completely overlooked by Oscar.(Click here to listen to the song...but keep it mind, it is far more moving when heard in context with the film)

Following our recent reference to the 1976 western The Last Hard Men, Graham Rye wrote to tell us that Jerry Goldsmith's score for the film was primarily lifted from his earlier work on 100 Rifles.

See if you agree with Graham's observations:

"It was more or less the same score, slightly differently arranged, but the main them was the same. I remember from when I originally saw The Last Hard Men in the cinema. As I sat watching it, I thought, "Blimey, he's used the same score from 100 Rifles (a score I particularly enjoyed in 1969) - crafty bugger!" I had a LeRoy Holmes LP that covered a number of western themes, one of which was 100 Rifles. I think I played it so often you could see through it if you held it up to the light! I also remember that The Last Hard Men was so violent that there were scenes in it that even made me wince at the time. James Coburn's character was probably one of the nastiest villains ever committed to film. Andrew V. McLaglen directed this in Peckinpah mode. With a screenplay based on a book by Death Wish writer Brian Garfield, it's no wonder it was a slow-mo blood bath of a movie.

John Barry did the same with some of his score from Zulu (1964) and he re-worked it into Cry, the Beloved Country (1995), a quite wonderful and thought-provoking film with strong performances from Richard Harris and James Earl Jones. "

Retro Responds: Thanks for those observations, Graham...quite fascinating. I have a tin ear when it comes to picking these things up, but I'll bet many of the soundtrack fans among our readers must have noticed these instances, too. With all this talk about The Last Hard Men, I now have a real desire to see it again. I hope it eventually gets an official release on DVD. By the way, our columnist John Exshaw recently conducted a major interview with Andrew V. McLaglen that will be seen in a future issue of Cinema Retro. - Lee Pfeiffer

 

 

Dear Staff of Cinema Retro: 

Your magazine is the best of its type and along with FilmFax is one of my favorite reads! Your most recent issue was especially interesting. What caught my eye was the ad for "The Crimson Blade". I have been doing research re: the forgotten films of Sean Flynn, son of Errol Flynn. (I did notice when "the Italian offerings" were mentioned, there was no mention of 1962's "Il Figlio del Capitano Blood"!) The interesting coincidence is that when "The Son of Captain Blood" premiered in the U.K. in 1963, released by Warner-Pathe, in some regions it was shown on a double bill with Hammer's "The Scarlet Blade", which as I am sure your staff knows is the original title of the film released in the U.S.A. as "The Crimson Blade"!  Also according to articles I have been reading re: the release of Sean Flynn's first film in England, apparently it was well received; supposedly doing very well at the British box office, if not spectacular. Most of Sean Flynn's films saw theatrical release in the U.K., as opposed to the U.S.A. where only three of his films were released to theaters. (The rest were either sold directly to television or never saw release in the U.S.A.)

I was wondering if you could help me with something I have been searching for. In 1966, a film Sean Flynn made with the director Umberto Lenzi titled, "Sandok,Il Maciste della Jungla" was released in the U.K under the title "Temple of the White Elephant". (In the U.S.A. the film was apparently sold directly to U.S. television by AIP-TV) I have been unable to locate a copy of this film in English. If you can help me locate a copy, as it is the only movie of his I have been unable to see in a version I can understand, it would be a great service to me and would be greatly appreciated. Of course you may ask yourself why, Sean Flynn? As a fan of the films of Errol Flynn, the films of his son are a curiosity. Also they are from a period when many other Americans were trying their luck in European cinema, primarily Italy, and I have found he is no worse or better than some of the other American actors who inhabit these films. You will also find that many of the actors, directors, and technicians he worked with on these movies also worked on some movies that are well known. One example is in the film "Duel at the Rio Grande" (released in the U.K. in 1964 on a double bill with the Haya Harareet starrer, "The Lost Kingdom") one of his co-stars is Walter Barnes of "The Big Gundown" fame. Another co-star of his is the well respected British actress, Ann Todd who plays his mother in "The Son of Captain Blood".  Yet another co-star from his debut film is the American actor, John Kitzmiller who many will know better as "Quarrel", who assists Sean Connery in his first outing as James Bond, "Dr. No".

The rest of the issue #13 was also interesting for the other features such as the history of the "Man from U.N.C.L.E." movies which were shown here recently in the U.S.A. on the aforementioned Turner Classics cable network! (Unfortunately I missed most of them!) Thank you for your time!--

Mr. Angel Rivera of New York City, New York

Retro responds: Thanks for the kind words, Angel. Regarding the elusive Sean Flynn title you're looking for, maybe somebody out there among our readers might have a lead. If so, drop us a line at cinemaretro@hotmail.com  and we'll pass on the info to Angel and our other readers. According the the IMDB, the film was an American International release in the English-speaking market. One possible source is www.moviehunter.tv, which specializes in finding elusive films. The cost is generally around $40.

Really enjoying the latest Cinema Retro!

Wanted to advise that the cover photo of Janet Leigh was publicity for a 1966 western, Kid Rodelo.

 

Someone's probably already identified, but in case not, thought I'd pass it along.

 

 

John McElwee

 

http://greenbriarpictureshows.blogspot.com/

Retro responds:Thanks, John. Yes, a number of movie fans more astute than ourselves responded to our plea in issue #13 to help us identify the film that the lovely Ms. Leigh was posing for. A search of the IMDB indicated that it probably was the rather obscure Kid Rodelo, but we weren't able to confirm it before going to press. We're not usually prone to running a cover shot from an unidentified movie, but our weakness for women in garter belts was the over-riding factor! Meanwhile, readers should do themselves a favor and visit John's web site, The Greenbriar Picture Shows - it's an irresistable treasure trove of vintage movie stills and great articles. 

Are you going to do special features on any of the following films ?

1. Dr Phibes and Dr Phibes Rises Again
2. Theatre of Blood
3. The Wicker Man
4. Straw Dogs

Thanks,

Bill Kelly

Retro responds: All good suggestions, Bill - but we're ahead of you. Issue #2 features an article by Caroline Munro on the making of the Dr. Phibes films starring Vincent Price. Issue #3 features an 18 page tribute to Sam Peckinpah (though it primarily focused on The Wild Bunch and Major Dundee). However, issue #10 has an insightful article called The Unseen Peckinpah which covers scenes from Straw Dogs that did not end up in the final cut. We hope to get to Theatre of Blood and The Wicker Man in due course. In fact, our columnist John Exshaw recently met with Christopher Lee in London and conducted what is probably the most in-depth interview about his films and career. As Christopher puts The Wicker Man near the top of his personal favorites, it's certain we'll be doing a feature on that film at some point in the future. Thanks for bringing up the film, Bill, as it gives us an excuse to recycle this gratuitous photo of Britt Ekland from the movie.