Born
in Harlem, New York and raised by his parents in Queens, Paul Maslansky would
initially pursue a career in law, attending NYU Law School for a year before
changing his mind. He transferred to Washington and Lee University in Virginia
where he also became a jazz musician playing trumpet in the Southern Collegians
band. He did a tour of duty in the U.S. Army and served as a volunteer in the
Israeli Six-Day War. Maslansky then moved overseas where he produced a
documentary about Fullbright scholars that was screened at the 1960 Cannes Film
Festival and picked up by Screen Gems.
With
the switch to the film industry, Maslansky produced and co-wrote the low-
budget Italian horror film Castle of the Living Dead (1964) which
starred Christopher Lee and featured the first credited screen role of Donald
Sutherland who played multiple roles of a Napoleonic soldier, an old man and an
elderly witch. The film was sold to Sam Z. Arkoff at American International
Pictures. Maslansky would use his middle initial M (for Marc) for his first two
screen credits before dropping it altogether.
Finding
quick success in the lucrative low-budget genre, Maslansky continued to produce
various fare including She Beast (1966), Eyewitness (1970) and Death
Line (1972) which starred Donald Pleasence. With Maslansky’s growing
success came bigger budget productions with bigger budget stars – including The
Blue Bird (1976) with Elizabeth Taylor and later in his career The
Russia House (1990) with Sean Connery and Michelle Pfeiffer.
He
often partnered with industry legend Alan Ladd Jr. and a chance favor Maslansky
did for Ladd would result in his biggest success. While serving as an adviser
on the set of Ladd’s production of The Right Stuff (1983), Maslansky
noticed some San Francisco police officers looking rather funny during a parade
scene. An inquiry revealed that these officers were actually police academy
cadets and were only hired due to the San Francisco’s fair employment policy
and the police department was going to fire them shortly afterwards. Sensing
comedy gold, Maslansky quickly wrote up a short story treatment about a group
of misfit police cadets who want to make it through the academy to become real police
officers.
Ladd
agreed to make the film for Warner Brothers and the resulting film, Police
Academy (1984), became a runaway hit earning $82 million dollars off its
$4.5 million dollar budget. The resulting success led to six sequels, as well
as an animated and live-action television series that was also the brainchild
of Maslansky. Always putting in much effort to produce the Police Academy
films, Maslansky frequently made cameo appearances in the series.
(Photo courtesy of Christopher Gullo.)
Maslansky
only directed one film during his career – the Blaxploitation horror film Sugar
Hill (1974) starring Marki Bey, Robert Quarry and Don Pedro Colley. He
provided an interview about his experience directing the film with this writer
for Cinema Retro magazine issue #17.
Paul
Maslansky died at age 91 on December 2nd, 2024, and is survived by his wife
Sally Emr, and children Sacha, Sabina and Samuel.
(Christopher Gullo is the author of numerous film books including biographies of Peter Cushing, Donald Pleasence and Ralph Bates.)
The dividing line between a film being an homage and a rip-off is
sorely tested with "Forsaken", a 2015 Canadian Western by director Jon
Cassar, who is best known for his acclaimed, award-winning work in
television. This was a rare venture into feature film making for him and
the result left me with decidedly mixed emotions. The film marked
another collaboration between Cassar and actor Kiefer Sutherland, who
starred in Cassar's wildly successful TV series "24". It was good to see them collaborate on the generally neglected genre of the Western. We have always extended our respect to anyone who tries, no
matter modestly, to revive the genre. The problem with "Forsaken" is that a lot
of talented people are doing fine work in a film that is so blatantly
inspired by Clint Eastwood's Oscar winning "Unforgiven" that it comes
close to bordering on parody. The initial blame begins with screenwriter
Brad Mirman, who depends far too heavily on elements from Eastwood's
magnificent production. Let's start with the title, which is a
transparent attempt to evoke "Unforgiven". (In fairness, Eastwood
himself was less-than-original in his use of this title. He changed the
film's title from "The William Munny Killings" and replaced it with the
name of an unrelated John Huston Western from 1960, "The Unforgiven".)
Then there is the movie's protagonist, John Henry Clayton (Kiefer
Sutherland), who carries similar baggage to Eastwood's William Munny. He
is haunted by a violent past and a penchant for committing bloodshed.
He has returned to his hometown after a period of years and hopes to
live his life as a pacifist, a lofty goal that the viewer will recognize
as being doomed from the get-go. He soon finds that the town is
populated by cowardly people who are letting a greedy land baron, James
McCurdy (Brian Cox) use a mercenary gang to intimidate or even kill any
homesteader who refuses his offer to buy their land. As in "Unforgiven",
our hero is initially slow to anger and resists his inner demons. In
Clayton's case, he is routinely abused, insulted and beaten by the
mercenaries, who are led by Frank (Aaron Poole), who is so vicious that
he even gets chastised by his employer, McCurdy. I kept waiting for a
character to appear who would emulate Richard Harris's English Bob, the
aristocratic gunslinger from "Unforgiven". Sure enough, along comes
Gentleman Dave Turner (Michael Wincott), who displays the wit and
gallows humor of dear ol' English Bob. Not helping matters is director
Cassar, who aids and abets this pantomime by insisting that Sutherland
pretentiously pose like Eastwood in "Unforgiven", as well as speak like
him (distinctive, barely audible voice) and dress like him (he even
wears a hat that is more than coincidentally similar to Eastwood's from
that film). The "homage" syndrome goes into overdrive in the film's
violent conclusion, which- to the surprise of no one familiar with
"Unforgiven"- also takes place in a saloon, where a heavily-armed
Clayton enters and engages a small army of bad guys in a one-man
massacre. At times, it appears to be a frame-by-frame remake of the
Eastwood film.(In fairness, Cassar does dip a bit outside of the
"Unforgiven" pool long enough to replicate a sequence from the climactic
barroom shootout from "The Shootist".) The epilogue imitates
"Unforgiven" in an unforgivable manner, with scenes at an isolated grave
while a narrative fills us in on the fate of the main characters.
Despite all of these reservations, it may come as a surprise to you
that I liked and admired "Forsaken" very much. The script does introduce
a few original elements. When Clayton returns home many years after
experiencing the horrors of the war, he discovers that his former lover,
Mary-Alice (Demi Moore), had presumed he was dead and ended up marrying
a local man. They now have a small son and although Mary-Ellen
professes to be perfectly happy, it's quite apparent there is still a
spark between she and Clayton. More intriguingly, there is Clayton's
relationship to his father, William (Donald Sutherland), the local
reverend, who welcomes his estranged son back by informing him that his
mother died and that her last hope was to see him but he never came. The
two men settle into a tense domestic situation until John finally
unburdens himself about a terrible secret that has been haunting him and
that has inspired him to renounce violence. He also blames himself for
the accidental death of his brother when they were kids. Ultimately, the
clearing of the air leads both father and son to form a close bond but
it is threatened by McCurdy and his men- and we know it will only be a
matter of time until John takes up arms again. This plot element (the
reluctant gunslinger) has been a staple of the Western genre for many
years. (Think "The Gunfighter", "Shane", "The Shootist") but it still
provides ample dramatic circumstances for a good director to capitalize
on- and Jon Cassar is a good director. He has a real feel for the
Western genre and elicits uniformly excellent performances from his
entire cast, including Demi Moore who is refreshingly cast in a mature,
non-glam role. To credit screenwriter Mirman, he capitalizes on the
first screen teaming of both Sutherlands by providing realistic and
engrossing situations and dialogue. The two actors bring a certain
emotion and pathos to their on-screen relationship that is obviously
enhanced by their real-life status as father and son. The movie is also
gorgeously photographed by Rene Ohashi and features a fine score by
Jonathan Goldsmith. Perhaps because I've seen "Unforgiven" so many times
and have written about it extensively, I may be more sensitive to the
similarities between the films, which I did find admittedly distracting.
More casual viewers will probably not encounter this dilemma and enjoy
"Forsaken" for what it is: a superior entry in the Western genre.
("Forsaken" is currently streaming on Amazon Prime.)
By
the mid-2000s, the Coen Brothers had established themselves as a
writing/directing team of considerable originality, edginess, and intelligence.
Their cinematic sensibilities covered a range of genres with varying degrees of
tonality. They had done crime thrillers (Blood Simple, Miller’s
Crossing), wacky comedies (Raising Arizona, The Big Lebowski),
noir-ish melodramas (Barton Fink, The Man Who Wasn’t There),
and something that might be called a musical (O Brother, Where Art Thou?).
Adapting
Cormac McCarthy’s neo-noir novel No Country for Old Men seemed
like a no-brainer for the siblings. They had been pitched the idea, read the
book, and agreed that it was “right up their alley.” McCarthy’s dialogue-filled
prose turned out not to be much of a challenge—they dispensed with most of it,
making their filmed adaptation more of a silent picture than one might expect.
There are extended sequences of nonverbal action: characters in seedy motel
rooms waiting and scheming, chases across the West Texas countryside, small
town urban street gunfighting, and the ever-picturesque tableaux of actors’
faces that reveal so much without a word spoken.
The
time is 1980. A Mexican cartel drug deal has gone badly out in the desert-like
landscape somewhere in Terrell County, Texas. Several men are dead. Llewelyn
Moss (Josh Brolin) stumbles upon the crime scene and makes off with a suitcase
full of cash. Unfortunately, due to a dumb-headed move on his part, the cartel
figures out who he is. Fixer/assassin Anton Chigurh (Javier Bardem) is sent
after Moss to retrieve the money and make sure no one lives to tell the tale.
Meanwhile, the county sheriff, Ed Tom Bell (Tommy Lee Jones) begins to
investigate the incident and tails the players, except that he remains one step
behind the parties as Moss continues to stay one step ahead of Chigurh—while
the body count adds up.
No
Country is
one of the Coens’ more serious thrillers. Always known for injecting dark humor
into their crimes dramas, this one is practically devoid of laughs. Sure, there
are moments of very dark humor that can be only in a Coen Brothers film,
but for the most part this is a knuckle-biting, grim, no-holds-barred noir tale
in which there is a pervasive feeling of doom. We know nothing good is going to
come out of this.
Another
theme, illustrated by Chigurh’s penchant for a coin toss to determine the fate
of a character (“Call it,” he menacingly commands), is how nothing is
predetermined… one’s life can turn on a dime, or in this case, a quarter. The
point of McCarthy’s novel is that this is a world that has surpassed “old men”
like Sheriff Bell. He can’t understand the violence, the cruelty, and the fire
that drives these men who will kill with abandon—all for the sale of illicit
drugs.
It
should also be noted that the Coens’ movies tend to be about stupid people but
are made for smart audiences. So many of the brothers’ characters make
boneheaded mistakes that set the plots in motion. In this case, Moss makes the
mistake of his life, bringing about the hellfire that will affect him, his wife
(Kelly MacDonald), and innocent bystanders.
The
film was a big critical and financial success for the Coens. It won Oscars for
Best Picture, Best Director, and Best Adapted Screenplay (the brothers went
home with three statues each; it might have been four had the nomination for
Best Editing won for “Roderick Jaynes,” their pseudonym as editors), and Best
Supporting Actor for Bardem’s chilling performance.
The
Criterion Collection’s new 4K UHD and Blu-ray release is certainly up to the
label’s standards. The new 4K digital master, supervised and approved by
director of photography Roger Deakins, with a 5.1 surround DTS-HD Master Audio
soundtrack, is packaged as a 2-disk edition with the UHD movie on one disk and
the Blu-ray and supplements on the second (a Blu-ray only edition is also
available). The picture quality is painterly gorgeous.
Supplements
include brand new interviews with the Coens conducted by the inimitable
award-winning crime author Megan Abbott, who seems to be Criterion’s go-to host
for the brothers as of late. Could a Coens-Abbott collaboration be a
possibility in the future? One can only hope! Abbott also interviews DP Deakins
and associate producer David Diliberto. Archival interviews with the cast
(Jones, Brolin, Bardem, and MacDonald) are included, plus a short behind-the-scenes
documentary made by Brolin. Port-overs from a previous Blu-ray release include
a vintage making-of documentary, more interviews with the cast, and a
documentary from the POV of Jones’ character. There are English subtitles for
the hard of hearing, plus an essay by author Francine Prose and a 2007 piece on
the film by Larry McMurtry in the accompanying booklet.
No
Country for Old Men is
highly recommended for fans of the Coen Brothers, the main actors involved, and
tense crime thrillers.
The U.K. office of Cinema Retro has resumed regular operating hours. All pending orders will be sent out this week, including gift subscriptions for the holidays.
Cinema Retro's MarkMawstonattended the Heritage Auctions Hollywood Platinum Auctions preview night on Nov 27th in London's Hanover Square. On display were the original props and costumes from the likes of Easy Rider, Thor, Captain America and Jumanji. Highlights of the show, however, were the original scripts and costumes from The Wizard Of Oz with the big draw being the original Ruby Slippers as worn by Judy Garland's Dorothy in the film. The slippers' owner Michael Shaw kindly posed with one of the most famous articles of clothing in cinema history for Mark and Cinema Retro. The amazing story behind the slippers and why they are now being auctioned by Heritage is here:
Here is the original 1979 production featurette for "Buck Rogers in the 25th Century", derived from the T.V. series that has since developed a loyal fan following.
Norman
Lear helped raise me. Born two months
after All in the Family premiered in 1971, his signature sitcom and the
string of seminal hits that followed—Maude, Good Times,The
Jeffersons, One Day at Time, etc.—were and still are a part of my
DNA. Despite the very adult themes, the adults in my life always let me watch and
they made an indelible impression.
So,
too, did the man in the white hat. And I had always hoped (and in some ways
believed) that he would be around forever. Starting in 2020, of the biggest thrills of my
life has been getting to teach a class on Norman Lear at my alma mater Emerson
College in Boston, which he also attended, and where he graciously dropped in
over Zoom twice during the pandemic to visit with my students. He even called me afterwards, not only to tell
me how much he enjoyed it, but that he hoped to be there in person someday.
Over
the last decade, I was blessed to cross paths with him on several other
occasions. Always deferentially addressing him as “Mr. Lear” even though he
insisted on Norman, the first time was by phone in 2011 for a 40th
anniversary retrospective I did on All in the Family for TV Guide.
He couldn’t have been nicer. Soon after it ran, I received in the mail one of
my most prized possessions: a letter on his personalized stationery telling me
he “loved” the article.
The
last time I saw him was in 2018 when Emerson dedicated a statue of Norman Lear that
stands prominently in the middle of our campus. As many others who met Norman observed, one of
the things that made him so special was his uncanny ability to make you feel
like the most important person in the room. “It’s taken me a lifetime to get
here,” he’d say. “And I couldn’t be happier.”
Of
course, in the back of my mind I always knew Norman’s eventual passing was
inevitable. In the immediate months
before, I also became increasingly aware that it could be imminent as his
public appearances diminished while pictures of him in a wheelchair, sometimes
wearing an oxygen tube, began surfacing on social media.
Then
last December, Norman died at the age of 101.As fate would have it, I was just putting the finishing touches on my
biography about him.My heart sank.
Within minutes of his death, I began receiving dozens of phone calls, texts,
emails and Facebook messages from family members and friends. Although many
were aware of the biography I was working and my class, mostly they were
condolences from people who knew how much Norman and his sitcoms meant to me.
I sat
glued to my computer reading the tributes as they poured in from news outlets
around the world and on social media. And sentimentalist that I am, I couldn’t
help but tear up as the theme songs from his classic shows, especially “Those
Were the Days” from All in the Family played in the background.
I also
felt like I was starting from scratch and found it difficult to concentrate
when it came to the task of getting back to the book even though most of the
heavy lifting had already been done.
Though
Norman was unable to participate, his team gave me their blessings as did his
daughter Kate and many of the surviving actors from his shows, including
Adrienne Barbeau, Louise Lasser, Mary Kay Place, James Cromwell and John Amos,
in what turned out to be one of his final interviews, agreed to talk to me.
There
was the profound sense of sadness and disbelief I felt now writing about him in
the past tense. But far tricker was trying to figure out how to capture the
essence of an American icon who had lived for more than a century and remained
active until almost the very end.
As for
legacy, Norman’s stands in perpetuity among the most seminal and enduring cultural
figures America has ever produced. Forever altering a sitcom landscape that had
previously been populated by white picket fences and cardigan-sweater and pearl-necklace-wearing
parents, Lear offered the world a window into the lives and homes of families who
looked like the people who were watching them, giving underrepresented members
of society their first-ever prime-time voice.
Interestingly,
by his own admission, he also did so by default, telling Harvard Business
Journal in 2014, “I never thought of the shows as groundbreaking, because
every American understood so easily what they were all about. The issues were
around their dinner tables. The language was in their school yards. It was
nothing new.”
And as
a result, Norman became the first television producer to become as famous as
the shows he created. Off-screen, he was an impassioned social activist and
advocate for free speech, a pursuit to which he devoted much of his later life.
Most notably was the progressive advocacy group he founded in 1981, People for the American Way, dedicated
to the preservation of free speech and counteracting the political sway of the Christian
Evangelical right.Later on, he purchased
an original copy of the Declaration of Independence and toured it for a decade across
all 50 states.
In a
statement, President Joe Biden called Lear a “Transformational force in
American culture.”
But
even more importantly, he was a human being and we are all the better for
having had him in our midst. Luckily for all of us, he will live on forever through
his unrivaled body of work. Thank you, Mr. Lear.
#
##
Tripp Whetsell is the
author of Norman Lear: His Life & Times, and an adjunct media
studies professor at Emerson College in Boston where he teaches the only
college level course in the country on Lear and classic sitcoms.
Cinema Retro's Mark Mawston attended the DarkFest 7
convention in London's Whitechapel and managed to assemble a who's who of
Hammer talent on the famous Genisis Cinema stairway. Those taking part in the
specially posed shot are:
Jenny Hanley (Scars of Dracula, On Her Majesty’s Secret
Service)
Caroline Munro (Dracula AD 72, The Spy Who Loved Me)
Madeline Smith (The Vampire Lovers, Live & Let Die)
Judy Matheson (Twins of Evil)
Linzi Drew (An American Werewolf in London)
Marianne Morris (Vampyres)
Virginia Wetherell (Demons of the Mind)
Pauline Peart (Satanic Rites of Dracula)
Valerie Leon (Blood from The Mummy's Tomb, The Spy Who
Loved Me)
Mark confirmed his favourite shot was of Caroline Munro
(Dracula AD 72) and Pauline Peart (Satanic Rites of Dracula) saying " This
was a perfect place to shoot as the "To Be Kept Locked" door looked
like the ideal place for Dracula's coffin to be resting! ".
Also in attendance was Adrienne King (Friday the
13th) who is seen here posing with the poster that adorned Marks wall as a
teen, alongside DarkFest organizer, publisher Allan Bryce.
(Photos copyright Mark Mawston. All rights reserved.)
Thursdays in December | 59 Movies/ Official Press Release:
In 2002, TV Guide ranked
the Mickey Rooney-led sitcom “One of the Boys” among the 50 Worst Shows
of All Time. On the plus side, it inspired one of Dana Carvey’s most
indelible celebrity impressions. In one of his earliest roles, the
future “Saturday Night Live” cast member costarred with Rooney, who
portrayed his colorful and energetic grandfather. As Carvey told it in
interviews, a then-62-year-old Rooney regaled cast and crew with stories
from his then-half-century career. (He continued to act until his death
in 2014 at the age of 93.) Carvey’s impression crystallized Rooney’s
mixture of joie de vivre and bitterness: “I was the number one star in
the world. You hear me? Bang. The world!”
Rooney wasn’t kidding.
In 1939, America’s theater owners voted Rooney the top box-office star,
beating out Tyrone Power. The next year, he topped Spencer Tracy and the
year after that, Clark Gable. He was nominated for four Academy Awards
and was the recipient of an honorary Juvenile Award in 1939. He was also
nominated for five Emmys, winning one (as well as a Golden Globe) for
his heartbreaking performance as a mentally challenged man transitioning
from an institution to the outside world in the made-for-TV movie Bill
(1981). He earned $12 million before he was 40 and spent it all and
then some. As was said of Charles Foster Kane, no one’s private life was
more public. He was married eight times (a fount of material for
comedians), including to Ava Gardner. The song about getting knocked
down but getting up again could have been written about Rooney.
When
it seemed like his career was down for the count, he got off the canvas
and made his boffo Broadway debut in his late 50s in “Sugar Babies,” a
knockabout burlesque that earned him a Tony nomination. In 1983, he was
honored with another honorary Academy Award commemorating his 60-year
career. “When I was 19 years old, I was the number one star of the
world. When I was 40, nobody wanted me. I couldn't get a job,” he
memorably reflected in his emotional acceptance speech. And while he
fell short of EGOT status, he did receive four different stars on the
Hollywood Walk of Fame.
This month, TCM is putting on the ultimate
show featuring Rooney as its Star of the Month every Thursday, all day.
A staggering 59 films display his astonishing range as a comedic and
dramatic actor as well as a musical performer. In his 1994 autobiography
“Brando: Songs My Mother Taught Me,” Marlon Brando called Rooney “an
unsung hero of the actors’ world… like Jimmy Cagney, he could do almost
anything.” Director John Frankenheimer considered Rooney “the best actor
I ever worked with.” And Frankenheimer worked with Burt Lancaster,
Frank Sinatra, Warren Beatty, Karl Malden, Kirk Douglas, Robert Ryan,
Lee Marvin and, well, you get it.
Roger Ebert proclaimed his “the
longest career in the history of show business.” Rooney is the very
definition of a “trouper” (or as Variety once called him, a
“socko personality”). Like Buster Keaton, he first took the stage with
his parents’ vaudevillian act. He was 17 months old. He made his film
debut at the age of six. He barely cleared five feet, but he was larger
than life, someone to whom the Energizer Bunny might have said, “Hey,
slow down.”
Following the heyday of his film career in the 1930s
and ‘40s, Rooney did some of his greatest work for television. While not
included in TCM’s Rooney roster, his solo turn on “The Twilight Zone”
in the “Last Night of a Jockey” episode and his eponymous role in the
1957 “Playhouse 90” presentation of “The Comedian” are well worth
checking out. “The Comedian,” in particular, is a revelatory dramatic
departure in which he portrays a ruthless, daringly unlikeable
character. (The identity of the actual comedian he is said to be based
on is as intriguing a pop culture mystery as who Carly Simon is singing
about in “You’re So Vain.”) Following the broadcast, Rooney reportedly
received a telegram that read, “Thanks for the acting lesson.” It was
signed by Paul Newman.
There are the timeless Rooney classics you’ll want to be sure to see: Boys Town (1938), The Human Comedy (1943) and National Velvet (1944) air on December 12. The Black Stallion (1979) and musicals co-starring Judy Garland—Babes in Arms (1939)*, Strike Up the Band (1940) and Babes on Broadway (1941)—all air December 19.
On December 26, TCM will broadcast all 16 of Rooney’s Andy Hardy films beginning with A Family Affair (1937) and ending with Andy Hardy Comes Home
(1958) (“a rockin’, rollin’ Rooney riot” according to the film’s
trailer). This is the franchise for which Rooney was best known and
beloved. Girl and car crazy, Andy Hardy was America’s quintessential
teenager from the idealized small town of Carvel, California. But the
iconic character hampered his transition into more adult roles. “I
played a 14-year-old for 30 years,” he once ruefully joked. Of the Hardy
films, be sure not to miss the fourth in the series, Love Finds Andy Hardy (1938),
which features the Holy Trinity of Ann Rutherford as steadfast
girlfriend Polly Benedict, Lana Turner as Cynthia Potter and making her
franchise debut, Garland as Betsy Booth. This was the series’ biggest
moneymaker.
But the month-long salute to Rooney is studded with
lesser-known films and underseen gems that demonstrate his boundless
versatility. Early glimpses are always fascinating. TCM kicks off its
month-long tribute on December 5 with The Beast of the City (1932), Rooney’s first film for MGM. He is unbilled as police Captain Walter Huston’s rambunctious young son. Manhattan Melodrama
(1934) is best known as the film John Dillinger was watching before he
was gunned down in the alley next to Chicago’s Biograph Theater. Rooney
shines in his “child is father to the adult” role as the law-skirting
boy who will grow up to become Clark Gable’s gambler, Blackie.
Another lesser-seen early Rooney film is Stablemates (1938), a Champ-adjacent tearjerker with Rooney reunited with his Ah, Wilderness!
(1935) castmate Wallace Beery. In his memoir “Life is Too Short,”
Rooney wrote, “I never had so much fun making a movie. I guess it showed
because the box office was sensational (the picture grossed more than
three times its cost) and so were the reviews.”
The December 12 lineup includes Killer McCoy
(1947), Rooney’s first adult role and as a boxer, he is—wait for it—a
knockout. Noted film critic James Agee called his performance “cooly
magical,” while “The New York Times” raved, “Whatever one may think of
him as a prize-fighter, he is a wonderful little actor, whether doing a
dance routine, fighting, displaying anguish upon hearing of the death of
his dear mother, consoling the wife of the opponent his blows killed or
passing wisecracks at a lunch counter waitress.”
December 19
features several films that chart Rooney’s transition to shedding his
plucky Andy Hardy persona. The day begins with Quicksand (1950),
in which Rooney stars as a hapless auto mechanic who becomes in thrall
to femme fatale Jeanne Cagney. Putting Rooney, who helped lift America’s
spirits during the Depression, in a film noir seems almost perverse,
which is what makes his crime films all the more compelling. Another
fine example is The Strip (1951), with Rooney as a
Korean War vet and nightclub jazz drummer who runs afoul of a mobster
(James Craig). (Look for another beloved child star, Tommy Rettig, of
TV’s “Lassie” and The 5,000 Fingers of Dr. T, 1953, fame.)
In 24 Hours to Kill
(1965), Rooney is a luckless flight crew member whose plane is forced
to land in Beirut, home to a smuggling ringleader (Walter Slezak) whose
gold shipment Rooney has hijacked for himself. No sympathy here, as
Rooney’s transgression endangers the other crew members, but he is great
at playing desperate characters. The day concludes with six
Rooney-Garland musicals, including their first, Babes in Arms and their last, Words and Music
(1948), a biopic of songwriters Richard Rodgers and Lorenz Hart
(Rooney). It would also be Rooney’s last film for MGM, truly the end of
an era.
Babes in Arms was a smash that launched a
quartet of “let’s put on a show” musicals in which Garland portrayed
the archetypical “what you're looking for has been here the whole time”
friend to the oblivious Rooney. Arguably the best of these is Strike Up the Band,
with the Oscar-nominated song “Our Love Affair” and the virtuoso
stop-motion animated production number by George Pal that transforms
pieces of fruit into an orchestra.
Spending December with Rooney
is a great way to end TCM’s programming year. An icon of Hollywood’s
Golden Age, Rooney exemplifies TCM’s mission to help maintain the
cultural memory of the 20th century's greatest art form. “The audience
and I are friends,” Rooney once said, “They allowed me to grow up with
them. I've let them down several times. They've let me down several
times. But we're all family."
Due to the on-going Canadian postal services strike, the U.S. postal service will not be processing packages sent to Canada. For our Canadian customers, your orders will ship once this situation is resolved.
Film Masters presents Legendary Faces: A Celebration of Hollywood's Most Iconic Stars.
We're kicking things off with one of the greatest character actors in movie history — Peter Lorre. His distinct voice and memorable face were featured in such classic films as Casablanca and The Maltese Falcon. Join us as we pay homage to a cinema legend.
Written and Narrated by Don Stradley. Edited by Krystal Vander Ark.
Actor Earl Holliman has died at age 96. The news was reported by the Hollywood Reporter on November 26 but we just learned of it. Born in Louisiana, Holliman enjoyed a long career on television and in feature films. Holliman is best-remembered for his starring role in the 1959 classic pilot episode of "The Twilight Zone" titled "Where is Everybody?" He also had prominent roles in films such as "Giant", "Forbidden Planet", "The Sons of Katie Elder", "Gunfight at the O.K. Corral" and "Sharky's Machine". He also starred as the male lead in the 1970s hit T.V. series "Police Woman" opposite Angie Dickinson.
I
was introduced to the cinema of Steven Spielberg as a child when the other
students in my class brought in their Jaws mementos which ranged from
t-shirts to records to shark toys. I had not seen Jaws yet, though if I
had it surely would have frightened me from future beach visits. When Mr.
Spielberg’s next film, Close Encounters of the Third Kind, was released
six months after George Lucas’s Star Wars (1977), I found myself taken in
by the wonderous awe of the possibility of life on other planets (The Criterion
Collection laserdisc was the first film that I bought in that format). This
film made me believe that a visit from another species was possible. The
unofficial sequel to his very own amateur film Firelight (1964) – itself a two-and-a-half-hour exploration
of interplanetary beings – captivated me.
In
October 2017, a much-needed and long overdue documentary on him premiered at
the New York Film Festival and was aired on HBO. Simply titled Spielberg
the film, which runs 147 minutes, is a greatest hits overview of his best known
and most beloved works. Directed by Susan Lacy, who produced the excellent
documentary Searching for Mr. Rugoff (2019) among others, the film delves into the
psychology behind Mr. Spielberg’s approach to filmmaking. Initially his answer
to a lonely childhood rooted in his parents’ divorce, filmmaking became his raison
d’etre and bolstered his self-esteem. He has managed, through decades of
experience, to become an on-set problem solver. By his own admission, being
nervous and panic-stricken when coming on to a film set forces him to think
outside the box and this is where he gets his best ideas from. Lawrence of
Arabia (1962), a film that he revisits annually, nearly made him not want
to direct as “the bar was set too high.” Thankfully, he relented.
Culled
from an array of interviews with Martin Scorsese, Bill Butler, John Williams, Janet
Maslin, J.J. Abrams, Sid Sheinberg, James Brolin, David Geffen, Steven Bochco, George
Lucas, Francis Coppola and Vilmos Zsigmond to name a few, Spielberg sets
out (and I believe succeeds in) dispelling the notion that simply because his
films are blockbusters they are somehow unworthy of serious study and should
not be regarded as anything other than “popcorn movies.” Jaws is an
indisputably great movie, arguably Mr. Spielberg’s finest hour, a film that had
no script, no luck, problems galore, and a filming schedule that increased
three-fold. Hiding his insecurities from the cast and crew was paramount to
getting the film finished.
There
is also input from his late parents and his three sisters and their unorthodox
and nontraditional familial experiences, which were chronicled in
autobiographical film he directed called The Fabelmans (2022). Mr. Spielberg is discussed as a prankster
who took delight in frightening his siblings, a trait taken to cinematic
extremes with getting as many screams as possible from the audience with Jaws
(1975), and later with Poltergeist (1982), which he produced. His
ingenuity and inexorable attempts to make his early short films, and an amusing
anecdote about staying behind on the Universal lot’s tour bus, landed him in
front of Sid Sheinberg, head of story development at the time. Spielberg
delves into both the personal and professional side of its subject’s life and
gives us an inside look at the Wizard Behind the Curtain, covering the
aforementioned titles, E.T. The Extra-Terrestrial (1982), the Indiana
Jones films, and his first attempt at making a serious film, The Color
Purple (1985), which many critics rolled their eyes at with his newfound
attempt at adult material. Spielberg proves that its subject is more
than capable of making lighthearted entertainment in addition to mature films, among
them Schindler’s List (1993), Saving Private Ryan (1998), and Munich
(2005). The fact that Always (1989) and Hook (1991) are given a
cursory glance does little to alter the notion that the director considers both
films as personal misfires.
Spielberg is available as an HBO DVD that
includes eleven minutes of additional interviews consisting of comments from Jude
Law, Karen Allen, Matt Damon, and Amy Adams, all of whom have worked with Mr.
Spielberg. If you are a fan of his, this DVD is an absolute must-own.
Rory Calhoun was an actor popular in the 1950s who was known
for his troubled youth, having spent time in prison for robbing jewelry stores
and driving a stolen car over state lines. Alan Ladd helped him break into
movies and befitting his image he played rugged tough guy parts, mostly in
westerns and action thrillers. “The Looters” (1955), a Universal-International
film now available on Blu-ray from Kino Lorber, is a typical Rory Calhoun
movie, although not a particularly noteworthy one. What saves it from being
dismissed as a total misfire is the presence of 50’s icons JulieAdams and Ray Danton (“The Rise and Fall of
Legs Diamond”) as co-stars.
In “The Looters” Calhoun plays Jesse Hill, an ex-GI who
lives alone in a cabin high in the Colorado Rockies. We first see him repelling
down a mountainside to chat with the leader of an Army artillery squad testing
out some new weaponry. The officer in charge tells Jesse which areas to avoid once
testing begins. Jesse returns to his
cabin and finds his solitude has been breached by a visit from Pete Corder (Ray Danton), an
old Army pal who saved his life by pulling him out of a foxhole at Anzio. When
the surprised Jesse asks what he’s doing here, Pete tells him he’s lived a life
of misadventure since his Army days and is flat broke. He thought his old buddy
might stake him to a few hot meals and a place to stay for “a few days.” Jesse says okay, but tells his friend he’s as
broke as he is. They suddenly hear a plane flying overhead above the clouds.
“Probably off course,” Phil remarks.
So, okay we’ve got two plot elements started already: the
artillery exercises and the old friend looking for a handout. Then all at once
we’ve got plot # 3 started when we’re suddenly in the small airliner we heard
earlier flying high over Jesse’s cabin. There we meet “The Creature from the
Black Lagoon”’s swimming partner, the great Julie Adams as Sheryl Gregory, an
actress/model who’s had a rough and tumble life and has a cynical attitude to
go with it.Also on board are Frank
Faylen (“The Many Loves of DobieGillis”)
as Stan Lippich, a retired Navy officer. To make things interesting, Thomas
Gomez {“Ride the Pink Horse” (1947) is aboard as George Parkinson, a man who
calls himself an “investment counselor.” No sooner do we meet these new
characters than there’s an explosion, and a close- up of Julie Adams screaming.
Next day Phil learns there’s been a plane crash and
decides to go investigate. And that’s where the plot lines converge, with a new
one added when “investment counselor”/plane crash survivor Parkinson finds a
box in the plane wreckage containing $250,000 in cash.There’s also a romantic triangle sparked by
Jesse and Cheryl, with Pete trying to horn in. When Pete finds out about the
money Parkinson found, greed combines with lust and you’ve got a real potboiler
going here. And did I forget, now they’ve got to watch how they climb down from
the mountain, because the artillery shells will start flying soon. To say that
“The Looters” ends with a bang is an understatement.
Abner Biberman directed “The Looters,” on location in the
Colorado Rockies around the Pike’s Peak area. The screenplay was by Richard
Alan Simmons, who mostly wrote for television, including series such as
“Petrocelli,” “Mrs. Columbo,” and “Ironside.”The music score is credited to Universal’s music supervisor Joseph
Gershenson, but according to film historian Toby Roan in his commentary for the
Blu-ray, the score was actually written by German composer Heinz Roemheld
(“Lady from Shanghai”, 1947). The score is one of the best features of the
movie and Kino Lorber did a good job with audio transfer elements. The film is from
a brand new HD Master of a 2K scan of the 35 mm fine grain print. Picture and
sound quality are very good.
On one hand, It’s too bad Universal International didn’t
spend a few more bucks to make “The Looters” in color. Loyd Ahern’s Rocky
Mountain cinematography would have looked spectacular in Technicolor. But then
again, shooting it in black and white adds a touch of “film noir” to “The
Looters” – suitable for the movie’s themes. It’s the first time I can remember
seeing the usually upright and solid Julie Adams portraying a gal whose
experience with men has left her down and out with a cynical outlook. But don’t
worry, Rory’s there. He’ll straighten her out. Good old Rory Calhoun. Whenever
I think of him, I’m reminded of episode 20, season six of ”The Simpsons,“ where Mr. Burns is about to
kill “Two Dozen and one” Greyhoun” puppies so he can make a tuxedo out of
Greyhound fur. When he’s about to shoot them, one of the pups stands up on its
hind legs, and Burns tells Smithers he reminds him of that actor who “always
stands and walks.” “Rory Calhoun",” Smithers
replies without hesitation.
“The Looters” is not a great movie, but certainly
interesting and noteworthy for the fact that it’s the first time it’s been
available on home video in any format. In addition to the Toby Roan commentary
there are half a dozen coming attractions for other
Universal-Internationalfeature films.
Written and Directed by Legendary Filmmaker
Clint Eastwood,
the Legal Thriller Film Arrives for Premium
Digital Ownership and Rental on December 3
Blu-ray and DVD arrive on February 4
Burbank, CA, November 26, 2024 – Juror #2, the
legal thriller from Academy Award winning director Clint Eastwood, arrives for
purchase and rental Digitally at home on December 3. The film will also be
available to purchase on Blu-ray and DVD on February 4, 2025.
On December 3, Juror #2 will be available for
early Premium Digital Ownership at home and for 48-hour rental via PVOD on
participating digital platforms where you purchase movies, including Amazon
Prime Video, AppleTV, Google Play, Fandango At Home, and more.
On February 4, Juror #2 will be
available to own on Blu-ray and DVD. Juror #2 will
also continue to be available to own in high definition and standard
definition from participating digital retailers.
Academy Award winner Eastwood directs from a screenplay
by Jonathan Abrams (“Escape Plan”). The film is produced by Eastwood, Tim
Moore, Jessica Meier, Adam Goodman and Matt Skiena, and executive produced by
David M. Bernstein, Ellen Goldsmith-Vein, Jeremy Bell.
“Juror #2” follows family man Justin Kemp (Hoult) who,
while serving as a juror in a high-profile murder trial, finds himself
struggling with a serious moral dilemma…one he could use to sway the jury
verdict and potentially convict—or free—the accused killer.
The film stars Nicholas Hoult (upcoming Superman, The
Menu), Oscar nominee Toni Collette (upcoming Mickey 17, The Sixth
Sense), Oscar winner J.K. Simmons (Whiplash), and Kiefer Sutherland (Designated
Survivor, 24), and also features Chris Messina (Air, Based on a True
Story), Gabriel Basso (The Night Agent), Zoey Deutch (The Politician, Zombieland:
Double Tap), Cedric Yarbrough (Unfrosted), Leslie Bibb (Palm Royale, Tag),
Amy Aquino (Bosch) and Adrienne C. Moore (Orange Is the New Black).
BASICS
Premium Digital Ownership: December 3, 2024
Blu-ray and DVD Street Date: February 4, 2025
BD Languages: English, Latin Spanish,
Spanish Castilian, Parisian French, Italian
BD Subtitles: English, Latin Spanish, Spanish Castilian,
Canadian French, Parisian French, Italian, Japanese, Dutch
DVD Languages: English, Latin Spanish
DVD Subtitles: English, Latin Spanish, Japanese
Running Time: 113 minutes
Rating: PG-13
DVD: DLBY/DGTL
Blu-ray: ATMOS TrueHD
The Credits
From legendary filmmaker Clint Eastwood comes “Juror #2,”
a Warner Bros. Pictures release.
The film stars Nicholas Hoult (upcoming “Superman,” “The
Menu”), Oscar nominee Toni Collette (upcoming “Mickey 17,” “The Sixth Sense”),
Oscar winner J.K. Simmons (“Whiplash”), and Kiefer Sutherland (“Designated
Survivor,” “24”), and also features Chris Messina (“Air,” “Based on a True
Story”), Gabriel Basso (“The Night Agent”), Zoey Deutch (“The Politician,”
“Zombieland: Double Tap”), Cedric Yarbrough (“Unfrosted”), Leslie Bibb (“Palm
Royale,” “Tag”), Amy Aquino (“Bosch”) and Adrienne C. Moore (“Orange Is the New
Black”).
“Juror #2” follows family man Justin Kemp (Hoult) who,
while serving as a juror in a high-profile murder trial, finds himself
struggling with a serious moral dilemma…one he could use to sway the jury
verdict and potentially convict—or free—the accused killer.
Academy Award winner Eastwood directs from a screenplay
by Jonathan Abrams (“Escape Plan”). The film is produced by Eastwood, Tim
Moore, Jessica Meier, Adam Goodman and Matt Skiena, and executive produced by
David M. Bernstein, Ellen Goldsmith-Vein, Jeremy Bell.
Eastwood’s creative team includes such frequent
collaborators as director of photography Yves Bélanger, production designer Ron
Reiss, Oscar-winning editor Joel Cox (“Unforgiven”) and editor David Cox,
BAFTA-nominated costume designer Deborah Hopper (“Changeling”); Mark Mancina
created the original score.
Warner Bros. Pictures Presents A Dichotomy Production, A
Malpaso Production, “Juror #2,” to be distributed by Warner Bros.
Pictures.
"A BRIDGE TOO FAR" (1977) chronicles the events of infamous World
War II mission 'Operation Market Garden'. More than 41,000 American, British, and Polish
soldiers were parachuted into German-occupied areas of the Netherlands, the
largest airborne operation ever mounted. Stunningly recreated for the film by
director Richard Attenborough, this ambitious sequence required enormous
military expertise to execute - performed by hundreds of real-life soldiers and
practiced jumpers. This is just one of many extraordinary sequences in the
film, newly restored in a brand NEW 4K scan and restoration of this key piece of
cinema history. Loaded with brand NEW and archival Special Features, and housed
in a strictly Limited Edition 3-Disc Hardbox with an exclusive booklet, this is
the definitive treatment of a true masterpiece."
James Bond producers Barbara Broccoli and Michael G. Wilson accepted the Motion Picture Academy's coveted Thalberg Award for lifetime achievement in the film industry. It's the same award that was earned by Albert R. Broccoli in 1981. Barbara and Michael inherited the mantle of producing the Bond films when Cubby retired from that role prior to "GoldenEye" going into production. Since then, they have overseen the series reaching new heights in terms of boxoffice receipts around the world and also the kind of critical praise that unjustly eluded many of the earlier Bond films. There was a time when the annual Oscar awards telecast would include the presentation of the Thalberg Award. Indeed, the presentation to Cubby in 1981 inspired an impressive stage production in honor of the Bond films. However, in recent years, the award was presented at a separate ceremony. Here is Daniel Craig's introduction and Barbara and Michael's acceptance speech.
Elvis Presley is almost always associated exclusively with movie musicals. However, he did stray from the genre to make a Western in which he didn't warble one lyric. The film is Charro!, which is available from Warner Bros. Just as seemingly every actor tried to get on board the spy movie phenomenon of the mid-1960s, by the end of the decade they were attempting to similarly capitalize on the spaghetti western genre. This 1969 film is non-descript as a western - not among the best of the era but far from the worst. It does merit special consideration because perhaps more than any other of his films, Charro! exhibits a persona that Elvis had never been able to reflect onscreen - thanks to Colonel Parker's iron-fisted control over his career and his insistence that The King appear in outdated teen musicals. The razor-thin plot has Elvis trying to distance himself from a murderous gang he used to ride with. Gang leader Victor French isn't the kind of guy you quit on so he frames Elvis for crimes he didn't commit then tortures him into participating in an audacious plot that finds them stealing a giant cannon from the Mexican army and using it to blackmail a town.
The movie has competent but pedestrian direction from old hand
Charles Marquis Warren and the supporting cast is largely unknown with
the exception of Ina Balin who makes an enticing romantic partner for
The King. Where Charro! distinguishes itself is in presenting
Elvis with one of his few mature film projects. You keep anticipating
the moment in which he starts leading a conga line of senioritas through
the sagebrush but the film is happily devoid of songs, save for the
title track that had been released as the flip side of Elvis' classic Memories. Elvis
looks terrific, wearing a scruffy beard in true Eastwood/Leone style
and gives a subdued but thoroughly convincing performance, including
performing some fairly rough stunts. The mind reels at what Elvis might
have been capable of in terms of his film roles if he had not been under
the thumb of The Colonel. By the time Charro!was released,
Elvis' movie career had virtually ended. Ironically, just as he was
getting with the times, he had lost most of his film audience. The movie
was supposed to be even more adult: it was originally titled Come Sundown, Come Hell
and originally featured a nude scene by Ina Balin. Rumors continue to
surface that prints of this version still exist, but the scene was cut
before general release.
Charro! isn't high art - it's not even a top-notch western, but it is pleasing entertainment one of Elvis' best film roles.
Extras: The only extra included on the Warner Brothers DVD is
an original theatrical trailer which tried to emphasize this was not
your big sister's Elvis movie, but an entirely new persona for The
King.
The DVD is officially out of print and a Blu-ray edition has never been available. However, you can click here to order the DVD from an Amazon seller. The film is also available for rental or purchase streaming on YouTube.
Ray Milland was an Oscar-winning actor but most movie fans probably don't realize he was also a film director. His productions were generally modestly-budgeted and played to modest results. In 1965, Milland was offered the opportunity to star in a stage production of writer Jack Roffey's whodunnit "Hostile Witness". The play had opened the year before in the West End. Milland, who had not appeared on stage in quite some time, was sufficiently impressed enough to accept the offer. The show later opened on Broadway and ran for 157 performances. It was deemed (fittingly for Milland) a modest success. However, Milland stuck with the production and toured with the show with markedly better results. In 1967 he struck a deal with United Artists to bring the play to the screen with Roffey writing the screenplay and Milland starring and directing. The film was completed in 1968 and was released in most countries the following year. However, it's UK release was delayed until 1970 and some countries didn't get the film until 1972.
Milland is well-cast as Simon Crawford, a widowed London barrister who enjoys the reputation of being able to win seemingly unwinnable trials on behalf of his clients. He's a bit a of a snooty fuddy-duddy and runs his office at times like a drill instructor. Nevertheless, his small but loyal staff endure his moods because they realize they are learning from a revered lawyer who has earned the respect of his peers. Crawford's world comes crashing down when he learns that his grown daughter has been killed by a hit-and-run driver. The inability of the police and private detectives to find the culprit take their toll on him and he undergoes a nervous breakdown. This requires Crawford to suspend his legal duties and recuperate in a health facility. He returns in a seemingly better mood but he is about to undergo more stress. He suspects that an old friend of his might have been the person who was driving the car that struck and killed his daughter. From this point, the plot kicks into gear as the person he had been accusing ends up being murdered. Making matters worse, Crawford is attacked and knocked unconscious by an unseen stalker. He later becomes suspected of killing the man he had denounced as being responsible for his daughter's death. Adding to the burden of his defense, the police have found incriminating evidence in Crawford's flat that seems to indicate his guilt.
"Hostile Witness" suffers somewhat from its rather meager budget. It's clear that United Artists viewed this as mid-range product in the hopes of making a modest profit. Such was the norm in the era before budget-busting blockbusters defined studio releases. Indeed, there are almost no exterior shots in the film and the few that are there are relegated to the studio back lot. The movie plays out like a TV production from the era, but that isn't meant as a knock. The average episode of "Perry Mason" was engrossing and this film is, too.The plot twists and turns and there is some genuine suspense in terms of whether our protagonist might actually be guilty of murder. The finale finds Crawford dismissing his loyal defense attorney, a protege from his own law firm well-played by Sylvia Sims. The stubborn Crawford takes over his own defense, ignoring the old adage that anyone who acts as their own lawyer has a fool for a client.
The movie came and went quickly, making little impression on critics or the scant audiences who went to see it. Milland directs the film in a competent but pedestrian manner. Milland the actor fares better with a sharp performance as a mostly unlikable character whose moments of charm and compassion are outnumbered but his temper tantrums. Still, it's reasonably entertaining and certainly worth a look.
"Hostile Witness" is currently streaming on Amazon Prime.
On 25 January, 2025, Imprint is releasing a limited edition boxed set of four Blaxploitation flicks from the 1970s. Details below:
Four classic films from the
Blaxploitation genre come to stunning high-definition Blu-ray for the
first time ever worldwide, all from brand NEW 4K scans.
When Robert Altman's "M*A*S*H" was released in 1970 it was a critical and boxoffice sensation. Audiences immediately recognized that, although the film was set in the Korean War, it was very obviously an analogy to the current controversial conflict in Vietnam. The film thrust Donald Sutherland and Elliott Gould into the top tier of leading actors and the movie spawned the classic TV series that was a phenomenon in its own right. The film's success, along with the simultaneous triumph of the more traditional war film "Patton", helped stem the red ink that was plaguing 20th Century Fox and played a key role in making the studio solvent once again.
If you haven't seen the 2003 film "Owning Mahowny", put it on your "Must Watch" list if you have Amazon Prime. If you don't have Amazon Prime, consider purchasing the DVD (it has not available on Blu-ray). I was unaware of the movie but in browsing through Prime's seemingly endless selection of streaming choices, I was drawn to it by the fact that Philip Seymour Hoffman has the starring role. Hoffman, who tragically passed away in 2014, was one of the best actors of his generation and this film offers him an impressive showcase for his estimable talents. The Canadian production is based on a true story, though the title character's name, Dan Mahowny, was amended from the real-life counterpart, Brian Molony. Why? Supposedly because the real guy's name was too similar to the incumbent prime minister at the time, Brian Mulroney. The movie is set in the early 1980s when the actual events occurred. Hoffman's Mahowny is a nondescript, affable schlep who wears ill-fitting suits and drives a clunker of a car. He's a dedicated mid-management type who loyally works at a prestigious bank in Toronto that has some extremely wealthy clients. In recognition of his work ethic and loyalty, he has recently been promoted to Vice-President, which gives him access to and responsibility for overseeing the accounts of the bank's most important customers. Mahowny also has a nice fiancee, Belinda (Minnie Driver) who sees his promotion as a stepping stone for getting married and buying a place of their own.
Despite his seemingly ordinary life, Mahowny is hiding a secret: he's got a gambling addiction, though like most people plagued with this affliction, he feels he has control over this aspect of his life. He primarily does his betting through his sleazy bookie, the uncouth Frank Perlin (Maury Chakin). With his new promotion and higher salary, Mahowny is now betting recklessly, primarily on sports. He also makes periodic flights from Toronto to Atlantic City to gamble at the casinos.(Legalized gambling was new novelty in New Jersey at the time.) Mahowny disguises these trips with various excuses to Belinda that they are work related. She sympathizes with him and considers him to be a workaholic when, in fact, these trips and nocturnal activities are purely related to gambling. Mahowny is gambling so much that even Perlin wants to cut him off, but Mahowny insists on taking larger and larger advances from the bookie. He's gambling so much that it attracts the attention of Atlantic City casino boss Victor Foss (John Hurt), who views Mahowny as a very desirable client and monitors his gambling sessions via closed circuit T.V. As Mahowny's gambling debts grow, he borrows more money and draws crowds at the casino. Sometimes he wins big but ultimately it all goes back to the casino. Foss has his fish on the line and caters to Mahowny with spacious suites and offers of endless booze and fine dining, all being comped, of course. Mahowny accepts the room but turns down all the other free temptations including a gorgeous hooker sent to his room. All he requests is a meal consisting of ribs with no sauce and a Coke. Foss observes with relish that Mahowny shows no interest in booze, drugs or sex and labels him a "thoroughbred" in that he wants nothing other than the action of gambling.
Mahowny's troubles start to mount when Belinda begins to suspect his addiction. A romantic visit to Las Vegas ends in disaster when Mahowny opts to desert her in favor of the gambling tables. Meanwhile, he continues to manipulate funds at the bank and enact coverups. He crosses the line when his "borrowings" go from thousands of dollars to millions. As the pressure builds, an internal bank audit adds to his worries, leading to some genuine tension in the film, which is very ably directed by Richard Kwietniowski, working with a screenplay by Maurice Chauvet (based on a book by Gary Stephen Ross). Additionally, U.S. law enforcement is secretly monitoring him in conjunction with Canadian law enforcement in the belief that he might be a drug dealer. All of the performances are excellent with John Hurt particularly good as the superficially friendly casino boss who employees ruthless tactics to both woo and destroy his customers. Minnie Driver is also very good as the ever-patient and somewhat naive girlfriend who is in danger of being eclipsed by her finance's love of gambling. The most impressive aspect of the film, however, is the brilliant performance by Philip Seymour Hoffman, which ranks among his best. He's understated throughout, even as the pressures build on his character, whose career and personal life fall further into jeopardy.
"Owning Mahowny" is probably unknown to most movie fans but it was enthusiastically acclaimed by critics and was nominated for Best Picture and Best Actor at Canada's Genie Awards. It's engrossing throughout and the film proves that when you have a lot of talent involved, you don't always need an expensive budget. Give it a try. Will you like this suspense drama about addictive gambling? You bet!
(The film is currently streaming on Amazon Prime. Click here to order the DVD from Amazon.)
Please note: due to travel obligations, the U.S. office will be closed November 12 and will reopen on November 26. Please continue to order as your normally would and we will begin shipping issues as soon as the office reopens. Thank you!
Kino Lorber will release a 4K UHD edition of Don Siegel's "Two Mules for Sister Sara" starring Clint Eastwood and Shirley MacLaine. Here are the details:
Product Description
From Don Siegel, the legendary director
of Invasion of the Body Snatchers, Coogan’s Bluff, Dirty Harry, Charley
Varrick, The Shootist and Escape from Alcatraz, comes this classic
western starring screen legends Clint Eastwood (The Good, the Bad and
the Ugly, High Plains Drifter) and Shirley MacLaine (Sweet Charity, Irma
La Douce). Eastwood is a hard-hitting drifter who rides into town and
single-handedly rescues a local nun (MacLaine) from a gang of bandits.
After meeting a band of Mexican revolutionaries bent on resisting the
French occupation of Mexico, the cowboy and Sister Sara decide to join
forces with the freedom fighters and set off on a deadly mission to
capture the enemy’s garrison. But along the way, a steamy romance
develops between them when the soft-spoken hero discovers the nun is not
what she seems. Ending with a violent climax at the well-protected
fort, this action-packed western classic cemented Eastwood’s status as a
true cinematic superstar. Featuring a masterful score by the great
Ennio Morricone (A Fistful of Dollars).
Special Features:
DISC 1 (4KUHD):
• Brand New HDR/Dolby Vision Master (International Cut) – From a 4K Scan of the 35mm Original Camera Negative • NEW Audio Commentary for by Author and Film Historian Justin Humphreys • Audio Commentary by Filmmaker Alex Cox, Author of 10,000 Ways to Die: A Director's Take on the Italian Western • At Home with Clint: Vintage Candid Interview with Clint Eastwood • Poster and Image Gallery • 5.1 Surround and Lossless 2.0 Audio • Triple-Layered UHD100 Disc • Optional English Subtitles
DISC 2 (BLU-RAY):
• 2020 4K Restoration of the Domestic Cut • Radio Spots • TV Spots • Theatrical Trailer • 10 More Clint Eastwood Trailers • 5.1 Surround and Lossless 2.0 Audio • Dual-Layered BD50 Disc • Optional English Subtitles
Laurel & Hardy: Year Two, The Newly
Restored 1928 Silents from Flicker Alley and Blackhawk Films®, adds new special
features, including the rare short, ‘Now I’ll Tell One’
Release Date: Now Available
(Los Angeles, CA — October 8, 2024) Flicker
Alley and Blackhawk Films are today announcing some new surprises for Laurel
& Hardy fans. The upcoming two-disc Blu-ray edition of Laurel & Hardy:
Year Two, previously announced for release on October 29, will be delayed by
one week to accommodate the inclusion of several new pieces of bonus content,
including the extant second reel of the 1927 Charley Chase short ‘Now I’ll Tell
One’ (courtesy of the British Film Institute.) Once considered a fully lost
film, the short features both Stan and Ollie, albeit not yet as a comedy duo.
In addition to ‘Now I’ll Tell One,’ the
upcoming set will also include some newly announced alternate audio options,
including two vintage Blackhawk Films music tracks on ‘You’re Darn Tootin’ and
‘Two Tars.’ These join original scores by Neil Brand, Robert Israel, Andreas
Benz, and Jean-Francois Zygel, as well as audio commentaries on every short by
Laurel & Hardy scholars Randy Skretvedt and Richard W. Bann.
Following their initial pairing in early
1927, Laurel and Hardy ended their first year on top. Their success moving into
1928 galvanized the efforts of everyone at Hal Roach Studios (including famed
director Leo McCarey), who proudly upped their game in support of the winning
comedy duo. Whether wreaking accidental havoc as a two-man band, doing battle
against one another as millionaire and butler, or even becoming grave robbers
for a mad scientist, Laurel and Hardy prove in their second year that they have
what it takes to not only win over audiences in the twilight of the silent era,
but generate enough momentum to make an unparalleled transition to “talkies” in
1929.
Although their names are synonymous with the
very idea of comedy, few of the original negatives for Laurel and Hardy’s early
silent work survive, elements only available from scattered sources throughout
the world, often in substantially less than pristine shape. It took the team at
Blackhawk Films four years to gather all surviving film elements, to
meticulously compare them shot by shot, and to complete the best digital
restorations possible. Today, these beloved shorts look as new as they did
nearly a century ago.
Featuring all new restorations sourced from
best available materials contributed by archives and collectors around the
world restored by Blackhawk Films® and FPA Classics, this comprehensive deluxe
Blu-ray 2-Disc collection features their ten 1928 films as a team and
additional films from the Hal Roach Studios that showcase their final solo
short film appearances, as well as the shift from silent films to films
featuring music and synchronized sound effects.
The release is curated by film historians and
Laurel and Hardy specialists; Randy Skretvedt, Richard K. Bann, Serge Bromberg,
and Eric Lange.
The full breakdown of the ten 1928 shorts on Laurel
& Hardy: Year Two is as follows:
Leave 'em Laughing
Score by Andreas Benz
Score by Jean-Francois Zygel
Commentary by Randy Skretvedt
The Finishing Touch
Score by Neil Brand
Commentary by Richard W. Bann
From Soup to Nuts
- Score by Neil Brand
- Commentary by Randy Skretvedt
You're Darn Tootin’
Score by Robert Israel
Score by Neil Brand
Vintage Blackhawk Films Music Track
Commentary by Randy Skretvedt
Their Purple Moment
Score by Andreas Benz
Commentary by Richard W. Bann
Should Married Men Go Home?
Score by Neil Brand
Commentary by Randy Skretvedt
Early to Bed
Score by Neil Brand
Commentary by Richard W. Bann
Two Tars
Score by Robert Israel
Score by Andreas Benz
Vintage Blackhawk Films Music Track
Commentary by Randy Skretvedt
Habeas Corpus
Score by Robert Israel
Original 1928 VitaPhone Track
Commentary by Richard W. Bann
We Faw Down
Score by Jean-Francois Zygel
Original 1928 VitaPhone Track
Commentary by Randy Skretvedt
The set also includes the following bonus
features:
Now I’ll Tell One
The extant second reel of a rare short featuring both stars.
Score by Serge Bromberg
Commentary by Randy Skretvedt
Gallopin’ Ghosts
Two surviving fragments of a rare solo Oliver
Hardy comedy.
Score by Neil Brand
Commentary by Randy Skretvedt
Eve’s Love Letters
One of Stan Laurel’s final solo films,
directed by Leo McCarey and written by Laurel himself, from rare 35mm elements.
1930s French Rerelease Track
Commentary by Randy Skretvedt
A Pair of Tights
A 1929 short starring Anita Garvin and Marion
Byron, who were teamed to try and replicate the success of Laurel and Hardy.
Score by Neil Brand
Commentary by Randy Skretvedt
George Mann Footage
Home movies shot behind the scenes of Hal
Roach Studios, including the filming of ‘Should Married Men Go Home’.
Score by Neil Brand
Commentary by Randy Skretvedt
Audio
Interviews Conducted by Randy Skretvedt
Personal
interviews with Anita Garvin, Thomas Benton Roberts, and Hal Roach.
Audio Interview with Stan Laurel
Conducted by Tony Thomas in 1959, the year
following Oliver Hardy’s death.
Laurel & Hardy On-Location in Year Two
A video essay by historian John Bengtson on
selected location exteriors.
Film Specific Image Galleries
Containing original publicity materials,
press reviews, and rare production stills.
Souvenir Booklet
Containing a new collection introduction by
Serge Bromberg and Eric Lange; A look at the supporting players and other
creative personnel in the world of Hal Roach Studios by historian Sara Imogen
Smith; A new essay exploring the development of the Vitaphone sound-on-disc
system in 1928 by Randy Skredvedt; and comprehensive notes on each film
English SDH Subtitles
Blu-ray Authoring by David Mackenzie of
Fidelity In Motion
Blackhawk Films® was founded in 1927 as a
producer of film advertising for merchants and as a distributor of regional
newsreels. From 1950 until 1995, Blackhawk expanded and began distributing new
8mm and 16mm prints of Laurel & Hardy comedies from Hal Roach Studios as
well as other classic film titles through its legendary monthly catalog. Today,
Blackhawk Films® is both a unique collection of classic films (more than 5000
titles), and a restoration laboratory established in Burbank, CA, handling cinematic
masterpieces for the biggest archives and films owners throughout the world.
About Flicker Alley, LLC
Flicker Alley, LLC was founded in 2002. Each
Flicker Alley publication is the culmination of hundreds of hours of research,
digital restoration, graphic design, music composition, and scoring.
Collectively, they reflect the creativity, expertise, and shared passion of
many talented collaborators. The Flicker Alley brand has grown to enjoy
national and international acclaim. The company is a four-time recipient of the
National Society of Film Critics Film Heritage Award for publishing "rare
early U.S. and foreign silent film.”
The second box set from Imprint devoted to the career of Marlon Brando will be released in January. Cinema Retro's Lee Pfeiffer and fellow film historians Paul Scrabo and Tony Latino provide the commentary track on the first special edition Blu-ray for "The Missouri Breaks". The set also contains the first Blu-ray of "Last Tango in Paris" to feature bonus features. Also included is the remarkable feature film documentary "Listen to Me Marlon" in which unveiled audio tapes of Brando describe his life and career.The other feature films are all gems: "The Night of the Following Day", "The Nightcomers" and "A Dry White Season", which afforded Brando his last Oscar nomination.
Click here to pre-order. This will be a limited edition release of 1500 sets.
Note: Prices are in Australian dollars. Use currency converter for non-Australian orders.
Writer/Producer Alan Spencer narrates the trailer for the 1980 "Get Smart" feature film, "The Nude Bomb" starring Don Adams. Spencer idolized Adams and when the film ran into some snags, he donated his talents and provided some gags. Spencer acknowledges the missteps in the production, namely the refusal to include Barbara Feldon's essential Agent "99" and a less-than-family friendly modern approach that seemed tasteless at times. Nevertheless, he assures us the film was profitable. He also fills us in on the scuttled plans to bring a "Get Smart" film to the big screen as far back as 1965.
Kino Lorber has released
the 1975 Charles Bronson crime thriller "Breakout" as a Blu-ray special edition. Bronson
was riding high at the time, coming off the sensational success of
"Death Wish". The film was originally supposed to star Kris
Kristofferson under the direction of Michael Ritchie but those plans
soon fell apart. Bronson took over the lead role with veteran director
Tom Gries at the helm. The film finds Bronson well-cast as Nick Colton, a
shady businessman/con man/grifter who operates a variety of small time
business ventures on the Mexican border with his partner Hawk Hawkins
(pre-kooky Randy Quaid.) Nick is living hand-to-mouth when he is
approached by Ann Wagner (Jill Ireland) with a proposition to help her
husband, equally shady rich guy Jay (Robert Duvall), escape from a Mexican prison where he has
been sentenced after being framed for a murder. Time is of the essence
because Jay is in declining health and may well be too weak to help
effect his own escape. Colton and Hawk's first attempt to spring him
ends disastrously and they barely escape back to America. Colton
concocts an audacious plan for a second escape attempt that involves
split-second timing. He will arrange for a helicopter to land in the
courtyard of the prison and in the inevitable confusion, Jay is to make
his way on board and presumably fly away to freedom. In order to pull
off the caper, Nick enlists the help of a professional helicopter pilot
as well as Myrna (Sheree North), a married ex-call girl who will be used
to distract some of the guards when the copter lands inside the prison.
When the pilot gets cold feet, Nick is forced to fly the chopper
himself despite the fact that he only has minimum experience doing so.
Another complication ensues when Jay is confined to the prison hospital
and doubts he will be able to be in the courtyard at the precise moment
Colton lands.
"Breakout" was inspired by an incredible 1971 real life escape in
which an American was indeed rescued by helicopter from a Mexican
prison. The screenplay has some other sub-plots that are poorly
developed and quite confusing, but some of which are obviously related
to the actual escape including some rumored involvement by the CIA. In
the film, Jay Wagner's frame-up takes place at the behest of his evil
tycoon grandfather, Harris Wagner (John Huston) for reasons that never
become clear. Apparently, Harris is concerned that Jay may inherit some
control over the company Harris runs with an iron fist, though these
plot points remain murky as does the involvement of some CIA characters.
Another potential plot device, which finds Nick and Ann obviously
attracted to each other, also goes nowhere. The film has a rushed look
to it and there are some unsatisfying aspects caused by the movie's
rather abrupt ending. The movie studio, Columbia, apparently felt the
film was a rather weak production and thus gambled on a massive ad
campaign that probably cost more than the film's modest budget. Ads for
"Breakout" were everywhere: in newspapers, on TV and on radio.
Additionally, the film opened wide in 1,000 American theaters, which was
a big number in 1975. The movie was dismissed by critics with Variety
calling it a "cheap exploitation pic", and indeed the main poster
artwork (different from the Blu-ray sleeve artwork) and graphics looked surprisingly amateurish considering this was
a golden age for film poster designs. Nevertheless, Bronson's appeal
seemed to override these negative factors. "Breakout" proved to be a
major hit and helped cement his status as a top boxoffice attraction ,
though his clout would gradually diminish henceforth.
Like a lot of older movies, "Breakout" probably plays better today
than it did at the time of its initial release. Bronson is in top form
and gives an unusually energetic performance that allows him to stress
his rarely-used talent for light comedy. The only other standout member
of the cast is Sheree North, as the epitome of the sexy cougar. She's a
fast-talking, tough cookie who parades about in sexy lingerie in an
attempt to seduce Bronson. (Surprisingly, Bronson's character does not
engage in any sexual action throughout the movie.) Robert Duvall is
largely underutilized in a low-key role and performance that could have
been credibly played by almost any other competent actor. Huston's
presence in the movie is disappointing, also. His role is confined to a
few scattered cameo appearances that probably don't last more than two
minutes. Some other familiar faces include Paul Mantee, Alejandro Rey,
Roy Jenson and the Mexican cinema's favorite bad guy, Emilio Fernandez.
As for Bronson teaming for the umpteenth time with real life wife Jill
Ireland, the gimmick was wearing thin. Some screen couples could team
without wearing out their welcome. Elizabeth Taylor and Richard Burton
made many films together but they were always playing entirely different
characters in entirely different scenarios. Bronson and Ireland,
despite being competent actors, were no Liz and Dick. It became clear
that their films together were largely made possible by Bronson's clout
with the studios. Although Ireland always gave credible performances,
she never lit up the screen. After a while the sheer predictability of
their on-screen teamings probably undermined Bronson's popularity
because it constrained him from interacting with other actresses. It was
a trap Clint Eastwood also fell into for a period of time when he cast
Sondra Locke in the female lead in six of his movies over a period of
only seven years. Despite these gripes, it must be said that director
Tom Gries keeps the pace moving briskly and there isn't a dull moment.
He also knows how to milk some genuine suspense out of the helicopter
escape scene, which is exceptionally well photographed by the great
cinematographer Lucien Ballard. Jerry Goldsmith also contributes a
typically fine score. The movie was shot in a wide number of locations
including California, Mexico, Spain and France, where the impressive
edifice that serves as the prison is located.
The Kino Lorber Blu-ray looks great
and features a very informative commentary track by Paul Talbot, author
of the excellent "Bronson's Loose" books, which analyze his action
movies. There is also a trailer, TV spot and radio spot. In all, an
impressive package for a fun '70s adventure flick. Recommended.
The legendary Alfred Hitchcock
is recognized for directing some of the most unforgettable and
groundbreaking films of all time. Now, for the first time ever, six of
the most recognizable films from The Master of Suspense are available
together in Alfred Hitchcock: The Iconic Film Collection including Rear
Window, To Catch a Thief, Vertigo, North by Northwest, Psycho and The
Birds. Starring Hollywood favorites James Stewart, Cary Grant, Grace
Kelly, Anthony Perkins, Janet Leigh, Tippi Hedren, Eva Marie Saint, Kim
Novak and Rod Taylor, this collection captures the most memorable
moments in the career of a true cinematic master.
Bonus Content:
Disc 1 - Rear Window:
Includes
a digital copy of Alfred Hitchcock: The Iconic Film Collection (Subject
to expiration. Go to NBCUCodes.com for details.)
Features High Dynamic Range (HDR10) for Brighter, Deeper, More Lifelike Color
Rear Window Ethics: An Original Documentary
A Conversation with Screenwriter John Michael Hayes
Pure Cinema: Through the Eyes of the Master
Breaking Barriers: The Sound of Hitchcock
Hitchcock/Truffaut
Masters of Cinema
Production Photographs
Theatrical Trailer
Re-release Trailer Narrated by James Stewart
Feature Commentary with John Fawell, Author of Hitchcock's Rear Window: the Well Made Film
Disc 3 - Vertigo:
Features High Dynamic Range (HDR10) for Brighter, Deeper, More Lifelike Color
Obsessed with Vertigo: New Life of Hitchcock's Masterpiece
Partners in Crime: Hitchcock's Collaborators
Foreign Censorship Ending
Hitchcock/Truffaut
Feature Commentary with Film Director William Friedkin
Theatrical Trailer
Restoration Theatrical Trailer
100 Years of Universal: The Lew Wasserman Era
Disc 4 - North by Northwest:
North by Northwest: Cinematography, Score, and the Art of the Edit
Destination Hitchcock: The Making of North by Northwest
The Master's Touch: Hitchcock's Signature Style
North by Northwest: One for the Ages
A Guided Tour with Alfred Hitchcock
Commentary by Screenwriter Ernest Lehman
Disc 5 - Psycho (1960):
4x Sharper than Full HD with High Dynamic Range (HDR10)
The Making of Psycho
Psycho Sound
In The Master's Shadow: Hitchcock's Legacy
Hitchcock/Truffaut
Newsreel Footage: The Release of Psycho
The Shower Scene: With and Without Music
The Shower Sequence: Storyboards by Saul Bass
The Psycho Archives
Posters and Psycho Ads
Lobby Cards
Behind-the-Scenes Photographs
Production Photographs
Psycho Theatrical Trailers
Psycho Re-release Trailers
Feature Commentary with Stephen Rebello, author of "Alfred Hitchcock and The Making of Psycho"
Disc 6 - The Birds:
Features High Dynamic Range (HDR10) for Brighter, Deeper, More Lifelike Color
The Birds: Hitchcock's Monster Movie
All About The Birds
Tippi Hedren's Screen Test
Deleted Scenes
The Original Ending
Hitchcock/Truffaut
The Birds Is Coming (Universal International Newsreel)
Suspense Story: National Press Club Hears Hitchcock (Universal International Newsreel)
Theatrical Trailer
100 Years of Universal: Restoring the Classics
100 Years of Universal: The Lot
This set will ship on November 26. Click here to pre- order from Amazon and save $30.
Broadcast on Sky Arts, 31 October 2024 and available to
stream on NOW.
By Adrian Smith
Like
many of my generation, Hammer is in my DNA. Hammer films were regularly
screened in the Eighties on the BBC, and my parents would tape them for me so I
could spend my Saturdays watching the likes of Dracula: Prince of Darkness
and Plague of the Zombies (both 1966). In the last twenty years I’ve
been fortunate enough to attend many Hammer-themed events (I’ve lost count of
the number of times I’ve met Caroline Munro), made friends with other Hammer
fans, written essays and articles about the company, collected dozens of
videos, DVDs and Blu-rays (with 4K UHD on the horizon), contributed bonus
features to a couple of upcoming Hammer Blu-ray releases, expanded my Hammer
library with publications from the likes of Wayne Kinsey, Marcus Hearn and the Little
Shoppe of Horrors magazine, and I even appeared as an extra in Hammer’s 2008
comeback vampire horror Beyond the Rave. It is a cliché, yet it is true
- Hammer is much like its undead antiheroes: whenever the studio appears to be
dead, it comes back to life.
With
this new documentary Hammer: Heroes, Legends and Monsters, first
broadcast on Sky Arts over Halloween, and available on NOW, the new incarnation
of Hammer (recently acquired by theatre impresario John Gore in an excellent
example of nominative determinism) are refreshing their brand and reminding the
world of their USP. Although many die-hard Hammer fans will tell you that
horror actually made up just a small percentage of their overall film output, it’s
horror that has made the Hammer name, and clearly what the new iteration is
trading on as the company hits its 90th anniversary. With one new
horror film under their belts already (Doctor Jekyll (2023) starring
Eddie Izzard in their third adaptation of Stephenson’s novel, following The
Two Faces of Dr. Jekyll (1960) and Dr. Jekyll and Sister Hyde (1971)),
Hammer Horror is back. Again.
Hammer:
Heroes, Legends and Monsters, directed by Benjamin Field
and co-produced by Jamie (son of Gerry) Anderson, is an excellent history of
the Hammer brand. The film celebrates the highs as well as the lows of Hammer
and brings in the opinions of experts and famous fans alike. It will come as no
surprise to see Tim Burton, John Landis, Joe Dante and John Carpenter in there,
alongside noted Hammer and genre historians such as Wayne Kinsey, Jonathan
Rigby, Axelle Carolyn, Toby Hadoke and Sarah Appleton. We also get to see some
of the few remaining Hammer stars, including Caroline Munro, Martine Beswick, Madeline
Smith and Valerie Leon (a pointed reminder that Hammer employed much younger
leading ladies than their leading men which is why it’s only women left) and
lots of archival interview footage with Christopher Lee and Peter Cushing,
amongst others.
Narrated
by Charles Dance, this documentary is beautifully shot, with purpose-built
Hammer-style sets providing some great visual interest to what could otherwise be just similar-looking talking heads.
The fact that this is produced by Hammer has allowed for great archival access,
and one suspects that there was so much material that it could easily have been
a two or even three-part series. Hammer fans would definitely buy a box set of
those. As far as I am aware, this is the first Hammer-produced documentary
about the company since the Channel 4 Oliver Reed-narrated series The World
of Hammer in the early 1990s, and Hammer’s back-catalogue would allow for
lots more documentaries should they want to mine their history further.
Although
Hammer fans are some of the most learned, there is still new information to be
found in Hammer: Heroes, Legends and Monsters, and this will also have
wider appeal and hopefully bring a new audience to Hammer’s dark and scary world.
LOS ANGELES, CA (September
17, 2024) – Legendary composer, conductor and arranger, Henry Mancini
recognized that music can be one of the most compelling characters in cinema.
His timeless works set the tone and narrative for some of the most
unforgettable moments on film. With masterful vision and skillful elegance,
Mancini’s scores brought playful fun, dramatic grandeur and heartbreaking
tenderness to 20th century popular music and engaged audiences on a deeply
emotional level. Equally engaging is the biographical tale of this celebrated,
award-winning composer, The Extraordinary Life of Henry Mancini,
a beautifully illustrated story from critically acclaimed animation studio, Fantoons.
The graphic novel features a foreword by Hans Zimmer and it is available
today, September 17, at retailers everywhere.
Mancini’s name is synonymous
with his timeless melodies, “Moon River,” “Peter Gunn,” the Pink Panther
Theme,iconic soundtracks to Breakfast at Tiffany’s, 10, Victor
Victoria andcountless works that defined how musical score could
elevate storytelling on film and screen. With many of his hits made classic by
Frank Sinatra, Tony Bennett, Johnny Mathis and decades of iconic artists and a
body of work boasting some of the most hummed melodies of all time, Henry
Mancini’s catalog earned him four Oscars and twenty Grammy Awards.
Award winning studio, Fantoons
is now proud to present the fully authorized story of the legendary Henry
Mancini in a new graphic novel written by David Calcano, author of fan-favorite
illustrated biographies and books of Rush, Billie Holiday, Motörhead, The Beach
Boys, Tenacious D, Iron Maiden, and many others.Featuring a foreword by Hans Zimmer and
introduction by Christopher Lennertz, The Extraordinary Life of Henry
Mancini is illustrated by Svetlana Palkina, Jorge Mansilla, Lindsay
Lee, and Eriana Mirabal in this vibrant telling of the artist’s true story of
music, love and passion. A sweeping tale; wider than a mile.
The book features two editions:
Standalone hardcover edition and alimited deluxe
edition featuring an interview booklet about Mancini’s influence. Highlights
include interviews with film composer legendsJohn Powell and Patrick
Doyle, alongside interviews with legendary Disney animation directors John
Musker and Ron Clements, as well as business luminaries including Chris Montan
(former President of Walt Disney Music) and Richard Kraft (legendary film music
agent).
The interview booklet is 26 pages and is released in a
beautifully printed format that includes a limited edition 7-inch vinyl record
done in conjunction with Quartet Records. Featuring a performance never before
available on vinyl from the “Sunflower” score and a beautiful piano demo of the
“Love Theme” played by Mancini himself, the vinyl single also includes
“Giovanna,” a classic example of Mancini’s famous Touch and of course
the Pink Panther theme (from Trail of the Pink Panther). The
record features new art from Fantoons Animation Studios.
Book description:
Henry Mancini is one of the most successful and
groundbreaking film composers of all time. From the humble beginnings of his
father’s flute lessons to standing ovations at the prestigious Hollywood Bowl,
this graphic novel by Fantoons beautifully illustrates every step in the
journey of Henry Mancini’s pivotal and industry-shaping career.
Each page features vividly painted illustrations, with
color that encapsulates each of the many emotions–high and low–of Henry
Mancini’s bold, musical adventure.
Audrey Hepburn said, “A movie without music is like an
airplane without fuel,” and rightly so. Henry Mancini’s music has left an
indelible mark on the film industry, transforming it for generations of new
composers to come. Readers can learn the surprising, true stories behind the
unforgettable scores of movies such as “Breakfast at Tiffany’s,” “The Pink
Panther,” and even pop-culture TV classics like “Peter Gunn.”
Before winning multiple Grammys, Golden Globes, Academy
Awards, and becoming one of the highest-regarded composers in the history of
film, step into the shoes of the boy who would bravely set out to change cinema
forever.
Get swept away in the majestic, heartwarming, and
astonishing symphony that is the extraordinary life of renowned composer Henry
Mancini, in this fully illustrated, 180-page, graphic novel.
The Extraordinary Life of Henry Mancini:
Official Graphic Novel will be available in hardcover at
retailers everywhere for a list price of $29.99 (ISBN: 978-1-97004-7-288) on
September 17, 2024.
About Fantoons:
Fantoons Animation Studios
is a group of like-minded artists with a shared passion for animation, stories,
and music. Founded by director David Calcano almost a decade ago, the vision
for the studio was simple: create content surrounding music and tell compelling
stories to celebrate it. Fantoons focuses on the artist’s personal stories
whether on the road, in the studio, or their personal journey, using sequential
storytelling in the form of graphic novels or animated content. Fantoons
creative works have received acclaim from Rolling Stone, The Guardian, PROG
Magazine, and other notable press outlets. Fantoons recently celebrated their
first Webby Award as a 2021 Honoree for Video Animation. As well as winning
multiple awards, Fantoons have accumulated over 100+ million views in their
content across social platforms, and more than 100 thousand books sold and
counting.
Conspiracy
theories flourish today thanks in large part to the universality of the
Internet and, more specifically, the ease with which once can access the World
Wide Web. The Dark Web is more than likely a better platform for every
“end-of-the-world” worry wart with a grievance huddled in a makeshift bunker to
anonymously poke the bear and make themselves heard. Following President John
F. Kennedy’s 1962 famous speech which decreed that “…this nation should commit
itself to achieving the goal, before this decade is out, of landing a
man on the moon and returning him safely to the Earth,” NASA set to
work to do just that, feeling they owed it to him following his assassination
14 months later. NASA accomplished this feat in a race against the Soviets, but
in the years since the 1969 moon landing, conspiracy theorists who generally
have a problem with the truthfulness of the United States’s Federal Government,
began tossing around the notion that film director Stanley Kubrick was hired to
direct the moon landing which they claim was faked on the sets remaining from MGM’s
2001: A Space Odyssey (1968) film shoot. Purported hidden messages that
ostensibly appear in his 1980 film The Shining have resulted in more
Youtube.com videos than you can shake a stick at, in addition to a feature
film, Room 237 (2017), which touches upon this very notion.
Peter
Hyams’s Capricorn One, lensed in the early months of 1977 and released
on Friday, June 2, 1978, was written off by some critics as a silly thriller
with plot holes large enough to fly a spacecraft through. It posits the notion
that the Powers That Be (i.e. the Military Industrial Complex), in a bid to
keep the space race funded and afloat, need to conquer the next frontier and
send American astronauts to the planet Mars, for fear of indifference from
American citizens. NASA is ready to send Charles Brubaker (James Brolin), Peter
Willis (Sam Waterston), and John Walker (O.J. Simpson) to Mars until the men
are pulled right before takeoff by a team headed by Dr. James Kelloway (Hal
Holbrook) who explains that forces bigger than NASA want the flight to be a
success and have created a set to mimic the Red Planet’s terrain complete with
a mock-up of the lunar module. Strong-arming the three men into complicity with
the deception, it soon becomes apparent that it would be impossible for them to
remain silent regarding their involvement and there is no intention of letting
them return to their families, keeping them as prisoners locked away in the
desert.
Robert
Caulfield (Elliott Gould) is a journalist who is onto the ploy and the Powers
That Be are always one step ahead of him. Elliot Whitter (Robert Walden) is a
NASA employee who refuses to believe that the transmissions are coming from
Mars and disappears after several attempts to air his concerns to Dr. Kelloway.
This raises even more suspicion from Caulfield who established a professional
rapport with him, only to find that Whitter’s apartment is now inhabited by a
woman he has never seen before. Multiple attempts are made on Caulfield’s life,
he is framed and arrested and bailed out of jail by his non-believing boss
(David Boyle) who then fires him on the spot, however a fellow journalist
(Karen Black) comes to his aid.
There
are a lot of interesting supporting character actors who appear. Brenda
Vaccarro is on hand as Brubaker’s wife who firmly believes that she must go on
following the “death” of her husband in the “re-entry accident” to Earth; James
Karen is his usual ingratiating self as the Vice President of the United States
several years before he appeared in Poltergeist; David Huddleston is
Hollis Peaker who politely airs his grievance about the absence of the
President of the United States at the launchpad; Lou Frizzell, an actor I
always liked from Steven Spielberg’s Duel (1971), Robert Mulligan’s Summer
of ’42 (1971) and The Other (1972) and Curtis Harrington’s Devil
Dog: The Hound of Hell (1978), is quite moving as a NASA employee who gives
the astronauts a Bible to take with them; and Telly Savalas is hilarious as a
crop duster pilot who puts his skills to the test for Caulfield in a chase that
Alfred Hitchcock would appreciate after the three astronauts escape from the
desert by plane, with Brubaker being the sole survivor. The film ends abruptly like
a TV-movie, on an image that is probably framed and hanging on Barbara
Streisand’s wall. I would have liked the film to go one step further, with
Brubaker walking up to Kelloway at his “funeral,” and punching him in the face,
just like Sean Connery does to Peter Boyle in the aforementioned Outland.
Imprint,
the wonderful Blu-ray label from Down Under, has released the film on Blu-ray
in a deluxe, two-disc edition.
Blu-ray
Disc One – Theatrical Cut:
The
film had its network television debut on Sunday, May 11, 1980, and being that
it aired in a two-hour time slot on NBC, was no doubt trimmed as the theatrical
cut runs 123 minutes. This is the version that appears on the first Blu-ray,
and it includes subtitles. The transfer is adequate given that the film was
shot 47 years ago. It retains the film’s Panavision 2.35:1 framing in an
anamorphic presentation in 1080p High-Definition.
Ported
over from the Lionsgate DVD from 2008, there is a feature-length audio commentary
by director Peter Hyams, who would go on to direct Hanover Street in
1979 and the nifty High Noon redo in outer space in Outland
(1981) where deception of another kind takes place as the mining colonists on
one of Jupiter’s moons all take Polydichloric Euthimol, a drug that makes them
work harder until it kills them, and their co-workers all believe they go back
to Earth to account for their absence. He talks about the challenges that he
encountered on Capricorn One and rightly heaps praise on the performers
involved in the film. Most people today will recognize these folks and say,
“Hey, I know him/her!”
Flights
of Fancy: The Politics of Capricorn One (Standard
Definition). This piece runs 17:17 and is a fascinating look at “no-moonies,” a
term given to those who believe that the July 1969 moon landing was faked. This
notion is debunked by the onscreen interviewers. Director Hyams recounts how he
watched the event from his Chicago apartment and how it affected him. He had
been a wartime correspondent in Vietnam and saw firsthand how the government
was lying to the public. There are also discussions about audience boredom with
the space race, something brought to light in Ron Howard’s terrific film Apollo
13 (1995).
What
If?: The Making of Capricorn One (Standard
Definition). This piece runs 6:51 and is a series of quick on-camera comments
from some of the performers in the film and their thoughts on faking a Mars
landing.
On
Set with Capricorn One (Standard
Definition). This piece runs 38:22 and consists of non-narrated,
behind-the-scenes raw footage shot in June 1977 in the desert highlighting
Brubaker’s encounter with the gas station and the crop duster.
The
Photo Gallery(High Definition) contains 95 images from the film
displayed during 9:31 of running time. Ironically, when the film was released
in 1978, I saw one of the movie poster ads for it in the newspaper which
depicts the lunar module and oversized lights and crew people standing around.
I was under the erroneous impression that this was a behind-the-scenes shot
taken on the set of the film and it made its way into the film’s marketing campaign
by accident. Talk about confusion and deception!
The
requisite theatrical trailer is in High Definition and is sourced from an old
theatrical print and runs 3:09.
Blu-ray
Disc Two – Extended Cut
This
is an extended cut in high definition of the film that runs 128:30 and has some
noticeable differences that make for a different interpretation of the film and
is worth watching. There is an audio commentary by film historians Daniel
Kremer and Daniel Waters that accompanies this cut, which they announce was
recorded on James Brolin’s birthday which was August 27th. They
provide a very fun and informative examination of the film.
Conspiracy
Busting (High Definition). This is an
onscreen interview with Elliott Gould shot in 2024 and it runs 17:45 with him
discussing his history with the director beginning with their collaboration on Busting
in 1974. He is perched in front of his DVD collection, and he has a great
assortment of titles – some of which he starred in! Love him.
Confessions
of an Astronaut’s Wife (High
Definition). This is an onscreen interview from 2024 with Brenda Vacarro that
runs 13:18 and appears to have been conducted over either Zoom or Skype. She
speaks highly of her co-workers and her director and the luck she has had with
working with so many wonderful people over the years.
How
the Capricorn Was Won: Getting the Greenlight (High Definition). This is an interview with producer Paul Lazarus and
runs 26:49 and his experience working with and winning over Sir Lew Grade of
ITC Entertainment (remember their logo right before The Muppet Show?) to
get the funding for the film. Extremely interesting.
A
Lady of Wondrous Abandon: Remembering the Incomparable Karen Black (High Definition). This is a memorial piece for
the actress that runs 7:16. People weigh in on her impact on them and in film.
I first saw her in Dan Curtis’s 1976 thriller Burnt Offerings and later
his 1975 TV-movie Trilogy of Terror, and she was wonderful. Her poignant
work in Bob Rafelson’s Five Easy Pieces (1970) opposite Jack Nicholson
was heartbreaking.
Orchestrating
a Conspiracy (High Definition).
I love this piece that runs 18:00 because it discusses the wonderful music of
Jerry Goldsmith, whose work I first heard in August 1979 when Logan’s Run
(1976) premiered on NBC television. Even as a seven-year-old I could really
appreciate his contribution to the film, to say nothing of
twenty-three-year-old Jenny Agutter’s side-split “barely there” outfit – Holy Toledo,
Batman…I would later hear his work on Outland (1981) and then Poltergeist
(1982) which sealed the deal. I was a fan for life.
If
you’re any kind of a fan of this film, this is the edition to get.
Incomparable.
The region-free Blu-ray can be ordered by clicking here.
Note: Prices are in Australian dollars. Use currency converter for non-Australian orders
The Emotional Documentary Film on the Life of
Actor and Activist Christopher Reeve Arrives for Digital Ownership on November
5
Burbank, CA, November 4, 2024 – Super/Man:
The Christopher Reeve Story, the new documentary film featuring
never-before-seen home movies and personal archives that recounts the tragic
and redemptive story of actor and activist Christopher Reeve, best known for
playing Superman in the '70s and '80s films, arrives for purchase Digitally at
home on November 5.
Following a life-altering accident, Christopher Reeve
persevered, inspiring the world by using his fame to speak of hope and change
our perception of paralysis, all while remaining a dedicated activist, actor
and filmmaker, devoted dad, and loving husband to Dana, the beating heart of
the family.
From the directors of McQueen, Ian Bonhôte and Peter
Ettedgui, the film includes never-before-seen intimate home movies and an
extraordinary trove of personal archive material, as well as the first extended
interviews ever filmed with Reeve’s three children about their father, and interviews
with the A-list Hollywood actors who were Reeve’s colleagues and friends. The
film is a moving and vivid cinematic telling of Reeve’s remarkable story.
On November 5, Super/Man: The Christopher Reeve
Story will be available for Digital Ownership at home on
participating digital platforms where you purchase movies, including Amazon
Prime Video, AppleTV, Google Play, Fandango At Home, and more.
On November 19, Super/Man: The Christopher
Reeve Story will be available for Digital rental via VOD on
participating digital platforms where you rent movies.
Super/Man: The Christopher Reeve Story is
directed by Ian Bonhôte & Peter Ettedgui and features Alexandra Reeves
Givens, Matthew Reeve and Will Reeve. The film is written by Peter
Ettedgui and co-written by Ian Bonhôte & Otto Burnham and produced by
Lizzie Gillett, Robert Ford and Ian Bonhôte.
BASICS
Digital Ownership: November 5, 2024
Digital Rental: November 19, 2024
Running Time: 104 minutes
Rated: PG-13 for some strong language and thematic
elements
Cinema Retro Season 21 is almost here! We anticipate the first issue of the new season, #61, to ship to UK subscribers in December. Subscribers throughout the rest of the world will receive their issue in January.
Please subscribe or new today!
Some of our subscribers wait until all three issues are available before renewing. However, if we sell out of one of the three issues, we will not be able to fulfill the subscription. Therefore, if you subscribe now, you will ensure you will not miss a single issue.
Thanks to our loyal readers worldwide for their continued support!
From Bond to Benoit Blanc, few have embodied and
excavated a greater variety of masculinities on-screen than Daniel Craig.
Coinciding with the premiere of Luca Guadagnino's new film adaptation of
William Burroughs's novel, Queer, starring Craig as a sensitive wanderer in
mid-century Mexico City, writer Hilton Als sits down with the actor for an
enlightening evening of in-depth conversation.
Celebrate the 25th anniversary of the beloved sci-fi comedy
classic GALAXY QUEST as it arrives for the first time ever on 4K Ultra HD™
December 13, 2024 from Paramount Home Entertainment.
Featuring an out-of-this-world, all-star cast including Tim
Allen, Sigourney Weaver, Alan Rickman, Tony Shalhoub, Sam Rockwell, Enrico
Colantoni, Daryl Mitchell, Justin Long, Missi Pyle, and Rainn Wilson, this
rollicking send-up of sci-fi fanaticism is as funny today as when it premiered
in theatres 25 years ago on December 25, 1999.
· Never Give Up, Never Surrender: The Intrepid Crew of
the NSEA Protector
· By Grabthar's Hammer, What Amazing Effects
· Alien School: Creating the Thermian Race
· Actors in Space
· Sigourney Weaver Raps
· Deleted Scenes
· Theatrical Trailer
Synopsis
Years after cancellation, the stars of the television
series Galaxy Quest cling to their careers. When a distressed interstellar race
mistakes the show for “historical documents,” lead actor Jason Nesmith (Tim
Allen) and his crew of has-beens are unwittingly recruited to save the alien
race from a genocidal warlord. Featuring an all-star ensemble, including
Sigourney Weaver, Alan Rickman, Tony Shalhoub, Sam Rockwell, Daryl Mitchell,
Justin Long and Rainn Wilson, GALAXY QUEST is a hilarious adventure that boldly
goes where no comedy has gone before?
Click here to pre-order 4K UHD limited edition steelbook.
Burnt
Offerings (1976) is Dan
Curtis’s film adaptation of the 1973 novel of the same name by the late Robert
Marasco.It’s the novel that reportedly
inspired Stephen King to sublimate his experiences as a caretaker at the
Stanley Hotel in October 1974 into his second novel The Shining (1977) following Carrie
(1974). Much of the plot devices from the former were aped in the latter: a
mother and father spend a season in a huge manse with their young son; a large
structural abode has a life of its own and thrives off of the life blood of its
human dwellers for survival, etc.
Burnt
Offerings opened on
Wednesday, September 29, 1976 in New York “at Red Carpet Theatres” (as opposed
to what, black carpet theatres?Always wondered about that).It is a film that I caught up with five years
later on a repeat NBC-TV airing and it became a perennial favorite on many
independent stations during the 1980s.When I saw the film on VHS, I was shocked at how much footage was cut
from some of its television airings, which is a shame because it moves at a
deliberately slow but effective pace.
Bolstered by terrific performances and
a better-than-average script, the real star of the film is the Dunsmuir
Hellman Historic Estate in Oakland, California, a sprawling 37-room mansion on 50
acres of gorgeous land that belies the dangerous neighborhood that exists to
the west of it.If it looks familiar,
that is because it has been featured in a handful of other films, most notably
as the Morningside mortuary’s exterior in Don Coscarelli’s classic Phantasm (1979) and in the James Bond
film A View to a Kill (1985). Here,
it has been dressed to look decrepit and creepy.Oliver Reed and Karen Black are Ben and
Marian Rolf, a couple who consider renting this incredible dwelling for the
summer with their young son, David (Lee H. Montgomery of Ben), and Ben’s Aunt Elizabeth (played brilliantly by Bette Davis).
They are greeted at the house by Walker the Handyman (Dub Taylor of those crazy
Hubba Bubba commercials from 1980) who introduces them to the
renters, two eccentric siblings played wonderfully by Eileen Heckart and
Burgess Meredith. They inform the Rolfs that they can rent the house for two
months for $900.00(!) if they agree to a slight catch: they must agree to take
care of their 85-year-old mother, Mrs. Allardyce, who lives in a room on the
top floor.All they have to do is
prepare food for her three times a day and leave it in her sitting room.Understandably hesitant to buy into this
peculiar “arrangement”, Ben and his family return home. Marian is gung-ho from
the get-go, so Ben reluctantly acquiesces to her wish to rent the house and
concurs by default with the terms set forth by the Allardyces. These opening
introductory scenes set the tone for the rest of the film, as both the Rolf’s
and the audience are kept in the dark as to what the owners have up their
sleeves.
Returning to the house with Aunt
Elizabeth in tow, the Rolf’s engage in some fun banter concerning Elizabeth’s
desire to procure a driver’s license. Director Curtis sets up the Rolfs as a
family that the audience can relate to and almost feel as though they are along
for the ride. When they reach the house, the Rolfs are shocked to find that the
Allardyces have left them the keys to the home and are nowhere to be found. As
Davey is ordered by his father to unpack the car, Marian attends to Mrs.
Allardyce. Despite knocking on her door multiple times and talking to her, the
old woman never responds. Marian assumes she’s sleeping.
As the days progress, Davey and his
father clean out the pool and fill it with water, while Marian prepares meals
for Mrs. Allardyce and becomes more in awe of the old woman’s music box and
photo collection, the latter of which is strange in two respects: not only are
the photos of people who are of varying age and do not appear related, but none
of them are smiling. When Marian listens to the music from the music box, she
goes into a dreamlike trance, oblivious to all external sounds. The uneventful
settling into the house suddenly takes a U-turn when Ben inexplicably tries to
drown Davey in the pool during a maniacal episode of unprovoked rage. Later
that night, Ben, contrite and baffled by his own behavior, dreams of his
mother’s funeral when he was just a young boy. In the dream, cinema’s scariest
chauffeur smiles at him. As the film progresses, a series of near-fatal
“accidents” that threaten the very fabric of the family unit and their physical
well-being leaves the viewer wondering why they just do not simply leave. It is
in this respect, as well as the film’s denouement, where the film triumphs over
the novel.
The one image people tend to remember
from this film more than any other is Anthony James’ frightening turn as the
chauffeur. His smile behind the dark sunglasses is rumored to have made teenage
girls scream as they watched it in a theater or, more often than not, at
sleepovers.
Dan Curtis, the creator of the popular
TV show Dark Shadows, used his TV
crew to make this film, much like Alfred Hitchcock did when he filmed his
self-proclaimed “fun picture” Psycho
(1960). Fortunately, he shot the film with a cinematic eye, which results in
some very interesting camerawork by Jacques R. Marquette. He employs the use of
low-angle shots with the idea of the theatrical audience in mind, “looking up”
at the actors on the screen. I wish that I had seen this film in a
theater!If you have the patience to
watch a thriller that takes its time, Burnt
Offerings is well worth seeing.
Kino
Lorber has done right by Burnt Offerings
and offers up a beautiful, much improved transfer over the original MGM/UA 2003
DVD which was drab, muted and lacking in detail. Originally scheduled for
release on laserdisc in 1997, the project was postponed and eventually scrapped
altogether due to MGM’s inability at that time to secure suitable film elements
for the transfer. The print used here is fairly free of dirt and the increased
resolution from the high definition gives the image a much-needed boost. The
film was shot in August 1975 and I originally thought that it was designed with
a soft look, but that was just due to the lackluster transfer (the VHS tape,
with Macrovision, was even worse!).
The film’s sound, which was problematic
on the VHS and DVD transfers, is also much improved. The dialog is now more
intelligible and Robert Cobert’s musical score, indubitably one of the
creepiest and most frightening scores ever written for a film, fairs far better
here, too. The mix is monaural. Kino, for some reason, does not provide
subtitles, so if you want them hold onto the 2003 DVD.
A soundtrack album for Burnt Offerings was finally issued in 2011 and is out-of-print, but worth seeking out.
If you love this film as much as I do,
purchasing this Blu-ray is a no-brainer. Another thing that Kino Lorber has
done, and they really need to be commended on this, is include the original
United Artists/Transamerica logo that appears before the film begins. This may
not seem like a big deal, but to us die-hard film aficionados, this is a huge deal.Seeing a film from the very start of the
first frame is very important, and the studio logo before a film begins is not
separate, it is a part of the film viewing experience. The Warner Brothers logo
that opens William Friedkin’s The
Exorcist (1973) is so integral to the film that as the movie starts, the
music begins playing over the studio
logo. Billy Goldenberg’s icy music plays over the “Universal/An MCA Company”
logo in Steven Spielberg’s Duel as
does the underwater machinery in Jaws
prior to that film’s start.In the 1980s,
it was possible to see these logos before a film’s start as most of the
transfers were done from theatrical prints. As we got into the 1990s and the
2000s and telecine transfers became more common, the original studio logos were
being replaced with the newer and fancier studio logos.Now, the original studio logos are really in
danger of disappearing altogether (Youtube is really the only place to see
them). Unless companies like Kino Lorber, which really have the cineastes’ best
interests at heart, continue their excellent work of retaining the original
film logos, those very logos will become a lost part of cinema history.
The Blu-ray disc includes the following
extras:
The theatrical trailer
The first commentary is with Karen
Black, Dan Curtis, and the film’s screenwriter William F. Nolan and has been
ported over from the original 2003 MGM/UA DVD release. I wish that they all had
viewed the film prior to the
commentary, as some of their comments are truly unbelievable. This commentary
is a riot to listen to.
There is a second commentary on here
recorded in 2015 by film historian Richard Harland Smith, and it is one of the
most entertaining, insightful and informative commentaries that I have ever
listened to. Mr. Smith got me thinking about things that I never thought of
before, particularly in regard to Marian’s distancing from her family, and even
manages to tie in a discussion about the Vietnam War. He speaks at length about
the meaning behind the film’s title in addition to the notion of the “Old Dark
House” where evil lurks.
There are onscreen interviews with the
late Anthony James (he played the chauffeur), Lee Montgomery (he played Davey)
and William F. Nolan (he wrote the screenplay).
Kino
Lorber has retained the film’s effective key art for the cover.
Burnt Offerings was
the first thriller I ever saw and it made an indelible impression on me that
has stayed with me for the past 43 years. A superb release, especially at the
end of October!
The YouTube channel Old School Cinema makes a convincing case that the Oscars have long been snubbing great westerns. There aren't too many westerns made today, but over the decades it was one of the most popular genres. See if you agree that these chosen films deserved Oscar recognition.
This
absolute gem of a film has finally received the Criterion treatment in high
definition. Paper Moon was already a delight, but now it’s even more so.
Based
on the decently-selling 1971 novel Addie Pray by Joe David Brown,
Paramount Pictures had scooped up the rights and had secured John Huston to
direct it with Paul Newman starring with one of his daughters. The project fell
apart and it was offered to Peter Bogdanovich, who was flying high after the
huge successes of The Last Picture Show (1971) and What’s Up, Doc? (1972).
Bogdanovich
read the script written by Alvin Sargent and wasn’t particularly thrilled about
it. His former wife, Polly Platt, with whom he was still friendly and worked with on
previous pictures (she was production designer for three of his recent movies)
read it and convinced him to do it. She even suggested Tatum O’Neal as the
star. After visiting Ryan O’Neal and Tatum at their Malibu home, Bogdanovich
was convinced Tatum could do it, and then went the whole way and asked Ryan to
star as well, making it a true father-daughter one-two punch. After rewrites
with Sargent on the script, the director then knew the movie had to be made.
Set
during the Great Depression of 1930s Kansas, Nebraska, and Missouri, the story
is the tale of an orphaned girl, Addie (Tatum, who was eight and nine when the
picture was made), who meets a dubious con man, Moze (Ryan) at her mother’s
funeral. She suspects that he’s really her “daddy.” One thing leads to another,
and some locals convince Moze to give Addie a ride to her aunt’s house in St.
Joseph. Along the way, Addie witnesses Moze’s attempts at conning strangers out
of their money. Moze even convinces the brother of the man who accidentally
killed Addie’s mother to give her $200. The mistake he then makes is spending
it on a new car. Addie is wise beyond her years, so she extorts him to pay back
the money that is legally hers. Thus begins a road trip movie across the
Midwest, where the reluctant “father and daughter” participate in more con
games, meet a ditzy stripper, Trixie (the fabulous Madeline Kahn) and her
teenage black maid, Imogene (P. J. Johnson), get in trouble with the law, and
other sometimes hilarious, other times touching, vignettes. One of the
overriding questions in the film—Is Moze really Addie’s father?—hangs
over the proceedings, and it’s up to the audience to decide the answer.
Paper
Moon is
easily one of Bogdanovich’s better pictures, the crowning touch of a master
trilogy of titles that began with The Last Picture Show. Upon its
release, the movie was an immediate box office hit. Tatum O’Neal became the
youngest performer ever to win an Oscar—Best Supporting Actress—for her
remarkable work. Madeline Kahn was also nominated for Supporting Actress, the
script was up for Adapted Screenplay, and the movie’s Sound got the nod. Why it
didn’t receive a Best Picture nomination is a mystery, and it’s especially
surprising that Ryan O’Neal did not get a nomination. This reviewer believes Paper
Moon is the actor’s crowning achievement. But, indeed, the movie belongs to
Tatum O’Neal. There are not many child performances in the history of cinema
that can touch hers.
The
Criterion Collection’s new 4K digital restoration, with uncompressed monaural
soundtrack, looks beautiful in László
Kovács’s glorious black and white cinematography.
Criterion has released the film in a 2-disk 4K UHD edition (that also includes
the Blu-ray and supplements) as well as the single disk Blu-ray. The film comes
with the 2003 audio commentary by Bogdanovich, ported over from the Paramount
DVD. The director is always an entertaining spokesman with wonderful stories
about the making of the movie.
Supplements
include a new video essay on the film by Peter Tonguette (Bogdanovich’s
biographer), the 2003 Introduction to the film by Bogdanovich, an archival
interview with Polly Platt, Platt’s home movies of location scouting, a
port-over from 2003 of a three-part “making of” documentary featuring
Bogdanovich, Platt, producer Frank Marshall, and Kovács;
and an absolutely terrific excerpt from The Johnny Carson Show when
Bogdanovich and both O’Neals appeared as guests. The theatrical trailer rounds
up the package. An essay by critic Mark Harris appears in the enclosed booklet.
Paper Moon is for fans of director Bogdanovich, Ryan and
Tatum O’Neal, 1970s “New Hollywood,” Depression-era tales, and poignant comedy.
Highly recommended.
Quincy Jones, one of the most famous and distinguished names in the history of modern music, has passed away at age 91. Jones was the very definition of "multi-talented": he composed, conducted, produced and wrote songs. He was the recipient of 28 Grammy Awards and worked with some of the greatest names in the music industry. His collaborations with Michael Jackson produced three hit albums, one of whicn- "Thriller"- is the top-selling record album of all time. Jones also had notable collaborations with Frank Sinatra that showcased both artists at their best. Jones was a top name in composing music for movies and television. Among his memorable creations for T.V. were the classic themes for "Roots", "Sanford and Son" and "Ironside". His film soundtracks include "In the Heat of the Night", "The Getaway", "The Anderson Tapes", "Bob & Carol & Ted & Alice", "The Hot Rock", "Mackenna's Gold", "The Italian Job" (1969 version) and "Mirage", among many others. Perhaps his greatest achievement was organizing "We Are the World", the legendary 1985 concert to benefit famine relief. Jones used his clout to get a "Who's Who" of international music legends together to perform. For more about his life and career, click here.
Canon Films was a sensation in the movie industry during the 1980s. The ailing company was acquired by partners Menahem Golan and Yoram Globus, who quickly brought to the screen an eclectic array of low-to-middle range budgeted films. The company was not interested in producing high art and their range of product ran from exploiting the latest trends (i.e break dancing) to action movies aimed squarely at audiences that weren't too discriminating and who just wanted some fun flicks to indulge in. Sometimes their films sank at the boxoffice but more often than not they returned a good profit. Occasionally, they hit paydirt, as in their successful efforts to make Chuck Norris into a bankable leading man. The studio also became a one-stop employment agency for the aging Charles Bronson, whose glory days with the big studios were over. Cannon Films gave Bronson a new lease on life with a seemingly endless string of urban crime thrillers. Some were lousy (the "Death Wish" sequels) while others proved to be rather good and that Bronson still had the power to attract audiences. Golan and Globus weren't chasing Oscars, just good return on investment. By the late 1980s, however, the formula was showing signs of stress. The partners decided to go a bit upscale by securing the screen rights to famed adventure novelist Alistair MacLean's 1981 novel "River of Death". The film sank at the boxoffice but, like many Canon films, has enjoyed popularity through home video and streaming. MacLean, who passed away in 1987, was, for a while anyway, a surefire name to attract movie audiences via such high profile titles as "The Guns of Navarone", "Ice Station Zebra" and "Where Eagles Dare".
"River of Death" is set in the mid-1960s and presents Canon's in-house hunky action star Michael Dudikoff as John Hamilton, a freelance adventurer-for-hire who is engaged by a disparate group of suspicious people to help them find a legendary lost city deep in the inhospitable Amazon jungle. His primary client is Heinrich Spaatz (Donald Pleasence) who presents himself as a Holocaust survivor who lost his family in the Dachau concentration camp. However, due to a dramatic prologue, we know that "Spaatz" is actually a surviving member of the Nazi high command. Ostensibly, the group is supposed to be investigating the outbreak of a mysterious disease that is devastating a tribe in the jungle. In fact, Spaatz is trying to locate his old nemesis and fellow surviving Nazi big wig Dr. Wolfgang Manteuffel (Robert Vaughn) who had schemed with Spaatz to abscond with treasures of the Third Reich during the hectic final days of the war. However, Manteuffel double-crossed him and left him for dead. Spaatz suspects that the mad doctor is with the tribe, where he is unleashing his quack medical experiments with deadly results. We won't belabor the plot other than to say that the group Hamilton is leading includes two gorgeous blonds and a local American ex-pat Eddie Hiller (L.Q. Jones), who is an expert helicopter pilot who can deliver the group to where they will embark on the Amazon up river by boat. Needless to say, there are plenty of revelations along the way and the streetwise Hamilton is suspicious about the group's motives. They also meet the local corrupt police chief Col. Ricardo Diaz (Herbert Lom), who is determined to find out what the group is really up to.
I have not read MacLean's novel but it becomes clear that it was inspired in part by Joseph Conrad's "Heart of Darkness", as was "Apocalypse Now", which explains why there are similarities between this film and Francis Ford Coppola's classic. Under the competent direction of Steve Carver, the production is better than most Canon fare. The movie was supposed to be shot in Brazil, but the penny-pinching Golan and Globus decided they could shoot it in South Africa for lower costs. That's because South Africa was an international pariah at the time due to its unspeakably cruel apartheid practices. Major movie studios refused to shoot films there, but Carver, claiming his was "non-political" took the job and ended up getting sanctioned by the Director's Guild of America. Carver came to rue his decision before that happened simply because of the inhospitable locations he had to film in. He would later say they were so dangerous that it was amazing no one in the cast and crew was murdered. Nonetheless, this particular Canon film has some higher production values than most of the studio's fare. It also has some genuine suspense and impressive cast. Dudikoff makes for a suitable leading man and he can actually act. The film also benefits from the likes of Pleasence, Lom and Jones, all of whom have meaty roles. Although Robert Vaughn gets second billing, he only appears briefly in the prologue and again at the finale, filling the role of the Colonel Kurtz-like figure who has managed to preside over a tribe of savage warriors. In Manteuffel's case, however, he isn't regarded as the god-like figure Kurtz was. Rather, he enforces his control over the tribe with an army of heavily armed neo-Nazis.
I don't want to overstate the merits of "River of Death" because when one reviews a Canon production, your thumb has to firmly placed on a scale in terms of comparing it to most of their films. However, the movie moves at a brisk pace and contains some genuinely exciting action scenes. In the finale, you get to see an iconic T.V. hero, Napoleon Solo (Vaughn) squaring off against an iconic Bond villain, Ernest Stavro Blofeld (Pleasence). For that memorable moment in pop culture alone, the film is worth viewing.
("River of Death" is currently streaming on Amazon Prime and MGM+.)
Cinema Retro has received the following press release:
Norman Lear: His Life & Times, the first comprehensive
biography of the eponymous TV pioneer by show business historian, entertainment
journalist and author Tripp Whetsell, will be released by Applause Books on
November 11th.
Hailed by Publisher’s Weekly as a “fitting tribute to a
consequential figure in television history,” it is the first in-depth biography
of the iconic writer, producer and social activist, who beginning in the early
1970s, forever altered America’s television landscape with such groundbreaking
situation comedies as All in the Family, Maude, Good Times, The Jeffersons, One
Day at a Time and Mary Hartman, Mary Hartman.
While much has been written about Lear, Whetsell
demonstrates there is still a lot more to be learned about “the man in the
white hat,” who was arguably the first behind-the-scenes television figure to
become a bona fide celebrity in his own right, whose multi-award-winning
taboo-busting sitcoms averaged as many as 120 million viewers a week during
their peak.
Whetsell currently teaches the only college-level course
about Lear and his classic sitcoms at their alma mater, Boston’s Emerson
College, in which Lear appeared as a guest via Zoom twice. He was also
the only journalist to interview Lear exclusively for a 40th anniversary
retrospective of All in the Family for TV Guide in 2001.
From his birth in New Haven, Connecticut in July 1922 right
up until his death in Los Angeles in December 2023 at the age of 101, Lear’s
life is told in thorough, meticulous detail with unflinching candor, including:
How his father’s three-year prison sentence when he was just
nine years old, coupled by his mother Jeanette’s emotional indifference and
hearing the infamously anti-Semitic rhetoric of pro-fascist broadcaster Father
Charles Coughlin, would linger in Lear’s psyche for the rest of his life.
How he became one of the highest paid comedy writers in the
young medium of television during the early 1950s, penning variety show
sketches for the likes of Martin & Lewis, Martha Raye, George Gobel and
others.
Lear’s equally prolific turn writing and producing films
throughout the 1960s followed—Come Blow Your Horn starring Frank Sinatra, Divorce
American Style, starring Dick Van Dyke and Debbie Reynolds and The Night They
Raided Minsky’s co-starring Jason Robards and Elliot Gould in his first major
film appearance.
His many creative and personal battles with network censors
and actors Carroll O’Connor, Redd Foxx, John Amos, Esther Rolle, Louise Lasser
and others.
His tumultuous first two marriages and complex relationship
with longtime producing partner Bud Yorkin.
His decision to walk away from weekly television at the
height of his fame and the top of his game in 1978 to devote more time to
social activism.
His multiple sitcom comeback attempts in the decades that
followed, all of which failed, before finally hitting pay dirt in the early
2020s, first with Latino reboot of One Day at a Time and the three Live in
Front of a Studio Audience specials in which his beloved sitcoms were
reimagined resulting in Lear becoming the oldest Emmy winner ever two years in
a row.
Tripp
Whetsell
is the author of The Improv: An Oral History the Comedy Club That
Revolutionized Stand-Up (with founder Budd Friedman and a Foreword by
Jay Leno), which was named one of the best comedy books of 2017 by ABC News, The
New York Times and the New York Post. He is a media studies professor at
Emerson College in Boston. As an entertainment journalist, he has covered TV,
film, comedy and other aspects of popular culture for more than two decades and
his articles have appeared in Vulture, The New York Times, Los Angeles Times,
VanityFair.com, The Wall Street Journal, Variety and The Hollywood Reporter. He
lives in New York City and Westhampton Beach, Long Island. Norman Lear: His
Life & Times is his fourth book
Cinema Retro has received the following press release from Sony Home Entertainment:
FOR IMMEDIATE RELEASE
“…one of the definitive TV sitcoms of all time.” –
Variety
SEINFELD: THE COMPLETE SERIES
The Iconic, Hilarious, Beloved, Emmy® Award-Winning, Yada
Yada Yada…
Show About Nothing Finally Debuts on Blu-ray Disc™ and 4K
Ultra HD™ Disc December 17th
Celebrating The Series’ 35th Anniversary and 100 Years of
Columbia Pictures
CULVER CITY, Calif. (October 30, 2024) – All of the
catchphrases, all of the memorable characters, all
of the misunderstandings, all of the unforgettable hilarity
of one of the best television shows of all time:
SEINFELD: THE COMPLETE SERIES finally comes to
Blu-ray Disc and 4K Ultra HD Disc on
December 17th, just in time for Festivus and other holiday
occasions!
Packed with all nine seasons of the historically acclaimed
series plus hours of insightful special features—
from deleted scenes to inside looks to cast & crew
commentaries and more.
SEINFELD: THE
COMPLETE SERIES is presented in two separate
editions: a Blu-ray edition featuring a high definition
presentation of the series in a 1.78 format, and a limited
edition 4K Ultra HD edition featuring the entire
series presented in 4K resolution with High Dynamic Range at
its original 1.33 aspect ratio.
Long-awaited by fans, SEINFELD: THE COMPLETE SERIES
is finally making the leap from standard
definition discs following an extensive and comprehensive 4K
upgrade for the series, and is perfectly timed for the series’ 35th
anniversary, as well as to conclude the 100th anniversary of Columbia Pictures.
In addition to the physical sets, SEINFELD: THE COMPLETE SERIES is also
available for purchase at participating digital retailers.
SEINFELD: THE COMPLETE SERIES DISC DETAILS
BLU-RAY EDITION
• 24 Blu-ray Discs
• Episodes presented in 1.78:1 High Definition on Blu-ray
Disc; English DTS-HD MA 5.1 Audio
• Special Features include Audio Commentaries, Deleted
Scenes, Bloopers, Inside Looks and Alternate
Versions of Select Episodes
4K ULTRA HD EDITION – the 4K Ultra HD set is a
limited edition.
• 24 4K Ultra HD Discs
• Episodes presented in 1.33:1 at 4K resolution with HDR10;
English DTS-HD MA 5.1 Audio
• Special Features include Audio Commentaries, Deleted
Scenes, Bloopers, Inside Looks and Alternate
Cinema Retro has received the following press release pertaining to the UK limited edition of "Captain Kronos: Vampire Huner"
LONDON, UK (31/10/24): This Halloween, Hammer Films
invites horror fans to experience an unparalleled celebration of the
studio’s legendary legacy. The highly anticipated 4K Ultra HD/Blu-ray™
release of a brand-new 4K restoration of Captain Kronos Vampire Hunter becomes available for pre-order on Thursday 31st October, marking the cult classic’s 50th anniversary.
The home entertainment announcement kicks off Hammer Films’ 90th
anniversary celebrations including a partnership with Sky Arts for the
premiere of Deep Fusion Films’ new documentary Hammer: Heroes, Legends and Monsters, a deep dive into the iconic studio’s legacy which will be shown exclusively on Sky Arts at 9pm on 31st
October. Throughout November, Sky Arts is then screening a selection of
classic Hammer horror to honour the 90th anniversary on 9th November.
Hammer Films brings cult classic Captain Kronos Vampire Hunter
back to life as the first stunning 4K restoration from the new Hammer
team, under John Gore’s leadership. Written and directed by the
legendary Brian Clemens (The Avengers, The Professionals) and
originally released in 1974, this swashbuckling horror film has been
meticulously restored from the original film negatives. It will be
celebrating its 50th anniversary with a limited collector’s edition
5-disc set (2 UHD discs and 3 Blu-rays™) enclosed within a high-end,
leather-feel slipcase with debossed red foil titling. Available for
pre-order on 31st October, the limited collector’s edition features:
Three presentations of the film: UK Theatrical, US Theatrical and As-Filmed Versions
Brand-new
documentary on Brian Clemens’ life and work by Chris Chapman, featuring
interviews with Brian’s colleagues, friends and family
Brand-new introductions and commentary by Hammer icon and star Caroline Munro and Brian Clemens’ sons, Sam and George
Previously unseen interviews with Brian Clemens and star Horst Janson
Brand new artwork by world-renowned artist Graham Humphreys
High-end
collectible packaging featuring the 5 discs, a double-sided poster, art
cards, new booklet on the making of this cult classic and 100-page
comic featuring a reprint of the Kronos strips from the legendary 1970s
magazine The House of Hammer
A film that has only grown in significance since its 1974 release, it
mixes swashbuckling action with horror; a bold and innovative departure
for Hammer and one that continues to inspire filmmakers today.
This release not only revives a Hammer classic but reaffirms the
studio’s commitment to restoring its cinematic treasures for today’s
horror enthusiasts and dedicated collectors worldwide.
It is the first 4K restoration from John Gore’s Hammer team and an
essential collector’s edition that offers a deep dive into the film’s
creation and legacy. With extensive bonus materials, including new rare
interviews and archival commentaries, it offers fans an unprecedented
look behind the scenes of one of Hammer’s most innovative films.
“Captain Kronos Vampire Hunter represents the adventurous spirit of
Hammer in the 1970s - a bold blend of horror, action and fantasy that
was ahead of its time. This 4K restoration allows us to finally present
the film in its full glory, and I’m thrilled that it’s the first of many
Hammer Films restorations.” says John Gore, Hammer Films’ CEO and
Chairman.
Leading lady Caroline Munro reflects “I have such fond memories of
working on Captain Kronos. It was a true passion project and seeing it
restored in 4K is like watching it with new eyes. Fans are in for a real
treat with this release - it looks stunning and captures all the
excitement we felt making it.”
Sam Clemens, son of writer/director Brian Clemens, echoes this
sentiment: “My father was always proud of Captain Kronos. He saw it as a
fresh take on the vampire mythos and a character who could have spawned
a series. This 4K restoration is the version he would have wanted fans
to experience.”
NOTE: WE HAVE BEEN ADVISED THAT THIS VIDEO IS REGION-FREE!
Pre-order the limited edition Captain Kronos: Vampire Hunter 4K Ultra HD/Blu-ray™ on 31st October atwww.hammerfilms.com
Film critic Ann Thompson worked on early John Carpenter movies as a press agent, including the original 1978 horror classic "Halloween". In 2018, Thompson reunited with the director and actress Jamie Lee Curtis to reminisce about the making of "Halloween", which was made for a relatively small budget and became a boxoffice blockbuster. Carpenter also discusses how his superb remake of "The Thing" made him cynical about working with major studios after it under-performed at the boxoffice- a fate that was blamed on his ambiguous ending to the movie. Click here to read.
Actress Teri Garr has died at age 79. She had been suffering for years from serious illnesses related to multiple sclerosis. Garr had a hard scrabble life beginning with the death of her father when she was 11 years old. Her family moved numerous times before settling in Los Angeles. Garr graduated from North Hollywood High School. She took an interest in acting was ultimately accepted to study at the Actors Studio. She proved to be a good dancer, which helped during the go-go mania days of the 1960s. She was a dancer on "The Sonny and Cher" TV program and appeared as a dancer in numerous Elvis Presley feature films. Garr gained acclaim for her brief but memorable role in Francis Ford Coppola's 1974 classic "The Conversation". Stardom followed when Mel Brooks cast her in his hit comedy "Young Frankenstein". She would later receive praise for her performance in Steven Spielberg's 1977 sci-fi classic "Close Encounters of the Third Kind" and an Oscar nomination for the 1982 comedy classic "Tootsie" starring Dustin Hoffman. She also starred opposite Michael Keaton in "Mr. Mom". She would also have a recurring role in the TV series "Friends". (Lee Pfeiffer)
The
most horrifying scene in Robert Aldrich’s 1956 movie, Attack!, occurs when Lieutenant Joe Costa’s arm is crushed by the
wheels of a German tank and he screams in excruciating agony. This scene is
difficult to watch and some viewers inevitably turn away, their eyes and minds
incapable of imagining such unbearable pain. Incredibly, Costa doesn’t die. He
forces himself to try to wrench his crushed arm from under the wheels. He has
stay alive long enough to fulfill a promise he made to Captain Erskine Cooney.
He must stay alive so he can kill Cooney.
Robert
Aldrich was a skilled director whose distinctive approach to familiar film
genres was overlooked for most of his career, at least in his home country of
the United States; in Europe, his expertise was recognized as early as the
1950s, the first decade of his directing career. He began working in Hollywood as
a Third Assistant Director in 1941 and was promoted to Second Assistant Director
the following year. In 1952, he began his directing career on television in such
series as The Doctor, China Smith and Four Star Playhouse. He directed his first feature film in 1953, a
low-budget sports drama for M-G-M called Big
Leaguer that didn’t make much of an impression. However, in 1954, he directed
two major Westerns, Apache and Vera Cruz, that were box-office
successes and elevated him to the status of a bankable director.
Over
three decades, Aldrich directed 29 movies. He was always a maverick, personally
and professionally, which caused many difficulties with studio executives who
resented his independence. As a result, he eventually formed his own production
company, The Associates and Aldrich, which would allow him the freedom to
express his unique personal vision without studio interference. In 1955, two of
his films were released. Kiss Me Deadly
is a seminal film noir and The Big Knife
is a searing indictment of Hollywood that starred Jack Palance in the first of
three movies he would make with Aldrich. Neither movie was as commercially
successful as the two Westerns but their critical acclaim added to his prestige,
though the latter film’s portrait of fictional studio executives didn’t endear
him to their real-life counterparts.
Throughout
the rest of Aldrich’s career, he directed some great films, including the
subject of this article, Attack!, as
well as The Flight of the Phoenix
(1965), The Grissom Gang(1971),
Ulzana’s Raid (1972) and Twilight’s
Last Gleaming (1977). (Note: These are my personal favorite Aldrich movies.
Many critics called The Grissom Gang
disgusting and depraved but failed to see the genuine emotion beneath the
superficial unpleasantness. Twilight’s
Last Gleaming did not draw large audiences but it is a powerful conspiracy
thriller about the Vietnam War and, indirectly, the assassination of President
John F. Kennedy.) He also directed some very good movies such as the
above-mentioned Apache, Vera Cruz, The Big Knife and Kiss Me
Deadly as well as The Last Sunset
(1961), Whatever Happened to Baby Jane? (1962)
and Hush…Hush Sweet Charlotte (1964).
In addition, his resumé includes such box-office hits as The Dirty Dozen, (1967), The
Longest Yard (1974) and Hustle (1975). (Note: Though these are
his most commercially successful movies, I feel that they don’t reflect the
intensity of personal commitment that infuses my favorites.) Yes, he made some
mediocre movies including The Angry Hills
(1959), 4 for Texas (1963), The Killing of Sister George (1968), The Choirboys (1977) and The Frisco Kid (1979) but every great
artist makes some mistakes. (Note: Comedies were not Aldrich’s specialty so
whatever possessed him to make two humorless Western comedies is a puzzlement.)
Incidentally,
detailed analyses of Robert Aldrich’s movies along with his personal opinions
about them can be found in the following books: The Films and Career of Robert Aldrich by Edwin T. Arnold (The
University of Tennessee Press; 1986), Whatever
Happened to Robert Aldrich by Alain Silver and James Ursini (Limelight
Editions; 1995) and Robert Aldrich
Interviews edited by Eugene L. Miller, Jr. and Edwin T. Arnold (University
Press of Mississippi; 2004). These books were helpful in the preparation of
this article. My memory has also been of assistance. I was a 14-year-old boy
when I first saw Attack! at the Park
Theater in Woonsocket RI. The image of that tank rolling over Jack Palance’s
arm along with his piercing scream and agonized reaction scared the living
daylights out of me. This was probably the director’s intention since he refers
to Attack! as an anti-war movie. It
certainly made me anti-war. It also helped to make me anti-authoritarian. After
I was drafted several years later, I superimposed Eddie Albert’s face on every
officer that I encountered and referred to every captain as ‘Erskine.’
Following
the formation of his own company and the release of The Big Knife, Aldrich wanted to direct a movie about World War II.
His primary objective was to make a movie that portrayed the detrimental
effects of war upon individual men and how it leads to extremely commendable acts
from some men and extremely contemptible acts from others. After being unable
to secure the rights to Irwin Shaw’s novel, The
Young Lions, and Norman Mailer’s novel, The
Naked and the Dead, Aldrich read Norman A. Brooks’ play, Fragile Fox, and purchased the film
rights.
Fragile Fox opened on Broadway
on October 10, 1954. The review by ‘Bron’ in Variety mentioned the play’s
virtues but emphasized its faults: “Fragile
Fox, reportedly based upon the playwright’s personal experiences, is a
frequently sturdy melodrama. The story revolves around two lieutenants who are
in friction with their two superiors. One is a cowardly drunken captain who is
responsible for the deaths of several of his men and the other is a
materialistic colonel. Dane Clark brings drive and conviction to the part of Lieutenant
Costa. Don Taylor impresses as Lieutenant Woodruff. Andrew Duggan is convincing
as Captain Cooney and James Gregory is effective as Colonel Bartlett. However, the
humor of the first act is forced and hackneyed. The story picks up speed in the
second act but flaws in characterizations curb enthusiasm and interest. Odds
are against its box-office success.”
According
to Variety, newspaper theater critics
provided two affirmative reviews and five negative reviews (including one from
the influential Brooks Atkinson in The
New York Times) for Fragile Fox. With
tickets ranging from $4.60 to $5.75, the play earned $11,000 the first week and
$8,500 the second week. In order to hopefully increase attendance, on November
7, Dane Clark and Don Taylor performed a scene from the play on the CBS
television variety series, EdSullivan’s Toast of the Town. However,
audiences continued to decrease. For the seventh week, receipts were only slightly
over $7,000. On November 27, the play closed at a loss of approximately $60,000
on a $70,000 investment. (Note: Norman A. Brooks never wrote another play.)
Despite
its failure on the stage, Fragile Fox
contained themes and characterizations that appealed to Robert Aldrich. Since
United Artists had released four of his five previous movies, Aldrich arranged
for UA to distribute his war movie which he was producing through his Associate
and Aldrich company. The reported budget for the film was $500,000. He financed
the film with a bank loan and an advance from United Artists. He signed James
Poe, who had scripted The Big Knife,
to write the screenplay. After reviewing
the script, the Department of Defense and the U.S. Army refused to provide
equipment and assistance to Aldrich. Congressman Melvin Price, a member of the
Armed Service Committee, accused the Defense Department for its apparent
censorship of a movie due to its negative depiction of some Army officers. The
American Veterans Committee also criticized the Defense Department for refusing
to acknowledge the reality of spineless officers during the war though it had
no objection to films that depicted the weaknesses of enlisted men. Nevertheless,
Aldrich had to purchase or rent all of the military equipment, including two
tanks. Exterior shots were filmed at the Albertson Ranch in Triunfo California.
Interiors were filmed at the RKO Studios and Universal Studios. Filming was
completed within 31 days in January and February, 1956. The new title given to
the movie was Attack!. (Note: Posters
for the movie and the trailer include an exclamation point after the title;
however, in the actual title credit on screen, there is no exclamation point.)
Incidentally,
there is a historical basis for the events depicted in the play and the movie.
Aachen was a city in Germany bordering Belgium. In April and May of 1944,
Allied air raids reduced much of the city to wreckage. After the air raids,
what remained of the city was destroyed by American armed forces and Nazi
defenders during the Battle of Aachen which occurred in October 1944. Aachen
became the first German city to be occupied by U.S. Army forces. The last major
German offensive, known as the Battle of the Bulge, occurred around the
Ardennes Forest in Belgium and Luxemburg and lasted for five weeks from
December 1944 to January 1945.
James
Poe’s adaptation of Brooks’ play is a prime example of how to capture the
essence of a play while expanding its potential through the medium of the
cinema. And if ever a play was more suited to the screen than to the stage, it
was Fragile Fox. However, though
Poe’s screenplay is excellent, Robert Aldrich is the auteur behind this movie. Because
the story involves extremely tense emotions of the two main characters, director
Aldrich is able to highlight these emotions far more effectively with the use
of close-ups and the careful placement of characters within each scene. This
type of character placement is also of great value in depicting the various
relationships that are integral to the development of the story. Aldrich also
developed personalities and relationships by filming some scenes from overhead,
others though windows and doorways and still others behind precisely-positioned
props. Most importantly, battle scenes which could only be related on the stage
are depicted with brutal realism on the screen by the director. Fragile Fox probably failed on Broadway
because the stage is not the type of medium that can fully depict the horrors
and insanity of war that film can so vividly display. And Aldrich superbly
emphasizes war’s brutality and senselessness with scenes that explode on the
screen with shocking impact.
Robert
Aldrich’s direction is assured from the first scene. A title card states simply
that the setting is ‘Europe 1944.’ The movie opens in the midst of a battle. A
National Guard Infantry Company, Fragile Fox, has been ordered by company
commander Captain Erskine Cooney to capture one of the last German strongholds
in the town of Aachen. But something is obviously wrong. Sergeant Ingersol and his
first squad are pinned down by enemy fire from a German pillbox. The squad
leader, Lieutenant Lathrop, has been killed. Ingersol is frantically awaiting
the support that Captain Cooney promised. Platoon leader Lieutenant Joe Costa,
who sent Lathrop’s squad on a reconnaissance mission, furiously tries to reach Cooney
but Cooney refuses to acknowledge his calls for help. As a result, the entire
first squad is slaughtered. Lt. Costa harbors his loathing of Cooney from this
disastrous battle. This initial sequence unfolds at a rapid pace that displays
the fatality of war directly by the explosions that tear human beings apart and
symbolically by the image of a helmet rolling down a hill to land next to a
single flower.
At
Fragile Fox headquarters, Lieutenant Harry Woodruff is the liaison between
battalion commander Lieutenant Colonel Clyde Bartlett and Captain Cooney.
Woodruff is torn between his empathy for Costa and his duties to his military
superiors. Woodruff asks Colonel Bartlett to transfer Cooney to a clerical
position but Bartlett refuses because he needs to earn the gratitude of
Cooney’s father, who is a powerful judge back home. This sequence reveals the
opportunism of Bartlett who doesn’t care that Cooney’s incompetence creates a
danger to his soldiers. It is also apparent that Cooney thought that by joining
the National Guard in his home state he would never come close to combat. Once
his company was activated, he sought the protection of his father’s law clerk,
Clyde Bartlett, who was willing to shelter Cooney for his own interests. It
will become clear that the deaths of the first squad’s 14 men mean nothing to
both of them. Cooney is more interested in his supply of bourbon than the lives
of his company’s soldiers. And Bartlett is only interested in ensuring his
future political prospects by securing a fraudulent citation for Cooney.
Outside
of company headquarters, the soldiers of Lt. Costa’s second squad worry that they
may suffer the same fate as the first squad. The soldiers include Sergeant
Tolliver, Private First Class Bernstein, Private First Class Ricks, Private
Snowden and Private Abramowitz, among others. The morale in the platoon is dangerously
low because of their contempt of Cooney. Aldrich emphasizes the hopelessness of
their situation by their jeers toward Cooney’s orderly, Corporal Jackson. It is
obvious that these soldiers feel that they have no recourse against the forces
that control their destiny. They place their trust in Lt. Costa who feels
responsible for the lives of his men. Costa is the only person who can openly
express his feelings about Cooney. He ventilates his anger initially by
slamming his hammer into metal in a blacksmith’s shop and then by openly
provoking Cooney in the poker game ordered by Bartlett. In this card game, the
director gradually builds the tension until the smoldering antagonism between
Costa and Cooney verbally and almost physically explodes.
Costa
is aware of the corruption of his superiors and openly expresses his rage
toward Cooney after the captain orders him to take his squad and test the
strength of the Germans in the nearby town of La Nelle. Seething with anger, he
tells Cooney that if he fails to provide support for him as he did with
Ingersol he will come back and kill him. After Costa discovers that La Nelle is
heavily occupied by German forces, Cooney again fails to send reinforcements and
the lives of several soldiers of the second squad are snuffed out. Only Costa,
Tolliver, Snowden, Bernstein and Ricks are left to take refuge in a farmhouse.
After they discover a German officer and soldier hiding in the basement, the enraged
Costa expresses his hatred of Cooney by forcing the officer out of the
farmhouse to be killed by his own men. Surroundedby superior German forces, Costa orders his
men to try to escape by racing back to headquarters.
Costa’s
threat to kill Cooney is the first indication of his lapse of judgement not
only because it is a court-martial offense but because it could be argued that
he is unintentionally ensuring Cooney’s betrayal of his squad. It is obvious by
this time that Cooney is so frightened of combat that he will be more than
willing to sacrifice another squad to ensure that Costa does not survive to
fulfill his threat. Moreover, Costa has tarnished his status as an officer even
further when he violates the Geneva Convention mandates by sending the German
officer to his death. These examples illustrate Aldrich’s intention to show the
effects of war upon good men like Costa. The fact that Costa desperately
recites the Hail Mary prayer is still another indication of how his essential
piety has been crushed.
Back
at Fragile Fox Headquarters, Colonel Bartlett castigates Cooney for his failure
to occupy La Nelle, not because of his concern for the slaughtered men but
because it makes him look ineffectual to the division commander, General
Parsons. Under increased pressure from his protector, Cooney’s consumption of
liquor increases and Woodruff shockingly witnesses his mental breakdown. Costa
then returns to exact vengeance upon Cooney and only stops when Jackson informs
him that the Germans are advancing upon headquarters and that his remaining
squad members are besieged in the cellar of a demolished building. He rushes
back to join his men and, after destroying one tank with a bazooka, has his traumatic
encounter with the second tank. Meanwhile, Woodruff and Jackson take refuge in
the cellar with Tolliver, Bernstein and Snowden. Threatened by Bartlett with
exposure and imprisonment, Cooney anxiously joins them. A short while later,
Costa appears dragging his mangled, blood-soaked, useless arm. He desperately
prays to God to find the strength to kill Cooney who cowers in terror. But he
collapses and dies, leaving Cooney to smile mercilessly over his body.
This
sequence illustrates the consequences of nepotism within the military that
places deranged and inept men like Cooney in command positions along with
unscrupulous men like Bartlett in higher positions of authority. At one point,
Woodruff says that such corruption only exists within their own company and
doesn’t represent the U. S. Army. This concession to the Defense Department was
apparently not enough to prevent their opposition to the film’s production. The
Defense Department apparently didn’t want even a slight suggestion that many
men, such as the soldiers of the first and second squads, died needlessly. They
wanted families back home to believe that their loved ones died heroically and
for a good cause. Of course, such official opposition to the movie would not
have occurred if the movie’s assertions were not true.
By
this point in the film, Aldrich has intensified the emotions of the characters to
a breaking point. Costa’s death is the heart-rending incident that pushes all
of the men over the edge. When Tolliver cradles Costa’s lifeless body and
openly sobs, Cooney’s sneers infuriate the remaining soldiers. The director
emphasizes the religious references at this time to perhaps suggest that
Cooney’s fate is now preordained. Prior hints of spirituality were indicated by
both Costa and Ricks making the sign of the cross. There was also the prominently
displayed picture of Jesus on the wall of the farmhouse. Bernstein was only
being partially facetious when he stated that a miracle saved his life. Most
egregiously, Costa died with a sin upon his lips by begging God to let him to rot
in hell if only he could live long enough to kill Cooney. When Bernstein asks
God to forgive Costa for his dying words, the stage is set for Cooney’s overdue
punishment.
Aldrich
makes it clear, by the placement of each of the men in relation to Cooney and
their expressions of revulsion, that God can forgive Costa but they can’t
forgive Cooney. As Cooney prepares to surrender to the German forces that he
believes are surrounding the cellar, Woodruff disregards his loyalty to the
Army and exacts his own brand of justice by shooting Cooney. To appease his
conscience, he then expresses his intention to confess his crime to his
superiors but Tolliver attempts to relieve him of his guilt by firing another bullet
into Cooney’s lifeless body. Bernstein and Jackson follow by also shooting
Cooney’s body, thus claiming equal responsibility for the captain’s death. Snowden
would undoubtedly have joined them but he had left the cellar to find out why
the Germans were no longer in the area.
Justice
has been exacted upon Cooney but Bartlett remains unscathed. Cooney was despicable
but it was Bartlett who enabled him to cause the deaths of so many men. When Bartlett
arrives with reinforcements who have routed the Germans, he informs Woodruff of
his intention to award a posthumous medal to Cooney for heroism. He attempts to
bribe Woodruff with a promotion if he agrees to sign a statement alleging
Cooney’s valor. Woodruff cannot accept this continued deceit and proceeds to
report his crime and everything that has preceded it to General Parsons. The
movie ends on this apparently hopeful note.
On
the surface, this appears to be a morally correct conclusion to the movie.
Woodruff is prepared to expose the truth of Bartlett’s dishonesty and Cooney’s
cowardice. However, he is forgetting that Tolliver told him truthfully that the
officers at his trial will only recognize the fact that he has killed a
superior officer and that the precipitating causes will not be admissible
evidence. In the Army, there are no absolute truths, only what the superior
officers deem to be the truth. Since Bartlett will deny Woodruff’s allegations,
the trial officers will undoubtedly believe
a colonel over a lieutenant. Furthermore, in order to reveal the truth of
Cooney’s death, Woodruff will have to report the culpability of the soldiers who
committed their crime to relieve him of his guilt. Thus, Woodruff will be
condemning his loyal soldiers to maximum punishment because the Army will not
condone under any circumstances the shooting of an officer by enlisted men,
even if the victim was already dead. Most egregiously, due to Bartlett’s status
as a colonel, he will probably succeed in his awarding of a citation for Cooney
and become the son to Judge Cooney that Erskine never could be.
It
is possible that Aldrich may have covertly suggested this depressing conclusion.
In support of this, Bartlett leaves with an expression of self-satisfaction
because he knows that his superior rank will outweigh the truth. In addition, the
last image of Costa is his anguished death grimace while Cooney, lying next to
him, displays a serene expression. It is perhaps a suggestion that Cooney will
prevail even after death and that the corruption within the Army as epitomized
by Bartlett is too pervasive. This pessimistic conclusion is not on the screen
but enters the minds of some viewers only after reflection.
The
hopeful ending is in the movie for 1956 audiences who suffered through four
years of World War II. When the movie was released, the war was only 11 years
in the past and still a painful memory for Americans, especially those who had
lost loved ones in the war. Audiences wanted and needed to believe that
officers like Cooney and Bartlett were aberrations. Costa’s heroism and
Woodruff’s integrity strengthened their faith in the morality of the U.S. Army.
Accordingly, it is possible that General Parsons will believe Woodruff and
confirm that the Army is an honorable institution. Perhaps Aldrich, deep in his
heart, harbored some degree of hope along with his cynicism and allowed the
ambiguity of the film’s ending.
Sony has released Volume 5 of their highly collectible Columbia Classics film series in 4K UHD. The set is superbly designed and includes a hardback, lavishly illustrated book containing background information on the films included in this set. There are also Blu-rays of each film along with digital codes to view them via streaming. Over 20 hours of special features are included. If that isn't enough, there is a bonus disc containing rare Columbia films from the 1920s. The packaging doesn't reveal what titles these are, so we'll spill the beans. The bonus features are all from the 1920s: The Belle of Broadway, Ladies of Leisure, The Desert Bride and The Scarlet Lady. Three of these films are presented in SDR but in 4K resolution. I have not examined the previous "Columbia Classics" releases but I can say that in terms of content and packaging design, this is the most impressive major studio video release I've seen this year.
These tend to sell out quickly and increase in value, so act fast! Here are the official details:
Columbia Classics 4K Ultra HD Collection Volume 5 (4K Ultra HD + Blu-ray + Digital)
Complete your Columbia Classics Collection with Volume 5!
Limited edition gift set
Featuring
six movies debuting on 4K Ultra HD disc, including three Best Picture
winners: ALL THE KING’S MEN, ON THE WATERFRONT, A MAN FOR ALL SEASONS,
TOOTSIE, THE AGE OF INNOCENCE and LITTLE WOMEN (2019)
Includes over 20 hours of new and archival special features, with commentaries, deleted scenes, making-ofs and much more!
Plus an exclusive extra disc featuring four rare Columbia Pictures films from the 1920s!
Expert private investigator Tom Welles
(Nicolas Cage) is hired to find out the authenticity of a recently discovered 8mm
film which seems to show the murder of a young girl. With help from an adult
video store worker named Max (Joaquin Phoenix), Welles looks into the hardcore
BDSM industry while attempting to figure out whether the 8mm movie is just a
work of fiction or an actual snuff film.
Solidly directed (and co-produced) by Joel
Schumacher and well written by Andrew Kevin Walker, 8MM is an engaging and, in my opinion, underrated neo-noir crime
thriller made in the wake of David Fincher’s
Seven (also written by Walker). The dark and disturbing film features a
terrific turn from the talented Cage (in one of his best performances) who is
supported by an equally talented cast which not only includes the
aforementioned Phoenix (who steals every scene he appears in), but also James
Gandolfini, Peter Stormare, Myra Carter, Anthony Heald, Catherine Keener and
Norman Reedus.
Lensed in New York, California and Florida, 8MM also greatly benefits from the
top-notch cinematography of Academy Award winner Robert Elswit, and the movie
comments on the greed, sadism and inhumanity that unfortunately lurks within
certain people.
8MM has been released on
a region-free Blu-ray and is presented in its original 2.35:1 aspect ratio. The
1080p High-definition film looks fantastic and the audio (Audio English DTS-HD
5.1 Surround + LPCM 2.0 Stereo) is also pretty decent. Special features include
an audio commentary by director/producer Joel Schumacher, a “making of”
featurette, an interview with Schumacher, and the original theatrical trailer.
This release is limited to 1500 copies and comes with a nice limited edition
slipcase. Recommended.