The
decade of the 1950s is generally considered to be director Alfred Hitchcock’s
most glorious period, stocked with some of his acknowledged masterpieces of
cinema (Strangers on a Train, Rear Window, Vertigo, North
by Northwest, etc.). Those ten years didn’t begin so promisingly, though.
In
the late 1940s, Hitchcock had finally broken away from the smothering contract
he had under producer David O. Selznick, and he had set out with a partner to
form his own production company, Transatlantic. The company made two box office
losers—Rope (1948, a failure despite being quite a good movie), and Under
Capricorn (1949, no question one of the filmmaker’s weakest pictures).
Transatlantic bombed, but Hitchcock continued to work with Warner Brothers, the
studio that had distributed these two titles.
Stage
Fright was
made at Elstree Studios in England and employed an all British crew and cast except for
the two female leads, Jane Wyman (under contract at Warners) and veteran star
Marlene Dietrich. The male leads were filled by reliable Michael Wilding (who
had been in Under Capricorn) and Richard Todd. Stealing the movie in a
supporting role, however, is Alastair Sim, the great comic actor who was very
popular at the time. Oddly, Sim’s first name is misspelled as “Alistair†in the
opening and closing credits of the film!
Eve
(Wyman) is a budding young actress, a student at the Royal Academy of Dramatic
Art, whose friend, Jonathan (Todd) has found himself in a pickle. Eve is sweet
on Jonathan, although the relationship is mostly platonic, for Jonathan is in a
relationship with the flamboyant star of the stage, Charlotte Inwood
(Dietrich). The problem there is that Charlotte is married… until her husband
is lying dead on the floor of their house, allegedly killed by Charlotte
herself. Jonathan has helped her cover up the crime, but he believes he was
seen by Charlotte’s housekeeper, Nellie (Kay Walsh). Jonathan, now the prime
suspect, gets Eve to hide him from the police, so Eve enlists her father, the
“Commander†(Sim) to help. Despite the Commander’s doubts as to what really
happened, he dutifully works with his daughter and Jonathan to avoid suspicion
from Detective Smith (Wilding). As the plot unfolds, Eve decides to do some
investigating herself and manages to bribe Nellie to go away for a while, and
Eve takes her place as Charlotte’s new Cockney housekeeper, “Doris.†Things get
complicated when Eve begins to fall for Detective Smith (and he for her). Eventually,
of course, the truth is discovered and the real killer is pursued through a
theatre building in grand Hitchcock style.
When
Stage Fright was first released, it received some criticism because the
film begins with a flashback narrated by Jonathan, explaining what happened at
Charlotte’s house with footage that “re-enacts†the crime. It’s not a spoiler
to say that this flashback turns out to be untrue. Hitchcock deliberately lets
us believe events occurred, when they really didn’t. Audiences and critics at
the time felt this was something of a cheat. However, this is a perfect example
of a trend that has cropped up in film and mystery novels quite often in the
last twenty years—the “unreliable narrator.†Is Stage Fright the first
instance in which the unreliable narrator device was used in cinema? Perhaps
not, but in 1950, it was perceived as new and unsettling. Now, this device is
fairly commonplace. It just goes to show how Hitchcock really was ahead of his
time!
That
said, Stage Fright is only middle-tier Hitchcock. It never reaches the
highs of the later masterpieces of the 50s mentioned earlier. The plot is
rather unbelievable, especially when Eve pretends to be the Cockney maid and
becomes a sleuth on her own. Wyman is fine in the role, but one questions her common
sense in sticking with Jonathan and his legal problems. The great Marlene Dietrich
performs exactly how one would expect… as the great Marlene Dietrich. She
exudes a deliciously sinister subtext to her actions, but we can see right
through it from the beginning. Richard Todd is never believable as an innocent
man, and this is a stickler. However, Alastair Sim is such a delight as Eve’s
crafty father that the movie is worth a watch just for him. Even weak Hitchcock
can be good fun.
Warner
Archive’s new Blu-ray release is a port-over from their previous DVD edition
from several years ago. The feature film looks marvelous in glorious black and
white high definition, and the London and English countryside locations are a
treat. The supplement “making of†documentary is also ported over from the DVD
release, along with the theatrical trailer.
Stage
Fright is
for fans of Alfred Hitchcock, Jane Wyman or Marlene Dietrich, and especially Alastair
Sim.
Click here to order the Region-Free Blu-ray from the Cinema Retro Movie Store.
The
early 1970s was a time of experimentation and risk-taking in Hollywood. Studios
were more willing to allow filmmakers to take a project and run with it, just
to see if something thrown at the wall would stick. After all, this was the
period of “New Hollywood,†maverick young directors just out of film school,
and pushing the envelope when it came to what was permissible on screen since
the Production Code was gone and the relatively new movie ratings were in
place.
Playboy
Enterprises got into the movie making business in the early 70s (see Cinema
Retro Vol. 2, issue #5 from 2006 for the magazine’s exclusive interview with
Hugh M. Hefner about Playboy’s film productions). After the critical success of
Roman Polanski’s Macbeth (1971), Playboy produced The Naked Ape (1973),
loosely adapted from Desmond Morris’ 1967 best-selling non-fiction book.
Morris’
book was an entertaining anthropological study of man’s evolution from primates
and how social norms and mating rituals, especially between males and females
for procreation, have more or less never changed since prehistoric times.
Morris had relatively nothing to do with the film adaptation, for the
filmmakers decided to make a “hip†comedy out of the concepts in the book,
illustrating how “unchanging evolution†still dictated man’s behavior.
The
idea probably looked good on paper. Perhaps the box office success of Woody Allen’s
loose, comedic adaptation of Everything You Always Wanted to Know About Sex (1972),
which was also parodied a best-selling non-fiction book, was an inspiration. However,
The Naked Ape, directed by avant-garde filmmaker Donald Driver, does not
possess the wit and brilliance of a Woody Allen or a Mel Brooks, who also might
have done wonderful things with the material. Instead, The Naked Ape is
a head-scratching curiosity that might have played somewhat well as a “midnight
movie†for college-age audiences in altered states of consciousness.
Johnny
Crawford (who had played Mark McCain in the TV series The Rifleman, now
grown up and looking hunky and handsome) is Lee, a college student infatuated
with Cathy (Victoria Principal, in an early film appearance), a tour guide in a
natural history museum. Through a series of fantasy vignettes, both live action
and animated, the film takes us through the couple’s courtship, marriage, and
subsequent relationship, as well as Lee’s stint in the army and the pair’s
experience in school (they are in an “erotic literature†class together). The
animations, usually narrated by Cathy, interrupt the flow of the loose storyline
to comment, in a humorous fashion, on the proceedings from an anthropological
viewpoint.
Both
Crawford and Principal are attractive on screen (yes, there is nudity; after
all, this is a Playboy Production), but the script is, frankly, subpar. While the
actors do their best, the movie is just not as clever as it thinks it is. The
animations, made by Murakami-Wolf Studios, are somewhat interesting (Frank
Zappa’s album cover artist, Calvin Schenkel, is one of the animators). Vocal
rock songs by Jimmy Webb help liven up the action.
This
reviewer became friends with Johnny Crawford (who passed away in 2021) over the
years. Crawford was always a kind, soft-spoken gentleman who had numerous
stories about his Hollywood years, such as having a studio mailbox right next
to Joan Crawford’s and the two of them often accidentally receiving each
other’s mail. Whenever The Naked Ape was brought up in conversation,
Crawford would simply shake his head, roll his eyes, and smile.
(Photo courtesy of Raymond Benson.)
Kino
Lorber has distributed Code Red’s presentation of The Naked Ape in 1080p
high definition, and that distinctive 1970s film stock looks good enough. There
are English subtitles for the hearing impaired and a theatrical trailer, but
otherwise no other supplements.
The
Naked Ape is
for fans of Johnny Crawford and/or Victoria Principal, early 70s experimental
films aimed at the college crowd, and, ahem, amateur anthropologists.
Here is a rare 1969 documentary created by legendary producer Darryl F. Zanuck to commemorate the 25th anniversary of the D-Day invasion. Zanuck, of course, was the driving force behind Fox's 1962 epic blockbuster "The Longest Day", which had been a dream project for Zanuck. In this documentary, which is derived from a French print, Zanuck returns to the beaches with a film crew to discuss the monumental battle in which Allied forces from the U.S., Great Britain and Canada, along with Free French troops, defied formidable weather and heavy German resistance to breach Hitler's "Fortress Europe" and ultimately free the continent. The result, of course, was the beginning of the end of the Nazi regime and the eventual emergence of Germany as a free nation and thriving democracy. The documentary contains many clips from "The Longest Day". (Thanks to Cinema Retro reader Ted Marsowicz for alerting us to this video.)
A marvelous, underrated and intelligently scripted epic, the 1966 production of Cinerama's "Khartoum" seems be more appreciated by movie fans today than it was back in the day. Superb performances and fine direction by the equally underrated Basil Dearden, along with Frank Cordell's magnificent score, make it a marvelous cinematic experience.
Cinema Retro has received the following press release:
Relive the Hilarious Exploits of Wayne and Garth with a
Limited-Edition Blu-ray™ SteelBook® on February 1, 2022
Celebrate the world’s most endearing slackers when WAYNE’S
WORLD arrives in a Limited-Edition Blu-ray SteelBook on February 1,
2022, just in time for the film’s 30th anniversary.
Originally released on February 14, 1992, WAYNE’S WORLD
marked the feature film debut of Wayne and Garth, the wildly popular characters
originated by Mike Myers and Dana Carvey on “Saturday Night Live.†A
hilarious send-up of pop culture, the film also features Rob Lowe, Tia Carrere,
and Alice Cooper (we’re not worthy!).
Directed by Penelope Spheeris and written by Mike Myers and Bonnie
Turner & Terry Turner, WAYNE’S WORLD follows Wayne and Garth
as they try to promote their public-access cable show.
A hit with both critics and fans, WAYNE’S WORLD ultimately
earned over $183M at the worldwide box office and spawned the sequel Wayne’s
World 2. A double feature of the two films will also be available on
Blu-ray with access to digital copies on February 1.
The WAYNE’S WORLD Blu-ray SteelBook includes access
to a digital copy of the film.
The Film Detective has released one of their
most ambitious film sets to date with The Sherlock Holmes Vault Collection. The
set features three of the five films made between the years 1931-1937 starring
Arthur Wontner as world’s greatest super sleuth. Having been told he resembled
Doyle's creation for years, Wontner was finally cast in the role for The
Sleeping Cardinal (released under its American title as Sherlock Holmes' Fatal
Hour in this box set) in 1931. Produced by Twickenham Studios, Fatal Hour was
loosely based on "The Adventure of the Empty House" (a short story
written by Sir Arthur Conan Doyle) with the noticeable change that in the film
version, Ronald Adair is a card cheat. Wontner was joined by Ian Fleming as
Doctor Watson and Philip Hewland as Inspector Lestrade. Sherlock Holmes' Fatal
Hour played rather well and was considered a success. As a result, little time
was wasted when producer Julies Hagen quickly rushed a second film into
production. The Missing Rembrandt (1932) reunited director Leslie S. Hiscott
with Wontner, Fleming, and Hewland. Unfortunately, it is not included within
this collection, as sadly it is considered a lost film - and naturally there
isn’t much The Film Detective can do about that. The collection is also missing
Wontner’s third outing as Holmes, The Sign of Four: Sherlock Holmes' Greatest
Case, also made in 1932.
However, there is still plenty here to enjoy
in this nicely compiled collective. The series of films picks up again with
Wontner’s fourth movie, The Triumph of Sherlock Holmes (1935). The story sees
Sherlock Holmes and Dr. Watson come out of retirement to investigate a
mysterious murder. They find that an American criminal organisation called The
Scowrers has asked evil mastermind Professor Moriarty to wreak vengeance on
John Douglas, the informant who sent them to prison. Again, the film did very
well and received a great many positive critical reviews.
Wontner was by now fifty-nine years old, and
it was becoming increasingly difficult to hide his age. Wontner's final Holmes
film, Silver Blaze (1937) had Ian Fleming return for a final turn as Dr.
Watson, as did Lyn Harding as Moriarty while John Turnbull became the third
actor to play Inspector Lestrade. The production notably injected Sir Henry
Baskerville from The Hound of the Baskervilles into this adaptation. The film
wasn't released in the U.S. until 1941 by which time it had undergone a title
change to Murder at the Baskervilles, probably due to the overwhelming success
of Basil Rathbone s The Hound of the Baskervilles (1939).
Whilst this set is clearly not the definitive
Wontner collection, The Film Detective has also included a bonus film to round
out the set. A Study in Scarlet (1933) was an American Pre-Code mystery
thriller directed by Edwin L. Marin and starring Reginald Owen as Sherlock
Holmes and Anna May Wong as Mrs. Pyke. Despite her billing, Anna May Wong only
appears on screen for some ten minutes. Reginald Owen had played Dr. Watson in
Sherlock Holmes (1932) and as such, became one of a small number of actors to
play both Holmes and Watson. A Study in Scarlet remains a nicely made movie,
dripping with atmosphere and rife with coded messages, villains and secret
passages. The film also opens with the original BBFC U certificate card.
Each of the four films (individually cased)
in this collection come with an impressive set of extra material. All four
films include an audio commentary: Fatal Hour (Jennifer Churchill), The Triumph
of Sherlock Holmes (Jason A. Ney), Silver Blaze (Phoef Sutton & Mark Jordan
Legan) and A Study in Scarlet (Peter Atkins & David Breckman). All
commentaries are informative and enjoyable. The history of Holmes is explored
over 3 parts and 3 discs in The Adventures of Sam Sherman, and lasting around
20 minutes in total. There are also a number of original shorts dating way back
to the 1900’s. In fact Sherlock Holmes Baffled (1900) may only run for around
30 seconds, but is still acknowledged as the earliest known film to feature
Arthur Conan Doyle's detective character. The quality of these shorts varies,
from excellent to the bad beyond compare. A Black Sherlock Holmes for example
is barely watchable, there is so much damage - but considering its historical
and social importance alone, it certainly warrants its inclusion here. Also
included is a reconstructed Radio adaptation of Sherlock Holmes and the Blue
Carbuncle, a Felix the Cat cartoon Sure Luck Holmes (1928). Elementary Cinema:
The first cinematic adventures of Sherlock Holmes, is an original documentary
lasting 27 minutes plus a full episode (Blind Man’s Bluff, 26 minutes) of the
Ronald Howard Sherlock Holmes TV series is also a welcome addition. The episode
(filmed in black and white) has been mastered rather nicely too, although
wrongly dated as 1964 instead of 1954.
So there is certainly plenty here for any
Holmes fan to enjoy. However, it is in the quality of the feature films where
this set falls short. All of these films were low budget productions, and were
never going to compete with the Basil Rathbone movies which were classy and
altogether more prestigious in their presentation. But that doesn’t mean that
these films still shouldn’t look good. Sadly, it looks as if all of these films
were struck from grainy 16mm prints, and it shows. In the case of Sherlock
Holmes' Fatal Hour (albeit, the earliest film here), I found myself stepping
down on the sharpness control, just to eliminate the heavy graininess of the
picture. I have no doubt at all that The Film Detective has probably worked
with the best possible sources that were made available to them.
If these films are new to you and first-time
purchases, then I dare say they will fit perfectly in your collection. But for
the more travelled Holmes fan it might be worth checking out your existing
versions again first, and ask yourselves if it is worth the overall upgrade?
The packaging has been nicely put together, a
nice leather look brown slip case holds all 4 individually cased movies, each
of which comes with a postcard-sized art card and an informative booklet
containing history and essays for each of the films. I certainly can’t fault
the effort here; it’s just a shame that the quality of the films doesn’t quite
hit the mark.
(Darren Allison is the soundtracks editor for Cinema Retro. Read his column in every issue.)
Cinema Retro has received the following press release from The History Press.
THE ART OF FILM
Designing James Bond, Aliens, Batman and More
24 March 2022 | 9780750997423 | HB | £25
TERRY ACKLAND-SNOW WENDY LAYBOURN
Legendary
Art Director Terry Ackland-Snow lifts the lid on his extraordinary career in
cinema.
Features
many unpublished images and production sketches, and a wealth of amusing and
revealing anecdotes. Terry Ackland-Snow has been a legendary figure in the film /
TV industry for more than 40 years. Having worked on over 80 feature films,
including two James Bond (On Her Majesty’s Secret Service and The Living
Daylights), Aliens, Batman, 2001: A Space Odyssey, Labyrinth and The Rocky
Horror Picture Show, he reveals in The Art of Film the stories behind the
making of these iconic productions. With behind-the-scenes photographs and
Terry’s own production sketches, many of which are published here for the first
time, this is an essential read for lovers of classic cinema.
Terry
Ackland-Snow has been in the film and television industry for more than 50
years. Having worked on over 80 feature productions, he has amassed a wealth of
knowledge and experience, all of which he now teaches on his art direction
training courses based at Pinewood Studios.
Wendy
Laybourn has worked in the film industry since the early 1970s and has spent
the past few years helping the future generation of filmmakers to understand
the skills and crafts involved.
From the Cinema Retro archives: the opening of a new Cinerama theater in Las Vegas in January, 1965. First attraction: producer Samuel Bronston's "Circus World".
Cinema Retro has received the following notification from MI6 Confidential magazine:
Special
Issue #5
In
2017, after ten years of service, MI6 Confidential introduced a new special
format: a limited-run 100-page perfect bound issue of the magazine taking a
deep dive into one particular facet of the franchise. The fifth release hands
the microphone back to long-serving Bond director, John Glen taking a look back
at his ultimate film as helmsman, Licence To Kill.
Other directors came
and went from the franchise in the blink of an eye, but Glen earned his place
as one of the most trusted, influential and creative confidants to producer
Albert R. 'Cubby' Broccoli. In this special issue of MI6 Confidential magazine,
we invited the director to reminisce on his final Bond film. To date he has
helmed the greatest number of Bond pictures, and whilst Licence To Kill
was one of the least commercially successful Bonds, it is undergoing something
of a renaissance and reassessment with enthusiasts. Its simple story of revenge
appealed to star, Timothy Dalton, and is – in a sense – timeless. Dalton was
able to influence some more of the characterisation, and even costuming,
helping to make him happier and more assured in the role.
In This Special Issue
100 page special magazine;
professionally printed; perfect bound
Foreword by Robert Davi
John's memories of the
pre-production process, including recces in China
Rarely-seen art from
pre-production
Script history and last-minute
character changes
Dozens of behind the scenes stills
from Glen and other collectors
Charlton Heston fans will appreciate the fact that one of his most underrated films has finally made it to Blu-ray through a joint release by Kino Lorber and Scorpion Releasing. "Number One" (released in certain countries under the title "Pro") is an off-beat vehicle for the superstar, who was then at his peak of popularity. The fact that the movie under-performed at the box-office and failed to score with critics didn't diminish Heston's status as a leading man. He would go on to star in such hits as "The Omega Man", "Skyjacked", "Soylent Green" "Earthquake", "Midway"and "Airport '75"- with cameos in the popular "The Three Musketeers" and "The Four Musketeers". The poor response to "Number One" doesn't diminish its many merits - and the fact that Heston was willing to play against type in a largely unsympathetic role. For the film, he reunited with director Tom Gries, with whom he made the acclaimed 1968 Western "Will Penny". Curiously, both movies center on the same theme: a macho man who can't come to grips with the fact that he is aging and, therefore, his chosen way of life is threatened. In "Will Penny", Heston played the title character: a middle-aged cowboy who feels the inevitable aches and pains of trying to maintain a career that is clearly suited for younger men. Similarly, in "Number One" he plays "Cat" Catlan, a star quarterback for the New Orleans Saints football team. Catlan has seen plenty of fame and glory as the team's Golden Boy and the idol of the crowds. But now he is 40 years old and, although still in Herculean physical condition compared to most men his age, he's fallen victim to the constant brutalities he suffers on the field.
The film opens on a particularly disastrous game in which Catlan makes some serious misjudgments about plays and bungles some key passes. The result is an embarrassing loss for the team. The Saints' gruff coach Southerd (John Randolph) isn't ready to give up on Catlin but seemingly every other team member is. Catlan is subjected to some cruel jokes and he has to contend with the fact that a much younger player (Richard Elkins) is breathing down his neck, hoping to replace him as quarterback. Things aren't much better at home for Catlan. His long-suffering wife Julie (Jessica Walter) patiently endures his mysterious absences, unpredictable mood swings and volatile temper. She is a very successful fashion designer but Catlan is "old school" when it comes to the role of wives. He wants Julie to stay home and cater to his needs. In the midst of one of their frequent fights, he even stoops so low as to cruelly tease her about her inability to conceive a baby. Still, she sticks with him even when he confesses to having an affair with an attractive, self-made woman, Ann (Diana Muldaur). Faced with the fact that his career is winding down, Catlan reluctantly explores his options for his post-NFL life. They aren't very enticing. His best friend Richie (Bruce Dern), is an obnoxious former Saints player who brags about having gotten out of the game at age 34. He now runs a very successful car leasing business and lives a playboy lifestyle. He wants Catlan to work for him, a prospect that doesn't sit well with the aging quarterback. He also gets an offer from a computer company to work for them but the idea of dealing of being surrounded by machines in the confines of an office is repugnant to him. Ultimately, Catlan is inspired by his wife to go out on a high note. During one of their rare moments of domestic detente, she convinces him that he still has some good games in his future if he can shake off the funk and get his confidence back. The film's climactic game is the very definition of mixed emotions. Catlan performs well and has his mojo back but the movie's ambiguous final shot is anything but uplifting.
Tom Gries was a good director for Heston. He somehow managed to tamp down Heston's larger-than-life personality and afford him the opportunity to play everyday men. In "Number One", Heston is subject to the sorts of problems that plague most middle-aged men. He's nervous about his future. He often takes his frustrations out on the people closest to him. He tries to reassert his youth by exerting his sexual prowess through having an affair. Throughout it all, Heston admirably does not try to make Catlan into a hero. There is a level of sympathy accorded to him because of the emotional and physical stress he is under but his sheer disregard for others makes him more a villain than a hero. (He even refuses to give fans his autograph). Even worse is his sheer selfishness in how he deals with his wife's needs. He feels threatened by the success she is enjoying in her own career and therefore diminishes her achievements. Heston gives one of his finest performances, ironically, in what was one of his least-seen films.He gets able support from the woefully-underrated Jessica Walter, whose performance a couple of years later in "Play Misty For Me" should have assured her of major stardom (and an Oscar nomination). Director Gries also utilizes the talents of real-life football players, some of whom exhibit impressive acting skills. Diana Muldaur also excels as the siren who lures Catlan into her bed. There is an air of authenticity to the film, primarily because Gries shot much of it in front of packed stadiums. (Cinematographer Michael Hugo's work is especially impressive). Gries also captures the feel of New Orleans back in the day, capitalizing on the local scenery, jazz clubs and even getting the great Al Hirt to perform a number and do a bit of acting. About the only dated aspects of the film concern the off-the-field activities of the NFL players. Catlan complains that they are paid like peasants, which was probably true in 1969, but is a rather laughable notion today. Also, the NFL team is required to wear jackets and ties when traveling to or leaving the stadium, another rule that would be virtually unenforceable by contemporary standards.
"Number One" never found its audience in 1969 but hopefully the impressive Blu-ray transfer will help retro movie lovers appreciate its merits, even if it lacks bonus extras except for a single trailer. The film did have at least one critic who appreciated the movie and Heston's performance. Writing in the New York Times, critic Howard Thompson wrote: "Charlton Heston, minus a
beard, a loincloth, a toga or the Red Sea, tackles a starkly unadorned role in
one of the most interesting and admirable performances of his career…If Heston
could have been better, we don’t know how." Our sentiments exactly.
The
mid-1960s were full of motion pictures that capitalized on the exotic,
globe-trotting James Bond adventures. Even if they weren’t particularly spy
films, they had the same flavor, or at least they attempted to capture a
similar magic. Cinema Retro has reviewed several of these movies in
recent weeks (e.g., Masquerade, Arabesque), and Gambit,
released in 1966, is another one.
Directed
by Ronald Neame, Gambit is a top notch caper flick, and a clever one to
boot. Written by Jack Davies and Alvin Sargent, from a story by Sidney Carroll,
the film might remind viewers of the excellent Topkapi (1964), which was
also an international heist tale.
Shirley
MacLaine receives top billing over the up-and-comer Michael Caine, whose star
was rising rapidly in those days. They make a wonderful pair, and the film’s
electricity derives solely from their chemistry together. Add the shrewd
script, Neame’s able direction, a lively score by the great Maurice Jarre, and
beautifully faked foreign locations (the movie was made in Hollywood, despite a
few second unit establishing shots), and the results are a winner.
One
of the more unique things about the script is that the first twenty minutes or
so depict the caper as it is planned to work. The entire heist is acted
out without a hitch, and our protagonists get away with a priceless antiquity.
But all that was only Harry’s (Caine) plot, being told to his accomplice, Emile
(John Abbott). The rest of the movie is the enactment of that plan, which of
course, goes wrong every step of the way. This is a movie about being forced to
throw the plan out the window and improvise, with the stakes much higher and
more dangerous.
Harry
wants to steal an ancient Chinese sculpture of a woman’s head. It just so
happens that Nicole (MacLaine), an exotic dancer in Hong Kong, looks exactly
like the face of the woman. The owner of the relic is allegedly the “richest
man in the world,†Shahbandar (Herbert Lom), who lives in a fictional Middle
Eastern country not unlike Egypt. It also just so happens that Shahbandar’s
deceased wife greatly resembled the statue, and thus, Nicole, too. Harry
promises Nicole a payment of $5,000 and a British passport if she will
cooperate in his scheme. Nicole is to dress in flashy Middle Eastern garb and
pose as Harry’s wife, and Harry fenagles a visit with Shahbandar. Harry is
counting on the rich collector to be so entranced by Nicole’s looks that Harry
will be able to case the house, steal the statue, and escape in less than a
day. Unfortunately, Shahbandar is not the pushover Harry thinks he is. The man
is one step ahead of the thieves, and Harry must quickly alter his scheme on
the fly. And, naturally, neither Harry nor Nicole expected to fall in love with
each other, either!
This
is fun stuff, and it’s all presented in a playful, tongue-in-cheek manner that
is characteristic of the genre and the era in which these types of movies were
made. The heist sequence is especially smart. Who knew Shirley MacLaine was so
flexible? (You’ll have to see the movie.) Incidentally, the film was nominated for three Oscars: Art Direction, Sound and Costume Design.
Kino
Lorber’s new Blu-ray showcases Clifford Stine’s colorful cinematography, and it
looks lovely. The movie comes with two different audio commentaries—one an
archival track by director Neame, and a newer one by film historians Howard S.
Berger, Sergio Mims, and Nathaniel Thompson. The theatrical trailer is
included, along with other Kino Lorber trailers.
Gambit
is
for fans of Shirley MacLaine, Michael Caine, 1960s-era crime adventures, and
old-fashioned romps at the movies.
(Note: the film inspired a quasi-remake in 2012 starring Colin Firth, Cameron Diaz and Alan Rickman.-Ed.)
Includes 4 films premiering on Blu-ray & DVD on December
14, 2021
Los Angeles, CA (November, 2021)
Synopsis: Cult Epics proudly presents the Sylvia
Kristel 1970s Collection, featuring four of the legendary Dutch icon's most
diverse films in new 2K transfers and entirely uncut, for the first time on
home video in the United States.
New 2K HD Transfers
(from original 35mm film elements) and Restoration
Original LPCM 2.0 Mono.
New DTS-HD MA 2.0
Mono
Audio Commentaries by
Tim Lucas, Jeremy Richey, and Peter W. Verstraten
New and Vintage
Interviews with Cast & Crew
Poster & Photo
Galleries
Original Theatrical
Trailers
Limited
numbered Edition of 2500 copies made (Blu-ray) includes 40-Page illustrated
booklet written by Jeremy Richey and Poster with Art by Gilles Vranckx. DVD
Ltd. Edition of 1000 includes booklet and poster
Cult Epics website
exclusive includes an additional DVD with Interview with director Just Jaeckin
on Sylvia. Limited to 200 copies www.cultepics.com
In conjunction Cult
Epics will release Sylvia Kristel: From Emmanuelle written by Jeremy Richey as
a Hardcover book, on January 17, 2020 (new release date). 352 Pages, fully
illustrated, 12x10 inches.
It’s
always good to hear from All Score Media, a label that continues to focus on
retro soundtrack releases and new soundtrack music produced in a retro style. Mondo
Sangue are a group that continue to flourish within that new/old style genre of
fictional scoring, and they do it extremely well. Their latest album, Rosso
come La Notte (ASM 050 / LP 21300-1) is in fact their fourth release for the
label, the previous three of which have been featured either within the pages
of Cinema Retro or here on our site. Mondo Sangue are certainly diverse in
their range, exploring the Spaghetti Western genre, the fantasy sci-fi
adventure and with this latest outing, the world of Italian Giallo.
Arguably, the European Giallo genre is among
the most popular, with colourful, atmospheric use of music which defined the
entire psychedelic mood of the period. Mondo Sangue has cleverly stuck to the
formula here, with plenty of recognised references to Italian genre cinema, and
why wouldn’t they? It is after all, a genre-defining sound. So whilst it may
sound somewhat familiar, we are certainly listening to something entirely
original. The familiarity merely acts as a layer of comfort and in doing so,
perfectly sets the scene for an entirely fresh and enjoyable listening
experience.
Like other fictional scores, we are of course
required to use our imagination a little more, as we have no previous visual
concepts in comparison to a film that we have perhaps become accustomed to.
However, we do have a premise. The Milanese taxidermist Barbara travels to the
Black Forest for a museum assignment and shortly afterwards disappears without
a trace. Her sister follows her and not only comes across a mysterious series
of murders in the tranquil place, but also a dark secret …
There is certainly a nice dream-like,
otherworldly feel to Rosso come La Notte, and it’s easy to find yourself
completely immersed in its quality. The Stuttgart duo Mondo Sangue (Christian
Bluthardt and Yvy Pop) have not only proven (again) that they have a natural
flair for this style and concept, but it’s their passion and their love for
this niche music that ultimately transcends over to their releases. There’s no
question that their heart is undoubtedly in it, and it shines through in
abundance.
Like their previous releases, Mondo Sangue
and All Score Media have produced a stunning package for their album with
period artwork by artist Adrian Keindorf. The 180g vinyl LP provides a rich
sound quality, comes in a lavish gatefold sleeve and is strictly limited to
just 666 copies - all of which are hand-numbered. Each LP comes with a film
poster and a digital download code. In addition to this, 100 special edition LP
copies come sewn in screen-printed butcher paper. Overall, it’s a classy
addition to their impressive catalogue of releases.
Winnetou and His Friend Old
Firehand (1966) Peter Thomas Sound Orchestra
For
their second release, All Score Media have unveiled another great from their
Peter Thomas collection. Winnetou and His Friend Old Firehand (aka: Thunder at
the Border , Winnetou and Old Firehand ) (ASM 049 / LP 21299-1 / CD 21299-2)
was the 1966 finale of the Karl May film adaptations of Horst Wendlandt's
Rialto film. Alfred Vohrer (Perrak, The Yellow House on Pinnasberg), described
by cult director Quentin Tarantino as a genius, directed the film, moving away
from the contemplative German to the far more violent Spaghetti Western genre.
The move triggered an ambivalent response from critics and fans ranging from
"explosive" to "the low point of the series".
It also marked a change of direction in terms
of the film music, when Peter Thomas was brought in to replace Martin Böttcher
as the established “Winnetou composer†and was to remain the only Karl May film
to receive a Peter Thomas score. However, this wasn't due to a negative
response, far from it. Moreover, it was simply a case of ‘practicality’. Thomas
was, at this period of his career, extremely in demand. Between Edgar Wallace
thrillers and Jerry Cotton action films, he simply had more commissions than he
could handle. It was not until 1980 that Thomas returned to the subject with
the music for the TV series Mein Freund Winnetou.
Thomas’s resulting score fell somewhere in
between Böttcher's Karl May string melodies and the much more experimental and
stylistic Spaghetti Western music of Ennio Morricone. The score is impressive,
and never plays safe, it’s title theme paves the way and sets the tone
perfectly with plenty of high energy strings and wild playful brass. It’s
typically Thomas in full flow.
This packed (42 tracks) score marks its world
premiere on vinyl and has been fully remastered. The The CD version goes a step
further and also contains three previously unpublished tracks that were found
within Peter Thomas' estate, as well as a another bonus track with the composer
himself at the piano, as he presented the first demo to the film producer along
with his spoken comments (recorded in 1966 in the Bavaria Tonstudios, Munich).
Following on from their Bruce Lee: The Big
Boss (CD / LP ASM 048, 2020), this is All Score Media’s second LP / CD release
in the new dedicated series of the composer who died on May 17th, 2020. The
packaging and audio quality is again exceptional with Adrian Keindorf
responsible for the superb artwork to both the gatefold sleeve of the LP and
the digipack CD. The LP appears on high quality 180g vinyl as standard in black
and in a very attractive limited edition pressing of 300 LPs in transparent
turquoise. Another couple of first-rate releases from Dietmar Bosch and his
team, long may it continue.
The Film Detective continues to thrill us
with a couple of excellent cult classics. Frankenstein’s Daughter is a film
that had been denied a great deal of exposure to fans of the strange and
macabre. For many, it’s a title that has teased us for decades, with a still or
a lobby card appearing once in a while by way of a horror book or a specialist
periodical, so it is certainly welcome. It is typically what one would expect
from this lush 1950s period. An incredibly low-budget affair, these films would
often be produced for around $60,000, but the filmmakers certainly knew how to
squeeze every ounce out of that budget. If anything, it ignited creativity and
provided a lesson in how to make the most of the limited resources that were
available to them.
Frankenstein’s Daughter is a fine example of
that. Starring Donald Murphy, Sandra Knight, John Ashley and Harold Lloyd Jr
(yes, that’s the son of the silent film comedian), the film was directed by
Richard E. Cunha. The film is a simple enough story, if a little absurd, and
attempts to latch on to the whole horror family spin off notion - film’s such
as Universal’s Dracula’s Daughter (1936), Son of Dracula (1943) and Son of
Frankenstein (1939) undoubtedly contributed towards the filmmakers line of
thought. There was a gap in the market, and it was rich ground for exploiting.
Donald Murphy is the real villain here, playing the sleazy and devious lab
assistant Oliver Frank (Frank being a thinly disguised identity for the
Frankenstein family name), and it’s his intention of creating the first female
Frankenstein's monster which drives the narrative.
Like most of these low budget horrors, it’s
usually down to the ‘monster make-up’ which determines its overall likeability
factor. Frankenstein’s Daughter fits right in. It is very much in the same
ballpark as AIP’s cult classics such as I Was a Teenage Frankenstein made a
year earlier in 1957, and where the central ‘monster’ seems to be inspired by
an automobile accident victim, which of course, in the worst instance, can be
something quite grotesque and disturbing. This all works well in the context of
Frankenstein’s Daughter and adds a great deal to the overall thrill factor. The
acting is quite naturally wooden and stiff, but anyone who knows and loves
these films wouldn’t expect anything less, as it’s part of their appeal.
The Film Detective has done a remarkable job
on this film. Considering its low budget, the film looks quite beautiful framed
at 1.85:1, and with sharp, clean detail in both picture and audio.
I was really impressed with the bonus
materials which include a very interesting documentary, Richard E. Cunha:
Filmmaker of the Unknown - A new retrospective from Ballyhoo Motion Pictures,
featuring an archival interview with director Richard E. Cunha. There is also a
very detailed and enjoyable audio commentary with numerous contributors and a
fascinating featurette, John Ashley: Man from the B’s - a new career
retrospective featuring film historian C. Courtney Joyner. The Film Detective
seals this fine tribute with a nice 12-page booklet featuring an original
essay, The Making of Frankenstein’s Daughter written by Tom Weaver. It’s a
thoughtful and well -produced Blu-ray release which has to be admired.
The Amazing Mr. X (1948), also known as The
Spiritualist, is an American horror thriller made in a film noir style. For a
title that sits in the public domain it's perhaps unfairly overlooked or labelled
as a ‘lessor’ quality film, and this really isn’t the case. Starring Turhan
Bey, Lynn Bari, Cathy O'Donnell, and Richard Carlson, the film was directed by
Bernard Vorhaus.
The Amazing Mr. X moves along very nicely,
and is full of wonderfully atmospheric scenes. But it’s also a story of two
parts. Once Paul is revealed as being very much alive, the film changes
direction and becomes more of a straightforward piece of noir and the
supernatural element takes more of a back seat. However, everything is handled
exceptionally well, especially the impressive cinematography by John Alton.
Alton’s use of shadow and his clever optical effects really helps to elevate
the movie and gives it a more polished (and expensive) look that you would
expect to see in a RKO or a Universal production from the same period. Large,
lush sets and exotic beach locations all add to the general glossy production
values.
Once again, The Film Detective has produced a
fine addition to their catalogue of titles. The movie’s new 4K transfer, both in
visual and audio terms, is superb - perhaps a little soft in certain scenes, but
some close-ups, particularly on Bari, appear more as intended soft focus shots. But overall, The Amazing Mr. X,
presented in its correct aspect ratio of 1.37:1, punches high above its weight.
The bonus material is also very enjoyable and includes a specific audio
commentary by Jason A. Ney. There is also a new documentary, Mysteries Exposed:
Inside the Cinematic World of Spiritualis, which is an enjoyable and
informative reflection of the genre. A nice 12-page booklet is included which
features a detailed essay, The Amazing Mr. Bey written by Don Stradley.
Both Frankenstein’s Daughter and The Amazing
Mr. X (1948) offer a great deal of enjoyment and fun. It’s nice to see that the
wonderful original artwork has been utilised on both releases rather than some
badly cut and pasted Photoshop design which always cheapens the overall
presentation. It’s a shame that the original trailers were not included,
especially for Frankenstein’s Daughter. As an exploitation movie, the
accompanying trailers often provided a certain over-the-top sense of
salesmanship which was always so unique and memorable.
(Note:
Portions of this review appeared on Cinema Retro in 2014 for an earlier
Kino Lorber edition.)
Robert
Altman was a very quirky director, sometimes missing the mark, but oftentimes
brilliant. His 1973 take on Raymond Chandler’s 1953 novel The Long Goodbye is a case in point. It might take a second viewing
to appreciate what’s really going on in the film. Updating what is essentially
a 1940s film noir character to the
swinging 70s was a risky and challenging prospect—and Altman and his star,
Elliott Gould as Philip Marlowe (!), pull it off.
It’s
one of those pictures that critics hated when it was first released; and yet,
by the end of the year, it was being named on several Top Ten lists. I admit
that when I first saw it in 1973, I didn’t much care for it. I still wasn’t
totally in tune with the kinds of movies Altman made—even after M*A*S*H, Brewster McCloud (an underrated gem), and McCabe & Mrs. Miller. But I saw it again a few years later on a
college campus and totally dug it. Altman made oddball films, and either you
went with the flow or you would be put off by the improvisational, sometimes
sloppy mise-en-scène that the director used. And the sound—well, Altman is
infamous for his overlapping dialogue (one critic called it “Altman Soupâ€). If
you didn’t “get†what the director was doing with sound, then you would
certainly have a hard time with his pictures.
Yes,
Elliott Gould plays Philip Marlowe. A very different interpretation than
Humphrey Bogart or Dick Powell, obviously. And yet, it works. Gould displays
the right amount of bemused cynicism, as if he had been asleep for twenty years
and suddenly woken up in the 1970s. And that’s exactly how Altman, screenwriter
Leigh Brackett (who co-wrote the 1946 The
Big Sleep), and Gould approached the material. Altman, in a documentary
extra on the making of the film, called the character “Rip Van Marlowe.†He is
an anachronism in a different time. For example, Marlowe can’t help but be
bewildered by the quartet of exhibitionist hippie lesbians that live in his
apartment complex. And he still drives a car from his original era. And therein
lies the point of the picture—this is a comment on the 70s, not the 40s or 50s.
The
plot concerns the possible murder of the wife of Marlowe’s good friend, Terry
(played by baseball pro Jim Boutin), who is indeed a suspect, as well as a
suitcase of missing money belonging to a vicious gangster (extrovertly portrayed
by film director Mark Rydell), an Ernest Hemingway-like writer who has gone
missing (eccentrically performed by Sterling Hayden), and the author’s hot
blonde wife who may know more than she’s telling (honestly played by newcomer
Nina van Pallandt). The story twists, turns, hits some bumps in the road, and
finally circles back to the initial beginning mystery.
It
may not be one of Altman’s best films, but it’s one of the better ones. It’s
certainly one of the more interesting experiments he tried in his most prolific
period of the 70s.
Kino
Lorber already put out a Blu-ray release several years ago, but it didn’t
really improve much on the original DVD release prior to that. The company has
now re-issued the film in a brand new 4K master that is a vast step-up from the
previous release. It looks great. The soft focus cinematography by Vilmos Zsigmond
is no longer a hazy gaze but is instead a crystal transfer of that distinctive
1970s film stock imagery. The movie now comes with an informative audio
commentary by film historian Tim Lucas.
Some
of the extras are ported over from the previous Kino Lorber release, such as
the aforementioned “making of†documentary, a short piece on Zsigmond, an
animated reproduction of a vintage American
Cinematographer article, the trailer, and a few radio spots. New to this
edition are featurettes with film historian/critic David Thompson on Altman and
the film, author Tom Williams on Raymond Chandler, and author/historian Maxim
Jakubowski on hard-boiled fiction in general. There is also a “Trailers from
Hell†segment with Josh Olson.
If
you’re an Altman fan and don’t already own the out of print DVD or previous
Blu-ray, you may want to pick up the new, improved The Long Goodbye. It
probably won’t be long before this, too, like Philip Marlowe himself, is a rare
collector’s item.
One of the positive elements of the Blaxploitation film genre that exploded in the 1970s was the emergence of many hitherto unknown talents. Among them was Bahamian-born actor Calvin Lockhart, who immigrated to New York and immersed himself in theater, studying with the legendary Uta Hagen. Lockhart didn't find immediate success but hop-scotched between the U.S. and Europe, where he found more opportunities on stage and in film. By the time he returned to America, the Blaxploitation rage was in its early stages and Lockhart nailed down a key, scene-stealing role in director Ossie Davis's film version of "Cotton Comes to Harlem" in 1970. He also earned the starring role the same year in "Halls of Anger", playing a besieged inner city teacher who is trying to keep the lid on inter-racial tensions. Lockhart also starred in the crime thriller "Melinda", which- perhaps because of its bland title- is not as well-remembered as lesser entries in the Blaxplotation genre. Thus, it's good news that the film has been released on DVD by the Warner Archive. "Melinda" is impressive on any number of levels. Unlike most Blaxploitation movies, which were actually produced, written and directed by white filmmakers, this one was brought to the screen entirely by African-American talent: director Hugh A. Robertson, producer Pervis Atkins, screenwriter Lonnie Elder III and composers Jerry Butler and Jerry Peters. The movie also has an intense, realistic tone that affords Lockhart to give what is arguably the performance of his career.
Lockhart plays Frankie J. Parker, the morning drive DJ on a popular L.A. soul music radio station. Frankie is a showman supreme. His combination of unapologetic narcissism combined with his snarky, biting sense of humor sets him apart from the competition- and makes him a local legend among black listeners. Frankie is living the life. He makes a lot of money, drives a fancy sports car and has a bachelor pad apartment where he entertains a stream of beautiful young women. He's so in love with himself that he has the place adorned with posters and photos of himself and looks in the mirror every morning verbally express how damned good looking he is. One fateful day, however, Frankie's charmed life goes into a tailspin when he meets Melinda Lewis (Vonetta McKee), a sexy new arrival from Chicago who is very much a woman of mystery. When she resists Frankie's standard pick-up lines and shows she is wise to his well-worn methods of seduction, she becomes a challenge for him. He wines and dines her and shows her off at a high profile party aboard a yacht owned by his old friend Tank (Rockne Tarkington), a black athlete who has made good. On board, he has an unexpected encounter with a former lover, Terry Davis (Rosalind Cash), who makes it clear she still carries a grudge against Frankie because of his philandering ways. Later that evening, Frankie and Melinda return to his apartment where they finally get down to business- but she makes it clear that she is in control of the situation. Unbeknownst to either of them, the heated sounds of their love-making are being enjoyed by a shady character who has been following Melinda since she arrived in L.A. and who is know pleasuring himself outside the apartment door! The next morning, Frankie realizes that this time he is genuinely in love- and Melinda seems to reciprocate.
Frankie learns that "Melinda Lewis" is an alias and that his new lover is the former mistress of a ruthless Chicago mob boss, Mitch (Paul Stevens) who is desperate to track her down because she has deposited a cassette tape in a bank safe deposit box that implicates him in a high profile murder. Before long, the mob links Frankie to Melinda and thinks he in cahoots with her. He is framed for a ghastly murder and pummeled and beaten by cops before he finally makes bail. Realizing he has limited time to get to the bottom of what is going on and clear his name, Frankie finds he has to enlist the aid of estranged lover Terry Davis, who becomes the only friend he can trust. The two become amateur detectives trying to get access to the bank vault and the evidence that would give them leverage over Mitch and his gang of murderous goons who are now in L.A. Things go awry, however, when Frankie is framed for yet another sordid murder and Terry is kidnapped by Mitch and held for ransom under threat of death unless Frankie delivers the incriminating evidence against him. Frankie knows that if he does, he and Terry are as good as dead so he enlists some unusual allies- the fellow students of his karate academy. It helps when the Grand Master is real-life martial arts expert and future "Enter the Dragon" star Jim Kelly. In the film's only truly over-the-top sequence, Frankie and the karate students ambush the gangsters, Before you can sing "Everybody Was Kung Fu fighting", everybody is Kung Fu fighting. The film culminates with Frankie and his allies laying siege to Mitch's mansion, where they find Terry locked in a glass gazebo surrounded by rattle snakes and other dangerous critters.
Until its rather fanciful finale, "Melinda" is a realistic urban crime movie packed with interesting characters and intriguing mysteries that are revealed slowly. Like a Hitchcock film, it centers on a completely innocent man who is swept up in fantastic and deadly events beyond his comprehension. Lockhart gives an outstanding and commanding performance, turning from a carefree, narcissistic playboy to a man who is willing to do anything necessary simply to survive another few hours. He gets able support from both female leads, gorgeous Vonetta McKee as the mystery woman who affords Frankie an evening of sexual bliss that turns his life into a nightmare and Rosalind Cash, in full tough girl mode as she was the previous year opposite Charlton Heston in "The Omega Man". On the other extreme, Paul Stevens makes for a suitably slimy villain. The direction by Hugh A. Robertson is quite impressive and he overcomes the relatively modest budget by capitalizing on the street locations which he uses to maximum atmosphere and effect. "Melinda" is a superior entry in the Blaxploitation film genre. Highly recommended.
The Warner Archive DVD includes the original theatrical trailer.
CLICK HERE TO PURCHASE FROM THE CINEMA RETRO MOVIE STORE.
Hard to believe, but Cinema Retro is entering its 18th season thanks to the consistent support among classic and cult movie lovers worldwide. The new season will begin with issue #52, which will ship in the UK and Europe during December and to all other sections of the globe in January. Throughout the new season, we have an exciting lineup of in-depth analysis from talented film scholars who will be providing highlights such as these:
"The Sand Pebbles"- director Robert Wise's acclaimed 1966 epic that saw Steve McQueen earn his only Oscar nomination
Disney's "Dr. Syn: Alias the Scarecrow", the fascinating journey of the adventure TV episodes starring Patrick McGoohan and the subsequent feature film version.
"Somewhere in Time", one of the most beloved and haunting romances ever filmed. Exclusive interview with director Jeannot Szwarc.
"Lord Jim", director Richard Brooks' ambitious adaptation of Joseph Conrad's classic novel. The film was deemed a major misfire and boxoffice flop- but we feel its ripe for a re-evaluation.
"Tora! Tora! Tora!", the massive production that recreated the attack on Pearl Harbor from both the American and Japanese viewpoints. This was yet another major boxoffice disaster but one that affords viewers an intelligent and insightful script and some of the best special effects seen during this era of filmmaking.
"Age of Consent" - a quirky May/December island romance directed by Michael Powell and starring James Mason and the up-and-coming Helen Mirren.
"Ryan's Daughter", yet another underrated gem, this time directed by the estimable David Lean.
The making of Blake Edwards' landmark comedy "The Pink Panther" starring Peter Sellers as the immortal Inspector Clouseau.
Why "Tarzan's Greatest Adventure" starring Gordon Scott (and a young Sean Connery) is arguably the best screen appearance of the fabled jungle hero.
Rare interview with actor John Leyton, who reflects on filming "The Great Escape", "Von Ryan's Express" and "Krakatoa, East of Java".
Charlton Heston as "The Omega Man", one of the most popular "Last Man on Earth" adventures, released in 1971.
We celebrate the 60th anniversary of the James Bond film series and present some rarely-seen production stills and behind-the-scenes photos.
That's just a sample of what we have planned for the new year. So please subscribe or renew and help keep the dream alive of celebrating great films of the past in print format.
RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES
REVIEW – Naked City: The Complete Series
RLJ Entertainment / 6,063 minutes
By Harvey F. Chartrand
Naked
City was like no other TV series before or since –
Michel Moriarty, star of Law and Order,
once told this reviewer.
Inspired by Jules Dassin's
1948 film of the same name, Naked City centers on the detectives of the
NYPD’s 65th Precinct, but the criminals and New York City itself often played
as prominent a role in the dramas as the series regulars. Like the film it was based
on, Naked City (1958- 1963) was shot
almost entirely on location. The first season ran as a half-hour show under the
title The Naked City, starring James Franciscus and John McIntire
playing, respectively, Detective Jimmy Halloran and Lieutenant Dan Muldoon—the
same roles essayed by Don Taylor and Barry Fitzgerald in the film.
The
Naked City also starred Harry Bellaver as Det. Frank Arcaro.
When the series was expanded to an hour, the producers brought in handsome Paul
Burke as Det. Adam Flint and gruff Horace McMahon as Lt. Mike Parker to replace
Franciscus and McIntyre (with jovial Bellaver remaining in the cast). That's
when the classic episodes of Naked City
were produced... with a host of famous guest stars, ranging from silent movie
actors like Conrad Nagel to newcomers Martin Sheen, Peter Fonda and Christopher
Walken.
Naked City is so good and
so unlike any other American crime drama or police procedural it's hard to
believe it was produced in the United States, because the series definitely has
a European look and sensibility. It's sort of operatic neorealism – Vittorio De
Sica let loose with a camera in NYC. Not unlike De Sica's Bicycle Thieves and Umberto
D., Naked City reflects a very
existentialist and humanistic philosophy that occasionally moves the viewer to
tears. The series regulars often become supporting players in the weekly
dramas. The writing by Stirling Silliphant and others makes the more celebrated
Paddy Chayevsky sound like an overbearing pontificator.
Silliphant really humanizes his characters.... whether cops, criminals or
ordinary New Yorkers.
Sadly, the image quality of Naked City: The Complete Series varies considerably. Several of the
earlier episodes are in bad shape – dark and speckled. Framed in 1.33:1, most of the transfers look pretty
good. Generally, image and sound quality are more than acceptable, although
dialogue isn't always clear.
But this box set is the only way to see the entire landmark television series –
unfamiliar to contemporary audiences because the series rarely went into
syndication after its ABC run.
Watching 138 episodes of Naked City on 29 DVDs is quite a time commitment, but well worth
the effort. The show (filmed in glorious black and white) is interesting from a
historical standpoint: We see the magnificent old Penn Station (tragically demolished
in 1963) and the Singer Building (the 47-story office tower – built in 1908 and
torn down in 1968). In the early sixties, the New York City skyline was never
more beautiful and balanced, before the intrusion of such massive
structures as One World Trade Center and the Bank of America Tower. The
Columbus Circle of the late fifties is almost unrecognizable, with the monument
at the centre the only constant. We also see pre-gentrified Manhattan neighborhoods
that looked quite grungy back in the day, especially in the winter.
Naked
City attracted top-flight guest stars, including Luther
Adler, Eddie Albert, Edward Asner, Martin Balsam, Barbara Barrie, Richard
Basehart, Diahann Carroll, Lee J. Cobb, James Coburn, Richard Conte, Hume
Cronyn, Robert Culp, Sandy Dennis, Bruce Dern, Bradford Dillman, Keir Dullea, Dan
Duryea, Robert Duvall, Peter Falk, Nina Foch, Anthony Franciosa, Gene Hackman,
Dustin Hoffman, Dennis Hopper, Kim Hunter, David Janssen, Jack Klugman, Shirley Knight, Diane Ladd, Piper Laurie, Joanne Linville, Robert Loggia, Jack Lord, Walter
Matthau, Myron McCormick, Roddy McDowall, Burgess Meredith, Sylvia Miles, Vic
Morrow, Robert Morse, Lois Nettleton, Leslie
Nielsen, Carroll O'Connor, Susan Oliver, Nehemiah Persoff, Suzanne
Pleshette, Claude Rains, Robert Redford, Ruth Roman, Mickey Rooney, Carol
Rossen, Telly Savalas, George C. Scott, George
Segal, William Shatner, Sylvia Sidney, Maureen Stapleton,
Karen Steele, Akim Tamiroff, Rip Torn, Jon Voight, Eli Wallach, David Wayne,
Tuesday Weld, Keenan Wynn and Dick York. George Maharis guest stars in a
first-season episode that served as a pilot for Route 66. (Naked City and
Route 66 were created and produced by Stirling Silliphant and Herbert B.
Leonard.)
Gene Hackman
Christopher Walken
The
only extra features are 12 minutes of commercials
from 50+ years ago, including one in which Peter Lorre promotes a flexible
watchband.
If you haven't subscribed for Season 17 of Cinema Retro, here's what you've been missing:
Issue #49 (January, 2021)
Lee Pfeiffer goes undercover for Robert Vaughn's spy thriller "The Venetian Affair" .
Cai Ross goes to hell for "Damien- Omen II"
Ernie Magnotta continues our "Elvis on Film" series with "Elvis: That's the Way It Is"..
Robert Leese scare up some memories of the cult classic "Carnival of Souls"
Dave Worrall and Lee Pfeiffer look back on the 1976 Sensurround sensation "Midway"
Remembering Sir Sean Connery
James Sherlock examines Stanley Kramer's pandemic Cold War classic "On the Beach".
Dave Worrall goes in search of the Disco Volante hydrofoil from "Thunderball"
Raymond Benson's Cinema 101 column
Gareth Owen's "Pinewood Past" column
Darren Allison reviews the latest soundtrack releases
Issue #50 (May, 2021)
50th anniversary celebration of "The French Connection" : Todd Garbarini interviews director William Friedkin
"Scars of Dracula": Mark Cerulli interviews stars Jenny Hanley and Christopher Matthews
Mark Mawston interviews Luc Roeg about his father Nicholas Roeg's "Walkabout"
James Bond producer Kevin McClory-Matthew Field and Ajay Chowdhury interview his family members
John Harty pays tribute to "Young Cassidy" starring Rod Taylor
"The Curse of the Werewolf"- Nicholas Anez pays tribute to the underrated Hammer horror film
Dave Worrall on the moving 1974 adventure film "The Dove"
Lee Pfeiffer on what worked and didn't work in "Goodbye, Columbus"
PLUS! You will also receive our fall issue:
Issue #51 (September, 2021)
Dave Worrall chronicles the challenges of bringing Cleopatra to the big screen in a 14 page Film in Focus feature loaded with rare photos.
John Harty looks at the ambitious but disastrous Soviet/Italian co-production of "The Red Tent" starring Sean Connery, Claudia Cardinale and Peter Finch
Terence Denman rides tall in the saddle with his story behind "The Savage Guns", the only Western ever made by Hammer Films
Dave Worrall and Lee Pfeiffer unveil the secrets of "Ice Station Zebra" starring Rock Hudson, Ernest Borgnine, Patrick McGoohan and Jim Brown
Rare original U.S. drive-in movie theater adverts
Brian Davidson's exclusive interview with David McGillivray (aka McG), screenwriter of 1970s horror flicks and looks back at "Hoffman", the bizarre film that Peter Sellers wanted destroyed.
Nicholas Anez examines the underrated thriller "The Night Visitor" starring Max Von Sydow, Liv Ullmann, Per Oscarsson and Trevor Howard
Plus regular columns by Raymond Benson, Darren Allison and Gareth Owen
In Cinema Retro's never-ending quest to analyze relatively inconsequential movies, the trail takes us to Dirty Dingus Magee, one of Frank Sinatra's last starring feature films. The movie shocked critics when it opened in 1970 due to the trivial of the production. Time has done nothing to enhance its reputation and one can only wonder what possessed Sinatra to star in this tepid Western comedy. In reality, Sinatra's passion for movie-making was also tepid. He always preferred to concentrate on his singing career and regarded acting as a time-consuming sideline. His penchant for rarely approving a second take became legendary. Nevertheless, he was undeniably one of the cinema's great icons. Prior to Dirty Dingus Magee, Sinatra had shown good judgment with the majority of the films he made during the mid-to-late Sixties. There were some misguided efforts but Von Ryan's Express, Tony Rome, Lady in Cement and The Detective were all quality productions in which he acquitted himself very well. All the more puzzling as to what attracted him to the MGM Western that seemed cursed from the start.
Seldom has so much talent been squandered on one modestly-budgeted
movie. The film was directed by Burt Kennedy, an old hand at bringing
highly entertaining Westerns to the silver screen. (i.e The War Wagon, Support Your Local Sheriff, The Train Robbers, Hannie Caulder.) The screenplay was co-written by Catch-22 author
Joseph Heller and the talented cast includes George Kennedy, Michele
Carey, Anne Jackson, Jack Elam, Lois Nettleton and Harry Carey Jr. Yet
it all adds up to a lively but inconsequential trifle that would have
been designed for the bottom of double feature bills at drive-ins had it
not been for Sinatra's name above the title. He plays the titular
character, a low-rent outlaw who engages in an endless cat-and-mouse
game with newly-appointed sheriff Hoke Birdsill (Kennedy). The two men
relentlessly track each other down and alternately deceive and rob the
other. The razor-thin plot has something to do with local madam Anne
Jackson trying to start an Indian uprising to prevent the local U.S.
Cavalry unit from relocating, thus ensuring the demise of her bordello.
It's unconscionable that as late as 1970 Native Americans could be
portrayed in such a racist fashion on screen. The dialogue afforded them
is of the "Me-Tarzan, You-Jane" variety and the tribe is presented as a
bunch of childish imbeciles. Michele Carey is cast as Dingus's Indian
maiden love interest but she is relegated to prancing around in a short
buckskin outfit and enduring endless interrupted attempts to get it on
with Dingus. The "palefaces" don't fare much better. Anne Jackson is
channeling Shelly Winters as the obnoxious madam who spends more time
screamin' than screwin'. Even old stalwart Jack Elam is completely
wasted, as are a number of other generally reliable old coots who
populated Westerns during this era. Sinatra seems uncomfortable
throughout. Adorned by a distracting Beatle-type wig, he is constantly
upstaged by George Kennedy, who provides whatever modest pleasures the
film affords. Kennedy has a knack for playing broad, slapstick comedy
that Sinatra never acquired.The movie's cheap production values extend
to some of the worst rear screen projection I've ever seen in a major
movie, and that includes Marnie.
At this point in his career Sinatra said he had grown bored with show
business. He even went into self-imposed retirement for a couple of
years before re-emerging and admitting that doing nothing was even more
boring. He enjoyed remarkable success in the ensuing years and won a new
generation of fans. Sadly, his work in films all but evaporated. After
the poor reception accorded Dirty Dingus Magee, he only had one other starring role- ten years later in the underrated thriller The First Deadly Sin. His
fine performance in that film stands as a stark reminder of what he
could have accomplished in films in the latter part of his career had he
concentrated on challenging projects. Dirty Dingus Magee is worth acquiring on DVD- but only to witness one of the most misguided ventures of Old Blue Eyes' career.
Them region-free DVD contains the original trailer.
Powerhouse
Films' Indicator label in the UK have just released a special edition Region B Blu-ray of Universal's
1976 WWII movie Midway on their
Indicator label, and when they say special
they really mean it!
Limited
to just 3000 copies, and with a booklet that includes the text from the Cinema
Retro 'Film in Focus' in issue #49 (2021) written by Lee Pfeiffer and Dave
Worrall, this amazing disc includes the following:
High Definition remaster;
original mono and 2.1 Sensurround audio tracks
Alternative two-part television version (101 mins and 92 mins)
the
rarely seen extended television cut
containing unique scenes, reframed to 4:3 and presented in standard definition,
as originally broadcast
Audio commentary with film historians Steve Mitchell
and Steven Jay Rubin (2021)
The Guardian
interview with Robert Wagner (1983, 71 mins): archival audio recording of
the film and TV star in conversation with Joan Bakewell at the National Film
Theatre, London
They Were There!
(1976, 7 mins): Charlton Heston presents this archival documentary featuring
interviews with three combatants who survived the battle
The Making of Midway (2001, 39 mins): documentary looking at the
film's production
Sensurround: The
Sounds of Midway (2001, 5 mins: a look at the film's use of the Sensurround
audio system
The Super 8mm consumer movie version of highlights from the film
The Battle of Midway (1942, 18 minutes): award-winning documentary
directed by John Ford relaying the battle with footage shot by Navy cameramen
Original theatrical trailer, TV spots, radio spots, image gallery, promotional
and publicity materia
New and improved English subtitles for the deaf and
hard-of-hearing
A limited edition 36-page booklet featuring archival articles
on the film and the event that inspired its screenplay, an overview of critical
responses, and film credits.
An excellent release, and one that won't be around
for long! (Please note: this release is in Region 2/B format. If you are not in the appropriate geographic region, you will need a region-free Blu-ray player.)
Dean Martin in "The Silencers" (1966), the first of the Matt Helm spy spoofs.
Cinema Retro has received the following press release:
Turner Classic Movies (TCM), now in its 27th year as a leading authority in classic film, will present the U.S. broadcast premiere of the documentary Dean Martin: King of Cool
on Nov. 19, 2021. Director Tom Donahue and producer Ilan Arboleda will
appear alongside TCM Host Ben Mankiewicz to introduce the documentary
and four of Dean Martin’s most iconic films, including Ocean’s 11 (1960) and The Caddy (1959).
Dean
Martin epitomized cool. A founding member of the Rat Pack, Dean was a
multi-talented performer who was part of the number one comedy act in
America, a chart-topping singer for over half a century and one of the
biggest stars in Hollywood and on TV. He was the consummate charmer on
stage and off. Yet for all his celebrity, fame, and adoration, no one
ever truly knew him.
King of Cool
dives deep into Martin’s life through never-before-seen archival
footage including from his time with Jerry Lewis, his movies and his TV
Variety Show and Roasts. Interviews with friends (Angie Dickinson, Bob Newhart, Carol Burnett), family (Deana Martin), and admirers (RZA, Jon Hamm) give an intimate and personal account of his life, and the film tries to understand why Martin was such an enigma.
“Despite
his extensive discography and his lengthy list of film and television
credits, not much is known about Dean Martin,†said Charlie Tabesh, svp of programming for TCM. “We are thrilled to premiere the definitive look at Martin’s life and explore what made him so cool – and mysterious.â€
“What
an incredible, joyous labor of love it has been to tell the story of
one of the 20th Century’s greatest entertainers,†said Tom Donahue, director of Dean Martin: King of Cool. “The more I learned, the greater and deeper my appreciation and affection for this man became.â€
Dean Martin: King Of Cool was
produced by CreativeChaos vmg in association with Leonardo DiCaprio’s
production company, Appian Way, and Danny Strong’s Danny Strong
Productions. It was also executive produced by Paul Barry, Deana Martin,
John Griffeth, and Steve Edwards. Ron Marasco was the story producer
and it was co-produced by Mandy Stein, Peter Greenwald, Tina Potter,
Jessicya Materano and Chantel Ellis.
“As
a huge Dean Martin fan, I was so honored to be part of this amazing
team led by Tom Donahue and Ilan Arboleda to tell the story of one of
the greatest talents of the 20th century,†said executive producer Danny Strong.
“Dean is an icon, a legend and a mystery. By telling his story we hope
to shed some light on that mystery and to keep his legend living on.â€
TCM’s full lineup of programming includes:
Friday, November 19 8:00 p.m. King of Cool
(2021) – Documentary telling the story of actor and singer Dean Martin
through film clips, photographs and interviews with family, friends and
colleagues. 9:30 p.m. The Caddy (1953) – A master golfer suffering from performance anxiety caddies for a man he's taught everything. 11:15 p.m. Rio Bravo (1959) – A sheriff enlists a drunk, a kid and an old man to help him fight off a ruthless cattle baron.
Friday, November 26 8:00 p.m. Ocean’s 11 (1960) – A group of friends plot to rob a Las Vegas casino. 10:15 p.m. Robin and the Seven Hoods (1964) - A Chicago gangster stumbles into philanthropic work during a gang war. 12:30 a.m. King of Cool
(2021) – Documentary telling the story of actor and singer Dean Martin
through film clips, photographs and interviews with family, friends and
colleagues.
Promoted for its psychedelic aspects (as seemingly all youth-driven films of the late 1960s were), the crime thriller "Cop-Out" also bears a completely meaningless title that was designed to bring the mod crowd into theaters. (Please do not confuse this "Cop-Out" with director Kevin Smith horrendous 2010 sleaze fest "Cop Out".) Yet, despite the emphasis on exploitation, the film is actually a tightly-scripted, highly intelligent drama that boasts an especially impressive performance by the generally impressive James Mason. He plays John Sawyer, a once-esteemed lawyer who has fallen on hard times. His vivacious wife has left him because of his sexual inattention to her, as well as his love affair with booze. With her departure, Sawyer putters around a decaying mansion that, like himself, was once quite impressive. Sawyer's house is also a home to his daughter Angela (Geraldine Chaplin), but the two are barely on speaking terms. She resents his disinterest in her well-being and he resents what he believes is her misspent youth. Angela hangs out with a group of upper crust, spoiled rotten modders who spend their time drinking, smoking and screwing with shameless abandon. The odd man out in the group is Jo (Paul Bertoya), a struggling Greek immigrant who is tolerated in the group of snobs primarily because Angela is his girlfriend. The restless modders end up surreptitiously boarding a docked freighter and wreaking havoc before they are caught out by a crew member, Barney Teale (Bobby Darrin), a fast-talking American hipster who befriends the group and sets about manipulating them. He moves into their motley secret hideaway in an abandoned local theater and begins to make use of the premises to indulge in doing drugs and entertaining strippers and prostitutes. He's got a Jekyll and Hyde-like personality: one minute he's charming and funny, the next he's cruel and violent. When Barney suffers injuries due to an accident, Angela allows him to recuperate in her room, safe in the assumption that her disengaged father would never find out about his presence. However, during the night, a gunshot rings out and Barney turns up dead in Angela's bed. The prime suspect is Jo, who is accused of being jealous of Angela's proximity to the sex-crazed Barney. However, Angela insists he's being framed. The question is: by who? She imposes upon her father to return to his profession and take up Jo's defense. He agrees to do so but his appearance before the court is a disaster, leading to Angela to believe that Jo will inevitably be convicted. However, her father rallies, lays off the bottle and begins to play detective. In Agatha Christie fashion, he confronts the man he suspects of being the real murderer at a posh dinner party where the suspect is being honored on his birthday.
"Cop-Out" is rather striking for its blunt depiction of the open sexuality that was inherent in the youth revolution of the Sixties. There are few noble characters among the sleazebags but Sawyer's rise from the ash heap of humanity serves as a precursor for Paul Newman's character in "The Verdict" in that both men regain meaning in the lives by combating what they feel is a social injustice. The film was directed by Pierre Rouve, and it marks his only turn helming a film. (He major credits were as producer, including Antonioni's "Blow-Up".) Rouve is quite impressive, too, and doesn't allow the sexual and violent aspects of the film to overshadow the intelligent screenplay, which is based on the novel "Strangers in the House" by Georges Simenon. There's a very able supporting cast, with young Ian Ogilvy in what turns out to be a key role. The script deftly makes some biting observations about British class structure and delves into other areas such as sexual harassment, impotence and homosexuality (which was still an imprisonable offence at the time in England!). Chaplin performs well, as does the supporting cast, with Bobby Darin somewhat mesmerizing in an off-the-wall performance. The main recommendation for seeing the movie, however, is Mason's outstanding performance as the world-weary, worn-out shadow of a man who still has the ability to slay his social adversaries with his rapier wit. There's also some good location scenery (it was filmed in Southampton) and retro movie lovers will enjoy Mason glimpsing at some skin magazines including one promoting Molly Peters in "Thunderball". As an added treat, there are occasional vocals by Eric Burden and the Animals.
Kino Lorber has rescued yet another obscure gem of a film and given it a fine presentation on Blu-ray. The original trailer is included as are trailers from other KL releases including "Coming Home", "The Crucible" and others.
We don't usually cover the world of stand-up comedy on Cinema Retro but this is one for the ages: a late career burst of brilliance from George Carlin that reminds us of why his legacy is safe as one of the most innovative comic minds of his time. What is not generally remembered was that Carlin occasionally appeared in feature films. His first credited role was in the 1968 Doris Day/Brian Keith comedy "With Six You Get Eggroll". He also appeared in "Car Wash", "Outrageous Fortune", both "Bill & Ted" films and "The Prince of Tides" among others.
Cinema Retro celebrated the 50th anniversary of this classic film in issue #50 with Todd Garbarini's exclusive interview with director William Friedkin, actor Tony LoBianco and technical advisor and actor Randy Jurgensen. The film won the Best Picture Oscar, Best Actor for Gene Hackman and Best Director for Friedkin. Time has been kind to the film...in fact it plays as effectively now as it did back in '71.
The
year 1934 was a good one for comic actor W. C. Fields (whose real name was
William Claude Dukenfield). Fields made six pictures in 1934, and by the time
that It’s a Gift appeared in November, he had made sixteen sound movies
(and he had been making silents prior to the sound era).
Kino
Lorber has begun releasing new Blu-ray restorations of many of Fields’ better
films from the 1930s, which was the decade in which he prospered the most. Today,
Cinema Retro looks at two key new releases, with likely more reviews to
come as we receive them.
It’s
a Gift,
directed by Norman McLeod (who was also responsible for the Marx Brothers’ Monkey
Business and Horse Feathers in 1931 and 1932, respectively), is
easily one of W. C. Fields’ most beloved and acclaimed pictures. It showcases
Fields at his best and before alcoholism began to derail his career. In fact,
Fields is in shape and rather slim here and in the other title from 1934 that
we’re examining, The Old Fashioned Way. Remarkably, he was already 54
when these two films were released by Paramount Pictures, the studio that often
pushed the envelope when it came to comedy.
In
Gift, Fields (Harold Bissonette) is a grocer married to the
forever-nagging Amelia (Kathleen Howard). She insists that Harold pretentiously
pronounce their last name as “Bisso-nay.†They have two children, an older
daughter and a bratty pre-teen (Jean Rouverol and Tommy Bupp, respectively).
Harold has dreams of buying an orange grove in California and moving from their
cramped and squalid housing in whatever state they’re in. Neighbors in the same
building include the Dunk family, a member of which is Baby Elwood (Baby LeRoy,
in his third and final appearance with Fields). When Howard finally buys his
orange grove, the family does move—only to find that the track of land is a
barren plot. Amelia and the kids threaten to leave him until a stroke of luck
intervenes.
True,
there isn’t much of a plot here, but that doesn’t matter. It’s a Gift is
a gem for its series of gags, sketches, and routines that Fields perfected over
the years in vaudeville, and they are on full display here. One extended
sequence involves Howard attempting to take an afternoon nap on his front porch
swing—but he is constantly disturbed by noises from the various neighbors, visitors
from the street, and other external stimuli. The results are hilarious. All the
set-pieces, such as when Howard must deal with a blind man in the grocery store,
are equally funny, and they emphasize why W. C. Fields is remembered today as
one of the great genius comics of his day.
The
Old Fashioned Way,
directed by William Beaudine, was released four months earlier than It’s a
Gift. It is lesser Fields, but it still has its moments of fun. Of
particular interest is Fields’ juggling demonstration, a rare moment of the man
showing off this talent on film. Back in the vaudeville days, Fields was not
only a comedian and vocalist, but also an accomplished juggler. His act here
with balls and cigar boxes is simply amazing, and funny, too.
Fields
plays “The Great McGonigle,†a theatrical troupe impresario and actor in the
1890s who is constantly in trouble for not paying his bills. He leads his
company out of every town before the law catches up with him. His troupe
includes his daughter, Betty (Judith Allen), as well as familiar Fields co-star
and foil, Mr. Gump (Tammany Young). Baby LeRoy makes his second appearance in a
Fields movie as the child of the rich society woman, Cleopatra Pepperday (Jan
Duggan). Pepperday desperately wants to join the McGonigle troupe and perform,
even though she is terribly untalented—but McGonigle is not averse to promising
her a role in exchange for funding. A romantic subplot involving Betty and
actor/singer Wally (Joe Morrison) and Wally’s father (Oscar Apfel) intermingles
with McGonigle’s conning of boarding house proprietors, theater managers, and
sheriffs.
Both
Kino Lorber titles, available separately, look quite good in their high
definition restorations, and each come with optional English subtitles for the
hearing impaired. Audio commentaries by film historian James L. Neibaur, author
of The W. C. Fields Films, accompany both features, along with the
theatrical trailers for these and other Kino Fields releases.
For
fans of W. C. Fields, classic cinema comedy, and old Hollywood, It’s a Gift and
The Old Fashioned Way serve up grand entertainment.
Catlow is a fun MGM Western from 1971 with broad comedic overtones in addition to some fairly brutal violence. The film was directed by Sam Wanamaker and produced by Euan Lloyd, an old hand at bringing good action movies to the big screen (i.e. Shalako, The Wild Geese). The film is based on the novel by Louis L'Amour. Yul Brynner plays the titular hero, a charismatic, free spirit who travels with an entourage of vagabond cowboys and sex-crazed hot number, Rosita, played by Daliah Lavi, who is cast against type as a wild, unsophisticated character. The somewhat meandering plot has Catlow accused, perhaps erroneously, of stealing cattle. He is pursued half-heartedly by Marshall Cowan (Richard Crenna), an old army buddy who spends more time socializing with Catlow than making any real attempt to bring him back to a kangaroo trial. The scenes of the two men engaging in endless attempts to outwit each other are quite amusing. Leonard Nimoy's bounty hunter Miller poses a more realistic threat, relentlessly hunting Catlow and his men down to the wilds of Mexico where everyone ends up facing both the army and Apaches.
There are some solid, suspenseful action sequences such as when Cowan finds himself wounded and surrounded by Indians. There is also a neat double cross that results in Catlow and his men having their guns stolen just as they are about to face off with the Apaches. The inspired supporting cast includes Jeff Corey as the requisite sidekick that was played by Walter Brennan and Gabby Hayes in earlier Westerns. Jo Ann Pflug provides some glamour as a sexy upper class seniorita. The chemistry between Brynner and Crenna is the main pleasure of the film but Nimoy scores well in his limited role as a ruthless villain- and the site of him bare-assed fighting with Brynner beside a bathtub is one for the books.
The Warner Archive region-free DVD includes the original trailer.
CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE
Way back in issue #21 of Cinema Retro, Malcolm McDowell granted us an exclusive interview in which he candidly discussed making Stanley Kubrick's "A Clockwork Orange". McDowell has been weighing in on the subject again lately due to the fact that it's been fifty years since the film's original release. To read his recollections about the challenges in making the movie, see the interview by Rosie Fletcher on the Den of Geek web site by clicking here.
Director
William Friedkin’s The French Connection, which won Oscars for Best
Picture, Best Director, Best Actor, Best Adapted Screenplay, and Best Editing
at the 1972 Academy Awards ceremony, celebrates its 50th Anniversary
today as it opened in New York City on Thursday, October 7, 1971. On Saturday,
October 7, 1961, exactly ten years earlier to the day, both New York Detective
First Grade Edward Egan and his partner, then Detective Second Grade Salvatore
Grosso, unwittingly stumbled upon what is described in author Robin Moore’s
1969 account of the case as one that would “obsess them night and day for the
next four-and-a-half months and would not end for a year-and-a-half.â€
New York
Gene
Hackman portrayed Mr. Egan and Roy Scheider co-starred as Mr. Grosso, referring
to each other by the sobriquets “Popeye†and “Cloudyâ€, respectively. Acclaimed
by critics and audiences alike for its gritty realism, its cat-and-mouse chase
between Popeye and the mastermind behind the imported heroin (played by
Fernando Rey), the film is best-known for its gripping and inexorable chase
between a 1971 Pontiac LeMans and a subway train.
The
film later opened in Los Angeles on November 3rd in Los Angeles and
on November 17th in Central Jersey.
New Jersey
Issue
#50 of Cinema Retro features this writer’s interviews with William Friedkin,
actor Tony Lo Bianco, and former New York Police Detective Randy Jurgensen who
worked on the actual case. Copies are available at CinemaRetro.com.
RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES
BY LEE PFEIFFER
One of the few remaining Steve McQueen films not available on home video finally comes to DVD with Warner Archive's release of the 1961 military comedy The Honeymoon Machine. Sadly, the film can only be recommended to McQueen fans who feel obliged to buy the DVD in order to keep their collections complete. The movie is an embarrassing fiasco that might have been excusable had it been produced by a low-rent film studio. However, MGM backed this turkey and it must have seemed pretty stale even during its release back in the JFK administration. It's worth contemplating that America's obsession at the time with showing respect for any aspect of the military extended to many films that was neutered for fear of offending Pentagon brass. Sure, screenwriters could denote some highschool-like upstarts in the Army or Navy, and the top brass might be seen as humorless stiffs, but studios rarely wanted to tweak the powers-that-be, lest they not get cooperation from the military for their war movies. In fact, it wasn't until The Americanization of Emily in 1964 that the glass ceiling was truly broken and the U.S. military could be the object of outright satire and cynicism. From there, the floodgate opened and by the late 1960s and early 1970s, films like Kelly's Heroes and M*A*S*H went to the opposite extreme and portrayed the American military as primarily comprised of dolts.
The Honeymoon Machine was made during the era when servicemen were portrayed as overgrown kids whose most dangerous exploits were acting like the kind of towel-snapping wiseguys you encounter in locker rooms. In this ill-advised opus, McQueen- in one of his first starring roles- is a Navy lieutenant who teams with civilian scientist Jim Hutton to come up with a scientific method of predicting how roulette wheels can be manipulated. When the fleet pulls into Venice, the theory is tested at the local casino, where McQueen and Hutton break the bank. Unfortunately, through a convoluted sub-plot, their shenanighans are mistaken for espionage activities and a Cold War crisis ensues.
Cinema
Retro's Dave Worrall attended the Royal World Premiere of No Time To Die at the Royal Albert Hall in London last night
highlighted by the attendance of the Prince of Wales, the Dutchess of Cornwall
and the Duke and Duchess of Cambridge. Due to the world pandemic this was a
tough event to organise, but EON pulled it off big time, withcast members Daniel Craig, Rami Malek, Lea
Seydoux, Lashana Lynch, Ben Wishaw, Naomie Harris, Jeffrey Wright, Rory
Kinnear, Ana Armas, David Denik, Dali Benssalah, director Cary Joji Fukunaga,
writers Neal Purvis, Robert Wade and Phoebe Waller-Bridge, composer Hans
Zimmer, performers Billie Eilish and Finneas O'Conell, and producers Michael
G.Wilson and Barbara Broccoli, arriving
on the red carpet and with some of them greeting the audience in the
auditorium, who responded with rapturous applause, especially for Daniel Craig.
This
event kick-starts a series of premieres in 57 countries, including 10 in the UK
and Ireland to which health care workers will be invited as special guests in
celebration and gratitude of their extraordinary work during the pandemic. Last
night's performance raised over 1 million pounds for charities supporting
serving and former members of the three intelligence agencies (the Secret
Intelligence Service, the Security Service and GCHQ). The evening also assisted
charities supporting past and present members of the United Kingdom Special
Forces, and invited health care workers and members of the armed forces, joined
the cast and other guests inside to watch the film.
Despite
guests having to have had a lateral flow test beforehand, wear a face mask, and
being a little more cautious than usual, it was a spectacular and welcome experience
for everyone who attended, and a great release after being restricted by the
various lockdown situations of the last eighteen months - thanks to Bond. James
Bond.
Here
are Dave's thoughts on the film (No spoilers):
Planes,
boats and automobiles - Daniel Craig's final mission as James Bond is an
emotional rollercoaster of a ride that twists and turns in many directions,
culminating in a finale that left me both exhausted and, dare I admit, in
tears. For many reasons, this 25th chapter in the EON-produced film franchise
has taken six years to reach cinema screens which, interestingly, continues
directly after where Bond and Madeline Swann (Lea Seydoux) drove off in the
agent's fabled Aston Martin DB5 at the end of Spectre in 2015, and then continues five years later. No Time To Die ties up a lot of loose
ends relating to Craig's tenure as Bond, and features many subtle elements
relating to films, and novels of the past that will please both Bond fans and
the general public alike.
Like
Sean Connery's You Only Live Twice
(1967), Craig's fifth and final film is also a spectacular adventure boasting
some outstanding set pieces, stunts, stunning sets and lavish location
photography that are now synonymous (and expected by audience) of a Bond film.
However, none of this distracts from the main aspect of the film - Bond and
Madeline's relationship. Like Casino
Royale, this entry is a love story. One with a difference, but definitely a
love story - and Bond is left hurting once again, but not as you would expect.
It is also the most sinister Bond film I've ever seen, with several very tense and
eerie scenes.
Directed
by Cary Joji Fukunaga (who gave us the magnificent first series of the TV show
'True Detective' 2014, Beasts of No
Nation 2015, and 'Maniac' TV mini-series 2018), his creative vision shines
through in every scene, especially those with the main characters, who are
played by a cast that excel themselves. From Rami Malek to Lashana Lynch, Lea
Seydoux to Ana de Armas - and not forgetting old stalwarts Ralph Fiennes, Ben
Wishaw, Naomie Harris, Rory Kinnear and Jeffrey Wright - no one is wasted. They
are cherished and welcomed back as much as Craig.
As
promised, no plot spoilers, and unlike a lot of the cynical die-hard fans out
there in the Bond community, I am not an overtly critical person. I was just
happy to see his return in this big screen adventure that delivers the goods in
spectacular fashion - which it does in bucket loads. Was there anything that
disappointed me? Yes - the fact that we shall not see Daniel Craig in the role again,
as he delivers big time in No Time to Die.
Definitely his finest hour.
I've
booked my tickets to go and see it again tomorrow, when the film opens to the
public. Yes, it's that good.
Dave Worrall (29/9/2021)
Photos:
Dave Worrall and Joe Osuch.
No Time To Die opens in
the UK and Ireland from 30 September, and in the U.S. on 8 October.
Well, it's finally here. Perhaps the most eagerly-awaited James Bond film ever, "No Time to Die", had its world premiere in London earlier this evening. Simultaneously, MGM and Eon Productions invited journalists to view the first screening of the film simultaneously in other parts of the globe. Cinema Retro was invited to attend the New York IMAX screening at the AMC theater at Columbus Square. Upon entering the theater, attendees were presented with official 007 studio swag followed by free popcorn and drinks. Thus, it wasn't just the popcorn that was buttered up by the time the film began. After a wait of six years since the release of the prior film, "Spectre", I must say that when the gunbarrel opening appeared, I was reminded of New York Times film critic Vincent Canby who wrote of Sean Connery's return to the role of Bond in "Diamonds are Forever" that it was enough to make a viewer weepy with gratitude.
Because of MGM and Eon's impressive achievement in keeping key plot surprises secret, I will not divulge them here. Instead, I'll give a bare-bones breakdown of important elements.The film finds Bond living blissfully in self-imposed retirement with the love of his life, Madeleine Swann (Lea Seydoux in a marvelously understated performance), with whom he rode off into the sunset at the end of "Spectre". However, their seemingly perfect existence is torn apart by developments that cause Bond to reject her and promise he will never see her again. When they are reluctantly reunited later in the film, it opens a Pandora's Box of disturbing revelations with the fate of the world hanging in the balance.
The Pre-Credits Sequence: Probably the longest such segment in any Bond film. If you walked in a minute late, you would be forgiven for suspecting it was the wrong theater. We find a mother and her young daughter living in isolation in a barren wasteland when a mysterious, unnamed villain arrives and puts into motion the basis of the story line in a chilling and disturbing fashion. The scene is disturbing and highly effective.
The Credits: Daniel Kleinman comes through again with the traditional style that was pioneered by such geniuses as Maurice Binder and Robert Brownjohn. Billy Eilish's crooning of the haunting title song works very well indeed in conjunction with the title credits' images.
The Script: Eon wisely enlisted the services of veteran Bond screenwriters Neal Purvis and Robert Wade, who initiated the Daniel Craig era with "Casino Royale". They know the character intimately, and with an assist from Phoebe Waller-Bridge and director Cary Joji Fukunaga, they deliver the goods with a complex but highly intelligent script. No other Bond actor has had the luxury of having a script specifically tailored to be his final Bond movie and the writers have come through impressively for Craig.
The Direction: Fukunaga distinguishes himself very well indeed in the action scenes but he is an actor's director and he gets the most out of his distinguished cast, with Daniel Craig giving what is arguably his best performance as Bond.
The Villains: It helps when you have two Oscar winners as your main villains. Rami Malek is superb as Safin, a creepy, aristocratic type who lives large and recalls the images of classic Bond villains of years past. Christoph Waltz's Blofeld appears primarily in only one scene, but it's pivotal to the plot and the interplay between him and Bond is riveting.
The Score: Another Oscar winner, Hans Zimmer, provides a highly impressive score that includes John Barry's "We Have All the Time in the World" from "On Her Majesty's Secret Service". He also doesn't stint on using "The James Bond Theme" often and in its original format without any modern "improvements".
The "New" 007: When Bond returns from retirement, it's well known through press leaks that he finds there is a new Agent 007: the young female agent Nomi. As played with gusto and wit by Lashana Lynch, the character trades humorous barbs with Bond but the situation is never overplayed and the two make a good team when the going gets rough. As for criticisms that it was a politically correct move to introduce this character, remember that Bond has often been teamed with kick-ass female agents going back to the early days of the series. However, the female agent winningly played by Ana de Armas does seem superfluous and appears to have been inserted just to showcase a somewhat humorous action scene. The character is then all but retired without any further development.
The film is peppered with appearances by the usual reliable players: Ralph Fiennes, especially good as a deeply troubled "M", Rory Kinnear as his Chief of Staff, Tanner and, of course, Naomi Harris as the ever-present Moneypenny. Ben Wishaw's "Q" has a major role this time around and the film is all the better for his portrayal of the quirky gadgets genius. Jeffrey Wright reappears as Felix Leiter, Bond's CIA colleague, and for once, he is given a meaty role of great relevance to the plot.
There have been concerns over the film's lengthy running time of 163-minutes but it never sags, although the sheer number of action scenes become repetitive despite the fact that they are all exciting and thrillingly staged. I've also never warmed to seeing Bond running about mowing people down with machine guns and that remains the case with "No Time to Die". By the time the movie ends, the body count rivals the climax of "The Wild Bunch". I always look to the earlier Bonds wherein 007 was somewhat judicious in his killing. (I believe in "Goldfinger", he only shoots one henchman in the course of the entire film.)
There are wonderful homages to past Bond films and literature and literature strewn throughout the movie from portraits of prior "M"s to a reading by the current "M" of words written by Ian Fleming. Bond purists will love it. I also enjoyed the fact that Safin lives like the Bond villains of old. He has a private island complete with a poisonous Garden of Death (inspired by Fleming's novel "You Only Live Twice"). He also has a big operation complete with an army of henchmen just as some of his predecessors did.
Since the script continues on from events seen in "Spectre", I would suggest revisiting that film before seeing "No Time to Die". I didn't and because I hadn't seen "Spectre" since the premiere in London in 2015, I was a bit rusty on some of the interactions with the characters. For those less acquainted with the Craig Bond films, it would also do to watch "Casino Royale" again, as elements of that plot are also relevant. I would also advise everyone to stay to the very end of the credits for reasons that will become apparent after the film's emotional ending.
"No Time to Die" is perhaps the most ambitious Bond film in terms of character development. It succeeds on every level and really should be seen in its dynamic IMAX presentation. It is a fitting finale to the Daniel Craig era and when the theater lights went on at the conclusion, I was missing him already.
(The film opens in the U.S. on October 8 but there are advance screenings on October 6 and 7.)
(Photo copyright Mark Cerulli. All rights reserved.)
By Mark Cerulli
Thanks
to the Ian Fleming Foundation (IFF,) this scribe was invited to the opening
night party for the massive Bond in Motion exhibit at LA’s world-famous
Petersen Automotive Museum, co-sponsored by EON Productions.You’ve seen the vehicles on screen, but
nothing compares to getting up close and personal with over 34 production-used
vehicles from the 1960s right up to No Time To Die. It’s a collection representing
almost 30 years of sleuthing by the IFF’s co-founder Doug Redenius and other IFF members.
(Photo copyright Mark Cerulli. All rights reserved.)
L007K
UP –
Bond’s hang-glider from Moonraker, the Vulcan Bomber model from Thunderball,
an Osato chopper model from You Only Live Twice and a full-size Cessna
from Licence to Kill.
L007K
OUTSIDE
– Visitors are greeted by the From Russia With Love chase copter.
L007K
OVER THERE
– The V8 Volante from The Living Daylights, the (huge) sub from For
Your Eyes Only, an Octopussy Tuk-Tuk, the AMC Hornet from The
Man With The Golden Gun and a badly damaged Aston Martin DBS used in a
record-breaking stunt from Casino Royale.
LOO7K
AROUND
– At the Jaguar XKR from Die Another Day, a MINT 1964 Aston Martin DB5
(seen in five Bond films), the 1971 Mach 1 from Diamonds Are Forever, Blofeld’s
escape sub from Diamonds, the Glastron from Live & Let Die’s
iconic boat jump and so many more – all lovingly restored by the IFF.
Luciana Paluzzi with Cinema Retro's Mark Cerulli- and an original "Thunderball" underwater sled.
(Photo copyright Mark Cerulli. All rights reserved.)
The
evening started with a rooftop cocktail party where the NEFT vodka flowed like
Tracy’s dress as invited guests mingled and toasted the night’s VIPs – five,
count ‘em, FIVE Bond Girls – Maud Adams (The Man With the Golden Gun,
Octopussy), Luciana Paluzzi (Thunderball), Gloria Hendry (Live & Let Die), Lynn-Holly Johnson
(For Your Eyes Only) and Mary Stavin
(Octopussy, A View To A Kill).They all seemed delighted to see each other and were up for a big night
out.
Bond royalty: Maud Adams, Luciana Paluzzi, Lynn-Holly Johnson, Gloria Hendry and Mary Stavin.
(Photo copyright Mark Cerulli. All rights reserved.)
Doug
and fellow IFF co-founder Michael VanBlaricum gave a discussion on their
acquisition of screen-used vehicles, many found in total disrepair across the
globe.Then they shared the spotlight
with the Bond actresses for some Q&As. Next, the 00 VIPS cut the red ribbon,
officially opening the exhibit and crowds swarmed the cars – all artfully
arranged by the Petersen staff in unique dioramas.Even the event’s official car transport – DHL
– got into the spirit by positioning their 007-branded yellow vans around the
Museum.Bond truly is back – and right
now, he’s at the Peterson Auto Museum in LA.
(Photo copyright Mark Cerulli. All rights reserved.)
Universal has released the 1967 Don Knotts comedy "The Reluctant Astronaut" as a Blu-ray release. The film was Knotts's second feature film for the studio following the surprise success of "The Ghost and Mr. Chicken". This time Universal raised the production budget, thus allowing director Edward Montagne to shoot on location at both the Johnson and Kennedy Space Centers. Knotts again recreates what is essentially his Emmy-winning portrayal of Deputy Barney Fife from "The Andy Griffith Show", complete with that character's requisite "salt-and-pepper" suit. When we first see his character, Roy Fleming, he's a 35 year-old nervous type whose "career" is playing an astronaut on a rocket ship ride in a children's amusement park. He still lives at home with his doting mother (Jeanette Nolan) and his overbearing father, Buck (Arthur O'Connell), who keeps bragging about his heroics in WWI and instills military discipline in the household. ("Well, he was a corporal, and you know how bossy they could be!" explains Roy's mom.) Buck wants his son to live up to his own self-proclaimed achievements in the Great War and without Roy's knowledge, sends in an application to NASA under his son's name. The goal is to get Roy into the astronaut training program. When an acceptance letter to report to NASA arrives in the mail, Roy goes into panic mode at the prospect of being an astronaut. He's suffered from a fear of heights since childhood and he reminds his mother that he can't even bring himself to get on the step stool to reach the marmalade jar. Attempts to share his fears with his father fall on deaf ears as Buck is a big-mouthed blowhard who immediately starts bragging to the entire town about his son's achievement. Soon, Roy is the reluctant guest at a party in which he is already cited as a local hero. Not wanting to humiliate himself or his father- not to mention local girl Ellie (Joan Freeman), who is trying to impress- Roy leaves for the NASA training center. (An amusing, on-going gag finds Roy pretending to board planes but secretly slipping away so he can take a safer mode of transportation: a Greyhound bus.)
Once he reports to NASA, Roy is both relieved and bemused by the fact that he has not been accepted for astronaut training but, in fact, is a janitor-in-training. When his father and his friends make a surprise visit to the facility, Roy tries to cover up his shame by dressing as an astronaut and demonstrating a new rocket sled with predictably disastrous results. Upon being fired and unmasked as a fraud, he returns to his hometown in shame, leaving his father heartbroken. However, this familiar dilemma in all of Knotts's feature films is resolved in predictable fashion by fate allowing him a chance to redeem himself. NASA learns that the Soviets are about to demonstrate the effectiveness of their new automated space capsule by launching a dentist who has no experience with astronaut training. NASA is eager to beat them to the punch and decides to ask Roy to volunteer. The scenes of the panic-stricken nerd trying to cope with space travel are among the funniest bits in the film. Naturally, a disaster occurs and Roy saves the day by summoning hidden courage that even he didn't know he possessed.
"The Reluctant Astronaut" doesn't have the cult following that "The Ghost and Mr. Chicken" has built but it's equally good and at times laugh-out-loud funny thanks to Knotts' comedic genius and an inspired supporting cast that includes Leslie Nielsen (still trapped in pre- "Airplane" mode when studios didn't realize his comic potential), Arthur O'Connell, Jesse White, Jeanette Nolan, Frank McGrath and Paul Hartman. There are other familiar elements of the Knotts feature films: a good script by Everett Greenbaum and Jim Fritzell (head writers of "The Andy Griffith Show") and fine direction by Knotts's frequent collaborator, Edward Montagne. Naturally, there's also a zippy and amusing score by Vic Mizzy.
Universal has once again provided a terrific Blu-ray transfer with eye-popping colors. Not to sound like an ingrate, but I feel compelled to repeat my only criticism of these Knotts releases, which is their complete lack of bonus materials, especially since the DVD editions contained the original trailers which are easily available for the Blu-ray releases. However, even if you have the DVD editions in your library, the quality of the Blu-rays releases merits upgrading if you're a true Knotts fan.
CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE
I have a passion for Westerns of the 1960s, especially those mid-range productions that weren't designed to win awards but, rather, produce a decent profit on a modest budget. A typical example is director Burt Kennedy's 1969 film "The Good Guys and the Bad Guys" starring Robert Mitchum and recent Oscar winner George Kennedy. Burt Kennedy had no pretensions of being placed on the same pedestal as John Ford and Howard Hawks, but when it came to making fun, whimsical Westerns, he was among the top talents in the industry. Kennedy was coming off the recent success of "The War Wagon" and "Support Your Local Sheriff!", two fun-packed Westerns that proved to resonate very well indeed with the intended audiences. "Good Guys" doesn't work as well due to a weaker script that sees it play out like a TV Western. Still, it has the central ingredients to make for an enjoyable romp: the presence of two popular leading actors, a supporting cast peppered with marvelous players, plenty of scenery of the great outdoors and even an intentionally hokey ballad sung by Glenn Yarbrough that is played throughout the film to serve as a narrative device. (Shades of "Cat Ballou"!). The film was originally developed by Kirk Douglas and director Martin Ritt but they could never bring it to fruition in a manner that was mutually satisfactory.
The story opens in the booming town of Progress, New Mexico. The local, long-serving marshall is Jim Flagg (Robert Mitchum), who is all-too aware of the fact that he's nearing the end of his career. Yet, he still remains devoted to serving the citizenry with honesty and dedication. He learns that his old nemesis, Big John McKay (George Kennedy) has been seen in the area with his gang and they are planning to rob a train that's due to arrive in a few days that is carrying $100,000 in bank funds. Flagg notifies the town mayor, Wilker (Martin Balsam), who dismisses the concerns by saying train robberies are a relic of the distant past. Wilker is consumed with running for re-election and is bribing the population with free drinks and closing down the bordello, which delights the local women. (However, he privately assures the men that it will reopen right after the election.) He's also devoting his time to seducing a local, married beauty (Tina Louise). The unscrupulous mayor lures Flagg to a podium at one of his campaign rallies and shocks him by announcing Flagg will be retiring. The mayor summarily appoints his right hand "yes man" to take over as marshal. He gives Flagg a gold watch and a pension then sends him off to a round of applause. Ever-dedicated to his profession, however, Flagg tracks down McKay and is shocked to find that the once-notorious outlaw is now being bullied by the cutthroats in his gang. Flagg manages to put handcuffs on McKay and bring him to town with the intention of delivering him to a federal marshal in a different territory, given Mayor Wilker's indifference to the train robbery plot. You can predict where this is all going. Flagg and McKay wax nostalgic about the good old days when there was some honor and respect between lawmen and thieves. Flagg enlists his aid to help him prevent the train robbery which leads to a chaotic conclusion with the new partners boarding the train and being mistaken for gang members, the townspeople forming a massive posse in pursuit of the out-of-control train and everyone fighting each other in comic shoot-outs.
There's a lot of violence in "The Good Guys and the Bad Guys" but none of it is gory. In fact, there's only one dramatic shootout in which a sympathetic character is murdered. There are plenty of women of loose morals but they all have the requisite heart of gold. The byplay between Mitchum and Kennedy is fun but it's Martin Balsam who steals the film in a rare comedic role. Among the familiar faces who contribute to the yucks: young David Carradine and his father John (though they don't share a scene together), Marie Windsor, Kathleen Freeman, Douglas V. Fowley and Lois Nettleton as a widow with a young son who is in a flirtatious relationship with Mitchum. Harry Stradling,Jr.'s cinematography is a quite impressive, capturing the grandeur of the New Mexico and Colorado mountain locations and the miniature work seen in the spectacular train crash is also very good. Critics were anemic at best when it came to reviewing the film. The New York Times dismissed it as "a dinky prairie oyster" while a few other outlets at least acknowledged it was fun family entertainment. Mitchum would later say he regretted being in the film, stating ""How in hell did I get into this picture, anyway? I
kept reading in the papers that I was going to do it, but when they sent me the
script I just tossed it on the heap with the rest of them. But somehow, one
Monday morning, here I was. How in hell do these things happen to a man?"
The Warner Archive region-free DVD features the original trailer (which gives away some spoilers) and a lengthy featurette which covers the making of the film in the small railroad town of Chama, New Mexico through the eyes of a local young boy who gets to meet the stars and director and appear as an extra in the film.
"The Good Guys and the Bad Guys" didn't rank high on the list of career achievements for anyone involved in it but it provides enough fun moments to merit recommending.
CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE
Cinema Retro has received the following press release:
TCM To Celebrate Legendary Musical Actress Jane Powell
Turner Classic Movies (TCM)
will celebrate the life and career of iconic Hollywood Golden Age
actress JanePowell with a programming tribute on Saturday,
October 16. Powell, who passed away on September 16 at the age of
92, was known for her roles in mid-century movie musicals. At the age
of 25 she starred in Seven Brides for Seven Brothers (1954),
named as one of the greatest American musicals of all time by the
American Film Institute. Powell was a great friend of the late TCM Host
Robert Osborne and was with Osborne in Times Square when Turner Classic
Movies was launched as a network in 1994.
The following is the complete schedule for TCM's on-air tribute to Jane
Powell:
TCM Remembers Jane Powell – Saturday, October 16
12:00 p.m. Luxury Liner (1948) – The daughter of a ship's
captain becomes a sea-going cupid. 2:00 p.m. Small Town Girl (1953) – A sheriff's daughter
falls for a playboy arrested for speeding. 4:00 p.m. Royal Wedding (1951) – A brother-and-sister
musical team find romance when they tour to London for Elizabeth II's
wedding. 6:00 p.m. Seven Brides for Seven Brothers (1954) – When
their older brother marries, six lumberjacks decide it's time to go
courting for themselves.
Cinema Retro has received the following press release:
Elvira’s back
and she’s fabulous! On October 5, 2021, Scream Factory proudly presents the
camp classic Elvira’s Haunted Hills from the iconic horror
host in a Collector’s Edition Blu-ray release. The Blu-ray features a
brand-new 4K scan of the original camera negative and comes loaded with
bonus features including a new introduction by Elvira, Mistress of the
Dark, all housed within limited-edition collectible slipcase packaging,
while supplies last.
Fans who order
their copies from shoutfactory.com will also receive an
exclusive poster featuring brand-new artwork, while supplies last.
With her
voluptuous figure, voluminous black hair and hilarious one-liners, the
essence of camp oozes from her pores. Elvira’s Haunted Hills culls
its outrageousness from the classic Vincent Price/Edgar Allan Poe/Roger
Corman films of the early 60s, along with a little Rocky Horror Picture
Show and Fearless Vampire Killers.
The tale begins
in 1851, when Elvira and her maid Zou Zou are en route to perform in the
Parisian Revue “Yes I Can Can,†but inadvertently end up at the sinister
Lord Vladimere Hellsubus’ medieval castle. Bearing an uncanny resemblance
to Vladimere’s long-dead wife, Elvira learns of the Hellsubus curse and
finds her life in danger. Will she escape the family curse and the evil
Vladimere? And can she keep her hands off of the stable hand long enough to
save the day?
Special Features:
NEW
Restoration from a 4K
Scan of the Original Camera Negative
NEW
Introduction by Elvira,
Mistress Of The Dark
Audio
Commentary with Actors Cassandra Peterson, Mary Scheer, Mary Jo Smith
And Scott Atkinson, and Director Sam Irvin
The event will lead a series of premieres in
57 cities across the globe, including 10 in the UK and Ireland to which health
care workers will be invited as special guests in celebration and
gratitude of their extraordinary work during the pandemic.
The World Premiere will benefit charities
supporting serving and former members of the three intelligence
agencies (the Secret Intelligence Service, the Security Service and GCHQ).
The evening will also assist charities supporting past and present
members of the United Kingdom Special Forces.
At the Royal Albert Hall in London, there
will be viewing areas on the red carpet for invited health care
workers and members of the armed forces. They will join the cast and other
guests inside to watch the film.
Please note there is no public access on the
day to the red carpet or viewing areas. Highlights from the event will be
available to view via the official 007
social media channels. A limited number of tickets have been
made available for public purchase via the Royal Albert Hall website. (Note: The Royal Albert Hall web site indicates the public allocation of tickets has sold out.)
Following the World Premiere, No Time
To Die will release in the UK and Irelandfrom 30th September
2021 through Universal Pictures International and in the U.S on 8th October
through MGM via their United Artists Releasing banner.
If you're like most retro movie lovers, you're addicted to some degree to tuning into Turner Classic Movies. TCM fans are also fans of the knowledgeable team of hosts and one of the most prominent is Eddie Muller, the network's "go to" guy for all things relating to the Film Noir genre. In fact, Muller has become synonymous with noir largely due to his informative and stylish segments that bookend the telecasts of the films he introduces. Muller has released a new edition of his acclaimed book "Dark City" through TCM and Running Press publishers. The book has been indispensable over the last twenty years for Noir fans. Having been suitably impressed by a review copy I had received, I thought it would be appropriate to reach out to Muller and get insights on the Noir genre, the Film Noir Foundation, which he founded, TCM and, of course, "Dark City".
At
what point in your life did you discover the Film Noir genre and was there a
specific film that especially influenced you?
In
my early teens I became aware that there was a similarly shadowy, sexy, and sinister
look to Hollywood movies of a particular time. I picked them out of TV Guide
by looking for the words Night, Big, City and Street in the titles. I’m
surprised no studio made a picture called “Big City Street at Night.†“Thieves’
Highway†(1949) put the hook in because it was set in my hometown, San
Francisco.
The
constant debate question concerns what defines Film Noir. The "rules"
seem rather fluid. From your perspective, what are the essential ingredients?
The
protagonist isn’t a hero. He or she wants something they can’t have and they’ll
compromise themselves to get it. That’s the premise for lots of drama, but in
noir that usually means committing a crime. That’s looking at it thematically.
Stylistically, it’s the look: a largely nocturnal, sinister world. Alluring but
dangerous. The look of classic noir inspired filmmakers just as Impressionism
or Cubism influenced painters at a certain time.
There
have been many films in the modern era that have elements of Film Noir: the
Philip Marlowe movies with Robert Mitchum, "Chinatown,""Body Heat," "Mulholland Drive,"
etc....can any of these be considered to be Film Noir- and if not, why?
Since
I’m a writer, I first look at things from that perspective, so to me noir
extends beyond the boundaries of the visually oriented movement. I’m always
intrigued by its influence on a later generation of filmmakers, like Scorsese,
Schrader, Lynch, the Coens, Chris Nolan—and dozens of lesser known filmmakers
who get into the game by trying their hand at a noir—because they are by nature
so minimalist. They can be made on a shoestring. To me, there is the film noir
movement, generally 1941-1952 (when Hollywood was pumping out dozens every
year) and then there’s just Noir—which to me denotes a particularly dark and
dire kind of crime story in which survival is probably the best you can hope for.
Explain
why cinematography plays such an important element in the Noir genre.
Because
that’s what gave the films such a distinctive look. That’s why it’s an
“artistic movement.†There was no inherent reason the films had to look like
this. Most Hollywood trends are driven by economics—this one was driven by the
artists, doing things they found fresh and compelling.
How
did you decide on what films and stars to concentrate on for your book
"Dark City"?
The
core idea was that “Dark City†was an actual place. I was inspired by these
being contemporary films at the time they were made and taken together they
presented a coherent vision of a mythological American city—one that was the
complete antithesis of what the establishment wanted us to believe. So I
divided this city into neighborhoods that reflected essential subsets of the
“genre.†That meant leaving out some favorites, Gothic noirs like “Hangover
Square†and “The Suspect.†But with this revised and expanded version I got to
include a few chapters I’d had to leave out of the original release—The City
Desk (newspaper noirs), The Big House (prison noirs) and The Stage Door (show
biz noir).
Who
is your favorite Noir actor and actress and why?
I
feel obligated to say Humphrey Bogart because his persona was so essential to
the public’s acceptance of the noir anti-hero. He’s the guy who made darker
stories and more cynical characters palatable to the public. Honorable mention
to Robert Mitchum. And Dana Andrews. And Robert Ryan … the list is long. Easier
with the actress: Gloria Grahame. She was totally unique—funny and dangerous
and vulnerable and tough as nails. I love Claire Trevor, Marie Windsor, Jane
Greer, Audrey Totter … an equally long list, I guess. But Gloria was
one-of-a-kind.
What
is your favorite Noir film and why?
“In
a Lonely Place.†Because it stars Bogart and Gloria Grahame, their only film
together. And it’s the most adult movie I’ve ever seen from the period. Its
more than a crime movie; it says profound things about the psyche of artists
and about painful relationships between men and women.
What
are the most underrated Noir films and who would say are the most
underappreciated stars?
“Criss
Cross†(1949) is probably the most underrated. Robert Siodmak is my favorite
director of noir and I think this is his masterpiece, even better than “The
Killers†(1946). Another is “99 River Street,†which is like a 1950s pulp
paperback come to life. The film is not profound or particularly meaningful in
any way, but if you love crime movies it fires on all cylinders. So I might as
well cite its star, John Payne, as one of the most underrated performers in
noir. I don’t think he’s a great actor, but he understood this kind of material
and worked within it perfectly. He’s also great in “Kansas City Confidential.â€
Do
you think the films would have benefited if they had not been subjected to the
Production Code? For example, there always had to be a prevailing message that
crime doesn't pay and the sex scenes had to be compromised.
I
actually think the Code was beneficial to creativity, if artists were sharp and
had their wits about them. Writers like Dalton Trumbo were geniuses are writing
“around†the Code—look at “Gun Crazy,†as sex-charged and amoral a movie as was
ever made in this country, right under the nose of the censors. I don’t belief
in censorship, but I do believe in restraint and good taste. It pains me that
today it’s so hard to for filmmakers to do things tastefully. But maybe its
just because we’ve become a distasteful culture.
Please
describe how this updated edition of "Dark City" differs from the
previous edition.
I’ve
added three new chapters and included lots of material that was unavailable to
me 20-some years ago. In a nutshell, I’d say this edition is more “wised upâ€
than the previous one. And the package itself is exceptional. Running Press,
the publisher, did right by me, enhancing my original design concepts and
ensuring that the book had maximum visual allure.
How
did you get involved with TCM?
Somewhere
along the line they heard me say, “Film noir is the gateway drug to classic
cinema.†And they saw first-hand how many young people were drawn to the noir
film festivals I stage around the country. Being able to entice younger viewers
into the fold is essential to the survivial of these films. TCM felt I could
help do that for the network.
Please
let our readers know about the Film Noir Foundation.
The
Film Noir Foundation was created in 2005 to find, rescue and restore noir films
that were in danger of being lost. Typically, that means independently financed
films distributed but not owned by the major studios.Restorationists call them “orphaned films.â€
So far we’ve restored or preserved more than 30 titles, with more to come. It
was born out of the financial success of the Noir City film festivals I
produce. I couldn’t justify keeping all that profit for myself. Since the films
had given me so much, I decided to give something back to those filmmakers by making
sure their work survived. Many of the films we’ve rescued, “Woman on the Run,â€
“Too Late for Tears,†“The Prowler,†“Trappedâ€â€”are now included in the
narrative of “Dark City: The Lost World of Film Noir.†The world may be lost,
but not the films.
Each episode focuses
on a different aspect of the James Bond universe, from characters to locations
and music to action. Daniel Craig also discusses landing the iconic role, and
the release of his final outing as the world’s favourite secret agent.
Podcast listeners
will get an exclusive first listen to some of the No Time To Die score from
Hans Zimmer by Decca Records.
No Time To Die: The
Official James Bond Podcast is produced by Somethin’ Else in association with
Metro Goldwyn Mayer Studios, Universal Pictures International, United Artists
Releasing and EON Productions.
Cinema Retro has received the following press release regarding the opening of the "Bond in Motion" automotive exhibition, which will be opening on September 25 and running through October 22, 2022 at the Petersen Automotive Museum in Los Angeles:
Produced in
collaboration with EON Productions and The Ian Fleming(TM) Foundation, Bond in
Motion is the first official exhibition in the United States to feature
original vehicles from one of the world’s most iconic film franchises, James
Bond. This exhibit celebrates the 60th anniversary of the franchise since the
release of Dr. No (1962).
With the publication
of his first spy novel, Casino Royale (1953), author and former naval
intelligence officer Ian Fleming introduced the world to the enchanting
exploits of James Bond, a British officer in the Secret Intelligence Service,
also known as MI6. In all, Fleming would produce twelve novels and two short
stories, laying the foundation for what would become a global literary and
cinematic legacy.
Beginning in 1962,
with the movie adaptation of Fleming’s sixth title, Dr. No, the exciting
and dangerous world of James Bond was translated to screen, setting the tone
for Bond films to come. Much like the novels on which they are based, Bond
films combine the adventure of exotic locations and scheming villains with the
action of death-defying stunts, and heart-pounding chases in nearly every type
of vehicle imaginable. Often modified by quartermaster “Q,†these vehicles,
much like Bond himself, conceal their true nature until their weapons and
gadgetry become important plot devices.
The Bond in Motion
exhibit offers visitors a rare up-close experience of the most iconic vehicles
associated with the world’s most famous secret agent, 007.
Cinema Retro has received the following press release:
Newly
Restored and Remastered for Its 40th Anniversary, Director
Milos Forman’s Acclaimed Drama is Latest Addition to
the Paramount Presents Line
Debuting
November 16, 2021, Limited-Edition Two-Disc Blu-rayâ„¢ Includes Newly
Discovered Director’s Cut Workprint, Deleted & Extended Scenes, and a New
Look Back at the Film
Oscar®-winning* director Milos Forman’s cinematic epic RAGTIME
arrives for its 40th anniversary in a Limited-Edition two-disc
Blu-ray as part of the Paramount Presents line on November 16, 2021 from
Paramount Home Entertainment. The film was originally released on
November 20, 1981.
Based on E.L. Doctorow’s best-selling novel, RAGTIME
tells an unforgettable story of disparate characters in New York City in the
early 1900s. From
the emerging New York suburb of New Rochelle to the flashy spectacle of
Atlantic City, a family faces racial tensions, scandals, and violence that will
test everything they believe in. With music by
Randy Newman, the film features a spectacular cast including James Cagney, Brad
Dourif, Moses Gunn, Elizabeth McGovern, Kenneth McMillan, Pat O’Brien, Donald
O’Connor, James Olson, Mandy Patinkin, Howard E. Rollins, Jr., Mary
Steenburgen, Debbie Allen, Jeff Daniels, Fran Drescher, Samuel L. Jackson,
Norman Mailer, John Ratzenberger.
RAGTIME has been remastered from a 4K film transfer
and is presented in collectible packaging featuring a foldout image of the
film’s theatrical poster and an interior spread with key movie moments.
The two-discBlu-ray includes a newly discovered director’s cut
workprint version of the film (along with the theatrical version), deleted and
extended scenes, a look back at RAGTIME with Larry Karaszewski
and screenwriter Michael Weller, access to a Digital copy of the theatrical
version, and the additional legacy bonus content detailed below:
Disc 1
· Newly remastered
theatrical version
· Deleted and
Extended Scenes—NEW!
· Ragtime
Revisited: A Conversation with Larry Karaszewski and screenwriter Michael
Weller on Ragtime—NEW!
· Commentary by
director Milos Forman and executive producer Michael Hausman
· Deleted Scene
· Remembering Ragtime
Disc 2
· Director’s Cut
Workprint—NEW!
About Paramount
Presents
This collectible line spans
celebrated classics to film-lover favorites, each from the studio’s renowned
library. Every Paramount Presents release features never-before-seen
bonus content and exclusive collectible packaging. Additional titles
available in the Paramount Presents collection on Blu-ray include: Fatal
Attraction, King Creole, To Catch a Thief, Flashdance,
Days of Thunder, Pretty In Pink, Airplane!, Ghost,
Roman Holiday, The Haunting, The Golden Child, Trading Places, The Court
Jester, Love Story, Elizabethtown, The Greatest Show on Earth, Mommie Dearest,Last Train From Gun Hill, 48 HRS., Another 48 HRS., Almost Famous, A Place
in the Sun, Nashville, Bugsy Malone, Breakdown,The Sheik and Vanilla
Sky.
Here's a real rarity from some years ago: an officially licensed Steve McQueen Virgil Hilts action figure sold only in Japan back in the 90s. The Great Escape packaging is enough to make a collecting nerd out of any retro movie fan, especially when you throw in the optional U.S Army jacket patterned after the one McQueen wore in the film. The bad news: these figures sell for hundreds of dollars whenever they periodically show up on the collector's circuit. Now if they'd only make that Donald Pleasence companion figure! (Image from UK-based Metropolis Toys, which has a cool catalog of toys based on classic TV shows and movies)
Cinema Retro has received the following press release from Paramount Home Video:
“Crocodile Dundee†Trilogy: Together for the First Time on
Blu-ray, Fan-Favorite Trilogy Debuts September 21, 2021
Say g’day to Michael J. “Crocodile†Dundee (Paul Hogan), the
eccentric Australian crocodile hunter who won the hearts of fans around the
globe when he made his feature film debut in “Crocodile†Dundee, which
celebrates its 35th anniversary this year. Originally released
on September 26, 1986, the film earned over $328 million worldwide and spawned
two sequels: “Crocodile†Dundee II and “Crocodile†Dundee in Los
Angeles. Now, all three films will be available together in one
Blu-ray collection when the “CROCODILE†DUNDEE TRILOGY debuts
September 21, 2021 from Paramount Home Entertainment.
The “CROCODILE†DUNDEE TRILOGY includes all three
films in high definition, along with access to digital copies of each:
“Crocodile†Dundee
Paul Hogan's hilarious, endearing performance made
"Crocodile" Dundee the #1 comedy at the U.S. box office in 1986,
surpassed only by Top Gun in ticket sales. Michael J.
"Crocodile" Dundee (Hogan) is a free spirited Australian who hunts
crocodiles with his bare hands, stares down giant water buffaloes, and drinks
mere mortals under the table. But he's about to face the ultimate torture
test—a trip to New York City. The Blu-ray also includes the theatrical
trailer in HD.
“Crocodile†Dundee II
Just as the eccentric Australian is starting to adjust to life in
New York City, Dundee (Paul Hogan) and his girlfriend (Linda Kozlowski) are
targeted by a gang of ruthless drug dealers. Dundee evens the odds by leading
the big-city hoods into the treacherous Australian outback. The Blu-ray
includes a previously released behind-the-scenes featurette in standard
definition and the theatrical trailer in HD.
“Crocodile†Dundee In Los Angeles
He's wrestled crocodiles Down Under and fought crime in New York,
but can Michael J. "Crocodile" Dundee swim with the sharks in
L.A.? Paul Hogan returns as “Crocodile†Dundee in this hilarious third
installment of the beloved film series, making its Blu-ray debut. The
disc also includes a previously released “Making of†featurette and the
theatrical trailer in standard definition.
Cinema Retro has received the following press release:
Celebrate
the 25th Anniversary of the Iconic Thriller,
Newly Remastered on 4K Ultra HD & Blu-rayâ„¢
Subversive
Fan-Favorite Arrives October 19, 2021
with an All-New Look at the Film’s Impact and Legacy
In celebration of its 25th
anniversary and just in time for Halloween, SCREAM will be
released for the first time on 4K Ultra HD and in a newly remastered Blu-ray on
October 19, 2021 from Paramount Home Entertainment.
25 years after its
theatrical debut, SCREAM remains a wildly entertaining and
terrifically terrifying cinematic experience. Directed by Wes Craven and
written by Kevin Williamson, the film is a brilliant deconstruction of the
horror genre that pays homage to the conventions of slasher films while
upending them with clever twists and witty dialogue.
The new SCREAM
4K Ultra HD, Limited-Edition 4K Ultra HD SteelBook, and Blu-ray include a
brand-new look back at the film and director Wes Craven, featuring archival
behind-the-scenes footage and new interviews with stars Neve Campbell,
Courteney Cox, and David Arquette, as well as screenwriter Kevin Williamson and
the directors and other cast members from the new installment in the franchise
scheduled to premiere in theaters in 2022 from Paramount Pictures and Spyglass
Media Group. The discs also include access to a Digital copy of the film
and the legacy bonus content detailed below:
·A Bloody Legacy: Scream
25 Years Later— NEW!
·Audio commentary by
director Wes Craven and writer Kevin Williamson
·Production featurette
·Behind the Scenes
On the Scream Set
Drew Barrymore
·Q&A with Cast and
Crew
What’s Your Favorite Scary Movie?
Why are People so Fascinated by Horror Films?
Synopsis
After a series of
mysterious deaths befalls their small town, an offbeat group of friends led by
Sidney Prescott (Neve Campbell) becomes the target of a masked killer. As the
body count rises, Sidney and her friends turn to the “rules†of horror films to
help navigate the real-life terror they’re living in. The film also stars
Courteney Cox, David Arquette, Skeet Ulrich, Matthew Lillard, Jamie Kennedy,
Rose McGowan, and Drew Barrymore.
Fathom Events
In celebration of the 25th anniversary, Fathom
Events and Paramount Pictures will bring SCREAM back to select
cinemas for a special two-day event on October 10 and 11. Additional
details will be announced separately.
CLICK HERE TO ORDER 4K HD & DIGITAL EDITION FROM AMAZON
CLICK HERE TO ORDER BLU-RAY AND DIGITAL EDITION FROM AMAZON
Cinema Retro has received the following press release:
Celebrate
the 55th Anniversary of the Star Trek Franchise with the
Debut of the First Four Films on 4K Ultra HD Blu-rayâ„¢
Newly
Remastered Films will also be Available Individually on Blu-rayâ„¢
New
Releases Arrive September 7, 2021
Just in
time to commemorate the 55th anniversary of the September 8, 1966
airing of the very first Star Trek episode, Paramount Home Entertainment
will debut the following new releases for every fan’s collection on September
7, 2021:
STAR
TREK: THE ORIGINAL 4 MOVIES 4K ULTRA HD/BLU-RAY COLLECTION
For the
first time ever, experience the original four Star Trek films in
stunning 4K Ultra HD. Newly remastered from original elements for optimal
picture quality, each film is presented with Dolby Vision® and HDR-10.*
This exceptional collection includes four Ultra HD discs, as well as four
remastered Blu-ray discs with hours of previously released bonus content.
Star Trek: The Motion Picture, Star Trek II: The Wrath of Khan (both the
theatrical and director’s cut), Star Trek III: The Search for Spock, and
Star Trek IV: The Voyage Home are presented on both the 4K Ultra HD and
Blu-ray Discs, along with access to digital copies of the theatrical version of
each film. A detailed list of the disc contents follows:
Star Trek: The Motion Picture 4K Ultra HD
·Isolated score in Dolby 2.0—NEW!
·Commentary by Michael & Denise Okuda, Judith & Garfield
Reeves-Stevens and Daren Dochterman
Star Trek: The Motion Picture Blu-ray
·Isolated score in Dolby 2.0—NEW!
·Commentary by Michael & Denise Okuda, Judith & Garfield
Reeves-Stevens and Daren Dochterman
·Library Computer (HD)
·Production
oThe Longest Trek: Writing the Motion Picture (HD)
·The Star Trek Universe
oSpecial Star Trek Reunion (HD)
oStarfleet Academy SCISEC Brief 001: The Mystery Behind V’ger
·Deleted Scenes
·Storyboards
·Trailers (HD)
·TV Spots
Star Trek II: The Wrath of Khan 4K Ultra HD
·Commentary by Director Nicholas Meyer (Director's Cut and
Theatrical Version)
·Commentary by Director Nicholas Meyer and Manny Coto (Theatrical
Version)
Star Trek II: The Wrath of Khan Blu-ray
·Commentary by Director Nicholas Meyer (Director's Cut and
Theatrical Version)
·Commentary by Director Nicholas Meyer and Manny Coto (Theatrical
Version)
·Text Commentary by Michael and Denise Okuda (Director’s Cut)
·Library Computer (HD)
·The Genesis Effect: Engineering The Wrath of Khan
·Production
oCaptain’s Log
oDesigning Khan
oOriginal Interviews with William Shatner, Leonard Nimoy, DeForest
Kelley, and Ricardo Montalbán
oWhere No Man Has Gone Before: The Visual Effects of Star Trek
II: The Wrath of Khan
oJames Horner: Composing Genesis (HD)
·The Star Trek Universe
oCollecting Star Trek’s Movie Relics (HD)
oA Novel Approach
oStarfleet Academy SCISEC Brief 002: Mystery Behind Ceti Alpha VI
(HD)
·Farewell
oA Tribute to Ricardo Montalbán (HD)
·Storyboards
·Theatrical Trailer (HD)
Star Trek III: The Search for Spock 4K Ultra HD
·Commentary by director Leonard Nimoy, writer/producer Harve
Bennett, director of photography Charles Correll and Robin
Curtis
·Commentary by Ronald D. Moore and Michael Taylor
Star Trek III: The Search for Spock Blu-ray
·Commentary by director Leonard Nimoy, writer/producer Harve
Bennett, director of photography Charles Correll and Robin
Curtis
·Commentary by Ronald D. Moore and Michael Taylor
·Library Computer (HD)
·Production
oCaptain’s Log
oTerraforming and the Prime Directive
oIndustry Light & Magic: The Visual Effects of Star Trek
oSpock: The Early Years (HD)
·The Star Trek Universe
oSpace Docks and Birds of Prey
oSpeaking Klingon
oKlingon and Vulcan Costumes
oStar Trek and the Science Fiction Museum and Hall of Fame (HD)
oStarfleet Academy SCISEC Brief 003: Mystery Behind the Vulcan
Katra Transfer
·Photo Gallery
oProduction
oThe Movie
·Storyboards
·Theatrical Trailer (HD)
Star Trek IV: The Voyage Home 4K Ultra HD
·
Commentary by William Shatner and Leonard Nimoy
·
Commentary by Roberto Orci and Alex Kurtzman
Star Trek IV: The Voyage Home Blu-ray
·
Commentary by William Shatner and Leonard Nimoy
·
Commentary by Roberto Orci and Alex Kurtzman
·
Library Computer (HD)
·
Production
Future’s Past: A Look Back
On Location
Dailies Deconstruction
Below-the-Line: Sound Design
Pavel Chekov’s Screen Moments
(HD)
The Star Trek Universe
Time Travel: The Art of the
Possible
The Language of Whales
A Vulcan Primer
Kirk’s Women
The Three-Picture Saga (HD)
Star Trek for a Cause (HD)
Starfleet Academy SCISEC Brief
004: The Whale Probe (HD)
Visual Effects
From Outer Space to the Ocean
The Bird of Prey
Original Interviews
Leonard Nimoy
William Shatner
DeForest Kelley
Tributes
Roddenberry Scrapbook
Featured Artist: Mark Lenard
Production Gallery
Storyboards
Theatrical Trailer (HD)
STAR
TREK: THE ORIGINAL 4 MOVIES ON BLU-RAY
Each of
the original four Star Trek films will also be available individually on
Blu-ray with the bonus content detailed above. Newly remastered versions
of Star Trek: The Motion Picture, Star Trek II: The Wrath of Khan (both
the theatrical and director’s cut), Star Trek III: The Search for Spock,
and Star Trek IV: The Voyage Home are presented in high definition along
with digital copies of the theatrical version of each film.
FATHOM EVENTS
In addition, in celebration of the 55th
anniversary, Fathom Events and Paramount Pictures will bring Star Trek IV:
The Voyage Home back to select cinemas for a special two-day event on
August 19 and 22. Additional details will be announced at a later date.
STAR
TREK: THE MOTION PICTURE Synopsis
The U.S.S.
Enterprise boldly debuted on the big screen with the cast of the original Star
Trek series, including William Shatner, Leonard Nimoy, DeForest Kelley,
George Takei, Nichelle Nichols, Walter Koenig, and James Doohan. When an
unidentified alien intruder destroys three powerful Klingon cruisers, Captain
James T. Kirk returns to the helm of a newly transformed U.S.S. Enterprise
to take command. This is the original theatrical cut of the acclaimed adventure
and features Jerry Goldsmith’s rousing iconic overture.
STAR TREK
II: THE WRATH OF KHAN Synopsis
Including
both the original theatrical and director’s cuts, Star Trek II: The Wrath of
Khan is one of the most celebrated and essential chapters in Star Trek
lore. On routine training maneuvers, Admiral James T. Kirk seems resigned that
this may be the last space mission of his career. But an adversary from the
past has returned with a vengeance. Aided by his exiled band of genetic
supermen, Khan (Ricardo Montalbán)—brilliant renegade of 20th century Earth—has
raided Space Station Regula One, stolen the top-secret device called Project
Genesis, wrested control of another Federation starship, and now schemes to set
a most deadly trap for his old enemy Kirk… with the threat of a universal
Armageddon.
STAR TREK
III: THE SEARCH FOR SPOCK Synopsis
Admiral
Kirk's defeat of Khan and the creation of the Genesis planet are empty
victories. Spock is dead and McCoy is inexplicably being driven insane. Then a
surprise visit by Spock's father provides a startling revelation: McCoy is
harboring Spock's living essence. Kirk attempts to steal the U.S.S.
Enterprise and defy Starfleet's Genesis planet quarantine to search for his
friend, but the Klingons are planning a deadly rendezvous.
STAR TREK
IV: THE VOYAGE HOME Synopsis
When a
mysterious alien power threatens the atmosphere of Earth in the 23rd
century, Kirk and his crew must time travel back to 1986 San Francisco to save
mankind. Exploring this strange new world, they encounter punk rock, pizza and
exact-change buses that are as alien as anything in the far reaches of the
galaxy.
In
comparing Masquerade (1965) with a recent review of Arabesque (1966)
here at Cinema Retro, this time we have yet another mid-1960s “comedy-spy
thriller,†a genre that was crowding the cinemas in those days because of the
success of Double-O-You-Know-Who.
In
contrast to Arabesque,this one is a British production, directed
by the prolific and often brilliant Basil Dearden, and it utilizes London
locations as well as spots in Spain. And yet, despite the thoroughly British
DNA running through 95% of the movie, it stars American Cliff Robertson as the
hero, David Fraser, a sort of CIA type who seems to approach all the danger
around him with misplaced naivete and amused detachment.
The
script marks the first appearance of the great William Goldman in a screen
credit (co-writing with Michael Relph). It’s based on Vincent Canning’s novel, Castle
Minerva. Apparently, it was Robertson who had enlisted Goldman’s services,
as the dialogue needed some “Americanizing.†That said, the script is
serviceable and certainly makes more sense than what we saw in Arabesque.
Britain
wants oil drilling rights in a fictional Middle Eastern country, but the
country isn’t playing ball. Colonel Drexel (Jack Hawkins) is engaged by Sir
Robert (John Le Mesurier) to fix the problem. Drexel hires an old war buddy, Frazer,
to kidnap the teenage son of the country’s prince. This is supposed to force the
resumption of talks and ultimate agreement between the two countries. Why this
is considered sound diplomacy is anyone’s guess, but that’s the mission. Frazer
goes along with the plan out of loyalty to his friend; however, at one point he
rejects performing an order because he has “scruples†(but kidnapping a prince
isn’t one of them). Frazer eventually finds that he has competition in the form
of a small gang of Europeans who also want the boy. As the tag line for the
movie in its posters and theatrical trailer shouts, “Who is Doing What to Who?â€
Indeed… the audience will be wondering that, too. (Shouldn’t that be “to Whom?â€)
In other words, the movie is filled with double-crosses, switcheroos, and
things that are not as they seem.
The
picture is lively and loaded with action sequences. The supporting cast,
especially the Europeans (namely Marisa Mell and a young Michel Piccoli), are a
hoot. The British side sports familiar character actors besides Hawkins (such
as Charles Gray and Bill Fraser).
Unfortunately,
Masquerade doesn’t quite succeed as intended mainly due to the casting
of Robertson. Like Arabesque, this needed someone with the comic
delivery of a Cary Grant, and the American Robertson is also oddly out of place
in this British-European milieu. Robertson does his best, though, and he gets
the job done—even if the whole thing is more than just implausible. (The poor
guy gets clobbered on the head several times in the movie; one would think a
concussion might have debilitated him after, say, the third time.)
Kino
Lorber’s new Blu-ray displays that distinctive 1960s film stock look, and it’s
a good enough transfer. It comes with an audio commentary by film historians
Howard S. Berger and Chris Poggiali. The theatrical trailer, along with other Kino
Lorber trailers, are the only supplements.
Masquerade
is a
middle-of-the-road example of the 1960s cinematic “spy boom, and the Bond-Wanabe
aspects of the picture plants it firmly within the context of its era.
Cinema Retro has received the following press release:
Being James Bond, from
Metro Goldwyn Mayer (MGM), will be exclusively available to stream on
the Apple TV app as a free rental ahead of the theatrical release of the
upcoming 25th film in the James Bond franchise, No Time To Die.* In
this special 45-minute retrospective, Daniel Craig candidly reflects on
his 15-year adventure as James Bond. Customers in over 30 countries and
regions around the globe can rent the film for free
and stream it exclusively on the Apple TV app from September 7 to
October 7.
Including never-before-seen archival footage from Casino Royale to the upcoming 25th film No Time To Die,
Craig shares his personal memories in conversation with 007 producers,
Michael G Wilson and Barbara Broccoli, in the lead up to his final
performance as James Bond.
“A lot of people here have worked on five pictures with me,†Craig noted during the conversation with the films’ producers in Being James Bond. “I've
loved every single second of these movies, and especially this one
because I've got up every morning and I've had the chance to work with
you guys, and that has been one of the greatest honours of my life.â€
Said
Broccoli in the film: “Daniel has just taken this, the character, the
series, the whole thing, to a place that is so…extraordinary. And so
emotionally satisfying.â€
“It's also emotionally tough being Daniel's last one. It's tough on Barbara, it's tough on me,†added Wilson.
The
Apple TV app brings together all the ways to watch shows and movies
into one app and is available on iPhone, iPad, Apple TV, iPod touch,
Mac, popular smart TVs from Samsung, LG, Sony, VIZIO, TCL, and others,
Roku and Amazon Fire TV devices, Chromecast with Google TV, and
PlayStation and Xbox consoles. Customers can visit https://apple.co/-beingjamesbondon iPhone, iPad, and Mac now to add Being James Bond to Up Next on the Apple TV app and be alerted when the film is available to watch.
The
Apple TV app also features Apple TV+, Apple’s video subscription
service offering original shows, movies, and documentaries from the
world’s most creative storytellers, as well as Apple TV channels,
personalized and curated recommendations, and movies and TV shows to buy
or rent.
Being James Bond was directed by Baillie Walsh (Flashbacks of a Fool) and produced by Charlie Thomas, Carla Poole and Special Treats Productions. Colin Burrows served as executive producer.
The 25th film in the James Bond franchise, No Time To Die, will be released intheatersbeginning
September 30 in the UK through Universal Pictures International and in
the US on October 8 through MGM via their United Artists Releasing
banner.
I turned age three one month prior to the January 1965
U.S. release of Roger Corman’s The Tomb
of Ligeia (American-International, 1964).The film had been first released in England in November 1964 - which was
only fair - since both The Tomb of Ligeia
and its predecessor The Masque of the Red
Death (also 1964) had been shot at Shepperton Studios and in the
neighboring English countryside. I’m guessing that I only became acquainted
with Corman’s octet of Poe adaptations when the films were televised on New
York City’s 4:30 Movie in the
mid-1970s.
I didn’t know quite what to make of the AIP Poe films at
first.These were horror films without
monsters and, at age fifteen, I had no particular interest in - or
understanding of - “psychological horror†pictures… I wanted rubber-suit
monsters sporting grotesque make-up appliances and causing small-town mayhem.I wasn’t yet old enough to understand the paralyzing
torment and terrors suffered by those with tortured souls.That is until I reached my mid-20s and
discovered, unhappily, I myself was afflicted with one.
The
Tomb of Ligeia was the eighth and last film that would
comprise Corman’s famed “Poe cycle,†a series (of sorts) that launched with the
moody House of Usher (1960).In his entertaining memoir, How I Made a Hundred Movies in Hollywood and
Never Lost a Dime (Random House, 1990), the filmmaker shared with candor
that while he was pleased he had made “several very good-looking,
psychologically effective horror pictures†from 1960 through 1964, he admitted
that by cycle’s end, “I was repeating myself, taking ideas, images, themes, and
techniques from my earlier work.â€
I would say in defense there was no discernible slippage
of quality present in The Tomb of Ligeia.Both Robert Townes literate screenplay and
Corman’s direction are well crafted. In fact, I’ve long considered Corman’s House of Usher, The Premature Burial, The
Masque of the Red Death and The Tomb
of Ligeia as art-house horror films of a sort.The gold standard.
Or, perhaps, The Gold
Bug standard, if one is to remain true to the Poe terminologies.According to reports of January of 1964,
Poe’s The Gold Bug was actually scheduled
as A.I.P.’s immediate follow-up to The
Masque of the Red Death.In his biography
of Peter Lorre, author Stephen D. Youngkin suggests that previous Corman scribe
Charles B. Griffith (Bucket of Blood,
Little Shop of Horrors) had worked on
script for The Gold Bug, a romp that
was to re-team Price, Basil Rathbone and Lorre, recent stars of AIP’s The Comedy of Terrors (1963).Griffith’s version of The Gold Bug was reportedly sketched as a horror-comedy in the vein
of that earlier film.His script was -
presumably - scrubbed when Lorre passed away in March of 1964.
In any event, I now consider several films in the Poe
cycle among my favorite horror efforts.Thanks to 35mm revival screenings in the 1980s at New York City’s
repertory theaters and at retro all-night drive-in monster movie weekends, I’ve
been able to enjoy these classics in genuine Colorscope as originally designed.I’ve also had the wonderful opportunity to
enjoy a pair of relatively recent screenings of The Tomb of Ligeia in the company of two of the film’s high-profile
participants.In August of 2015 Roger
Corman and actress Elizabeth Shepherd (Lady
Rowena Trevanion) participated in a screening and Q & A at the
Anthology Film Archives on Manhattan’s Lower East Side.In 2019 I caught still another 35mm
screening, this time with Elizabeth Shepherd attending alone and sharing more expansive
memories of working with both Corman and her notable co-star and boogeyman
Vincent Price.So it’s impossible for me
to separate my admiration for The Tomb of
Ligeia from such personal memories.
One of the nicest aspects of this Kino Lorber Studio
Classics Blu-ray edition of The Tomb of
Ligeia is that if you weren’t geographically fortunate enough to attend any
of these retrospective 35mm screening events, you now have the opportunity to
listen to Corman and Shepherd share their on-the-set memories on two of this
package’s generous trio of audio commentaries.The third commentary is provided by film historian Tim Lucas who
provides all the nuts and bolts factoids we cinema history train spotters require.With three distinct voices sharing the
commentary tracks, there’s a lot of material and viewpoints and memories to
wade through.
As was so often the case, Corman’s cinematic adaptations
of Poe were not terribly faithful to the original source materials.Instead we are treated to more visual
reimagining’s of the gloomy author’s classic short stories. Corman and a team
of screenwriters (including Richard Matheson and Charles Beaumont, both of Twilight Zone fame) had constructed new tales
only partly drawn from Poe’s characters and grotesque plot lines.
As Poe’s horrors were psychologically driven and introspective
in presentation, it was necessary for Corman and his team to inject more cinematic
visual tropes.This was accomplished by
introducing completely new scenarios and mixing in original and intriguing subplots.In Corman’s “serious†offerings of the Poe
cycle, the birthing author’s gloomy atmospheres, the dreary broodings on
mortality, the wearisome toll of mental anguish (and subsequent psychic breakdowns)
all remain faithful in tone to the spirit of his visions.
The screenplay of The
Tomb of Ligeia was scribed by the actor-writer Robert Towne.Towne already boasted a screenwriting credit
on The Last Man on Earth (1960) as
well as playing multiple on-screen roles in Corman’s Creature from the Haunted Sea (1961). Towne, who would go on to be feted with no
fewer than four Oscar nominations for his writing (most notably for Chinatwon), serves up a literate
screenplay that comes complete with the moody, erudite - and occasionally
archaic dialogue - that one comes to expect from this series.His work on the script stands alongside the
best Poe adaptations of Matheson and Beaumont.
The film version of The
Tomb of Ligeia concerns the curious and eccentric manner of which Vernon
Fell ((Vincent Price) conducts himself following the passing of his wife
Ligeia.Fell is obsessed, nay
terrorized, by the notion that his late wife is not quite dead in the usual sense of the word.He’s convinced that his wife’s disturbed
spirit – she was, after all, an unrepentant atheist who dabbled in spiritualism
– is now reincarnated in the form of a menacing black cat that prowls along the
premises of the dilapidated ruins of an abbey he calls home.The somber and haunted Fell finds new romance
with Lady Rowena (Shepherd), an already betrothed woman who happens upon his
property when she’s thrown from her horse during a spirited fox hunt.Rowena eventually marries Fell only to find
herself guarding against her new husband’s odd behaviors - and a malevolent black
cat who appears to willfully cause her torment.
Towne’s story takes many liberties with Poe’s original
short story, simply titled Ligeia, and
first published in Baltimore’s American
Museum periodical in September 1838.The most significant of these changes is that there’s no black cat
present in Poe’s version - and Rowena dies nine pages into the twelve-page tale.But since Poe tends to tell his tales as either
a detached narrator or in a “first person†internal dialogue of madness,
Corman’s cinematic vehicle needed a flesh and blood protagonist – even if the one
chosen for the film is adorned only in a coat of black fur – to make any menace
visually tangible.There’s a not too
subtle revelation of necrophilia and a more overt sequence of mesmerism
sprinkled in as well.It was obvious
that Towne, much like his predecessors, were mining a wide swath of Poe’s oeuvre
in a desire to enliven and expand the author’s short story for a film of
feature-length running time.
