BY LEE PFEIFFER

Mill Creek Entertainment has released a DVD of two Dean Martin romantic comedies from the 1960s, "Who Was That Lady?" and "How to Save a Marriage and Ruin Your Life. 

Of the two features, "Who's That Lady?" is the far superior entry. Based on Norman Krasna's play "Who Was That Lady I Saw You With?", the modestly-budgeted B&W production offered an undemanding role for Martin, who was coming off acclaimed dramatic performances in "The Young Lions" and "Some Came Running" following his breakup with Jerry Lewis. Tony Curtis gets top billing in the film playing David Wilson, a chemistry professor at Columbia University in New York City. Before the credits finish unspooling, we see him caught in a compromising situation when his wife Ann (Janet Leigh) catches him in the act smooching with one of his students. She storms out and makes preparations to file for divorce. David pleads with her to reconsider but she won't hear of it. In desperation, David turns to his best friend Mike Haney (Dean Martin), a charismatic bachelor and serial womanizer. He also happens to be a screenwriter for CBS television and possesses a fertile imagination. Mike hatches an audacious scheme to get David off the hook. He gets a pistol from the CBS prop department as well as a custom-made faux F.B.I. identification card made with David's photo on it. The two men then tell Ann that both of them have been secretly moonlighting as F.B.I. agents for years and that the girl David was kissing was a suspected spy who he had been ordered to flirt with in order to win her confidence. Ann is initially skeptical but the appearance of the gun and I.D. card changes her mind. Suddenly, she is greatly impressed with her husband, who she now regards as a macho man. However, the lie turns into a giant headache when a real F.B.I. agent (James Whitmore) gets a tip that David has a phony ID from the agency. Adding to David's woes is Mike's insistence that they play upon Ann's gullibility by going out on more "missions" that involve seductive women. The house of cards eventually comes crashing down in a frenzied climax set in the bowels of the Empire State Building where David and Mike are mistaken by Soviet spies as real agents and kidnapped.

"Who Was That Lady?" is a pleasant time-killer that relies primarily on the deft comedic performances of the three leads, each of whom delivers the goods. There's great chemistry between Curtis, Martin and Leigh (the real-life Mrs. Curtis at the time) and the film boasts an impressive supporting cast aside from the always-impressive Whitmore. John McIntire is there along with Simon Oakland and Larry Storch as the commies. Barbara Nichols and Joi Lansing add some laughs as a couple of busty, bubble-headed Marilyn Monroe-type who Mike earmarks as dates for him and David- a plan that ends disastrously. The film, directed by George Sidney, is best in the first half when the action and characters are set in the real world. However, the film delves into slapstick elements that prove to be more distracting than amusing. Still, "Who's That Lady?" is a generally funny effort, even if it's an undistinguished one- and you get to hear Dino croon the catchy title song. 

BY FRED BLOSSER

Corky Curtiss (Robert Blake) aspires to be a champion stock-car racer. Fired from his job as a mechanic and dirt-track competitor in small-town Bates, Texas, he abandons his wife Peggy Jo (Charlotte Rampling) and their two small children, collects his pal Buddy (Chris Connelly) and heads east in his 1966 Barracuda. His destination: NASCAR’s Atlanta Motor Speedway, where he hopes to hook up with the legendary Richard Petty. Corky met the great Petty once, fleetingly, and he anticipates that the racing champ will remember him and offer him a chance at the big time.

Messy but interesting and relentlessly downbeat, “Corky” (1972) veers off into unexpected turns as Blake’s troubled character pursues his chicken-fried odyssey from Texas to Georgia. Ben Johnson and Laurence Luckinbill appear prominently in the credits, but they have hardly more than bit parts as rural racing impresarios whom Corky briefly meets as he passes through Louisiana. A scene with Pamela Payton-Wright as a fading and not-too-bright beauty queen, and one with Paul Stevens as a sympathetic track manager in Atlanta, don’t go quite as you might expect them to. Four NASCAR stars (Cale Yarborough, Bobby and Donnie Allison, and Buddy Baker) appear in a brief scene. Waiting hopefully to meet Petty in the NASCAR offices at the Atlanta speedway, Corky spies the four drivers through a soundproof glass wall in an adjacent room. As Corky waves, Yarborough glances at him, then turns away, and the other three appear not to notice him at all. The racers’ body language suggests that they’re preoccupied with planning for an upcoming meet, and not intentionally dismissive, but one wonders whether, today, NASCAR would insist on a fan-friendlier scene. Back home, Peggy Jo goes to Corky’s old boss Randy (Patrick O’Neal) to see if her husband is due any back pay that she desperately needs. Convention suggests that the older man will put the moves on the pretty, vulnerable girl. Instead, he’s a decent guy sympathetic to Peggy Jo’s plight. He gives her a check for her husband’s back wages and additional “severance pay” without strings. The biggest surprise among surprises is Rampling, who is believable and appealing in her atypical role. She even manages a decent Texas accent.

Reportedly, “Corky” was one of the MGM productions in the early ‘70s that suffered at the hands of imperious studio chief James Aubrey. One suspects that some of the film’s shortcomings, such as uneven pace and ragged continuity, and maybe the quick disappearances of Johnson and Luckinbill, were results of Aubrey’s post-production intrusion. Other lapses, like the miscasting of O’Neal and Connelly, good actors in wrong roles, probably not. Robert Blake’s performance is all over the place: abrasively pugnacious one moment, infantile and maudlin the next. Like the downward spiral of the story, which finally drops Corky as low as he can go, without redemption, Blake’s rawness is a reminder of the bygone cinema of the early ‘70s, where happy endings were hardly ever the norm and volatile actors were expected and even encouraged to get in the viewer’s face. Sometimes, watching today’s sanitized and exhaustingly upbeat products from Hollywood, I miss the old days.

“Corky” is a manufactured-on-demand DVD-R from Warner Archive Collection. The letterboxed, 2.35:1 image is satisfactory. The film’s theatrical trailer is the only extra. I wasn’t familiar with “Corky” before putting the disc in the player, but apparently the movie has a small but appreciative fan base of viewers who remember it from long-ago drive-in and TV showings. They should be particularly pleased that Warner Home Video has released the title.

CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE

FRED BLOSSER IS THE AUTHOR OF "SAVAGE SCROLLS: VOLUME ONE: SCHOLARSHIP FROM THE HYBORIAN AGE". CLICK HERE TO ORDER ON AMAZON

BY DANIEL SAVINO

Although their characters have become iconic, the now classic fantasy monster films of Universal Studios have suffered a reputation of creakiness, cheap thrills, poor characterization and logic gaps. While the images of Bela Lugosi’s Dracula, Boris Karloff’s Frankenstein monster, and Elsa Lanchester’s Bride of Frankenstein dominate magazine covers, notebooks, posters, mugs and other collectibles, the series of movies that introduced these characters seems to get very little respect from film historians. A step in the right direction to correct this is the excellent new book The Monster Movies of Universal Studios by James L. Neibaur, published by Rowman and Littlefield. In this fascinating new study, the author puts Universal’s horror series into proper historical context. Unlike other books on the subject, Neibaur has limited his focus to films that feature one or more of Universal’s line-up of monsters. This book concentrates on the classic era, with the range of focus highlighting movies from 1931 through 1956. Any movie made by Universal Studios during this period with Dracula, Frankenstein’s monster, the Mummy, the Invisible Man, the Wolf Man and the Creature from the Black Lagoon is discussed in-depth with a chapter devoted to each feature, twenty nine movies in all. These include all of the sequels and films that blended fantasy and comedy elements when Universal paired up their monsters with their house comedy duo Abbott and Costello. The book is an impressive work of film scholarship and shines a spotlight on classic Hollywood moviemaking by looking at one of the longest film series at a major studio.

Readers disappointed that Neibaur didn’t discuss such mystery and horror offerings from Universal during this period such as The Old Dark House and Murders in the Rue Morgue (both 1932) shouldn’t be. The focus on the monsters makes the book a one- of- a- kind study devoted to characters that seem to always be taken for granted. While Edgar G. Ulmer’s The Black Cat (1934) is celebrated for it’s daring, unconventional storyline, the films that feature the monsters seem to get lumped in with low budget movies from a later era. In fact, movies such as The Invisible Man (1933), The Bride of Frankenstein (1935) and Dracula’s Daughter (1936) share more in common with The Black Cat than just being made at the same studio. The author restores these films to their proper place as valuable works of cinematic art.

This isn’t to say that when there are jumps in narrative logic, especially evident in the later movies, Neibaur doesn’t point them out. However, even these assembly line B films are given more respect in this book then in previous studies of the Universal genre catalog. The usual pattern of writers discussing movies made during the Great Depression and World War II is to highlight the escapism and lighthearted nature that many of those films exhibit. Examples that prove this pattern include the Fred Astaire/Ginger Rogers cycle at RKO, the Topper films, etc. In this work Neibaur presents a different argument- that the monster series presented something very real to fight against, a threat that personified the evils of economic crisis and foreign fascism. Given this argument, it is somewhat less hard to believe that the horror series at Universal would decline in popularity after the war ended.

In addition to the nation’s and the world’s economy fluctuating during the time of the Monster films covered in this book, it was also true that there were money problems at Universal as well. First, Universal founder Carl Laemmle Sr. borrowed too heavily and lost control of the studio. It was then decided at that time that the horror series would continue as B films, relegated to a more factory mode of filmmaking. Whereas Universal’s monster series began with cinematic artists such as Tod Browning and James Whale helming Dracula and Frankenstein (both 1931), the series ended with Jean Yarbrough directing She-Wolf of London (1946) in a decidedly non-flourished way, with cost cutting in mind. The contrast couldn’t be more evident as She-Wolf is a film with a Scooby-Doo like ending, a far cry from the earlier films that embraced supernatural elements such as vampirism, invisibility, lycanthropy or fantastic science that brought life to the dead through lightning or tana leaves. It’s interesting to note that when the B movie factory mode of the series finally ran its course, a happy ending was not in the cards.

BY LEE PFEIFFER

In the late 1970s producer David V. Picker was persuaded by a friend to see up-and-coming comedian Steve Martin on stage. Picker had never heard of him but was impressed enough by his oddball comic genius that he signed him for a movie deal with the esteemed Carl Reiner directing. The result was "The Jerk", which turned out to be a smash hit upon its release in 1979. Martin seemed set for a meteoric rise in the movie industry but he stumbled badly with his second film, the bizarre, downbeat and ill-advised "Pennies from Heaven". Hoping to recapture his celluloid mojo, Martin soon teamed again with Picker and Reiner for "Dead Men Don't Wear Plaid", an inspired film noir spoof that, through the technology of the day, allowed Martin to "star" with cinematic legends of bygone eras. Despite favorable  reviews, the film was too unconventional for mainstream audiences and under-performed. Undeterred, Martin, Picker and Reiner teamed for a third time in 1983 on what seemed to be a sure-fire spoof of horror films, "The Man with Two Brains", co-written by Martin, Reiner and George Gipe. The film seemed certain to draw in the audiences that had packed theaters a decade before for Mel Brooks' "Young Frankenstein"- but alas, "Brains" also laid an egg. Martin would soldier on in films until he finally scored some hits, but the fact of the matter is that some of his best work was done in some of his least-seen films, "The Man with Two Brains" among them. 

As the title certainly implies, the film is based on a zany premise. Martin plays Dr. Michael Hfuhruhurr (the name itself is the basis of many hilarious gags in the film), a world-respected brain surgeon who has perfected the "screw-off" method of removing the top of a patient's skull. He's a rich egotist but he's also despondent over the recent death of his beloved wife, with whom he enjoyed the kinky habit of eating lunch off her behind. Meanwhile we meet Dolores Benedict (Kathleen Turner), a vivacious man-eater who has just finished abusing her elderly millionaire husband to the point that he has a fatal heart attack- only to learn that he had changed his will so that she won't inherit anything. Fleeing the house in anger,  Dolores steps in front of Michael's car and suffers a traumatic brain injury. Instantly obsessed by her beauty, he performs a life-saving operation. Upon awakening, Dolores senses that Michael is a trusting, naive soul who she can instantly manipulate. Before long, the two are married - a plot device that sets in motion a running gag about how the perpetually horny Michael has to keep chaste while he waits for his wife to recover from her medical problems (even though she is sleeping with hunky guys at every opportunity.) Her motive is to ultimately manipulate- and presumably kill-  her husband without ever having to consummate the marriage- especially when she learns he has just inherited millions from a deceased relative.

Most of the action is set in Vienna, where Michael is attending a brain surgeons conference. Although it's obvious that the closest anyone in the production got to Austria was a Vienna sausage lunch cart in Hollywood, the change in locale opens the story up to more exotic aspects. Michael meets Dr. Alfred Necessiter (David Warner), a fellow nutty professor who has a Universal Monsters-style laboratory constructed in his urban condo. The two men form a friendship- but it's challenged when Michael falls in love with one of his new friend's experiments,  the disembodied brain of a lovely lady who he can communicate with by telepathy. In one of the funniest scenes, he takes his new love out for a spin in a rowboat- and puts a hat on the glass jar to prevent "her" from getting sunburned. Meanwhile, a clever subplot is introduced in which Vienna is being terrorized by the mad "Elevator Killer" who offs his victims by injecting them with window cleaner! (The unmasking of the villain's identity is one of the laugh-out-loud moments in the film.) To continue to explain the story line as though it were logical would be an exercise in futility. Suffice it to say, "The Man with Two Brains" is Steve Martin at his best. The film is packed with many hilarious scenarios and sight gags- and Kathleen Turner adds immeasurably to the fun with a spot-on performance as the evil femme fatale. Carl Reiner proved to be the perfect director for Martin and the films they did together hold up well today. 

The Warner Blu-ray release is quite welcome and will hopefully allow the uninitiated to enjoy the many pleasures of this film.  The only bonus extra is an original trailer which, bizarrely, doesn't mention or credit Kathleen Turner, who had already achieved major stardom from her appearance in "Body Heat". 

CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE

By Lee Pfeiffer

The Warner Archive has released the 1960 comedy hit "Where the Boys Are" as a special edition Blu-ray.  The film looks positively quaint today but I enjoyed it in the manner that an anthropologist would if he were examining etchings on cave walls from a distant era. The film reflects the social values of the time and, not surprisingly, there is nary a minority teenager to be seen. The story concerns a group of coeds (to use a truly quaint term)- Dolores Hart, Paula Prentiss, Connie Francis and Yvette Mimieux- who make a first time pilgrimage from their snowbound college to Fort Lauderdale for spring break. Even in 1960, Fort Lauderdale was the "go to" destination for students. However, the film's impact was so significant that it increased the masses of student tourists to Fort Lauderdale exponentially over the years. One must look at the movie in the context of the time period. This was the first generation of females who were able to exert enough independence to make such a trip sans chaperones. The girls are predictably man hungry and in one cringe-inducing sequence, Paula Prentiss' character says her higher education is just a waste of time because she was put on earth to find a guy and have babies!

Still, Where the Boys Are was probably the first beach movie to at least attempt to address sexual desire among the young in a somewhat frank way. While her girlfriends flirt endlessly with hunks like George Hamilton and Jim Hutton, Yvette Mimieux's character lets down her guard and "goes all the way". The resulting sense of guilt and suicidal depression may seem overwrought today but it's genuinely frightening to imagine these were the sensibilities of the time. One doesn't know whether the film is reaffirming the validity of equating virginity with self-worth or whether it is being critical of the philosophy. In any event, the scene adds a poignancy that is lacking from most other movies of this genre. In the beginning of the movie, Dolores Hart's Merritt faces possible expulsion from school for voicing her opinion that premarital sex should not be frowned upon. The next time someone pines away about the good old days, have them watch this cinematic time capsule.

Much was made about the fact that the film was shot on location in Fort Lauderdale. In fact, the on location footage is rather fleeting and judiciously edited among the phony studios shots in order to give the impression that the cast spent much more time in Florida than they actually did. Still, the local color does give the film a leg up over the majority of cheapie beach movies that were to follow in its wake. The main attribute of the movie is the charismatic cast. The female leads are delightful to watch with Paula Prentiss and Connie Francis particularly good. (Francis' crooning of the title song sent it to the top of the charts). Among the males, Hamilton is his usual unruffled, handsome good guy who sports more grease in his hair than Jerry Lewis. Hutton plays a beatnik-type character but the jokes become predictable and weary. Frank Gorshin, in an early screen appearance, is somewhat more amusing as a jazz musician who is blind without his Coke bottle-like eyeglasses.

The Blu-ray extras have been ported over from the previous DVD release from 2002. There is a 2003 featurette with Prentiss and Francis reminiscing about the joys of making the film. The always engaging Prentiss also provides a fun commentary track and there is an original theatrical trailer and brief newsreel footage of the stars arriving in Fort Lauderdale for the world premiere. 

Where the Boys Are is by no means cinematic art, but it is a consistently entertaining look at a bygone era.

CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE

RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES

By Lee Pfeiffer

Vinegar Syndrome (we love the name) is a DVD label that specializes in preserving and restoring vintage cinematic erotica and other cult films. Their most recent coup is the release of a double feature on Blu-ray consisting of Russ Meyer's 1964 adaptation of Fanny Hill along with Albert Zugsmith's bizarre 1967 Western comedy The Phantom Gunslinger. The dual package generously provides both films on DVD as well as their Blu-ray editions. Russ Meyer was already well-known as both a cheesecake photographer for "men's magazines" as well as a director of soft-cover sex films that generally showcased young women who were super-amply endowed. Ever the opportunist, he teamed with producer Zugsmith in 1964 for Fanny Hill, which was based on a notorious 18th century novel that chronicled the sexual escapades of a promiscuous young woman. Such was the book's controversial impact that when it was reprinted in the early 1960s it was banned in some quarters for obscenity. The publisher and civil libertarians contested the ruling and the subsequent court battle put ol' Fanny right in the midst of the contemporary news cycle. Zugsmith, who was a producer of some repute (The Incredible Shrinking Man, Touch of Evil) had by this point concentrated on low-brow exploitation fare. He reasoned that if the country was up in arms over a two hundred year old book, audiences would go wild over a film adaptation of the story. The plot centers on Fanny (Leticia Roman) as a buxom blonde farm girl who arrives in London, naive and clueless about the ways of the world. She is quickly "adopted" by Mrs. Brown (Miriam Hopkins), a seemingly benevolent older woman who is, in fact, a madame who wants to exploit Fanny's innocence by turning her into a prostitute. What she doesn't count on is just how naive Fanny is. Even when residing with numerous other ladies of the night, she fails to catch on to the fact that the place is a bordello. Mrs. Brown tries on several occasions to financially benefit from renting the young virgin to any number of eager patrons, but fate always intervenes before the act can be consummated. When Fanny falls in love with Charles (Ulli Lommel), a dashing and chivalrous young sailor, Mrs. Brown arranges for him to be kidnapped and taken out of the country. Thinking her lover has abandoned her, Fanny becomes despondent and out of grief agrees to marry a loathsome nobleman. As the ceremony begins, Fanny's betrothed manages to escape and make his way to the wedding where the film climaxes in a crazy, slap-stick filled brawl.  Viewers may be puzzled by the almost complete absence of eroticism in the film, along with relatively few lingering shots of semi-dressed young women. The whole enterprise is so chaste it could be shown today on the Disney Channel. This was due to the fact that Zugsmith and Meyer clashed over the content of the film, with Zugsmith insisting that comedy should be emphasized over sexual content. Meyer finished the film but justifiably regarded it as a low-grade entry on his list of cinematic achievements. What emerged is a Jerry Lewis-like farce with zany sequences in which people swing from chandeliers, cross dress and engage in various forms of mayhem. In retrospect, it seems inconceivable that the film was deemed controversial even in 1964. Zugsmith filmed the movie in West Germany using local actors for supporting roles. Although the three leads-Roman, Hopkins and Lommel- perform admirable given the circumstances, the supporting cast is encouraged to play even the most minor moments in absurd, over-the-top manner. The result is that the film's primary legacy is as an interesting relic of a bygone era when "naughty" films could still raise eyebrow without delivering much in the way of genuine eroticism. 

The second entry on the DVD "double feature" is even more bizarre and makes Fanny Hill look like Last Tango in Paris in comparison. The Phantom Gunslinger was shot in Mexico as a vehicle for Albert Zugsmith to prove he was a triple threat talent, with the erstwhile fellow producing, co-writing and directing the resulting disaster. It's clear that without someone like Russ Meyer to at least try to restrain Zugsmith's instincts for broad slapstick, the project was doomed from the start. The plot, such as it is, finds a small Western town taken over by a gang of notorious outlaws. They cause some mild mayhem but mostly seem content to gorge themselves on sumptuous feasts in between flirting with the local saloon girls. The local sheriff is terrified and runs away, turning his badge over to Bill (Troy Donahue), a hunky dimwit who sets about trying to wrest control of the town from the raucous outlaws. That's about as deep as the story line goes. Zugsmith pads the film with so much slapstick it makes the average Three Stooges skit look like the work of Noel Coward. The film is certainly one of the most bizarre of its era and its hard to know whether it was ever even released theatrically in America. There is a painful element to watching Troy Donahue at this stage in his career. Only a few years earlier, he was deemed a bankable star by major studios. Whatever desperate measures persuaded him to be involved in this enterprise will probably never be known but perhaps he was inspired by the success of Clint Eastwood's spaghetti westerns. Eastwood went to Spain and collaborated with a genius named Sergio Leone. Donahue went to Mexico and was saddled with Albert Zugsmith. Such are the cruel ironies of fate. The Phantom Gunslinger is so repetitive in its gags that one is reminded that this is the kind of film they invented the fast forward remote control feature for.  

BY ROBERT E. TEVIS

In the pantheon of recorded and performance comedy, right there on the first floor, you will find a monument to the Firesign Theater. How they began to occupy that hallowed estate is the subject of a new DVD called Everything You Know is Wrong --The Declassified Firesign Theater 1968-1975, released on the Bright Red Rocket label.. Like most enthusiasts, I became acquainted with their mind-blowing material as a high school and college student who was just learning to appreciate the wit and wisdom of these modern thespians.

For those of you who were not alive in those glorious years, or were distracted by the British Invasion called Monty Python, the Firesign Theater was our own, 100% American comedy troupe comprised of Phil Austin, Peter Bergman, David Ossman, and Philip Proctor. Best known for their comedy albums on Columbia records (including such unique titles as “Waiting for the Electrician or Someone Like Him,” “How Can You Be in Two Places at Once When You’re Not Anywhere At All,” and my personal favorite, “Don’t Crush That Dwarf, Hand Me the Pliers.”) The title of this DVD is taken from their 1974 Columbia record, “Everything You Know Is Wrong.” Defined by many as “surrealistic comedy,” I don’t think the adjective is necessary. This is comedy that puts a smile on your face, and a laugh in your heart, and isn’t that what comedy is supposed to do—regardless of how it gets you there.

Evolving from radio performances at KPPC-FM and KPFK in Los Angeles, they excelled in creating images in your imagination of people, sounds, and situations—absurd, irreverent, and downright funny. The DVD set fills in the blanks for the fans who followed them over the years, and creates a need for all those record albums in those who will discover them through this compilation.

Disc one starts with an audio only program taken from “The Les Crane Show” in April 1968. This Firesign Theater performance was a live re-creation of their “Oz Film Festival” routine (listed in the LA Times TV listing as an “Art Movie Put-on”) –based on an improvisation from the first time they worked together on “Radio Free Oz” in November 1966. There is no known recording of that first performance which makes this recording hysterically important. While Crane’s show was televised, only the audio has survived, because it was taped by a member of the Firesign while standing in front of his television set.

Les Crane’s interview is especially fascinating because it sounds, at first blush, like a serious interview with serious film artists. The nervous laughter of the studio audience demonstrates that they were not sure either if it was an act or not. I found their unique film techniques quite believable not only for the time, but even today. I only wish I could have seen the production still which Jeanclaude Jeanclaude brought with him from his film “2002” which showed golf-balls and a coffeepot in space.

I also wish I knew what the viewers thought, when they watched the commercials the troupe did for the Jack Poet Volkswagen dealership in Highland Park, California. Wonder no longer, as you can see them for yourself in the second section of disc one. You can view them all with commentary by the group, but why would you want to do that? I listened to commentary because I had to. You can just focus on their message—which was designed to sell something. I’m not sure it was cars. I guess it only goes to prove that everything I know is wrong.

In the liner notes for “The Jack Poet Volkswagen TV Ads,” the Firesign Theater claim partial responsibility for Jack eventually losing his Volkswagen franchise. I find that hard to believe. Those were some hot cars in those ads. They must have sold a lot of Love Bugs to those who followed Tony Gomez’s directions up the Pan American Freeway from South America to Highland Park.

And who was the man polishing the Bugs in the background? The unknown member of the Firesign? Will we ever find out? Well, stand-by readers! Philip Proctor reports to me that, as this piece goes to press, “That man is Jack Poet,” himself! Immortalized in this two disc set.

BY JOHN LEMAY

For many years Tarzan was a staple of cinema—in fact from its very onset. The first Tarzan feature, Tarzan of the Apes, came out in 1918 and was followed by close to 50 other adaptations in the last century. His star started to fade in the late 1960s and there were no Tarzan features in the 1970s save for one. The 1980s somewhat provided his last gasp on the big screen with movies like the Bo Derek vehicle Tarzan, the Ape Man (1981) and- more impressively- the well-received Greystoke: The Legend of Tarzan, Lord of the Apes.  The 1990s saw only 1998’s Tarzan and the Lost City and the 1999 Disney animated version. In fact, for all many “youngsters” know Tarzan may as well have originated with the Disney cartoon. For the first time in many years, we finally have a new big-budget live-action iteration of one of the screen’s oldest icons in The Legend of Tarzan from Warner Bros. Can it strike a balance between lovers of vintage cinema who grew up on Tarzan and the new “iPhone generation”? Or will it suffer the fate of that other recent Edgar Rice Burroughs adaptation John Carter?

Naturally, there is a lot of CGI vine swinging which will put some viewers off, but I for one say it makes for very exciting action (and less risk for the stuntmen). And secondly, would Tarzan’s journey through cinematic history be complete without a little CGI? I think not. Though there is a lot of appreciation in watching well-done stunt work, the CGI enabled Tarzan could well be the “purist” representation of Burrough’s vision ever put on the screen. In fact, certain shots of Tarzan swinging through the jungle with the apes look like a Frank Frazetta painting come to life. A CGI-enable animal stampede unleashed during the climax is also a scene straight from classic Burroughs, and would have been impossible to pull off with real animals, as is Tarzan’s fight with a gorilla midway through the picture.

Though he’s probably a little too far on the blonde side for Burroughs purists, Alexander Skarsgard is pretty perfectly cast as Tarzan; and for more than just his lithe physique. Playing Tarzan was usually a tough act to balance for most actors. Mike Henry played him as though he were James Bond in Tarzan and the Valley of Gold (1966), while Miles O’Keefe never even spoke in Tarzan, the Ape Man opposite Bo Derek. Perhaps this is why the writers chose to set this film ten years after he has left Africa for England, and Tarzan has become acclimated to modern society as Lord Greystoke, John Clayton. Naturally in this civilized period of his life the character is much easier to write and to portray for Skarsgard. Therefore, this is probably one of the more relatable on screen Tarzans, though I’d say Johnny Weissmuller is still safe as the all-time favorite.

As for the rest of the cast, Margot Robbie is a knockout and does great as Jane. However, it feels as though the production team felt a bit guilty about making her a damsel in distress for most of the film and it shows in some of her scenes in captivity. That being said, Jane’s kidnapping was a necessary plot-device for this film’s story, not to mention something of a Tarzan tradition, but perhaps in the future she can get a better subplot. As the heavy, Christoph Waltz is his usual very watchable self. Though the story sets up Waltz to look like a weakling in his first scene, he quickly proves to be anything but in a nice twist. He even comes complete with a unique way of killing his enemies that would be right at home in one of the older Bond pictures. Samuel L. Jackson portrays Tarzan’s ally from the civilized world who has to acclimate to the jungle, another Tarzan tradition of sorts. Rounding out the rest of the big name actors is Djimon Hounsou who plays the leader of a viscous tribe who has a vendetta with Tarzan, yet another series staple which makes the film round all the usual bases (and I mean this in a positive sense).

In some respects, were I to ignore the CGI, I almost felt as though I was watching some vintage cinema from a bygone era. Perhaps part of this feeling is due to the period setting, since there are so few period piece blockbusters these days. The film is also simply plotted, and is true to the Tarzan formula. An evil white man is out to get the lost diamonds of Opar, and Jane naturally gets kidnapped by him. Much like a Burroughs book, the action cuts back in forth between Tarzan’s trek through the jungle and Jane’s efforts to escape captivity from the villains. Coupled with this are flashback scenes to Tarzan’s origin and first meetings with Jane, as this is more of a “sequel” than an origin story. For purists who dislike CGI, have no fear at least when it comes to the on-location shots of Africa, which are beautiful up on the big screen. Naturally, there are of traces of the 21^st Century filmmaking trends too. In the wake of Marvel Studio’s success it seems every action film these days tries to be a comedian, so to speak. The Legend of Tarzan doesn’t try too hard, but I found most of its jokes fell flat enough they should have been left on the cutting room floor.

Though overall I wouldn’t call it a fantastic film, in this day and age of obligatory reboots I’d have to say The Legend of Tarzan has more merit than most. As to how the new generations just being introduced to Tarzan will react, who can say, but I have a feeling this film will end up being embraced more so by the older crowd than the younger. But just so long as it makes enough to produce a sequel, myself and many others will be happy.

BY LEE PFEIFFER

We've extended kudos to Impulse Pictures for their dedication to rescuing obscure adult films from bygone eras and giving them first-rate DVD presentations. As we've said many times previously, whether you love or hate these productions, they did play an important role in American pop culture from the late 1960s through the mid-1980s, when adult filmmaking largely switched to made-for-video mode to accommodate the overwhelming desire for porn in the era when VCRs became standard household fixtures. While many of the Impulse releases offer some surprising signs of talent and even occasionally impressive production values, the 1972 biker flick "Bad, Bad Gang" is about as erotic as one of those high school "health" films we were all forced to watch in days of old. There's plenty of sex, to be sure, but there is virtually no other reason for the movie to exist. Much of it appears to have been shot in a hurry perhaps because the use of outdoor locations might have resulted in passersby reporting the goings-on to the police. The problem begins with the bizarre, childlike title. "Bad, Bad" might be acceptable if you're referring to ol' Leroy Brown, but for the title of a movie, it's downright bizarre. The film starts off with its one impressive aspect: well-filmed sequences of a sleazy biker gang racing down desert highways, with some effective shots due to cameras being mounted on cycles. Things deteriorate rapidly as the bruisers in the gang stop to pick up two teenage girls who are hitchhiking. They are no shrinking violets and seem downright enthused about being whisked away to parts unknown for activities that almost certainly won't involve lessons in decoupage. The bikers end up going to a remote location only to stumble upon a small camper with two young married couples who are enjoying a picnic. The bikers beat up the guys and kidnap the girls, who they subject to all sorts of sexual deprivations. The men rally and attempt to rescue them but are quickly overcome and are held captive and sexually abused by the biker women. Absurdly, two of the women take the two male captives off to another location by threatening them with tomahawks. However, the weapons soon disappear but the "captives" seem unaware of this, as they engage in sexual activities with their two tormentors- all the while neglecting the fact that they could easily overcome the two girls and rescue their wives, who are still being subjected to the whims of the sleazy male bikers.

"Bad, Bad Gang" is crudely shot and features editing that appears to have been achieved in a blender. Apparently, the film had been available previously in a badly cut version and this is the most complete its been seen on video. However, it seems likely that at least a couple of key scenes might still be missing. The Impulse transfer is appropriately gritty and grimy and the sex scenes (which include the requisite lesbian encounters) are badly shot and notably non-erotic despite being hard-core. The only "name" in the cast is Rene Bond, who built a following in adult movies. The DVD package includes some liner notes about the film that extol its alleged virtues in print so microscopic you'll need a telescope to read them. There are also excerpted sequences from the company's latest "42nd Street Forever" collection of silent grindhouse shorts from the 1970s. 

CLICK HERE TO ORDER FROM AMAZON

 By Lee Pfeiffer 

The Warner Archive has released the previously-issued Paramount special DVD edition of The Family Jewels as a burn-to-order title, carrying over the extras from the previous release. The 1965 film is a tour de force for Jerry Lewis, who not only starred, but co-scripted, co-produced and directed the film. There lies the rub. Lewis was certainly a pioneer in his field, one of the first actors to create a second successful career as director. Prior to his achievements, most other actors who tried to helm major films gave up after one or two efforts. (Charles Laughton, Kirk Douglas, Walter Matthau, Burt Lancaster, John Wayne, Marlon Brando, etc.) However, the more overstretched the workaholic Lewis became, the more his work suffered. He is onscreen for almost every scene in this film, playing a variety of crazy characters. Eleven year old actress Donna Butterworth (charmingly billed as "Miss Donna Butterworth") is Donn Peyton, an orphaned rich kid whose guardians have instructed her that she must choose a new father from among her eccentric uncles, who she barely knows.  Her best friend is Willard Woodward, her ever loyal chauffeur and caretaker. He's a bit of a klutz but his childlike manner ensures he's the perfect companion for the sophisticated young girl. It's Willard's job to escort Donna to various parts of the country to meet her uncles and see which one she will choose as her new dad. (Apparently, the uncles have no say in accepting this rather sobering responsibility). One is an ancient sea captain (Lewis in absurd makeup that makes him look like a cross between a mop and Captain Kangaroo), another is an unspeakably vile and self-centered circus clown, another is an inept airline pilot, while another is a bumbling boob with a British accent, while the remaining two are a gangster and a successful photographer of glamour models (Lewis reprises his Nutty Professor character of Julius for this role.) The plot, such as it is, exists only to afford Lewis any number of showcase moments as he wreaks mayhem on the screen as each of the idiotic uncles. Eventually, little Donna is kidnapped and held for ransom by the gangster uncle, thus allowing Willard the chauffeur to spring into action to save her. The climactic sequence in which Donna chooses the man she wants to be her new dad is as absurd as it is predictable. The film contains a couple of cringe-inducing examples of nepotism run wild. The first occurs in a sequence that exists for no other reason than to show Willard enjoying a new rock 'n roll album "coincidentally" released by Gary Lewis and the Playboys. The second occurrence finds the group awkwardly making a cameo in the film. Now I like dear old Gary and his Playboys (I just saw him recently in an oldies concert and he was damned good) but this kind of blatant promotion proves to be more a distraction than a delight. 

I've always been an admirer of Jerry Lewis and even second rate Lewis (which this is) still has some charming elements to recommend. Lewis, whose best efforts were under the restraint of director Frank Tashlin, has no one to keep him in check here. His characterizations of the uncles range from genuinely amusing (the photographer, the pilot) to over-the-top even by Lewis standards (the sea captain, the gangster, the Brit). He makes one of the most startling impressions as the nasty clown in the only role not designed to be humorous. "Miss Butterworth" is a very capable and likable actress and is able to hold her own on screen with Lewis (no easy task). There are some nice bits by well loved character actors like Neil Hamilton, Sebastian Cabot, Gene Baylos and Robert Strauss. As with even the least of Lewis' movies, it never commits the cardinal sin of being dull. 

The special edition features include a commentary track by Lewis and singer Steve Lawrence (!), who had nothing to do with the making of the film. However, Lewis realizes what this writer learned a long time ago: when you are recording commentary tracks for comedies, it always flows better when there is byplay between two people.  Solo commentaries are best left for the likes of Citizen Kane and Schindler's List. There are such long gaps between some of Lewis' comments that I had to check to see if I had somehow switched out of the commentary mode. Lawrence is there to serve as Lewis's Ed McMahon, serving up softball questions and laughing in all the appropriate spots. Still, Lewis does provide some nice insights into the film. He says he was reunited some years ago with Donna Butterworth and was delighted to see her again (she had seven children). Lewis also tells us during a sequence in which he makes a seemingly impossible shot on a pool table that he was coached for two days by Minnesota Fats himself, which is a rather fascinating tidbit. The DVD also includes some casual screen tests of Lewis chatting with Butterworth and an original trailer. In all, an impressive package for a mid-range movie that nonetheless is worth viewing if for no other reason than to experience a bygone era in which family comedies could be made without bathroom humor and sex jokes. 

CLICK HERE TO ORDER FROM THE CINEMA RETRO MOVIE STORE

BY DOUG OSWALD

Two men find peace and friendship as they uncover a mystery in the Yorkshire countryside. “A Month in the Country” is one of those elegant movies about a bygone era in post Victorian England that has become enormously popular in movies such as those produced by Merchant-Ivory and in TV series like the recent “Downton Abbey.” The exploration of class distinctions and gender roles has been a staple in English drama in movies and TV for decades and the audience appears to always be hungry for more. The likes of Austen, Bronte and Dickens and stores of England through WWII have provided fertile ground for countless tales that continue to fascinate and entertain.  

“A Month in the Country” features early career performances by Colin Firth and Kenneth Branagh. Both actors went on to enormous success and in the case of Branagh, as a successful director, too. Firth and Branagh were born to feature in period pieces like this and they both do an excellent job carrying the movie with believable performances. Natasha Richardson is also on hand and gives an equally excellent performance as the lovely vicar’s wife.

The two central characters, Tom Birkin (Firth) and James Moon (Branagh) are veterans of the latest “war to end all wars”, commonly known as WWI, and suffer from what was then known as “shell-shock” and later “battle fatigue,” (now known as post-traumatic stress syndrome or PTSD), an often misunderstood and misdiagnosed symptom of continuous exposure to the extreme violence of war. Each man is in the small town of Oxgoodby to work, but instead uncover a secret. Birkin is removing the paint and restoring a long forgotten mural in the local church. Moon has been hired to find the ancient grave of a local resident. The secret behind both the painting and the grave are at the center of the story as both men come to terms with their emotional wounds.

The church mural dates to the Middle Ages and a local patron is paying the church for the restoration. The vicar is less than enthusiastic about the scaffolding and feels the mural will be a distraction, but grudgingly allows Birkin to sleep in the belfry while he works on revealing the picture. Moon is more interested in the prospect of locating buried treasures than in finding the grave and both he and Birkin become friends. Moon has his own demons and suffers from nightmares while sleeping in a hole he dug beneath his tent. He tells Birkin it makes him feel safe. Birkin stutters (a precursor to Firth’s “The King’s Speech” stutter) as a consequence of his emotional breakdown. Both men enjoy the solitude and peace of the countryside as they uncover the layers of paint and earth which cover their respective projects. They form a bond with each other and the people of Oxgoodby as they uncover and expose their emotional scars.

Richardson plays Alice Keach, the aforementioned vicar’s wife. Young and beautiful, she seeks out Birkin and brings him apples. Moon suggests the possibility of chemistry between them and the way things usually work in these period stories is that a romance develops. However, this isn’t a story about romance and love affairs. It turns out Birkin is married and has a wife somewhere. Birkin also befriends the local station master Ellerbeck (Jim Carter, the head butler in “Downton Abby”) and his delightful children.

While emotionally scarred, Birkin is also a bit of a jerk and resents that nobody in the town, particularly the vicar who lives in a large empty house with his wife, has invited him for dinner or offered lodging. Just then the station master Ellerbeck’s children, Kathy and Edgar, arrive with food and a gramophone to entertain Birkin as he works. They also invite him for lunch, which he accepts.

Ellerbeck is also a local lay-preacher, the fire and brimstone type, although he’s a friendly and kindly husband, father and friend. He sends Birkin off to his afternoon sermon and Birkin reluctantly agrees. The children accompany Birkin, who attempts his own fire and brimstone sermon, but instead discusses his work in the Oxgoodby church. Afterwards he has dinner with a family who lost a son in the war and later visits a dying girl who is at peace with her illness. All this has an effect on Birkin as he continues working on the mural. Moon discovers the lost grave and the mystery behind the mural and the grave are revealed. As the movie ends a letter arrives for Birkin from his wife and both men depart on new projects, restored to a type of normalcy.

The movie is filled with terrific performances, beautiful scenery, feelings of melancholy, a longing for what could have been and the experience of a life lived. The movie runs a leisurely 96 minutes and includes a wonderful score by Howard Blake. Directed by Pat O’Connor and based on the novel by J.L. Carr, it was released in 1987 and features outstanding location photography.

The Blu-ray features an insightful commentary by Twilight Time regulars Julie Kirgo and Nick Redman who reveal the movie was lost in a sort of movie limbo and remained unseen for decades. Kirgo and Redman are classic movie enthusiasts and listening to them makes you feel like you are in their company. Be sure to watch the movie a second time with the commentary. The disc also features the trailer, isolated music & effects track and a booklet with notes by Kirgo. This is a limited edition of 3,000 units. 

CLICK HERE TO ORDER 

BY LEE PFEIFFER

Many Cinema Retro readers write to tell us that they like the fact that we shine a new light on older, under-appreciated movies and re-evaluate them after the passage of time. In this instance, I can't re-evaluate "The Legend of the Lone Ranger" because I had never seen it prior to its release on Blu-ray by Shout! Factory. To say that the film was subject to a string of bad luck is an understatement. It might be more appropriate to consider if it was literally cursed.  First some background: the Lone Ranger had been a pop culture hero for many years  in comics, on the radio and on screen. The 1950s TV series starring Clayton Moore made the character iconic and forever associated with "The William Tell Overture" which was played each time he rode into action. The 1978 revival of "Superman" as a big screen adventure was a boxoffice smash and elevated its unknown lead- Christopher Reeve- to genuine stardom. It wasn't the first time that a relatively untested leading man carried a major movie to boxoffice success. Peter O'Toole and Omar Sharif did so with "Lawrence of Arabia" and George Lazenby managed the feat with "On Her Majesty's Secret Service". Producer Jack Wrather was inspired by this history and when he acquired the feature film rights to The Lone Ranger character (for an eye-popping $3 million), he decided to cast unknowns as the Lone Ranger and his loyal sidekick Tonto. After an exhaustive search, he thought he struck gold by casting Klinton Spilsbury and Michael Horse. Both were hunky young men who were adept at riding horses and managing the physical challenges of starring in a big budget action film. The film was to be directed by William A. Fraker, the legendary cinematographer who had earned praise for his direction of "Monte Walsh" a decade earlier. For his cinematographer on "The Legend of the Lone Ranger", Fraker hired another legend, Laszlo Kovacs. Other top talent quickly signed on including esteemed screenwriter William Roberts, who had written the screenplay for "The Magnificent Seven". Composer John Barry was signed to create the score and a main title theme. Jason Robards joined the cast as President Ulysses S. Grant and Christopher Lloyd took a rare dramatic part as the villain. Things were looking promising. However, the bubble was about to burst.

While the film was in production, it reaped a mountain of bad publicity when the producers forced the beloved Clayton Moore from making any further public appearances at autograph shows and charity events where he had been making the circuit dressed in his original Lone Ranger costume. Moore fought the order in court and ultimately prevailed but the damage had been done. An outraged public had an "in" for the new Lone Ranger long before production had ever wrapped. During filming, a stuntman almost died and leading man Klinton Spilsbury insisted on shooting the film in sequence to help with his understanding of his character and motivations. Shooting in sequence can be a costly proposition but the producers complied. However, in viewing the rushes, they decided that Spilsbury was something short of dynamic in the way he delivered his lines. They hired actor James Keach to dub him through the entire film, a fact they tried to keep secret but which leaked out immediately even in the pre-internet era. (Ironically, Keach delivers his dubbed lines in a bland, monotone manner that makes one wonder just how bad Spilsbury could have been.) By the time filming wrapped, the film had been tarnished but Universal, the studio releasing the movie, was still optimistic. However, the bad luck continued even in post-production. The film's technical aspects proved to be challenging and the movie's December 1980 release was bumped to Memorial Day in May of 1981. The good news was that President Ronald Reagan had agreed to attend a special screening of the movie prior to general release. Shortly before this was to occur, he was wounded in an assassination attempt and was unable to attend (the "The Gipper" was considerate enough to send a video greeting to attendees.) When the film opened to the public, response was poor from both the public and critics, who denounced the movie as the second major Western bomb in a row, following the disastrous opening of "Heaven's Gate" the previous fall. The movie quickly became the butt of jokes. Johnny Carson quipped that on opening day, Tonto put his ear to the ground and said "Kemosabe, me hear very few people heading toward the theaters!".  Carson rarely weighed in on criticizing films and, as he was one of  America's top barometers of pop culture, the sarcasm only reinforced the notion that the film was a bomb. The movie had the dubious distinction of sweeping The Razzies, the awards for the worst achievements in movie making.  Klinton Spilsbury couldn't overcome the stigma of having been dubbed. His name was mud in the industry and to this date, he has not acted professionally again. (Though, bizarrely, he did become an acting teacher in Vancouver for a time.) Michael Horse fared better, however, and carved out a satisfying career as a character actor that extends to this day.

In watching the movie today, its problems remain apparent, though it is entertaining in a goofy sort of way. Some screen heroes such as Batman can look cool in a mask but The Lone Ranger simply looks likes a throwback to a bygone era of entertainment when kids would be less demanding about the corn quotient served up by their idols. The film would probably have benefited from some self-awareness that the entire premise was outdated but the movie-makers made the mistake of playing the entire affair completely straight. In fact, the film is almost devoid of any humor at all. Another problem is that the story takes so long to tell how the Lone Ranger and Tonto ended up meeting and becoming blood brothers that it takes a full hour before audiences even get to see the Lone Ranger.  The story leading up to this is compelling, with young John Reid witnessing his parents slaughtered by a marauding band of cutthroats. His life is saved by a Native American boy his own age named Tonto, who brings Reid back to his tribe. The Indians adopt Reid and teach him the basic skills of survival. Before long, he is feels very much a part of the tribe- until an uncle inexplicably arrives from Chicago (!) and takes him back to the big city against his wishes. The action then jumps to years later. Reid is aboard a stagecoach heading West when it is attacked by a group of robbers. In an exciting, well-filmed stagecoach chase sequence, Reid displays his heroics, saves his fellow passengers and falls head over heels for lovely Amy Striker (Juanin Clay), who is the niece of the nearest town's newspaper. When Reid and Amy arrive, they are greeted by the uncle, who is on a one-man crusade against a local evil land baron named Cavendish (Christopher Lloyd, surprisingly good in a non-comedic role.) Cavendish has amassed a paramilitary force, bribed the local sheriff and kept the town's population in fear as he acts as a de facto dictator. For his efforts, the uncle is murdered. Reid joins the Texas Rangers along with his brother and a posse sets off to track down Cavendish. Along the way they are lured into a canyon and in another rousing action sequence, they are all killed except for Reid, who is badly wounded. Coincidentally, Tonto happens upon the scene and recognizes an amulet that Reid is wearing which Tonto gave to him when they became blood brothers. He nurses his old friend back to health and Reid becomes determined to bring his brother's killers to justice as-- wait for it- The Lone Ranger! It's never explained how he gets the fancy duds and mask but we do see the origins of how he adopts Silver as his wonder horse. Before long, the Lone Ranger is bellowing "Hi Yo, Silver!" and riding with Tonto to infiltrate Cavendish's compound. Turns out Cavendish has a lot in common with today's political fringe nuts: he wants to secede from the Union and establish a country called New Texas. His scheme is ambitious: he intends to hijack a train carrying President Ulysses S. Grant (Jason Robards) and hold him hostage until his demands are met. The execution of the plan is a highlight of the film, as is Robards' amusing performance as Grant. The scenes in which he matches wits with Cavendish over a sumptuous dinner brings to mind similar obligatory scenes from the Bond movies. The action-packed finale features the U.S. Cavalry joining the Lone Ranger and Tonto to free Grant, who gets into the action himself. By another coincidence, Grant's train had been carrying Buffalo Bill, Wild Bill Hickcok and General George Armstrong Custer, so you can imagine it's gonna be a bad luck day for Cavendish.

There is much to criticize about "The Legend of the Lone Ranger". The producers and director  seemed oblivious to the fact that a guy in a white hat and black mask shouting "Hi Yo, Silver!" would come across as incredibly corny to modern audiences if it wasn't played with at least a dab of self-awareness and humor. Alas, it's played straight- as is the use of the "William Tell Overture". It's as though the filmmakers had entered a time warp and thought they were out to please audiences from the 1940s. Another major weak link is the musical score by the esteemed John Barry. The instrumentals are fine but Barry has concocted a title theme called "The Man Behind the Mask" that is crooned by Merle Haggard. To say it's unintentionally hilarious would be an understatement. Not helping matters is some awful narration that describes the action in a corn pone drawl that sounds like it would be more at home in "Blazing Saddles". Yet, for all it's flaws, I enjoyed the film because of its sincere attempt to bring to life an iconic American hero, no matter how outdated the concept might have seemed. There are also some very impressive action scenes and some incredible stunt work. Alas, it wasn't enough to save the movie from its disastrous fate. Hollywood is so devoid of new ideas that the concept was, of course,  revived again as the equally disastrous Johnny Depp version of the Lone Ranger, although that film, too, had its merits. As for future installments of the Lone Ranger films, let's just let it at this: can't we let the guy rest in peace?

The Shout! Factory Blu-ray boasts a decent transfer but there is a good deal of grain in some of the sequences. This could be the way the film looked on original release, as it was criticized in some quarters for its sometimes muddy cinematography, which was particularly surprising since director Fraker was one of the best cinematographers in the business. The Blu-ray cries out for a commentary by film historians who could discuss the movie's interesting back story, but alas, only a trailer is included.  

CLICK HERE TO ORDER FROM AMAZON

BY TODD GARBARINI

I have been a fan of the Italian giallo subgenre for 30 years since my initiation into it was precipitated by my first viewing of Creepers (1985), the severely cut version of Dario Argento’s Phenomena, my personal favorite film of his. Subsequent viewings of films by both Mr. Argento and his mentor, Mario Bava, as well as Lucio Fulci, Lamberto Bava, Luigi Cozzi, and Michele Soavi solidified a love for the putrid and the fantastic, and anyone who has seen these movies knows how delightfully entertaining they are: off-kilter camera angles, ludicrous dialogue, and what writer Todd French referred to as “a maddening narrative looseness” are present in these films in a way that they are absent in other genres. There is just nothing like an Italian giallo film. With all of the mock horror films that have been made going back to 1981’s Student Bodies and the later, more contemporary and successful Scary Movie parodies, it was only a matter of time before someone took on the giallo. Quite honestly I am surprised that it took as long as it did.

Rey Ciso (Adam Brooks, who looks a lot like Franco Nero in 1977’s Hitch-Hike and also co-wrote and co-directed the film) is a film editor who actually cuts movies on celluloid. Once a great editor who worked with top-level directors, he suffered a tragic accident which cost him four fingers and has been relegated to cutting movies with wooden substitutes that look like they might be sound-designed by Jack Terry (John Travolta) in Brian De Palma’s Blow Out (1981). In fact, The Editor, which was shot in the summer of 2013, starts out much the same way that Blow Out does, with a movie-within-a-movie concerning a stripper who is accosted on her way home from work (a nod to 1982’s Tenebre when Ania Pieroni is attacked by a vagrant). There is a lot of blood as you can well imagine, and when the action moves to the editor, we see a sad and decrepit man whose young, attractive female assistant has the hots for him for some reason. His wife is a former actress who is beyond her prime and takes out her frustration on him. If all of this sounds depressing, it’s not, as the film is actually quite humorous in that it’s a send-up of giallo films. If you are a fan of these movies to the same extent that I am, you will recognize the obvious tips of the hat (or strokes of the blade) to Mr. Argento’s Inferno (1980) and Mr. Fulci’s New York Ripper (1981). There are also myriad instances of silly dubbing (another staple of giallo), gratuitous nudity, and the sound of the actors and actresses voices coming off as too theatrical and forced. This is all deliberate as a tongue-in-cheek salute to these movies that we love so much.

Now, unfortunately for Rey, someone is killing people off all around him. Naturally he is the prime suspect, and a rookie detective (played by Matthew Kennedy, who looks like Donald Sutherland in Invasion of the Body Snatchers, who also co-wrote and co-directed the film – do you see a pattern here?) is after him almost every second just trying to pin the crimes on him. And what would a giallo send-up be without Udo Kier?

There is a conscious effort on the part of the filmmakers to pay homage to the cinematography of this once great, bygone era. The movie-within-the-movie possesses a color palette that would do Luciano Tovoli and Romano Albani proud as it harkens back to 1977’s Suspiria and 1980’s Inferno respectively. The film is beautiful to look at in every respect. Even the poster art is gorgeous! It comes with a reversible cover and I prefer the image on the inside which just screams “the 80’s”.

There are an abundance of extras in this collection, and I appreciate the fact that Shout! Factory has done a DVD/Blu-ray combo on this title. I highly recommend The Editor for those with a love for these films. The extras are:

Making Movies Used to Be Fun (51:03) is a funny and entertaining behind-the-scenes look at the making of The Editor and reveals that most of the people in front of the camera are also some of the people behind the camera.  Conor Sweeney, like the aforementioned Brooks and Kennedy, contributed to the script.

Hook Lab Interview (7:11) sits with Norman Orenstein and Trevor Tuminski in a comedic look at their musical contribution to the film.

Brett Parson Poster Video (5:35) chronicles the agony that the poster artist endured trying to create the film’s poster. Oh, the humanity!

Astron-6 Film Festival Introduction (1:57) is an annoying piece better left unviewed.

A collection of several scenes cut from the film.

Full-length audio commentary with Adam Brooks, Connor Sweeney and Matt Kennedy. I would advise you to watch the film first as this contains many spoilers. It is also a lot of fun to listen to.

-

CLICK HERE TO ORDER FROM AMAZON

BY LEE PFEIFFER

The 1963 romantic comedy Come Fly With Me has been released by the Warner Archive. The film is a breezy, if dated, homage to an era when flying on a commercial airliner was actually deemed to be an exotic experience. The movie chronicles the love lives of three stewardesses (remember that quaint term?)- Donna Stewart (Dolores Hart) and Hilde Bergstrom (Lois Nettleton) are mature, self-determined young women and the newbie to their flight crew, Carol Brewster (Pamela Tiffin) is a bumbling but irresistible airhead. All of them have one common trait, keeping in the era in which the film was made: they are all drop dead gorgeous. This is one instance in which a profession has not been Hollywood-ized to make it appear glamorous. Back in the day stewardesses were considered to be highly desirable jobs, as they allowed young women the opportunity to not only earn a good living but also see the world during their down time. At the time, few women had opportunities to exert their talents as business executives, so working for an airline was one way out of a humdrum lifestyle. However, there were plenty of misogynist males who controlled the rules that deemed whether a young woman was worthy of being a stewardess. For one, they had to be unmarried. They had to be attractive and had to agree to Draconian terms that could see them fired if they gained too much weight. Adding insult to injury, they would sometimes even have to provide their measurements as part of the employment process. Fortunately, we live in a world today where such practices are not only unthinkable but also illegal. However, we also live in a world today in which travel has become an ordeal rather than a pleasure. Customers must endure skyrocketing prices, petty additional charges and the discomfort of being squeezed like cattle into the tiny confines of their seats. Thus, Come Fly With Me does provide a journey into the past, for both better and worse, when it comes to reliving the glory days of airline travel. 

The plot finds our three heroines on an exotic flight that will take them first to Paris, then on to Austria. From the get-go we see how stewardesses were considered to be human prey by lecherous male customers who paw at them and make awkward attempts to get dates. In the film, the women are also targeted by flight crew members. Each of the women ends up meeting their own prospective lover. Naturally, each of them initially spawns the advances. Donna has a chance encounter with a charismatic but egotistical Austrian baron, Franz von Elzinger (Karl Boehm) whose attempts to woo her backfire. Hilde is courted by a older, polite customer, Walter Lucas (Karl Malden) while Carol meets cute with the First Officer  of the flight, handsome Ray Winsley (Hugh O'Brian). It will not be giving away any spoilers to reveal that each of the women ends up agreeing to date their individual suitor. Donna is swept off her feet by the lavish favors bestowed on her by Franz. However, in a rather engrossing plot twist, it is revealed that he is actually using her as an unwitting "mule" to smuggle diamonds into Austria on her future visits. Hilde finds herself smitten by the earnest and gentlemanly Walter, but turns sour on the relationship when she learns he has been recently widowed and suspects he only likes her because she resembles his deceased wife. Carol finds a willing boyfriend in Ray but is alarmed to find out he has been having a long-term affair with a predatory married woman in Paris. Worse, the woman's husband has filed a formal complaint with the airline, which has punished him by refusing to promote him to captain. 

The film was designed primarily as a chick flick in an era that began a few years earlier with Three Coins in the Fountain, which depicted for the first time the notion that young women should travel the world together on exotic vacations. This was followed by Where the Boys Are, a movie that had an even greater impact in encouraging single women to indulge themselves in travel and partying. (Coincidentally, it starred Dolores Hart).  Come Fly With Me sends out mixed messages in terms of women's liberation. On the one hand, the three main female characters are headstrong and think nothing of making demands of their suitors that ensure they are treated with respect. (For all the romantic scenes in the film, it's implied that these ladies are distinctly virginal despite a few frank references to sex.) On the other hand, each of them seemingly only wants to find that special guy and settle down, presumably willing to sacrifice their careers in the process. In the movie's favor is the fact that it was actually filmed on location in Paris and Vienna, which adds a luster that many films of the era lacked. (The studio sequences were shot at MGM's now defunct UK-based studios.)  Consequently, the movie has a rich, classy feel to it. The cast is also impressive with each of the stars delivering an amusing performance, even if Tiffin does overdo the lovable goofball routine. The location scenery in these gorgeous European locales still impresses and the movie benefits from the title song by Jimmy Van Heusen and Sammy Cahn, which was a big hit for Frank Sinatra in 1957, though it's sung here over the credits by Frankie Avalon. The proceedings move along at a brisk pace thanks to the efficiency of Henry Levin's direction and the impressive cinematography by the legendary Oswald Morris. The screenplay was written by the esteemed William Roberts (The Magnificent Seven, The Wonderful World of the Brothers Grimm). The film ultimately builds to a somewhat suspenseful conclusion via the diamond smuggling plot before it tapers off to a contrived finale in which each of the ladies resolves their romantic issues and finds fulfillment with their flawed, but still admirable beau. 

I enjoyed Come Fly With Me despite its predictable story line, largely because of the charismatic cast and the presentation of a bygone era that is somewhat fascinating from a sociological perspective. The Warner Archive DVD transfer is hit-and-miss. At times the film looks gorgeous but at some points (especially in sequences using second unit footage) there is a yellowish hue. There are no extras.  

(Trivia notes: This was Dolores Hart's final film. She was a hot property with the studios but decided to leave acting to become a nun. Today she is a respected abbess of a monastery and a documentary about her life was nominated for an Oscar in 2012.  Actress Lois Maxwell appears in the movie in an inexplicably wordless role despite having many high profile film credits including two James Bond movies as Miss Moneypenny and the horror classic The Haunting, which was released the same year as Come Fly With Me. It would appear as though much of her footage may have ended up on the cutting room floor.) 

CLICK HERE TO ORDER FROM AMAZON

By Todd Garbarini

Michele Soavi’s Stage Fright (1987) is one of the most entertaining Italian giallo films ever made that is not directed by Dario Argento. This stunning directorial debut by the man who was frequently Mr. Argento's second unit director on previous films only gets better with age and easily lends itself to repeat viewings despite being somewhat marred by a disappointing ending. The film is beautifully lit and photographed and is a slasher film that one can call truly lurid in its execution, but at times it is also very funny. It boasts a premise that is formulaic to be sure, but its very simplicity works in its favor. Plus, the idea of being trapped inside a building with no possible way out is one that anyone can find frightening. Stage Fright calls to mind Lamberto Bava’s Demons (1986) which follows a similar plot (folks who band together to ward off an intruder and cannot find an exit) and the mammoth Metropol Theatre. In fact, Mr. Soavi played the metal-faced punk in Demons who handed out the invitations. He’s also the young cop in the police car outside the theater in Stage Fright, redubbed dialog and all. The film has the usual charms one has come to expect of the Italian horror cinema of years gone by: quirky character banter, quotable lines, off-the-wall camera moves, and a phenomenal musical score, here done by Simon Boswell and Stefano Mainetti.

Filmed in April and May of 1986 right after Russia’s Chernobyl nuclear disaster (one of the characters in the film even writes out a check dated April 26, 1986 – the very day of the Reactor 4 meltdown), Stage Fright’s opening credits play over some strange sound effects, slow footsteps, a door opening, someone forcing a mop into water, a cat meowing and screeching, etc. The film then opens on a shot of Lucifer, the stage manager’s black cat who happens to be running through a stage play that is in rehearsal. His appearance cannot go unnoticed. Before the dawn arrives, more bad luck than one can shake a stick at will befall the entire cast of this production. Lucifer seems to be the harbinger of bad luck for the entire group. David Brandon, the photographer in Photo of Gioia (1987), stars as Peter Collins, the director of this theater troupe of amateurs rehearsing for the play that is opening much sooner than he lets on. Described by one of the young women as an intellectual musical, “The Night Owl” is the story about a murdered prostitute who comes back from the dead and rapes her own killer. Nice, huh? Peter tries to get his cast together and in synch with the music but they’re all over the place. Unbeknownst to him and the others, Alicia the leading lady (Barbara Cupisti) and Betty the wardrobe mistress (Ulrike Schwerk) sneak out in the hopes of finding treatment for Alicia’s twisted ankle. Naturally, they go to a mental institution because psychiatrists are doctors, too, aren’t they? Naturally, it’s pouring. Naturally, the institution houses Irving Wallace, an actor who went crazy and killed 16 people. And naturally, Wallace manages to escape and find refuge in Betty’s car that very night! Amazingly, Mr. Soavi makes no effort to conceal Wallace’s face from the audience; we know what he looks like, and he is frightening.  After the police interrogate everyone, Peter decides to use this horrible incident to his advantage. Unfortunately, the real killer is hiding in the theater that they cannot exit.

Reliable Giovanni Lombardo Radice, aka John Morghen, plays Brett, the perpetual theatrical prankster with the effeminate voice. He meets his death brutally as well through a case of mistaken identity.

The ending is truly bothersome, because it throws in the usual tongue-in-cheek horror movie ending staple that became so prevalent in the genre’s lesser offerings.

Don’t let this one disappointment stop you from seeing Stage Fright. What the ending lacks in the way of logic is more than made up for in mood, music, sound effects, and the constant drone of thunder from outside the theater. All of these elements mix to make Stage Fright a terrific slasher film. 

The new Blu-ray from Blue Underground is a revelation and worth the upgrade, not just for the beautiful image, but also for the wealth of extras that the disc has to offer. This is the first time that this film has been available in the United States with any extras to speak of:

Theatre of Delirium – Interview with Director Michele Soavi (approx. 19 minutes). I must admit that this is first time I have actually seen a sit-down discussion with Mr. Soavi (pronounced mic-KELL-ay so-AHV-ay), a director who showed tremendous promise with this first feature. His subsequent offerings have been hit or miss and he now seems to work solely in the realm of Italian television productions.

Head of The Company – Interview with Star David Brandon (approx. 12 minutes). This is an interview with one of my favorite actors in the film. Mr. Brandon played Peter the stage manager, whose dictatorial style is what holds the group of amateurs together as they are dispensed with one by one Ten Little Indians-style.

Blood on The Stage Floor – Interview with Star Giovanni Lombardo Radice (approx. 14 minutes). This actor is better known internationally as John Morghen and has appeared in a wealth of brutal horror films for Ruggero Deodato and Lucio Fulci. Here he speaks of his experience making the film, and his annoyance with one of the actors who was not a trained performer.

The Sound Of Aquarius – Interview with Composer Simon Boswell (approx. 18 minutes). This piece shines a light on the film’s score, which is one of my favorite scores and was once released on the Lucertola label in a limited pressing of 1200 copies and how Simon Boswell the composer came to score the film. The score is terrific.

The Owl Murders – Interview with Make-Up Effects Artist Pietro Tenoglio (approx. 11 minutes) is interesting in that Mr. Tenoglio has nearly 60 credits to his name as a make-up artist, yet he is not as well-known as Sergio Stivaletti who contributed effects to many other contemporary giallo films, such as Demons (1986) and Opera (1987). I am glad that he is given his due here.

The requisite theatrical trailer and poster/still gallery rounds out the extras.

Owning this on Blu-ray is a must for fans of this film. The dark, sub-par transfer from the Eighties has been upgraded to a gorgeous and colorful palette which makes me yearn for the now bygone days of Italian horror cinema.

CLICK HERE TO ORDER FROM AMAZON

BY LEE PFEIFFER

Christopher Lee and Boris Karloff collectively made countless films that varied widely in terms of quality. However, they always brought dignity to every role they performed. Sadly, the two icons of the horror film genre only worked together twice.The first time in the late 1950s in "Corridors of Blood" and the second and last time in what turned out to be the final film of Karloff's career, the 1968 Tigon Films production of "The Crimson Cult" (released in the UK as "Curse of the Crimson Altar" and in some territories as "The Crimson Altar" and "Black Horror"). Karloff barely got through the arduous shoot during a particularly cold and unpleasant British winter. However, always the ultimate professional, he persevered and continued the film until completion, even after having been hospitalized with pneumonia. The result is a film that is not particularly well-loved by horror film fans but which this writer enjoyed immensely on my first viewing, which came courtesy of the Blu-ray release from Kino Lorber Studio Classics. Perhaps the film looked better to me than it should have. It's got some loose plot points and the production doesn't fully utilize the skills of it's marvelous cast, which includes character actor Michael Gough and the iconic Barbara Steele. However, given the fact that we don't get lineups of great stars like this any more, I found the entire movie to be a joy to watch (despite of- or perhaps because of- it's sometimes blatant exploitation scenes.)

Things get off to a rather rollicking start with the very first frames of the movie which depict a woman clad only in leather panties and pasties who is mercilessly whipping another sexy young woman who is chained to an altar in a dungeon-like environment. Watching the action is Peter Manning (Denys Peek), who we learn is a respected antiques dealer who runs a high end shop with his brother Robert (Mark Eden). Peter looks completely out of place in this S&M scenario, even more so when we see the others who are witnessing what becomes evident as a Satanic Black Mass ceremony, which is taking place amid other scantily-clad men and women. Peter is approached  by an exotic beauty who we will later learn is the reincarnation of a notorious witch named Lavinia, who was executed by local villagers a few centuries ago. As played by real life exotic beauty Barbara Steele in a largely wordless role, the character exudes both danger and sexual deviancy. She insists that Peter sign an ancient ledger after which he is given a dagger which he uses to promptly murder the young woman who is chained to the table. 

The scene then switches to the antique shop where we find Robert concerned about his brother's whereabouts. He tells his secretary that Peter had gone to search for antiques for a few days in the remote rural village of Greymarsh, which coincidentally is the ancestral home of the Manning family. The only clue he has to his brother's movements is a cryptic note he had written to Robert from a manor house in the village. Robert decides to visit the house to see if he can trace Peter's location. Naturally, he chooses to arrive at the place in the dead of night and finds the villagers are engaged in riotous celebrations for an annual festival that rather tastelessly celebrates the execution of witches in a bygone era. The locals playfully recreate pagan rituals including the execution of an effigy of Lavinia. Arriving at Greymarsh Manor, Robert finds a wild party underway with a group of young people in an orgy-like state. The girls are pouring champagne over their nearly naked bodies and there are "cat fights" intermingled with lovemaking. Robert is understandably amused and fascinated. He makes the acquaintance of Eve (Virginia Wetherell), a fetching blonde with a flirtatious nature who informs him that she is the niece of the manor's owner, a sophisticated and erudite man named Morley, who greets Robert warmly but denies any knowledge of his brother. Morley says that he can't explain how Robert received a note from Peter on Greymarsh Manor stationary but nevertheless invites Robert to stay a few days at the manor while he continues his investigation. Predictably, Robert and Eve form a romantic bond in short order and she assists him in his efforts to find Peter. Meanwhile, Robert is introduced to Professor John Marsh (Boris Karloff), an elderly, wheelchair-bound academic who is the village's most prominent local historian. Fittingly, he is also a collector of ancient torture devices.  

Most of the film centers on Robert and Eve attempting to track down Peter's doings in the village and his present whereabouts. It becomes pretty obvious that either Morley and/or Marsh are hiding some explosive secrets. The only question for the viewer is whether one or both of them have been complicit in Peter's vanishing.  Robert's stay at the manor house is  decidedly mixed experience for him. In the evenings he gets to enjoy rare, expensive liquors as he sits around chatting with Morley and Marsh. He also gets a willing bed mate in Eve. However, he is terrified by recurring nightmares that find him in the midst of a Black Mass ceremony where he finds his brother. In these bizarre dreams, Lavinia insists that Robert sign the ancient ledger, as Peter did, but Robert steadfastly refuses because he believes he will be murdered once he does. Robert discovers that his arm has been seriously cut by a knife- a key part of his nightmare. He thus begins to suspect that these aren't dreams at all, but real experiences that are taking place when he is in drugged condition. A trail of clues leads to some red herrings until Robert and Eve discover that the manor house has a hidden room where it is apparent Satanic ritual ceremonies are taking place.  From that point, key plot devices begin to fall into place with a few minor surprises along the way. The movie is a great deal of fun from start to finish and seeing both Lee and Karloff on screen together is a real treat.  Michael Gough  makes welcome  frequent appearances as an Igor-like butler who tries to warn Robert about the dangers of staying at Greymarsh Manor and Rupert Davies has a nice cameo as the local vicar. A few other observations: Virginia Wetherell is a first rate leading lady in this type of genre film so the fact that she never achieved greater name recognition seems unjust. Also the production design is first rate, as it generally is in British horror movies of this period. Kudos also to veteran director Vernon Sewell who crafts a consistently interesting film from a script that has some loose ends and weak plot points. He also has to contend with a good amount of T&A that seems to be inserted largely for exploitation reasons. The film's dramatic conclusion is meant to be intriguing and ambiguous but comes across as somewhat unsatisfying. However, in the aggregate, the movie is a great deal of fun- largely due to the presence of Lee, Karloff and Steele. 

The film has been released by Kino Lorber as a Blu-ray special edition under its American title. The company has wisely ported over some of the content of special bonus materials that were available on a previous UK-only Blu-ray edition. These include a wonderful commentary track with Barbara Steele and well-known horror film historian David Del Valle, who has also produced a number of documentaries. Del Valle is uniquely suited to conduct the discussion of the film, as he personally knew many of the legendary figures of the horror film genre and his knowledge is encyclopedic. He and Steele have a good rapport because they are old friends. Both of them, however, denounce the movie because of its missed opportunities. The main criticisms revolve around the misuse of Christopher Lee and Boris Karloff in their only film together. Del Valle feels that there isn't much for them to do other than sit around parlors sipping drinks. He points out that this was Karloff's last film and  he was in poor health during its production, yet was valiant enough to complete filming- and insist that a scene be rewritten so he could rise from his wheelchair, an act of defiance and courage considering his fragile state. Steele bemoans the fact that the screenwriters didn't allow her character to share any scenes with either Lee or Karloff, although she did spend time with them off set and clearly adored both men. However, the way the story is structured simply wouldn't allow the three characters to interact without fundamentally changing the story. One can understand Steele's frustrations as an actress, however, in not having the opportunity to share screen time with these cinematic legends. Del Valle also dismisses leading man Mark Eden (who resembles young George Lazenby) as a lightweight, a charge that seems debatable. I personally found Eden to be a likable and charismatic leading man. Both Del Valle and Steele acknowledge the film has some merits but you'd barely know it by the time they get done slicing it up scene by scene. Steele also provides some very interesting discussions about her non-horror films including quitting the production of "Flaming Star" in which she was Elvis Presley's leading lady. She also discusses her work with Fellini. In all, I found myself not agreeing with Steele and Del Valle's overall assessment of "The Crimson Cult" but I did find this to be an excellent commentary track, filled with wonderful anecdotes.

Barbara Steele as Lavinia, The Black Witch of Greymarsh.

The Kino Lorber Blu-ray contains other bonus extras. The most interesting is an interview with composer Kendall Schmidt, who relates why he receives screen credit for the musical score in the video versions of the film. (Peter Knight is still the composer of record on the theatrical prints.) Schmidt, who is now a well-regarded photographer, relates that when Orion acquired video rights to the American International Pictures library in the mid-1980s, there were many films they could not secure the music rights to. Thus, Schmidt, who was a 24 year old starving composer, was hired to re-score these films. In some cases, he emulated the original composer's scores while in most other cases he created wholly original compositions. His score suits this film well but, not having seen the theatrical version, I can't compare his work with Peter Knight's. The Blu-ray also includes both the U.S. and British trailers with their respective title differences.

It should be pointed out that the picture quality of this release is as close to perfect as you can get. Colors practically leap off the screen and the transfer does full justice to the production design. In all, I found this to be a first rate release of an extremely underrated film from the "Golden Age" of British horror productions.  

CLICK HERE TO ORDER FROM AMAZON

BY LEE PFEIFFER

On June 16, the Warner Archive will release the 1975 screen version of Neil Simon's comedy classic "The Sunshine Boys" as a Blu-ray special edition. The film stars Walter Matthau and George Burns as Lewis and Clark, a legendary vaudeville comedy team who have not been on speaking terms since they broke up their act eleven years ago. For their work in the film, Matthau was nominated for the Best Actor Oscar, George Burns won the Best Supporting Actor Oscar and Richard Benjamin, who co-stars as Matthau's harried nephew and agent who tries the Herculean task of reuniting the team for a television special about comedy greats, won a Golden Globe award. Cinema Retro had the opportunity to speak with Richard Benjamin about his memories of working on the film.  

Cinema Retro: "The Sunshine Boys" must have had a very personal meaning to you, given the fact that your uncle, Joe Browning, was popular vaudeville entertainer. 

Richard Benjamin:  Not only that, but here I had grown up listening to Burns and Allen on the radio and all those shows- and in those days, parents and children listened to the same programs. So it was Burns and Allen, Jack Benny and all that. So when we were filming ""The Sunshine Boys", George Burns used to ask me to go to lunch every day, which was a thrill. One day, walking with him to the commissary, I asked, "Did you know my uncle? He was in vaudeville" and he said, "What was his name?" I said, "Joe Browning". He said, "Not only did I know him, but I know his act. Do you want to hear it?" He started to do my uncle's act! It was incredible. I mean here I am walking between sound stages with George Burns and he's doing my uncle's act. He said, "You know, he was a headliner. We weren't the headliners on some of those bills, your uncle was." It was amazing to hear all that. Obviously, the movie is a love letter to vaudeville and all those guys, so it had a lot of meaning for me. 

CR: You also got to meet another legend of comedy, Stan Laurel. How did that come about?

RB: When I went to see my uncle, who lived at the Beacon Hotel on Broadway and 74th Street, which was a block away from where we were shooting "The Sunshine Boys", he had a one bedroom suite in his hotel. There was a trunk in the middle of the living room, right as you walked in. It was a big steamer trunk with his initials on it: "JB", and the "J" and the "B" were intertwined, you know the way they would do that? He was ready to go! If he got a call, he was ready. So anyway, years and years later, my friend who I went to Northwestern with was out here at UCLA doing a master's thesis on Laurel and Hardy. One day he said to me, "I'm going out to interview Stan Laurel. Do you want to come?" I said, "Are you kidding?" So he and I went out there. Stan Laurel and his wife were in a six story apartment building facing the ocean in Santa Monica. This was a place that Jerry Lewis had put them into because they evidently had no money at all. People never knew it but Lewis did things like this, but he never broadcast it. He set them up in that apartment. When we got there, there was a buzzer downstairs and my friend Jerry buzzed it. A voice came on and said, "Yes? (imitates Stan Laurel). We told him who were were and he said, "Come right up!" I thought, "My God! Through this little speaker, I'm hearing Stan Laurel! This is unbelievable!". So we went upstairs and there in the center of his living room is his trunk with the "S" and the "L" intertwined. He was ready to go, too, just like my uncle. Those guys had a motto: "Have Trunk, Will Travel". It was life to them. 

CR: Prior to working on "The Sunshine Boys", you already had a working relationship with Neil Simon...

RB: Yes, they were casting the national company of "Barefoot in the Park" with Myrna Loy. Fortunately, a friend of mine who I went to school with, Penny Fuller, said she was understudying Elizabeth Ashley. I mean, listen to how these things work...She asked if I was reading for the national company. I said, "For what?" I didn't know anything about it. She said, "Your agent didn't tell you about it?" I said, "No". So I called my agent at that time and asked, "Can you get me a reading for this? I'm really right for it."  He said, "Oh, Oh, sure...that's a good idea." But it never would have happened had Penny not told me. So I went in there and I did a scene- actually I did it with Penny- and Mike Nichols was casting it. I had never met him but I recognized his laugh from his comedy records with Elaine May. After the reading, he came up to me and said, "Well, that's fine." I didn't know what that meant. When I was walking out, my agent was there and he said, "You've got it! They're casting you!". So that was my introduction to Neil, through being cast in the national company. Then he and Mike cast me in the national company of "The Odd Couple" with Dan Dailey. Then Neil asked me to do "Star Spangled Girl" with Tony Perkins on Broadway. So there was a ten minute audition and I'm working for three years and doing all these other things with Neil. I mean, if Penny didn't tell me that, I don't know if you and I would be talking today. You could just miss something by inches, you know? That's the thing about this business. You really never, never know. Anything you plan on never happens but something else happens. 

CR: Prior to filming, you had also worked previously with director Herbert Ross on "The Last of Sheila" (1973).That must have put you into a pretty good comfort zone going into "The Sunshine Boys". 

RB:  Yes, I was. Also the material was just fabulous and funny. Being with Herb again was great.

CR: Jerry Lewis always said of Dean Martin that being the straight man was the hardest job in all of comedy. In the film, you're the straight man between Walter Matthau and George Burns. You obviously found the formula for not overshadowing the stars while not being overshadowed yourself, especially since you won the Golden Globe for your performance. 

RB:  You couldn't be in a better environment. I mean, all these people and the experience they all had. With that material and being at MGM and having everything that you needed, it was pretty special- and I knew it at the time. I was grateful to be in it. It was really great and Herb was terrific. 

CR: As you know, neither Walter Matthau or George Burns were originally envisioned for the film. Phil Silvers had auditioned for the role of Willy that Matthau ended up playing and Jack Benny had been signed to play Al but he dropped out when he was diagnosed with a terminal illness. (Screen tests and make up test of  Silvers and Benny appear on the Warner Archive's Blu-ray release of the film.) I presume you weren't involved with the production in these early stages...

RB: No, no, I wasn't. I saw on this new Blu-ray those tests but I wasn't on the film at that time.

CR:  When George Burns took over the Jack Benny role, you, Matthau and Herb Ross got together with him to go over an initial reading of the script. Can you relate what that experience was like, especially since Burns hadn't made a movie in over thirty years?

RB: His character doesn't appear until about fifteen or twenty pages into the script. So he was just sitting there, kind of looking off into the distance. We were wondering why he hadn't opened his script. It was right in front of him in a folder. Well, we're flipping pages and reading and every once in a while we would look over at George and think, "Well, he should be opening that pretty soon." Then we started to worry that maybe he was just out of it and didn't quite know what was happening here. He didn't touch the script. He was just staring out the window. Finally, we got to his first page and we thought, "If he doesn't open it now, it's going to be kind of sad." I had the line before his so I said my line and  without missing a beat he said his line. Then he said the next line, then next and next and next and next. He was just ripping those lines out there. He's not missing anything and he's very funny. So Walter says, "Wait a second! What the hell is this???" So George said, "Aren't you supposed to learn the script?" Walter said, "Yeah, yeah- but you don't have to learn the whole thing!" So George said, "Well, don't you know your lines?" I thought, "We're in for it now! We'd better be on our toes because there's no fooling around with him!" 

CR: I understand you were on the set every day, even when you weren't required.

RB:  Yes, because George wanted to go to lunch with me every day.

CR: As a native New Yorker, you must have appreciated all the locations that were used in the film. 

RB: It was right where I grew up. But the scenes in Willy's apartment were a set. We shot that in California. 

CR: It's really a terrific piece of work. It really looks like an apartment, right down to the set decorations. Al Brenner, the production designer, did a great job. 

RB:  Yes, that's the brilliance of Brenner and people like him. He was just fabulous. I think the lobby was the Ansonia in New York but the apartment was all a set. It was a tremendous amount of work. You know, the play is set all in the apartment except for the scene where they go to the variety show. The New York locations were great- like going to the Friars Club and the street scenes and Willy going to that garage when he is lost and where we shot the commercial for Frumpy's potato chips. 

CR: I never realized F. Murray Abraham was in the garage scene.

RB: Yes, he was the mechanic who gives Willy directions. 

CR: He was a decade away from winning a Best Actor Oscar for "Amadeus". 

RB: I know. Isn't that incredible?

CR: A unique aspect of the film is that there is no musical score.

RB:  Only that vaudeville scene that opens the credits- and then I think there's something at the end, but there is no music throughout the film. That's because nothing needs to be emotionally enhanced. It's all real. 

CR: As an established director in your own right, don't you find it fascinating that there was a time when you could make a major commercial film that contained so many long sequences of nothing but dialogue?

RB: It would be a challenge to find actors who could do it. We had Walter from the stage and George from vaudeville who could both do long, long takes. What's great about that is that you build up power during those takes. It's like being out on a wire because if anybody screws up, you have to go back to the beginning. Stage actors love the challenge but there are other actors who can't do it. They can only little short things. You don't trust anybody when all they can do is all those little quick cuts because it's not life real life. 

CR: It must have pleased you when the film opened at Radio City Music Hall. 

RB:  It was great because my wife's (Paula Prentiss) first picture, "Where the Boys Are", opened there. That was the first time I saw her on the screen. That was- and maybe still is- the biggest screen in the world.  The theater seats thousands so it was quite something. Having grown up in New York and having walked past that theater my entire life and then having all that happen was thrilling. It's still thrilling to me. 

CR: You've said that "The Sunshine Boys" is a valuable filmed record of a bygone era - vaudeville- that might otherwise be forgotten.

RB:  I don't know if people even know what that era is any more. Those people lived more on stage than off. They did eight shows a day, seven days a week. They were on the road for fifty weeks or something like that. They knew audiences better than anybody because of that tremendous experience. There's nothing like it today. What gives anybody that kind of experience? But Neil wrote an extraordinary play. He's quite extraordinary.  I think it was Walter Kerr who once said about Neil, "Yes, they are jokes but why they are so funny is because the truth is in them."

CLICK HERE TO PRE-ORDER "THE SUNSHINE BOYS" BLU-RAY FROM AMAZON. (AVAILABLE ON JUNE 16)

(Thanks to Carol Samrock of Carl Samrock Public Relations for her assistance in arranging this interview.)  

By Daniel D’Arpe

As a cult favorite, actress Edwige Fenech  has numerous movie moments that are ingrained into the minds of many Italian men who came of age in the 1970’s. Yet there is one particular moment, running topless in slow-motion through a field of flowers, that is probably more memorable then the rest. Many words come to mind when trying to describe this scene: Crude. Low-brow. Gratuitous. All of these are excellent adjectives to use when trying to sum up 1973’s Ubalda, All Naked and Warm. Besides giving audiences an (extremely) intimate look at Ms. Fenech, this was the film that famously (or infamously) proved that the Italian “sexy comedies” could be commercially viable. Although not a for everyone, Ubalda is perfect for fans who wish to delve more deeply into the overlooked cult titles of Italy’s yesteryear.

Olimpio (Pippo Franco) is a hapless knight who has just returned home after a long and brutal war. As can be expected, he wants nothing more than to eat fresh food, have a nice bath, and find comfort in the arms of his beautiful wife Fiamma (Karin Schubert). Before he had left, Olimpio had his wife fitted with a chastity built in order to ensure that she remained faithful. Yet when he returns home, he finds that Fiamma is less then eager to return his affections (even with the chastity belt, she has numerous other suitors lined up). After she steals the key to the belt (a fact which delights her suitors), she informs Olimpio that she has taken a vow of “chastity”, and suggests that her husband focus his energies toward making peace with their neighbor instead of making love. Discouraged, Olimpio accepts his wife’s words and heads over to the home of Master Oderisi (Umberto D’Orsi) in order to make amends. Yet as soon as he sees Oderisi’s new wife, he quickly has other ideas.

As it turns out, Lady Ubalda (Edwige Fenech), is as equally unhappy in her marriage as Fiamma is in hers. Initially, she is only too happy to add Olimpio to her list of secret lovers, but quickly loses interest after his plan to bed her fails. Frustrated at home, both Olimpio and Oderisi eventually agree to swap wives. Yet their plan sets in motion a chain of events that will forever change their lives in a very unexpected way. By the time the film is over, neither man has to worry about the other ever trying to bed their wife again.

Original soundtrack.

Made with a budget of roughly $50,000, the film grossed more than $400,000 at the box office, making it a huge success. (Although people under the age of 18 were not admitted into the theaters, it is interesting to think of all the creative ways that teenagers concocted in their attempts to sneak in). After Ubalda’s stunning success, the Italian sex comedies (known in Italy as “commedia sexy all’italiana”) became a huge sensation. Aside from the medieval setting, these films tended to center around numerous other cliched subjects, such as: nurses, policewomen, and lady medics. Unsurprisingly, many of these films would follow Ubalda’s example and give top billing to Edwige Fenech.

Fenech was, beyond a doubt, the break-out star of the movie. Already known for her roles in the giallos, Ubalda made Fenech an instant sex siren. It is little wonder; gifted with natural beauty, she could light up any screen, regardless of her role. (The fact that the film featured her disrobing probably made the screen shine even brighter for many in attendance). On top of her more obvious attributes, Edwige Fenech also possessed a natural flair for comedy. Throughout Ubalda, her wry humor proves to be the perfect compliment to Franco's over the top antics. Although her glamor and comedy would never grant her universal recognition, Fenech would still make a decent career for herself.

By Howard Hughes

(The following review is of the UK release of the film, on Region 2 format)

LOVE IS A LOSING GAME

Network continues to release some unusual examples of retro British cinemabilia. This adaptation of Graham Greene’s ‘Loser Takes All’ was shot at Shepperton Studios and on fabulous locations in the Principality of Monaco. At the big London firm SIFA, assistant accountant Bertrand solves an accounting mistake that impresses his boss Dreuther so much that he insists Bertrand takes up his very generous (and highly implausible) offer. Instead of getting married to his fiancée Cary in Bournemouth as planned, Bertrand can instead get hitched in Monte Carlo, on the company’s chequebook. Oh, for a boss like Dreuther...

Soon Bertrand and Cary are living the highlife in the casino capital of Europe, staying in the royal suite of the hotel and enjoying a lavish holiday. But Dreuther, who’s supposed to meet them there on his yacht, is delayed, and after they are married, their spending money runs out. The pair is reduced to living on coffee and bread rolls, until the hotel manager notes they aren’t spending much money and are avoiding all the hotel staff at every opportunity, so he lends them 250,000 francs. Bertrand is a mathematician who wants to try out his system that he thinks will win him a fortune on the casino tables. After a marathon gambling stint, Bertrand arrives back at their hotel room to tell Cary that he’s won five million francs. With great wealth comes a change in personality for Bertrand and he becomes preoccupied with the acquisition of money and power, even to the point of buying shares in SIFA and becoming a force in opposition to Dreuther. But his single-mindedness drives sweet Cary away, into the arms of pipe-smoking smoothy Philip. Now Bertrand must win back his bride, or it’s Monte Carlo or Bust (up). As the trailer put it: ‘Here’s a honeymoon that isn’t all honey’.

This movie is as wafting a piece of Continental fluff as you can imagine – lovely, old-fashioned cosiness from a bygone age. Italian heartthrob Rossano Brazzi is the impulsive Latino lead, Bertrand, while British actress Glynis Johns is his charming bride. Tony Britton played Philip and Robert Morley plays Robert Morley – as he seemed to do in all his films – as the company’s all-powerful MD Dreuther. Look fast for a young Shirley Anne Field as Bertrand’s date in the casino. At the time of the film’s release, ‘Today’s Cinema’ optimistically noted it ‘Has the zest and zing of a Mediterranean holiday…if the sun never shines again this year, Loser Takes All will make up for it’. And the admen went to town on the taglines for this one too, calling it ‘The warmest, wonderful-est, winning-est romance-of-the-year’ and ‘It’s a spectacular CinemascoPeek inside high society’s swankiest playground’. With dresses by Christian Dior and a light and airy score from Alessandro Cicognini, this movie scores best in its visual and aural depiction of Monaco and especially Monte Carlo. The on-location filming livens up the plot with its breathtaking scenery as a backdrop. There’s a superb sequence of Bertrand and Cary riding a Vespa on mountain roads, which lead up to a rustic, folksy village – a setting in massive contrast to the wealth and splendour of Monte Carlo. In fact it’s to the simplicity of the village that Cary wants to return when they strike it rich, but Bertrand is too enamoured with the highlife. While there’s nothing groundbreaking on display in ‘Loser Takes All’, it’s a pleasant enough scoot, with a bit of romance, a bit of drama, a bit of comedy, stirred into the mix. Johns is the best aspect of the film and is highly watchable as the chirpy, quirky newlywed. Greene’s novel was adapted again in 1990 as ‘Strike it Rich’, with Robert Lindsay and Molly Ringwald as Bertrand and Cary, and a cast that included John Gielgud (as Dreuther) and comedian Max Wall.

‘Loser Takes All’ is presented in the CinemaScope widescreen format and is ‘a brand-new transfer from the original film elements’. The colours are strong if you boost the colour on the TV, but the image seems a little soft and could do with a sharpen. ‘Loser Takes All’ is another addition to Network’s ‘The British Film’ collection, a five-year project to release over 450 British films via a deal with Studiocanal. It’s a British Lion release and the disc includes the original trailer and a gallery of colourful poster artwork. In 1956, the periodical ‘Daily Film Renter’ deemed it ‘Exhilarating as champagne’. If the lovers’ antics seem a little flat 58 years later, there’s always those gorgeous Eastmancolor Monte Carlo vistas to enjoy.

DVD format: Region 2

Rated: PG

RRP: £9.99

Screen ratio: 2.35:1

85 mins Colour

Text © Howard Hughes/Cinema Retro 2014

CLICK HERE TO ORDER FROM AMAZON UK 

By Lee Pfeiffer

Vinegar Syndrome has released another grindhouse double feature of '70s hardcore porn flicks. "The Altar of Lust" is a boring, snoozefest masquerading as erotica when, in fact, it is about as stimulating as an Amway party. Erica Landers (billed in the film credits as "Erotica Lantern" (!), plays Viveca Hansen, a nubile Dutch teenager who is brutally violated by her barbaric stepfather in the only rape sequence ever filmed that is more boring than offensive. She makes her way to New York where she confides her life story to a sympathetic psychiatrist. For whatever reason, the dialogue comes from superimposed voices from both characters that give the impression that the film was badly dubbed. Erotica Lantern doesn't live up to her name, even in an era when everyday women could become major porn stars. She is far from exotic looking and is adorned with a dime store fright wig that gives each one of her scenes an unintentionally funny overtone. The entire "story line" involves her inability to have a stable relationship with men. After being abused by her stepfather, she enters affairs with other men who verbally abuse her (including porn super star Harry Reems, who uses the screen name "Stan Freemont".)  One night, she walks in on her boyfriend  Don as he's getting it on with another girl. The other woman ends up seducing young Viveca, much to the amusement of Don. However, when the two get carried away with sapphic lovemaking, he realizes there's no room for him in this party and he angrily departs the scene. Henceforth, Viveca becomes obsessed with women, leading her to see the therapist to find out what is wrong with her. The only intriguing angle of the flick is to evoke a bygone era in which gay people were seen to be suffering from a mental disorder. At the end of the flick, Viveca is put back on track when her own psychiatrist gets it on with her, a plot device you can see coming from minute one. The film is unexceptional on every level and will disappoint fans of the genre because the majority of sex scenes are softcore. The transfer, however, is top notch, given that source material for such releases comes from the "take what you can get" school.

The second feature on the DVD is "Angel On Fire", a 1974 flick that attempts to capitalize on "The Devil in Miss Jones". The film opens without credits but Darby Lloyd Rains is the female lead and stalwart male performers Marc Stevens and Jamie Gillis have major roles. The first scene finds Steven, a young hunk,  in bed having torrid sex with his adoring girlfriend. However, when she informs him she is pregnant with his child, he verbally abuses her and abandons her without a second thought. He is a lifelong chauvinist who treats women as sex objects and nothing more. He is ultimately struck by a van and killed by driver (Stevens), who has been distracted by the fact that his girlfriend had been performing a sex act on him while they were cruising the streets of Manhattan. Steven finds himself in Heaven and in the presence of a comely female angel who tells him his fate: he is to be sent back to earth, this time as a female. Steven is "reborn" as a good look young woman named Stephanie (Darby Lloyd Rains) who is as sex crazed as his male alter-ego was. Before long, she enters a relationship with an arrogant man (Jamie Gillis), who treats her every bit as callously as he treated his own girlfriend. Speaking of whom, that woman reappears at his apartment and doesn't seem to be overly-startled by the revelation that her former lover has been reincarnated as a woman. In fact, the two get down to serious canoodling right away for the film's primary prerequisite lesbian sequence. As her dependence on her new boyfriend grows, Stephanie finds herself serving as a virtual sex slave to her deplorable lover- and her devotion only increases the more he abuses her. Finally, she discovers she is pregnant- and he abandons her as callously as he once abandoned his own lover. Stephanie is so heartbroken the she begs to die and - Presto! She is back in Heaven as Steven. He tells his angel guardian that he has learned an important life lesson about respecting women. For this, he is informed that in Heaven, sex is frequent and guilt free. She rewards him for recognizing his flaws and correcting them and the two start getting it on. ("If this cloud is a rockin', don't come a knockin'",  you might say.) As The Temptations pointed out, everyone's doing fine on Cloud Nine. Angel on Fire is crudely made and suffers from an insufferable performance by Rains. Beyond that, however, it is far superior to "The Altar of Lust" and contains some genuinely erotic sequences. The flick also looks like it went through a meat grinder, with numerous blotches and edits apparent. As with previous Vinegar Syndrome releases, however, this only adds to its appeal.

Click here to watch a preview clips from the double feature.

CLICK HERE TO ORDER DISCOUNTED FROM AMAZON

By Lee Pfeiffer 

Vic is an extraordinary short film that runs 30 minutes but packs an emotional wallop. The movie is steeped in tragedy, from its subject matter to the story behind its production. The movie stars veteran character actor Clu Gulager in a career-topping performance as a once-popular leading man who has now been relegated to eeking out an existence in his modest L.A. home. Living alone and largely forgotten by his peers and friends, Vic tries to cheerfully get through each day, bolstered by the companionship of his loyal dog. His home is a modest shrine to his former achievements. The walls boast faded newspaper articles about him from bygone eras and there are tattered 8x10 stills of hit movies from happier times. Vic is feeling the pain of his twilight years. He still cuts a handsome figure and can joke and flirt with the ladies but he is relegated to having to use rolls of pennies to pay for necessities in local stores. In one poignant scene, he flirts with a charismatic cashier who is his own age (played in by Gulager's real-life wife Miriam Byrd-Nethery). When he returns to the store the following day to ask her on a date, he is told she was fired because she couldn't keep up with the work load. Vic's world is on the verge of total collapse when potential salvation arrives in the form of a phone call from out of the blue. An influential young director is interested in hiring him for a key supporting role in a major dramatic film. The news sends Vic into elation, then panic when he learns he has to do a reading for the part. This will require him to sit in front of the director and other key crew members and convince them that he is the man for the job. Nevertheless, Vic studies the script diligently, determined to knock 'em dead and revive his dormant career. Then he learns that his beloved dog has been stolen by a local miscreant who he refused to give money to. With his appointment for the reading looming, Vic becomes completely distraught as he searches frantically for his dog. He then makes a frantic drive to the production office to see if he can salvage this one last chance to restore his dignity. The highlight of the movie is Vic's reading of the script for the director and producers. He has dyed his hair jet black, but its a botched job and makes him look foolish. Nevertheless, he is treated reverently by those present and, in an inside joke, he is complimented on his performance in McQ, the John Wayne detective flick in which Gulager co-starred in real life. The film offers some tantalizing, brief appearances by such fine veteran actors as John Phillip Law, Carol Lynley, Richard Herd, Gregory Sierra, Robert Lyons and Peter Mark Richman. You fervently wish the movie was longer in order to capitalize on this extraordinary gathering of talented people. When it's time for Vic to do his reading, director Stallone has ratcheted up the suspense to an almost unbearable level and Gulager pulls out all the stops in a performance that becomes increasingly brilliant. 

Vic is based on a story by Sage Stallone, the son of Sylvester Stallone, who won an award as Best New Filmmaker at the Boston Film Festival. Tragically, he died in 2012 of heart problems at age 36.  The movie was a family affair for Clu Gulager, with his son John serving as cinematographer and editor (along with Bob Murawski, who would go on to win an Oscar for his editing of The Hurt Locker). Another son, Tom Gulager, gives a fine performance as the young director who holds the key to the old actor's career resurrection. The movie also gave Gulager the opportunity to play a scene with his wife Miriam, who would pass away shortly thereafter. Knowing this adds even more poignancy to the sequence. Stallone shows that he had great potential as a filmmaker but perhaps his greatest legacy is the fact that he co-founded Grindhouse Releasing with Bob Murawski, a company that built a loyal following by restoring and releasing niche market gems. Appropriately, Vic has been released on DVD as a special edition by Grindhouse. The DVD includes a remarkably intimate and revealing interview with Clu Gulager, whose modesty is refreshing and admirable. He says he never became a major star but "was not irrelevant". Indeed, Gulager made one of the most indelible screen villains of all time in Don Siegel's 1964 version of The Killers, playing a psychotic hit man opposite Lee Marvin. Gulager speaks lovingly of his family and his joy at having this fine starring role this late in his career. When asked what the next stop is for him, he says bluntly "the grave". Fortunately, he looks far too fit for that to be imminent and one hopes he does get some good film roles in the future. 

The commercial prospects for Vic were always limited due to the fact that it is a short film. The mind reels at the potential the story might have had if proper funding could have been found to make this into a feature length movie. Gulager, who is simply superb throughout, might well have scored an Oscar nomination. 

The DVD also includes a montage of still photos from Gulager's career. It's an excellent presentation of an admirable film by a talented director who was denied his chance to fulfill his potential.  

Click here to order from Amazon 

By Lee Pfeiffer 

As Cinema Retro gets inundated with DVDs to review during the course of any given year, it's virtually impossible to keep up with all of them in a timely manner. Here are some notable titles you should be aware of:

Cabaret Blu-ray (Warner Home Video): Warner Home Video has inherited the rights to Bob Fosse's classic 1972 film adaptation of the stage production that, in turn, was based on Christopher Isherwood's Berlin Stories. The Blu-ray comes packaged in one of those irresistible hardback book formats that is loaded with wonderful photos from the movie. The movie itself holds up superbly even after 40 years. The decline of Germany's Weimar Republic amidst the rise of National Socialism in the 1930s is seen through the eyes of nightclub singer Sally Bowles (Liza Minnelli) and her constant companions (Michael York, Helmut Griem) . Fosse's decision to emphasize the sleaze elements of the Berlin of this era helped to elevate this to the status of one of the most intelligent musicals ever put on film- and Joel Grey's eerie Emcee serves as a thinly-veiled metaphor for for the moral destruction of a great nation. The set is packed with extras including recent and previously-released interviews with cast and crew members, a new documentary about the making of the film, an audio commentary track by author Stephen Tropiano, who wrote a book about the making of Cabaret and an original trailer. This title should be deemed as essential for any classic movie library.

Click here to order from Amazon.

I'M DICKENS, HE'S FENSTER COLLECTOR'S EDITION (Lightyear Video/TV Time Machine): This 1962 sitcom lasted but one season but remains one of the more intriguing programs of its era. The show had the misfortune of being up against the popular Mitch Miller program and Route 66. Ratings suffered initially and ABC decided to cancel the series. However, ratings began to climb as positive word of mouth and good reviews began to spread. Ironically, the series began to gain more viewers than its competition but by then the leading actors had moved on to other projects. The show languished in Bootleg Heaven with no official DVD release until this 16 episode set was unveiled last year by TV Time Machiine and Lightyear Video. It features half of the show's episodes, 16 in all, each beautifully remastered. The series presents John Astin and Marty Ingalls as best friends who are also business partners who own their own handyman service. Although many people call the show a lost classic, I find only moderately amusing. In fact, the show's demise resulted in John Astin going on to star in a true TV classic, The Addams Family and left its creator, Leonard Stern, free to work with Mel Brooks in developing Get Smart! Nevertheless, the show is a pleasurable experience on all levels with the two leads demonstrating the deft comedic timing that would lead them to greater stardom in the years to come. What is outstanding is the love and care that has been put into this set. They include audio commentaries by Astin and Ingles along with guest stars Yvonne Craig, Lee Meriwether, Dave Ketchum, Chris Korman (son of Harvey Korman) and Leonard Stern, who passed away shortly thereafter. There are also any number of featurettes about the series and a wealth of vintage network TV ads. In all, a truly superb presentation of a show that few people are even aware of. The video company is said to be hoping to raise enough funding to release the second half of the show's only season. 

Click here to order from Amazon 

The Loneliness of the Long Distance Runner (Warner Archive): Director Tony Richardson's acclaimed 1962 film is the epitome of the British "kitchen sink drama", a genre that revolutionized film making in that country and reflected the concerns of the economically disenfranchised. Britain may have been on the winning side in WWII, but the financial repercussions of the conflict lingered for decades, resulting in a stagnant, class-driven society in which those on the bottom rungs found it very difficult to climb out of their impoverished situations. Consequently a generation of troubled youths emerged. Richardson's film poignantly shows the consequences of having young people come of age in a society that offers them little hope for advancement. Inevitably, many will take the wrong turn in life. The story follows a young man, Colin Smith (Tom Courtenay in a remarkable, star-making performance) as he is sent to a borstal, which is a juvenile corrections facility. Here, he finally finds something of value to center his attention on: his skills as a long distance runner. The facility's warden (Michael Redgrave) nurtures the young man until it becomes apparent that he is using him for his own personal aggrandizement. This leads to a suspense-laden, shocking conclusion centered around an all-important long distance race. Richardson's direction is flawless and the black and white cinematography only adds to the appropriately sullen look of the film. Superb supporting performances by all. (James Bond fans should keep an eye out for future 007 villain Joe Robinson as a track coach).  This film is a true classic of British cinema.

Click here to order from Warner Archive.

Mel Brooks: Make a Noise (Shout! Factory): This is the complete American Masters PBS broadcast of a documentary that chronicles the remarkable life and career of Mel Brooks. As Brooks is very much alive and well, he is able to relate the highs and lows of his life as only he can relate them in his inimitable style. The 2013 shows finds Brooks reminiscing about working for Sid Caesar on Your Show of Shows, where Brooks was considered to be too manic even by the likes of Caesar. He also relates funny anecdotes about his childhood and WWII experiences. Most of these stories have been told by Brooks for decades but his sheer exuberance and energy are infectious. The documentary by Robert Trachtenberg includes testimonials from such key comedic figures as Rob Reiner, Joan Rivers, Tracey Ullmann and Brooks' long-time collaborator Carl Reiner. The DVD also contains a number of out-takes from the PBS special. Well worth a viewing if you have any love for classic comedy.

Click here to order from Amazon. 

The Blue Hour/ One Naked Night/ Three in a Towel Triple Feature (Vinegar Syndrome): This is a triple feature of obscure retro erotica films. The main feature, The Blue Hour, is not really a sexploitation film in the traditional sense as it is far too pretentious in its attempt to emulate art house movie fare. The 1971 production begins with opening credits that take so long to unspool they almost need an intermission. It's a sign of how boring even a film that features an abundance of nudity can be. The story centers on a young Greek woman who is now living in America and married to a successful therapist/businessman. However, she is haunted by images of sexual atrocities that she has endured at various stages of her life including a confusing scenario in which she may have murdered a young Greek priest with whom she was romantically involved. The film boasts some exotic photography but it lumbers along to a completely abrupt and unsatisfying conclusion. The acting ranges from passable to atrocious. Far more interesting is One Naked Night, a 1965 B&W "quickie" that chronicles the exploits of another troubled young woman who moves from a small town to New York City. She ends up rooming with some party girls and is corrupted along the way leading to a conclusion that is rather shocking. The film is a virtual female version of Midnight Cowboy with mean ol' Manhattan proving to be a devil's playground of corruption for innocent young newcomers. The real appeal of the film is not the occasional flashes of nudity but the fact that it presents tantalizing glimpses of the Big Apple during the mid 1960s including Times Square, the infamous Playland arcade, the Latin Quarter and other hot spots of the era. There is also a quaint feel to even the sex sequences including a tender seduction of our heroine by a lesbian roommate, chain smoking swingers, stag movies shown on 16mm and guys who get dressed up in jackets and ties to attend orgies. The cast of unknowns tries hard but you are aware they are strictly amateur. Nevertheless, this is an entertaining look back at a bygone era when films such as this were deemed shocking. The final entry in the triple feature is titled Three in a Towel. Shot in 1969, it's basically a glorified home movie shot in color in various sections of San Francisco. The movie focuses on a young man's erotic dreams of being a sensual version of Walter Mitty and bedding many nubile young women. The film was obviously shot as a silent feature with narration and sound effects added later. It's a crude production played strictly for laughs and the sex is relegated to an abundance of female nude shots but the action never gets beyond soft core. A "highlight" of the film is a scene in which three hippie chicks eat a banana in a suggestive manner while groping each other. Bizarrely, the narrator uses Shakespearean quotes throughout....At least the filmmakers didn't take it all very seriously. The opening titles read a "A Miracle Production-- If It Turns Out to be a Good Movie, It's a Miracle!". The only other credit is "Produced by The Saint" but it seems pretty obvious we're not talking about Roger Moore here. The film is an utter waste of time aside from some interesting visuals of San Francisco in the late 1960s and ends up being about as erotic as a wet noodle. The transfers vary in quality based on the crude source materials but The Blue Hour has undergone a restoration process. In all, an interesting package of largely forgotten films that would otherwise have been lost to time. Their entertainment value is debatable but from a sociological standpoint, they may bring back some interesting memories if you lived through this era. There are no extras other than a trailer for Three in a Towel that promises a lot more sex than it actually delivers. 

Click here to order from Amazon 

Nichols: The Complete Series (Warner Archives): The Warner Archives has released all 24 episodes of the little-seen TV series Nichols that starred James Garner. The show aired in 1971-72 but, despite Garner's star power, it was canceled after one season. Garner was just one of the Hollywood superstars who, by the 1970s, felt they should move to television. This was in direct contrast to the prevailing wisdom of the early days of TV in which it was regarded as a second rate medium for name actors to appear in. Among the other shows that failed in the 1970s were ones top-lined by the likes of Henry Fonda and James Stewart. Nichols presents Garner in his most popular on-screen alter-ego: a likable, laid-back anti-hero. Set in 1914, the pilot episode finds him as a career soldier in the U.S. cavalry who resigns due to his increasingly pacifist nature (an obvious nod to the anti-Vietnam War movement that was raging at the time). Nichols makes his way back to the small home town that bears his family name expecting to live a life of leisure. Instead, he finds his parents are dead and his estate has been swindled away by con men. The town has degenerated into a raucous place where a small group of corrupt citizens call the shot. Nichols is reluctantly enlisted to be the new sheriff and, a la Andy Griffith's Sheriff Taylor, he refuses to wear a gun and uses his wits to thwart his adversaries. The show boasts fine production values and some impressive cast members and guest stars (Margot Kidder is the love interest, playing a local saloon owner.) As with any TV series, the episodes vary in terms of quality, but watching Garner at this point in his career is certainly an entertaining way to pass some hours. Although audiences didn't warm to this show, they certainly didn't lose their affection for Garner, who went on to star in the smash hit series The Rockford Files a few years later. (That show's co-star, Stuart Margolin, also appears in Nichols.)  

Click here to order from the Warner Archive 

Wanted: Dead or Alive: The Complete Series (Mill Creek): The Mill Creek video company has repackaged and re-released Wanted: Dead or Alive: The Complete Series. The show made a star of young Steve McQueen, who played a bounty hunter in the old West. The series premiered in 1958 and ran for 94 30 minute episodes, all of which are presented in this collector's edition on multiple DVDs. McQueen shows the charisma and self-assured manner that would help elevate him to big screen superstardom a few years later. The show was also a training ground for upcoming directors, writers and other actors including Lee Van Cleef, Michael Landon, Warren Oates, James Coburn and DeForest Kelly. The writing and acting hold up extremely well, a reflection of an era when intelligent Westerns ruled the roost in terms of TV ratings. The boxed set also includes 4 colorized bonus episodes (which look surprisingly good), a photo gallery, some featurettes about various aspects of the show including McQueen's famed sawed-off shotgun that he carried in a holster and a digital reproduction of a comic book based on the show. There is also the complete public domain feature film The Great St. Louis Bank Robbery starring McQueen. In all, an outstanding value. 

Click here to order from Amazon 

By Lee Pfeiffer 

Those naughty folks at Impulse Pictures have done well by digging up and marketing retro European and Japanese erotic films from bygone eras. Among the more popular releases are the "Schoolgirl" titles that were very popular in Germany during the 1970s. Each release presents several short stories relating to the sexual escapades of German high school girls. (The fact that most of the actresses look a bit long in the tooth to be playing 16 and 17 year old girls becomes less bothersome once the clothes are shed.) Impulse has just released volume 10 in this series which consists of a film originally released in 1976. The thinly-plotted script features story lines that are erratic in content as well as execution. The story opens with a female teacher addressing an all-girls classroom in a discussion on contemporary sexuality. As the girls debate social mores, several of them relate personal experiences. The first tale involves a middle-aged male teacher who is accused of raping a student he was tutoring. The man professes his innocence to a local prosecutor who is interviewing him about the case. (In a bizarre tactic, the prosecutor breaks the "fourth wall" and addresses the viewer directly, though this element does not appear in any other segment of the film). His young student claims she arrived at his apartment for her first lesson and that she was plied with liquor and was seduced by the teacher, who deflowered her. In an anemic conclusion, one of her fellow students comes forward with information that exonerates the teacher. This yawn-inducing scenario seems a mere pretense for showing the young girl disrobing and getting it on. In fact, the story presents flashbacks within flashbacks within flashbacks. The second story revolves around a gorgeous virgin who is desperate to make love. The rather flaccid scenario finds her learning a life lesson by cheapening her own values through having sex with a series of cads and suffering being gang raped (never shown, but implied). The next tale is somewhat more engrossing with a snarky teenage girl in conflict with her sexy stepmother. She induces a would-be lover to engage in an elaborate plot to discredit the stepmother so that her father divorces her. In return for the young man's cooperation, she promises to finally have sex with him. The plan involves the young hunk actively courting and seducing the stepmother while the daughter secretly documents the adultery by taking photos. The whole scenario comes to an ironic conclusion that sees the deceitful daughter getting her just desserts. The most amusing segment finds two young lovers who are frustrated by their lack of privacy. Inspired by William Peter Blatty's The Exorcist, the couple concocts a crazy scheme to finally get them into bed together in her parent's house. This is accomplished by having the girl pretend she is possessed by a demon. The over-the-top slapstick humor has the young woman walking around cross-eyed, rolling about the landscape and engaging in obscene behavior. In one scene she enter the family kitchen, drops her panties and exclaims to her mother, "I own this pussy and it's burning!" (And you thought Linda Blair had some rough dialogue to get through...) With their daughter's "possession" out of control, the family engages the services of an exorcist, who turns out to be her lover in disguise.  Behind closed doors, he performs a loud and very violent exorcism, but its really just the two of them having wild sex. The goofy premise is actually fairly amusing. The final tale has another gorgeous high school girl pampered by her middle-aged, married lover. When his wife finds out, complications ensue and she ends up becoming involved with the man's nephew (who somehow looks as old as his uncle).

The series definitely caters to female sensibilities. Women are generally presented in an intelligent manner and the sex scenes are fairly vivid but softcore and tastefully done. (Nothing too kinky here.) One of the most unintentionally amusing aspects of the film involves the English sub-titles which show that Germans must have felt at the time that the word "bang" was used constantly in American society. (One girl greets her would-be suitor by saying, "You want to bang me, right?") This misconception is an amusing reminder of how no one could convince director Sergio Leone that the phrase "Duck you sucker!" was not a common part of the American vernacular. He was so convinced that it was that he titled one of his most prominent films with this bizarre phrase. This latest Schoolgirl entry (pardon the pun) has relatively rich production values in that there are an abundance of sequences shot in actual locations as opposed to bedrooms. An enjoyable aspect of the movie is that it allows the viewer to relive the 1970s for better or worse. We see young people's bedrooms adorned with posters from Easy Rider. There are tacky fashions, high school girls with hairy armpits and the kind of grainy cinematography that was a mainstay of the era. 

The movie is definitely a guilty pleasure but it's  painless and largely inoffensive to watch- and it does boast some genuinely erotic moments.  

CLICK HERE TO ORDER FROM AMAZON

By Lee Pfeiffer 

Twilight Time has released the acclaimed Sexy Beast as a limited edition (3,000 units) Blu-ray edition. The film is regarded by many as a modern day classic of the British crime genre and while it may not equal the impact of Brit gangster flicks from bygone eras like Get Carter and The Long Good Friday, the movie stands head and shoulders above most of the dumbed-down, similarly-themed movies of more recent years. Ray Winstone stars as Gary 'Gal' Dove, a one time heist artist who is now comfortably retired in a remote Spanish villa living the good life from his ill-gotten gains. He and his wife (Amanda Redman) are enjoying their middle-aged years partying hearty with another married couple (Cavan Kendall, Julianne White) with whom they enjoy an almost inseparable relationship. Into every life a little rain must fall, however, and in their case it comes in the form of a human hurricane named Don Logan. As played by Ben Kingsley in one of his most revered performances, Logan is a terrifying figure even before we see him. When the couples learn that Logan is en route to see them, the sheer terror on their faces tell us all we need to know about this crime kingpin. When Logan does arrive, he is arrogant, irrational, sex-crazed and unpredictable-- friendly one moment and threatening the next. He orders 'Gal' to return to London to help orchestrate one more heist. When 'Gal' objects, Logan becomes completely unhinged and wreaks havoc on the close-knit group of friends. As played by Kingsley, Logan is easily one of the more memorable villains in recent screen history, a totally psychotic character whose unpredictable nature and vile mannerisms make him mesmerizing to watch. Kingsley so dominates the film that it's easy to overlook the brilliant performances of the other cast members, which includes Ian McShane as another London mobster who is part of the caper. Winstone is particularly impressive here and his scenes with Kingsley tingle with real tension.

Director Jonathan Glazer made a promising directorial debut with this film. The fact that he hasn't had any other major successes is somewhat frustrating because the man shows a flair for a unique visual style. The cinematography threatens to become a bit too pretentiously artsy at times but there is no doubt that the film contains many haunting scenes. Likewise, although the story relies on dialogue rather than violence, Glazer's penchant for fast-cutting and jumping back and forth in time can be a bit distracting. Nevertheless, this is a bold reinvention of a time-worn genre and Sexy Beast is well worth a look.

Bonus extras include a commentary track by Ben Kingsley and producer Jeremy Thomas, a short production featurette, a trailer and and isolated score track.

Click here to order from Screen Archives.  

The Mail On Line provides a fascinating sociological glimpse into American pop culture in the 1960s by unveiling vintage solicitations for young women to join Playboy as Bunnies in the newly-launched Playboy clubs. For anyone who thinks that we haven't come a long way in terms of equality of the sexes, just consider that women were so pigeon-holed into a small number of careers that the application actually lists these specific professions (along with measurement statistics!) For some, this will be a sentimental journey back to a time when belonging to the Playboy Club made men the envy of their peers. For others, it's a reflection of just why the Women's Lib movement felt it had to become so radical in order to combat long-standing sexism. In either case, you'll find this glimpse into a bygone era fascinating. Click here to read. 

By Lee Pfeiffer

The Warner Archive continues its string of burn-to-order releases of "Poverty Row"  B movies that were originally produced by other studios. The latest release, I Escaped From the Gestapo, is a real hoot that was originally produced by Monogram Pictures, which afforded budgets to directors and producers that were only slightly more extravagant than those spent on home movies. The film is primarily remembered as a would-be vehicle for actress Frances Farmer, who was not able to continue filming due to her legendary mental breakdown that resulted in her being institutionalized. Beyond that tragic association, however, the movie is a relentlessly upbeat, over-the-top propaganda film that afforded a rare leading role to Dean Jagger. The opening plot device is actually rather clever. It finds Jagger as Torgen Lane, a master forger and counterfeiter who is doing time in a federal prison. He finds himself the center of an audacious and dangerous plot to break him out of "stir" (to use the jargon of the era.) The plan succeeds and Lane is brought to meet his mysterious benefactors. It turns out they are a ring of counterfeiters themselves and they make their headquarters in an administrative office of a bustling amusement arcade. The head of the ring is Martin (John Carradine), a seemingly friendly but business-like man who explains to Lane that he's now working for them. Lane suspects he has just been sprung from prison in order to become a prisoner of sorts once again. Martin tells him that the ring needs his talents to spread counterfeit money and that he'll be handsomely rewarded, but it means being confined for much of the day in a small room and under constant supervision. Lane soon discovers that the ring has a more nefarious purpose: it's actually a front for Gestapo agents who are using the phony money to flood the national economies of the Allied nations in the hopes of wrecking their economies. They also use the novelty booth in which servicemen can record greetings to their families and sweethearts in order to gain information about troop and ship movements that they use to devastating effect. Upon hearing this, Lane does what all truly stupid movie heroes do: instead of playing it cool, he let's them know he is on to them. Not surprisingly, the Nazis are unswayed by his threats and immediately promise to kill his elderly mother if he doesn't continue to cooperate. It will spoil nothing to tell readers that, in the end, Lane emerges triumphant. He may be a no good, counterfeiting scoundrel but dammit, he's a patriotic American no good, counterfeiting scoundrel who isn't about to let these goose-stepping goons lay a finger on Uncle Sam.

The film, directed by one Harold Young, moves at a brisk clip through its abbreviated 76 minute running time. The wise-cracking Jagger makes for an amusing leading man and Mary Brian is thrown in as attractive window dressing, playing a girl who works in the arcade who establishes a flirty relationship with Lane. In the film's most unintentionally funny sequence, Lane uses psychological tactics to persuade a young German agent that Brian represents everything that is pure in America, from its women to its music. He even plays records of classical German symphonies that were banned under Hitler. After a few short hours of this persuasion, the young Nazi is practically vying to be the next John Wayne. Half the fun is watching the inimitable John Carradine in full stock company villain mode. There were few actors who could do so much with such lame material and dialogue, but he's a delight to watch. It's also a good deal of fun to relish the scant production values. Most of the "action" is confined to two rooms and the amusement arcade doesn't seem to extend beyond 25 square feet.

The film was re-issued under the title of No Escape, and notes on the DVD sleeve explain that it why this print bares that title. We have no idea why the title was changed except, possibly, because it was somewhat misleading. Gestapo agents were generally seen as menaces within Germany and occupied territories, not as foreign spies. The title clearly implies a thriller set within the German sphere of influence and this is reinforced by a misleading poster that shows a character clad in a Gestapo uniform that never appears on screen.

The fact that such B movies are now being made available in pristine DVD editions is something to celebrate. Although these modest productions afforded modest pleasures, they represent a bygone era of film-making that is, fortunately, now being preserved for posterity.

Click here to order and to view clip

One of the film industry's last great composers has passed away at age 76. Sir Richard Rodney Bennett died this week in New York. The prolific composer was part of a now bygone age when spectacular and memorable film scores were a routine part of the motion picture industry. Bennett was nominated for three Oscars for his work on Far From the Madding Crowd, Nicholas and Alexandra and Murder On The Orient Express. He was also nominated for numerous BAFTA awards for his work in film and on television. Bennett was also acclaimed for his non-film work that included writing symphonies and operas. His other feature film scores include Billy Liar, Equus, Billion Dollar Brain, Four Weddings and a Funeral and The Devil's Disciple. For more click here

RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES 

By Lee Pfeiffer 

If you're stumped about what to get dad for the holidays and were thinking of picking up some Charles Bronson DVDs, stop reading right now! However, if you're in market to reward someone who appreciates movies that epitomize the cliche "they don't make 'em like that anymore" then you'll be happy to know that Warner Brothers and Turner Classic Movies have teamed for a boxed set titled TCM Spotlight: Esther Williams. The set contains five films starring the legendary actress/swimming champ. I confess to not having seen any Esther Williams films until receiving this set - with the exception of the 1961 circus movie The Big Show - ironically one of the few in which our legendary leading lady didn't get any closer to water than passing the pool of trained seals. In watching these films today you are reminded that the grand old musical is a genre that has been virtually abandoned by Hollywood even though it was once one of the most popular staples of the motion picture business. Nothing illustrates this bygone era better than this collection. For the uninitiated,  these films would appear to be artifacts from some ancient civilization - but that is precisely what gives them a sense of charm and innocence.

By Lee Pfeiffer

Shout! Factory has released a 24th volume of Mystery Science Theater 3000 episodes as a 4 DVD set. In case you've been on another planet yourself since 1988 when the show premiered, the bizarre premise finds a man and his two robot friends/sidekicks who are trapped by a larger than life villain and forced to watch an endless array of bad movies. The episodes are bookended by silly comedy sequences involving these characters, among others. These original comedy bits don't appeal to me, but there is no doubt they appeal to the show's hardcore fans. For this viewer, the real treat in any MST3000 episode is to cut to the chase and watch the bad movies along with the hostages. The episodes are cleverly filmed in that the viewer has the vantage point of someone who is sitting behind the trio in a theater. You see their silhouettes in the row in front of you. From minute one, the three trade sarcastic wise cracks about various aspects of the feature film. It isn't enough for a movie to be bad to merit inclusion in an episode...it has to be spectacularly bad, and the producers do a great job of tracking down largely forgotten clunkers and giving them new life (though not as their makers would have intended.) 

In this boxed set, the "highlights" include Fugitive Alien and Star Force: Fugitive Alien II (yes, it merited a sequel.) These are bottom of the basement Japanese sci fi productions that were dubbed into English and imported to the USA by producer Sandy Frank. The films are patently awful by any standard and this gives the trio of "critics" plenty of ammunition to provide very amusing commentaries. Also on the bill is Samson Vs. the Vampire Women, an unintentionally hilarious Mexican horror film that combines the titular hero, a real-life masked wrestling sensation known south 'o the border as Santo, with a plot line that involves a bevy of gorgeous bloodsucking femme fatales. The best of the lot, however, is The Sword and the Dragon, a Soviet era historical "epic" that Roger Corman turned into an English-dubbed sword and sandals action flick. In doing so, Corman must surely rate alongside Ronald Reagan as one of the key figures to have brought down the Soviet empire. Comedy is funny thing...People will laugh hysterically when watching a movie with a group, but you're lucky to get a slight giggle if someone watches the same film at home, alone. In the case of The Sword and the Dragon, which features the worst dubbing of any movie in history, I actually found myself laughing out loud despite the lack of fellow bad movie lovers around me. 

The set contains many extras including an excellent interview with producer Sandy Frank, who once feuded with and sued the series for running his bad old movies. They must have come to terms because Frank is fully cooperative. Surprisingly, there was much more to his career than importing a few B movies from Japan. He was major influence in the Golden Age of TV and produced some of the top game shows of all time. He's not lacking in ego, but he comes across as the kind of guy you'd love to have a drink with just to hear these tales of a bygone era of show business.  There is also a recent interview with show cast member Frank Conniff and an excellent documentary about the history of the Mexican wrestling craze and how it was transferred to the silver screen. All that plus some cool commemorative poster art pieces for each film, 

Click here to order discounted from Amazon  

By Lee Pfeiffer

The 1960 version of Where the Boys Are may look laughably quaint today, but at the time of its release, it was quite a groundbreaker in terms of reflecting the primitive days of women's lib in the cinema. The tale of a group of college girls who head south to Fort Lauderdale for Spring Break resonated with teens across America. The film was primarily squeaky clean, but it did have some scenes and premises that were considered shocking in the day: young girls who dare to suggest that sex can be enjoyed by females prior to marriage. It also addressed the dilemma of a girl "getting in trouble" in the days before abortion was legal and the only choice was a back alley surgical operation or motherhood at an early age. In 1984, flamboyant producer Allan Carr updated the premise with a new version of the film, Where the Boys Are '84. The film has just been released on DVD on the Scorpion label as a special edition. In terms of comparing the two versions, what a difference a two-and-a-half decades can make. The '84 version reflects how far women's views on sex had progressed. This time around, one of the girls advises her friend on how to pack for the trip: "All you need is a diaphragm and a bikini!" Before long, a convertible packed with sex-crazed coeds is cruising toward Florida. Once in the midst of madness in Fort Lauderdale, they find their hotel is a dump, virtual orgies take place in the hallways, one of their group is arrested and their hard-earned savings go to bailing her out, etc, etc. Naturally, love and sex become immediate components of their stint in the sin capital of American's East Coast. They also become tight with a hunky hitchhiker they had picked up along the way (Russell Todd, who bares an almost uncanny resemblance to young John Travolta). At other times, they are wooed by Camden Roxbury (Daniel McDonald), a world-acclaimed concert pianist who disdains their hedonistic lifestyle even as he tries to romance the more conservative of the group, Jenny (Lisa Hartman) The film is only loosely based on the original, but follows the central plot premise of having each of the individual girls learn life lessons from their experiences in Fort Lauderdale. One learns that her long time boyfriend has more qualities than she realized, especially when contrasted with some of the egotistical beach boys and married men who woo her. Another reevaluates her treatment of sex as a recreational tool. Unlike the original, there are few moments that approach real drama. They are quickly discarded in favor of scenes of wild parties and sun-tanned bodies. 

Lorna Luft's memorable turn in the "hot bod" contest.

Where the Boys Are '84 is like cinematic cotton candy in that it's pleasurable but those pleasures evaporate quickly. The movie is clearly designed as a chick flick, though producer Carr obviously realized that there had to be plenty of T&A to keep boyfriends in the audience from dozing off. Consequently, there are many gratuitous shots of college girls in itsy bitsy bikinis jiggling like Jello, as well as a hot bod contest that goes topless in the final moments. Compared to the original film, this version looks like a scene from Caligula. However, over the ensuing years, it might be confused with a Disney flick when held up against today's stream of gross-out teen comedies. The primary pleasure of the movie is the engaging female cast headed by Lisa Hartman, Lorna Luft, Lynn-Holly Johnson and Wendy Schall as the adventurous coeds, with Louise Sorel and Alana Stewart playing upper crust, pretentious cougars. The direction by old pro Hy Averback, primarily known for his work on television, is competent enough, and he stages a ludicrous but ambitious scene in which countless kids use a makeshift armada to descend upon a mansion for an anything-goes style party.  The film's climax is a cringe-inducing concert that drips with so much sugary syrup that it makes the Archies look like The Sex Pistols. Purists will be relieved to know that Connie Francis' chart topping title song is played over the end credits, capably crooned by Lisa Hartman. 

The DVD includes new interviews with Wendy Schall and Russell Todd,. Both are very charming but neither presents much in the way of insights beyond "he/she was a pleasure to work with" in reference to their stars. However, they do extol the virtues of Allan Carr, whose madcap determination to make a blockbuster had him convinced this would be another Saturday Night Fever. He was wrong. The film under-performed at the boxoffice, but looking at it in retrospect, it has a certain charm for those of us with fond memories of the bygone era of the 1980s. (An original theatrical trailer is also included).

Click here to order from Amazon

If you grew up in the 50s and 60s, then there's a good chance your father was an avid reader of men's pulp magazines. These incomparable publications always had dynamic art on the cover that would be deemed so politically incorrect today that feminists would march on the publisher's headquarters with torches and pitchforks. For the WWII generation, however, the mags provided a way of enjoying sexually-driven stories with a decidedly S&M flavor. Inevitably the covers featured incredible art of women being enslaved, tortured or abused by Nazis, Japanese troops or other vintage enemy forces. In the course of the accompanying story, the women always manage to get the upper hand and dispatch their tormentors, often wielding machine guns along side their cigar-chomping G.I. saviors. The other sexual angles to these issues included "warnings" that nymphomania was spreading among college girls or in that dreaded modern version of Sodom and Gomorrah, "suburbia". (The word itself once seemed synonymous with orgies and wife swapping.) Now there is a superb blog that pays homage to this bygone era of tasteless entertainment: www.menspulpmags.com  The biggest advantage is that you no longer have to sneak into your old man's stash of magazines and read them under the covers. - Lee Pfeiffer

By Lee Pfeiffer

Reader Mitch O'Connell sent us this doozy of a shot showing the old Liberty movie theater on 42nd Street in Times Square in 1989. The film was showing Kinjite: Forbidden Subjects a Charles Bronson Xerox of his other trashy cop movies of this era. Sadly at this point in his career, these theaters were about the only venues that still drew enthusiastic audiences for his films. The photo perfectly illustrates Gotham at its dingiest. 42nd Street had always been an addictive place to visit because of its inherent tastelessness but by the mid 80s the explosion of crack cocaine had turned "42 Deuce" into a very dangerous place. The area is not even recognizable today in that the dingy movie palaces have been replaced by state of the art theaters and restaurants. As someone who spent an unhealthy amount of time as a teenager watching old movies and porn flicks in these urine-stained filth pits, I can't say I don't have some fond memories. It was like a Disneyland designed by the Marquis de Sade. The dangerous atmosphere, abundance of perverts, druggies, live sex shows, white supremicists, black supremicists, religious loons, prostitutes and crackpots made for an intoxicating blend that you couldn't find anywhere else. Most kids had to just read about this Forbidden Zone but if you lived in or near the city you could live it. There's no denying New York is a much better place today, but I still have a fondness for that bygone era.That may sound crazy, but anyone who basically grew up on these means streets between the 1960s and 1980s knows exactly what I mean. Nevertheless, even cleaned-up New York is still the greatest city in the world.

RETRO-ACTIVE: THE BEST FROM CINEMA RETRO'S ARCIVES

As someone who has written extensively about the spy craze of the 1960s, I'm ashamed to admit I'd never seen an episode of Honey West. The series premiered in 1965 but lasted a mere one season, a casualty of high ratings from its time slot rival Gomer Pyle, U.S.M.C. Thus, I had no preconceived notions when VCI's complete series arrived for review. The 4 DVD set consists of all thirty episodes. I have not watched all of them, but I've seen enough to get a general taste of the show- and I love it. It's been said that Honey West was the first kick-ass female action hero on TV, but in fact, that honor probably goes to the character of Cathy Gale on The Avengers. Nevertheless, Honey had great influence despite the brevity of her series. In fact, its amazing how loyal the following is for the show,considering it's not been available on DVD and hasn't been syndicated.

Honey West came to life in a series of 1950s pulp novels. The character, played by Anne Francis, made her TV debut in an episode of Burke's Law and producer Aaron Spelling decided she merited her own series. Honey is a sexy private detective aided and abetted by her loyal friend/partner/employee Sam (John Ericson). She resides in a luxury penthouse with her pet ocelot and her swinging Aunt May (Irene Hervey). Honey generally dealt with solving every day crimes like murder and smuggling, but she did possess an array of James Bond-like gadgets. Her compact works as a communicator and she carries weapons in her garter belt. She's also a martial arts expert. Although the half-hour plots aren't long enough to generate much suspense or character development, the real appeal is the chemistry between Honey and Sam. Due to the concerns over censorship, virtually all male/female action teams of bygone eras had deliberately ambiguous relationships when it came to sex. There was a flirtatious quality found on shows like The Avengers, The Girl From U.N.C.L.E. and The Protectors, but it's fairly obvious that Honey is not remaining totally chaste with a horndog like Sam around. Yet, it's equally clear that whatever sexual relationship they enjoy, it's of a casual nature, as both Honey and Sam aren't bothered by the other using their appeal to the opposite sex to further a case. Another refreshing aspect of the show is that Honey and Sam are all too human and prone to making mistakes. In the very first episode, they blow a high profile sting operation and have to hustle to make it up to their client. Both Francis and Ericson are extremely engaging and fun to watch. The bon mots tossed between them are also often very amusing.

VCI has done a good job of remastering the episodes, which look crisp and clean. Sadly, Ms. Francis is not interviewed on the set perhaps due to the fact that she was in fragile health at the time and has since passed away. However, the packaging is impressive and there are extensive liner notes listing prominent directors and guest-stars. Not incidentally, a highly enjoyable aspect of the set is the inclusion of an abundance of TV commercials from the 1960s. None relate to the show and most are for consumer products ranging from laundry detergent to cigarettes. One realizes how much revenue the TV industry lost when cigarette ads were banned in the early 1970s. I hadn't seen these in decades, but such was their impact on a child, that I could still recall the dialogue and tunes in certain episodes. It's amazing how smoking dominated popular culture during that era. In one ad for Sucrets throat lozenges, the ad advises you to take a tablet and feel free to smoke if you're suffering from a sore throat! There are also spots with George Burns ensdorsing the "luxury" of El Producto cigars- at least until the announcer mentions you can buy them at two for 25 cents! There are also promos for women's cosmetics, Edie Adams shilling another brand of cigars and some vintage ads for The F.B.I., A Man Called Shenandoah, The Legend of Jesse James and Voyage to the Bottom of the Sea. If you can't get into Honey West, these ads should be worth the price of the set alone. - Lee Pfeiffer

CLICK HERE TO ORDER THE DVD SET FROM AMAZON

The new retro-themed book Let's Bring Back pays tribute to the people and things that evoke a bygone era of class and style. Included is a section on screen icon Marlene Dietrich, who defied Hitler to become an even greater international star beyond Germany's borders. Click here for some interesting facts about her from the book.

The Sexuality and Spirituality of a Porn Priestess

By Graham Hill

Having already paid tribute to Georgina Spelvin and Juliet Anderson, I now complete my Cinema Retro porn legends trilogy  by introducing you to another sexual superstar from the “Golden Era” – Kay Taylor Parker.  Naturally, as you might expect, all three ladies have moved on from those bygone days of love and lust on the big screen.  And just as Georgina and Juliet are so different and fascinating, so is Kay.  In fact, Kay is completely different in that her status as a porn star is just one of many lives that the now sixty-five year old beauty has experienced. I will not attempt  to explain each and every one of them, but I will acquaint you with her body and soul.

It may be a taboo subject for some, but Taboo (1980) is the movie that Kay Parker is best remembered for.  You could say that she was one of the first to launch the mature woman/ younger man trend that is so prevalent today.  Once upon a time, before X-rated movies became totally obsessed  with Botoxed beauties sporting store-bought breasts and pre-pubescent genitalia, the actresses in the industry relied on their natural assets – including Kay, whose 38-DD bust line made her an instant superstar in the X rated film business.  Entering the adult scene at age 33, she exuded not just maturity, but a sense of warmth and charm that elevated any scene she was in. Kay was born in Birmingham, England in 1944.  The middle child of a typical working class British family, with her father being a sailor in the Royal Navy, she unfortunately didn’t have many fond childhood memories.  She recalls her father being a harsh disciplinarian who often  accused her of “acting up.”  To say that Kay is a believer in re-incarnation and the metaphysical world is an understatement  for someone who believes she has lived 182 lives.  She is totally and completely convinced of having been born in Atlantis 48,000 years ago.  For a better understanding, I refer you to her book Taboo –Sacred Don’t Touch or to her website. Kay is not your usual porn-star profile, she’s very much her own person  and is extremely beautiful, highly intelligent and ultra compassionate.

Lee Pfeiffer reports on the Bradford International Film Festival -Day 3

Today's events began at 10:00 AM with a crowd gathering in the Pictureville Cinema for Cinerama Ventures, a festival of documentaries hosted by Dave Strohmaier and Randy Gitsch, producers of the acclaimed documentary Cinerama Adventure. The presentation included new featurettes about the making of How the West Was Won that were frustratingly dropped from the recent deluxe DVD release. One documentary looked at the film's return engagement in the 1990s at the Arclight Hollywood Cinerama Theatre and featured moving interviews with attendees who spoke about how much the film meant to them. Another fascinating documentary centered on the film's legendary run at the small Neon Theatre in Dayton, Ohio. The theater was specially fixed to conform with Cinerama projection standards and How the West Was Won was intended to run for a matter of weeks...instead it ran for years, as fans descended on the theater from all over the world. The documentary centered on the efforts of projectionist John Harvey who personally ran every performance of the movie at the theater during its run. In doing so, Harvey - who had also reconstructed a Cinerama print from diverse reels from various sources - managed to perform duties that originally required five men to handle the complex Cinerama projection system. The documentary was funny, informal and, in the end, very touching as it examined how one man's dream of keeping Cinerama alive has paid dividends in the ensuing years. There was also a terrific documentary in which Cinerama fan Tom March visited the main locations of How the West Was Won and photographed them as they are today. The images were brilliantly overlayed on film clips from the original movie. Sadly, Warner Home Video did not include this featurette on the recent DVD release.

Acclaimed documentary filmmaker Dave Strohmaier introduces various short films pertaining to Cinerama. (Photo: www.in70mm.com)

A true highlight of the morning's presentations was the surprise unveiling by Dave and Randy of a reel of film from the long-missing feature Russian Adventure. The film was a bizarre attempt by the Soviets to emulate the American 3-strip Cinerama process. It was ultimately released in the USA in 1966 with narration by Bing Crosby! Perhaps due to Cold War tensions at the time, not even Der Bingle could persuade audiences to attend the showings and the film ultimately lost more than $15 million. It was thought to be missing for decades but, acting on a tip, Dave Strohmaier found the complete feature stored in a trailer in Los Angeles. As he prepared to remove it, a local artist challenged him, saying he had permission to spray paint the reels and dangle them from the ceiling of his art exhibition. Using innovative Sherlockian thinking, Dave said that the film represented a "Hazmat" situation because the stock was highly flammable and that the artist was risking interfering with public safety. Humiliated and chastized, the artist stood silently as Dave loaded the last known print of this film into a pickup truck, thus ensuring it's preserved for future generations. Seeing the sample reel was a treat for all in the audience. Forget the fact that the travelogue was little more than a ludicrous Soviet propaganda film that implied the average Russian was living it up by taking drives in the country in their sports cars. (Both sports cars in the country were probably requisitioned for this film.) It offered a fascinating time capsule of a bygone era - and left the audience hungry for more. Dave and Randy are looking into what the next steps will be in terms of preserving and exhibiting the print, which has suffered from the dreaded "vinegar syndrome" that ultimately destroys film.

The curtains draw closed on the magnificent digital presentation of How the West Was Won on the giant Cinerama screen. (Photo: www.in70mm.com)

Following this presentation, came the main event: the big screen premiere of Warner Brothers' new digitally remastered version of How the West Was Won. This was the same master that was used for the recent DVD release. The film had to be especially formatted on the Cinerama screen because the dimensions didn't exactly conform. However, miracle worker projectionist Duncan McGregor managed this feat with a bare minimal amount of cropping. As the famed overture of Alfred Newman's magnificent score resonated through the audience, the anticipation built steadily. When the curtains parted, the MGM lion roared as the famous main title theme thundered through the theater. The digital version was stunning - and benefited from the fact that the "join lines" had been painstakingly eliminated. I found this was a welcome development, though Cinerama purists might argue that anything other than the original presentation is a bastardization. However, if there were complaints from the audience, they were not obvious. Everyone was thrilled to see the film looking better than ever. Kudos to Warner Home Video for making the substantial investment in preserving an American classic. From an artistic standpoint, this is brilliant filmmaking - taking a sweeping, epic tale and personalizing it through the eyes of the members of one family. I was also reminded of how diminished today's star system is. With 24 Hollywood legends in How the West Was Won, one can only ponder how a remake of the film could feature even a fraction of such personalities. Adam Sandler would probably be cast as General Grant.

The fishbowl effect on the projection booth of the Pictureville Theatre allows attendees to see the crew at work. (Photo: Lee Pfeiffer/Cinema Retro)

The next main event was an afternoon presentation of Fox's 1966 epic The Bible...In the Beginning. I have only seen bits and pieces of the film over the years and was eagerly awaiting the opportunity to view the recently restored print. However, it was explained that - unbelievably- Fox made a poor print from the restored elements and oversaturated the Adam and Eve opening sequence, which was considered quite erotic in its day. It was hoped that a corrected print had been sent, but after a few minutes, it became obvious that Fox had sent the problematic print. Indeed, the magnificent cinematography in this opening reel made it look like you were glimpsing images in an inkwell, with every nighttime sequence virtually indistinguishable. There were other problems, as well - namely, the quality of the movie itself. Although both Dave Worrall and I find the holy books that the major religions are based on to be as believable and inspiring as Dr. Seuss books, we were prepared to view the film objectively. After all, we have admiration for such religious-based films as Ben-Hur and The Greatest Story Ever Told. However, The Bible shapes up as a massive ego trip by John Huston, who directs, narrates (as the voice of God, no less) and stars as Noah. The film quickly lapses into ham-handed acting, laughable narration (with God talking to Adam like a schoolmaster chastising an unruly pupil) and cornball dialogue that would have been the envy of Ed Wood. I confess that I became very amused by the fact that there are people in this world who literally believe the cause of our woes is the fact that a guy and his girlfriend ate a golden apple offered to them by a serpent -and these are some of the same people who still complain that the old Batman TV series was too "over-the-top"! However, even the unintentional laughs generated by The Bible couldn't convince us to sit through more than the first half hour. Life itself is just too precious to have given another two hours to reviewing the film. As I wrote of The Silver Chalice, "You may not have been an atheist going into the theater, but you probably emerged as one."

The evening offered a well-received presentation of West Side Story, but by this point, our weary arses needed a break so it was off to dinner, the pub (for another late night) and looking forward to Sunday's highly-anticipated big screen showing of Khartoum.

(Click here to visit Dave Strohmaier's definitive Cinerama history web site)