By Hank Reineke

This new double of Agatha Christie’s Endless Night with Picture Mommy Dead is the second release of Kino Lorber Studio Classics “Peril & Distress” 4K series. Their first 4K series double was a pairing of Robert Fuest’s And Soon the Darkness with John Hough’s Sudden Terror. Kino previously issued all four films as standalone Blu-rays circa 2019-2020, but are now combining the pics in the collector-popular Ultra HD format. Visually the films, of course, appear even more razor-sharp than in their previous high-definition formats. Whether one chooses to upgrade, in my view, is entirely dependent on a given consumers’ enthusiasm for the films.

I previously reviewed Kino’s Blu-ray release of Bert I. Gordon’s Picture Mommy Dead back in February 2023. So I’ll tack on a brief edited portion of my earlier comments following these thoughts of Sidney Gilliat’s psychological-thriller Agatha Christie’s Endless Night. (If one wishes to read through my more thorough essay on Picture Mommy Dead - including the early casting and removal saga of actress Hedy Lamarr - they can do so by clicking here).

North American fans may be a less familiar with Endless Night than those in the UK and continental Europe. Though released in the United Kingdom in October of 1972, Endless Night was never given theatrical release in the U.S. As best as I can determine, the pic’s first widespread American appearance was via a circa 1982/83 VHS release on the HBO/Cannon Video label. As such, many of us can view and assess the film without the baggage of nostalgia.

Endless Night is, of course, based on a novel by the famed mystery writer Agatha Christie. Christie was at the height of her fame, the author’s books all best-sellers and a stage play of The Mousetrap in continual run since 1952 on London’s West End. On 30 October of 1967, Endless Night was published in London by Collins Crime Club. Her newest had reportedly taken the seventy-seven year old a mere six weeks to write, though the story was worked from an earlier unused outline from the author’s notebook. Critics noted Christies’ newest was, stylistically, a “complete departure” from her usual works: the book was written “without the built-in sales appeal” of Christie’s beloved detective creations Miss Marple or Hercule Poirot. Some book critics described Endless Night as a “horror comic,” others as “a study in wickedness” or as an “exciting psychological suspense drama.” I would say the latter two descriptions fit best.

It would be impossible to recount the scenario of the book or film in any detail without revealing major spoilers. The work is, after all, a mystery. Suffice to say the film version – our interest here - revolves around one Michael Rogers (Hywell Bennett). Rogers is a young man obsessed with the fine arts and looking to enjoy the luxuries of good life. His problem is that he’s, at best, an average-guy of lower-middle-class status, someone with little money. He’s also afforded as an irresponsible person of short-term employments, but one with big dreams of upward mobility.

Rogers’ situation drastically changes when he meets Ellie Thomsen (Hayley Mills), an over-protected American girl studying voice at a London conservatory. It’s soon revealed that Ellie is no waif but in fact the “world’s sixth richest girl.” Though their union is frowned upon by Ellie’s guardians, the two marry in a civil ceremony. They begin building the home of Rogers’ dreams on Gipsy Acre, a lovely and serene parcel of land overlooking lush green fields and an ocean view.

The first one-third of the film comes off largely as a romance pic, two young lovers struggling against those disapproving of their relationship. Once Rogers’ dying Italian architect friend, Santonix (Per Oscarsson), oversees the grandiose construction of Roger’s ultra-modern home (complete with indoor water gardens, a pool, retractable panels and floors etc.) one begins to sense something is amiss. Throughout the film’s first half we’re gradually introduced to a cast of mostly unlikeable, or, at the very least, suspiciously odd, people. These characters include Ellie’s guardian (Lois Maxwell) as well as Ellie’s dismissed former German-language instructor but remaining primary confidant girlfriend, Greta (Britt Ekland). Also stalking about the periphery of Gipsy Acres is Miss Townsend (Patience Collier). Townsend is an eccentric old crone, a “local seer” obsessed with spiritualism who warns the young couple to abandon Gipsy Acres… without ever really giving any concrete reason why they should do so.

Old pro George Sanders is also on hand as Andrew Lippincott, a lawyer for Ellie’s guardians. The unusually sympathetic and friendly attorney is seemingly embarrassed to carry out the task asked of him: to offer Michael a tidy sum of cash in exchange for his consenting to a quiet, no-scandal divorce from Ellie. If this scenario thus far appears as little more than a star-crossed, melodramatic romance, you’d be correct. But while the storyline meanders through long periods of exposition, there is, at long last, a murder mystery to be solved. Of that I can say no more without ruining the pic’s twists and turns. My advice to first-time viewers of Endless Night can be neatly summed up in two words: “be patient.” The twists are slow in coming, but do exist. The film’s script is a bit of a hodgepodge: roughly four-sixths a romance, one-sixth a mystery and one-sixth a psychological drama.

It was in late November of 1968 when it was announced that British Lion Films had acquired the rights to bring Endless Night to the big screen. The film was to be made in partnership with Launder-Gilliat Productions. Frank Launder and Sidney Gilliat were well-established figures in Britain’s film industry. The two had met in 1937 and were presently in the thirty-first year of their successful partnership in the film business, joining the board of directors of British Lion in 1958. Endless Night was to be their first new film in three years and the two were planning to shoot at the moon. By the close of 1968, Gilliat was reportedly already working on his script for the film with his expectation of production commencing in autumn of 1969. In actuality, the project was pushed back several times, cameras not rolling on the film until 7 June 1971.

The two men weren’t too concerned over the many delays. In a September 1970 interview with London’s Guardian newspaper, it was reported the partners, “think they have a very cinematic script” for Endless Night. They bragged their script of minimal dialogue offered an, “interesting ambiguity of style, in the sense that you’re never quite sure whether what is said is really meant or really being said.” If this scripting description seems a bit obtuse to you, you’re not alone. To be fair, psychological thrillers – of which Endless Night is one - are difficult to satisfyingly script, disturbances of the working of the inner-mind easier to convey on page than on screen.

Endless Night would open in October 1972 to cool critical reception in the UK. Yorkshire’s Northern Echo described the pic as “a moody, albeit ill-fated romance.” But the newspaper also charged even faithful fans would need to acknowledge “Agatha Christie’s pen has run unaccountably dry in the movie version.” The Observer found the film “disappointing,” the film failing “to make the flesh stir, let alone creep.” The Observer critic was also one of many who found the film’s finale a confusing mess: “The post-preview reception gave rise to an unusual spectacle,” he wrote, adding. “Several puzzled critics surrounding the PROs, asking for the explanation of various loose-ends left dangling by reckless cutting.”

The Leicester Chronicle agreed. The finale of the detective-less mystery Endless Night was confusing, the film not constructed in the style of a traditional whodunit. The pic was castigated as “A prime example of the thriller addressed to boobies. For most of its length there is no murder and apparently no mystery.” The critic for the Evening Standard also commented on the film’s unorthodox structure and meandering pace. He complained the murder of one of the film’s main characters, “Doesn’t occur till three-quarters way through. Up to then you’re wondering irritably when things will get moving.” I agree. The film as a mystery per se is, to my taste, oddly non-involving.

The Evening Sentinel was one of the few major new outlets to boldly express “no reservations in recommending” the film. But even that praise came with a caveat. The most “tantalising” aspect of Endless Night in the view of the Sentinel critic was its murky, non-traditionalism. “You know there has to be a twist,” it was offered. “But you need a crystal ball to see it coming.”

Perhaps the harshest criticism came from the “Grand Dame of Whodunit” herself. In a retrospective interview with the Los Angeles Times, Christie shared her feelings regarding the cinematic adaptations of her works. “Everything I have seen which has been done for the cinema I disliked intensely,” she scoffed, the lone exception being Billy Wilder’s “very well” done Witness for the Prosecution (1957). Christie admitted she much preferred the stage dramatizations of her works as, “there is sort of a flattening out of things in film. I forget who filmed Endless Night, which is a book of mine, but I was very disappointed when I saw it as a film. It got flatter and less interesting every minute,” she would lament, echoing the sentiments of most film critics upon the pic’s release.

(Barbara Rush with Robert Vaughn, Anthony Eisley and Paul Newman in "The Young Philadelphians". Photo: Cinema Retro Archive.)

By Lee Pfeiffer

Actress Barbara Rush has passed away at age 97. Rush had a long career in film, theater and television. She worked under contract in the 1950s for both Paramount and Universal. Her first prominent role was in the 3-D sci-fi cult classic "It Came from Outer Space". She also had a major role in director Martin Ritt's 1957 drama "No Down Payment", a riveting critique of hypocrisy in post-WWII suburban society. She co-starred with Paul Newman in the acclaimed 1959 drama "The Young Philadelphians" and would reunite with him, playing an unsympathetic role, in Martin Ritt's 1967 classic western "Hombre". She was the female lead in the 1958 WII drama "The Young Lions" starring Marlon Brando, Montgomery Clift and Dean Martin. She would also co-star with Frank Sinatra in the comedies "Come Blow Your Horn" and "Robin and the Seven Hoods". In later years, she found success on television in recurring roles in the prime time soap operas "Flamingo Road" and "7th Heaven". She also toured in the one-woman stage production of "A Woman of Independent Means", earning kudos from critics. She also gained pop culture status in the 1960s by playing the villainess Nora Clavicle in the "Batman" TV series.  Rush was married three times, including to actor Jeffrey Hunter. She is survived by her son and daughter. For more click here.

“A CAPER IN WHITE… AND BLACK”

By Raymond Benson

The film noir movement/trend in Hollywood was fading away by the end of the 1950s decade. Orson Welles’ Touch of Evil (1958) is often cited by film historians and film noir aficionados as the “last true film noir.” However, one picture released in 1959 could very well take that honor, for it indeed exhibits many of the traits of pure film noir (black and white photography, gritty realism, cynical and edgy characters, a heist, and an ending that is, well, not a happy one).

Odds Against Tomorrow was set up by actor and musician Harry Belafonte and was made by his production company. Is it the first film noir with a Black protagonist? This reviewer can’t think of another that preceded it. Basing it on a novel by William P. McGivern, Belafonte hired blacklisted Abraham Polonsky to write the screenplay. Polonsky (who had written the great Body and Soul, 1947) had been caught up in the HUAC investigations in Hollywood, refused to testify in the hearings, and was subsequently blacklisted along with many other writers, producers, directors, and actors. Polonsky, working with co-writer Nelson Gidding, wrote the script under a front-pseudonym, John O. Killens, a living Black novelist. It wasn’t until 1996 that the Writers Guild restored Polonsky’s real name to the credits.

Belafonte apparently had wanted to make a movie that was not only a gripping heist drama but also a statement about prejudice. Of the trio of robbers who attempt a bank robbery in the film, one is Black (Belafonte), the other two are White, and one of the latter is terribly racist… a factor that plays into how the caper ultimately plays out.

New York City. Dave Burke (Ed Begley) is a disgraced former cop who needs money. Earl Slater (Robert Ryan) is an embittered, racist war veteran and ex-con who needs money. Johnny Ingram (Belafonte) is a musician in debt to a gangster because of a gambling addiction, so he needs money, too. Slater lives with needy Lorry (Shelley Winters, in one of her whiny roles) but he has the hots for apartment building neighbor Helen (Gloria Grahame). Johnny is separated from his wife, Ruth (Kim Hamilton) and daughter Edie, but he desperately wants to make good and reunite the family. When Dave learns about an upstate smalltown bank with a vulnerability, he enlists Earl and Johnny in a scheme to steal $150,000, split three ways. Johnny doesn’t want to do it, but the pressure from the mobster and threats to his family force him into it. Earl is not happy that a Black man is part of the plan, and this tension is a major conflict in the heist proceedings. To reveal more would spoil the excitement.

Robert Wise, a filmmaker who seemed to be able to make a great film out of any genre, is at the helm, and he does a terrific job. He had worked with Ryan before in the film noir, The Set-Up (1949). Wise, of course, won Oscars for directing The Sound of Music (1965) and co-directing West Side Story (1961), but also made such diverse classics as The Day the Earth Stood Still (1951), The Haunting (1963), and Star Trek: The Motion Picture (1979)!

This is an intense, engaging picture that generates suspense and has something to say. The script is top-notch, and the performances are heightened just enough to fit firmly into the film noir style. The music, composed by John Lewis and performed by the Modern Jazz Quartet, is phenomenally good, adding another level to the tone and feel of the movie.

Kino Lorber Studio Classics’ new Blu-ray presentation is sharp and clean in glorious black and white. There is an accompanying audio commentary by author/film historian Alan K. Rode. Supplements include Post Screening Q&A interviews with Harry Belafonte (in 2009) and Kim Hamilton (in 2007), plus the theatrical trailer for this and other Kino Lorber film noir titles.

Odds Against Tomorrow is for fans of film noir, heist movies, Robert Wise, Harry Belafonte, Robert Ryan, and other members of the sparkling cast. Highly recommended.

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By Ernie Magnotta

The 1980s were chock full of amazing action franchises and action stars. The stars were legendary: Charles Bronson, Clint Eastwood, Sylvester Stallone, Arnold Schwarzenegger, Chuck Norris, Mel Gibson, Danny Glover, etc. The franchises were just as legendary: Death Wish, Dirty Harry, Rambo, Terminator, Missing in Action, Lethal Weapon, etc. Not to mention the beloved James Bond series which produced five blockbuster movies throughout the 80s, three starring Roger Moore and two starring Timothy Dalton. Then, there were the great one-shot action films of which there are way too many to list here. Of course, martial arts/action; especially those featuring ninjas, were just as popular with cinemagoers. Yes, it was an exciting decade.

In 1985, Cannon Films, led by immortal producers Menahem Golan and Yoram Globus, decided to start a new action movie/martial arts franchise titled American Ninja. Cannon, who were responsible for the popular Missing in Action and Death Wish series of films as well as several well-loved ninja movies which starred the fantastic Sho Kosugi and partly started the ninja craze, wanted Chuck Norris to play the lead role of Private Joe Armstrong. However, Norris declined. Cannon then went on a worldwide search and, after auditioning over 400 candidates, they chose up and coming actor Michael Dudikoff. The well-made movie would go on to spawn four sequels, two of which (parts 2 and 4) would see Dudikoff return as the silent, but deadly Armstrong. Thanks to our friends at Kino Lorber, the original film has now been released on Blu-ray.

Written by Paul De Mielche (from a story by Gideon Amir and Avi Kleinberger) and directed by action veteran Sam Firstenberg, American Ninja tells the story of Joe Armstrong (Dudikoff), a US Army private who uses his Ninjitsu skills when a supply convoy is ambushed by rebels led by a Black Ninja Warrior (Tadashi Yamashita). Now marked for revenge by the Black Star Ninjas, Joe, with the help of his friend, Corporal Curtis Jackson (played by the late, great Steve James), must do everything in his power to rescue the kidnapped Patricia Hickock (Judie Aronson)—daughter of Joe’s commanding officer—and take down the Black Star Ninjas for good.

Made for one million dollars, American Ninja (aka American Warrior and American Fighter) is a solid and entertaining 80s action film with an engrossing enough story, a terrific cast, and exciting action sequences which are more than competently handled by director Firstenberg (who already had some Ninja experience directing the Sho Kosugi martial arts/action classics Return of the Ninja and Ninja III: The Domination for Cannon). The fun, 95-minute movie also features John Fujioka, Don Stewart and Richard Norton.

Trained by 10^th degree black belt and martial arts champion Mike Stone, American Ninja instantly made Michael Dudikoff an action movie star. Over the next two decades, Dudikoff would appear in a plethora of action films. He would also reunite with Steve James two more times in American Ninja 2: The Confrontation and Avenging Force; both directed by Firstenberg. James, who I believe would have become a major action star if not for his untimely death, went on to reprise his role as Curtis Jackson a third time in American Ninja 3: Blood Hunt.

American Ninja has been released on a region one Blu-ray. It is presented in its original 1.85:1 aspect ratio and the film looks and sounds incredible. The special features include an informative audio commentary by director Sam Firstenberg (moderated by filmmaker/editor Elijah Drenner) as well as a second commentary with Firstenberg and Stunt Coordinator Steven Lambert. We are also treated to Rumble in the Jungle: The Making of American Ninja, the original theatrical trailer and TV spot, and a very cool-looking slipcover. This is pure 80s goodness. Don’t miss it.

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“THE EDGE OF THE WORLD”

By Raymond Benson

One of the more under-seen and underrated films from 1985 is John Boorman’s impressive The Emerald Forest, which gave us an ecological message long before that was much in the public consciousness.

Of a more cinematic significance, this picture is a grand adventure full of action and spectacle, much like Boorman’s Deliverance (1972) or Excalibur (1981) before it. The production values also indicate that this was no easy feat of a movie to make.

The Emerald Forest was shot in and near São Paolo, Brazil, right smack by the Amazon River and in the rain forest. Native extras populated much of the movie, which possibly for the first time provided to audiences of a mainstream motion picture depictions of how indigenous tribes in the jungle live. The result is fascinating, and the National Geographic lesson is enhanced by an exciting tale of kidnapping, exploration, survival, and human trafficking!

Powers Boothe is Bill, a high-ranking engineer with a corporation that is building a large hydro-electric dam on the edge of the rain forest. He’s moved his family of a wife and two young children—a boy and a girl—to the city. One day while overseeing the work of clearing the area of trees, Bill and his family have a picnic at the edge of the jungle. Little does he know that the “Invisible People,” a tribe that has not had contact with civilization, has dared to get close to what they refer to as “the edge of the world.” When Tommy wanders off, he is kidnapped by the tribe. Bill thus embarks on a long process to search for his son, but to no avail.

Ten years later, Tommy (Charley Boorman) has assimilated into the tribe and become one of the Invisible People. His “father” of the tribe (Rui Polanah) loves him like a son, and Tommy loves him back, although he has dreams of “Daddy.” Now Tommy is ready to take a mate, and he chooses young and beautiful Kachiri (Dira Paes). Meanwhile Bill and a photographer embark deep into the jungle to look for Tommy again. They encounter the hostile “Fierce People,” who force Bill to become prey in a hunt through the jungle. Tommy ends up saving Bill, and the real father and son reunite. Tommy, however, refuses to accompany Bill back to his first home. And then the human traffickers enter the story. To say more would spoil the tale!

There is a lot of “Tarzan movie” aspects to this picture, but without the unintentional racism. There is also a lot of nudity of all the indigenous people on display, which received some criticism when the picture was released (Dira Paes was only fifteen years old). However, this was not exploitation. Boorman and his team took great pains to be accurate and truthful in the depiction of the tribes’ customs and ways. Yes, the Fierce People are portrayed as the villains and the Invisible People are ultimately shown to be good at heart (even though they kidnapped a young white boy). There is indeed some idealism and moral ambiguity going on in The Emerald Forest, especially when it comes to the film’s climactic raid on a human trafficking center in the jungle. Finally, there is the message that indigenous people are being wiped out by the actions of white people who are cutting down rain forests.

Powers Boothe does an admirable job here, but it is Charley Boorman (son of the director) who steals the movie. He was around eighteen when the picture was made, and he manages to speak the indigenous language, perform jungle stunts, and carry on with his native costars as if he were one of them. Boorman’s direction is notable, too, given the locale and the cast with whom he had to work. Philippe Rousselot’s cinematography is also quite commendable.

Kino Studio Classics’ new Blu-ray release is a welcome one, and its 1920x1080p presentation is colorful and rich. There is an audio commentary by filmmaker Edgar Pablos and film historian Nathaniel Thompson that sheds light on the production. Supplements include the theatrical trailer and other Kino trailers. There is also reversible sleeve artwork.

The Emerald Forest is for fans of director John Boorman and of jungle exploration adventures. Recommended.

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On September 27, the Australian video company Imprint/ViaVision will release a 4-film box set showcasing films starring George Peppard. Here are the details:

With his dashing good looks and irresistible charm, George Peppard became one of the most iconic actors of the 1960s. 

Enjoy four forgotten gems from his prolific career for the first time on Blu-ray in Australia:

• P.J. (1968)
• Pendulum (1969)
• The Executioner (1970) – Worldwide first on Blu-ray!
• Newman’s Law (1974)

Limited Edition 4-Disc Hardbox. 1500 copies only.

P.J. (1968) – Imprint Collection #252

Peppard faces off against Raymond Burr (Rear Window) when he becomes entangled in an affair with deadly consequences in P.J.

Private eye P.J. Detweiler is reluctant to protect the mistress of a millionaire from attacks by his client’s wife and greedy family. In truth, P.J. is walking into a deadly intrigue in which he is to play a central part. 

Special Features & Technical Specs:

• 1080p High-definition presentation on Blu-ray from a 2K scan
• NEW Audio Commentary by film historian & author Toby Roan
• Audio Commentary by critics Howard S. Berger and Steve Mitchell
• NEW Interview with author & screenwriter Courtney Joyner on the career of director John Guillermin
• NEW Video essay on George Peppard & John Guillermin 
• Theatrical Trailer
• Original Aspect Ratio 2.35:1
• Audio English LPCM 2.0 Mono

Pendulum (1969) – Imprint Collection #253

George Peppard embarks on a relentless quest for justice in this thrilling classic.

Cynical Washington, DC, police captain Frank Matthews risked his life to catch a young rapist and murderer. But the psychopath is set free when a civil liberties’ attorney proves to the Supreme Court that Matthews never read the killer his rights. When Matthews’ wife is found murdered alongside her lover, and he becomes the prime suspect, Matthews decides his best option is to capture the real killer himself.

Special Features & Technical Specs:

• 1080P High-definition presentation on Blu-ray
• Special Features TBC
• Aspect Ratio 1.85:1
• Audio English LPCM 2.0 Mono

The Executioner (1970) – Imprint Collection #254

Worldwide first on Blu-ray!

Joan Collins, Keith Mitchell and Judy Geeson also star in The Executioner, the nail-biting thriller and worldwide first on Blu-ray.

When a covert operation in Vienna goes awry, British Intelligence operative John Shay suspects his colleague, Adam Booth, may be a double agent. Appointing himself executioner, Shay kills Booth and then assumes his identity to obtain conclusive evidence that Booth was a traitor.

Special Features & Technical Specs:

• 1080P High-definition presentation on Blu-ray
• Special Features TBC
• Aspect Ratio 2.35:1
• Audio English LPCM 2.0 Mono

Newman’s Law (1974) – Imprint Collection #255

The creator of Banacek, Anthony Wilson, and George Peppard reunite in the gritty police drama Newman’s Law.

When a hard-nosed LA cop is booted from duty after being falsely accused of extortion, he goes rogue to investigate an organised crime case, uncovering a conspiracy that might extend to the highest levels of his own department. 

Special Features & Technical Specs:

• 1080p High-definition presentation on Blu-ray from a 2K scan
• NEW Audio Commentary by film historian Steve Mitchell and producer/screenwriter Cyrus Voris
• NEW Interview with director Jeff Burr on the career of director Richard T. Heffron
• Radio Spots
• Theatrical Trailer
• Aspect Ratio 1.85:1
• Audio English LPCM 2.0 Mono

Any pre-order titles will be dispatched in the week leading up to its aforementioned release date. Special features and artwork are subject to change.

Imprint limited editions tend to sell out quickly. Click here to pre-order. (Prices are in Australian dollars. Use  a currency converter to see what the price is in your local currency.) The Blu-ray set is Region-Free. 

By Lee Pfeiffer

Most rock 'n roll movies of the 1950s and 1060s were rightly regarded as disposable entertainment. With a few exceptions, they were low-budget attempts to cash in on the new fad before it might fade away. Elvis Presley's films were cinematic gold for a while but even they began to fade with the release of director Richard Lester's two Beatles films, "A Hard Day's Night" and "Help!", both of which brought innovation and style to the genre. The Monkees' feature film "Head" would also go boldly where no rock 'n roll flick would. "The Cool Ones", however, appears to have been made by people whose sensibilities were stuck in amber. Despite being released in an era when rock music was being defined by groups with a cutting edge, this musical comedy, released in 1967, has the hallmarks of similar films made a decade before. In short, it's a movie designed for hipsters but made by middle-aged squares. 

The film centers on the adventures of Hallie Rodgers (Debbie Watson), a dancer seen on one of those "Shindig"-type TV series designed to appeal to teenagers by presenting musical groups performing their latest hits live on stage. Hallie feels she has true star power but the show's arrogant producer, played by Phil Harris, refuses to give her a chance to sing on the program. In an act of defiance on live TV, Hallie steals the microphone from guest performer Glen Campbell and belts out a song. As she is chased around the stage by production executives, she engages in wild mannerisms that the audience mistakes for a new dance. She's summarily fired but later learns she has gained a following and that her moves on stage are now the latest dance craze called "The Tantrum". (I'm not making this up, folks.) She then attempts to woo one-time teen idol Cliff Donner (Gil Peterson) to form a duo. Cliff has fallen on hard times and is currently performing in a failing nightclub run by avuncular British export Stanley Crumley (Robert Coote). The moody Gil is smitten with Hallie but is reluctant to try to regain his former stardom. Ultimately, he concedes when the sees the enthusiastic response from their duets, which help revive Stanley's nightclub. With Stanley as their manager, they set about promoting the act by performing The Tantrum in front of growing audiences. At this point, they are approached by Stanley's estranged brother Tony (Roddy McDowall), a legendary record producer who travels with his own posse and who enjoys a rabid fan base himself. Tony takes control of the act but his sheer narcissism and arrogance results in tension between Hallie and Gil, who break up and reunite more times than I can recount. The bizarre production gets even stranger with a closing act by Mrs. Miller, who was a sixtyish everyday woman whose cover version recording of Petula Clark's "Downtown" became a novelty hit that elevated her to temporary fame.

"The Cool Ones" is awful on every level, but it's so awful it has the virtue to keep the viewer glued to the screen to see if it becomes even more awful.  The songs are mostly awful despite being the creations of notable talents Lee Hazlewood and Billy Strange, although the best of the lot, "This Town", would be a well-received recording by Frank Sinatra a couple of years later. The depiction of teenagers is awful, presenting them as brain-dead zombies who instinctively embrace every new song and dance move they experience on a TV show and instantly turn into raving mobs of fans. Young people are presented in an inoffensive, sanitized manner. No one smokes (cigarettes or anything else) and they're all satisfied sipping tonics and sodas in nightclubs. Cripes, to think this film was sandwiched between the release of "The Wild Angels" and the Woodstock festival....The direction by Gene Nelson (who displayed some talent in other films and TV series) is awful and so are the performances, with Debbie Watson overacting and Gil Peterson, who looks like a human Ken doll, underplaying with predictably boring results. They make for the  least erotic couple seen on screen since the Ma and Pa Kettle series. But the scene-stealing awful performance is provided by Roddy McDowall, who chews the scenery and everything else in sight while presenting an over-the-top caricature of a fussy, demanding gay man. But since film producers felt that teenagers shouldn't know that gay people exist, a plot device is inserted in which we learn Tony's unseen girlfriend is pregnant, which sends him into an even greater hissy fit that only reinforces the gay stereotype. Only dear old Robert Coote emerges with some dignity intact. The film does have colors that jump out of the screen and it is fun to see location footage of old L.A., which is marvelously photographed by legendary cinematographer Floyd Crosby, whose achievements include "High Noon". This would be his final film. The dance numbers are also well-choreographed by Toni Basil, who would go on to have the hit record "Mickey" in the 1980s. In the end, however, the movie makes those Frankie and Annette beach pictures look like biting social commentaries on life in the 1960s. I expected young Mickey Rooney to show up on screen shouting, "Hey, kids- we can put the show on in the barn!!!" The film was released as the bottom attraction on double features. There was probably no damage to anyone's career because few people saw it. 

In viewing "The Cool Ones", I came to the conclusion that I had to disagree with Huey Lewis and the News in that it isn't hip to be square. The film is available on DVD from the Warner Archive. It's a nice transfer and includes the original trailer. The DVD is region-free so that bad movie lovers everywhere can enjoy the film.

Click here to order from the Cinema Retro Movie Store

The Australian video company Imprint has released "The Gidget Film Collection". Here are the details:

The original beach party movie ‘Gidget’ plus three sequels on Blu-ray for the first time worldwide!

Gidget (1959)

The original surfer girl/beach bum movie, adapted from the novel by Frederick Kohner, Gidget (1959) stars Sandra Dee as determined little Frances Lawrence, who falls in love both with surfing and with the characters who populate the local Southern California beach hangout. Of particular interest are the young Moondoggie (James Darren) and the more mature Big Kahuna (Cliff Robertson), a Korean War vet who is the idol of every surfer on the coast for his life of apparently unfettered freedom.

Gidget Goes Hawaiian (1961)

In this sequel to the hit 1959 film “Gidget,” Francie “Gidget” Lawrence (Deborah Walley) is once again involved with her boyfriend, Jeff “Moondoggie” Matthews (James Darren). However, they have a lovers’ spat, and Gidget goes to sulk in Hawaii with her parents. In the islands, she meets TV dancer Eddie Horner (Michael Callan). Seeing how miserable she’s become, Gidget’s wise dad (Carl Reiner) sends for Moondoggie, and the couple reunite just as Gidget gets romantic with Eddie.

Gidget Goes to Rome (1963)

Gidget, in Rome for a holiday, misinterprets attention she receives from a famous journalist. Discovering he is “chaperoning” her at Dad’s request she resumes interest in her boyfriend. Based upon characters created by Frederick Kohner.

Gidget Gets Married (1972)

Newly married Gidget makes waves in her husband’s company by taking a stand against the social caste system.

Special Features and Technical Specs:

• “Gidget Gets Married” – the 1972 Television Movie
• “Gidget” Theatrical Trailer

Keep in mind that prices are quoted in Australian dollars. Use a currency converter to see what the price is in your national currency.

By Lee Pfeiffer

Screenpix is currently streaming the hard-to-find (in America, at least) 1957 version of "Robbery Under Arms", based on the famous novel by Rolf Boldrewood. Written in the late 19th century, the book inspired some early film versions in 1907, 1911 and 1920. The Australian tale was later remade in 1985. The 1957 film is set in 1865 and was filmed in remote areas of Flinders Range and Wilpena Pound in South Australia. The tale follows the exploits of the charismatic, but notorious outlaw known as Captain Starlight (Peter Finch), whose band of henchmen include brothers Dick and Jim Marston (Ronald Lewis and David McCallum), as well as their crusty father Ben (Laurence Naismith). They've just rustled a thousand head of cattle and sell them quickly before the pursuing police can catch them. However, with their new-found riches the men become reckless and begin spending lavishly. Dick and Jim, delighted to be freed of their hardscrabble struggle to survive in the unforgiving Outback, decide to take a cruise to Melbourne. On board they meet teenage sisters Kate and Jean Swanson (Maureen Swanson and Jill Ireland) who are traveling with their elderly aunt. Sparks fly, especially when they find out the girls also reside in an area accessible to where they live. Kate is especially captivated and she and Dick promise to reunite. The men are as good as their word and  promise to give up a life of crime, especially when they learn that Captain Starlight had been arrested as a consequence of his drawing attention to his sudden wealth. However, Starlight bribes his captors. He is freed and tracks down his former gang members and forces them to participate in a stagecoach robbery that nets everyone a good deal of loot. Jim and Dick are now wanted men and hide in the hills in gold-mining country. These use the stolen funds to finance their own operation and find success with it.

The script takes an improbable turn when Dick and Jim unexpectedly encounter Kate and Jean, who they had to spurn when they went into hiding. Both young women are now saloon girls in the raucous boom town. Jim and Jean ultimately marry and it isn't long after that they learn a baby is on the way. Dick, however, doesn't prove to be as reliable as Jim. He meets a local girl he falls for and betrays Jean's trust in him. When Starling and his gang turn up in town and execute a bank robbery that goes terribly wrong, the authorities are in hot pursuit, but also come across Jim, who is accused of being complicit in the murder of an innocent bystander despite the fact he wasn't present at the scene. The climax of the film finds Dick reuniting with Starlight and his remaining gang members as it becomes apparent to them that their only way to survive is to engage the police in a gunfight- even as Jim faces the prospect of being hanged. .The shootout in the final scenes is well-handled and exciting.

The film is very much identical to an American Western with the exception of seeing the odd kangaroo and the fact that the native people are from Aborigine tribes. Jack Lee provides the excellent direction, although he later called the film a disappointment because the script wasn't up to par and that he felt it was too slow and talky. I beg to differ. I found the film to be thoroughly engrossing and benefiting from the impressive cinematography of Harry Waxman. The opening titles claim it is "A British Film" and indeed it is, at least technically. The producers were British, as were most of the cast members and interiors were shot at Pinewood Studios near London. However, this isn't a cheapjack production that incorporates a few minutes of second unit photography to represent Australia. The country's own film industry had yet to really blossom so any films made there during this period are of special interest. The performances as all excellent with David McCallum especially impressive as the more mature and sensitive of the Martson brothers. (He developed a real life romance with Jill Ireland and the two would marry shortly thereafter.) The Screenpix source material is okay but is a bit soft to do justice to the fine camerawork. The film has only been released in the USA on a public domain video label, as far as I can tell. Here's hoping a Blu-ray might appear in the future.

(Screenpix is available for $2.99 extra a month for subscribers to Amazon Prime, Roku and Apple TV.)

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BY LEE PFEIFFER

"Gun the Man Down" is yet another Poverty Row low-budget Western shot during an era in which seemingly every other feature film released was a horse opera. Supposedly shot in nine days, the film is primarily notable for being the big screen directing debut of Andrew V. McLaglen, who would go on to be a very respected director who specialized in Westerns and action films. The movie also marked the final feature film for James Arness before he took on the role of Marshall Matt Dillon in TV's long-running and iconic "Gunsmoke" series. After failing to achieve stardom on the big screen, Arness found fame and fortune in "Gunsmoke" when John Wayne recommended him for the part. Wayne had been championing Arness for years and provided him with roles in some of his films. Following "Gunsmoke"'s phenomenal run, Arness seemed content to stay with TV and had another successful series, "How the West Was Won".  John Wayne was one of the first actors to successfully launch his own production company, Batjac, which produced this film and Wayne's influence is felt in the project. Andrew V. McLaglen was the son of Wayne's good friend and occasional co-star Victor McLaglen. The screenplay was written by Burt Kennedy, who Wayne would later hire to direct several of his own films. The movie provided young Angie Dickinson with her first role of substance and she would reunite with Wayne years later on Howard Hawks' "Rio Bravo". Speaking of which, another Wayne favorite, character actor Pedro Gonzalez Gonzalez appears in both films. Also in the cast is Harry Carey Jr. , son of Wayne's idol and and personal friend, Harry Carey. The cinematography is by William Clothier, who would lens many of Wayne's later movies and the film was produced by Duke's brother, Robert Morrison. "Gun the Man Down" is very much a Wayne family affair. 

The film opens with three fleeing bank robbers: Rem Anderson (James Arness), Matt Rankin (Robert J. Wilke) and Ralph Farley (Don MeGowan), who arrive at their hide-a-way cabin with the law in hot pursuit. Rem has been seriously wounded and Rankin makes the decision to leave him behind. Rem's girl, Jan (Angie Dickinson), objects at first but Rankin convinces her to go with them in part because they have $40,000 in loot from the local bank. The law arrives at the cabin and arrests Rem. He is nursed back to health and is offered a deal for a light sentence if he helps track down his confederates. Rem refuses and does his time in prison. Upon release, he begins his mission vengeance and tracks Rankin, Ralph and Jan to a one-horse town where Rankin has used his ill-gotten gains to open a profitable saloon. Upon discovering Rem is in town, Rankin hires a notorious gunslinger, Billy Deal (Michael Emmet), to assassinate him. Jan has a tense reunion with Rem and seeks his forgiveness but her pleas fall on deaf ears. Rem emerges victorious over Billy Deal and Rankin, Ralph and Jan flee town with Rem in pursuit. Their final confrontation takes place in a remote canyon with tragic consequences.  

Given the film's meager production budget, "Gun the Man Down" is a surprisingly mature and engrossing Western with intelligent dialogue and interesting characters. (In addition to those mentioned, there is a fine performance by Emile Meyer as the town sheriff). Arness projects the kind of macho star power that Wayne had and Dickinson acquits herself very well as the stereotypical saloon girl with a heart of gold. The film, ably directed by McLaglen,  runs a scant 76 minutes and was obviously designed for a quick playoff and fast profit. It has largely been lost to time but the film is currently streaming on Screenpix, which is available through Amazon Prime, Roku, Apple TV and Fire TV for an additional monthly fee of $2.99 The movie is also available on Blu-ray through Olive Films.

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Cinema Retro has received the following press release. Since our magazine is edited in New Jersey, we look forward to seeing this ultimate “Jersey Guy” documentary.

Banded Together: The Boys From Glen Rock High

Reunite on Hometown New Jersey High School Stage 50 Years Later

You Never Know What Those Crazy Kids May Grow Up to Be!

Feature Documentary Makes World Premiere Oct. 29^th & 30^th at Montclair Film Festival;

Featuring: Lee Shapiro, Jimmy Vivino, John Feeney, Jerry Vivino, Frank Pagano, Uncle Floyd Vivino, Doug Romoff, Jeff Venho, Joe Sielski & Conan O'Brien.

LOS ANGELES — Oct. 21, 2022 — For Immediate Release: Having all established high-profile careers in the music industry, eight men reunite 50 years later to jam on their high school auditorium stage in idyllic Glen Rock, NJ, and look back on what a strange ride it’s been in Banded Together: The Boys From Glen Rock High.

Directed, produced and edited by Academy Award-nominated and Emmy Award-winning documentarian Barry Rubinow (Red Grooms: Sunflower in a Hothouse, Beakman’s World), this full-length documentary is an official selection of the Montclair Film Festival (Oct. 21-30). Moved to a bigger theater to accommodate demand, the film will make its world premiere Saturday, Oct. 29 at 6:30 p.m. and Sunday Oct. 30 at noon.

About Banded Together: The Boys From Glen Rock High ...

Once upon a time, in the small, Mayberry-esque town of Glen Rock, NJ, 25 miles and a world away from New York City, a group of friends from high school joined the music department—some commanded to do so by their parents or in lieu of receiving detention—with adolescent dreams of making it in “the biz.”

From the launch pad of their garage band gatherings and unassuming high school auditorium, each of them today—Lee Shapiro, Jimmy Vivino, John Feeney, Jerry Vivino, Frank Pagano, Uncle Floyd Vivino, Doug Romoff and Jeff Venho—perform at the highest levels of the music industry ... from the main stage of the Tonight Show With Conan O’Brien (who appears in the film) to hosting their own show to writing some of the industry’s most successful songs to performing in arenas with such iconic artists as Frankie Valli & the Four Seasons, The Allman Brothers, Bon Jovi, Bruce Springsteen, Donald Fagen and Jimmy Buffet, to name a few. [short bios, pg. 2]

The remarkable story of a true band of brothers, a group of close friends who bonded through music, reuniting for a concert in the same auditorium where they wowed their teachers and fellow students 50 years ago. Along the way, we learn about their individual journeys and their remarkable successes, all heavily influenced by their time at Glen Rock High School, under the tutelage of their beloved music teacher and bandleader, Joe Sielski.

The film explores the importance of music and arts education for all students and is a touching testament to the value of teaching and promoting the arts. The love and respect that these musicians have for one another and their teachers is on full display, as well as their drive, discipline, humor and sheer talent.  Though their careers have taken them all around the world, performing in front of thousands, there is no greater joy than returning to the hometown stage that defined them.

Documentary, Music / Running Time: 77 Minutes / Not Rated

Featuring Lee Shapiro, Jimmy Vivino, John Feeney, Jerry Vivino, Frank Pagano, Uncle Floyd Vivino, Doug Romoff, Jeff Venho, Joe Sielski and Conan O’Brien. Directed by Barry Rubinow. Produced by Barry Rubinow and Doug Romoff. Editor Barry Rubinow. Director of Photography Patrick Cone. Production Designer Richard Gardner.

About the Musicians ...

JIMMY VIVINO is a guitarist, keyboard player, singer, producer and music director. He began playing in NYC clubs in the early 1980s and started producing and arranging music for such artists as Phoebe Snow, Laura Nyro, John Sebastian, and Donald Fagen. Blues legend Al Kooper considers Jimmy one of his “discoveries” and he worked as Kooper’s musical director for 15 years. Jimmy performed with the house bands for The Tonight Show with Conan O’Brien as well as Late Night with Conan O’Brien. Jimmy led the house band for the late-night program Conan called Jimmy Vivino and the Basic Cable Band. Jimmy has recorded and played live with renowned musicians Johnnie Johnson, Hubert Sumlin and Levon Helm.

LEE SHAPIRO is a keyboardist, arranger and music director. He was studying at the Manhattan School of Music when he was discovered playing at a club in New Jersey by the manager of the band, Frankie Valli & The Four Seasons. Lee was age 19 at the time he was asked to join. He was the arranger on the hit songs, “Who Loves You” and “Oh What a Night.” Lee also worked with Barry Manilow on Copacabana, The Musical before starting Lee Shapiro Music, a company that created music for the media and advertising. He also created the “must have” toys of 2000, ‘Rock N Roll Elmo’ and ‘Rock N Roll Ernie’ for Fisher-Price. Lee formed the classic rock band The Hit Men with former Four Seasons bandmates Gerry Polci and Don Ciccone. The band has evolved over the past 12 years and is touring with band members who perform with the legends of classic rock.

JOHN FEENEY, principal double bass of the Orchestra of St. Luke’s, the American Classical Orchestra and Opera Lafayette, is a chamber musician and soloist of international renown. John has performed as a guest bassist with the Vienna Philharmonic. An avid Viennese violinist, in 2010 he co-founded The Serenade Orchestra and the Serenade Quartet, performing many dozens of concerts featuring the music of 18th and 19th century Vienna. John has recorded extensively for most major record labels and holds bachelor and master degrees from the Juilliard School where he was a scholarship student of David Walter. He began his bass studies with Linda McKnight.

UNCLE FLOYD VIVINO is a legendary comedian, musician and entertainer. He created and starred in The Uncle Floyd Show, a comedic variety show that can be equally read as a children’s program or a parody of a children’s program. The show aired for over two decades and featured character comedy, puppetry, audience participation, Floyd’s vaudevillian piano playing and a puppet sidekick named Oogie. The Uncle Floyd Show had musical guests including such renowned performers as The Ramones, Bon Jovi, Blue Öyster Cult, Joe Jackson and Cyndi Lauper. Uncle Floyd continues to perform his one-of-a-kind act around various northern New Jersey venues. Check out his radio show every Sunday at 9 a.m. EST on WFDU-FM 89.1 and WFDU-FM.

FRANK PAGANO is a drums and percussion musician and teacher. He graduated from the Manhattan School of Music to go on to work with Phoebe Snow and Concord Jazz recording artists Jackie and Roy. Frank has played music in Broadway shows since 1985. His performing and recording credits range from Smokey Joe’s Cafe and Escape to Margaritaville, to Darlene Love and Bruce Springsteen and the E Street Band. Frank is currently recording drums, percussion and vocals with prog-rock band Renaissance. He also performs with the Jon Herington Band and The Harmonious Five.

JERRY VIVINO is a multi-talented reed player who attributes his mastering of seven woodwinds to his high school band director Joe Sielski. After graduating in 1972 he attended Manhattan School of Music aspiring to become a full-time musician. For 25 years he was the featured saxophonist for Conan O’Brien on NBC’S  Late Night, The Tonight Show and the TBS cable TV show Conan. As a sideman, Jerry has shared the stage or recorded with the likes of Tony Bennett, Donald Fagen, Johnny Mathis, Darlene Love, Dion DiMucci, Stanley Clark, Franki Valli, Keely Smith, The Allman Brothers, Bon Jovi and Bruce Springsteen to name a few. Jerry also performs with his brother Floyd’s The Uncle Floyd Show, brother Jimmy’s Blues Revue and as a leader with his own jazz quartet.

DOUG ROMOFF is a professional bassist, entrepreneur and film producer. He performed music in many Broadway shows as well as movie scores and commercial jingles. Doug founded Harmony 534, a full-service music production and video editing facility with clients such as Sesame Street and Criterion Films. Doug also founded the Paradiso Group, an advertising agency that creates multi-media presentations, live television broadcasts and classic TV, radio and print advertising. Doug was the executive producer and creator of Beyond the Crush, a docu-series about wine owners in Napa Valley. He is the co-owner and creative director for Adrenaline Films, a creative services company with clients such as Universal Studios and Xfinity.

JEFF VENHO attended the Juilliard School as a scholarship trumpet performance major, graduating with a master’s degree. Jeff has performed with the NYC Opera, the American Symphony, the Paragon Ragtime Orchestra and numerous Broadway Shows. In addition to his freelance activities, Jeff is currently employed as Trumpet Professor at Hofstra University and is the Winds Department Chair at the Rudolf Steiner School in Manhattan.

About the Mentor ...

JOE SIELSKI was the music teacher and band leader at Glen Rock High School from 1963 to 2003. In 1968, he started the orchestra program at the school, and served on the Middle Atlantic States High School Evaluation Committee. In 1976, Joe got his M.A. degree in conducting from Columbia University TC. He also served as Glen Rock High School Fine Arts Department Chairperson. Joe has been married to his wife, Carolyn, for more than 50 years. They hosted the reunion of the Boys From Glen Rock High and Joe played/ conducted at the reunion concert at Glen Rock High School.

About the Filmmaker ...

BARRY RUBINOW grew up in Glen Rock, New Jersey, and made his first film in eighth grade at Glen Rock Junior/Senior High School. With early aspirations to be a filmmaker, he moved to Los Angeles and attended the University of Southern California’s acclaimed school of cinema. The first documentary he edited, Red Grooms: Sunflower in a Hothouse, was nominated for an Academy Award for Best Documentary Short Subject. His career as a producer, director, editor and indie filmmaker has included winning an Emmy Award for editing the CBS science show, Beakman’s World. He was also a founding member of the Documentary Channel, which was in 25 million homes on Dish Network and DirecTV, and ran all creative endeavors of the channel, overseeing the branding and on-air IDs and promos. He produced over 100 episodes of the channel’s flagship original show, DocTalk, interviewing acclaimed documentary filmmakers from Werner Herzog to Alex Gibney to Errol Morris. Rubinow brings his unique background and experience and love of his hometown, to this powerful project.

(www.bandedtogethermovie.com)

For tickets and information about the Montclair Film Festival, click here. 

BY LEE PFEIFFER

Kino Lorber has released a Blu-ray edition of the 1965 comedy Strange Bedfellows, which existed primarily to reunite Rock Hudson and Gina Lollobrigida, who had a box-office hit with Come September several years before. Like most of the romantic comedies of the era, there is little to separate this from a standard sitcom episode aside from the running time. Hudson plays a London-based executive on the rise who spontaneously marries a tempestuous Italian bombshell artist played by Lollobrigida. The newlyweds find their mutually insatiable sex drives are the only thing they have in common. Politically conservative Hudson is constantly at odds with his wife's liberal activism. They soon separate but after seven years, Hudson has a reason to stall the divorce proceedings he has put in place. Seems his even more conservative boss wants to promote him to be his right hand man- on the proviso that he is happily married. The contrived plot finds Hudson trying to swallow his pride and woo his wife back- despite the fact that she already has a British lover, Edward Judd.

The film ambles from one predictable, over-played scene to another, though there are some genuine laughs along the way. Hudson and Lollbrigida do have genuine chemistry on-screen and there is a very amusing supporting cast that includes Gig Young, Terry-Thomas, Arthur Haynes, Nancy Kulp, Bernard Fox and and the late, great Cinema Retro contributor Joe Sirola, who offers a very funny turn as a perverted sculptor. The most amusing aspect of the film is rather unintentional- the now laughably cliched presentation of life in England. In one scene, people can't get home because London is covered in a pea-soup like fog, an enduring legend that stemmed from the Victorian era when the city was often shrouded in pollution, not fog. Taxi drivers all speak with Cockney accents and call everyone 'guv. Ironically, only a small bit of second unit footage was even filmed in Old Blighty. The only on location footage featuring the stars is confined to a shot or two of Edward Judd and an opening scene of Rock Hudson walking along the Thames. One might ask why no additional footage of Hudson was shot on location. The answer was probably moolah. It would have cost Universal a tidy sum to deal with the logistics of shooting in the midst of a major city. So the studio reverted back to an economic model and "London" was recreated very unconvincingly on the Universal back lot. One sequence that was played for laughs has a more subtle aspect of humor to it when viewed today: Hudson reluctantly sharing a bed with Judd. (Hudson shared similar scene when he bedded down with Tony Randall in Send Me No Flowers, leading one to believe that he was probably in on the joke in the days when he was still very much in the closet.)  Like most of these types of comedies, the finale features the entire cast coming together in a big chaotic scene. This time, it's Lollobrigida's scheme to scandalize London by riding through town as Lady Godvia. It's a mark of the movie's prudishness, however, that she is clad in neck-to-toe flesh colored body suit. Some scandal. The film's uninspired direction by Melvin Frank doesn't completely negate the fun of watching two genuine screen legends at the peak of their careers.

The Kino Lorber Blu-ray features a pin-sharp transfer that only makes it more obvious how much of the film relies on shoddy rear-screen projection.  The disc features an informative commentary track by film historian Eddy Von Mueller and it's admirable that Kino Lorber continues to provide these tracks on movies that are routine at best. Even films that are artistic failures often have many interesting tales relevant to their production and Strange Bedfellows is no exception. There is also the original trailer and gallery of other trailers from KL featuring the two legendary stars.

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By Nicholas Anez

In 1981, United Artists released True Confessions, a Robert Chartoff and Irwin Winkler production directed by Ulu Grosbard. Robert De Niro and Robert Duvall star in the movie. It is about faith, hope, repentance and salvation. It is also about greed, corruption, pornography and murder.

The setting is Los Angeles of 1948. This is the City of Angels as conceived by John Gregory Dunne in his superb 1977 novel of the same title. Dunne was an accomplished novelist as well as a literary critic and a notable writer of non-fiction; his 1998 book, Monster: Living Off the Big Screen, is an invaluable account of the trials and tribulations of writing a screenplay in Hollywood. True Confessions is certainly his best novel and, together with Joan Didion (aka Mrs. Dunne), he adapted it to the screen. Didion was an equally fine novelist and was also known for her acerbic essays on California culture; in 1972, Didion and Dunne wrote the screenplay for Didion’s acclaimed 1970 novel Play It as It Lays. The screenplay for True Confessions naturally condenses the novel, which was 341 pages in its first edition, and eliminates many incidents as well as characters. Nevertheless, the movie still fully captures the essence of the novel. Actually, the screenplay improves upon the novel in one respect, possibly due to Didion’s involvement. Dunne seems to have written the novel in part as a form of therapy regarding his Irish-Catholic upbringing; by the novel’s midpoint, many of the characters seem to blend together as hopeless, cynical sinners. The movie is less critical of its main characters without softening the impact of the narrative. Significantly, the movie still captures Dunne’s insightful portrait of post-war Los Angeles. This is a city in which moral and spiritual decay flourish. And it is a city in which the excessively brutal murder of a young woman symbolizes the depravity that permeates every facet of its superficially glittering façade.

The film, like the novel, uses the factual Black Dahlia murder case of 1947 as a catalyst for the plot but it is primarily the story of the two Spellacy brothers and how their relationship becomes entwined with the murder of the woman whom the press calls “the virgin tramp.” Monsignor Desmond Spellacy (Robert De Niro) is an ambitious priest in the Catholic Church who hopes to rise someday to the position of cardinal even if it means neglecting his sacred vows. Detective Sergeant Tom Spellacy (Robert Duvall) is an embittered detective in the Los Angeles Police Department who is disgusted by the pervasive corruption and by the fact that he was once a part of it. Both Des and Tom are dealing with guilt which accounts in part for their strained relationship. Des has perhaps been repressing his guilt but as the story progresses it will come to the surface and he will have to confront it. Tom has lived with his guilt since he was a young vice cop and now sees an opportunity to expiate it. When the dissected body of Lois Fazenda is found in a vacant lot, it sets into motion a series of events that will involve both Tom and Des. Tom is in charge of investigating the murder while Des has a peripheral connection to the victim. Neither Tom nor Des initially realize it but the murder will propel them on a collision course.

This is a complex film and, as the story unfolds, it expands to include the compromises that individuals in the Los Angeles Police Department and in the Catholic Church must make to exist in a morally corrupt environment. Representative of this corruption is Jack Amsterdam (Charles Durning), a wealthy construction magnate and a respected member of the Catholic populace. Amsterdam also has a disreputable past of which both Tom and Des are aware. Nevertheless, Des has a history of awarding contracts for building projects within the diocese to Amsterdam in return for financial savings for the Church. It infuriates Tom that Des disregards Amsterdam’s unsavory past because of his wealth. However, Tom doesn’t know that Des is on the verge of terminating the Church’s association with Amsterdam. Des hopes to soften the jolt by awarding Amsterdam with a ceremony honoring him as Catholic Layman of the Year. Meanwhile, Tom’s investigation takes a surprising turn when Amsterdam’s name appears among the victim’s acquaintances. This increases his determination to solve the crime, regardless of how it may involve his brother.

Ulu Grosbard initially achieved fame as a Broadway theater director. He received two Tony nominations for Best Direction, in 1965 for Frank Gilroy’s The Subject Was Roses and in 1977 for David Mamet’s American Buffalo. Regarding his film career, some critics accused him of lacking an individual style as well as an artistic approach to the medium of film that would distinguish his movies. This may be due in part to the fact that, though his film career spanned three decades, he only directed seven movies (compared to eight Broadway plays), all of which are different in style and genre. He began his Hollywood career as an assistant director in the early 1960s. His first directorial credit was the film version of The Subject Was Roses (1968), which proved that he was equally adept with film as he was with the stage. He followed this with an interesting but pretentious misfire, Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (1971). However, his third film, Straight Time (1978), is another underrated gem. True Confessions followed and is undoubtedly his best film. He followed this with a modest romantic drama, Falling in Love (1984), also with De Niro.

Grosbard distinctly demonstrates cinematic expertise with True Confessions. He imbues the movie with a neo-noir atmosphere, though this may not be initially apparent from the film’s beginning. The movie opens in 1962 as the elderly Spellacy brothers reunite in a dilapidated church in the desert in Palm Springs. This will lead to the flashback to 1948 and the main narrative which begins with a wedding in an opulent church in Los Angeles. The stark difference between the rundown church in the desert and the multi-million dollar cathedral is readily apparent. Equally apparent is the difference between the humble appearance of the elderly desert priest and the luxuriously attired young city ecclesiastic, especially since they are the same person. The reason for this transformation, which the public and the press labeled his disgraceful downfall, is the heart of the story that follows.

Grosbard directs the film in a restrained manner, excluding any flamboyance which might distract from his emphasis on the characterizations of Des and Tom Spellacy. His direction includes several memorable sequences. The restaurant scene begins with Tom’s amusing response to an uppity maitre’d and ends with his angry confrontation with Amsterdam in front of an embarrassed Des. The Catholic Layman Award ceremony simmers with suppressed tension and climaxes with an even more violent altercation between Tom and Amsterdam. The confessional scene in which both Amsterdam and Tom furiously and unjustly lash out at Des instead of one another bristles with unbounded rage while eliciting sympathy for the beleaguered monsignor. And there are some quieter scenes which are notable for their sensitivity to the characters. The diner scene in which Desmond tries to express to Tom his regret for the course of his life reveals the latent tenderness between the brothers, an emotion which both are unable to express. The abandoned military base in which Tom discovers the sight of the murder is shocking in its underlying anguish for the savagely-murdered victim. Even more sorrowful is the scene in which Tom tries to console Lois Fazenda’s parents as they remember her innocent childhood full of hopes and dreams. Through scenes such as these, Grosbard gradually builds the emotional content of the story as well as the tension until the explosive penultimate scene outside the courthouse. The director received some criticism for the brevity of this scene, for not showing Amsterdam’s comeuppance and for not filming a more dynamic solution to the murder. But this would have distracted from his main theme which is why he returns to the desert church for the highly poignant finale.

BY LEE PFEIFFER

At one point in the 1983 zany comedy "The Survivors", Robin Williams says to co-star Walter Matthau: "I was overreacting." It would have been more accurate if he had said "I was overacting" because Williams, who was certainly a comedic genius, also had the ability to go over-the-top in his quest to get a laugh or, conversely, to ring sentiment from playing dramatic scenes in a mawkish manner. To paraphrase Longfellow's famous poem, "When he was good, he was very, very good, but when he was bad, he was horrid." In "The Survivors", Williams doesn't quite reach the level of being horrid and there's plenty of blame to go around for this misfire, but he certainly contributes to its quick demise thanks to his failure to get a definable grip on his character. The premise of the film must have seemed promising when it was first developed as a vehicle to reunite Peter Falk and Alan Arkin, who had found great success co-starring in "The In-Laws". For whatever reason, the reunion never materialized and Joseph Bologna was signed to co-star with Williams under the direction of Michael Ritchie. Ritchie had an interesting background, having directed an eclectic assortment of films. They ranged from his acclaimed drama "Downhill Racer", the sports comedies "Semi-Tough" and "The Bad News Bears", the political satire "The Candidate", the social satire "Smile" and the bizarre but hypnotic crime thriller "Prime Cut"- all good movies, indeed. But shortly after production started, Bologna walked off the film, citing the oft-used excuse of "creative differences", presumably with Ritchie. Walter Matthau was called in to replace him, having worked successfully with Ritchie on "The Bad News Bears". The script was by Michael Leeson, who had written most of the scripts for the landmark sitcom "The Cosby Show". So far, so good. 

"The Survivors" opens in New York City during the grungy period of the early 1980s. Robin Williams plays Donald Quinelle, an affable but bumbling executive who thinks his career is set, only to report to work and experience being fired by his boss's talking parrot. He is put through the grueling process of applying for unemployment insurance, which is made to look like a old breadline from the Soviet era. Meanwhile, we're introduced to Walter Matthau as Sonny Paluso, a long-time franchisee of a gas station. He is equally unceremoniously dismissed when the oil company decides to revoke his franchise, leaving him high and dry and without unemployment insurance, due to a legal technicality. Prior to this, we had seen the wholesale destruction of his gas station when Donald,who was fueling up in a careless manner, accidentally ignites the place with a tossed cigarette. The two men later find themselves coincidentally dining at the same restaurant when it is held up by a masked man who demands that the captive patrons disrobe and hand over their money. Donald resists and bumbles his way into subduing the bandit, getting wounded in the process and becoming a fleeting hero in the media. The bandit is Jack Locke (Jerry Reed), a cool-as-a-cucumber one-time hit man who has been affected by the economic downturn, thus he's been reduced to being a small-time robber. He manages to get out of police custody and he has both men in his sites as revenge for turning him in. He breaks into Sonny's house, where the divorced dad lives with his precocious, porn-loving 16 year-old daughter Candice (Kristen Vigard) and prepares to kill Sonny. An unexpected drop-by visit by Donald results in a series of bizarre comedic set pieces. Cutting to the chase (literally), Donald inexplicably becomes an expert in self-defense and amasses an arsenal of assault weapons. He has fallen under the spell of a far right cult leader, Wes Huntley (James Wainwright), who runs a paramilitary camp in rural Vermont. Donald leaves his fiancee and heads for the hills to join the cult. Sonny learns that Jack Locke knows his whereabouts and he and Candice race to the camp to warn Donald.  The whole mad, mad, mad, mad fiasco disintegrates further when Reed shows up and attempts to murder Donald and Sonny, but ends up allying himself with them when they are marked for death by Wes. If you think all of this is convoluted to read, wait until you see it unwind on screen.

A major problem with the production is that Matthau is playing in a semi-realistic comedy whereas director Ritchie allows Williams to dabble in theatre of the absurd. One minute, he's in Robin Williams lovable loser mode, the next minute he's like a raving psychopath. Rarely have I seen him so consistently unfunny. Matthau steals the film by simply playing a typical Walter Matthau character: grumpy with his trademark hangdog facial expressions. Jerry Reed tries his best to invigorate the hit man character, but it's wildly inconsistent and unbelievable. Once the action shifts to Vermont, the pace is deadly and the jokes become weaker and more repetitive. It's as though Ritchie was just trying to run out the clock in order to meet the minimal running time. The film also suffers from some very sloppy aspects that are inexcusable. In the beginning of the film, a preoccupied Donald stops at Sonny's station to gas up- but he fails to insert the hose into the gas tank, thus allowing fuel to flow everywhere and later ignite when he tosses a cigarette nearby.  The scene is absurd, but for all the wrong reasons. Even if Donald doesn't see the ocean of fuel gathering on the ground around him, why would he not smell the pungent odor? Later, when Donald becomes suddenly obsessed with owning weapons, he drops by a local gun fair where enthusiasts are passing around military-grade hardware that is being sold openly and seemingly with no questions asked. However, at the time, New York City had (and continues to have) some of the strongest gun control laws in the United States. I have never heard of such events taking place there, though they are common in other parts of the country. It rings hollow and makes it seem like screenwriter Michael Leeson had never been in Gotham in his life. Additionally, when Donald decides to move to Vermont, he gets there via a taxi cab. The scenario calls out for a joke, but, alas, none comes. Let's set the record straight: in an unemployed person decided to travel to Vermont via a local taxi in 1983, they would still be paying off the fare today.

When "The Survivors" opened, it met with deadly reviews and was considered a boxoffice failure. New York Times critic Vincent Canby bemoaned the film thusly, "Most astonishing is that a director of Mr. Ritchie's taste and talent could have allowed a project of such utter foolishness to get to the point that it was actually filmed."  Indeed.

("The Survivors" is currently streaming on Amazon Prime. Click here to order the DVD from Amazon)

RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES 

In honor of the esteemed actor Nehemiah Persoff, who recently passed away at age 102, we are running this interview originally conducted with Mr. Persoff in 2010 by the late writer Herb Shadrak. 

Nehemiah Persoff: From Jerusalem to Hollywood and Beyond

By Herb Shadrak

Born in Jerusalem in 1919, Nehemiah Persoff went on to become one of the busiest character actors in Hollywood. His face is familiar to millions of boomers across North America from his numerous guest appearances on just about every TV series that aired from the 1950s through the 1990s. Persoff’s name may have been unfamiliar to many of these TV viewers, but his face was instantly recognizable. Filmspot.com describes Persoff as a short, dark and stocky-framed actor who specialized in playing ethnic-type villains, although he frequently essayed sympathetic roles as well. (Witness his heartbreaking moments with Maria Schell in Voyage of the Damned.) Yet he excelled as gangland figures like Johnny Torrio, mentor to Al Capone in the 1959 biopic, or mobster Jake Greasy Thumbs Guzik, a recurring role on The Untouchables.

Persoff's childhood was poverty-stricken, but there was constant singing, dancing and music in his home. He was a very creative and imaginative youngster, who always visited the circus when it came to the Holy City. "There was a large field in Jerusalem where the circus used to set up", Persoff recalls. "It was a very small one-ring circus, but I loved it. Outside the circus was an Arab with a box on a stand with peepholes in it, and he had a small monkey on a chain with a hat. This was enough to make me stand there for hours watching. One day, the Arab let me look through the peepholes. There I saw a funny man with a derby and cane. He had a funny walk. It was Charlie Chaplin! Little did I know that 20 years later I would meet that man face-to-face!"

Persoff found himself drawn to the cinema at an early age. "Two outdoor movie houses were opened on Zion Square: one was called Eden", he said. "It had a circle of bulbs that would light up one after the other. I used to walk down there barefoot and watch the cinema from a post on the street. From that height I could see the top of the screen for free. I think the other outdoor movie house was called Aviv. For its grand opening they showed Ben-Hur with Ramon Novarro. There were pennants hung all over! I guess that was our version of a Hollywood opening.I find that at age 88 my mind goes back to my early childhood more and more. Jerusalem in the late twenties was a place like no other. I cannot imagine a 10-year-old more attached to his birthplace than I was. I was keenly aware of the love that people had for each other, the feeling that we were all tied to the same cause. The pioneers came with nothing but enthusiasm and a love for life and our native land. Their attitude was "to hell with worldly goods, that's not what's important in our lives."

And yet Persoff's father, a silversmith and painter, felt he had no career prospects in Palestine. So the young Persoff emigrated with his family to the United States in 1929, just in time for the Stock Market Crash and the Great Depression. Persoff spent several years working as an electrician on the New York subway system, gradually taking an interest in acting in the 1940's.

"When I started acting, I was working in the subway and there was a rule that subway workers were not allowed to have any other job" Persoff remembers. "So on the program of the play, I used the name Nick Perry. My reviews were great but no one knew it was me, so I got none of the glory. After that I always used ˜Nehemiah Persoff".

After serving in the U.S. Army during World War II, Persoff started seriously pursuing an acting career in the New York theatre. In 1947, Persoffs big break came along, one that would lead to steady work in films and television for the next 52 years.

"My friend (actor) Lou Gilbert told me that if I wanted to audition for the Actors Studio, he would arrange it. I jumped at the chance. Elia Kazan was one of the busiest directors around, and to study with him and be in his pool of actors was every actor's dream. I was in summer stock playing the lead role in George Bernard Shaw's The Devil's Disciple. I knew that Kazan was with the Group Theatre along with writer Clifford Odets. I thought of doing something from an Odets play but then reasoned that perhaps a more classic approach might work better for me, so I did a monologue from Shaw. Two weeks later, I received an invitation to come to the first meeting of the Actors Studio. I took my seat on a bench and slowly looked around. There were John Garfield, Marlon Brando, Karl Malden, Montgomery Clift, Kim Hunter and Maureen Stapleton, among others. Kazan began to speak and told us his aim was to create a group of actors who work as he does, who speak his language, and that the people assembled in this room were the cream of the talent available. This was heady stuff for a nearly starving young actor. I studied with Lee Strasberg. He was brilliant and helped me find myself as an actor… I owe him much. Among other scenes, I did a Noel Coward piece with Kim Stanley"

After the Actors Studio, Persoff never looked back. His film credits include Kazan's On the Waterfront, The Harder They Fall (Humphrey Bogart's last film), Alfred Hitchcock's The Wrong Man, Never Steal Anything Small (with James Cagney), Rene Clement's This Angry Age (shot in Thailand), Green Mansions (with Audrey Hepburn and Anthony Perkins), The Hook (with Kirk Douglas), A Global Affair (with Bob Hope), Ray Danton's frightfest Psychic Killer, Barbra Streisand's Yentl and Martin Scorsese's The Last Temptation of Christ.

Persoff also guest starred on about 400 TV shows, including The Twilight Zone (playing a Nazi U-Boat captain in the classic episode "Judgment Night"!), Route 66, Ben Casey, Wagon Train, Rawhide, Mr. Novak, Burke's Law, Honey West, Dan August, The High Chapparal, The Big Valley, The Legend of Jesse James, The Wild Wild West, Gilligan's Island, Hawaii Five-O, Tarzan, It Takes a Thief, Land of the Giants and The Time Tunnel.

In the mid-1980s, Persoff began to pursue painting. Now retired from acting, he devotes full time to this avocation he has always loved.

Cinema Retro spoke to Persoff from his home in Cambria, California. (Continue to next page for interview)

BY LEE PFEIFFER

"The Deadly Affair", directed by Sidney Lumet, is the 1967 film based on John Le Carre's 1961 novel "Call for the Dead". Le Carre was riding high during the Bond-inspired Bond phenomenon of the 1960s. Unlike the surrealistic world of 007, Le Carre's books formed the basis for gritty and gloomy espionage stories that were steeped in realism and cynicism. The film adaptation of Le Carre's "The Spy Who Came in from the Cold" had been released the previous year to great acclaim. Lumet, who made "The Deadly Affair" for his own production company, rounded up top flight British talent including screenwriter Paul Dehn, who had written the film adaptation of "The Spy Who Came in from the Cold" and  co-wrote the screenplay for "Goldfinger".

As with all Le Carre film adaptations, the plot is complex to the point of being confusing. There are many intriguing characters of dubious allegiance to one another, a scarcity of violence in favor of people talking in back alleys and living rooms and a desire to paint the world of Cold War espionage as a tawdry environment in which the good guys are indistinguishable from the bad guys. James Mason plays Charles Dobbs, a veteran British Intelligence agent who takes a leisurely walk through St. James Park with a civil servant, Fennan (Robert Flemyng),who is aspiring to get a promotion to the Foreign Office. Dobbs informs him that there is a bit of concern about his security clearance because an anonymous person has tipped off MI6 through a letter that states Fennan's may have a dual allegiance to the communists. Dobbs considers the matter somewhat trivial and tries to assure Fennan that his name will probably be cleared. The men part on seemingly upbeat terms but the next day Dobbs is told by his superiors that Fennan has committed suicide. Dobbs is flabbergasted and insists the man showed no signs of instability. Nevertheless, Dobbs feels he is being made to be the fall guy for failing to see obvious weaknesses in Fennan's personality. That's not his only problem. Domestically, his young wife Ann (Harriett Andersson) is causing him great distress by taking on numerous lovers under his very nose. (Dobbs is even instructed to phone her before he comes home in case she has a bed mate in their house.) Dobbs is humiliated at playing the role of cuckold but can't bring himself to divorce Ann- even when it is revealed that his old friend Dieter (Maximilian Schell), a German Intelligence agent who is visiting London, has also been seduced by her.

Dobbs smells a rat at MI6 and doubts Fennan committed suicide. He starts his own investigation into who killed him and why. An interview with Fennan's widow (Simone Signoret) only makes matters more complex when he begins to suspect she might be a Soviet agent. Dobbs enlists the only two colleagues he can trust: agent Bill Appleby (Kenneth Haigh) and the semi-retired agent Mendel (Harry Andrews). The trio find that as they get closer to the truth, the trail is getting more dangerous with numerous murders occurring and their own lives in danger.

To bring Le Carre's novel to the screen, certain recurring characters from his books, such as legendary spy George Smiley, had to have their names changed because Paramount had the rights to "The Spy Who Came in from the Cold" and the characters appeared in the novel and screen version. Paul Dehn's screenplay is confusing but never boring and by the end you can pretty much figure out what is going on even if some of the peripheral characters' significance remains a bit vague. Sidney Lumet was the ultimate "actor's director" and could always be counted on to get top-rate performances from his cast. "The Deadly Game" is no exception, with James Mason in fine form as a man who has been disgraced professionally and personally but who still has enough pride to attempt to clear his name. Lumet hired two fine actors who appeared in his 1965 masterwork "The Hill"- Harry Andrews and Roy Kinnear- to reunite for this production and they have a great scene together. (Andrews must be one of the most under-rated actors of all time.) Maximilian Schell only appears sporadically but his role is pivotal and he is typically impressive, as is Simone Signoret as a woman of doubtful allegiance. Harriett Andersson, whose proficiency in English was limited, is occasionally difficult to understand (she was reportedly partially dubbed because of this). She accepted the role at the last minute when Candice Bergen had to back out of the film. She is suitably sultry and her character is quite interesting, professing to love her husband even as she revels in submitting him to sexual humiliation. The only humor in the film is provided by a very amusing Lynn Redgrave in a small role as Virgin Bumpus (!), an inept set designer for a Shakespearean theater production. Quincy Jones provides a fine jazz score that fits in well with the lounge music craze of the era and Freddie Young's cinematography depicts London as an ominous, rain-spattered place that adds to the chilling atmosphere of any Le Carre story. Adding to the impressive roster of talents involved with the film are Quincy Jones, who provides a fine jazzy score and cinematographer Freddie Young. Sidney Lumet wanted to film the production in B&W but the studio insisted on color. Thus, the ever-inventive Young created a process to intentionally make the scenes look drab and dubbed it "colorless color."

Although John Le Carre was not overly-impressed with the film, he did joke that he was beguiled by Harriet Andersson's nude scene. Le Carre's opinion aside, "The Deadly Affair" was highly acclaimed in Britain, having been nominated for five BAFTA awards but it was largely overlooked amidst the tidal wave of other spy movies from the time period. It's a first-rate thriller and Indicator have done it justice with an equally excellent Blu-ray special edition, which is happily region-free and features a high definition remaster. In addition, the Blu-ray contains the following special edition features:

• Original mono audio sound
• An excellent commentary track by film historians Michael Brooke and Johnny Mains
• "The Guardian Lecture with Sidney Lumet", a wonderful audio recording of a 1983 interview at the National Film Theatre conducted by Derek Malcolm, who gets the low-key director to discuss his own movies and the general state of cinema. Interestingly, even in 1983, Lumet predicted the short attention span (or perceived short attention span) of audiences would alter the way movies were made. He griped that in several recent films he had seen, no shot lasted for more than seven seconds without a cut being made.
  
• "A Different Kind of Spy: Paul Dehn's Deadly Affair", a featurette in which writer David Kipen discusses the life and career of the esteemed screenwriter. Kipen is loquacious and interesting, providing background of Dehn's fascinating background. He was an instructor at a spy school while in the British military in WWII and among his students were Ian Fleming and John Le Carre. He later engaged in undercover activities himself. After the war, Dehn became a screenwriter and Kipen laments the fact that many of the economically-made, but expertly scripted films he worked on in post-war Britain remain largely unseen by international audiences. Kipen also informs us that Dehn was a gay man living in Britain when homosexuality was still a crime and how his closeted life and long-time lover affair with film composer James Bernard may have influenced his work.
  
• "Lumet's London" is a short featurette that shows "then-and-now" footage and photos of the various locations seen in the film.
• "Take One and Move On" is a short but interesting interview with camera operator Brian West, who recalls the inventive way cinematographer Freddie Young planned some innovative shots.
  
• "The National Film Theatre Lecture with James Mason" is a rare gem from 1967. Mason didn't give an abundance of interviews and wasn't a common presence on chat shows. This marvelous interview before an enthusiastic audience is worth the price of the Blu-ray alone. Mason is, as you might expect, urbane, charismatic and very witty as he relates stories of his life and career including some tidbits about the pleasures and stresses of working with Hitchcock and Kubrick.
  

“THE PATTY-CAKE CHRONICLES, PART TWO”

By Raymond Benson

The Bing Crosby and Bob Hope “Road to…” series began in 1940 with Road to Singapore (click here for review), a landmark musical-comedy that teamed the dueling popular radio personalities for the silver screen.

Road to Zanzibar continues the successful formula begun in Singapore. Two playboys (Crosby and Hope, whose character names change with each movie, although their “characters” are always the same) find themselves traveling to some exotic locale in order to either escape a woman, gangsters, or pursue some con job, only to get mixed up in a farcical plot with an equally exotic woman (always Lamour). There are a few songs performed by both men or solo or with Lamour, comic hijinks (especially from Hope), and even some action and adventure. A running gag throughout the series was a bit that Crosby and Hope did—playing “Patty-Cake, Patty-Cake,” reciting the verse and slapping their hands in front of adversaries as a distraction—and then surprising the bad guys with sudden punches, thereby starting a fight and the means to escape.

In this popular sequel, Crosby is “Chuck” and Hope is “Hubert” aka “Fearless Frazier.” They work in circus sideshows with Crosby conning the populace regarding Fearless’ abilities as, first, a human cannonball, which results in a mishap that sets the entire circus ablaze. They try again at other circuses with different acts, until one day an eccentric diamond mine baron (Eric Blore) sells Chuck the deed to one of his African properties. It turns out it’s a fake, of course, so Hubert pawns the deed off to someone else, who insists—with threatened violence—that the duo lead them to the mine. The boys escape and hastily board a boat bound for Africa (it had to happen, right?). There, they are hoodwinked by Julia (Una Merkel) to help her save her roommate Donna (Lamour) from “slave traders,” when in fact it’s a con between Julia, Donna, and the slave traders to split the proceeds, repeatedly, from unsuspecting buyers. This leads to a safari across Africa with Chuck, Hubert, Donna, and Julia on the way to fame and fortune, when, in reality, the purpose is to reunite Donna with a man to whom she’s engaged. Of course, Chuck and Donna fall in love, Hubert at one point believes it’s he that she’s fallen for, and there is a threesome, and sometimes a little foursome, romantic entanglement. The climactic sequence involves the boys being separated by the safari and captured by hostile, Tarzan-style natives, who plan to first pit Hubert/Fearless against a gorilla (an actor in a suit) to prove the boys are gods; failing that, the boys will be eaten by the tribe.

Each “Road” picture is something of a spoof of a specific Hollywood genre. In this case, Zanzibar is a parody of the types of jungle safari movies like Stanley and Livingstone and Tarzan titles. Every cliché in the book is thrown in and lampooned.

Like Road to Singapore before it, Road to Zanzibar is total nonsense with some musical number decoration. As it was made in 1941, Hollywood was still in the era when African-Americans were underused in productions. They only got work playing maids, butlers, porters, and… African natives. Looking at the film today, the final sequence produces some wince-inducing moments, but at least Crosby and Hope don’t darken their skin to disguise themselves as they did in Singapore.

There are funny moments, to be sure, and Hope especially was then proving to audiences that he was a superb talent. Arguably, the “Road” pictures would not have been as successful without his presence.

Kino Lorber’s new Blu-ray looks quite good and comes with English subtitles for the hearing impaired. Two previously issued supplements accompany the film: a short documentary on Hope and the Road pictures, with appearances by Phyllis Diller, Randall G. Mielke (author of The Road to Success), and Richard Grudens (author of The Spirit of Bob Hope)—this same extra is also included on the Road to Singapore disk, and a 1944 featurette on Hope on “Command Performance,” a short that went out to the troops to accompany movie screenings. The theatrical trailer to this and other Kino Lorber titles round out the package.

For fans of Hope and Crosby and of a golden era of Hollywood that had a long way to go before becoming “woke,” Road to Zanzibar has its cinema history charm.

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BY DARREN ALLISON

Cineploit continue to help feed the healthy appetite for European cult film classics with their two latest Region-Free Blu-ray media book releases, Mark Colpisce Ancora aka The .44 Specialist aka Mark Strikes Again (Italy 1976) (CP 05) and Brothers in Blood aka Savage Attack (Italy 1987) (CP 06).

Police Inspector Mark Terzi (Franco Gasparri) works undercover as Mark Patti. He is assigned to apprehend a hardened group of terrorists. Terzi has already narrowly escaped a murderous attack at a location where he was meant to be in Vienna, which leads to suspicions. Soon after, clues lead Terzi to begin thinking that his own superiors may also be involved in the plot.

This was the final film in director Stelvio Massis’s ‘Mark trilogy’ and is considered by many commentators to be the best. Massis appears to have accumulated his collective skills, experiences and shooting techniques from the previous two films and put them to very good use for the final entry. Whist the plot and narrative are pretty straight forward, there is plenty of action to enjoy. Crashes, car chases, an air escape and plenty of bullets litter the screen, and given that this was probably something of a low-budgeted affair, it all comes off as both exciting and hugely enjoyable. The film looks good. too, making the most of its locations based mainly in and around Milan and Vienna. As with a great deal other Poliziotteschi films, Mark Colpisce Ancora also boasts an American actor in its cast. It’s usually no more than an extended cameo, but worked well, especially in reaching out to the American market. John Saxon appears here, Saxon had an uncanny knack of choosing and turning up in so many cult films. It would have been great to have seen him appear longer, but more often than not these Western world, star contracts arguably stipulated a week or so scheduling, and in the process Saxon no doubt collected a healthy fistful of Lira (and probably a return ticket to Europe for his troubles). The film marks its worldwide 2K Blu-ray premiere, and looks incredibly clean (the disc includes a restoration comparison) and free of any major defects. Euro film favourite, composer Stelvio Cipriani also keeps the suspense thumping along nicely with another memorable score.

As to be expected from Cineploit, their package is again highly impressive. Their media book style (as with their previous four releases) is beautifully produced with 28 pages of detailed information. The company also offer the media book in a choice of three different cover variations, (two Italian and one German) in numbered and limited editions of 400/300/300. Cineploit’s continued use of partial UV spotting also adds an edge to the covers overall presentation. Leading the bonus material is Part 2 of Cineploit’s exclusively produced career interview with composer Stelvio Cipriani. Cineploit teasingly split this excellent interview (part 1 was included on their debut release, La Polizia Ha Le Mani Legrate). There’s another 41 minutes here, which, with part one, totals some 92 minutes and makes it something of a defining overview on the composer. There’s also two further exclusive featurettes with son and assistant Danilo Massi and cameraman Roberto Girometti (20 and 16 minutes). Also included is an international picture gallery lasting some 8 minutes. Cineploit fashionably round the whole package off by including a reproduction double-sided poster with the Italian locandina and Manifesto. Wonderful stuff!

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“TECHNICOLOR SABERS”

By Raymond Benson

Was this really a movie sub-genre? Colorful “Middle Eastern” action-comedy-adventures loosely derived from The Book of One Thousand and One Nights? Full of harem girls, saber-wielding swashbucklers, epic set pieces with beautifully designed sets and “Arabian” costumes, camels and horses and tigers, and… comedians?

The answer is, ahem, yes. During the war years of the early 1940s, Universal Pictures made several of these “exotic adventure” pictures that capitalized on the success of Britain’s Thief of Bagdad (1940). Hollywood quickly got into this act, but like the Bing Crosby and Bob Hope “Road to…” pictures, these movies set in the world of ancient Arabia were filmed on sound stages in southern California… and it shows.

The films were hugely popular at the time, but they have not aged well. We shall examine two of the more successful entries of this short-lived movement—Arabian Nights from 1942, and Ali Baba and the Forty Thieves from 1944. Each picture shared some actors and a cinematographer (W. Howard Greene). Nights was nominated for no less than four Academy Awards in the categories of Cinematography and Art Direction (both richly deserved), Sound Recording, and Score (by Frank Skinner). Ali Baba did not chart at awards season, but it is, in truth, the better picture.

The good: These are gloriously produced old Technicolor extravaganzas that show off the artistry and imagination that only Hollywood can concoct. The films are truly gorgeous, and the new high definition restorations bring out the colors with intensity (of the two, Arabian Nights looks the best, but both are visually exquisite). Secondly, the films provide some excellently choreographed action sequences such as battles between Arabs and Mongols. It’s as if the pirate film genre had migrated to the Islamic Golden Age.

But therein lies the bad. These films have almost nothing to do with the real Book of One Thousand and One Nights. They are full of stereotypes and likely blasphemous depictions of Islam. Arabic characters are played by white Hollywood actors with darkened skin makeup. If all that weren’t bad enough, way too much of each movie is played for laughs. Blatantly comic actors are cast in major roles and they stand out like broccoli in a fruit basket. Consider this: Shemp Howard plays “Sinbad” in Arabian Nights, and he acts exactly like… Shemp Howard, complete with New York accent, mugging facial expressions, and squeaky vocalizations when he’s frightened. Loud, sneezy Billy Gilbert also has a sizable role in the picture. Ali Baba is graced with the presence of none other than… Andy Devine in a supporting role as one of the Forty Thieves. Andy Devine as an Arab? He even speaks like Andy Devine in his whiny drawl, “Aw, Ali, you don’t want to marry the princess! A thousand gold coins can get you a girl in the marketplace who’s just as purdy!”

Jon Hall stars in both movies as our hero. In Arabian Nights, he’s Haroun-Al-Raschid, the brother of the caliph. He has the title role in Ali Baba. Sultry Maria Montez is also in both pictures as the love interest. In the first, she is the famous dancer, Scheherazade (although in the credits and promotional materials, this is spelled Sherazade, but the characters pronounce her name the proper way). In Ali Baba, she is Amara, the prince’s daughter. Turkish-Czech actor Turhan Bey also appears in both movies in supporting roles. The popular Indian actor Sabu is a featured performer in Arabian Nights, having emigrated to Hollywood after the success of Thief of Bagdad.

Arabian Nights is the tale of two rival brothers, Haroun and Kamar (Leif Erickson, credited as Leif Erikson), their pursuit of Scheherazade, and their quest to gain power in Arabia.

Ali Baba and the Forty Thieves is the tale of Ali, the true caliph who is in exile because Bagdad is overrun by the Mongols. He wants to reunite with his childhood sweetheart, Amara, run the Mongols out of town, and reclaim the city for the Arabs.

The eye-rolling aspects aside, one must consider the films within the context of when they were made and released. Yes, they’re silly and loads of rubbish, but in their own way they are fun and entertaining. If one can get past Shemp Howard and Andy Devine, one might have a few laughs and appreciate the scenic beauty on display in these admittedly superb presentations.

Both films come with interesting audio commentaries by film historian Phillipa Berry. The theatrical trailers for each title and others from Kino Lorber are on both disks as well.

Arabian Nights and Ali Baba and the Forty Thieves, available separately from Kino Lorber, are prime examples of the Exotic Technicolor Adventure movement that Hollywood once pushed. So, grab your magic lamp, rub it a few times, sit back, and watch these vibrant burlesques with your favorite genie.

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BY LEE PFEIFFER

When "Billy Bathgate" went into production for Disney's Touchstone Pictures division, word-of-mouth was that filming was not going well. Today, such rumors would spread immediately but in the pre-internet age, information was largely confined to industry insiders and avid movie buffs who read the trade papers. The rumors were true. The project started out on a promising note, with noted playwright Tom Stoppard adapting E.L. Doctorow's source novel for the screen. Dustin Hoffman would star and the film would reunite him with director Robert Benton. The two men had both won Oscars for the 1979 Best Picture winner "Kramer vs. Kramer". What could go wrong? Turns out, plenty. The esteemed Doctorow let it be known that he felt Stoppard's screenplay didn't capture the essence of his novel and he distanced himself from the film even before production had wrapped. Hoffman and Benton didn't have a sentimental journey on the set, either, with the dreaded "artistic differences" emerging. Disney executives micro-managed aspects of the movie and insisted that a new ending be filmed at great expense, only to have the final cut revert to the original ending. The budget ultimately ballooned to $48 million (before marketing costs were even incurred), an extravagant amount in 1991. When the film opened, it was a major flop with both critics and audiences. There were occasional good reviews for individual contributors but in the aggregate, the movie's international grosses barely exceeded $15 million. Yet, as we've pointed out so many times in the pages of Cinema Retro, the fact that a film died at the boxoffice doesn't necessarily mean that it is an artistic failure and "Billy Bathgate" does have plenty of impressive aspects.

The film opens during the Depression in New York City with a disturbing scenario. A gangster named Bo Weinberg (Bruce Willis) is awaiting a terrible fate. He's on a boat heading into the waters off Manhattan, his hands tied to a chair and his feet encased in cement. Turns out he is the right-hand man to notorious gangster Dutch Schultz (Hoffman), who has found evidence that Bo has double-crossed him. Schultz delights in psychologically torturing Bo before adding insult to injury by forcing his girlfriend Drew Preston (Nicole Kidman) into a bedroom with her to be forced into sex acts. The entire scene plays out before the wide-eyed Billy Bathgate (Loren Dean), an up-and-coming teenager in Schultz's organization and someone who knows and likes Bo very much. But he knows that he will suffer the same fate if he takes pity on Bo. The scene switches into flashback mode. Billy, like most of his friends, is staring into an unpromising future of backbreaking work and impoverished living conditions. Aside from being charismatic and street-wise, he boasts a modest talent for juggling and performing slight-of-hand tricks. A chance encounter with notorious gangster Dutch Schultz allows him to demonstrate his juggling skills, much to Schultz's amusement (he hands Billy a $20 tip.) Encouraged by the opportunity, Billy finds a way to gain access to Schultz's offices, masquerading as a staffer who does janitorial duties. Schultz admires his moxie and offers him a legitimate job. Billy soon recognizes that Schultz has a dual personality. He can be funny, loyal and generous with his underlings, but he is also a sociopath who on a whim can turn into a violent killer. Billy knows that the only way to stay alive is to practice unquestioning fealty to Schultz. That discipline is hard to maintain when Drew, who has stayed on as Schultz's mistress, seduces Billy, leaving him to walk a fine line between indulging in his obsession for Drew and risking having his own feet placed in cement. As Schultz's crime empire begins to collapse due to increased federal investigations and indictments, the gangster becomes even more erratic, posing a threat to Billy and every one around him.

BY HANK REINEKE

OK, let’s start this review by stating an obvious and oft-repeated criticism. The actress Maria Montez was a skillful, if somewhat shameless, self-promoter; her primary asset wasn’t talent but beauty. In her desperate search for stardom, Montez arrived in New York City from the Dominican Republic, leaving behind an otherwise uncelebrated life as wife of a bank manager. Montez did a bit of modeling at first - even appearing in such widely-distributed magazines as LIFE - but a Hollywood career remained her primary target. She managed to secure a screen-test for RKO pictures, but was quickly scooped up by Universal in 1940 who thought her “exotic” features might prove useful to them. She mostly appeared as a supporting player in the years 1940-1941, but emerged in 1942 as a full-fledged star. She became, for a time, the “Queen of Technicolor,” an honor bestowed on her due to her appearances in a string of sumptuously photographed, escapist B-movie adventure entertainments.

Her first big taste of success followed her appearance in Arabian Nights (1942), but while she achieved top-bill status on the marquee, her on-screen time was unusually brief for a featured player. There was a reason for this, of course. The memories of many of the actors and filmmakers who worked with her would share similar reminiscences. Though they all agreed she photographed wonderfully, most conceded Montez simply couldn’t act or sing or dance. Her male admirers sitting in darkened theaters often felt cheated by the brevity of her screen time. But the softball roles assigned to her, to say it most politely, were purposefully undemanding as a matter of practicality. What Montez did possess, aside from her God-given beauty, was a combination of ego-centrism and moxey that was uncommon… even when measured against the copious self-regard exemplified by most of Hollywood’s most famous Divas.

With the provocative title of Cobra Woman, aficionados of Golden Age Horror might be seduced into thinking the flick is a borderline genre film.  It most certainly is not, the film having more in common with the chapter-serials of the 1940s than with the barrage of 65-minute second-feature chillers and mysteries that Universal would churn out with regularity.  The presence of Lon Chaney Jr. in the cast, not top-billed but still featured prominently in all of the film’s advertising, might also lead one into thinking this is a minor – if mostly forgotten - horror classic.  As the mysterious servant Hava, Chaney actually enjoys very little screen time and is given almost nothing to do aside from appearing menacing whenever on screen. 

Though Chaney flits in and out of the film, it is likely not a part he was particularly enamored of having been gifted; his character is little more than a hulking mute here, described as a “giant” by Sabu (Sabu Dastagir). Since he’s mute throughout Chaney is tasked to gesticulate to convey emotion and intention: it’s fair to say the actor is unable to convincingly pantomime in the style of his silent film star father, Lon Sr. This is not Lon Jr.’s fault, really, as his character is strictly one-dimensional. The actor may have been wasted in this role, but Chaney could hardly complain.  He would appear in no fewer than eight films release by Universal in 1944… with this one, arguably, being the least.

Though the dashing and handsome Jon Hall is at best dimly remembered by few others than fans of cult films of the 1940s and 1950s, his most famous roles were the ones in which he was paired (or, perhaps, saddled) with co-star Montez.  A former free-agent actor contracted by Universal, Hall was groomed to play the heroic leading man in such films as Invisible Agent (1942) and The Invisible Man’s Revenge (1944).  But his most memorable roles were played out here in the studio’s splashy Technicolor - but budget-strapped - adventure films.  He would eventually be paired with Montez in no fewer than six films.  

BY LEE PFEIFFER

Twilight Time has issued a Blu-ray release of the 1968 western "Bandolero!" as a region-free title that is limited to 3,000 units. The film is top-notch entertainment on all levels- the kind of movie that was considered routine in in its day but which can be more appreciated today. The story opens with a bungled bank robbery carried out by Dee Bishop (Dean Martin) and his motley gang. In the course of the robbery two innocent people are killed including a local businessman and land baron, Stoner (Jock Mahoney). The gang is captured by Sheriff July Johnson (George Kennedy) and his deputy Roscoe Bookbinder (Andrew Prine) and are sentenced to be hanged. Meanwhile Dee's older brother Mace (James Stewart), a rogue himself, gets wind of the situation and waylays the eccentric hangman while he is enroute to carry out the execution. By assuming the man's identity. he is able to afford Mace and his gang the opportunity to cheat death at the last minute. When they flee the town they take along an "insurance policy"- Stoner's vivacious young widow Maria (Raquel Welch) who they kidnap along the way. This opening section of the film is especially entertaining, mixing genuine suspense with some light-hearted moments such as Mace calmly robbing the bank when all the men ride off in a posse to chase down the would-be bank robbers.

Mace and Dee reunite on the trail and the gang crosses the Rio Grande into Mexico- with July and a posse wiling to violate international law by chasing after them in hot pursuit. Much of the film is rather talky by western standards but the script by James Lee Barrett makes the most of these campfire conversations by fleshing out the supporting characters. Dee's outlaw gang makes characters from a Peckinpah movie look like boy scouts. Among them is an aging outlaw, Pop Cheney (Will Geer), a well-spoken but disloyal, greedy man who is overly protective of his somewhat shy son, Joe (Tom Heaton). The presence of Maria predictably results in numerous gang members attempting to molest her but their efforts are thwarted by Dee, who always comes to her rescue. Before long, Maria is making goo-goo eyes at her protector, conveniently forgetting he is also the man who slew her innocent husband. (The script tries to get around this by explaining that while her husband was a decent man who treated her well, she could never get over the fact that he literally bought her as a teenager from her impoverished family). The story also puts some meat on the bone in terms of Dee and Mace's somewhat fractured relationship. Both of them have been saddle tramps but Mace informs Dee that his reputation as a notorious outlaw allowed their mother, who Dee neglected, to go to her grave with a broken heart. Every time the script might become bogged down in these maudlin aspects of the characters, a good dose of humor is injected.

BY LEE PFEIFFER

"The Deadly Affair", directed by Sidney Lumet, is the 1967 film based on John Le Carre's 1961 novel "Call for the Dead". Le Carre was riding high during the Bond-inspired Bond phenomenon of the 1960s. Unlike the surrealistic world of 007, Le Carre's books formed the basis for gritty and gloomy espionage stories that were steeped in realism and cynicism. The film adaptation of Le Carre's "The Spy Who Came in from the Cold" had been released the previous year to great acclaim. Lumet, who made "The Deadly Affair" for his own production company, rounded up top flight British talent including screenwriter Paul Dehn, who had written the film adaptation of "The Spy Who Came in from the Cold" and  co-wrote the screenplay for "Goldfinger".

As with all Le Carre film adaptations, the plot is complex to the point of being confusing. There are many intriguing characters of dubious allegiance to one another, a scarcity of violence in favor of people talking in back alleys and living rooms and a desire to paint the world of Cold War espionage as a tawdry environment in which the good guys are indistinguishable from the bad guys. James Mason plays Charles Dobbs, a veteran British Intelligence agent who takes a leisurely walk through St. James Park with a civil servant, Fennan (Robert Flemyng),who is aspiring to get a promotion to the Foreign Office. Dobbs informs him that there is a bit of concern about his security clearance because an anonymous person has tipped off MI6 through a letter that states Fennan's may have a dual allegiance to the communists. Dobbs considers the matter somewhat trivial and tries to assure Fennan that his name will probably be cleared. The men part on seemingly upbeat terms but the next day Dobbs is told by his superiors that Fennan has committed suicide. Dobbs is flabbergasted and insists the man showed no signs of instability. Nevertheless, Dobbs feels he is being made to be the fall guy for failing to see obvious weaknesses in Fennan's personality. That's not his only problem. Domestically, his young wife Ann (Harriett Andersson) is causing him great distress by taking on numerous lovers under his very nose. (Dobbs is even instructed to phone her before he comes home in case she has a bed mate in their house.) Dobbs is humiliated at playing the role of cuckold but can't bring himself to divorce Ann- even when it is revealed that his old friend Dieter (Maximilian Schell), a German Intelligence agent who is visiting London, has also been seduced by her.

Dobbs smells a rat at MI6 and doubts Fennan committed suicide. He starts his own investigation into who killed him and why. An interview with Fennan's widow (Simone Signoret) only makes matters more complex when he begins to suspect she might be a Soviet agent. Dobbs enlists the only two colleagues he can trust: agent Bill Appleby (Kenneth Haigh) and the semi-retired agent Mendel (Harry Andrews). The trio find that as they get closer to the truth, the trail is getting more dangerous with numerous murders occurring and their own lives in danger.

To bring Le Carre's novel to the screen, certain recurring characters from his books, such as legendary spy George Smiley, had to have their names changed because Paramount had the rights to "The Spy Who Came in from the Cold" and the characters appeared in the novel and screen version. Paul Dehn's screenplay is confusing but never boring and by the end you can pretty much figure out what is going on even if some of the peripheral characters' significance remains a bit vague. Sidney Lumet was the ultimate "actor's director" and could always be counted on to get top-rate performances from his cast. "The Deadly Game" is no exception, with James Mason in fine form as a man who has been disgraced professionally and personally but who still has enough pride to attempt to clear his name. Lumet hired two fine actors who appeared in his 1965 masterwork "The Hill"- Harry Andrews and Roy Kinnear- to reunite for this production and they have a great scene together. (Andrews must be one of the most under-rated actors of all time.) Maximilian Schell only appears sporadically but his role is pivotal and he is typically impressive, as is Simone Signoret as a woman of doubtful allegiance. Harriett Andersson, whose proficiency in English was limited, is occasionally difficult to understand (she was reportedly partially dubbed because of this). She accepted the role at the last minute when Candice Bergen had to back out of the film. She is suitably sultry and her character is quite interesting, professing to love her husband even as she revels in submitting him to sexual humiliation. The only humor in the film is provided by a very amusing Lynn Redgrave in a small role as Virgin Bumpus (!), an inept set designer for a Shakespearean theater production. Quincy Jones provides a fine jazz score that fits in well with the lounge music craze of the era and Freddie Young's cinematography depicts London as an ominous, rain-spattered place that adds to the chilling atmosphere of any Le Carre story.

"The Deadly Affair" was highly acclaimed in Britain, having been nominated for five BAFTA awards but it was largely overlooked amidst the tidal wave of other spy movies from the time period. It's a first-rate thriller and Mill Creek Entertainment has included it with five other Cold War films in a collection that features "Man on a String", "Otley", "Hammerhead", "The Executioner" and "A Dandy in Aspic". The DVD transfer is excellent but unfortunately there are no bonus features. Highly recommended.

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BY LEE PFEIFFER

For decades Bob Hope was one of Hollywood's most bankable stars. In the 1940s and 1950s, his films were regarded as sure-fire moneymakers. Studios loved Hope productions. They were generally filmed on modest budgets and returned major profits. By the late 1960s, Hope was still very much in-demand on American television. His TV specials for NBC always topped the ratings and Hope was a ubiquitous presence on TV chat shows. He even had a semi-permanent gig as the most beloved of all hosts for the annual Oscars broadcast. However, his status in the motion picture industry had diminished substantially. Hope's style of old-fashioned family films was becoming outdated in an era that saw new freedoms in on-screen sex and violence. When biker movies were depicting gang bangs and Bob and Carol were under the same sheets with Ted and Alice, Hope's sitcom-like comedies seemed as though they were from distant past. One of his more promising feature films was the 1969 production, "How to Commit Marriage", one of many sex-oriented comedies that were all the rage in the mid-to-late 1960s. (i.e. "The Secret Life of an American Wife", Divorce American Style", "A Guide for the Married Man", "The Tiger Makes Out", "How to Save a Marriage (and Ruin Your Life)", "Marriage on the Rocks".) In an attempt to remain relevant to modern audiences, this was the most adult-themed of Hope's big screen comedies.

Hope plays Frank Benson, a wealthy L.A. real estate agent who seems to have an idyllic life with his wife of many years, Elaine (Jane Wyman). However, their relationship is fracturing and the two spend most of their time together griping about the other and trading cruel insults. They agree to get a divorce and file the necessary paperwork. However, before they can be officially divorced, they receive a surprise visit from their teenage daughter Nancy (JoAnna Cameron), who returns from college with her new boyfriend David (Tim Matheson). He's a clean-cut type who is studying classical music and Nancy announces they intend to marry, largely because she has been so inspired by her parent's loving relationship. Frank and Elaine don't want Nancy to become disillusioned and decide to withhold the news about their pending divorce until after Nancy and David marry. However, there is a complication: David is the estranged son of Oliver Poe (Jackie Gleason), a rich promoter of rock 'n roll bands who resents Frank for selling him a Malibu mansion that was in a mudslide zone, thus resulting in Oliver losing his entire investment. He's an obnoxious boor and braggart with a sexy mistress (Tina Louise) and when he discovers the Bensons are secretly planning to divorce, he cruelly informs Nancy and David. Heartbroken and disillusioned, the young couple decides to eschew marriage and simply live together (still a shocking concept for a "nice" girl in 1969). Making matter worse, Oliver convinces the couple to quit college and join his latest band, The Comfortable Armchair, which is becoming all the rage. Distraught by the developments, Frank and Elaine begin to live in separate houses. Frank takes up with Lois Gray (Maureen Arthur), a voluptuous widow while Elaine begins dating Phil Fletcher (Leslie Nielsen), a suave rival of Frank's in the real estate trade. When both couples accidentally end up sitting beside each other at a Comfortable Armchair nightclub concert, they notice that Nancy is very obviously pregnant. They also discover that she and David have become disciples of a con-man posing as a guru named The Baba Ziba (Professor Irwin Corey). Oliver has bribed Baba Ziba to convince Nancy and David that it is in their spiritual interests to put their baby up for adoption. In reality, Oliver is motivated by his desire that the couple stay with the successful rock band and not become traditional parents.

BY LEE PFEIFFER

The film must have seemed to have the makings of a classic. Director Vincente Minnelli reuniting with Kirk Douglas for the first time since their triumphant The Bad and the Beautiful a decade earlier. Edward G. Robinson co-starring and a supporting cast that included Cyd Charrise, Claire Trevor, James Gregory, George MacReady, George Hamilton and lovely up-and-coming actresses Rosanna Schiaffino and Daliah Lavi. Add to this exotic Rome locations during the era when La Dolce Vita was all the rage plus a source novel by Irwin Shaw -- this had to be a project that couldn't miss. Alas, it did indeed go off-target, but the fact that the 1962 screen version of 2 Weeks in Another Town falls short of its potential doesn't mean it isn't a gloriously trashy spectacle to behold.

Douglas plays Jack Andrus, a washed up, one-time screen legend who is driven to the brink of insanity by the philandering nature of his Italian wife (Charisse), who ended up having an affair with Douglas' friend and collaborator, screen director Maurice Kruger (Robinson). Years later, Andrus is contacted by Kruger, whose career is also in decline, to reunite for a Rome-based major film that could revive their reputations and popularity. When Andrus gets to Italy, he discovers there is no part for him in the picture, but Kruger felt it would be therapeutic to have him assist in the dubbing of the film. Before long, the love/hate relationship between the two men sparks jealous and anger, with Kruger's Lady MacBeth-like wife (Trevor) constantly finding ways to cause friction. Adding to the soap opera aspects of the story is the presence of an Italian screen diva (Schiaffino), whose temper tantrums have everyone on edge. Andrus does find solace in the arms of a young lovely (Lavi) but before long is embroiled in enough personal intrigue and frustration to once again threaten his sanity.

The film is certainly not high art. Douglas dominates the landscape with the type of eye-popping antics that made him a favorite of impressionists during the era. Robinson is far more understated and it's great fun to watch the two conflicting acting styles in the same scenes. The film benefits from some good location scenery including rare glimpses of fabled Cinecitta Studios during its heyday, but Minnelli relies far too often on cheesy rear-screen projection shots that distract from the byplay among the actors. The story is often overly melodramatic and somewhat confusing, with the vast number of characters intertwined in each other's scandals. However, it never reaches the so-bad-it's-good status the similarly- themed The Oscar, which is somewhat of a mixed blessing.  With a few more "over-the-top" elements, Minnelli could have created a trash classic. As it stands, 2 Weeks in Another Town is too campy to be called a truly good film, and not campy enough to emerge as a cult movie. Still, with all the powerhouse talent involved, it never commits the cardinal sin of being dull.

The Warner Archive Blu-ray features a very good transfer and includes the original theatrical trailer.

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Clint Walker as Cheyenne.

BY LEE PFEIFFER

Clint Walker, the towering, rugged-looking leading man who specialized in playing gentle giants, has passed away at age 90. Walker had a diverse career including serving as a deputy sheriff providing security to the Sands casino in Las Vegas prior to entering show business. His first big break came during the craze for western TV series in the 1950s when he was cast in the title role of "Cheyenne", the first network series produced by Warner Brothers. The show proved to be a major hit, with Walker playing a solitary loner who came to the rescue of those being menaced by various villains. The show ran from 1955 to 1962. Walker had less success on the big screen, though he did land top billing in modest productions such as "Gold of the Seven Saints" which teamed him with Roger Moore, the India-based "Maya" and "Night of the Grizzly", a 1966 western adventure. Walker also co-starred with Frank Sinatra in "None But the Brave", a 1965 WWII film that Sinatra also directed. Walker teamed with Burt Reynolds for the 1969 western comedy crime caper "Sam Whiskey".

One of his best remembered roles was as a member of "The Dirty Dozen" in the blockbuster 1967 film in which he played one of a group of convicted military murderers who are recruited to volunteer for a dangerous mission behind enemy lines in Germany. (Walker would reunite with some of his co-stars to provide voice-over work in director Joe Dante's clever 1998 animated tribute to that film, "Small Soldiers".) Although Walker retired after working on Dante's film, he remained popular with his fans and would occasionally attend western-themed movie events. Click here for more.

This will make Eastwood fans' day: he's returning to the big screen in "The Mule".

Screen icon Clint Eastwood will return to the big screen in his first appearance as an actor since 2012. Eastwood will reunite with his "American Sniper" star in "The Mule", which tells the true story of a 90 year-old WWII veteran who becomes involved with a Mexican drug cartel. The plot has been tweeted to make Eastwood's character an unwitting accomplice of the bad guys. Eastwood will also direct the film. For more click here.

BY FRED BLOSSER

Sergio Leone’s “Giù La Testa,” later retitled not once but twice for American release, opened in Italy in October 1971 to great expectations by the director’s fans. According to the preeminent Leone expert Sir Christopher Frayling, in an informative audio commentary included in a new Blu-ray edition of the film from Kino Lorber Studio Classics under its second U.S. title, “A Fistful of Dynamite,” the Italian phrase meant something like “keep your head down.” In other words, in times of social convulsion like the bloody 1913 Mexican revolution portrayed in the movie, save yourself unnecessary grief and keep as low a profile as you can. Toshiro Mifune’s wandering samurai in “Yojimbo” offered similar advice: “A quiet life eating rice is best.” In Leone’s film, James Coburn and Rod Steiger starred as mismatched partners -- a fugitive Irish dynamiter and a volatile Mexican bandit -- who learn that you only bring sorrow and tragedy upon yourself when you leap into the whirlwind of political turmoil. When the picture reached the U.S. through United Artists in July 1972, the title was changed to “Duck, You Sucker,” a rough translation. In a literal sense, it’s the warning that Coburn’s character invariably utters just before he detonates his nitro charges. Leone thought it was a common colloquialism in America. Maybe he was thinking of “fire in the hole.” United Artists gave the release decent publicity, selling it as an action movie in a shorter (by half an hour) cut than the 157-minute Italian print. I remember seeing the ad art of Coburn and Steiger prominently displayed on a billboard in downtown Pittsburgh that summer, just before the picture opened. The ad extolled Leone as “the master of adventure.” Around the same time, United Artists Records released Ennio Morricone’s eclectic soundtrack on vinyl. The New York Times panned the movie, but Time Magazine offered a mostly positive review, one of the earliest to take Leone on his own terms instead of dismissing him as a passing curiosity.

However, audience turnout was sparse, and when the film reached smaller markets like the one where I saw it in early fall 1972, the studio had renamed it “A Fistful of Dynamite,” in an attempt to lure audiences who had flocked to Leone’s “A Fistful of Dollars” and its sequels starring Clint Eastwood. The strategy gave the picture a second chance in movie houses in that era before home video and streaming video when movies had to make money at the box office or not at all. However, it didn’t do much to boost business. In the meantime, another violent drama about a fugitive IRA gunman in revolutionary Mexico, Ralph Nelson’s “The Wrath of God,” had opened in theaters. Nelson’s film had the added commercial advantage of a “Playboy” pictorial. For the record, it didn’t sell many tickets either despite the publicity afforded by Hef’s magazine. Later, TV and VHS prints of Leone’s movie retained “A Fistful of Dynamite” as the title, and their pan-and-scan format ruined Giuseppe Ruzzolini’s beautifully composed Techniscope photography. The first respectful home-video edition finally appeared in 1996 from MGM Home Video on laser disc. Remember that technology from the dawn of home theater, sonny? The 1996 laser disc retained “A Fistful of Dynamite” as the title, but restored the widescreen aspect of the image and much of the footage missing from previous U.S. versions. “Duck, You Sucker” ultimately resurfaced as the chosen title for its premier on U.S. DVD from MGM Home Video in 2007.

On the run from the British government during the Irish Rebellion, explosives expert John Mallory (Coburn) comes to Mexico to work for German mining interests. There, traveling through the desert on a vintage motorbike, he crosses paths with Juan Miranda (Steiger), a sweaty, hot-tempered bandit who leads a gun-toting gang of robbers. The gang consists of Juan’s elderly father and Juan’s six sons “by different mothers.” Miranda sees Mallory’s proficiency with explosives as the key to realizing his long-cherished dream of breaking into the fortress-like Bank of Mesa Verde. The loot will enable him and his family to leave Mexico and reach the U.S., where -- like the worst nightmare of a Trump supporter -- he expects to pursue an even grander career robbing American banks. After Juan deviously maneuvers Mallory into a partnership, the Irishman eludes him but the two reunite in Mesa Verde. There, Mallory has joined a cell of insurrectionists headed by the dapper Dr. Villega (Romolo Valli). Villega plots a series of diversions in Mesa Verde to support two imminent onslaughts by the rebel commanders Villa and Zapata. One diversion will be an explosion at the bank, dovetailing with Miranda’s own obsession of pulling his big heist. Once the building is blasted open, Juan will lead his kids inside and empty the vault. But things take a turn he doesn’t expect, and instead of getting rich from the break-in, he becomes an unwitting hero of the revolution. For the cynical Juan, who has no use for politics and no loyalties beyond his rough affection for his aged father and his sons, it’s a dumbfounding development. Moreover, his new-found notoriety puts him in the crosshairs of a punitive military expedition led by a ruthless officer in an armored transport, Col. Gunther Ruiz (Antoine Saint-John).

In retrospect, it’s easy to see why the film did poorly at the U.S. box office, first under an opaque title and then under, arguably, a misleading one. Leone enjoyed using an elliptical narrative style in which often, as a scene begins or unfolds, the viewer doesn’t quite know where the characters are or the point of what they’re doing. Eventually, with a visual or verbal cue, the meaning becomes clear. Fans enjoy this technique, similar to a stand-up comic preceding a punchline with an elaborate set-up. Leone trusts that you’re smart enough and curious enough to stay with him. But the technique was bound to frustrate 1972 moviegoers who expected a straightforward shoot-’em-up narrative, based on the poster art of Steiger firing a machine gun, Coburn displaying a coat lined with dynamite, and a military convoy being blown up. Some confusion also resulted from the cuts made for the U.S. release. What happened to the paying job that Mallory was hired for, and if he’s finished with rebellions as he had implied in one passing comment, why does he end up collaborating with Dr. Villega’s resistance movement? A scene in the overseas print explained that Juan had lured John’s employer and a military guard to a remote church, and then killed them with a blast of Mallory’s dynamite. Mallory, known to be a wanted Irish rebel, was blamed for the murders; presumably, as the authorities put out their dragnet, he had only one recourse to slip out of Miranda’s devious grip -- go underground, seek refuge with the Mexican revolutionaries, and resume his insurrectionary career.

BY LEE PFEIFFER

To commemorate the 35th anniversary of Steven Spielberg's masterful "E.T. The Extra-Terrestrial", Universal has released a highly impressive edition comprising of Blu-ray, DVD and digital HD versions. The film has lost none of its wonder and timeless appeal and this gorgeous home video release makes it possible to re-live those great memories in appropriate style. (Some of us are old enough to remember being excited about the movie being released on VHS!) This limited edition is out of this world. 

Here is a description of the contents:

Combo Pack Includes Blu-ray + DVD + Digital HD* Over 3 Hours of Bonus Features! The E.T. Journals: Featuring behind the scenes footage from the filming of the movie, this featurette gives viewers a unique feeling of being on-set and living the excitement of what it was like to make E.T. (Blu-ray Exclusive) Steven Spielberg & E.T.: The director reflects back on the film and discusses his experience working with children as well as his overall and current perspective on E.T. Deleted Scenes A Look Back: A special insider’s look into the making of E.T. featuring interviews with Steven Spielberg, the cast, and others intimately involved with the film. The Evolution and Creation of E.T.: From idea to screenplay, through casting and making the film. The E.T. Reunion: The cast and filmmaker reunite to discuss their thoughts on the impact of the film. The Music of E.T. A Discussion with John Williams: Interviews and footage of the long-standing relationship between John Williams and Steven Spielberg. The 20th Anniversary Premiere: Composer John Williams played the score of E.T. live at the Shrine Auditorium for the re-release premier of E.T. This featurette gives us a behind the scenes look at this presentation.

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BY LEE PFEIFFER

The good folks at the esteemed boutique video label First Run Features are generally known for making available films that relate to important and usually sobering social issues. Every now and then, however, they delve into areas that are considerably more light-hearted in nature. First Run has recently overseen the theatrical release of the acclaimed new documentary "Vince Giordano: There's a Future in the Past" by directors Dave Davidson and Amber Edwards. The film has now been released on DVD. Giordano may not be a household name but he's a living legend among jazz purists who are devoted to the music of the 1920s and 1930s- the kind of upbeat, immortal tunes popularized by Paul Whiteman, Duke Ellington and Louis Armstrong.  Giordano plays to packed houses at Manhattan venues where he performs with his band, the Nighhawks, which he formed decades ago. Like many creative types, he is eccentric, to be sure. The film's glimpses into his personal life reveals that he lives modestly in two adjoining houses in a middle class neighborhood of Brooklyn. Giordano bought the house next door many years ago to accommodate his ever-increasing collection of sheet music and memorabilia that has obsessed him since childhood. The collection is meticulously cataloged in so many filing cabinets that his house resembles the Library of Congress. Floor-to-ceiling paperwork pertaining to his musical heroes permeates the place. You won't find any evidence in Giordano's abode that indicates the existence of rock 'n roll or even the glory days of crooners like Sinatra and Crosby. He is completely devoted to the golden era of jazz and works tirelessly to keep up with finding gigs that will help him keep his sizable band employed. 

The film opens with the band delighting in audiences at their long-time Manhattan home, the nightclub Sofia's which was located in the historic Edison Hotel off of Times Square (the same venue where Luca Brasi made the ominous walk to his doom in "The Godfather".)  For many years the Nighthawks performed here in the cozy venue, filling the room with the joy of the big band sound. I had seen them there several years ago and, despite not being a jazz enthusiast myself, I couldn't help but marvel at the sheer exuberance of the band. The film follows Giordano's travails as the leader of the Nighthawks- including informing the band members on camera that Sofia's is being forced out of business by landlords who have raised the rent to $2 million a year. Ever-resourceful, he finds them a new home at a club called Iguana- but there are countless  other frustrations involved in moving so many people to so many gigs far and wide. Many band members have been with Giordano for many years, some for decades. They relate how the sheer challenges of keeping on top of all of his responsibilities has sometimes caused him to break up the band, only to reunite them shortly thereafter. Giordano seems to have no other interests in his life than jazz and the Nighthawks. He is like an Evangelist in terms of spreading the word about the music and artists that he so reveres. His efforts are clearly paying off. We see him attract young people at the Newport Jazz Festival and at New York's famed private club for the arts, The Players, where he is one of the headline acts at the New York Hot Summer Jazz Festival. Giordano is part mother hen and part drill instructor to his band members. He refers to himself as "The King of Schlep" in regard to the fact that at age 65 he still loads and unloads the vast amount of equipment necessary for every show, carrying it all around in a rather weather-beaten van. He's like a modern version of Willie Lohman, feeling his age perhaps, but ever-devoted to his profession.  He relies on his right arm, Carol Jean Hughes, to help him keep track of the enormous amount of paperwork and logistical support that goes into running the band. Giordano shows a grumpy side when things go wrong:  a misplaced mouthpiece or a miscommunication that sees him setting up the entire band at the Players only to be told to dismantle everything because another band is scheduled to go on before him. But he's clearly in his element and delighting when playing in front of appreciative audiences. The band's prominence hit new heights with their Grammy-winning work on the HBO series "Boardwalk Empire" and the film includes clips from one of the segments in which the Nighthawks appear on camera. There is also extensive footage of David Johansen rehearsing with the band for the series. Giordano also coordinates a triumphant celebration of the 90th anniversary of Gershwin's "Rhapsody in Blue" and performs it at the same venue in which it premiered on the exact date of the anniversary in front of a cheering audience. The film also mentions that Giordano has worked with Martin Scorsese and Woody Allen, appearing on camera in musical scenes in their films.

"Vince Giordano: There's a Future in the Past" is a sweet-natured movie that was funded by grants and private donations. Directors Davidson and Edwards wisely allow ample screen time to show the Nighthawks performing- and the interviews with band members are especially interesting, giving a perspective of people who have not gotten rich but clearly enjoy what they do. Vince Giordano comes across as a New York original- the kind of guy you would like to sit down with at a bar for a few hours. However, that seems unlikely since the workaholic musician strikes me as the kind of obsessive who couldn't bring himself to stop studying and playing music long enough to drain down a couple of cold ones. The documentary is terrific on all levels- just like any performance by Vince Giordano and the Nighthawks.  

The DVD boasts an excellent transfer and a trailer gallery of other First Run features available on DVD, though strangely it does not include the trailer for the Giordano film.   

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BY LEE PFEIFFER

In the 1960s European cinema went mad for a style of filmmaking called portmanteau, which is a movie that consists of several short stories united by a common theme. One such film was the 1964 release "Les plus belles escroqueries du monde", released in English language nations as "The World's Most Beautiful Swindlers". The charm of such movies was that they generally gathered diverse, well-known filmmakers who contributed individual segments in their own unique style. The Olive Films Blu-ray edition of "Swindlers" showcases the work of four directors in generally whimsical tales that involve men and women who circumvent the law for their own personal gain. First up is a tale set in Tokyo, directed by Hiromichi Horikawa. Future James Bond girl Mie Hama plays a young woman who is frustrated by her "career" of working as a hostess in a bar where her duties are to keep male customers engaged in conversation. When she meets a middle-aged, wealthy eccentric (Ken Mitsuda), who walks around with a fortune in cash in a black bag, she sees an opportunity to exploit him using her sexual charms. She convinces him to allow her into his apartment where the lonely man is immediately entranced by her. However, he is embarrassed when she discovers he wears false teeth- and he makes the mistake of informing her they are extremely valuable because they are made of precious metals. When he conveniently succumbs to a fatal heart attack, the girl realizes that absconding with his cash would make her the obvious perpetrator of a crime, so she steals his dentures before calling the police to report the death. The "sting in the tail" ending, however, may be about dentures but it lacks sufficient bite when the young woman gets her just desserts in an unexpected way. Hama is a charming screen presence and its nice to see her in an early role. Director Horikawa squanders the opportunity to showcase the visual splendors of Tokyo by largely confining the action to interiors. However, the segment is reasonably entertaining. 

Japanese poster that played up the charms of Mie Hama.

The second episode is directed by Ugo Gregoretti and is probably the most satisfying of the lot.  Set in Naples, it involves a prostitute (Gabriella Giorgetti) who has been dumped by her lover and who is now homeless and desperate for money. She is befriended by one of her clients, a shy, kindly law student who devises a scheme in which she can legally marry a poor, elderly man who lives in a city-run shelter. This will provide her with the legal protections she needs to ply her trade and no longer be harassed by police. (The segment dwells on the archaic codes of morality that affected every man and woman who lived in Naples at the time). Things seem to go well until she jilts her ancient "groom" and her slavish law student in order to reunite with her cruel ex-boyfriend, who uses the marriage scheme to set up his own business. Before long, it is thriving as he acts as a manager to set up prostitutes in sham marriages to poor old men. The ironic ending in which poetic justice is meted out to both the hooker and her lover is rather clever and amusing. The third segment, directed by Claude Chabrol involves a team of young, good-looking swindlers ( Jean-Pierre Cassel and Catherine Deneuve among them) who have a chance encounter with a rich, obnoxious German (Francis Blanche), who has an obsession with the Eiffel Tower and who maintains a collection of memorabilia relating to the legendary edifice. They convince him to come to Paris, where they have set up an elaborate phony corporate operation under the pretense that they have been solicited by Parisian officials to find someone suitable to sell the Eiffel Tower to. The gullible German is giddy with glee at the prospect of owning the landmark building. There are some funny moments in which he is guided around Paris by his "business partners" and wined and dined by them, even though he ends up paying the tab for everyone. The segment shows a lot of promise but fizzles out with an abrupt and completely unsatisfactory ending that makes one wonder if Chabrol had run out of film or a brisk wind swept away the last few pages of the script. In any event, the bland finale compromises the amusing scenes that precede it. The final segment, set in Marrakesh, Morocco, is directed by the estimable Jean-Luc Godard and features Jean Seberg as an American journalist who comes into possession of counterfeit money. The police inform her that a counterfeiting ring is wreaking havoc on the local economy. Intrigued, she manages to track down the culprit, who agrees to an being interviewed by her (not a very smart move if you're a wanted man). The counterfeiter (Charles Denner) is a local peasant with a somnambulistic personality who justifies his actions by explaining that he uses his ill-gotten gains to help poor people. The segment starts off intriguingly with some exotic shots of Marrakesh but quickly devolves into pretentious, nearly incomprehensible blather. Godard keeps the entire latter half of the story confined to a back alley and presents the counterfeiter in a series of boring closeups. One can only assume that Godard simply wanted a free holiday in Morocco, as the segment is a complete snooze and ends the film on a bland note.

BY LEE PFEIFFER

Fox has reissued its original DVD release of the 1968 western "Bandolero!" as a region-free title in its made-on-demand "Cinema Archives" line.  The film is top-notch entertainment on all levels- the kind of movie that was considered routine in in its day but which can be more appreciated today. The story opens with a bungled bank robbery carried out by Dee Bishop (Dean Martin) and his motley gang. In the course of the robbery two innocent people are killed including a local businessman and land baron, Stoner (Jock Mahoney). The gang is captured by Sheriff July Johnson (George Kennedy) and his deputy Roscoe Bookbinder (Andrew Prine) and are sentenced to be hanged. Meanwhile Dee's older brother Mace (James Stewart), a rogue himself, gets wind of the situation and waylays the eccentric hangman while he is enroute to carry out the execution. By assuming the man's identity he is able to afford Mace and his gang the opportunity to cheat death at the last minute. When they flee the town they take along an "insurance policy"- Stoner's vivacious young widow Maria (Raquel Welch) who they kidnap along the way. This opening section of the film is especially entertaining, mixing genuine suspense with some light-hearted moments such as Mace calmly robbing the bank when all the men ride off in a posse to chase down the would-be bank robbers. Mace and Dee reunite on the trail and the gang crosses the Rio Grande into Mexico- with July and a posse wiling to violate international law by chasing after them in hot pursuit. Much of the film is rather talky by western standards but the script by James Lee Barrett makes the most of these campfire conversations by fleshing out the supporting characters. Dee's outlaw gang makes characters from a Peckinpah movie look like boy scouts. Among them is an aging outlaw, Pop Cheney (Will Geer), a well-spoken but disloyal, greedy man who is overly protective of his somewhat shy son, Joe (Tom Heaton). The presence of Maria predictably results in numerous gang members attempting to molest her but their efforts are thwarted by Dee, who always comes to her rescue. Before long, Maria is making goo-goo eyes at her protector, conveniently forgetting he is also the man who slew her innocent husband. (The script tries to get around this by explaining that while her husband was a decent man who treated her well, she could never get over the fact that he literally bought her as a teenager from her impoverished family). The story also puts some meat on the bone in terms of Dee and Mace's somewhat fractured relationship. Both of them have been saddle tramps but Mace informs Dee that his reputation as a notorious outlaw allowed their mother, who Dee neglected, to go to her grave with a broken heart. Every time the script might become bogged down in these maudlin aspects of the characters, a good dose of humor is injected, 

The story proper kicks in mid-way through the film when the gang finds itself en route to a remote town in the Mexican desert that mandates that they cross a hellish landscape populated by bandoleros, particularly vicious bandits who appear seemingly out of nowhere and pick off individuals one-by-one in a "Lost Patrol"-like scenario. July and his gang are also subject to the eerie murders as stragglers in the posse become victims. When Dee and his gang finally arrive at the town they find it deserted, as the population has fled the marauding bandoleros. Dee proposes to Maria and they agree to start a new life ranching with Mace in Montana- but their joy is short-lived when July and his posse sneak into town and arrest them. Before everyone can saddle up to return to the USA, the town is invaded by an army of bandoleros, setting in motion a truly exciting finale. The entire enterprise is directed by Andrew V. McLaglen, an old hand with horse operas and often memorable action flicks such as "Chisum", "The Wild Geese" and "The Sea Wolves". "Bandolero!" is one of his best achievements and he inspires fine performances by all. Martin plays it unusually straight and in a subdued manner, a rare instance during this era of him playing a realistic, multi-dimensional character. Stewart looks like he's having the time of his life and Welch, then still a contract player for Fox, acquits herself very well indeed among these seasoned pros. The supporting cast is excellent with Kennedy and Prine in top form and familiar faces such as Will Geer, Denver Pyle, Dub Taylor, Perry Lopez and Harry Carey Jr. popping up in brief appearances. There is also some excellent cinematography by William Clothier and a typically fine score by Jerry Goldsmith. "Bandolero!" is one of the best westerns released during this era. 

The Fox made-on-demand titles are generally devoid of bonus materials but they have wisely ported over additional content that was found on the initial DVD release. These include a trailer for the film as well as a Spanish language trailer and a gallery of very welcome trailers for other Fox Raquel Welch titles. The transfer is excellent but Fox didn't catch a blooper on the main menu which depicts Stewart, Welch and- wait for it- what appears to be an image of Stuart Whitman! Apparently some Mr. Magoo-type who designed the menu eons ago couldn't tell the difference between Dean Martin and Stuart Whitman, who starred in both "The Comancheros" and "Rio Conchos" for Fox. A minor gaffe on an otherwise fine release. 

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By John LeMay

Fat City, released in 1972, was something of a “rebound” film for beloved director John Huston, whose previous two films had been flops. Based upon the 1969 novel by Leonard Gardner (who also wrote the screenplay), Fat City follows Stacy Keach as Billy Tully, a small time boxer who never made it big who is living in squalor. When Billy makes a rare return visit to the gym, he meets Ernie (Jeff Bridges, hot off of a Best Supporting Actor nomination for The Last Picture Show). Billy sees some potential in the teenager’s boxing ability and suggests he go see his old manager, Ruben (Nicholas Colasanto—the future “Coach” on Cheers). Ernie does as told, and soon finds himself under Ruben’s optimistic wing, while Billy’s life further deteriorates when he begins an affair with an alcoholic wreck named Oma (Susan Tyrell, who would herself secure a Best Supporting Actress nomination for this film). At the same time that Ernie begins his fighting career, he too runs into trouble when he impregnates his virginal girlfriend and soon leaves the world of boxing behind. When Ernie and Billy reunite on a work crew in the San Joaquin Valley, both become inspired to get back into the ring and return to Ruben. However, for those assuming Bridges and Keach inevitably come to blows in some sort of bloody boxing ring climax, they don’t. This is because Fat City isn’t so much a “boxing movie” as it is a character portrait of Kecah’s sad-sack loser who just can’t seem to help himself out of the bottle and other bad choices. Things seem to be on the up for Billy in the third act when he finally shakes off his alcoholic lover Oma and wins his “comeback” fight. Billy self-destructs soon after though when he doesn’t get as big of a cut from the fight as he hoped for from Rudy (who has already given Billy plenty of money in advances). Billy soon goes running back to Oma, now back with her husband, and after her he crawls right back into the bottle. Billy ends the film just as he had begun it, and though we don’t know his future, it looks to be subpar as he shares a cup of coffee with Ernie.

Though character pieces like this are fairly common today, back in 1972 Fat City was something of a trailblazer. And though things end on an ambiguous if not totally sour note for the film’s protagonist, for director John Huston Fat City was indeed a successful comeback as it was both a critical darling and a financial success. Once again the famous director was back in high demand. As to those who no doubt puzzle over the film’s title, which is never spoken in the film itself, author Leonard Gardner told Time in 1969, “Lots of people have asked me about the title of my book. It's part of Negro slang. When you say you want to go to Fat City, it means you want the good life. I got the idea for the title after seeing a photograph of a tenement in an exhibit in San Francisco. 'Fat City' was scrawled in chalk on a wall. The title is ironic: Fat City is a crazy goal no one is ever going to reach.”

So in summary, those hoping for an inspiring sports movie might be disappointed, but for those that love downbeat realistic character studies, Fat City is a real winner. The Twilight Time Blu-ray comes with the film’s theatrical trailer, an isolated score track, an audio commentary with film historians Lou Dobbs and Nick Redman, and also some wonderful liner notes written by Julie Kirgo. This is a limited edition of 3,000 units.

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BY LEE PFEIFFER

"Gun the Man Down" is yet another Poverty Row low-budget Western shot during an era in which seemingly every other feature film released was a horse opera. Supposedly shot in nine days, the film is primarily notable for being the big screen directing debut of Andrew V. McLaglen, who would go on to be a very respected director who specialized in Westerns and action films. The movie also marked the final feature film for James Arness before he took on the role of Marshall Matt Dillon in TV's long-running and iconic "Gunsmoke" series. After failing to achieve stardom on the big screen, Arness found fame and fortune in "Gunsmoke" when John Wayne recommended him for the part. Wayne had been championing Arness for years and provided him with roles in some of his films. Following "Gunsmoke"'s phenomenal run, Arness seemed content to stay with TV and had another successful series, "How the West Was Won".  John Wayne was one of the first actors to successfully launch his own production company, Batjac, which produced this film and Wayne's influence is felt in the project. Andrew V. McLaglen was the son of Wayne's good friend and occasional co-star Victor McLaglen. The screenplay was written by Burt Kennedy, who Wayne would later hire to direct several of his own films. The movie provided young Angie Dickinson with her first role of substance and she would reunite with Wayne years later on Howard Hawks' "Rio Bravo". Speaking of which, another Wayne favorite, character actor Pedro Gonzalez Gonzalez appears in both films. Also in the cast is Harry Carey Jr. , son of Wayne's idol and and personal friend, Harry Carey. The cinematography is by William Clothier, who would lens many of Wayne's later movies and the film was produced by Duke's brother, Robert Morrison. "Gun the Man Down" is very much a Wayne family affair. 

The film opens with three fleeing bank robbers: Rem Anderson (James Arness), Matt Rankin (Robert J. Wilke) and Ralph Farley (Don MeGowan), who arrive at their hide-a-way cabin with the law in hot pursuit. Rem has been seriously wounded and Rankin makes the decision to leave him behind. Rem's girl, Jan (Angie Dickinson), objects at first but Rankin convinces her to go with them in part because they have $40,000 in loot from the local bank. The law arrives at the cabin and arrests Rem. He is nursed back to health and is offered a deal for a light sentence if he helps track down his confederates. Rem refuses and does his time in prison. Upon release, he begins his mission vengeance and tracks Rankin, Ralph and Jan to a one-horse town where Rankin has used his ill-gotten gains to open a profitable saloon. Upon discovering Rem is in town, Rankin hires a notorious gunslinger, Billy Deal (Michael Emmet), to assassinate him. Jan has a tense reunion with Rem and seeks his forgiveness but her pleas fall on deaf ears. Rem emerges victorious over Billy Deal and Rankin, Ralph and Jan flee town with Rem in pursuit. Their final confrontation takes place in a remote canyon with tragic consequences.  

Given the film's meager production budget, "Gun the Man Down" is a surprisingly mature and engrossing Western with intelligent dialogue and interesting characters. (In addition to those mentioned, there is a fine performance by Emile Meyer as the town sheriff). Arness projects the kind of macho star power that Wayne had and Dickinson acquits herself very well as the stereotypical saloon girl with a heart of gold. The film, ably directed by McLaglen,  runs a scant 76 minutes and was obviously designed for a quick playoff and fast profit. It has largely been lost to time but the Olive Blu-ray release puts in squarely in the realm of hidden pleasures. Fans of traditional Westerns will find nothing very new or innovative here, but the film does hold up as solid entertainment. The Blu-ray includes the original trailer.

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BY LEE PFEIFFER

 Explosive Media is a German-based video label that releases superb special Blu-ray editions of films that retro movie lovers will salivate over. The only problem is that, due to licensing issues, their products are primarily available through Amazon Germany, although some imports of the titles can occasionally be found on eBay and other Amazon sites. Among their latest releases is Roger Corman's 1960 adaptation of Edgar Allan Poe's "The Fall of the House of Usher". (Bizarrely, the film was marketed under this title in some territories and simply "House of Usher" in others. Go figure.) The film was a milestone in Corman's career. It not only marked his first color, Cinemascope production but also allowed him to finally graduate from making ultra-cheap, B&W exploitation flicks. More importantly, the film marked his first collaboration with Vincent Price, with whom he would team for numerous other Poe adaptations. "House of Usher" also proved important for Corman because henceforth, he would be working with American International Pictures for many years to come. AIP was supportive of his creative ideas and gave him virtually complete artistic control over his productions. The end result was that Price gained iconic stature in the horror genre, AIP became a highly profitable studio and Corman gained acclaim and respect as a producer and director who worked incredibly fast and efficiently without sacrificing the quality of the films. ("Usher" was shot in only 15 days!)  Along with way, the ties to Poe's original stories became quite flimsy, to say the least, but Corman always insisted on keeping them as period pieces and hired talented behind the scenes craftsmen to provide lush production values that masked to some degree the low budgets of the films. 

"House of Usher" opens with a solitary man riding his horse through a barren, ominous landscape. (Corman actually utilized an area of the Hollywood hills where a devastating fire had recently swept the area.) He arrives at a mansion house shrouded in fog and mist (another ploy of Corman's that he would frequently use to disguise the fact that he was shooting on a rather small studio set.) The man is Philip Winthrop (Mark Damon), who has traveled a long distance to reunite with his fiancee, Madeline Usher (Myrna Fahey). His arrival at the mansion is the stuff of horror movie cliches: a creepy butler refuses to let him in but Winthrop will have none of it. He insists on being announced to the mansion's reclusive owner, Roderick Usher (Vincent Price). Roderick is clearly annoyed by the presence of the interloper. He informs Winthrop that he is Madeline's older brother and has taken on the duties of being her caregiver because she is allegedly gravely ill and confined to her bed. Winthrop insists on seeing her. The tension between the two men is broken by Madeline's unexpected entrance into the room. She seems in desperate straits emotionally but does not appear to be physically ill. Winthrop soon finds that Roderick has been keeping her a virtual prisoner in the isolated Usher mansion. Alone and forgotten, Madeline seems eager to accept Winthrop's offer to take her from the premises back to Boston where he originally met her. Before he can do so, a series of eerie events intervenes and results in Madeline's apparent death by heart attack. Roderick, a distraught Winthrop and the butler, Bristol (Harry Ellerbe) preside over a short funeral service before Madeline's casket in entombed in the cellar along with those of previously-deceased members of the Usher family. Prior to departing, however, the heartbroken Winthrop learns that Madeline suffered from a rare disorder that put her in a trance-like sleep. He frantically runs to her tomb to find out that she had been buried alive. He rescues her and confronts Roderick who admits his despicable deed but justifies it by telling Winthrop that the Usher family has been cursed because of the inhumane acts the family members committed over generations. Even as the mansion house crumbles around  them during a storm, Roderick says the best thing he and his sister can do is simply die so that they will not bring any more suffering into the world in the manner that their ancestors did. As the storm intensifies, the mansion literally begins to fall apart...and Winthrop finds himself in a race against time to rescue the woman he loves, even as a raging fire begins to engulf the house. 

The Explosive Media Blu-ray edition boasts an outstanding transfer of this fine film, which features Price in top form and an impressive performance by Mark Damon in his first important role as a leading man. The production values are impressive, even though one cannot escape the obvious budget constraints.  (The "mansion" is depicted through obvious matte paintings and miniatures.). There is also a good deal of legitimate suspense and fine supporting performances by both Myrna Fahey and Harry Ellerbe. Cinematographer Floyd Crosby makes the most of the widescreen, color format and Les Baxter, who would also collaborate with Corman on future productions, provides a fine score. Bonus extras include an extensive new video interview with Mark Damon, who won a Golden Globe as "Most Promising Newcomer" for his performance in the film. Damon looks back on the film with pride and delight. He also discusses his eventual retirement from acting and his new career as a top producer, a status he still enjoys today. Damon speaks very fondly of Vincent Price but drops a bit of  bombshell by stating that Price, who had married three times and fathered children, was actually gay and, in fact, hit on him during the making of the film. Damon says that he politely rejected the overture and in the aggregate enjoyed working with and socializing with Price. (Price's daughter Victoria, recently confirmed her belief that her father was bi-sexual. Click here to read.) Other bonus extras include the original trailer, a wonderful gallery of stills and marketing materials and a German language collector's booklet. There is also a selection of trailers for other Explosive Media releases. Their titles are not easy to find in English language markets, but they are worth the effort to search them out. 

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Director Steven Spielberg has reunited with Tom Hanks for the recently-completed Cold War espionage thriller "Bridge of Spies", which tells the true story of a famous prisoner exchange that took place on a bridge in Potsdam. The intrigue involved American efforts to get back military pilot Francis Gary Powers, whose U2 spy plane had been shot down over the Soviet Union, thus giving the communists a major propaganda victory. The film will be scored by John Williams, who marks his 27th collaboration with Spielberg. For more click here. 

BY LEE PFEIFFER

The cruel loss of legendary cinematic figures continues into the new year with the death of Anita Ekberg in Italy at age 83. The precise cause of death is not known at this time but she had suffered from a long illness. Ekberg was Swedish by birth but was often mistaken as a native of Italy because of her close association with Fellini and his films. She was named Miss Sweden as a teenager and competed in the Miss Universe contest before her statuesque figure ensured a career in show business during an era when full-bosomed sex sirens were all the rage. Hollywood studios were particularly on the lookout for the next exotic European beauty and Ekberg filled the bill perfectly. She slogged through bit parts uncredited in major studio productions before landing a prominent role opposite John Wayne and Lauren Bacall in the 1955 hit "Blood Alley" (in which she played a Chinese woman!) This opened doors and she went on to appear in other Hollywood hits including  "Back From Eternity", "War and Peace" and the Martin and Lewis smash "Artists and Models". She would reunite on screen with the comedy team for "Hollywood or Bust". She received above-the-title billing in the 1956 adventure film "Zarak" opposite Victor Mature for future James Bond producer Albert R. Broccoli. However, it was the Fellini classic "La Dolce Vita" that made her a household name in 1960. In the film's most memorable sequence, she cavorts in the Trevi Fountain with Marcello Mastroianni while attired in a gown. Photos of the sequence remain an iconic part of film history. After "Vita", Ekberg's star burned brightly but briefly.  She reunited with Fellini for a segment of the 1962 film "Boccaccio '70". She appeared opposite Frank Sinatra and Dean Martin in the hit western spoof "4 For Texas" and opposite Tony Randall in "The Alphabet Murders".  She had a starring role in the 1963 comedy "Call Me Bwana" with Bob Hope. The film was produced by Broccoli, now in partnership with Harry Saltzman. (It remained the only non-Bond film the men would produce during the years of their partnership). She also had a prominent role in the Jerry Lewis comedy "Way...Way...Out". By the late 1960s, however, her star had faded in English language cinema and she concentrated on starring in European productions that were often made on low budgets. Her last credited screen role was in "The Red Dwarf" in 1998.

Ekberg's love life was the stuff of dreams for the tabloid press. She had affairs with prominent male stars such as Yul Brynner and Frank Sinatra. She was married for three years to British actor Anthony Steel and was married for over a decade to American actor Rik Van Nutter, who is primarily known for playing CIA man Felix Leiter in the Broccoli-Saltzman James Bond blockbuster "Thunderball" in 1965. Supposedly, Broccoli, who was dining with Ekberg and Van Nutter, offered him the role over dinner on a whim. It was a James Bond film, "From Russia With Love", that played an important role in Ekberg's career, though-bizarrely- she never appeared in the movie, at least in the flesh. In a pivotal sequence, a Soviet agent is assassinated when he tries to climb out a window of an Istanbul apartment house, the wall of which is adorned with a giant promotion of Ekberg in "Call Me Bwana". The clever gimmick promoted the Broccoli-Saltzman comedy that was already in release.

Ekberg's later years were anything but glamorous. In her obituary, the New York Times reports that the childless actress spent her last days in a nursing home penniless and lonely. She did, however, have one last moment in the sun when she appeared in 2010 at an Italian film festival where a restored print of "La Dolce Vita" was being shown. For at least this brief moment, her glory days returned as she made a glamorous appearance that stole the show.

For NY Times obituary, click here.  

Click here for review of "Back From Eternity".  

Click here for analysis of "La Dolce Vita".  

“If a movie makes you happy, for whatever reason, then it’s a good movie.”

—Big E

*******WARNING: REVIEW CONTAINS SPOILERS*******

BY ERNIE MAGNOTTA  

If there’s one thing I love, it’s 1970s made-for-TV horror films. I remember sitting in front of the television as a kid and watching a plethora of films such as Gargoyles, Bad Ronald, Satan’s School for Girls, Horror at 37,000 Feet, Devil Dog: Hound of Hell, Scream Pretty Peggy, Don’t Be Afraid of the Dark, Moon of the Wolf and The Initiation of Sarah just to name a few. Some of those are better than others, but all were fun.

When I think back, there have been some legendary names associated with small screen horrors. Genre masters John Carpenter (Halloween), Steven Spielberg (Jaws), Wes Craven (Nightmare on Elm Street), Tobe Hooper (Texas Chainsaw Massacre) and Joseph Stefano (Psycho) all took shots at television horror and created the amazing films Someone’s Watching Me!, Duel, Summer of Fear, Salem’s Lot and Home for the Holidays respectively.

However, there was one man whose name became synonymous with 1970s made-for-TV horrors. When it came to scaring the living daylights out of people in the privacy of their own homes, producer/director Dan Curtis was king.

Curtis’ first foray into television horror was as a producer of the 1960s classic, gothic soap opera Dark Shadows, which ran successfully from 1966-1971. Then, in 1968, he produced his first TV horror movie The Strange Case of Dr. Jekyll and Mr. Hyde which starred the late, great Jack Palance (Shane, Torture Garden, Alone in the Dark, City Slickers) in the title role.

In 1972, Curtis would team with legendary author Richard Matheson (I Am Legend, Twilight Zone, Incredible Shrinking Man, Duel) and, over the next five years, they would create a series of unforgettable made-for-TV horror films. Their first collaboration is, arguably, their best. The two genre masters would bring author Jeff Rice’s original novel The Kolchak Papers to the small screen. Curtis would produce while Matheson adapted Rice’s story. The film, now retitled The Night Stalker, was directed by John Llewellyn Moxey (City of the Dead aka Horror Hotel) and starred the great Darren McGavin (Mike Hammer, Airport ’77, A Christmas Story) as intrepid reporter Carl Kolchak hot on the trail of a nightmarish modern day vampire who’s stalking the back alleys of Las Vegas.

Released to ABC-TV on January 11^th, 1972, The Night Stalker became the highest rated television film at that time and it would hold that title for many years. The film’s enormous success led to an immediate sequel titled The Night Strangler. This time, Curtis would not only produce, but also direct from an original script by Matheson. The film was another huge hit, so, naturally, ABC wanted a third Kolchak adventure. Matheson wrote a script entitled The Night Killers, but unfortunately the movie was never made. The Night Stalker instead became a weekly television series.

Unconvinced that Kolchak could be done properly on a weekly basis, Dan Curtis decided to bow out of the series. Instead, in 1973, he produced and directed another great made-for-TV horror film titled The Norliss Tapes. This ABC Movie of the Week was very similar to The Night Stalker in that it involved a writer investing the occult. The movie, which was set in California, also served as the pilot to a series that, unfortunately, was never produced. Written by William F. Nolan (Logan’s Run, Burnt Offerings), the film starred Roy Thinnes (The Invaders) and Angie Dickinson (Rio Bravo, Police Woman, Dressed to Kill).

1973 would see three more TV horrors from busy producer/director Curtis. The Invasion of Carol Enders which starred Meredith Baxter (All the President’s Men, Family Ties, Ben), The Picture of Dorian Gray starring Shane Briant (Frankenstein and the Monster from Hell, Captain Kronos – Vampire Hunter, Demons of the Mind) and Frankenstein starring Robert Foxworth (Death Moon, Damien: Omen 2, Prophecy, Falcon Crest, Transformers), Bo Svenson (Walking Tall, Snowbeast, Inglorious Bastards, Night Warning, Heartbreak Ridge, Kill Bill Vol. 2) and Susan Strasberg (Picnic, Scream of Fear, Rollercoaster, The Manitou, Bloody Birthday, Sweet Sixteen, Delta Force).

In 1974, Curtis and Matheson would reunite for two more made-for-TV films which Curtis would once again produce and direct. Scream of the Wolf, starring Peter Graves (It Conquered the World, Mission: Impossible, Airplane), Clint Walker (The Dirty Dozen, Killdozer, Snowbeast) and Jo Ann Pflug (M.A.S.H., The Night Strangler, The Fall Guy), and the excellent Bram Stoker’s Dracula starring Jack Palance, Simon Ward (Frankenstein Must Be Destroyed, The Monster Club), Nigel Davenport (Chariots of Fire, A Man for all Seasons) and Fiona Lewis (Fearless Vampire Killers, Dr. Phibes Rises Again, Dead Kids, The Fury). Curtis’ last television horror film of 1974 would be Turn of the Screw. William F. Nolan adapted the classic Henry James novel which Curtis produced and directed.

In 1975, Curtis scored big once again by producing and directing an amazing made-for-TV anthology film titled Trilogy of Terror. The movie, again written by William Nolan from a collection of short stories by Richard Matheson, starred the always wonderful Karen Black (Easy Rider, Five Easy Pieces, Airport 1975, Family Plot, Burnt Offerings, House of 1000 Corpses) who headlined all three tales. The final segment, entitled Amelia, is the most remembered due to Black’s horrifying battle with the now iconic Zuni fetish doll. Curtis would produce and direct another made-for-TV horror anthology called Dead of Night. Released in 1977, the film was once again scripted by Richard Matheson.

Although 1977 would see the last of Dan Curtis’ 70s horror creations, there was still one more film to go. Curtis’ 1970s horror swan song would be the ABC made-for-TV chiller Curse of the Black Widow.

By Lee Pfeiffer

Some years ago I hosted a black tie dinner in honor of Sir Roger Moore at New York's famed club The Players. While interviewing him on stage, I asked him what he thought his best film performances were. Moore thought pensively for a moment or two and said, "None of them!" With tongue finally out of cheek, Moore explained that, with the exception of the little-seen 1970 cult movie The Man Who Haunted Himself- he had found success by essentially playing the same character. The names would change, so would the era, but the mannerisms that his fans warmed to were always firmly in place. Moore clearly feels its best to stick to a winning formula rather than have a bold departure from his usual traits backfire, a la John Wayne as Genghis Khan in "The Conqueror".  It's hard to be overly critical of an actor with such an admirable tendency toward self-deprecating humor. Moore has become Britain's version of Jimmy Stewart- an avuncular, national treasure who seemingly has no enemies in high places.  Nevertheless, Moore would be the first to admit to appearing in any number of cinematic misfires. Although wildly successful on television, Moore's big screen career has a checkered history. His Bond films were predictable blockbusters and  "The Wild Geese" and "The Sea Wolves" did very well internationally, even though they tanked in the USA. His "Cannonball Run" may have been awful but the all star cast propelled it to the top of the boxoffice charts. Beyond that, however, even some of the better films he appeared in such as "Gold", "Shout at the Devil" and "ffolkes" (aka "North Sea Hijack") never found the audience they deserved.

One of Moore's more ambitious and curious ventures, "Sherlock Holmes in New York", has been released by Fox as a burn-to-order DVD. The 1976 made for television project was telecast with great fanfare on NBC. (Moore made the movie between his second and third Bond flicks, "The Man With the Golden Gun" and "The Spy Who Loved Me".) He breaks no new ground in his interpretation of the legendary detective, but then again he slips comfortably into the role, bringing the same traits that characterized his performance as Bond and The Saint. To his credit, he never camps it up or goes for an over-the-top laugh (if only he had shown such restraint in the more embarrassing moments of his Bond films.) The movie, directed by the respected Boris Sagal, presents Holmes and Watson (Patrick Macnee) being summoned to New York when they receive word that Irene Adler (Charlotte Rampling) may be in some mortal danger. Adler, as any Holmes buff knows, is the only one who ever got under Holmes's skin. By actually outwitting him in a case, she earned his respect and caused the legendary detective to deal with some inconvenient romantic notions. It's best not to reveal too much about a Holmes story so that the viewer can experience a few surprises along the way. The film does set up the main story line in the opening sequence in which Holmes (wearing an embarrassingly obvious disguise) confronts his arch nemesis, Prof. Moriarty (John Huston) in his London lair. The two men exchange witticisms and insults and Moriarty vows vengeance for Holmes spoiling his latest criminal scheme. Moriarty promises that he will put Holmes in a situation in which he will be forced to abstain from helping authorities thwart one of his most ambitious crimes, thereby tarnishing the great detective's reputation forever.

If the plot is a bit tame and flabby, the cast is a great deal of fun to watch. Patrick Macnee plays Watson somewhat in the vein of Nigel Bruce but doesn't make him overtly useless- and, in fact, he actually saves Holmes life at one point. (Macnee and Moore would reunite in 1981 for the feature film "The Sea Wolves" and in 1985 for Moore's final 007 flick "A View to a Kill".) Huston excels as Moriarty but his scenes are far too limited and only book end the main story. The film was done rather on the cheap and all but one sequence was filmed in a studio, rather surprising considering the luster of the cast members involved. The script does have one rather surprising development about Holmes' personal life revealed as the shock ending...but to say more would be to say too much.

"Sherlock Holmes in New York" isn't one of the top entries in the Holmes canon, but any time you can see Roger Moore, Patrick Macnee and John Huston sharing scenes, it's a worthwhile way to spend a couple of hours.

(Available through most major on-line retailers.) 

Attenborough's role in the 1963 classic The Great Escape gained him international acclaim.

The film industry has lost another legend with the passing of Lord Richard Attenborough, who was one of the pioneers in successfully carving out dual careers as both actor and director. Attenborough was a familiar face as an acclaimed character actor in British films in the post-WWII era but gained international stardom in director John Sturges' 1963 WWII classic The Great Escape. (Attenborough's co-star in that film, James Garner, passed away last month). Attenborough also co-starred with Steve McQueen in that film and would reunite with him in director Robert Wise's sprawling 1966 epic The Sand Pebbles, which would earn Attenborough a Golden Globe award and an Oscar nomination for Best Supporting Actor. He directed his first film in 1969, a big-budget anti-war musical Oh! What a Lovely War. In 1972, he directed the ambitious screen biography of Churchill, Young Winston. He also directed the 1977 WWII epic A Bridge Too Far.  The following year, he gave Anthony Hopkins an important early leading role as the star of the suspense thriller Magic. Curiously, none of these films were significant boxoffice or critical successes but Attenborough persevered and finally brought his dream project- the biography of Ghandi- to fruition in 1982. He won the Academy Award for Best Director and also received the Oscar for producing the Best Picture. Attenborough had gone into self-imposed retirement from acting to concentrate on directing. He returned to the screen in 1993 to play an important role in Steven Spielberg's blockbuster Jurassic Park. Five years ago, Attenborough suffered a stroke and never fully recovered. He passed away today at his home in England at the age of 90. Click here for New York Times obituary. 

THE ULTIMATE SLUMBER PARTY

By Raymond Benson

There are certain films that capture the zeitgeist of an era, and The Big Chill is definitely one of them. If a movie like, say, Annie Hall, hits the nail on the head of urban relationships in the late 70s, then Chill embraces the Baby Boomers’ angst of adulthood in the early 80s—a time when the partying and discoing Carter years were undoubtedly over and we, in the USA, were solidly entrenched in Reagan’s world of hippies-turned-yuppies. The Big Chill is a love letter to the Baby Boomers, as it explores themes of regret over wasted opportunities, friendship and camaraderie, nostalgia, and the eternal question of what-happens-next.

Director and co-writer Kasdan, in a recent video interview (included as an extra on the disk), states that one of his influences for the picture was Jean Renoir’s 1939 classic, The Rules of the Game, which also dealt with an ensemble of characters coming together for a reunion at a country house. While the former film is bigger, more populated, and infinitely more complex than The Big Chill, one can definitely see the similarities. So-and-so has a history with whozit, but whozit is now married to you-know-who; whereas, you-know-who is really in love with so-and-so... and, well, you get the idea.

In The Big Chill, a group of close-knit friends from college reunite for the funeral of one of their own. Alex (who was played by Kevin Costner in flashback sequences that were ultimately edited out of the picture), was staying in Harold (Kevin Kline) and Sarah’s (Glenn Close) country home in South Carolina and committed suicide there. Alex apparently had an affair with Sarah (who is married to Harold). Vietnam vet and druggie Nick (William Hurt) once had a thing with hot-stuff but now-married Karen (JoBeth Williams), but Karen was really in love with hunky, now-TV-star Sam (Tom Berenger). Nerdy-and-socially-inept Michael (Jeff Goldblum) and smart-but-bitter Meg (Mary Kay Place) got it on in the past, but today Meg just wants to have a baby as a single mom and Michael is just, well, horny. But really, none of these histories make much difference on the story or unfolding of events during the weekend at the house. Over the course of the film’s 105 minutes, the characters laugh, fight, dance, expound philosophy, laugh some more, reflect on their lives, have sex (some of them do), and bond again with their “family.” Anyone who has gone to college can most likely relate.

Kevin Kline and Glenn Close

The intelligent script by Kasdan and Barbara Benedek was nominated for an Original Screenplay Oscar, and the film was nominated for Best Picture of ’83. Oddly, Glenn Close received the only acting nomination (Supporting Actress), whereas Goldblum, Place, and especially Hurt probably deserved nods as well (Goldblum certainly has the best lines!).

Then there’s the soundtrack, which is the ultimate Baby Boomer collection of rock and soul gems from the late 60s and early 70s—the period in which the characters were in college in Michigan. Isn’t it true that our favorite music is still what we heard in high school and college? In this case, there’s a lot of Motown, sprinkled with some Rolling Stones, Three Dog Night, Procol Harum, and other iconic pieces from the era. The music is as much a part of the film as is the characters. Perhaps it is a character.

The new, restored 4K digital film transfer, supervised by DP John Bailey and approved by Kasdan, looks terrific on Blu-ray. There’s an alternate remastered 5.1 surround soundtrack, presented in DTS-HD Master Audio on the Blu-ray disc. Extras include the aforementioned interview with Kasdan, a reunion roundtable discussion with the cast and some crew in 2013 (it’s interesting to note that none of the women in the cast bought into the plotline in which Sarah lets her husband Harold sleep with Meg as a favor), a documentary from 1998 on the making of the picture, deleted scenes (unfortunately, though, none with Costner), and the usual excellent essays in the enclosed booklet (one by Lena Dunham).

If you’ve never seen The Big Chill, now’s the time to do it. And if you have, maybe it’s time for a reunion with old friends.

CLICK HERE TO ORDER FROM AMAZON 

By Lee Pfeiffer

William Castle, the legendary gentle giant of horror film producers, had become obsessed with Whatever Happened to Baby Jane? when the the film was released in 1962. Starring two aging "has-beens" - Bette Davis and Joan Crawford, who Jack Warner said he wouldn't give a "plugged nickel" for- the film became an unexpected hit with both critics and audiences and revived both women's careers. Crawford, who remained very much the diva even during the lowest points of her career, was delighted with the renewed attention. As she was nearing sixty years old, he found herself in the unlikely situation of appealing to both her traditional fans and also a younger generation. In order to achieve the latter goal, however, she realized she had to change with the times and appear in films that had broad appeal to teenagers. So the former Mildred Pearce was quite enthused when Castle approached her with his own spin on the Baby Jane bandwagon. With horror films all the rage, Castle had carved a sizable niche in the marketplace by producing "B" movies and backing them with "A" marketing campaigns that usually found him front and center in promoting the fare. Castle's dream project, however, was to finally make a film that would be seen as a legitimate horror classic. He enlisted writer Robert Bloch, then red hot as the author of the novel Psycho, to develop a script based on the premise of an aging sexpot who had turned into an ax murderess. He originally envisioned Joan Blondell for the role but an accident left the veteran actress unavailable. Castle then approached Joan Crawford, despite the fact that she was known to be virtually impossible to work with due to her endless list of demands. Nevertheless, Crawford was eager to build on her revived fame and accepted Castle's pitch to star in a film titled Strait- Jacket. The movie got off to a rocky start when the actress playing Crawford's daughter didn't live up to her expectations. Crawford had her fired and Diane Baker, who Crawford liked and had worked with previously, was hired on a minute's notice to step in. Baker had only 24 hours to study the script but was eager to reunite with Crawford.

Strait-Jacket presents Crawford as Lucy Harbin, who we see as a woman in her twenties (yes, the notion of Crawford playing a character that age is as absurd as it sounds.) Lucy is a small town girl with a checkered past. She dresses and acts like a vamp but has finally settled down and has found happiness with her younger husband, Frank (Lee Majors, uncredited, in his first feature film). Returning home from a trip a day early, however, Lucy spies Frank in their bed with an ex-girlfriend, sound asleep. Worse, Lucy and Frank's young daughter is in the next room. Outraged, she creeps into the bedroom wielding a handy ax from the woodpile and proceeds to decapitate them- all in full view of their daughter Carol. The film then jumps twenty years ahead to the present day (1964) and Carol (Diane Baker) is now an attractive, responsible young woman who is living with her aunt and uncle (Rochelle Hudson, Leif Erickson), Lucy's brother and his kind, sympathetic wife. They have raised Carol to adulthood after Lucy was sent to a mental asylum. Now they are nervously awaiting her arrival at their farmhouse. Carol is determined to make her mother feel welcome again and never bring up the past. Lucy's arrival is anything but joyous. There are some awkward sentiments displayed but it is clear that Lucy is frightened to death and consumed by guilt over the pain she has caused her loved ones. Every innocent aspect of the farm seems to bring back terrible memories, from the slaughter of chickens and hogs to everyday implements laying around that remind her of murder weapons. Not helping matters is the presence of a slovenly farmhand (a virtually unrecognizable George Kennedy), who has the demeanor of a serial killer. Nonetheless, Carol and her aunt and uncle try to ease Lucy back to a normal life, showing great patience and compassion. However, things start to go awry, as one would imagine in any William Castle movie of this nature. At Carol's urging, Lucy tries to recapture happier times by donning a wig and the same type of clothing she wore as a much younger woman. The desired effect doesn't occur, however. Instead, Lucy's personality changes to that of the sex-crazed vamp she once was and, in one of the film's most unintentionally hilarious sequences, she attempts to seduce Carol's finance, Michael (John Anthony Hayes) directly in front of the horrified Carol. More weird occurrences begin to happen, culminating in some gruesome ax murders. Lucy is the only logical suspect, but there are some neat twists to the tale that would be inexcusable to reveal here.  

Strait-Jacket is an enormously entertaining flick that was a substantial hit at the boxoffice, thus consigning Ms. Crawford to more films in the shock/horror genre. Sony's burn-to-order DVD is yet another example of the company failing to capitalize on excellentspecial features that are included in this edition (or we should say, "reissued", as this content had been available on a previous DVD release.) There is an amusing promotional short that shows Crawford, William Castle and Robert Bloch in a campy promotion of the film (Bloch totes an ax!); an informative documentary, Battle Axe,  about the making of the film with interesting insights from movie historians; Joan Crawford silent wardrobe tests and fascinating silent footage of Crawford's rehearsals for gruesome ax murder scenes and, rounding out the bonus items is a short TV spot. None of these features are even mentioned on the DVD sleeve. In all, highly recommended. 

(In the next issue of Cinema Retro (#29), writer Don L. Stradley provides an in-depth examination of how horror movies saved the careers of aging leading ladies, including Joan Crawford, who went on to have several hit films in the genre including Strait-Jacket.) 

John Williams has confirmed that he will return to the Star Wars series to score director J.J. Abram's "Episode VII", which is expected to reunite the stars of the original film, Mark Hamill, Harrison Ford and Carrie Fisher. Williams says he has not seen the script yet but gave an interview in which he discusses his ideas about how to score the film. Click here for more 

By Lee Pfeiffer 

Sony has reissued the 1961 Hammer Films title Scream of Fear as a burn-to-order DVD. Although the title would seem to imply this is a typical Hammer horror movie production, it is actually a real world suspense thriller. Susan Strasberg plays Penny Appleby, an attractive young woman from a wealthy European family who has led a life of personal turmoil. Her beloved parents had divorced and her mother later died. She depended heavily on the companionship of her personal assistant, who became her best friend. That young woman died tragically and Penny herself almost drowned in an accident that has left her confined to a wheelchair. Although afforded the best medical care in a private sanitarium, she longs to reunite with her father, who she has not seen in ten years. We first Penny when she arrives at the family mansion on the French Riviera. Her attractive stepmother Jane (Ann Todd) greets her warmly but tells her the surprising and disappointing news that her father has been called away for an indeterminate amount of time due to business reasons.  Penny makes it clear she is heartbroken by the development. Jane treats her stepdaughter with all due courtesy but it is clear there is resentment on Penny's part toward the woman she suspects is hiding a secret about her father. When she expresses skepticism about his whereabouts and well-being, she conveniently receives a phone call supposedly from her father, who gives her reassurance that he is doing fine. The call's purpose backfires, however, as Penny makes it clear to Jane she has strong suspicions that the man on the other end of the line was someone impersonating her father. Things go from bad to worse when Penny encounters a terrifying sight: the body of her dead father sitting in a chair inside a storage cottage. By the time Jane arrives to investigate, the body is inexplicably gone. More eerie occurrences haunt Penny, from mysterious piano playing to a second sighting of her dead father. Jane enlists the help of the family physician,  Dr. Gerrard (Christopher Lee), who assures the young woman that these incidents are just hallucinations brought on by stress. Soon, Penny begins to suspect that Jane and Dr. Gerrard are illicit lovers who are trying to have her declared insane. Her one ally is Robert (Ronald Lewis), the hunky family chauffeur who theorizes that  since Penny is the primary heir to her father's fortune, if she js declared mentally ill, her stepmother will inherit everything. He also posits a more frightening scenario: if Jane and Dr. Gerrard had murdered her father, they might think nothing of murdering her, as well, and staging both deaths to look like accidents. 

Scream of Fear was written and produced by legendary Hammer screenwriter Jimmy Sangster. The B&W production was shot on a low budget (this was Hammer, after all) and is very claustrophobic, with most of the action taking place inside the mansion house where Penny is subjected to an increasing number of frightening scenarios. In the true tradition of screen heroines, however, she dutifully investigates every one of them, wheeling herself into dimly lit rooms to see what has gone "bump" in the night. As with most Hammer movies, however, the film rises above its financial limitations due to the excellence of the cast and performances (Strasberg, who died in 1999 at age 60, should have been a much bigger star). Although Christopher Lee's appearances are limited, he is as effective as ever, and its refreshing to see him in a Hammer film that doesn't exploit him as a monster or mad doctor. Ronald Lewis and Ann Todd provide able support. 

Sangster's script, directed very ably by Seth Holt (who also died young, at age 47 in 1971). The story tends to go a bit over-the-top on occasion and doesn't hold up to much scrutiny. For example, the reoccurring appearances and disappearances of Penny's dead father strain credibility when the explanations are finally offered. Similarly, the fate of Todd's character in the movie's awkward final few seconds seems tacked on and is rather unconvincing. Having said that, however, in the aggregate, Sangster provides so many unexpected plot twists and turns that viewers will almost certainly find it difficult to predict where he is leading them. The film is intelligently written, directed and acted and can be highly recommended as one of the more offbeat and effective Hammer films of the period.  

The DVD is an excellent transfer. There are no bonus extras, however.  

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Cinema Retro has just received the following press release from Sony:

Director’s Follow-Up to SKYFALL™, the Highest-Grossing Film in the Longest Running Film Franchise, to Arrive in Theaters on October 23, 2015 in the UK and November 6, 2015 in the US

CULVER CITY, Calif., July 11, 2013 – Producers Michael G. Wilson and Barbara Broccoli, EON Productions; Gary Barber, Chairman & CEO, Metro-Goldwyn-Mayer; Michael Lynton, CEO, Sony Entertainment, Inc, and Amy Pascal, Co-Chairman of Sony Pictures Entertainment today announced that Daniel Craig will once again return as the legendary British secret agent in the 24th James Bond film and Sam Mendes will also return to direct the screenplay written by John Logan.  The film is set for release in UK theaters on October 23, 2015 and in US theaters on November 6, 2015.

SKYFALLâ„¢, the 23rd James Bond film, took in $1.1 billion worldwide and set a new mark as the highest-grossing film of all time in the UK; it was the best-selling Bond film on DVD/Blu-ray and was the most critically acclaimed film in the history of the longest-running film franchise.

Commenting on the announcement, Wilson and Broccoli said, "Following the extraordinary success of SKYFALL, we're really excited to be working once again with Daniel Craig, Sam Mendes and John Logan.”

"I am very pleased that by giving me the time I need to honour all my theatre commitments, the producers have made it possible for me to direct Bond 24. I very much look forward to taking up the reins again, and to working with Daniel Craig, Michael G. Wilson and Barbara Broccoli for a second time,” said Mendes.

Barber added, “We are thrilled to reunite the extraordinary talents of director Sam Mendes with our star Daniel Craig for the next great Bond adventure.” He added, “As evidenced by the phenomenal success of our last collaboration with EON Productions and Sony, the incredible legacy of this 51-year-old franchise continues to amaze.”

Lynton and Pascal said, “It’s a privilege to work on the Bond films. EON, John Logan and Sam Mendes have come up with an extraordinary follow up to SKYFALL and we, along with our partners at MGM, can’t wait to share this new chapter with audiences all over the world.”

Cinema Retro has received the following press release:

LONDON FILM MEMORABILIA CONVENTION

www.londonfilmmeorabiliaconvention.co.uk

At Central Hall Westminster – Saturday September the 22^nd ( 10 am – 5 pm )

A celebration of the quintessential James Bond film!

Key members of the cast and crew, reunite for a one day and one-off unique event!

With over 100 sellers from four continents coming to London for the day. Selling Goldfinger and other original James Bond film memorabilia , plus general film memorabilia from the silents to the latest releases.

One of the worlds largest collections of James Bond film memorabilia ever assembled up for sale!

Plus vintage James Bond collectable retro toys and games!

The special guests on the day include –

SIR KEN ADAM HONOR BLACKMAN SHIRLEY EATON TANIA MALLETT MARGARET NOLAN CARON GARDNER BURT KWOUK NORMAN WANSTALL

• A special SIR KEN ADAM retrospective with SIR CHRISTOPHER FRAYLING
• An HONOR BLACKMAN retrospective show
• GOLDFINGER MEMORIES – The Golden Girls “ Reflections Talk “ SHIRLEY EATON TANIA MALLETT MARGARET NOLAN talk about their memories of making Goldfinger and working with Sir Sean Connery and director Guy Hamilton.
• Oscar winning sound editor NORMAN WANSTALL will talk about Bond behind the scenes and his work with the directors Terence Young , Guy Hamilton and editor Peter Hunt. Also demonstrate how picture and sound editing was done on the early Bond films with the moviola.

Tickets to the special talks and retrospectives can be bought from the website.

The number of tickets available are limited in numbers can now be purchased on the website www.londonfilmmemorabiliaconvention.co.uk

A free screening in the afternoon of the newly remasterd and restored “ The Edgar Wallace Mysteries “ features an early Sean Connery performance.

And much…Much more…

Martin Scorsese and Leonardo DiCaprio will team for the fifth time for The Wolf of Wall Street, based on the memoir of a hot shot executive whose hard partying ways during the Wall Street boom years almost brought about his demise. We're enthused about this, but the production company, Red Granite, should have read their press release a bit more carefully: the first reference to Leo is "DiCraprio"! 

McCallum and Vaughn jokingly grapple over possession of the Golden Globe awarded to The Man From U.N.C.L.E. in 1966. Despite both stars' assurances to the contrary, rumors of a "feud" between them have persisted for decades.

By Lee Pfeiffer

During the heyday of The Man From U.N.C.L.E. the press had a field day reporting that the show's stars Robert Vaughn and David McCallum were locked in a bitter feud. In fact, both men got along famously. They rarely socialized, however, because Vaughn was one of Hollywood's swinging bachelors and McCallum had a wife and kids. At the end of a long day's work, Vaughn would take in the night life, while McCallum spent time with his family. Yet, the rumors still persist. The National Enquirer is spinning McCallum's reluctance to use his long-running hit show NCIS as a platform to reunite with Vaughn as evidence of bitter feelings toward his former co-star. Apparently, many NCIS viewers have been pushing to have Vaughn guest-star in an episode and McCallum's reluctance to agree to the reunion is reigniting old rumors about a feud.

Reached by Cinema Retro for comment, McCallum confirmed that he has always tried to keep the U.N.C.L.E. series separate from his other endeavors but it has nothing to do with his personal affection for Vaughn. He said that Vaughn fully understands his feelings and knows that any hint of a slight in his direction is a "total fabrication". In fact, McCallum did reunite with Vaughn for the 1983 TV movie Return of the Man From U.N.C.L.E. His respect for Vaughn also led him to co-star with him in a 1980s episode of The A Team, in which both actors were cast as Cold War adversaries.

A couple of years ago, I hosted a dinner for Vaughn at the Players club in New York, where we are both members. I invited McCallum to attend, but it seemed more like a Mission:Impossible scenario than anything related to U.N.C.L.E. McCallum said he was filming at the time and he doubted he would be able to show up. Vaughn said he probably wouldn't attend anyway because McCallum tends to loathe black tie events. Lo and behold, however, McCallum did adjust his schedule and showed up as a surprise guest, much to the delight of everyone. Vaughn was very moved -especially when David addressed the crowd and expressed his great respect for his former co-star in a wonderful and moving speech.  So if there is a "feud", this is a pretty strange way of carrying it out. For more click here

(For Cinema Retro's coverage of the Vaughn dinner click here)

The former Governator will team with other 1980s action icons in a sequel to The Expendables.

Last year's hit action movie The Expendables proved that older stars can kick butt on screen and off (the pic grossed $275 million). Now comes good news concerning the sequel: both Arnold Schwarzenegger and Bruce Willis will return, this time in far more extensive roles than their brief cameos in the original film. For more click here

John Travolta will reunite with the cast of the hit 1970s sitcom Welcome Back, Kotter on the April 17 TV Land Awards show. Travolta rose to stardom in the series, which helped him land his Oscar-nominated role in Saturday Night Fever. For more click here