1940s, Blu Ray, cult, dvd, fantasy, film, genre, Horror, monsters, obscure, OLIVE FILMS, rare, Republic, reviews, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, VAMPIRES, wierd

THE VAMPIRE’S GHOST (Republic 1945)(Blu Ray & DVD from Olive Films)

THE VAMPIRE’S GHOST (Republic, June 1945) B&W 59 minutes (OLIVE FILMS Blu-Ray https://olivefilms.com/product/the-vampires-ghost/ $24.95. Also available on DVD $19.95)

 

Back in 2013, SCARLET THE FILM MAGAZINE ‘s print edition had an in-depth review of the Republic horror films (SCARLET #9, Feb. 2013). In that over view, one of the film’s covered was the neglected gem, THE VAMPIRE’S GHOST.

Republic saw the success of the RKO horrors, and decided to get into lucrative monster market. Their films were always entertaining (THE LADY & THE MONSTER, Republic ,1944, is probably best known, due to it starring Erich Von Stroheim) but never received the respect and love that RKO or Universal’s horrors have gotten.

Luckily, Olive Films is hoping to remedy that with their release of various Republic titles. They have already released a magnificent THE QUIET MAN (Republic ,1952 https://scarletthefilmmagazine.wordpress.com/2016/10/25/the-quiet-man-olive-films-signature-blu-ray/ ) and MACBETH ( Republic 1948/1950 https://scarletthefilmmagazine.wordpress.com/2016/11/17/orson-welles-macbetholive-films-blu-ray/ ),and are also releasing their overlooked features like SABOTAGE (Republic ,1939 https://scarletthefilmmagazine.wordpress.com/2017/01/18/sabotage-1939/ ) and now THE VAMPIRE’S GHOST .

 

Set somewhere in Africa in a fictional village of Bakunda, a voice over narrator intones: “Africa, the dark land where Voodoo drums beat in the night…Africa… where men have not forgotten the evil they learnt in the dawn of time… I always come back to Africa… but even here there is no rest for me. The path of time is curved here like a sickle…I cannot die…I cannot rest. I cannot rest. I cannot rest…”

Right away, you can see the influence of Val Lewton films like “I WALKED WITH A ZOMBIE (RKO,1943), that also open with a voiceover.

The narrator is Webb Fallon (played with a weary sadness by actor John Abbott, the English character actor, who worked with the likes of Olivier on stage, and is perhaps best known as Ayelborne in the Star Trek episodeErrand Of Mercy “(Paramount, season one episode 26, March 1967).

 

As his story above unfolds, we see a map of Africa, then a drawing of the village that fades into the “actual city” of Bakunda (what looks like a cleverly disguised Spanish village set from countless Republic westerns). The camera prowls through the streets, until we come upon a door, wherein a hand enters the frame and opens the door.
There we see a sleeping native woman, who awakes in horror. Fade to black.

The town of Bakunda is the latest village to suffer a mysterious death, with each victim having been partially drained of their blood. Father Gilchrist (Grant Withers, who often played villains or police officers for Republic, Monogram or PRC) suspects that another village has reverted to voodoo, and may be responsible for the killings.


Roy (Charles Gordon,for whom it seems this was his largest role of his ten-year career), greets his fiancé Julie Vance (Peggy Stewart, born in 1923, is still working, having appeared in  THAT’S MY BOY (Columbia ,2012) as Grandma Delores) who has just returned from Johannesburg, South Africa. Thomas Vance (Emmett Vogan, who appeared in over 500 films and television shows in his career, including appearing as the Coroner in THE MUMMY’S GHOST, Universal ,1944) invites them all to his home.


They discuss how the murders are affecting the natives, who are fearful, and abandoning the fields (so, not so concerned about their safety as how they affect production??). Roy decides to visit Webb Fallon, who owns the local dive bar. Fallon has a knowledge of the rituals and superstitions that often surpasses those of the natives themselves.

 

 


We jump to the club and witness a sensual dance by Lisa (Adele Mara, a former dancer/singer for Xavier Cugat who in 1946 appeared in Republic’s horror film THE CATMAN OF PARIS). Fallon is winning at the crap tables in the club, which angers gruff Captain Jim Barrett (Roy Barcroft, whom Leonard Maltin once described accurately as “Republic’s number one bad guy”). Roy shows up to invite Fallon over to Vance’s to discuss the murders, but Barrett and his crew accuse Fallon of cheating, and a fight breaks out. Roy is knocked down quickly, but Fallon does a lot of damage himself with single punches. When Barrett is about to stab the unconscious Roy, Fallon grabs the Captain’s wrist and stares intently at him, at which point the Captain drops his weapon.

 

Roy and Fallon go to Fallon’s room to clean up, and Fallon shouts at Roy when he touches a small wooden box. Upon it, we read “E.R. WEBB FALLON 1588”. Fallon says it was a gift given to his ancestor after whom he was named by a grateful Queen Elizabeth.

Fallon and Roy go to Vance’s and are chatting after a meal. Father Gilchrist at one point puts his hand upon Fallon’s shoulder, and Fallon collapses into a chair claiming it to be a bout of malaria. They decide though to go out to visit the village which may be causing the trouble. Simon Peter (Martin Wilkins, who appeared in RKO’s 1943 classic I WALKED WITH A ZOMBIE), Vance’s servant, notices that when serving Fallon some coffee, that Fallon has no reflection in the mirror, notices too, and the mirror shatters. When the others question what could have caused that, Simon Peter declares Evil.

 


Has any other vampire smoked so much ?

They set out at dawn to explore the area near the village they suspect the trouble is coming from. Roy sets off a gun trap, which seems to miss Roy and Fallon, but hits one of the bearers, Tara, in the arm (Zack Williams). When they encamp for the evening, Taba tells Simon Peter that he was behind Fallon and wonders how Fallon did not get shot. Simon Peter checks out Fallon’s tent, and sees that the bullet did indeed pass through him, but left no blood.

“Vampire!”, intones Taba. Simon Peter says the one way to stop the vampire is a spear dipped in molten silver ,which they quickly make (where did they get all that silver? Is the cutlery gone ?).They are attacked by the evil villagers (with bones through their noses.at least one of whom appears to be a white actor in dark makeup!) ,and Simon Peter is hit . He, however, hurls the spear into Fallon, who is impaled in the chest as he turns. Roy brings Fallon to his tent, and removes the spear. There is no blood on the tip of the weapon, and Roy realizes the truth. Fallon tells Roy how he was cursed 400 years ago for causing the death of a young woman, which cursed him as one of the undead.

(white actor in dark makeup ? )

He hypnotizes Roy, and keeps him from being able to tell what he knows. Fallon wishes Julie to join him in his undead eternity. Will Roy be able to break the curse and save Julie?

 

The film is a remarkably subtle one from Republic (the bar fight is short, and battle scenes are kept to a minimum). Mood is key to the film, and director Lesley Selander does a superb job with ensuring that. A fine example is when later in the film Fallon stalks and kills Captain Barrett, his shadow falls upon the stunned sailor, the shadowy hands reaching for the victim’s neck. Selander was mostly a director of westerns but rose to the occasion when the story required. He also directed Republic’s THE CATMAN OF PARIS, and handled sensitive stories like RETURN FROM THE SEA (A.A.,1954), as well as 54 episodes of the long running television series LASSIE (Lassie Television/Columbia 1955-1974).

 

He was blessed with a strong screenplay by Leigh Brackett (based upon her story) and John K Butler. Butler spent most of his career writing westerns for films and later for television, with an occasional foray into mystery (THE PHANTOM SPEAKS, Republic,1945). His work was efficient but nothing memorable. Most of the credit must therefore go to Brackett.

Brackett began as a science fiction writer (‘Martin Quest”, Feb 1940 issue of Astounding Science Fiction) and indeed was the first woman nominated for a Hugo Award (started in 1953, Brackett was nominated in 1956, though she didn’t win).

 


She also wrote crime fiction, starting with “No Good for A Corpse” (Coward McCann, Hardcover,1944) as well as western novels. Her “No Good for A Corpse” brought her to the attention of Howard Hawks, who wanted “this guy Brackett” to work with William Faulkner and Jules Furthman for THE BIG SLEEP (W.B. 1946). She later wrote other screenplays for Hawks, like RIO BRAVO (W.B.,1959, again with Furthman). She is best known for having submitted the original draft for the STAR WARS sequel, THE EMPIRE STRIKES BACK (Fox ,1980) before she passed away from cancer in March ,1978.

 

THE VAMPIRE’S GHOST was her first credited screenplay, and I wonder if Butler was assigned to work with her to show her how to write an efficient (and budget conscious screenplay). If so, the pair succeeded superbly.

Rather than following the rules of most vampire films of the era, they had a few of their own (the silver tipped spear). Some feel that John William Polidori’s 1819 story “The Vampyre” (The New Monthly Magazine, April 1,1819) was the inspiration. Polidori wrote his tale that same summer at Lake Geneva, wherein a telling of ghost tales led to this story and Mary Shelley’s “Frankenstein” (Lackington Hughes, 1818). The original story featured Lord Ruthven and was set in England and Greece. It also had a vampire able to walk about in daylight, and moonlight could heal Ruthven.

 

The cast, for the most part, does a superb job. Outstanding, of course, is John Abbott. He brings a wonderful world weariness to his role. When he wins at the dice table, he looks at the wad of money that he has won, and tosses it to a drunken sailor. The only thing that seems to move him is the idea of Julie joining him as an eternal companion.

Personally, I would have gone with Lisa. Mara bring a vitality and energy to her role, and indeed a sensuality. By her looks and body language, you feel that she is in love with Fallon.

Barcroft, Withers, and Vogan are all solid performers who make their characters interesting. Speaking of interesting, Zack Williams, and especially Martin Wilkins, despite being a native porter and servant respectively, play their roles strongly and without playing the commonplace quivering stereotypes that were the norm of the period. Indeed, they are the first to question Fallon and discover his secret and try to destroy him. At the end, the character of Simon Peter does indeed do that (with the aid of the priest and a cross).


The two romantic leads are good looking but to be honest not much beyond that. Poor Roy as portrayed by Charles Gordon, is sort of the Jonathan Harker of the tale. The titular romantic lead who does get the girl at the end, but is knocked down immediately in the bar fight, is as even he acknowledges saved twice by the vampire and spends most of the film under Fallon’s control. Peggy Stewart’s Julie is -the girlfriend. Perhaps due to the short running time, her character development was sacrificed for pacing.

 

 

(Anyone remember which other film used this statue? I cannot recall)

 

 

When the film came out, it was dismissed by the critics of the time (see Variety Wednesday June 6,1945- “script, setting and camerawork just so-so.” On the same page, co -screenwriter’s John K. Butler’s THE PHANTOM SPEAKS, also from Republic, is much more favorably reviewed.). This is more than likely because of the common feeling that horror films weren’t worth serious study. https://archive.org/stream/variety158-1945-06#page/n11/mode/1up

 


Olive Films has done a superlative job of restoring this neglected gem to a lustrous presentation. A 1080p transfer 1:33:1 aspect ratio shows the images in extremely sharp black and white, with varying levels of gray. The audio is a DTS-HD Master 2.0 channel track. No effects have been added to move sound around speakers, but it is crisp and clear with dialogue, music, and effects track coming across clearly.

The optional English subtitles are white and are easy to read, following the dialogue and describing audio cues clearly.

No other extras are added, but again, that such a rarity has gotten such a superlative transfer makes this a must have for collectors of classic horror that they need to add to their collections.

Recommended.

-Kevin G Shinnick

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KISS OF DEATH (Twilight Time Blu Ray)

KISS OF DEATH. (Twilight Time Blu Ray) 20th Century Fox 1947. B&W. 99 minutes. Region Free. $29.95 .Limited to pressing of 3,000 discs. https://www.twilighttimemovies.com/kiss-of-death-blu-ray/

People who have never seen the complete film know of it due to the iconic scene of a giggling insane Tommy Udo (essayed by Richard Widmark in his stunning film debut) pushing a helpless wheelchair bound woman (Mildred Dunnock) down a flight of stairs as she screams in abject horror.

 

KISS OF DEATH is a classic example of film noir that needs to be in every film lovers collection. Dark storytelling with the sense that violence and death permeates the entire story. Shot mostly in New York City at many actual locations (though, in my humble opinion, I think the interior apartment scenes and stairwells are sets, as knowing the size of the old Mitchell 35mm cameras, as well as lights needed, that is a heck of a lot of equipment and people to squeeze into such small spaces, not to mention loading in and out). around the city.

Ex con Nick Bianco (Victor Mature, at the height of his stardom) and three others botch a jewel robbery that results in Nick getting arrested.

Rather than turn on his accomplices, Nick is sentenced to twenty years at Sing Sing Prison. Nick thinks that his accomplices will protect his family, but three years into his stretch, Nick’s wife commits suicide and his two daughters are sent to an orphanage. Nick tries to make a deal with the Assistant D.A. D’Angelo (Brian Donlevy) but too much time has passed to make a deal. However, if Nick will help the A.D.A. on another case, Nick will get paroled.

 

 

 

On the streets, Tommy Udo(Widmark)who served time with Nick, tracks down the mother of Rizzo. Rizzo, who is unseen in the film, was supposed to guard Mrs. Bianco, but instead it was hinted that he raped her, which resulted in her committing suicide. Tommy looks up to Nick (and many critics feel an almost homoerotic passion) and so when Rizzo’s mother (Dunnock) lies to him, we end up with the famous stairwell killing.

Udo tries to show off to Bianco, taking him to various establishments and talks freely about his previous crimes, to impress his “friend”. Nick, however, turns the info over to the Assistant District Attorney, who indicts Udo and grants Nick his pardon.

Nick tries to restart his life on the straight and narrow, marrying friend Nettie Cavallo (Coleen Gray ) who used to baby sit his daughters when he first went to prison. However, despite evidence, Udo is acquitted and wants revenge.

The film when it was first released was not an enormous success, but over the years its status has grown to where it is now acknowledged as one of the great film noirs of all time.

The film has been available on video and DVD in previous releases from Fox Video, but TWILIGHT TIME has really gone all out with its definitive release of this classic piece of cinema.

First off, the 1080p High Definition scan has increased the sharpness of the imagery, showing off the beautiful cinematography of Norbert Brodine. Brodine began working in the silent era (including Lon Chaney’s A BLIND BARGAIN, Goldwyn,1922), and during the early sound period he hopped around from major studios to independents (Bela Lugosi’s THE DEATH KISS, KBS,1932; DELUGE, Tiffany 1933) before finding a home at Hal Roach (TOPPER ,1937; OF MICE & MEN,1939; ONE MILLION B.C.,1939).

By the mid-1940s, he went over to Fox, where he had prior to KISS OF DEATH had lensed the noirish HOUSE ON 92nd STREET (1945).and the overlooked gem SOMEWHERE IN THE NIGHT (1946). His black and white photography has deep blacks and various shades of gray.

The sound is mono (DTS-HD Master Audio 2.0) and there is really no need for surround sound, as the music dialogue and sound effects are crisp and crackle free. David Buttolph’s music is sparse but always efficient when used.

As to extras:

There are two audio commentary tracks that are well worth listening to.

Original to this release are popular Twilight Time Film Historians Julie Kirgo and Nick Redman, who have a more conversational style and while knowledgeable, still have the joy of fans.

Kirgo, for example, points out that she grew up in NYC and recalls how it looked somewhat as the film presented it. They also go into the homoerotic feelings that Widmark’s character may have had for Mature (“Ya can’t have fun with dames about”).and how Widmark originally thought the script hilarious (!) and read the script to friends in the voice he used in the movie. It made me wonder if the erotic undertone was added by Widmark, similar to  what Stephen Boyd did years later to Charlton Heston in BEN HUR (MGM,1959).

Ported over from the prior Fox Film Noir series DVD release is the Audio Commentary with Film Historians James Ursini and Alain Silver has a more scholarly tone but never monotonic while delivering so much information on the making of the film and behind the scenes going ons (for example, Miss Dunnock had to be flung down the stairs TWICE because the cameraman was not ready!). They also discuss the (loose )1995 remake.

The music score is also available on a separate audio track. The trailer features legendary columnist Walter Winchell praising the film with hyperbole that must have made the publicity team go crazy about. The optional white English subtitles are clean and easy to read, and follow the dialogue and action.

Get it and add it to your collection or Tommy may have to visit you!

 

HIGHLY RECOMMENDED

Kevin G Shinnick

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Riccardo Freda: The Life and Works of a Born Filmmaker

Riccardo Freda: The Life and Works of a Born Filmmaker
Roberto Curti Price: $45.00 40 photos, notes, filmography, bibliography, index
376pp. softcover (7 x 10)McFarland  2017                                                http://www.mcfarlandbooks.com/book-2.php?id=978-1-4766-6970-0

Like many American film fans, my knowledge of director Ricardo Freda was mostly limited to his
Horror films I Vampiri /THE DEVIL’S COMMANDMENT (Titanus,1957),Caltiki il mostro immortale /CALTIKI,THE IMMORTAL MONSTER(Lux,1959),L’orrible segreto del Dr. Hichcock /THE HORRIBLE DOCTOR HITCHCOCK(Panda,1962) and Lo specttro /THE GHOST (Panda,1963).

• However, Freda had a career in cinema that lasted from 1937 (Lasciate ogni speranza /LEAVE ALL HOPE ,Juventus Film) until 1994 (La fille de d’Artagnan /REVENGE OF THE MUSKETEERS ,Canal+ )starting and ending his career as a writer.

• Writer Roberto Curti of Cortona Italy has done a remarkable job tracking down an amazing amount of information on Freda’s life and career.His love for the subject comes though with his very detailed synopses of these rarely seen (outside of certain countries), providing the history behind many of them, production facts, and their success or failure in various territories as well as changes made to them .

Curti uses Freda’s memoir Divoratori di celluloide (Emme Edizioni (1981),164 pages)as a starting point ,but also researching though film magazines and newspapers from several countries, as well as tracking down and watching the titles from the director’s long career. Curti points out that the director could often be petty and recall incidents that might not always match the facts.Curti’s interviews and research sometimes contradicts what Freda put into his book.

• Still ,the Egyptian born Italian director lived La Dolce Vita, being an extravagant personal spender and gambler as well as womanizer. It is ironic that he despised films like Fellini’s La Dolce Vita (Riama,1960) as well as the entire neo-realist movement of films like Ladri di biciclette/THE BICYCLE THIEF(Ente Nazionale,1948).

He was more a storyteller who felt that film should be escapist,and take us out of reality. Not only did he have those skills, he was also able to make limited budgets look richer than they were, due to his understanding of film editing and camera placement ,as well as working with innovators like the great Mario Bava. Indeed, the short tempered Freda walked off the set of a I Vampiri ,leavinng it to be  finished by Bava. We see throughout the book that Freda had a habit of walking off set, much to the detriment of his films and career.  I Vampiri has an important place in Italian horror films ,as it was the country’s first true sound horror film (the first Italian horror film may have been Il monstro di Frankenstein(1920) a now sadly lost silent picture).

Freda had prior to I Vampiri had done a lot of regional comedies ( he cared little for the comics in many of his films ,but put in many physical gags inspired by the likes of Buster Keaton ,historical dramas and swashbucklers . Indeed ,his love of classic novels and adventure tales seemed to have merged into Caccia all’umo /LES MISERABLES( Lux,1952) ,making it more of an action thriller!

His swashbucklers seemed to have broken new ground in storytelling in Italy, being more inspired by American filmmakers than the home grown artisans. His love of tracking shots to get a lot of detail within a long take was developed during this period .Having reviewed the Italian historical drama La cena delle beffe / THE JESTER’s SUPPER* (Società Italiana Cines,1942 ,not by Freda, but by a contemporary),I would love to see more these  rarely motion pictures                (see review at https://scarletthefilmmagazine.wordpress.com/2017/05/07/the-jesters-supper-dvd/ ) .

Freda also was one of the first to leap into the sword and sandal films ,even telling an earlier version of the tale of SPARTACUS(Spartaco(API,1953),released in the U.S. by RKO as SINS OF ROME ). He hopped from genre to genre with various budgets and varying success. Comedy (at which he seemed to have a lot of success),drama ,spy thrillers ,Krimi( he faced off and WON against the antagonistic Klaus Kinski) ,swashbucklers,historicals, and of course horror.

His indifference to some parts of the movies he made show with some sloppy work (in ROGER LA HONTE( Comptoir Francais du Film Production ,1966,one of his later films with a decent budget, he allows a major stunt to show clearly that a “woman” passenger is actually a stunt man since his trousers are clearly visible ),as well as his indifference to actors (he was notorious for using doubles when actors gave him any grief). Yet in staging ,he often surpassed the budget with strong imagery and tracking shots that convey a lot of information .Plus several actors who worked with him praised the director .

Curti’s book makes me want to revisit several of Freda’s films and seek out some of his rarities. Curti has done what any film researcher should do, and that is evaluate and place into historical context the work of the subject.

McFarland is to be commended once again for putting out such a detailed volume about a filmmaker not as well known as perhaps he should be. Each film has b&w illustrations of the film posters or on set photographs, The graphics are sharp and easy to see.

This is a MUST HAVE for lovers of film, especially for those who love Euro-Cinema.

Highly Recommended.

Kevin G Shinnick

 

                  "Acquista il libro o ti farò del male ..."

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The Jester’s Supper (DVD)

SCARLET THE FILM MAGAZINE DVD REVIEW
THE JESTER’S SUPPER (La Cena delle Beffe) 1942 Italy 82 minutes B&W –Historical Drama – $19.95 from CAV Distributing Corp / One 7 Movies. Region 0 DVD available through http://www.oldies.com/product-view/83234O.html as well as Amazon and others.

 

 
Thanks to Turner Classics, I have been on a foreign film binge of late so the arrival of this DVD could not have been better timed.

 

 

 
The film THE JESTER’S SUPPER (la Cena delle Beffe) was an extremely popular costume drama produced during WWII. For those who think Italian Cinema began with the neo- realists after the war, this film will come as something of a revelation. With the output from Hollywood cut off, the Italian populace truly embraced their home grown productions. The Fascist government, under son, Vittorio, realized the power of film, sponsor movies (even constructing Cinecittà studios) but their films were mostly of a propaganda nature. However, they also produced comedies and historical dramas that rivaled American productions with their artistry and skills.

 
THE JESTER’S SUPPER is based upon a popular play by the Italian writer Sem Benelli, which was first staged in Italy in 1909. In 1919 the play was put on in New York City . The play was the basis for an opera La cena delle beffe composed by Umberto Giordano with a libretto written by Benelli himself. It premiered at La Scala Opera House in 1924.

 

 

 

The film was shot at Cinecitta using leftover sets from a previous big budget epic from 1941 La corona di ferro (The Iron Crown). Set in Renaissance era, two aristocratic brothers, Neri (Amadeo Nazzari) & Gabriello (Alfredo Varelli ) Chiaramantesi, have been abusing the people of Florence with impunity due to their power and station. Things begin to change when Neri dares to ravage Ginevera (Clara Calamai) in front of her lover Giannetto Malespini (Giannetto Malespini) then toss him into the river. He survives, and what happens next is a tale of revenge best served Italian style.

 

 
Amadeo Nazzari, usually a hero, was cast against type and played the lecherous villain here. He usually sported a mustache and I could see why .Even clean shaven, here he resembles Errol Flynn. Amazingly, he turned down Mussolini’s request to join the Fascist Party and yet continued to have a successful career during the War years. He played a movie star (!) in Fellini’s classic Le notti di Cabiria/ NIGHTS OF CABRIA (1957).

 
Valentina Cortese, then 19, appearing as Lisabetta, is perhaps best remembered (she is still alive at this writing, age 94!) for her Oscar nominated turn in Truffaut’s La Nuit américaine /DAY FOR NIGHT (1973).

 


THE JESTER’s SUPPER boasts one of Italian Cinema’s first topless nudity scenes, when actress Clara Calamai has her top torn from her by the lustful Neri. In interviews, Calamai had not wanted to do the scene, but felt compelled to by the director. That quick flash of nudity is a reason that people went to see the film again and again. Though often cited as the first bit of nudity in an Italian sound film, Vittoria Carpi showed a bare breast for a moment in THE IRON CROWN/La corona di ferro  (1941)   which was also directed by Blasetti. Horror fans may recall Calamai from Dario Argento’s Profondo rosso /DEEP RED (1975) coming out of retirement to portray the eccentric matriarch, Marta.

A kissing scene and the topless scene both appear in the final montage of CINEMA PARADISO (1988).( http://www.filmsite.org/cinemaparadisokisses.html )
Some of the performers did not live long after WWII. Due to their Fascists leanings, both Osvaldo Valenti and his pregnant mistress Luisa Ferida, who appeared in several movies together, were executed without trail on the streets by partisans.


Director Alessandro Blasetti was called the father of Italian Cinema because he led to the revival of Italian Cinema in the 1930s and becoming one of the leading figures during the Fascist era. He is also known as one of the first directors of what became Italian neorealism with his 1942 film Quattro passi Fra le nuvole /FOUR STEPS IN THE CLOUDS. Amazingly, even though he seemed to have strong ties with the Fascists government, it does not seem to have affected his career, as he is listed as having made films after the War from 1946 to 1969.

 

 
The print used by ONE7 MOVIES is incredibly sharp, with just a little digital artifacting appearing on certain shots. The subtitles (which have an on/off option) are quite easy to read .The sound is clear and the score by Giuseppe Becce sounds rich even in its original mono sound. The only extra is a brief photo gallery that appears to be frame blow ups.

 

 

 
Raccomandato (recommended!).
-Kevin G Shinnick

(originally published on SCARLET THE FILM MAGAZINE REVIEWS FACEBOOK PAGE,May 18, 2015. Updated May 7,2017)

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ONE OF OUR AIRCRAFT IS MISSING (Olive Films Blu Ray)

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ONE OF OUR AIRCRAFT IS MISSING ( Olive Films) -Blu Ray-b&w.1942. 103 Mins. $29.95 http://store.olivefilms.com/War.67/Olive_Films.38/One_Of_Our_Aircraft_Is_Missing__Blu-Ray_.6319.html also available on DVD

ONE OF OUR AIRCRAFT IS MISSING (British National Films/U.A. (U.S.)) is a classic WWII war films is a must see for anyone who is an history buff, classic cinema, British Cinema, war films- heck anyone who enjoys a superlative film.

This was the inaugural film by The Archers, the producing team of Michael Powell and Emeric Pressburger. The two men would share directing credits on several films, including on another WWII drama, THE 49TH PARALLEL (General Films, Columbia ,1941) THE RED SHOES (General Films,1948), and BLACK NARCISSUS (General Films, U.I. ,1947) dissolving the partnership with one more WW II film, PURSUIT OF THE GRAF SPEE (J Arthur Rank,1956).

title
Made as a propaganda film with full approval of the Ministry of Information, the film stands as an engrossing drama of courage of various types, with many exciting set pieces that are balanced by marvelous human moments. Done in a documentary style, the film has a marvelous sense of realism that is lacking in many other films of the period, even going so far as to shun a film score.

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It is hard to believe that the film went into production before a fully finished script was in hand, but Powell kept rewriting the film when the military consultants would mention new innovations. Powell would then work these ideas into the film. That the film seems seamless is a credit to all involved, editor David Lean (who had co directed parts of MAJOR BARBARA (General Films,1941) uncredited the year before).

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Also, major kudos to the effects team under Douglas Woolsey, who contributed realistic battle effects to several British films like CONVOY (Ealing,1940). The effects wizards could construct an amazing large scale replica of Stuttgart thanks to art director David Rawnsley who covered the entire studio floor with his miniatures. Effects Cameraman Freddie Ford filmed the sequence by laying on his stomach from the studio rafters floor ten hours a day to get some of the shots. So, convincing is it that it is easily blended with actual flying footage. That the film cost only £700,000 is a miracle.

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When the film was first released by United Artists in the United States, they edited out 20 minutes of footage, which, while probably allowing for more showings per day, probably robbed the film of much of its power. Still, the film is so well crafted, that it received two Academy Award nominations. Oddly, this was Michael Powell’s only Oscar nomination. Due to its critical as well as financial success J Arthur Rank offered Powell and Pressburger a film by film deal to choose any subject they wanted.one-of-our-aircraft-is-missing-movie-poster-1942-1020198733

 

The movie opens with a title letting the viewer know that the film was made with the full cooperation of the Royal Air Force, the Air Ministry, and the Royal Netherland Government in exile at that time in England. It is then followed by a telegram informing us that five farmers in the Netherlands were executed by the Nazis for helping several downed British Airmen escape the country. We then jump to an airfield in England where we see that a British bombing squadron is returning, all save one. The Vickers Wellington bomber designated “B for Bertie” has not returned.
We then see the plane flying over the ocean, but that it is completely empty of crew. Finally flying over land, the ghost plane crashes into some power lines and explodes.vlcsnap-00409
This opening is an exciting tease for the tale that unfolds as we jump back in time and are introduced to the brave crew of “B for Bertie”. The flight crew is made up of
– Sir George Corbett (Godfrey Tearle, memorable from Hitchcock’s THE 39 STEPS (Gaumont-British,1935)) the old man of the group, going on one last mission as the tail gunner,
-former pro soccer player tuned radio operator Bob Ashley (Emrys Jones in his film debut, who later did a lot of British television and stage work),
-pilot John Haggard (Hugh Burden, who years later appeared in the film ONE OF OUR DINOSAURS IS MISSING (Disney,1975), a title that references this film),
-farmer turned second pilot Tom Eanshaw (Eric Portman, who a year earlier was a fleeing Nazi in THE 49TH PARALLEL for the same production team. ONE …. is a variant of that film. In 49th, a Nazi U-Boat squad must try to evade capture in Canada when their vessel is destroyed, and flee to the then neutral United States. One of his earliest film roles Portman had appeared in a Tod Slaughter production (MARIA MARTEN, or THE MURDER IN THE RED BARN (George King Productions,1936)),
-Cockney front gunner Geof Hickman (Bernard Miles, later the second actor after Lawrence Olivier to be given a peerage)
-and former actor turned navigator Frank Shelley (Hugh Williams, who later with his wife Margaret Vyner wrote the stage play and later screenplay for THE GRASS IS GREENER), who is obsessed with his wife’s upcoming BBC radio performance.

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The squadron takes off, and soon they are over their target. The bombing mission is a mixture of actual flight footage mixed in seamlessly with effects sequences. After dumping their payload, “B for Bertie” is struck by anti-aircraft fire, and the crew is forced to bail out over occupied Holland. As we had seen earlier, the plane did not crash until it had reached England.

 

Five of the crew regroup, but find that Bob is missing. Trying to decide what to do next, they come across some Dutch children. Not sure if they will turn them in or help, the children explain that they support the British, and can be identified by the safety pins that they wear, a sign against oppressors and to keep together. Currently, this symbol is once again popular, first in England due to those who opposed Brexit (feeling that everyone was stronger together) and now in the United States as a symbol against oppression perceived in the Trump administration.

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The children bring the airmen to meet teacher Else Meertens (Pamela Brown, in her film debut. A successful stage actress, she would live with director Michael Powell until her death in 1975). She questions the airmen to see if they are not disguised infiltrators. Satisfied that they are who they say they are, the Dutch disguise them and try and slip them by the Nazis via bicycle. A brief stop at a church has them nearly caught when the Nazis stop there after they discover one of the parachutes. Look for a young Peter Ustinov (later to star in ONE OF OUR DINOSAURS IS MISSING) in his film debut as the priest. The organist Alec Clunes had given Ustinov his first stage acting break, and is perhaps best known for having played Hastings in Olivier’s RICHARD III (London Films,1955).

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Stopping at the home of the local Burgomaster (Hay Petrie, famous for playing many of Shakespearean clowns on stage during the 1920s,he had a long and varied film career, hoping from comedy to drama with ease),they are confronted by Dutch collaborator De Jong (ballet dancer/actor Robert Helpmann, perhaps best known for portraying a choreographer in the film THE RED SHOES (General Films/J Arthur Rank,1948)and who in 1978 broke his back while filming the Australian horror film PATRICK (Australian Int./Filmways)!)but who has the tables turned on him.swedish_one_of_our_aircraft_is_missing_r_ja00169_l                                                                                      (Polish  film poster)

Back on the road they see a football match being played, and among the players is their missing crewman Bob! Once again, the Nazis appear, and say that there are too many people at the gathering and 50 people must leave. The Burgomaster says that then they will all disperse, to annoy the Nazis sense of control and order. The Nazis allow them all to stay. The brilliance of this simple and courageous act of defiance is truly quietly moving.

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They are escorted out in some supply trucks, but when the Nazis wish to search them, they are confronted by Jo De Vries (Googie Withers, probably best known for appearing the haunted mirror segment of DEAD OF NIGHT (Ealing,1945) who with quiet authority gets the trucks safely through a check point. It should be pointed out that the women in this film have strength, intelligence and courage, and are in positions of authority. De Vries hides the airmen in her own home, letting the fliers know that she is thought to be pro German since she lets it be known that her husband was “killed” in a British raid, but she knows him to be safe in England working as a Voice of Freedom for Radio Orange). This is even more dangerous as the Nazis are garrisoned on her property.

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They are awaiting an air raid, when the German Soldiers are ordered into their bunkers and De Vries can slip them into the cellar unseen where there is a secret inlet that leads to the river and a boat awaits them. While they wait, there is some magnificent dialogue where courage, loyalty, and bravery are discussed.

Finally, the raid occurs, and the escape attempt begins in earnest. Will the brave air men get back home to England?

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The Blu Ray does not have any extras, but the film is so superior, it is worth the purchase price, as I feel it will be a film you would watch over and over. The movie has been out on the home video format since VHS, but the quality was always of a very washed out print. The Olive Films is the complete 103 British print from the best elements possible.   This release very sharp black and white images that complement the cinematography of Ronald Neame (later to become a producer with David Lean on such classics as BRIEF ENCOUNTER (Eagle Lion, Universal,1945) before becoming a director in his own right (POSEIDON ADVENTURE, Fox ,1972). The mono sound is clear and hiss free. Optional English subtitles are clean, easy to read and follow the action and dialogue.one-of-our-aircraft-is-missing-united-artists-1942-title-lobby-card

Highest Recommendation.
-Kevin G Shinnick4696633_l6

Thanks to John F Colaresi for catching some errors.

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Two Stocking Stuffers- RAY HARRYHAUSEN FAIRY TALES/STRANGE & UNUSUAL CHRISTMAS FILMS

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RAY HARRYHAUSEN’S FAIRY TALES
– COLOR http://www.oldies.com/product-view/7875D.html

STRANGE AND UNUSUAL CHRISTMAS FILMS-Color/b&w -http://www.oldies.com/product-view/7871D.html

$7.98 each. Oldies.com

Just in time for the Christmas Season come two fun stocking stuffers from OLDIES.COM.

The first is probably the one that people will feel is the must have . Ray Harryhausen is a god to anyone who grew up watching fantasy films made between 1953 (BEAST FROM 20,000 FATHOMS (WB)) through 1981 (CLASH OF THE TITANS,MGM). You were at some time enthralled and in awe of the stop motion wizardry that this one man special effect auteur brought to the cinema screen. While ILM and others can do the same thing now via computer, recall that Harryhausen for most of his work was creator, camera person, and director ,single handedly doing what now takes teams of CGI experts to try and emulate.

However, unlike Athena born fully grown from the skull of Zeus, Ray Harryhausen’s artistry came from experimenting . Some of these experiments are to be found on RAY HARYHAUSEN’S FAIRY TALES.

After working as an animator on a George Pal Puppetoon (TULIPS WILL GROW,Paramount,1942),Ray continued to refine his talents as both cinematographer and animator on shorts produced for and by the U.S. Army.red-stare

After his service, he returned to his family home, where he got a 16mm camera and some Kodachrome color film to produce a series of shorts. It was a family affair, with his parents helping with costuming and set building. He completed five of his Fairy Tales between 1946 and 1953 ( a final film not on this collection ,TORTOISE & THE HARE, was started in 1952, but never completed when Harryhausen began making features. That is , it remained unfinished until 2002, when Ray and two fans who worked on tv’s ROBOT CHICKEN (Cartoon Network,2005-2015)decided to complete it.).

The films were released to schools as well as television filler but while they probably did not make Ray much money, he was able to learn his trade and improve his technique on each film .

The first film, THE MOTHER GOOSE STORY (1946) consists of very short vignettes, silent save for some public domain classical music. The influence of George Pal’s animated shorts is quite obvious in the style of puppetry design. The faces use a variation of Pal’s system of substitution faces rather than animating the features. A quick dissolve is used to smooth the transition of facial reactions.

The next film ,THE STORY OF LITTLE RED RIDING HOOD (1949) ,showed more confidence ,experimenting with camera movements ,and lighting. It also boasted a voice over narration by actor Hugh Douglas.

hanselTHE STORY OF HANSEL & GRETEL (1951)was once again narrated by Hugh Douglas ,has more reassured camera moves, and even uses some rear projection for a giant oven fire mixed with the stop motion animation figures .

THE STORY OF RAPUNZEL (1951), this time narrated by Del Moore ,seems a bit more stilted than the previous effort ,and the witch figure seems to be just a repainting of the witch from the previous film.

THE STORY OF KING MIDAS (1953),the final of Harryhausen’s short stories on this disc, is the most assured. Once again narrated by Del Moore, the character work on the faces is much more assured, and the villain of the piece is a marvelous piece of villainous design.midas

As a bonus, we get a variation of Little Red Riding Hood, this time via a short 1949 color film of the Wahmann Hand Puppets. The film was released by Encyclopedia Britannica Films, and was produced by Helen Wahmann Lanthop and Lee Wahmann Keel, co-founders of the Children’s Artist Series and the Children’s Theatre of Charlotte, North Carolina (still in existence today). It is a straightforward recording of a well rendered puppet show telling of the familiar tale.

Back in 2005, RAY HARRYHAUSEN: EARLY YEARS (Sparkhill /Global Entertainment) was a two disc Special Edition that included the Harryhausen shorts on this disc, as well as a completed TORTOISE & THE HARE and many other extras. That collection is out of print and selling for over $100 . The Alpha/OLDIES.COM Collection is an affordable alternative to that release, and their prints are quite clean and acceptable.rh-the-early-years-collection-dvd-pal
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Next up is the well named STRANGE & UNUSUAL CHRISTMAS FILMS. The films are an odd mash up of color and black & white shorts made between 1945 through 1961. Many of them have been used and featured in recent Rifftrax Comedy Christmas specials, and once you see them, you will know why .

behind-scens-xmas-dreamThe 1945 Czech made “Vánoční sen” was released in the U.S. to tv and home video by Castle Films in 1948 as A CHRISTMAS DREAM . This was the first film that director Karl Zeman mixed live action and stop motion animation . He later become world famous for fantasy films like THE FABULOUS WORLD OF JULES VERNE (Czech: Vynález zkázy /The Deadly Invention,1958,released by WB in 1961).Consider that this short was made when there was devastating rationing due to Nazi occupation until April,1945, it is astounding that the film has such a magical feel.In effect, a young girl neglects her old toy for a new toy,and the older one comes to life.

The English dubbing, however, makes the film enter into the realm of creepy. The high pitched voice of the doll will make a younger generation think of Mr Hankie from tv’s SOUTH PARK (Comedy Central,1997-still running) .

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Next up is SANTA CLAUS‘ STORY (Board of Education,Buffalo,1945).In this story,Santa appears to two little children and tells them “A story you‘ ll always remember“ – about monkeys. That’s right, lots of footage of monkeys. Did I mention monkeys? These first two films have been satirized by the Rifftrax team during their various Christmas specials .

THE NIGHT BEFORE CHRISTMAS(Castle Films,1946) is a live action telling of the the classic Clement C Moore tale, with bits of cartoon animation thrown in. The only thing wierd about it is how it haphazardly jumps from cartoon animation to live action, but is probably the most “normal“ film on the disc.

SANTA IN ANIMAL LAND (Art Reels Production/Official Films,1948)- A bunch of big headed animals get together and go to the North Pole to ask Santa Claus for gifts. This is basically a puppet show that was filmed. However, the behind the scenes history is very interesting. Puppeteer Alfred Wallace (1914-1985) was a Native American puppeteer who had a strong career in the nightclubs during the 1930s through the 1950s. His specialty seemed to have been political satire ,using puppets such as FDR as a baby, or a Senator puppet with two faces. This production seems more like a work for hire piece.

 

 

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The 1945 Czech made “Vánoční sen

 

 

SANTA & THE FAIRY SNOW QUEEN(Sid Davis Productions 1951)is probably the longest film in the collection(26 minutes) and the first in color .Sid Davis is a man best known for his public scare films, mostly about not talking to strangers ,running with scissors or you’ll impale yourself ,or the ‘dangers ‘of homosexuality .fairy Here, he seems to be showing you the dangers of community theatre telling a Christmas tale . Using public domain music , several annoying toys come to life(someone stop Jack In The Box,please!),an  female Elf named Snoopy and a drunk sounding Santa encounter a thick accented Snow Queen. This episode too has been spoofed by the Rifftrax team, but here you can experience it in all it’s bizarre glory.sfq100

THE ELF & MR. LITTLE (1953)seems to be a short made for local television (due to the chroma-key titles) Christmas tale shot in Arizona . It features marionettes by Rex Crum,better known as Rex Castle,who while Arizona based,toured and performed all over the world,even on Cruise ships and Las Vegas Night Clubs.In this a toymaker and his wife meet a Christmas elf.

 

SILENT NIGHT: THE STORY OF THE CHRISTMAS CAROL (Coronet ,1953)is a live action telling of how the famous song came into being.Though shot in color, the print appears at times to have faded almost to black and white.

THE LITTLE MATCH GIRL (CASTLE FILMS,1954)- Hans Christian Anderson’s 1845 story was shot as a live action French short in 1952,that Castle Films re-dubbed and sold on 16mm as well as to television syndication. While many of us think of a the Danish story teller as making lively children’s stories, a lot of his tales are damn depressing ! The Brave Tin Soldier has the title character melted with his ballerina love, the Little Mermaid in its original incarnation had the title character wanting to murder the Prince to get his blood , and then there is this ,the most depressing and saddest of all his stories.

A little barefoot Match Girl is forced into the cold by her (unseen) father to sell her wares. Hungry and cold, she lights her matches for warmth to no avail.As she dies, she sees a vision of the Virgin Mary (in the original story, it is her grandmother who greats her )who floats her off to Heaven. Actually, Anderson was ,like his contemporary Charles Dickens ,was pointing out the inequities of the poor and wanted to show how we neglect our fellow humans.

THE LITTLE LAMB: A CHRISTMAS STORY (Castle Films/United World 1955) is a live action film where a mother (Maureen O’Sullivan), after having her brood of five children say their prayers, tells them a story of a lost lamb and the Nativity. Morris Ankum, known mostly for playing generals and judges, here plays Azur The Shepherd. Not so much strange as a straightforward Christian tale.

CHRISTMAS FAIRY TALE (1961), seems to be a Canadian made film about a little girl who looks at a book and suddenly it dissolves to barely moving clockwork mechanisms. In fact, over 6 minutes of its nearly ten-minute running time is footage is of a revolving diorama with non-moving figures that have a narrator filling in the story!hqdefault

If you want another interesting animated stocking stuffer ,check out also the just released                                                                                 LOST COLD-WAR PROPAGANDA CARTOONS-Color –                                                                       http://www.oldies.com/product-view/7874D.html

 

Kevin G Shinnick

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     (Go Home,Santa, you’re drunk !)

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ANY WAY I CAN: 50 YEARS IN SHOW BUSINESS by John Gay with Jennifer Gay Summers

SCARLET THE FILM MAGAZINE BOOK REVIEW

ANY WAY I CAN: 50 YEARS IN SHOW BUSINESS by John Gay with Jennifer Gay Summers

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$19.95 BEAR MANOR MEDIA 240 pages

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Available at BEAR MANOR MEDIA

 http://www.bearmanormedia.com/any-way-i-can-50-years-in-show-business-by-john-gay-with-jennifer-gay-summers

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Many people know the actors who star in their favorite shows and movies, and others know the directors. The person who is most forgotten is the writer, the person who basically creates the world in which the stories take place.

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One of these artists is screen, teleplay, and stage play writer John Gay. Now Mr. Gay, with the assist of one of his children, daughter Jennifer Gay Summers, has put out his autobiography.jennifer-gay-summers1

 

And what a fascinating life it is. The California born Mr. Gay talks about the lure of acting and how it drew him across country (after serving our country in WWII ) to become an actor. Working in summer stock, he soon gained a great deal of experience as well as meeting his partner and wife Barbara “Bobbie” Meyer.

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Venturing to New York, their attempts at gaining acting work led them to entering the new media of television ,broadcasting live several nights a week from the top of the New Amsterdam Theatre (the former home of the Ziegfeld Follies and now the House of Mouse where the hit musical ALADDIN currently resides).o

 

The show, APARTMENT 3C had only two actors (the husband and wife team) and due to the low budgets, Gay had to also write the shows himself! The program became the second show broadcast from fledgling station WOR in 1949. A modest hit, it gave John Gay not only an extra avenue for revenue but a career for which he would greatly excel.brewster_fig35

Their second show ,MR & MRS MYSTERY had a larger budget (they were allowed to hire other actors ) and Mr. Gay was able to parlay those into other writing assignments for the Golden Age of Television (KRAFT TELEVISON THEATRE ,PLAYHOUSE 90 )and crossing paths with such greats as Rod Sterling and Sidney Lumet.wor_tv_xmtr_room_color

 

His first screenwriting assignment was for the Burt Lancaster /Clark Gable submarine drama RUN SILENT RUN DEEP (1958/UA). His second screenplay earned him an Oscar nomination (along with co-writer Terrence Rattigan) for SEPARATE TABLES (1958/UA).h

 

From there he was now a full-fledged screenwriter, working with the likes of Vincente Minnelli (twice, neither of which were happy experiences) as well as actors like Rod Steiger (twice, in two gems well worth seeking out (NO WAY TO TREAT A LADY (1968 Paramount) and HENNESSY (AIP 1976)) and Paul Newman (SOMETIMES A GREAT NOTION 1971/Universal).gd

 

He nearly worked with science fiction great Ray Bradbury on the troubled production of WHITE HUNTER BLACK HEART, which remained unmade until Clint Eastwood and different writers turned it in a feature.

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In the 1970s, when television really began turning out movies of the week and adaptations of classics, Mr. Gay seemed to have been involved with almost every great production. Many of my well-remembered favorites had a title mentioning John Gay as the Adaptor or Teleplay By credit. KILL ME IF YOU CAN (NBC,1977) had Alan Alda embody killer Caryl Chessman ; Anthony Hopkins as THE HUNCHBACK OF NOTRE DAME (CBS HALLMARK ,1982) ; LES MISERABLES (CBS HALLMARK 1978) and so many others. Plus he did superior TV remakes of mystery classics DIAL M FOR MURDER (ABC, 1981) WITNESS FOR THE PROSECUTION (CBS HALLMARK 1982), and SHADOW OF A DOUBT (NBC HALLMARK 1991). The list goes on and on .f

 

 

He took his skill as a story teller to the stage, having VINCENT PRICE remind people what a brilliant and versatile actor he truly was in DIVERSIONS & DELIGHTS, a play about Oscar Wilde. Price took the play all over the world, doing well everywhere but NYC (when the New York Times critics could still kill a show).

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Mr. Gay is a wonderful writer, telling his life story with wit, good grace and honesty. Indeed, it is one of the few books that I have read lately that I wish had been longer (Mr. Gay dismisses his work on the troubled George Pal science fiction film THE POWER (MGM, 1968) with just a line or two).b

Having turned 92 this past April,2016 , we are pleased that he and his daughter have shared his wonderful story with us. I have been careful not to give too much away so that you can discover the wonderful life of John Gay within the pages of ANY WAY I CAN.a

 

RECOMMENDED.

Kevin G Shinnick

Full Disclosure: I have been in contact with the author and his charming daughter for several years now as I attempted and finally successfully directed the first NYC Equity Production of DIVERSIONS & DELIGHTS in 35 years. The chapters 40 and 43 deal with this wonderful gem of a play.

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originally published March 30,2015  SCARLET THE FILM MAGAZINE Facebook page

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