THE BRAIN FROM PLANET AROUS (Film Detective Blu Ray )

THE BRAIN FROM PLANET AROUS (Film Detective Blu Ray ) Release date : June 22, 2022  Original Theatrical release October 1,1957 from Howco International. B&W. 71 min.   1.85:1  1080p    DTS-HD Mater Audio 2.0 Mono     Subtitles English, Spanish  1 DISC. Booklet . Region A  2k Blu Ray  SRP $29.99

https://tinyurl.com/yn8u36we

Film Detective continues to bring the best possible prints of 1950s  sci fi flicks . This time the company  has released one of the better known films of the period , THE BRAIN FROM PLANET AROUS (Howco ,1957) .

 Howco Productions ( later Howco International Pictures), was a South Carolina film production and distribution company that  created low budget features for about 60 Southern based movie theatres and drive ins . They later had a tv distribution company named National Television Films. They proved successful enough that they were able to also purchase and distribute films made by others (CARNIVAL ROCK, by Roger Corman, 1957). They were still in business up until the 1980s , releasing successful films by people like Charles B Pierce like THE LEGEND OF BOGGY CREEK (1972) and it’s sequel  BOOGEY CREEK II (1985). The name comes from  Joy Newton Houck Sr., Ron Ormond , and J. Francis White (H.O.W. Co.).

In  1957 ,Howco budgeted for a sci- fi co- bill . Screenwriter Ray Buffum was assigned to write both films, THE BRAIN FROM PLANET AROUS  and “Monster On The Hill” (released as TEENAGE MONSTER,to cash in on the then current teenage monster craze).  

Nathan Juran was brought in to direct on the strength of his work on THE DEADLY MANTIS (Universal,1957) & 20 MILLION MILES TO EARTH (Columbia,1957). He would direct this film and another cult film, ATTACK OF THE 50’ WOMAN (AA,1958),both of which he said he did strictly for the money . Juran was so disappointed in the result of the two films  that he used the pseudonym Nathan HERTZ .

Since his ignoble firing from Universal in 1946 (after 20 years ,creating some of the most iconic effects make up in history), the great Jack Pierce got the occasional “A” picture like JOAN OF ARC (RKO,1948), but the majority of his work was on television and low budget features.  Since tv and small budget films need to shoot quickly, it does seem to put the lie to the accusation that the make up genius was too slow in his creations.

For TEENAGE MONSTER , Pierce attached hair and some collodion to actor/stuntman Gil Perkins, who was fifty when he portrayed the title character.  For BRAIN…, he created some radiation burn make ups ,  but his most interesting creation were the hard contacts with metal foil on them. They were incredibly painful, as flakes would come loose into actor John Agar’s eyes. Ever a trooper, Agar endured them as best he could , though you can see his eyes tearing at times .  Variations and hopefully improved contacts similar to these were used again by Pierce in CREATION OF THE HUMANOIDS (Emerson, 1962) .

Art Department/ prop master Richard M Rubin created or was responsible for the making of  the floating  brain with eyes and hanging spinal cord . Rubin also worked on TEENAGE MONSTER and ATTACK OF THE 50’ WOMAN , among other films. It seems to have been a light weight prop for maneuvering on wires (visible in a few shots) , with some lighting for the eyes .

Music for the co-bill was by Academy Award nominated (for a 1945 PRC (!)film , WHY GIRLS LEAVE HOME) composer Walter Green.  Green used more brass than strings for his scores for both films, making his small orchestra sound louder and grander than it probably was.

Jacques Marquette handled the cinematography for BRAIN, with he and director Juran /Hertz setting up some fairly effective shots with moody lighting.  One memorable shot is of John Agar ‘s face behind a water cooler, before revealing his eyes.

Marquette directed TEENAGE … with Taylor Byars handling the camera  . TEENAGE must have been enough of the director’s chair, as he returned to cinematography and Nathan Juran/Hertz on ATTACK….

Both films had extremely low budgets estimated $58,000 for BRAIN…, with a thousand less being budgeted for TEENAGE …). I WAS A TEENAGE WEREWOLF (AIP) from the same year had an estimated budget of $82,000 .

The plot of BRAIN is that something crashes into the desert , emitting great quantities of radiation .Scientist Steve March (John Agar, FORT APACHE,RKO 1948 ) informs his girlfriend  Sally Fallon (Joyce Meadows, THE GIRL IN LOVER’S LANE, Filmgroup,1960) that he & his assistant Dan ( Robert Fuller, EMERGENCY tv series,Universal 1972-8) are going out to explore and hopefully find the source of the energy out in the desert by Mystery Mountain.

Once in the desert, the explorers go into a cave, and encounter the alien Gor (voiced by Dale Tate, one of the film’s associate producers) a criminal who has fled to Earth. The creature resembles a gigantic human brain with eyes embedded into it. Its powerful mind kills Dan and the creature possesses Steve.

Steve returns  after being gone for a week ,and visits his fiancé . Steve explains that Dan has gone off to Vegas.   Her dog George senses that something is not right with Steve.  Steve tries to rape Sally (the brain only wants her for her body?) but the dog quickly jumps in to save her.

Steve returns home, where Gor briefly leaves his body & explains his plan for world conquest ,with the added pleasure of Sally to amuse him.

just don’t make me wear the damn contact lenses!

Sally & her dad (Thomas Browne Henry, 20 MILLION MILES TO EARTH) go to Mystery Mountain where they encounter another alien named Vol (also voiced by Dale Tate), He is seeking to recapture Gor .  Vol explains that Gor is most vulnerable whenever he exits Steve . Then in its more corporeal form, it has a weakness in what on a human brain would be the fissure of Rolando. To get close to Gor , Vol enters the body of George The Dog where he can observe closely undetected.

What’s the matteeaaaahhhhhh! demon dog!

Steve/Gor start to merge more, best shown by Steve’s unnatural silvery eyes.  Giddy with his powers, at one point Steve/Gor blows up a plane mid flight.

Later , at a meeting before Army officials , he blows up a nuclear test site to demonstrate his powers (stock footage). Can Steve/ Gor be stopped ?

This Special Edition from FILM DETECTIVE lets you choice between its original format of 1.85:1 or a widescreen 1.33:1 . Both seem pretty sharp in their 2k 1080p restoration. Too sharp, perhaps, as those pesky wires holding up Gor seem more obvious, making me wonder why Steve didn’t just cut them?

The sound is quite crisp and clear, with no muddying of dialogue, sound effects or the brassy score.

What makes this special edition truly special are the extras.  Film Detective goes out of their way to give film nerds like me all the behind the scenes info that they can.

First up is

The Man Before The Brain :Director Nathan Juran.  Film historian Justin Humphreys (The Doctor Phibes Companion, Bear Manor,2018) guides us through an informative mini doc on the director’s life and career.

The Man Behind the Brain – continues exploring the career of the director, this time led by filmmaker / film buff C Courtney Joiner (screenwriter of Empire‘s PRISON , 1987).  Both are informative .

Not The Same Brain with actress Joyce Meadows, that explores some of the films locales as well as her role in the production.

There is a running commentary by filmmaker Larry Blamire (LOST SKELETON OF CADAVRA ,Columbia ,2001) ,documentarian David Schecter, star Joyce Meadows, and Tom Weaver, who also wrote the illustrated booklet included with this release.

For those who cannot get enough Brain ,  you can also buy merchandise

 Merch  https://www.bonfire.com/store/filmdetective/

the t from planet arous ?

& the soundtrack CD of both BRAIN & TEENAGE is available here 

https://www.mmmrecordings.com/Brain_Planet_Arous/brain_planet_arous.html

BRAIN FROM PLANET AROUS is another fun 1950s sci fi releases that Film Detective has made a must have.

Kevin G Shinnick

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Ouch! There go the piano lessons! Now my long term memory. oW!

FRANKENSTEIN’s DAUGHTER :S.E. Blu Ray (Film Detective )

FRANKENSTEIN’s DAUGHTER :S.E. (Film Detective ) Original film release Dec. 15 ,19 58 Astor Pictures. B&W . 85 mins. 1:85 aspect ratio. Blu Ray release Oct 26,2021. 2K 1080p DTS-HD Master Audio 2.0 Mono S.R.P. $24.95 https://www.amazon.com/Frankensteins-Daughter-Detective-Special-Blu-ray/dp/B096WK8KTJ/ref=sr_1_1?crid=11F62IPEFI3PG&keywords=frankenstein%27s+daughter+blu+ray&qid=1637845417&qsid=133-9648026-2913731&sprefix=frankenstein%27s+daughter+BLU%2Caps%2C165&sr=8-1&sres=B096WK8KTJ%2CB07SG7RM8R%2CB09G73317L%2CB07DV5NSM2%2CB08QLY97LW%2CB08FRSR16Q%2CB08KJ66H5B%2CB08Z4B13ZL%2CB096WNY182%2CB094L6WQRX%2CB0107GC9AU%2CB07WSKJCVP%2CB00A8KJN14%2CB08GJ7D1FN%2CB00945XF8Q%2CB00CXJR7AC

Also on DVD for $19.95
https://www.amazon.com/Frankensteins-Daughter-Film-Detective-Special/dp/B096WXL4BL/ref=tmm_dvd_swatch_0?_encoding=UTF8&qid=1637845417&sr=8-1

Richard E. Cunha, the man who brought us GIANT FROM THE UNKNOWN (see review ),MISSLE TO THE MOON, SHE-DEMONS , all Astor horror/sci fi films , tried his hand with adding a new family (dis)member to the Frankenstein line.

The year prior, Hammer /WB and AIP both experienced boffo box office by reviving the creation from the mind of Mary Shelley. Both had small budgets (£ 65,000, or approximately $270,000 for CURSE OF FRANKENSTEIN, with I WAS A TEENAGE FRANKENSTEIN costing about half of that amount).

Astor wanted in , and with a budget of around $60 grand & a tight six- day shoot, FRANKENSTEIN’S DAUGHTER was born. This was Cunha’s longest film(his other clock in usually at 77-78 minutes) but the gonzo goings-on make it seem one of his fastest paced films.

Boris would like a word

Oliver Frank (Donald Murphy ,who played Virgil Earp in the William Castle directed MASTERSON OF KANSAS, Columbia, 1954) works for elderly Dr Morton (Swiss born Felix Locher, who was the real-life father of Jon Hall, but who himself didn’t start acting himself until he was 73 in HELL SHIP MUTINY, Republic, 1957). Oliver Frank, it is revealed is the grandson of the original Dr Frankenstein (oddly, REVENGE OF FRANKENSTEIN ,Columbia ,1958, ends with the doctor using the alias of Dr Frank). However, the title Grandson of Frankenstein is a bit clunky, so it is his creation the film’s title refers.

Oliver has been experimenting on Trudy Morton (Sandra Knight, who later married & divorced her later costar Jack Nicholson whom she met on THE TERROR, AIP,1963, before she switched to being a painter https://www.sandraknight.com/# ), slipping her experimental drugs that make her change into hideous creature (that resembles Frida Kahlo with a nasty overbite )to roam the streets at night . She of course , thinks that she only is having nightmares .

Oliver’s big wish , however, is to create life from scratch, or stiches, just like grandpa did . Trudy’s friend (Sally Todd, the Feb 1957 Playmate of the Month)has the misfortune to be run over by Oliver , who truly only wants her for her brains.

Frank was truly mad….

“We’re aware the female mind is conditioned to a man’s world. It therefore takes orders, where the other ones didn’t.”

Mad & misogynist Olivier Frank places the brain into his creation, & with the assist of Elsu the gardener (Wolfe Barzell ,who mostly appeared in small roles on TV) ,he creates …what is supposed to have been a female creation.

Oddly , no one seemed to have told casting or makeup artist Harry Thomas ,for the monster was portrayed by Harry Wilson. Besides playing character parts in films like ONE MILLION B.C.(Roach, 1940),the British born Wilson ,who ,like Rondo Hatton, was afflicted with acromegaly , also had a career as Wallace Beery’s stand in & double . Here, the ex-wrestler has work that resembles the half-melted face Tor Johnson had in Ed Wood’s NIGHT OF THE GHOULS (Atomic ,1959),which also had makeup by Harry Thomas. When they discovered the gender of the creature, a bit of lipstick was added. Still , the makeup is effective, especially with work created from only the contents of a make-up case.

Throw in a rather bland John Ashley as Johnny ,who’s acting grew MORE bored as the decades went on , Page Cavanaugh and His Trio performed the song “Special Date” with Harold Lloyd Jr. singing , & 2 rather ineffectual police officers and you have most of the people in this flick. Poor Harold Lloyd Jr lived in the shadow of his famous father, and he was alcoholic from an early age. Plus, he was a homosexual when it was socially unacceptable. He did have a singing career, which was interupted when he had a stroke in 1965, from which he never fully recovered, dying just 3 months after his father in 1971.

The film continues on its gonzo way, with Trudy transforming & getting bug eyes for a while, Elsu massaged on the shoulders to death, John Ashley fighting the monster, throwing Acid ,missing the creature but hitting Oliver(oops), giving him a melted face (the make up here is very effective , and better served by only showing it for a moment) ,then the poor creature ignites itself ,resulting in self-immolation(Oops!).

The film ends on a return to “normalcy,” with Johnny & Trudy swimming ,Johnny telling Trudy the wedding vows, emphasizing “OBEY!” Has Trudy avoided one man controlling her (albeit in a stitched together body) for another man expecting her servitude? We don’t get much time to think on this , as Johnny pushes Harold Lloyd Jr into the pool, and everyone laughs. THE END.

The funny thing is, I rather enjoyed this film because of its craziness . Trudy feels that she is dreaming, & perhaps she is ,bringing us along. It is like it is a cinematic haunted house ride , twisting & turning with various things happening as it clatters along . A guilty pleasure ,perhaps, but still a pleasure, hopelessly misogynistic as it is.

This film & indeed many of the Astor Studio releases have passed into public domain. The quality ,or lack thereof ,on late night tv or cheap vhs tapes made these films look less competently made then they were .

FILM DETECTIVE has already done a superb restoration of Richard E Cuhna’s GIANT FROM THE UNKNOWN ( GIANT FROM THE UNKNOWN -Film Detective Blu Ray | scarletthefilmmagazine (wordpress.com) ) . Now they bring us this incredibly sharp print of FRANKENSTEIN’S DAUGHTER.

The print that they use is from an original camera negative and given the 4K restoration treatment. The resulting image is sharp with nice gray scales and deep black tones. I do not recall any film damage or speckling upon the image.

The DTS-HD dual mono sound is crisp and clear.

Optional Easy to read subtitles are available in English & Spanish.

Extras include:
–a running commentary track .

–RICHARD E CUNHA: FILMMAKER OF THE UNKNOWN –Ballyhoo Motion Pictures creates another wonderful mini documentary , which includes footage of director Richard Cunha ( March 4, 1922 – September 18, 2005) himself commenting upon his work and career.

–JOHN ASHLEY : MAN FROM THE B’s – Film historian and writer /director C. Courtney Joyner (LURKING FEAR , Full Moon, 1994) comments upon the career of actor/singer/producer John Ashley (December 25, 1934 – October 3, 1997). A chance encounter with John Wayne led to his acting career starting in 1957, to becoming a producer in 1971, leading to him becoming one of the producers of the major tv hit ,THE A TEAM (Universal, 1983-87).

Is FRANKENSTEIN’S DAUGHTER a classic ? Heck no. Is it a fun film you will go back to again & again ?
I would think so !

Recommended .
–Kevin G Shinnick

Other Film Detective reviews
https://scarletthefilmmagazine.wordpress.com/2017/04/06/the-vampire-batrestored/

THE SIN OF NORA MORAN (Film Detective Blu Ray)

https://scarletthefilmmagazine.wordpress.com/2020/12/27/giant-from-the-unknown-film-detective-blu-ray/

https://scarletthefilmmagazine.wordpress.com/2021/08/04/flight-to-mars-1951-film-detective-blu-ray-s-e/

THE VAMPIRE BAT(Restored)

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FLIGHT TO MARS (1951) – Film Detective Blu Ray S.E.

FLIGHT TO MARS (1951) – Film Detective Blu Ray Special Edition $24.95 (also available on DVD, $19.95) 72 minutes. Color  https://www.thefilmdetective.com/flight-to-mars

FLIGHT TO MARS (1951) was one of the first science fiction films to deal with interplanetary travel that was not a serial. That said, with its alien civilization where they speak perfect English subplot, it is not too far removed from the Flash Gordon episodes that had gone before.

 It was an expensive production for Monogram Pictures, better known for Bowery Boys and inexpensive programmers. Luckily, the year prior, ROCKETSHIP X-M (Lippert,1950) and DESTINATION MOON (Paramount,1950) proved that there was an audience for these kinds of adventures.

Monogram was beginning to try and transition into more expensive pictures and began to use color in their films. Cinecolor was a two-color process, rather than the pricier three strip Technicolor or the Ansco Color favored by MGM on several films before LUST FOR LIFE (MGM,1956) became the last in that process.

Even though it was an expensive project for the studio, a lot of material from other studios was repurposed or rented for the production, including sets and props from ROCKETSHIP-XM, as well as leftover military surplus, like the leather flight jackets and helmets.

Still, there are a lot of original costumes, sets, and props, as well as the several special effects shots, making this film more impressive when you learn that, according to the late star Cameron Mitchell, the actors completed their work in only five days!

Though the effects are attributed to Jack Cosgrove, who had worked on GONE WITH THE WIND (MGM,1939), it seems most of the work was done by the uncredited effects team of Jack Rabin, Louis DeWitt, and Irving Block. Some of the work they did on this film was echoed on the later FORBIDDEN PLANET (MGM,1956).

FLIGHT TO MARS

FORBIDDEN PLANET

The film was directed by Lesley Selander, an odd choice, as he had directed mostly westerns, though he had directed with great style one of Republic’s few horror features, THE VAMPIRE’S GHOST (1945). The short shooting schedule of this film would allow little in the way of directorial flourishes, but he kept the story going in a clear manner.

Screenwriter Arthur Strawn had written the 1944 Broadway farce SLEEP NO MORE (that played all of seven performances!) but had been writing screenplays since the 1930s, including the classic Karloff thriller THE BLACK ROOM (Columbia, 1935).

The first earth expedition to Mars is made up of reporter Steve Abbott (Cameron Mitchell, who was coming off a Theatre World Award winning performance as Biff in the original production of DEATH OF A SALESMAN on Broadway as well as recreating his role in the 1951 Columbia film),who is their to record the historic event ,the expedition leader Dr. Lane (John Litel, who in real life had enlisted in the French Army during WWI because he didn’t want to wait for the U.S. to enter the fray, and he was twice decorated for bravery!) ,Professor Jackson(Richard Gaines, who appeared that same year in Billy Wilder‘s ACE IN THE HOLE , Paramount), engineer Jim Barker (Arthur Franz ,BUD ABBOTT & LOU COSTELLO MEET THE INVISIBLE MAN ,Universal, 1951) and Carol , his assistant (Virginia Huston, FLAMINGO ROAD,W.B.,1949).

There is talk about the dangers of the voyage, knowing that any number of things could happen that would result in their deaths (someone must have seen ROCKETSHIP -XM). Sure enough, they encounter a meteor that damages some of their equipment, including their radio and landing gear. The Professor crash lands the ship, still hoping to collect data that they can send back, even though they themselves may never return to earth.

Donning outfits better suited for a B-25 than an extraterrestrial expedition, they discover that there are intricate structures created by an advanced civilization. Sure enough, they are met by a group of Martians in colorful space suits and helmets. Ikron (Morris Ankrum, who switched sides, as he had been Dr Fleming in ROCKETSHIP X-M!) informs the earthlings that they have been monitoring Earth transmissions and thus have learned their languages, keeping the film moving rather than a long time figuring out how to communicate. Kiron is the current President of the Martian Planetary Council, and he invites the visitors to see their vast underground city.

The Martian civilization is advanced in many ways, though it seems all the women are incredibly young and wear miniskirts (well, STAR TREK, Paramount TV, 1966-69 did the same) while most of the men seem middle aged or older. Seeing the scientific advances, the earth crew asks for help with repairing their spaceship, to which the Martians eagerly agree. We find out that the Martians an atmosphere by use of a material called Corium . We soon learn that their supply of the mineral is depleted.

Ikron and the council plan to fix the ship, copying it and using this new fleet to make a mass exodus to earth. Alita (Marguerite Chapman, later in Hammer’s THE LAST PAGE /MAN BAIT ,1952 directed by Terence Fisher), one of the Martian scientists, helps with the repairs, unaware of the plans of the council. Also helping is Terris (Lucille Barkley, who appeared in the 1951 Universal surprise hit, BEDTIME FOR BONZO). Terris is spying upon the visitors and the progress of the repairs, reporting back to Ikron.

Jim begins to suspect what the Martians are up to and fakes an explosion. He then informs the other crew members that the ship is really ready and will take off the next day , with the addition of Alita and Tillamar (Robert Barrat, who had been acting on Broadway as far back as 1918,and who  in 1950 played the Judge in the Sam Fuller picture BARON OF ARIZONA, Lippert ,1950),a former Council President who is sympathetic to the humans.

There is a desperate getaway attempt after Terris reports her suspicions to the council, but the ship takes off, bound back for earth.

The film is a fun pulpy science fiction film that exhibits the mindset of the times in which it was made (when asked what she would like to see in the Martian Civilization, Carol first wants to see- a kitchen!!).

Long available in blurry prints, FILM DETECTIVE has sourced their new 4K restoration copy from an original 35MM Cinecolor Separation Negative, giving us a much clearer idea of how great the film must have looked when it was first released. The copy is superbly clean, and the mono sound is reproduced cleanly.

There are also optional subtitles in either English or Spanish.

Other extras include :

A running commentary by film historian Justin Humphreys (co -author with William Goldstein of THE DR PHIBES COMPANION, Bear Manor ,2020). Justin is not afraid to point out the flaws of the film but is also quick to defend its entertainment value as well, and the difficulty of doing a color science fiction film back in the early 1950s with a low budget.

WALTER MIRISCH: FROM BOMBA TO BODY SNATCHERS– a new documentary about the producer who helped Monogram evolve into Allied Artists, while attracting bigger names and better productions to the studio, before he left and formed his own production company, producing some of the biggest hits in the 1960s like WEST SIDE STORY (UA,1960). Being a Ballyhoo documentary, you know that it is informative and very well done, hosted by filmmaker C. Courtney Joyner (screenwriter of PRISON, Empire,1987).

Interstellar Travelogues: Cinema’s First Space Race – a celebration of sci fi space race films hosted by Hugo winning artist historian Vincent Di Fate. It examines the importance of the earlier German film Frau im Mond (DEFA,1929) and moves forward to cover a few other films that dealt with interplanetary flight that followed. Oddly, it ignores Himmelskibet (Denmark ,Nordisk Films,1918) ,which was probably the first film to have a space exploration of Mars.

 Himmelskibet

The documentary was an interesting idea, and I wish it had been expanded to go into greater depth of that film and those that followed, like PROJECT MOONBASE (Lippert 1953) and CONQUEST OF SPACE (Paramount ,1955). The recording of Di Fate sounds like it was from an older tape recording or a phone call, being a bit echoey. Still the information is fascinating to hear.

Inside the slipcover is a small booklet that has an essay by Don Stradley that covers the production of FLIGHT TO MARS as well as other films that visited the Red Planet.

If you are a fan of pulpy science fiction films, I can recommend that you pick up The Film Detective’s release of FLIGHT TO MARS.

-Kevin G Shinnick

FLIGHT TO MARS on Blu Ray and DVD is  available on Amazon and other fine DVD/Blu Ray dealers.

If you would like to contribute to SCARLET THE FILM MAGAZINE,

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GIANT FROM THE UNKNOWN -Film Detective Blu Ray

GIANT FROM THE UNKNOWN (Film Detective Blu Ray)    

Original theatrical Release: Astor Pictures March ,1958 B&W 77 min.

The Film Detective release Jan 19, 2021  Region A  $24.95  https://www.amazon.com/Giant-New-4KRestored-Version-Blu-ray/dp/B08KJ66H5B/ref=sr_1_2?crid=20MY9UTNI5XR2&dchild=1&keywords=giant+from+the+unknown+blu+ray&qid=1608513823&s=movies-tv&sprefix=giant+fr%2Caps%2C177&sr=1-2

Also available on DVD $19.95  https://www.amazon.com/Giant-New-4k-Restored-Version/dp/B08KJ66H59/ref=sr_1_1?dchild=1&keywords=giant+from+the+unknown+dvd&qid=1608513856&s=movies-tv&sr=1-1

Film Detective has released some interesting films of late. Their copy of THE VAMPIRE BAT (https://www.amazon.com/Vampire-Bat-Special-Detective-Restored/dp/B01LTIAUJ2/ref=sr_1_1?crid=1LKAB9WDI072G&dchild=1&keywords=vampire+bat+blu+ray&qid=1608514341&sprefix=vampire+bat+blu+r%2Cmovies-tv%2C154&sr=8-1 ) recreated the color sequences to the independent Majestic Pictures 1933 release .

Now Film Detective has given the 4K cleanup restoration to GIANT FROM THE UNKNOWN.  G.F.T.U. was a low budget quickie that came and went to theatres back in 1958. It was often a co-bill with SHE-DEMONS, another Astor Picture, both directed by Richard E. Cunha (1922-2005). Cunha also directed two other Astor horror flicks that year, FRANKENSTEIN’S DAUGHTER and MISSLE TO THE MOON.

G.F.T.U. is most notable today for it being one of the low budget films that make-up genius Jack Pierce worked upon after Universal International booted him from the studio in 1946. The man who created the definitive look of Frankenstein’s creation was now working on films shot with extraordinarily little resources and less time for creative experimentation. Pierce’s output for 1958 included applying hair to 51-year-old stuntman Gil Perkins to turn him into the TEENAGE MONSTER (Howco,1958) as well as the fuller’s earth coating of 6’ 6” actor Buddy Baer for G.F.T.U.

51 year old teenage monster

The plot: A series of animal mutilations have recently happened in an area called Devil’s Crag (one of the working titles for the film were “Giant of Devil’s Crag “) and now a local known as old man Harold Banks (an inside joke, as that was the name of the picture’s special effects man, as well as visual effects on MISSLE TO THE MOON) has been found murdered.  

The body is brought into town by Sheriff Parker (western star Bob Steele, who had portrayed Curly in the classic OF MICE AND MEN, Hal Roach, 1939) The townspeople talk of the area being cursed, and Indian Joe (western actor Billy Dix, in a wig. Dix also had a small part as a storm trooper in SHE DEMONS.) talks about the area being a burial ground for his ancestor and talks of the curse.

Sheriff Parker goes to Geologist Wayne Brooks (Ed Kemmer ,who had starred in the ABC-TV science fiction classic SPACE PATROL from 1950-5. In 1958, he also headlined Bert I. Gordon’s THE SPIDER, AIP) who has been working in the area. Brooks is also a suspect since it seems he did not get along with the late Banks.

Brooks becomes friends with Professor Cleveland (Morris Ankrum, HOW TO MAKE A MONSTER, AIP, 1958, as well as a gruff military type in many 1950s sci fi films), an archeologist, and his daughter Janet (Sally Fraser, WAR OF THE COLOSSAL BEAST, AIP,1958, as well as THE SPIDER, both for Bert I Gordon). Both had arrived when the townsfolk were discussing the murder of Banks as well.

Cleveland has been studying the history of the area to a group of Spanish Conquistadors led by Vargas (Baer). Vargas, a giant of a man, was a violent man who broke away from the main expedition and vanished with a few followers up in the Devil’s Crag some 500 years ago. Meanwhile, Brooks makes an amazing discovery about the soil in the area, wherein he finds a lizard long thought extinct preserved and alive. He theorizes that the soil induces a sort of suspended animation and preserves living creatures.

Having found an old broken cross that he believes is from Vargas’ party, they use a metal detector to search the area for other artifacts. Janet is the one who finds the location of the burial area of the lost Spaniards. A thunderstorm comes through and freshly cleared soil shows more of that preservative dirt that saved the lizard, as well as spotting a giant battle axe. They decide to retire to their camp site for the night and investigate further in the morning.

During the night, Vargas comes alive, and stumbles down to their campsite. Janet, however, has a gun with her, which she fires off, startling the giant. The man out of his time goes staggering off, only to find other victims.

The film has a lot of plot and continuity errors.  We hear of animal mutilations and the murder of Banks as the film begins, but Vargas is not shown rising from the earth until 36 minutes into the 77-minute film. Who then was responsible for the killings before Vargas arises?  During a climatic fight, it begins snowing but in certain shots there is no snow, etc.  The joys of low budget filmmaking. The budget for the film was $54,000 for a six-day shoot, so retakes and time are not luxuries afforded to indie filmmakers. The budget was 30K on hand as well as $24K deferred. That includes renting locations, transport, feeding, housing, as well as film stock, cast and crew salaries, plus optical effects costumes and makeup.

The film has long since slipped into public domain and thus has been seen in prints on television and home video releases varying from good to very scratchy and splice ridden.

Now, FILM DETECTIVE has gotten the original camera negative and made a brand new 4 K transfer. The print is incredibly sharp, complimenting director Cunha’s photography (he did double duty on the picture).

They also have provided yellow easy to read optional subtitles, though there are a few misspellings in the extras section (the director’s name, for instance, or Grauman’s Chinese Theatre).

Other extras with this blu ray release are

A running audio commentary by Tom Weaver, filmmaker, and film fan/filmmaker Larry Blamire (LOST SKELTON OF CADAVRA, Columbia, 2001, inspired by films like G.F.T.U.). Weaver reveals a personal connection to this film, and the kindness that the filmmakers bestowed upon him. The commentary also uses audio clips of the late filmmaker, and some sound effects that seem influenced by Ghoulardi.

A second running commentary with co-star Gary Crutcher, who has fond memories of his first film role some sixty-two years later.

Ballyhoo Motion Pictures provides two new featurettes.

The first is YOU’RE A B-MOVIE STAR, CHARLIE BROWN -an interview by Daniel Griffith with co star Gary Crutcher, covering some of the same territory as his running commentary, but fascinating and fun, nonetheless.

THE MAN WITH A BADGE: BOB STEELE IN THE 1950s- C. Courtney Joyner (screenwriter of PRISON, Empire ,1987) and how big a deal it was to have Steele (January 23, 1907 – December 21, 1988) in this film. 

from F TROOP -1965-7.WB-TV

A Booklet enclosed inside the disc case written by Tom Weaver about the making of the picture with some nice photos.

If you love 1950s B movies, this looks to be a must have to add to your collection.

Film Detective has truly gone all out on this one.

ONLY 1,500 copies pressed.

Do not miss out!!

–Kevin G Shinnick

https://www.youtube.com/watch?v=xnu-FnKoIVk&feature=emb_logo

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RIO GRANDE (Olive Films Signature Blu Ray)

RIO GRANDE– Republic, 1950 . 105 mins. B&W. Directed by John Ford. John Wayne ,Maureen O’Hara . Olive Films Signature Blu Ray release : November 17,2020 . $39.95 SRP. Region A. https://www.amazon.com/Grande-Oliver-Signature-Collection-Blu-ray/dp/B08K41T14H/ref=pd_sbs_74_4/133-3018232-7020546?_encoding=UTF8&pd_rd_i=B08K41T14H&pd_rd_r=4077fff0-70dc-464e-87c8-7080f7300ada&pd_rd_w=xY9uI&pd_rd_wg=tUrFF&pf_rd_p=ed1e2146-ecfe-435e-b3b5-d79fa072fd58&pf_rd_r=1741FCC3Z575QNJ40SF7&psc=1&refRID=1741FCC3Z575QNJ40SF7

John Martin Feeney ,better known as John Ford, was and remains one of the cinemas greatest storytellers. From 1917 until 1976 , he was able to tell adventure filled stories with a lot of humanity and heart, developing a stock company of performers and technicians who would work with him again and again, bringing a uniformity of quality to his numerous projects.

He basically saved John Wayne from low budget B movies and turned him into an international star with STAGECOACH(Walter Wagner/U.A.,1939) and Wayne would return again and again to work with “Pappy”(his nickname for the director),with both delivering some of the best films of their respective careers , reaching their apex with the romance comedy THE QUIET MAN (Argosy/Republic ,1952, was also available from Olive Signature on Blu Ray ,and has become a sought after collector’s item).

Ford and Wayne made three films that have come to be known as the “Cavalry Trilogy”, made up of
FORT APACHE ( Argosy/RKO ,1948), SHE WORE A YELLOW RIBBON (Argosy/ RKO ,1949) ,and this film ,RIO GRANDE (Argosy /Republic,1950). Though not directly related to each other, and made at two different studios ,with Wayne and various actors reappearing in the films, there is a unity in the stories about courage and honor .

The great Victor McLaglen

The film was also the first of five films that Wayne would co star with the wonderful Maureen O’Hara , three of which Ford directed them together in.

In 1879, Texas settlers are being attacked by Apache warriors who after the skirmishes, flee over the border to Mexico, outside of U.S. jurisdiction. During a recent attack, they have captured an Apache leader . Lt Col Kirby Yorke (Wayne), is hampered in his efforts due to lack of adequate troops. He is sent a group of mostly raw recruits to deal with this problem, among them is his son Trooper Jeff Yorke (16 year old Claude Jarman,Jr.,who had won an Academy Award for his wonderful work in 1946 for THE YEARLING,MGM). Jeff had flunked out of West Point, which does not make the relationship between father and son any better.

Adding to the tension is the arrival of Kathleen (Maureen O’Hara), Kirby’s estranged wife. She has arrived to buy out her son’s enlistment , only to discover her son does not want her to. Adding to the frisson is Sgt Major Quincannon(Victor McLaglen , Oscar winner for THE INFORMER ,RKO,1935),Kirby’s right hand man, who, during the Civil War, set torch to Bridedale, Kathleen’s Southern Estate.

The troops experience another attack from the Apaches who free their leader. Lt General Phillip Sheridan (J Carrol Naish , HOUSE OF FRANKENSTEIN ,Universal ,1944 ) orders Kirby decides to pursue the Apaches even into Mexico.

Yorke goes with two of his older troopers, Travis Tyree (Ben Johnson ,a former ranch hand who turned stunt man and small uncredited film roles, before Ford gave him a nice role in THREE GODFATHERS,Argosy/MGM ,1948 and becoming one of Ford’s stock company) and Daniel “Sandy”Boone (Harry Carey Jr ,the son of an actor who also was part of Ford’s reliables and was active until 2005,age 84 ). Also along is Jeff.

Ben Johnson

To complicate matters, they find out that a group of children have been taken hostage.

RIO GRANDE was a film that wasn’t originally planned by Ford. He was desperate to do THE QUIET MAN(finally made at Republic, 1952), but he could not convince any studio to produce it for him. Finally ,studio head Herbert J Yates made a deal with the director – he could make his passion project ,which Yates felt would be a prestige film but money loser , if he made RIO GRANDE for the studio as a more likely money maker.

Oddly, while RIO GRANDE did well , the little prestige film THE QUIET MAN was the bigger hit, becoming one of 1952’s top ten money makers. Still , RIO GRANDE made back double it’s cost for the studio .

The Olive Film release was previously released in a bare bones 1080p release in 2012. Now it has been given a special edition (Signature) release full of extras. The film is presented in DTS-HD 1.0 Mono that is very clear, whether it be the songs of The Sons of The Pioneers ,the battles, or a quiet scene between Wayne and O’Hara.

Ported over from Olive Films DVD release in 2002 is an informative Leonard Maltin documentary on THE MAKING OF RIO GRANDE .

– Audio commentary track by Nancy Schoenberger (author of Wayne and Ford: The Films, the Friendship, and the Forging of an American Hero,Deckle Edge Publishers, 2017 ) who goes into great detail about the relationship of the director and actor, as well as the making of the film). Newly recorded for this release.

STRENGTH & COURAGE – Patrick Wayne ,who made his uncredited debut as one of the kidnapped kids in the film, talks about his father.

New mini featurette ,BIGGER THAN LIFE –Claude Jarman Jr talks about working on this film which he says is his personal favorite.

New mini featurette TELLING REAL HISTORIES – Actor Raoul Trujillo (native actor, JAMESTOWN ,Sky ,2017-19) discusses how Native Americans were depicted in films.

Raoul Trujillo in JAMESTOWN

• New Interview –SONGS OF THE RIO GRANDE – film historian Marc Wanamaker (Early Poverty Row Studios by E.J. Stephens and Marc Wanamaker ;Arcadia ,2014)discusses The Sons of The Pioneers and their work in this film.

Booklet by Paul Andrew Hutton (American Cultural Historian,who has acted as historical consultant on several films, like THE MISSING ,Columbia, 2003) with original essay about the film.

Original Theatrical Trailer

RIO GRANDE is indeed a classic of American Moviemaking , and should be in the possession of any lover of films.

HIGHLY RECOMMENDED.

-Kevin G. Shinnick

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LAUREL AND HARDY: THE DEFINITIVE RESTORATIONS

LAUREL & HARDY: THE DEFINITIVE RESTORATIONS (Blu-Ray) (MVD /Kit Parker Films/Sprocket Films) B&W, Color .4 Discs. 511 Minutes. Not Rated. Release date June 30,2020. $79.95 srp. (also available on DVD). REGION FREE.
https://www.amazon.com/Laurel-Hardy-Definitive-Restorations-Blu-ray/dp/B084P3S7NJ

         BUY IT. A MUST HAVE COMEDY COLLECTION.

       What? Oh, you need more in a review. Oh, very well.

Laurel & Hardy remain iconic touchstones of cinematic comedy. As recently as January 2020, Stan Laurel (and Charlie Chaplin ) were the subjects of a London stage show (https://www.thestage.co.uk/reviews/the-strange-tale-of-charlie-chaplin-and-stan-laurel-review-at-wiltons-music-hall-london–expressive-physical-comedy ) as well as magnificent tribute film in 2018 (STAN & OLLIE ,BBC FILMS). Their body of work inspires and continues to influence comedians and comediennes.

recent London Mime Show

A comedy duo (officially since DUCK SOUP, Roach,1926, even though they had appeared together in THE LUCKY DOG, 1921,Sun-Lite) who remained friends until Oliver Hardy’s passing in 1957,and who will forever be linked in the minds of film fans as a tandem force.

Their films can be watched and enjoyed by all ages, due to their child like innocence as well as their constant battles with everyday events. 

Now, a collection of their works has been restored and presented to both new and old fans alike in a release that should please all. The shorts are well represented, with some odd omissions. For example, they do a magnificent job on the one silent presented, THE BATTLE OF THE CENTURY (Roach/MGM,1927),but skip their first talkie (UNACUSTOMED AS WE ARE, Roach/MGM ,1929),as well as many other classics . Were there legal issues or lack of acceptable elements, or just the ones that UCLA has restored so far? Perhaps if this set sells well, we might expect a second edition, or even a third that would include their silent (yes please).

The restorations of these films are nothing short of miraculous. New 2K/4K masters have been made from the best elements available, and while they still have a few specks here and there, plus the sound is variable due to the technology of the time , one is doubtful one will ever see these classics in any better presentation.

THE BATTLE OF THE CENTURY (Roach /MGM ,1927), on Disc One, to me, made the disc a special delight. Robert Youngson used the remaining footage available in his 1965 compilation LAUREL & HARDY’s LAUGHING 20s (MGM,1965). For years, that tantalizing footage had fans wishing to see the entire short.

 

In the 1980s, most of the first reel was discovered. Missing still is a sequence wherein Eugene Pallette (best known as Friar Tuck in THE ADVENTURES OF ROBIN HOOD, WB,1938) is an insurance agent who sells Ollie a policy ,wherein if Stanley sustains injury, there will be a nice payout. This footage is set up nicely with a few remaining stills and a title card explaining the set up. It then jumps to Ollie dropping banana peels to make Stan fall, only to have it backfire and make long suffering foe Charlie Hall as a pie man topple, leading up to the huge street filling pie fight. In the extras, Anita Garvin identifies herself as the woman who falls and sits upon a pie, stands, and tries to regain her dignity. She did this brilliant comic gem of a moment in an unpaid appearance during her lunch break as a favor to Stan!

 

Also, on Disc one, there is BERTH MARKS (Roach/MGM,1929) their SECOND talking picture. Even though sound had just become popular and wider used just two years earlier, the team was already using it and drawing attention to its humorous potential. Notice how they use the stationmaster (Pat Harmon, a familiar face in films ,often in unbilled roles) who yells out the train destinations in an incoherent though loud way, then asked if Pottsville is one of the stops, he yells louder and even less coherently!

BERTH MARKS is available in two versions on this disc ; the 1929 release version with original sound, as well as the 1936 re issue with added music and different sound effects. The 1929 version has not been seen for 84 years so it is a real significant find.

The brilliant fourth L&H feature, SONS OF THE DESERT (Roach,MGM ,1933) was called “culturally, historically, or aesthetically significant” by the U.S. Library of Congress in 2012 and selected for preservation in the National Film Registry. Once you watch this pre-code comedy, you will see why. The print is so much sharper than previous releases, with nice shades of gray and good sound.

There are extras galore on this and the other discs .

There are fact filled running commentaries by either Randy Skretvedt or Richard W. Bann on the various shorts and films. Seriously, you will learn about where certain sequences were shot, actors who appear, often as uncredited extras, just a wealth of information.

Also included are video interview from the 1980s.

Actress Anita Gavin (1906- 1994) gushes with real affection for her time at Roach, and of her working with Stan.

Producer/actor/director Joe Rock (aka Joseph Simberg,1893-1984). Rock basically saved Stan from an unhappy marriage that was ruining his career. Freed of her, Stan starring silent vehicles included the wonderful spoof DR PYCKLE AND MR PRIDE (Selznick,1925). It is too bad that the sound is so terrible in this interview, with a buzz so loud that words are often drowned out.

Roy Seawright (1905-1991) was Hal Roach Studios Head of Animation , the man responsible for all of those animated effects in the films, as well as the stop motion in BABES IN TOYLAND /MARCH OF THE WOODEN SOLDIERS (Roach /MGM ,1934) .

(not from the blu ray, but an interesting bit of film history below )

https://www.pbs.org/video/appraisal-1934-babes-toyland-stop-motion-soldiers-xfnzcd/

A shipboard interview with Oliver Hardy (1950). This was when the boys were going with such high hopes to film ATOLL K/UTOPIA (1951), a disastrous final film for the comedy team.

The only known existing  original trailer from SONS OF THE DESERT (Spanish).

A plug for Skretvedt’s book (which appears on several of the discs.)?

That is just the first disc!

Extras on Disc 2 include audio interviews with many associated with the comedy team, while disc 4 has several of the comic duos’ feature trailers, as well as music tracks from Marvin Hatley (1905-1986), best known for his work for the team.

There are also thousands of rare photos posters, scripts, and production notes from their many shorts and features.

  (TWICE TWO ,1933 )

Disc 2 also has BRATS (1930, available in two versions) ,HOG WILD (1930) ,COME CLEAN (1931), ONE GOOD TURN(1931),and ME & MY PAL (1933)  ,all Roach/MGM releases , all looking vastly sharper than they have in other releases.

 

Disc 3 has 8 shorts, including THE MUSIC BOX (Roach/MGM,1932), winner of the FIRST Academy Award for Best Short Live Action (Comedy) and was preserved in 1997 in National Film Registry by the Library of Congress.

The other shorts on Disc 3 are HELPMATES(1932) , THE CHIMP (1932) ,COUNTY HOSPITAL (1932) ,SCRAM! (1932), THEIR FIRST MISTAKE(1932) ,THE MIDNIGHT PATROL(1933) ,and BUSY BODIES (1933) (all Roach /MGM ).

Disc 4 has the feature WAY OUT WEST (Roach/MGM,1937). This is the comedy which will have your sides ache in the sequence where they chase each other around the room with a purloined deed. This is the film that is referenced so perfectly in the beginning of STAN & OLLIE, with an exact copy of their dance.

It also has three other Hal Roach produced shorts(TOWED IN A HOLE(Roach/MGM 1932) ,TWICE TWO(Roach /MGM 1933),THAT’S THAT(1937 , a private reel of out-takes compiled for Stan’s birthday and was not publicly distributed), as well as their only existing professionally shot color footage in TREE IN A TEST TUBE, a 1942 short made for the U.S. Dept of Agriculture!

The  packing really beings up my one tiny nitpick – the case has a flip book to hold the various discs, which often shift making the box  hard to close. Be careful so as not to scratch or damage the discs.

This is hours and hours of entertainment and information in a well-made release. Hopefully, it will be a success so that we may see 4 K releases of their other Hal Roach films (including the silent era)  to Blu Ray.


Stan: What do you want?
Policeman: I don’t want you. I want that other monkey.
[Stan whistles to Ollie]
Ollie: What?
Stan: He doesn’t want me! He wants the other monkey!
[Ollie looks around]
Stan: You!
Ollie: Oh.
-from THE MUSIC BOX

You don’t want that other monkey. You want this collection!! Must own.

–Kevin G Shinnick

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NOIR ARCHIVE 9 Film Collection Volume 2 (Mill Creek Blu ray)

NOIR ARCHIVE 9 Film Collection Volume 2 (Mill Creek Blu ray) Region A/1 $35.99 b&w / color 907 minutes

https://www.amazon.com/Noir-Archive-1954-1956-Collection-Blu-ray/dp/B07PNK9W7D/ref=asc_df_B07PNK9W7D/?tag=hyprod-20&linkCode=df0&hvadid=366315610017&hvpos=1o4&hvnetw=g&hvrand=2671436127413592497&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9067609&hvtargid=aud-802037562948:pla-783588578090&psc=1&tag=&ref=&adgrpid=75136391966&hvpone=&hvptwo=&hvadid=366315610017&hvpos=1o4&hvnetw=g&hvrand=2671436127413592497&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9067609&hvtargid=aud-802037562948:pla-783588578090

The second collection (out of three, as of this writing) of classic noir style films released through Columbia Pictures between 1954 -1956. Mill Creek and Kit Parker Films have licensed a collection of Columbia titles that are rarely screened, even on classic film channels like TCM. Many are B titles (co-features for bigger budget films) some have a bit more production value, a few are British (with one, FOOTSTEPS IN THE FOG,1955, the only color film in the collection) but all are entertaining and well worth your discovery of them.

 

 

BAIT (1954, not to be confused with Ed Wood’s JAILBAIT, Howco, that same year) was co- written, produced, and directed by Hugo Haas (1901-1968). A famous Czech performer, he was forced to flee from his home country when the Nazis invaded. In the U.S., he became a character actor, who, in the 1950s went the independent film route and make his own B pictures, making nearly a dozen films through the decade. He wanted to return home to his home country but was denied this when the Russians invaded. He died in 1968 in Vienna. BAIT has The Devil (Sir Cedric Hardwicke (ROPE, WB,1948) introduce the story of Marko (Haas), who asks Ray (John Agar, THE BRAIN FROM PLANET AROUS, Howco,1957) to help him find a gold mine. Ray accepts with the promise of an equal share.

When Ray does find the mine after several weeks, Marko tries to renege on the deal. Marko trick local waitress Peggy (Cleo Moore, who would star with Agar in Haas’ HOLD BACK TOMORROW, Universal, the following year), whom Ray is attracted to, into marrying him.

Marko then manipulates the two as all three are isolated in a mountain cabin during the winter. He hopes to catch the two in an intimate encounter so Marko can kill them, claiming a jealous rage. Marko is so low; he even kills Ray’s dog (boo!).

The film gains points for casting Bruno VeSota (himself a triple threat on FEMALE JUNGLE, A.R.C.,1955), a character actor in many early AIP films, as a bartender in an early scene. However, it is odd that John Agar asks if the bartender knows a “heavy fellow with a mustache” when VeSota is …. a heavy fellow with a mustache! An odd little film.

 

THE CROOKED WEB (1955) has Frank (Richard Denning, who had appeared in the 3D feature THE GLASS WEB ,Universal,1953)desperately needs money to take care of some debts, and so tries to get his Stan (Frank Lovejoy,HOUSE OF WAX, W.B.,1953 ) to aid him . Stan gets intrigued, hoping it will help him make enough money that he can marry waitress*Joanie (Mari Blanchard, ABBOTT & COSTELLO GO TO MARS, Universal ,1953), the sister of Frank.

Don’t poke his eye out…

The film has a lot of major surprises that still work today, and so I will refrain from describing more of this wonderful little gem. Suffice it to say, that many of the characters are not what they seem, and just when you think you know, they pull the rug out from under you again. The cast really make the most of these roles in a juicy script by Lou Breslow (CHARLIE CHAN AT THE RACETRACK, Fox, 1936), and the direction is by Nathan Hertz Juran ,a director of some of Ray Harryhausen’s best 1950s films, as well as fun schlock like THE BRAIN FROM PLANET AROUS.

Produced by Sam Katzman, a producer so frugal he would make Roger Corman seem extravagant. Still, he produced a lot of films well-loved today (IT CAME FROM BENEATH THE SEA, Columbia ,1955) while major films of the era are forgotten, so maybe Katzman knew best.

CELL 2455 DEATH ROW (1955) has William Campbell (most famous for his wonderful appearance as The Squire Of Gothos on the original STAR TREK series, Paramount, 1966-9) portrays Whit Whittier. Real life criminal Caryl Chessman wrote the book (Prentice Hall,1948) upon which the film is based, Whittier being his middle name. The real-life Chessman was found guilty of robbery, kidnapping and rape. Acting as his own lawyer, he appealed 8 times to delay his execution, finally going to the gas chamber in May 1960. By a horrible comedy of errors, a court secretary misdialed the prison number, and so a stay of execution was delivered too late.

 

In the film, Whittier shows that bad company and bad decisions had him end up on death row. Along the way, there are bad girls who lead him astray (Kathryn Grant, the Princess from THE 7TH VOYAGE OF SINBAD, Columbia,1957) and bad company that gets him to be a driver. This leads to a spectacular stunt scene, where evading a roadblock, their gas tank explodes into flame as they continue to race away, the police in hot (I couldn’t resist) pursuit. After a stint in prison, he continues his criminal ways until his arrest and trial as “The Red-Light Bandit”. He defends himself but ultimately is found guilty on 17 of the 18 charges against him.

Former actor turned director Fred F Sears keeps the film moving at a fast clip, wasting none of its 72-minute running time. Sears is perhaps best known perhaps for the flying monster turkey THE GIANT CLAW (Columbia 1957) but he also was a director of skill with films such as this and THE WEREWOLF (Columbia,1956). Sadly, he died in 1957 at only age 44, directing 20 various tv shows as well as 34 films and serials in just a ten-year period!

 

5 AGAINST THE HOUSE (1955) is more a caper film, with 4 friends stopping in Reno for some quick gambling. Two of them get caught up by the police when someone tries to rob the casino, but after they clear themselves of the crime, they get an idea to commit a perfect crime. What they plan and what happens of course are two different things.

A good cast that includes Kerwin Matthews (now and forever Sinbad from THE 7TH VOYAGE OF SINBAD) in his first starring film role, Kim Novak (VERTIGO, Paramount,1958) in her third featured film, William Conrad (famous as the T.V. detective  CANNON, Quinn Martin, 1971-76), Guy Madison (1954 Golden Globe Award Special Winner-Best Western Star), Alvy Moore (best known as “Hank Kimball “on the television series GREEN ACRES, Filmways,1965-71) and especially Brian Keith. Keith may best be known for his more loveable roles in films like the father in Disney’s THE PARENT TRAP (1961) as well as the family friendly T.V. series FAMILY AFFAIR (Don Fedderson ,1966-71) will be blown away by his tortured character here. The screenplay is by Stirling Silliphant (Oscar winning screenplay adaptation of IN THE HEAT OF THE NIGHT, UA,1967) based upon a novel by Jack Finney (most famous for his serialization and then novel THE BODY SNATCHERS, 1955).

THE NIGHT HOLDS TERROR (1955) is based upon a true event from 1953 wherein Edwards Air Force Base worker Gene Courtier picked up a hitchhiker that led to his wife and two children being held captive by James Canigan, Leonard Mahon, and an A.W.O.L. marine named Donald Hall.

The film follows the true events accurately until final third. The movie was shot in 18 days on a $78,000 budget (according to Time Magazine, August ,1955) around where the actual events took place. The flick was produced, written, directed and edited by the husband and wife team Andrew & Virginia Stone (who produced another hostage family film in 1958 called CRY TERROR! For MGM and later Andrew directed the big budget SONG OF NORWAY, ABC Pictures,1970).

In the picture, Gene Courtier (Jack Kelly, Brother Brett in the tv series MAVERICK, WB,1957-72) picks hitchhiker Victor Gosset (Vince Edwards, pre-BEN CASEY(BCP,1961-6) fame. Interesting note, while the family’s real name is used, the rest of the names are changed in the picture)who pulls a gun and has the driver pick up Robert Batsford (John Cassavetes ,later world renowned for his indie films like FACES,Continental,1968 ) and Luther Logan (David Cross, later one of the “clickers” in THE CREATION OF THE HUMANOIDS (Emerson,1962).

The trio plan on killing the good Samaritan, but Gene convinces them to go to a town where he will sell his car. The dealership, however, only gives him a few dollars and a check, and so the crazed criminals go to the Courtier home and terrorize the family until the morning.

The dialogue is typical tough guy gangster stuff but the villains, in particular Cassavetes, who seems to be on the edge of gleeful sadism even when standing, make it truly suspenseful.

 

NEW ORLEANS CONFIDENTIAL (1955) is a pre – ballyhoo William Castle (HOUSE ON HAUNTED HILL, AA,1959) drama. Castle had made many serviceable and entertaining films in various genres since he began directing in 1939.
Dan Corbett (Arthur Franz, MONSTER ON THE CAMPUS, Universal, 1958) needs money to buy a boat he plans to live and work upon, and so he begins to work for crooked Zero Saxon (Michael Ansara , HARUM SCARUM ,Paramount 1965) which leads him to get involved in smuggling and even murder. Also, in the cast was Beverly Garland(NOT OF THIS EARTH, AA ,1957) but most of the roles, shot mostly on location, featured real dockworkers and local politicians. Some of the flat line readings from the locals makes you wonder why Castle didn’t just budget for some quick dialogue looping, but that’s part of the tribulations of low budget filmmaking.

 

 

 

FOOTSTEPS IN THE FOG (1955) is probably the biggest budgeted and best-known film in the set, as well as the only picture in color. I first became aware of the picture when the late lamented fanzine PHOTON mag used it on the cover of issue 21.

 

FI.T.F. was based upon the short story “THE INTERRUPTION” that was printed in Colliers Magazine (July 4,1925). The rights were bought by director Arthur Lubin, who intended to make the picture in 1949 but instead was hired to direct FRANCIS THE TALKING MULE (Universal,1950)!

After several different cast and title changes were announced but never started, producer Mike Frankovich finally got the production going, with Lubin directing. The director said that leading man Stewart Granger didn’t care for him, but that the final product was a good film. I agree.

Stephen Lowry (Granger,KING SOLOMON’S MINES,MGM,1950) has poisoned his wife for her money and he is blackmailed by his maid Lily (Jean Simmons,Academy Award winner for HAMLET,Rank/Universal,1948). Stephen decides he must do away with this new woman complicating his life, and during a London fog, attempts to do so in a most violent fashion.

To tell more would be to remove the many wonderful twists and turns of this delightful gaslight era little thriller, populated with so many wonderful British character actors, like a pre-Doctor Who William Hartnell and many more. This is probably my favorite film in the collection. Sadly, the film is often ignored, perhaps due to it not being a hit when it was first released.

 

SPIN A DARK WEB (1956 aka SOHO INCIDENT, its original U.K. title) was another British made thriller produced by American born (adopted son of comedian Joe E. Brown) producer Mike Frankovich. Director Vernon Sewell (CURSE OF THE CRIMSON ALTAR, AIP/Tigon,1968) shot on location in seedy parts of London to make this noir picture, making the film interesting for those who wish to see how the city has changed over the decades.

 

A down and out boxer (a profession that pops up in many of these films) named Jim gets involved with Rico Francesi’s (Martin Benson, THE STRANGE WORLD OF PLANET X ,Eros, 1958 )gang ,which leads him to become involved with the murder of another fighter as well as the pleasant though dangerous act of becoming the object of amour by Rico’s sister, Bella (Faith Domergue,THIS ISLAND EARTH , Universal,1955). Domergue really is the focus of this picture and dominates the production until its rather weak ending.

Fred F Sears and Sam Katzman pop up again with RUMBLE ON THE DOCKS (1955) in a film that seems to want to cash in on the previous year’s ON THE WATERFRONT (Columbia,1954),though on an even lower budget that that picture, using rear projections and stock shots for the New York local ,as well as some San Pedro locations. James Darren (TV’S TIME TUNNEL, Irwin Allen ,1966) makes his film debut as Jimmy, the leader of a local gang. Jimmy’s father Pete (Edgar Barrier,an original member of Orson Welles Mercury Theatre,he was  Banquo in the 1948 Republic MACBETH) a former longshoreman until the mob broke his back now runs s mall shop, one day, he turns down a bribe from Joe Brindo (Michael Granger,CREATURE WITH THE ATOM BRAIN ,Columbia 1955), who was responsible for crippling Pete. Jimmy cannot understand why his father doesn’t take the money which angers his father and his mother (Celia Lovsky ,a former wife of Peter Lorre, known as the deaf Mrs. Cheney in MAN OF A THOUSAND FACES, Universal,1953).

Brindo tries to use Jimmy to use as leverage against his father. The film thus becomes also an ersatz REBEL WITHOUT A CAUSE (WB,1955) with a lot less self-indulgence by Darren as he is being “torn apart” by his real father’s morals and the easy money offered by Brindo. With his natural charm and talent.

The Region A three-disc Blu Ray set all look fine, considering their age and rarity. While there is no mention of restoration, the print quality on all is sharp, with DTS-HD Mono Audio, and optional English subtitles. There are no other extras, but the collection and price point for 9 films makes this a minor quibble.

HIGHLY RECOMMENDED

For Classic Film Lovers

Mysteries
Noir Fans
1950s Movies

-KEVIN G SHINNICK

*The moral of Noir films- AVOID WAITRESSES AND SERVANT GIRLS.

 

A BUCKET OF BLOOD (Olive Films Signature Blue Ray)

A BUCKET OF BLOOD (Olive Films Signature Blue Ray) released 2019. B&W. 66 minutes. 1.85:1 Aspect Ratio. Original Theatrical Release. October 21, 1959. AIP. $39.95 limited to only 3500 copies

https://olivefilms.com/product/a-bucket-of-blood-olive-signature-blu-ray/

 

Back in 1959, Roger Corman (THE PIT & THE PENDULUM, AIP,1961) made a five-day quickie for $50 grand, that was different from his previous productions. While it still fell into the horror genre, it was also a dark comedy. The film went on to make back profits of  almost quadruple its production cost, leading Corman to try two more with the same writer, Charles B Griffith (who had written many of Corman’s early films, and later wrote the cult classic DEATH RACE 2000 (New World ,1975);LITTLE SHOP OF HORRORS (Filmgroup, 3 days, plus pick up shots, $34,000, not a success upon its original release) and CREATURE FROM THE HAUNTED SEA (Filmgroup, 1959, released in 1961, shot on location in 5 days, a failure upon its original release).

 

Corman thus stayed away from comedies until a segment of his TALES OF TERROR (AIP,1962) and THE RAVEN (AIP ,1963).

A BUCKET OF BLOOD works mostly because of the wonderful work by Dick Miller. When ABOB was released, it was unique, being a time capsule of the beatnik era.

 

“Beat Generation” was a phrase first popularized by author Jack Kerouac to describe the counterculture developing in post war New York, particularly in the bohemian Greenwich Village. The word was basically a way for Kerouac and others of the time to describe the beaten down and off beat. “Beatnik “was first used in 1958 in a news column as a derogatory term. The phrase stuck, however. ‘Beatniks” slowly morphed into what are now better known as “hippies”, or the counterculture movement of the 1960s.

 

Until the beginning of this century, one could still find in the Greenwich Village several coffee shops and bookstores that had been part of the Beat Generation of cool, all slowly removed and replaced by Starbucks and sterile chain stores.This film gives a glimpse of how similar the beat culture was on both coasts.

 

OLIVE FILM’s SIGNATURE series release of A BUCKET OF BLOOD goes all out on this little gem, something we wish that every film would get.

First off, the 4K scan print is amazing, especially considering how many bad to downright unwatchable P.D. prints have been circulating for years. Olive Films had released a bare bones Blu ray version (still available for $14.95 https://olivefilms.com/product/a-bucket-of-blood-dvd/) but I am sure that even that print pales in comparison to this new version.

The mono sound works fine for the film, being almost hiss free, with dialogue, sound effects, and music clear and distinct, even with lines that formerly had sounded a bit mumbled.

 

The extras are the reason that make me prefer Blu Rays over streaming films, and what a nice collection of goodies that Olive Films has added.

–CREATION IS, ALL ELSE IS NOT! *- 93-year-old Roger Corman reminisces about the making of ABOB. The man shows that his memory is clear about a film made 60 years ago, and it is remembered with great affection.

–CALL ME PAISLEY – a 2018 interview with Dick Miller (who died January 30,2019 at age 90) and his wife Lainie. His voice is hoarse but Dick Miller was still lively, and a wonderful raconteur , prompted by his Lainie. The movie has extra importance to Lainie, as she met Dick when he was beginning production of the film, and they were married by year’s end just as the picture was being released. There are some marvelous home movies of Dick wrestling with tigers and lions. As he states, they are not trained but wild, that have been fed, and have no reason to attack humans unless hungry or aggravated to attack. Miller speaks of how he knew Jonathan Haze and Bruno VeSota prior to working for Corman, and how Corman formed his little stock company of players.

 

The Cabinet Of Professor Bondi ? How does this German retitling of HOUSE OF WAX tie in with ABOB?Read on.

-Audio Commentary by Elijah Drenner, director of the wonderful documentary THAT GUY DICK MILLER (Autumn Rose Productions, End Films,2014). Elijah enthusiastically shares his information about Miller and this film with an infectious enthusiasm for his subject. When not commenting directly on the action of the film ,he pulls out illumination on the film location (the studio were it was filmed was formerly The Chaplin Studios and now is the home of Jim Henson Productions .) and the people involved both in front and off camera. At the end, you almost feel that Drenner wishes the film were longer, as he seems to have so much knowledge on the production to share.

http://blog.thatguydickmiller.com/p/dick-miller-store.html

 

-Archival Audio Interview with screenwriter Charles B Griffith. The screenwriter (who passed away in 2007) speaks clearly and with clarity about how he got involved in the business due to Myrtle Vail, a relative who helped create the radio soap opera in 1932(!)and who played the landlady Mrs. Swickert in ABOB. An amazing recollection from the subject, and a real bonus finds we should be grateful that Olive Films found and added this.

 

 

 

 

Griffith & Vail  Sounds like a Vaudeville Act ?

Well , Vaudeville was in their family blood .

 

 

 

BITS OF BUCKET – a comparison of the shooting script to the final product. Since an average of 1 minute of screen time is one page of script, the 66-minute feature need to trim a lot from the 95-page screenplay. It results in a few lines cut here and there, as well as some character development. It is interesting to see, and kudos for the effort (the original shooting script was titled “THE YELLOW DOOR’, which is the name of the club in the film), but the movie in it’s current state is quick ,and wastes no time. Would adding and shooting these bits have added to the film, or just slowed it down? An interesting alternate shot exists of Paisley’s hanging scene from the end, where his eyes are open, staring right at the camera. Was the other take used as the image was considered too gruesome?

 

Rare Prologue from the German Release . – This alone should make you rush out and buy this disc. In his commentaries, Elijah Drenner mentions the odd way a German distributor tried to tie ABOB to THE HOUSE OF WAX (aka DAS CABINETT DES PROFESSOR BONDI, THE CABINET OF PROFESSOR BONDI ,WB,1953)!!! To do this, a black and white prologue was filmed with an unknown German actor in heavy makeup going into a long speech about his wax experiments (so we are to assume that this is the Vincent Price character ,who somehow survived the finale of HOW)rambling on about his techniques, and only his relation Walter Paisley can carry on! You will probably want to re-watch this immediately after seeing it to make sure that you are not imagining it! Picture and sound quality are quite good, especially when one considers its rarity. AKA – THE LEGACY OF PROFESSOR BONDI (Das Vermächtnis Des Professor Bondi )

 

Not only did they try to tie A BUCKET OF BLOOD with HOUSE OF WAX,they even stuck a vampire on their poster, which seems to be “borrowed “from the French poster of BRIDES OF DRACULA !

 

-Super 8 Silent Version– one of those old silent 8 abridgements of films, with burnt on subtitles. Ken Films (a Fort Lee N J company that ceased production in 1981) released the film for home use. For those only know easy access streaming as the norm, there was a time when it was quite difficult to get your favorite films in any form, so these abridgements were as good as we could get. The Super 8 version begins with the murder of Detective Lou (Bert Convy, later a likeable staple on tv game shows) and goes to the murders following, a highlight reel that makes ABOB look like no more than a mad killer flick.

 

 

–Theatrical Trailer US

–Theatrical Trailer Germany (see my earlier comments about the prologue)

-A slide show of rare Production Stills.

 

-Inside the  Disc case , you will find an enclosed booklet Essay (“OH GIVE ME THAT BUCKET OF BLOOD “** by Caelum Vatnsdal, author of YOU DON’T KNOW ME, BUT YOU LOVE ME: THE LIVES OF DICK MILLER , Arbeiter Ring Publishing ,2018). Informative and illustrated with some rare on set production shots.

                                             Not with the Disc , but worth seeking out 

 

The plot of the film  has waiter Walter Paisley (Dick Miller, the first of many times his characters during his long career would be referred to as “Walter Paisley” ) working in a beatnik club fall in love with hostess Carla (Barboura Morris, whose whole film career seemed to be for AIP ,save her last role, in the T.V. movie HELEN KELLER & HER TEACHER (1970), with Ms. Morris playing Annie Sullivan. Ms. Morris died tragically young, one day after her 43rd birthday in 1975).

 

When he accidentally kills a cat, he covers in sculpting clay, including the knife still sticking out of the poor beast. He suddenly shows off his “creation” and is hailed as a true genius. However, to keep his masterpieces coming, he needs to keep getting a fresh supply of bodies.

 

The movie was released as a co-bill with ATTACK OF THE GIANT LEECHES (AIP,1959) ,which also featured actor Bruno VeSota. One wonders how audiences reacted at the time or were even aware that it was the same performer in both pictures.

 A BUCKET OF LEECHES with two Brunos for the price of one

 

A BUCKET OF BLOOD was one of Roger Corman’s old scripts that he had reworked for Showtime’s ROGER CORMAN PRESENTS, that ran from 1995 until 1997. The 1995 remake was later released to VHS under the title THE DEATH ARTIST (Concorde,1995). This retelling is 17 minutes longer, in color, starring Anthony Michael Hall and Justine Bateman as Walter and Carla respectively, and is more brutal but a lot less fun. The biggest recommendation for seeking it out is to see a young Will Ferrell in a small role https://www.youtube.com/watch?v=8mUqaNaaPhY as well as Paul Bartel and Mink Stole as two art lovers.

 

Stick to the original.

Get this OLIVE FILMS Blu Ray release.

HIGHEST RECOMMENDATION.
Recommended for fans of
Classic Horror
Horror Comedies
Dick Miller
AIP
Roger Corman

-Kevin G Shinnick

 

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*-a line said by the pompous poet Maxwell H Brock (Julian Burton)

**-Dick Miller mock singing at the idea of a musical version of ABOB, like THE LITTLE SHOP OF HORRORS.

 

THE PRESIDENT’S LADY (Twilight Time Blu Ray)

THE PRESIDENT’S LADY (Twilight Time Blu Ray) – August 2019. original Release: Twentieth Century Fox ,1953. 96 minutes. B&W. Blu Ray Limited to only 3,000 copies. 1080 High Definition transfer .1.33:1. Region Free. $ 29.95 https://www.twilighttimemovies.com/presidents-lady-the-blu-ray/

“When the legend becomes fact, print the legend.”- Carleton Young, THE MAN WHO SHOT LIBERTY VALANCE (Paramount,1962)

Twilight Time has once again released a beautiful Blu-ray of a classic film, though on a subject that may draw some controversy.

Andrew Jackson (March 15, 1767 – June 8, 1845), the seventh President of the United States from March 4, 1829 to March 4, 1837, was and is a controversial figure. A lawyer who served in both the House and Senate, as well as a Justice on the Tennessee Supreme Court, he became a General who fought in the Creek Wars against indigenous Natives, as well as the War of 1812 against the British (1812-1815).

Jackson was a slave owner, which, along with his harsh treatment of the American Indian Populace has led to the current controversy about removing his likeness from the $20 bill. Indeed, his treatment of his slaves was keenly cruel, beating them, once a brutal public whipping of a woman he felt was “putting on airs” and when one escaped, he offered an extra $10 (about $200 in today’s dollar value) for every 100 lashes given! He also opposed any policies that would outlaw slavery in the expanding Western territories.

Jackson also pushed through the INDIAN REMOVAL ACT, which resulted in the forced displacement of nearly 50,000 Native Americans whom he viewed as savages. This led to the infamous ‘Trail of Tears”, wherein over 4,000 Cherokee died in forced marches, and the displacement wherein the ancestors of these tribes are still suffering in poverty.

 

 

Most of this is whitewashed, overlooked, or non-existent in Irving Stone’s biographical novel, THE PRESIDENT’S LADY (Doubleday, Hardcover, 1951). Stone first gained fame for his brilliant LUST FOR LIFE (Grosset & Dunlap,1934), still one of the best and most well-known books about the tortured genius Vincent Van Gogh. He followed it up over the years with seven more biographies of historical political figures and artists, before writing THE PRESIDENT’S LADY.

 

 

The novel covers the early years of Jackson’s life, but concentrates heavily upon the at the time scandalous romance between Jackson and his love, Rachel.

It was quickly optioned by Twentieth Century Fox, becoming the first of Stone’s works adapted into a film (LUST FOR LIFE was adapted in 1956 by MGM, and his 1961 novel THE AGONY & THE ECSTASY (Doubleday,1961) was adapted by Fox in 1965).

 

Fox assigned Sol C Siegel (PANIC IN THE STREETS, Fox, 1950) to produce and John Patrick (MR MOTO TAKES A CHANCE, Fox,1938) to write the screenplay, which focused heavily upon the romance /scandal aspects of the tale. Director Henry Levin (CRY OF THE WEREWOLF, Columbia,1944) Director of Photography Leo Tover (THE DAY THE EARTH STOOD STILL, Fox,1951), makeup artist Ben Nye (THE GHOST & MRS MUIR, Fox,1947) also joined the team.

 

In 1789, Andrew Jackson ( 30 year old Charlton Heston, in his fifth Hollywood film)rides into the frontier town of Nashville (some sources say 1788) to become a boarder to a family friend, the widow Mrs. Donelson (Fay Bainter, THE SECRET LIFE OF WALTER MITTY, Goldwyn ,1947).There he meets her daughter Rachel Donelson Robards           ( Susan Hayward, DAVID & BATHSHEBA ,Fox,1951) . They start getting close and even dancing that evening at a family gathering until interrupted by her jealous husband.

 

The film follows their tumultuous courtship and scandal that nearly destroyed his career, even as he became known as a major general and politician who would achieve the position of U.S. President.

A sumptuous historical drama,  the picture is well researched and well-acted, concentrating upon their love story that leads up to tragedy just as he ascends to the highest office in the land.

Twilight Time has given the film a REGION FREE 1080p High Definition 1.33:1 release, with rich blacks and marvelous shadings of gray that never muddy.

The English 1.0 DTS-High Definition Master Audio is crisp and pop free, with cannons seeming to have an extra ring when fired.

Extras include

–English subtitles

-An isolated Audio track of Alfred Newman’s score as well as sound effects. The score goes from bombastic military to classic Newman romance (as well as period sounding music for the dances). It really is a wonderful example of how music helps underline the dramatic storytelling of film.

 

–The President’s Lady Radio Show– back in the 1940s and 1950s, many major films were adapted for radio, often using the original film stars to recreate their roles. Often, they would be truncated versions of the films, with narrators filling in gaps. The Lux Radio Theater had started as a Sunday afternoon radio show in 1935 that adapted popular stage plays but soon moved into doing the same weekly for various films, ending after 906 episodes in 1955. The programs were performed live before a studio audience of about a 1,000 people, with a full orchestra and sound effects.

The September 28,1953 broadcast had Heston reprise his role, with Joan Fontaine taking on the role of Rachel. The 55:22-minute drama is a highlight version of the film, with narrator Paul Frees deep tones a bit over dramatically telling us what happens between scenes. Screenwriter John Patrick also worked upon this adaptation, as well as playing a small role. It is a fascinating addition to the disc, and Twilight Time is to be commended for seeking it out.

–Original Theatrical Trailer

–Booklet– once again, Twilight Time provides a lovely booklet with photos from the film, as well as an overview on the film.

Limited to 3,000 copies, the film is well-recommended to fans of

Historical dramas

Charlton Heston (who later reprised the role of Andrew Jackson in THE BUCCANEER, Paramount ,1958)

Susan Hayward.

-Kevin G Shinnick

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One of the tie-ins to the film NOT included was an interesting recording by Jackie Gleason and his Orchestra.

A 7″ 1953 Capitol Record ,45 rpm,
side one THE PRESIDENT’S LADY
side two WHITE HOUSE SERENADE

https://archive.org/details/78_the-presidents-lady_jackie-gleason-and-his-orchestra-alfred-newman_gbia0043493b/The+President’s+Lady+-+Jackie+Gleason+and+His+Orchestra.flac

NEXT STOP, GREENWICH VILLAGE (Fox,1976,111 min.color) Blu-Ray Twilight Time $29.95

                                                                                NEXT STOP, GREENWICH VILLAGE

(Fox,1976,111 min.color) Blu-Ray Twilight Time $29.95 https://www.twilighttimemovies.com/next-stop-greenwich-village-blu-ray/ released May 22,2018 limited to 3,000 copies only.

 

While not as well known or as financially successful as AN UNMARRIED WOMAN (Fox,1978) or BOB &CAROL & TED & ALICE (Columbia ,1969), to me NEXT STOP GREENWICH VILLAGE is writer/producer/actor/director Paul Mazursky’s masterpiece that can be revisited again and again.

A semi-autobiographical work, N.S.G.V. perfectly captures the mood of a vibrant bohemian culture that defined the Village scene until the early 2000s, when the area grew too expensive and the quirky and energetic art, individualism, and yes, just plain fun crazy inhabitants were driven out, and the cozy brownstones and shops turned into expensive high-rises and expensive pretentious stores that lack any personality.

 

Much of the credit must go to the casting geniuses of Juliet Taylor and Sylvia Fay (background). Ms. Taylor and the late Ms. Fay (if you ever saw tv’s  FRIENDS(W.B.,1994-2004), actress June Gable obviously based her character of the chain-smoking Estelle on the late Sylvia Fay) were the unsung heroes of NY casting.

Unlike many casting directors today, they would attend Off -Off Broadway shows, seeking out new interesting faces and talent.

That is how Ms. Taylor came across actor Lenny Baker. The actor was busy working in Off Broadway shows, when she brought him to the attention of director Mazursky very close to the start of actual filming. The role fit the actor to a “t”, and he went on to win a Tony Award in 1977 for his role in the musical I LOVE MY WIFE. It is a major shame that illness took him from audiences too soon, dying from AIDS in 1982 at age 37.

   Ilene Graff as Cleo and Lenny Baker as Alvin in I Love My Wife

 

The film is also filled with a lot of New York stage actors who were still unknown at the time, including leading lady Ellen Greene (later most famous for her star turn both on stage and off as a blonde tressed Audrey in the musical LITTLE SHOPPE OF HORRORS) and a blink and you’ll miss him Bill Murray. This film and many New York lensed films of the 1970s truly did live up to the maxim, ‘They had faces then”.

 

Surrounding the talented newcomers were seasoned stars and supporting actors like Shelley Winters, Lou Jacobi, and Mike Kellin (whose last film role was as Mel in SLEEPAWAY CAMP, American Eagle, 1983).

 

• The Lapinskis are a nice if eccentric working class Jewish family living in Brooklyn ,1953 when son Lenny Lapinski (Baker) decides it’s time for him to move to Manhattan and pursue his dream of becoming an actor, much as the idea brings agita to his mother Fay (Winters) and his somewhat henpecked dad Ben (Kallin).
•
• Finding a flat in a Village brownstone, he is soon surrounded by loving bohemian friends who are artistically hungry, assured self-centered intellectuals, or creating lives and backgrounds for themselves that help them survive the real world. Among this idiosyncratic crew are Anita (Lois Smith), a high-strung friend who contemplates suicide, Robert (Christopher Walken) as the smug poet Robert, and Bernstein a black gay man who is full of fanciful stories of his life (Antonio Vargas, whom if you only know him as Huggy Bear from tv’s STARSKY & HUTCH, Spelling-Goldberg,1975-79, you will be astonished by his brilliant and touching turn here), hanger on Connie (Dori Bremmer).

The cast and director Mazursky

 

Lenny also a girlfriend, free spirit Sarah Roth (Greene). Their relationship is very sexual, in contrast to the normal conformity of the era. She enjoys their relationship but doesn’t want to be merely someone’s girlfriend. The problem is she isn’t sure exactly where she fits in the world.

 

That is not an issue with Lenny, who goes to acting classes, hoping like so many to be the next Brando, while working in an health food shop run by Herb (Lou Jacobi) and his wife (Helen Hanft, a fixture in Off -Off and Off-Broadway productions).

 

Along the way, we have many funny and tragic events happen along the way to Lenny’s journey to achieve stardom. Moments perfectly capture what feel honest and true of the period, including rent parties (a $1 a head, when a flat could be had for $50 a month!).

 

Among the names mentioned above, keep an eye out for Jeff Goldblum as a self-centered actor who studied at “The Studio” whose big mouth costs him from even being able to audition, Joe Spinnell as a cop who watches Lenny performing on a subway platform, and Rutanya Alda as an uncredited party guest.

 

The film was lensed by Arthur J. Ornitz (son of one of the Hollywood Ten ,Samuel Ornitz),who had been behind the camera for such films as THE BOYS IN THE BAND (National General,1970),SERPICO (Paramount,1973) and DEATH WISH (Paramount,1974) ,which all used a similar grainy look and brown palette in color, but he was also the cinematographer on HOUSE OF DARK SHADOWS (MGM,1970), so he was not limited in his color use or cinematic style .

 

Bill Conti was the composer, the same year that he wrote his score for ROCKY (U.A.,1976). For N.S.G.V., his score is a bluesy jazzy score that perfect evokes the era, often using pieces from the Dave Brubeck Quartet (the 1953 set film has Brubeck’s 1959 composition ‘Blue Rondo a la Turk”) or Charlie Parker.

 

 Don’t you hate when your parents walk in during sex?                                                                    

 

 

The film was mostly shot on location in NYC, though you would be hard pressed to find many of the locations nowadays. A shot looking toward the city from the subway platform clearly shows on the far-left buildings that were not there in the 1950s, but this, like the Brubeck note, are so nitpicky, that if you notice them while seeing the film then you aren’t paying attention to the brilliance of the storytelling.

 

You can still recognize the location on 7th Avenue South and Christopher Street (Village Cigar is still there) and you can still a nice meal at Café Reggio on 119 MacDougal Street, as well as Julius’s Bar at 159 W 10th Street, which is NYC’s oldest Gay Bar (it was also used in a scene for the film of THE BOYS IN THE BAND).

The commentary track by Mazursky (more on in a bit) mentions that Alan Ladd Jr, then head of 20th Century Fox, gave the director a lot of input on the film, up to and including the poster design by graphic designer Milton Glaser. Mazursky leaves it at that, but I was curious as to why he felt that was important to reference.

 

 

Though his imagery is well known even when his name is not (the original Broadway production of ANGELS IN AMERICA, for Bob Dylan, and the I LOVE NY logo, this is one of the illustrators few movie posters.

 

The more Norman Rockwell-ish design is by artist Birney Lettick, whose artwork graced movie posters for many a major American film across the genres..

 

The Blu Ray from Twilight Time is another winner from this company. An upgrade in picture quality from the previous DVD release from Fox, this is a 1080p High definition transfer in 1:85:1 ratio. The original grain and dark colors perfectly capture the look of the film when it played theatrically in 1976, to critical praise but small audiences in the U.S. It found a more appreciative audience for its European screenings, but slowly and surely it has been discovered by new audiences with each release. This stands as the one that fans will want to own.

The sound is available to listen to in DTS-HD MA 2.0 stereo as well as the original mono sound. I really didn’t notice any major difference, but since this is a dialogue driven score, it really doesn’t affect the overall enjoyment.

 

There are optional English SDH subtitles.

 

Other extras include

A very warm and informative commentary track recorded for the 2005 DVD release by director Mazursky and Ellen Greene. Though recorded separately, they are very nicely edited together for a commentary track that you may wish to listen to more often than other more technical but cold commentaries heard on bigger budgeted new releases. The joy that each have on recalling the film, and how it affected each one, is engrossing.

 

Another audio track allows you to hear the music track isolated in DTS-HD MA 2.0 stereo. This is a fun score to listen to while you are doing things, like perhaps writing a film review.

The Original Theatrical Trailer- this will give you an idea of how much the film elements have been cleaned, as well as idea of how the studio sold films at the time.

 

 

There is a reversible case sleeve as well as a nice booklet with liner notes by Julie Kirgo, ending with some more personal commentary than usual that shows the power of this film.

This is a must have addition to anyone who

-Loves Great Independent Style filmmaking (ironically, it was greenlit by Alan Ladd Jr, then head of 20th Century Fox)
-seeing famous actors in their early works
-Nostalgia
-Superlative Storytelling.

 

 

Heck, I think I am going to watch it again right now.

HIGHEST RECOMMENDATION!
Get it now- remember -only 3,000 pressing.

-Kevin G Shinnick-

If you enjoyed this film, may I also recommend MOSCOW ON THE HUDSON https://www.twilighttimemovies.com/moscow-on-the-hudson-blu-ray/
And
BOB & CAROL & TED & ALICE
https://www.twilighttimemovies.com/bob-carol-ted-alice-blu-ray/
, also directed by Paul Mazursky.

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