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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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PANTHER GIRL OF THE KONGO (Republic,1955){Olive Films Blu Ray,2017}

PANTHER GIRL OF THE KONGO (REPUBLIC,1955) {OLIVE FILMS BLU RAY,2017} 2 HRS 48 Min. B&W. DTS-HD Master Audio English. Optional English subtitles. $29.95. https://olivefilms.com/product/panther-girl-of-the-kongo/ (Also on DVD for $19.95

 

Olive Films has done a masterful job of releasing Republic’s penultimate movie serial (the final and 66th one, KING OF THE CARNIVAL, was released later in 1955).

 

Filmed between 16 August and 4 September 1954 as “Panther WOMAN of the Kongo”, the 12-chapter serial was filmed on a budget of $179,341. To put it in perspective, Roger Corman filmed the 69-minute APACHE WOMAN (ARC) that same year for $80,000 and Ed Wood shot his 75-minute BRIDE OF THE MONSTER (Banner) for $70,000.

 

To stretch their budget, Republic had star Phyllis Coates (Lois Lane for the first season of T.V.’s ADVENTURES OF SUPERMAN (Motion Pictures for Television,1952) wear the same outfit as Frances Gifford wore in the earlier 22nd Republic serial JUNGLE GIRL (1941) and a lot of footage was lifted from this earlier serial. By the way,14 years earlier the 15-chapter JUNGLE GIRL had cost $177,404!!

Jean Evans is a jungle adventurer who is handy with both a rifle and a camera. Due to a past incident wherein she saved the village, the Utanga tribe refer to her as Panther GIRL (Ms. Coates, who is still alive today at age 90, was 28 at the time.). While out on a photo shoot for a foundation, they spy some very large crustaceans. The natives suggest she get Larry Sanders (Myron Healey in a rare good guy role), a great white hunter.

 

Evil chemist Dr. Morgan (Arthur Space, a nicer doctor on T.V.’s LASSIE (20th Century Fox,1954-71)) has discovered an abandoned gold mine in the area is full of diamonds (when life gives you lemons….) which he covets. To scare of the natives and interlopers, he has developed is “hormone compound “(steroid abuse even then??) to turn ordinary crawfish into the giant ‘Devil Beasts”.

Since the monsters do not scare off Evans and Sanders, Dr Morgan enlists human goons Cass (character actor John Day) & Rand (Mike Ragan, more commonly seen in westerns) who use the personal touch of shooting at, and knock down fights with Sanders, with heroine often knocked out or tied up.

The Lydecker Brothers, wizards of special effects, did what they could to make crawfish look gigantic. Mostly it involved the hard-shelled stars on miniature sets or people against rear screen projections. The interaction involves one giant claw reaching from above rocks of from off frame to grab Panther Girl or some poor native. I wonder if Roger Corman somehow got it and used the claw for his late ATTACK OF THE CRAB MONSTERS(A.A.,1957). Probably inspired by the giant ants in THEM! (WB,1954), these creatures also have a mighty roar. Bert I Gordon must have studied this serial, as many of his effects seem to be inspired by the techniques used here (his first film KING DINOSAUR, Lippert,1955, used a lizard magnified via rear projection and double exposure).

What is interesting for a film of the period is that there is no romance between the two leads. Maybe the studio felt that the youngsters would not put up with “icky kissing” getting in the way of the monsters, fistfights, and perils. The villain, too, is not out to rule the world as many serial villains seemed to be trying to attempt, but was motivated by old fashioned greed.

 

What does date the film in many cringe worthy ways are its portrayal of the natives. Easily frightened and superstitious, they are often reliant on the white actors to protect them. They speak in pidgin English, and another tribe (The Returi) is bribed to attack the heroes after being bribed by an elixir (alcohol!).

Plus, for the title character, Panther Girl seems to spend a lot of time tied up, screaming, or knocked out while Sanders punches and shoots his way out of the situation. She is also grabbed by the claw at one point and later ape handled by a murderous gorilla (ape specialist Steve Calvert). A lot of Jean Evans‘ action are lifts from JUNGLE GIRL of her swinging from vines and riding an elephant. She does save Sanders (the name maybe a reference to “Sanders of The River” by Edgar Wallace (U.K. first edition by Ward, Lock & Co. (1911))?) from quicksand*, so she is not completely unhelpful.

The production has a very studio bound feel to it, like many television productions of the time. Republic, through its subsidiary, Hollywood Television Service, had been involved with the earlier COMMANDO CODY (1953). The 12-part serial had been originally envisioned as a television series with each chapter running about 25 minutes. The serial finally aired on NBC television in 1955, the year PANTHER GIRL OF THE KONGO was released. One wonders if this too was planned as a television series?

During the 1950s up to the 1970s, movie serials, especially those from Republic, were aired on television regularly. In 1966, it was edited into a 100-minute feature called THE CLAW MONSTERS. When Super 8 home theatre came out, it was released in silent and sound edits. In the 1990s, they started to receive less air time. The home video market kept the titles out in front of fans for many years thereafter, but few have been released in their entirety on DVD and Blu Ray.

The print quality is of the high standard we have come to expect from Olive Films. The picture is quite sharp with few blemishes. The sound is DTS-HD Master 2.0, though the sound has not been remixed to make use of the new sound systems but instead is a clear replica of the original track. The optional yellow English subtitles are very legible and follow the dialogue and action.

Oddly, there were no extras, not even a trailer. It is a shame, as the trailer is unique, with the star narrating part of it before an announcer takes over:

 

For fans of Republic Serials or the lovely Phyllis Coates, this is one you will want to add to your collection.

Kevin G Shinnick

*- Coates once recalled in an interview that after filming in the swamp, Healey insisted the two of them go get penicillin shots!

 

 

No animals were harmed during the making of the film, though I assume many of the monsters met a boiling pot of water for the wrap party .

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THE MAD MAGICIAN (Twilight Time Blu Ray)

 

The Mad Magician 2D/3D (Columbia,1954) Twilight Time Blu Ray $29.95   B&W .72min. https://www.twilighttimemovies.com/mad-magician-the-3d-blu-ray/

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Classic horror fans and Vincent Price fans will want to add this often overlooked film.

Created to cash in on the huge success of HOUSE OF WAX (W.B.,1953), this Columbia film not only used 3-D ,but also borrowed the same star and set their plot in the same period. The decision to shoot the film in black and white may have been a cost saving decision (or as is said on one of the Blu Ray extras, an artistic choice),but it may be why this film is not as popular as Price’s previous period horror film with modern audiences.

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In the film’s favor was a superb cast ,led by Price and a director who knew his way around period thrillers. That director was John Brahm. Brahm had directed two of the best Jack The Ripper inspired films of all time ,THE LODGER (Fox,1944 ) and HANGOVER SQUARE(Fox ,1945),both starring Laird Cregar.

The screenplay was by former actor Crane Wilbur (he had co-starred with Pearl White in the original silent serial PERILS OF PAULINE (General Film Co.,1914)turned playwright and screenwriter.

Wilbur had written a Broadway thriller called OUIJA BOARD in 1920 , but his next play is better known.

THE MONSTER (1922) was later adapted into a Lon Chaney film for MGM . Wilbur hopped back and forth from actor to writer to director on stage and screen before settling down as a script writer. He worked on the screenplay for the spooky thriller THE SPIRITUALIST/THE AMAZING MR X (Eagle Lion,1948) (influenced by his early play OUIJA BOARD?), before working for producer Bryan Foy on the political thriller I WAS A COMMUNIST FOR THE F.B.I. (W.B,1951).

Foy obviously liked his work, as he hired Wilbur to write HOUSE OF WAX . Wilbur wrote for Price one more time with his adaptation of the old stage play THE BAT (A.A.,1959).

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Wilbur may have been responsible for Lenita Lane appearing in THE MAD MAGICIAN, as she was his wife in real life. She also appeared in other screenplays by him. A fine actress in her own right, it is a shame we did not see her in more films (her final appearance was in her husband’s THE BAT, which he also directed).

At the end of the 19th Century, Don Gallico (Vincent Price) works for Illusion Incorporated Company, owned by Ross Ormond (Donald Randolph, later General Mark Ford in THE DEADLY MANTIS(Universal,1957)). The company creates stage effects for magicians, and Gallico has decided that he would like to strike out on his own as an illusionist. He is told, however that even though he created the illusions on his own time ,their contract has proprietary rights to any effects that Gallico creates. Ormond has little respect for his valued employee, having cuckolded Gallico by wooing away his wife Claire (Eva Gabor ,most famous for the tv series GREEN ACRES (Filmways ,1965-71)who had tied of being poor.

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To add insult, Gallico is forced to demonstrate his newest creation, a buzz saw that apparently decapitates anyone placed upon tithe Great Rinaldi (John Emery, who portrayed Dr. Karl Eckstrom in ROCKETSHIP X-M (Lippert ,1950) and in real life was often rumored to be an illegitimate son of John Barrymore!) feels that this is just the piece he wants for his act.

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After Rinaldi leaves, Gallico snaps and kills Ormond with the buzz saw device (the murder is not shown just the insane glee on Price’s face ). Luckily, Gallico is also a master of disguise (and obviously the innovator of slip rubber life masks!) and makes himself up to resemble Ormond to set up an alibi and get rid of the remains.

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When Ormond does not appear after a few days ,the police begin to investigate. By coincidence (or screenwriter Wilbur) Detective Alan Bruce (Patrick O’Neal, later himself to star as the baddie in a HOUSE OF WAX inspired period tv film that was released theatrically, CHAMBER OF HORRORS (WB,1966), who is investigating the mystery, is also the boyfriend of Karen (Mary Murphy, the ‘good girl’ from THE WILD ONE, Columbia,1953) Gallico’s assistant.

Gallico commits a few more murders in various disguises ,disposing of one body in a bonfire (similar to a major sequence in John Brahm’s own HANGOVER SQUARE) . The murders also draw the attention of a plucky female writer ,Alice Prentiss (Lenita Lane).Who will survive the vengeance of THE MAD MAGICIAN ?

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A fun ,quick (72 minutes), there is a strong sense of déjà vu if you had seen HOUSE OF WAX, but the film also solidifies the template for the later Price “Vengeance” horror films like THE ABOMINABLE DR PHIBES(AIP,1971) and THEATRE OF BLOOD(U.A.,1973) with elaborate murders and disguises.

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Price relishes his role, and gives it his all. It is odd seeing Patrick O’Neal as a hero in this his film debut (the Actor’s Studio trained actor had appeared on television prior) but he acquits himself nicely. Lenita Lane is sort of an gay 90s version of Lois Lane . The entire supporting cast fills their roles marvelously .

The direction by Brahm is solid ,though many feel he doesn’t take full advantage of the three dimensional process. I and many others feel he used it sparingly to emphasize certain images by dramatic placement rather than always throwing things into the lens(which he also does ,though, during Price’s magic acts).

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TWILIGHT TIME has done an amazing job with this disc. The 50GB Blu Ray is REGION FREE ,and limited to a pressing of only 3,000 . The 1.85:1 1080p transfer is incredibly sharp in either 2 or 3D. The Grayscale is very rich and compliments the cinematography of Bert Glennon (also from HOUSE OF WAX). The film seems to have strong grain but that appears to be from the original negative . The DTS-HD MA 1.0 mono track sound is clear and hiss free.

There are a lot of extras on this disc :

-First off , as mentioned ,the film can be watched either 3-D(you need a monitor and Blu Ray Player that allows this) or in regular 2-D.

Audio Commentary :There is a wonderful running audio commentary by David Del Valle and Steve Peros   , discussing the behind the scenes production of the film and the careers of many of those involved , as well as the 3-D phenomenon of the era. You can hear in their voices that they are truly enjoying this film (and who can blame them?) .

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Isolated Music Score : You can hear the score by Arthur Lange (composer ,music director ,and orchestrator of over 200 scores, often uncredited) and Emil Newman ( brother of Alfred & Lionel Newman, and composer in his own right on such films as UNDYING MONSTER (Fox,1942)),as well as the Theremin played by Dr. Samuel Hoffman, the former violinist whose eerie playing of Léon Theremin ‘s invention graced the scores of films since SPELLBOUND (Selznick Intenational,1945). Dr. Hoffman’s work appeared in films both big budget (THE DAY THE EARTH STOOD STILL, Fox ,1951) to low budget (BILLY THE KID VS DRACULA, Embassy 1966), usually uncredited.

 

51332560aefeb575e790ed3e7429bc17Master of Fright :Conjuring “The Mad Magician”- Ballyhoo Motion Pictures, under direction by Daniel Griffith, have been providing some of the best making of bonus features for Shout Factory. Now , also working for TWILIGHT TIME, they continue the superb must watch documentaries that they are noted for .Between this and the audio commentary, you get a wonderful history of this film.

Two THREE STOOGES 3-D Short subjects : SPOOKS and PARDON MY BACKFIRE (both Columbia 1953)normal-randall-spooks

SPOOKS was the 148th of the 190 short subjects that the comedy team made for the studio. The boys (Moe & Shemp Howard, plus Larry Fine) are private eyes whose search for a missing girl (this was actress Norma Randals largest role of note) brings them into contact with Dr. Jeckyl (character actor Phillip Van Zandt, who was Muller in HOUSE OF FRANKENSTEIN, Universal 1944) and his brutish helper Mr. Hyde (former boxer Tom Kennedy who was often the heavy to comic greats The Marx Brothers, Laurel & Hardy, and Bob Hope, among others). There is also, of course ,a gorilla (an uncredited Steve Calvert)

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PARDON MY BACKFIRE has the team working as mechanics who capture some on the lam convicts that have the misfortune of pulling into their garage .stooges_pardon_my_backfire

Maybe it was the horror connection, but I felt SPOOKS was the more entertaining of the two. Both films work in 2 as well as three dimension (with hypos, bats, fire, water, and knives being hurled at the audience). The picture and sound quality on both are superb.spookstitle2

-The Original Trailer. Lots of Ballyhoo (That” House of Wax” Man).

themadmagician3d_bdbookletcover_highres__47771_1481961658_1280_1280-Booklet: Once again, TWILIGHT TIME provides another well written information booklet (kudos once again to Julie Kirgo).

THE MAD MAGICIAN leaps to the top of the list for any fan of classic film fans. classic horror fans, 3D lovers, and, of course, Vincent Price followers.

I suggest you order ASAP, as I think that this collectible disc is going to sell out fast!

 HIGHEST RECOMMENDATION.

Kevin G Shinnickmad-magician-debonair

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THE INCREDIBLE SHRINKING MAN: The Most Incredible Film Ever Made

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The Incredible Shrinking Man
The Most Incredible Film Ever Made

                                                                            By Randolph Thanos

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“I felt my body dwindling, melting, and becoming nothing. My fears melted away and in their place came acceptance. All this vast majesty of creation it had to mean something and then I meant something too. Yes, smaller than the smallest, I meant something too. To God, there is no zero, I still exist!”

                                                                          grant-williams-500x333

And those were the final words of The Incredible Shrinking Man in Jack Arnold’s incredibly stunning and visually breathtaking film of the same name.

MATHESON 1957 cover of The Shrinking Man

The Shrinking Man

Released in 1957 with a screenplay by Richard Matheson*, THE INCREDIBLE SHRINKING MAN(Universal)  tells the story of Scott Carey, an average guy who is exposed to a mysterious cloud while on a boat at sea. Scott’s skin is covered with a glittering substance that he cannot explain. Scott returns home and he begins shrinking and the only medical explanation is that he has become a victim of atomic fallout. Scott soon shrinks so far down in size that his clothes no longer fit him, he is reduced to living in a doll house and he has to fight off a house cat and spider much larger than himself. Now living as a 3 inch tall man, Scott has now become the hunted and has to fight for his survival in a world that he once towered over.

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I first watched this incredible film in 1972 when I was 9 years old. I wanted to stay up late to watch The Big Show of the Week and the film that was being featured that night was The Incredible Shrinking Man. The Big Show of the Week was normally off limits to this young television viewer so I had to sneak down stairs, sit in the adjoining hallway and watch the film through the living room mirror opposite the television. My parents could not see me so they were oblivious to my special seat and therefore could not refuse me admission.

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It was nothing like my eyes had ever seen before. At the Canadian National Exhibition, I watched a beautiful woman turn into a gorilla that year, I witnessed a horrific car accident and the monster from hell, my French teacher who was really really mean but nothing prepared me for the horrors that would face The Incredible Shrinking Man.

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In one scene, he has to fight off his house cat who now is clawing him down in terror, a once normal sized cat who now towers above him in height and that fight with the spider in the basement is one of the greatest fight for survival scenes in the history of cinema. All I could think about was what it must feel like to shrink so far down in size that one’s life didn’t matter anymore, that one’s life had no more meaning?zz-the-iincredible-shrinking-man-spider-fight-shrinkingman2

 

 

As a child growing up around adults who were much larger than me, I could identify with the discomfort and fears that The Incredible Shrinking Man was feeling, feelings of insignificance and anxiety at the vastness of the world before me. The Incredible Shrinking Man didn’t just terrify me, it made me really think about my own place in the world and since then I must have watched it over a hundred times and each time I am amazed by its cinematic wonder.the-incredible-shrinking-man9

 

 

I especially love The Incredible Shrinking Man because the hero of the story never gives up. Sure he is depressed (wouldn’t you be if you were smaller than a house spider?) but for all his bleakness he proves that big things like a heroic spirit, perseverance and fighting strength comes in a small package, a very small package. The other reason I love this film is because it is a humanity tale of how ones stature in life can become diminished and all hope can be abandoned but one can still plot ones future. Things in the world of The Incredible Shrinking Man do not always turn out the way he has planned but this does not mean that life is not worth living and fighting for.

 

 

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Another reason, I love this film is that it depicts the age old lesson that when life deals you lemons, you make lemonade. If you cannot live in a dollhouse, move to a match box as the hero in the story ends up doing. No matter how large or small we become, the universe is always going to be bigger than us and at some point we must face how insignificant we are in comparison but we can still remember that like The Incredible Shrinking Man, we still exist and it is our existence that gives our life meaning.zz-the-incredible-shrinking-man-scott-carey-in-water-in-cellar-bscap00033cs
The Incredible Shrinking Man is not only ripe with philosophical and metaphysical meaning; it is full of amazing special effects for its time. Director Jack Arnold, who made other fantastic science fiction films like, It Came from Outer Space (Universal 1953   ), Creature from the Black Lagoon(Universal 1954   ) and Tarantula (Universal 1955   ), spent almost a million dollars to make The Incredible Shrinking Man. The special effects were not cheap and technicians worked for almost a year on the photography for the special effects alone. Prior to the days of green screen and CGI, the special effects for this time were created by the film makers incorporating a pain staking process of creating and inventing props and camera manipulation to help the audience accept that what they were watching was real. Giant props were incorporated into filming key scenes to make it appear that actor Grant Williams had really shrunk down in size. Many of the props used were actually constructed just for these incredible scenes such as a gigantic 15 foot mousetrap and a sewing needle over 12 feet long and a match box which towered over Williams. These gigantic props were 40 times larger than normal size. A pair of scissors that weighed 40 pounds, a pencil that was 21 feet long was used in the flooded cellar scene was among the incredible props.incredible-shrinking-man-1

 

One of the pivotal scenes involves an exhausting battle between The Incredible Shrinking Man and a spider. The spider used in the film was an actual tarantula named Tamara and was the same spider used in the film Tarantula. Other fun (?) facts about The Incredible Shrinking Man are that Grant Williams almost died during the shooting from key scenes like the flooded basement where he almost drowned and on another scene he almost faced electrocution. And the remember the scene of the water heater exploding, the giant drops you see falling over the Incredible Shrinking Man were created by filling up condoms with water to create the perfect water drops falling in perfect unison.zz-the-incredible-shrinking-man-scott-carey-in-water-in-cellar-bscap00033cs
Many films I have seen as a 9 year old that have special effects have not really held the test of time, many of these effects now appear cartoonish but the special effects in The Incredible Shrinking Man have held up over the past 50 years because of the painstaking effort that went into them to create such memorable movie scenes not to mention the films central themes of isolation, existentialism, survival and loss that are prevalent in today’s world.

 

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The magic of The Incredible Shrinking Man comes from not only these philosophical and metaphysical themes and the special effects but from the power that the Incredible Shrinking Man is a humanity tale for all times, it is a fantasy yet the viewer is left with the question: What If? What if we did become smaller and had to carefully orchestrate our way through the world that we had once taken for granted? Would we find our meaning in life or just let ourselves shrink away into nothingness? That is the real horror we must not only confront in the world of The Incredible Shrinking Man and that we must confront in our reality today. This is why The Incredible Shrinking Man still fascinates and terrifies me today, more than 50 years after its release. The Incredible Shrinking Man is the most incredible film ever made.

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*-based upon his novel ,”The Shrinking Man” (first published in 1956 by Gold Medal04102015p21pha

 

 

 

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           incredible-shrinking-man-photo-1ism4-e1471641323518                                                                                          (There is trouble in the marriage)

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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.

 

 

ACD Systems Digital Imaging

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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1930S, 1940s, 1950s, 1960s, 1970s, 1980s, 1990s, 2000s, Academy Award Winner, Bear Manor Media, book, BOOK REVIEW, books, CLASSIC, Classic Hollywood, cult, film, FILM HISTORY, John Gay, review, studio history, t.v., Theatre, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized

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

Available via

http://www.jennifergaysummers.com/book.php

or
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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Please feel free to “like”,follow, and share  .

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Orson Welles MACBETH(Olive Films Blu Ray)

coverMACBETH (1948/1950 Republic)-Olive Films Blu Ray release date November 15,2016- $39.95
Runtime: 107 (1948), 85 (1950) minutes B&W. First screening Venice Film Festival September 3,1948. USA release October 1,1948. December 27,1950 (re-edited version release NYC).

http://www.olivefilms.com/films/macbeth-%E2%80%93-olive-signature-blu-ray/

Orson Welles’ Shakespearean films were labors of love that were often created against time constraints, budget problems, and often, negative press and indifference audience responses. They were often forgotten, or, at best, footnotes when people referenced his other studio masterpieces.

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 (art by J.S. Rossbach )

After his passing in 1985, his lesser known films began to get rediscovered and restored. His daughter Beatrice helped restore and release his troubled production, OTHELLO (November 29,1951, United Artists). Critics now hailed his brilliant choices (often necessity bringing his creativity to the fore) and how his chiaroscuro lighting and quick editing was a precursor to the directorial styles of creators like Ridley Scott.orson-welles_1972-05-04by-daid-levine

His live televersion of KING LEAR (Omnibus/CBS, October 18,1953), starring Welles and directed by Andrew McCullough is a wonder (watch as he drags Cordelia (Natasha Parry) in by her hair during ‘Howl! Howl! Howl!”) and we are lucky that Sony has released it on DVD in 2010.king-lear

Earlier this year, Criterion released his CHIMES AT MIDNIGHT (aka FALSTAFF, December 22,1965) and people once again were in awe of how he used his 1939 play FIVE KINGS, a combination of HENRY VI Pt 1 & Pt 2 and HENRY V, and within the film, with its spectacular battle scenes, he drew out the intimacy of the lives of the characters.

Now OLIVE FILMS have released his MACBETH, making all his completed cinematic works of Shakespeare available. * To be exact, they have released BOTH versions of this bold telling of the macabre tale on two Blu Ray discs. Two versions?ap1360-macbeth-orson-welles-movie-poster

When first released, critics and audiences had difficulty with the actors speaking with Scottish burrs in the speech, and so, the film, under Welles’ supervision was re dubbed into what would be considered standard speech, an opening monologue by Welles added and the film shortened from 107 minutes to 89 .

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Welles had a long-time love of the works of The Bard. At age 19, he worked on several performing editions of Shakespeare. He leaps to national fame with his WPA Federal Theatre production of what became known as “Voodoo” Macbeth (premiered April 13,1936, Lafayette Theatre, Harlem, NYC)
(the only known footage of this production is an extra on one of the discs).voodoo-macbeth2

Welles tried interesting producers for a long time in putting Shakespeare on screen, but during the first decade of the sound era, the few adaptations were prestigious but not money makers so producers were hesitant.

Finally, Lawrence Olivier released HENRY V (Two Cities/Eagle Lion, November 1944) and the film was both a marvelous war rally cry for the beleaguered Allies of WWII, but also a profitable film.

Welles, however, had gone from Wunderkind to pariah. His RKO directorial projects had almost bankrupted that studio. Welles own self-created radio shows ended in 1946 due to his liberal political commentary (he was an ardent F.D.R. supporter) such as his comments on the racial bias attack of returning U.S. Soldier Isaac Woodward (attacked and blinded hours after his honorable release from service). He was still popular as an actor and worked for all the major studios, but he longed for total control of his projects again.

He got a chance with THE STRANGER (International Pictures/RKO May 25,1946) a thriller he starred in and directed. He proved he could make a film under budget and make a great profit.

However, his musical adaptation of AROUND THE WORLD for Broadway (Adelphi Theatre, NYC May 31,1946) had Welles take over producing as well as creating/directing forcing Welles had to borrow money from Columbia Studios exec Harry Cohen to get it on. Sadly, it flopped after only 75 performances,though it did lead to Welles having to make THE LADY FROM SHANGHAI (Columbia, December 24,1947 in France).around-the-world-playbill

Olivier meanwhile prepared and shot his brilliant adaptation of HAMLET (Two Cities/Rank/Universal, May 4,1948) and it again won critical acclaim as well as box office. Word of this production must have spurred Welles on, and he went to various studios to try and interest them in bankrolling a new American produced Shakespeare movie.

All balked, except Herbert J Yates of Republic Pictures. Republic was best known for grinding out their now classic serials like THE CRIMSON GHOST (Republic, October 26,1946) as well as westerns and second features. Yates was a crude near caricature of a cigar chomping business man who got into producing when several indie filmmakers stiffed his film laboratories. He wanted films done cheap and profitable. Every once and a while, though, he took a chance and made a movie to try and get himself some respect from the industry.

In 1948 Yates agreed to bankroll Welles production of Macbeth if the director could keep the budget under a certain amount, and complete it within three weeks. To keep the film within budget, Welles pre-recorded all the dialogue (with one exception) so that he might avoid the use of microphones, and free up the fluidity of his camerawork. Costumes were rented from Western Costumes (except for the two leads), and were a source of criticism by many.orson-macbeth-rex

Welles did not try to avoid artifice and indeed the production at times resembles a filmed stage play. He also made some big cuts and changes (the Porter’s “Knock Knock” sequence was cut to nothing due to censorship, a character of a priest was added, lines were altered and some placed in different scenes and said by other characters) but nothing to the detriment of the story. As always, he respected the actors, and his long takes not only helped characterization but also kept his film within the allotted shooting schedule.10954376715_a0068edaa8_m

The film had the misfortune to be shown at the Venice Film Festival in 1948 and was compared negatively against Olivier’s HAMLET. This is a shame as when watched back to back they share many similarities (striking black and white cinematography, very theatrical look and mood, and indeed, when Welles edited MACBETH, he added an opening narration that harkens to the one Olivier opened his movie with)amleto48-01.macbeth-1948-poster

           (even the two film posters echoed each other)

 

Yates praised Welles for making such a quality film on time and within budget, and again when it was reviewed negatively and received so so box office, Welles reedited the film, and had the cast redub their dialogue. The new version was better received (or in its shorten state, easier to show more often and thus potentially sell more tickets) and eventually made a small profit. At least Welles could control this re-edit, unlike other films which had been taken out of his control.tumblr_ljg40bgdnr1qf7r5lo1_500

OLIVE FILMS release of both versions will let you decide which version that you prefer.
The image and sound quality of each is superb, and comes from the best elements available with new High Definition digital restoration. The superb cinematography by John L. Russell (later to work on Hitchcock’s PSYCHO(Paramount,1960) really shines in this transfer. The blacks are rich and dark, with the fog and various gray scales allowing characters to drift in and out as if in some nightmare.

 

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 Stately Xanadu from CITIZEN KANE in Scotland?

 

The sound is clear, and Jacques Ibert’s score captures the discordant and uneasy feel that Welles brings to the production (Ibert was mostly a composer of French orchestrations, though he did score a few French movies as well as the Circus Ballet for Gene Kelly’s INVITATION TO THE DANCE (MGM, May 22,1956).

On disc one, there is an informative running commentary by Welles biographer (three books ORSON WELLES (Martin Secker & Warburg Ltd, April 24, 1972), ORSON WELLES ACTOR & DIRECTOR (Harvest/HBJ Books, 1977) and WHATEVER HAPPENED TO ORSON WELLES (University Press of Kentucky, 2006) Joseph McBride.macbeth_e98791e6aebfe98083e9be9919481

Disc Two has an abundance of extras.

Besides the already mentioned clip from VOODOO MACBETH (itself a clip from WE WORK AGAIN (Federal Work Agency ,1937), a short documentary on the WPA and its efforts to find work for African-Americans during the Great Depression, we have

FREE REPUBLIC-continuing the story of Herbert J Yates that was touched upon in OLIVE FILMS release of THE QUIET MAN(Republic,1952).THE QUIET MAN review can be read at https://scarletthefilmmagazine.wordpress.com/2016/10/25/the-quiet-man-olive-films-signature-blu-ray/ . This time, they concentrate on the making of the Welles’ film as well as the final years of the studio. Once again, Marc Wanamaker (EARLY POVERTY ROW STUDIOS (Arcadia Publishing,2014) is our guide.

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The set from his 1936 Voodoo Macbeth resembles this production design sketch for the 1948 film .

 

THAT WAS ORSON WELLES -a new interview with director and film historian Peter Bogdanovich (TARGETS, Paramount, August 15,1968) was also a friend of the late director, and his insights are, as always, delightful.

RESTORING MACBETH with Robert Gitt (former Preservation Officer, UCLA Film & TV Archive) talks about how all prints and negatives from Republic were donated in the 1970s. Gitt found a protection positive of the film that was only the edited version, but some nitrate positives he found clued him in that the original version had survived. Gitt tracked down a nitrate complete version overseas in Europe and from that we have the prints preserved and available to us. Having worked in a film storage lab, I know how easily films decay and can get lost, so we are lucky to have the film in existence thanks to Gitt’s perseverance.

WELLES & SHAKESPEARE -an interview with Professor Michael Anderegg (Cinematic Shakespeare, Rowman & Littlefield Publishers, November 2003) discusses the near lifelong obsession of Welles with the works of the Bard.falstaff-1967-poster

ADAPTING SHAKESPEARE ON FILM -two contemporary directors discuss how the works of Shakespeare influenced their careers and adaptations. Both admit a love from an early age for the works, though oddly director Billy Morrissette, director of SCOTLAND, PA (Sundance ,2001), a modern adaptation of MACBETH, admits to originally hating that play! Director Carlo Carlei directed a beautiful looking if controversial adaptation of ROMEO & JULIET(Relativity,2013) which took major liberties with the Immortal prose. Both speak of their adaptations and why they made some of their choices.

ORSON WELLES’S MACBETHS – a nine-page critical study of the two versions by film critic Jonathan Rosenbaum. Rosenbaum’s essay is also enclosed as a small well illustrated booklet stored within the Blu Ray case.macbethhaldposter

The outer cover is reversible, featuring a beautiful shot of both Welles and his Lady Macbeth (Jeanette Nolan, in her film debut).

This is a must have highly recommended release for fans of Welles, classic cinema and Shakespeare. Kudos once again to OLIVE FILMS in another outstanding release from their Signature Collection.

If you would like to know more about Orson Welles, go to

http://www.orsonwelles.org/

HIGHEST RECOMMENDATION.

-Kevin G Shinnick

*-His MERCHANT OF VENICE, a short, was finished but footage was lost shortly after its completion in 1969. A restoration of sorts was released in 2015 at Venice Int. Film Festival. Here is a clip, which also has actor Charles Gray (THE DEVIL RIDES OUT, Hammer/Fox, July 20,1968, U.K.) as Antonio: https://youtu.be/x6xBumLVBLY).

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