2017, Action Adventure, Adventure, Art house, Blu Ray, crime drama, cult, Drama, Foreign, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized

THE PRISON (blu ray) contest from WELL GO USA (update: CONTEST OVER.CONGRATS TO THE WINNERS-9.2O.2017)

CONTEST OVER.CONGRATS TO THE WINNERS-9.2O.2017

Win one of 4 blu rays of WELL GO USA ENTERTAINMENT‘s HE PRISON.

After a fatal accident, Yu-gon, a former police inspector, is sentenced to hard time in a prison he once helped fill. Once inside, he discovers the entire penitentiary is no longer controlled by the guards, but by a vicious crime syndicate that breaks out at night, using their prison sentences as the perfect alibi to commit intricate heists. Looking for revenge against the system that placed him inside, Yu-gon joins the syndicate… but with every man out for himself, how long can the perfect crime last?

Director: Na Hyun Producer:Lee Sung-Hun
Cast:
Choi Sung-Won, Joo-Wan Han, Han Suk-Kyu
Genre: Action & Adventure, Foreign
Run Time:125 mins.
Korean with English subtitles

See the trailer here :
https://www.youtube.com/watch?v=WFoLR2ARyBY

“The Prison is a ferociously effective genre film from Korea that feels like the kind of movie Hollywood will remake in its own image. But adding star power and the English language won t necessarily improve things, as The Prison is brutally entertaining just the way it is.” –Fort Worth Star-Telegram

To enter, merely like and follow both

https://www.facebook.com/SCARLETreviews/

and

https://www.facebook.com/WellGoUSA/ ,

then send an email with the heading

Take Me to THE PRISON
to

scarletthefilmmag@yahoo.com

Include your name and mailing address in the body of the letter.

Deadline is September 19th,2017.

Four winners will be drawn at random .

THE PRISON will be released on BLU RAY from WELL GO USA ENTERTAINMENT on September 19th.

$29.95 value

 

 Thanks to WELL GO USA ENTERTAINMENT for sponsoring this contest .

(update : CONTEST OVER.CONGRATS TO THE WINNERS-9.2O.2017)

 

Advertisements
Standard
1930S, 1940s, 1950s, 1960s, 1970s, 1980s, 1990s, Action Adventure, Adventure, Art house, book, BOOK REVIEW, books, CLASSIC, crime drama, cult, fantasy, film, FILM HISTORY, FILM NOIR, genre, ghosts, gore, Horror, international, Italian, McFarland, monsters, Mystery, rare, review, reviews, SPAGHETTI WESTERN, studio history, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, VAMPIRES, Western, wierd

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 ..."

Standard
1950s, Action Adventure, Adventure, Blu Ray, CLASSIC, Classic Hollywood, cult, film, FILM HISTORY, genre, Horror, monsters, Phyliss Coates, Republic, review, reviews, serial, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized

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 .

Standard
1940s, Adventure, Blu Ray, british, CLASSIC, dvd, Emeric Pressberger, film, FILM HISTORY, Michael Powell, OLIVE FILMS, review, safety pin, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, UNITED ARTISTS, WWII

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

61uwmmkloml-_sy300_

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

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

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

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

61uwmmkloml-_sy300_
It is hard to believe that the film went into production before a fully finished script was in hand, but Powell kept rewriting the film when the military consultants would mention new innovations. Powell would then work these ideas into the film. That the film seems seamless is a credit to all involved, editor David Lean (who had co directed parts of MAJOR BARBARA (General Films,1941) uncredited the year before).

one-of-our-aircraft-is-missing

61uwmmkloml-_sy300_
Also, major kudos to the effects team under Douglas Woolsey, who contributed realistic battle effects to several British films like CONVOY (Ealing,1940). The effects wizards could construct an amazing large scale replica of Stuttgart thanks to art director David Rawnsley who covered the entire studio floor with his miniatures. Effects Cameraman Freddie Ford filmed the sequence by laying on his stomach from the studio rafters floor ten hours a day to get some of the shots. So, convincing is it that it is easily blended with actual flying footage. That the film cost only £700,000 is a miracle.

img_20161218_110138
When the film was first released by United Artists in the United States, they edited out 20 minutes of footage, which, while probably allowing for more showings per day, probably robbed the film of much of its power. Still, the film is so well crafted, that it received two Academy Award nominations. Oddly, this was Michael Powell’s only Oscar nomination. Due to its critical as well as financial success J Arthur Rank offered Powell and Pressburger a film by film deal to choose any subject they wanted.one-of-our-aircraft-is-missing-movie-poster-1942-1020198733

 

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

oneofouraircraft1
The squadron takes off, and soon they are over their target. The bombing mission is a mixture of actual flight footage mixed in seamlessly with effects sequences. After dumping their payload, “B for Bertie” is struck by anti-aircraft fire, and the crew is forced to bail out over occupied Holland. As we had seen earlier, the plane did not crash until it had reached England.

 

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

img_20161218_092459img_20161218_092439

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

one-of-our-aircraftone-of-our-aircraft-is-missing-1942-757157
Stopping at the home of the local Burgomaster (Hay Petrie, famous for playing many of Shakespearean clowns on stage during the 1920s,he had a long and varied film career, hoping from comedy to drama with ease),they are confronted by Dutch collaborator De Jong (ballet dancer/actor Robert Helpmann, perhaps best known for portraying a choreographer in the film THE RED SHOES (General Films/J Arthur Rank,1948)and who in 1978 broke his back while filming the Australian horror film PATRICK (Australian Int./Filmways)!)but who has the tables turned on him.swedish_one_of_our_aircraft_is_missing_r_ja00169_l                                                                                      (Polish  film poster)

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

61uwmmkloml-_sy300_

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

oneofouraircraftismissing1
They are awaiting an air raid, when the German Soldiers are ordered into their bunkers and De Vries can slip them into the cellar unseen where there is a secret inlet that leads to the river and a boat awaits them. While they wait, there is some magnificent dialogue where courage, loyalty, and bravery are discussed.

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

getthem

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

Highest Recommendation.
-Kevin G Shinnick4696633_l6

Thanks to John F Colaresi for catching some errors.

Standard