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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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BIRDMAN OF ALCATRAZ (U.A.1962) Olive Films Blu Ray

BIRDMAN OF ALCATRAZ (U.A.,1962) b&w 149 minutes new release by OLIVE FILMS DVD. $18.99 BLU RAY $21.99
https://olivefilms.com/product/birdman-of-alcatraz/

John Frankenheimer (February 19, 1930 – July 6, 2002) is one of my favorite directors of the 1960s. The New York born Frankenheimer first began filmmaking while he was in the Air Force. In 1948, he began as an assistant director at CBS, working his way up to director on the popular YOU ARE THERE series in 1954. He showed himself a fast worker who never sacrificed quality, and soon directed his first theatrical feature in 1957 (THE YOUNG STRANGER, RKO) when he was 26. He had directed the episode “Deal A Blow” for CLIMAX on which it was based two years earlier.

It was a modest success so Frankenheimer returned to television, where he excelled in live dramas. His production of “Turn Of The Screw” (STARTIME, NBC) starred Ingrid Bergman, so he was used to working with star powerhouses.

In 1961, he directed THE YOUNG SAVAGES (U.A.), starring Burt Lancaster and Telly Savalas. Producer /star Lancaster must have liked what he saw, so when he fired British director Charles Crichton from his next pet project, he brought in Frankenheimer to take over BIRDMAN OF ALCATRAZ.

 

Lancaster was a huge star, and one of the first to create his own production company (Norma Productions, for whom he had begun making films in 1948 with KISS THE BLOOD OFF MY HANDS, Universal). A perfectionist, he was a hard person to work for, as the slightest weakness he would tear into you (thus the departure of Crichton).Luckily, Frankenheimer would prove his mettle with this film, and go on to make classics like THE MANCHURIAN CANDIDATE(U.A. 1962 ,starring Frank Sinatra in one of the best political thrillers ever made),SEVEN DAYS IN MAY (U.A.1964 with Lancaster again), THE TRAIN (U.A.1964 again with Lancaster) and SECONDS (1966 Rock Hudson’s best performance).

 


All these films were shot in stunning black and white, with Frankenheimer wisely moving his camera as little as possible, letting the performances play out.

Back to BIRDMAN:


The real Robert Franklin Stroud (January 28,1890 -November 21,1963) was a murderer who in 1909 killed a bartender and took his wallet when the victim refused to pay services to a woman Stroud was pimping. Due to his violence (he stabbed an orderly), he was transferred to Leavenworth, Kansas. In 1916, when he was refused a visit by his brother, Stroud stabbed a guard to death. He was sentenced to death and put in solitary confinement while awaiting his punishment to be meted out.

 


His mother succeeded in convincing President Woodrow Wilson to commute the sentence to life, though remaining in solitary confinement. Over the course of 30 years in Leavenworth, he saved sick birds, and wrote books upon their treatment and care, as well as developing medicines for sale.

He married a woman though more to help him keep his birds and business than any real love on his part, as Stroud was a homosexual, and indeed was considered a violently predatory one.

 


When it was discovered that his medical equipment had also been used as a still, he was transferred in 1942 to Alcatraz, ironically without his birds or equipment (I guess BIRDMAN OF LEAVENWORTH has less of a ring to it). He spent 6 years in solitary and 11 in the prison hospital, then in 1959 until his death from natural causes in 1963 he remained in The Medical Center for Federal Prisoners in Springfield Missouri. He was never allowed to see the film based upon his life.

Besides the publicity generated over the years by Stroud, his wife, and mother, author Thomas Eugene Gaddis wrote a biography of Stroud, BIRDMAN OF ALCATRAZ (Random House, NY 1955). Gaddis later wrote KILLER: A JOURNAL OF MURDER (1970) about serial killer Carl Panzram. This story too was adapted for the screen, starring James Wood (Legacy/ Republic ,1995). BIRDMAN OF ALCATRAZ was a nationwide best seller, which of course brought it to the attention of Hollywood.

The story of Stroud and his birds intrigued Lancaster and screenwriter Guy Trosper (JAILHOUSE ROCK, MGM,1957), who turned the violent Stroud tale into a terrible man redeemed by his love of birds, as well as a story of a little guy who took on the system and, while if he didn’t win, came out better than expected.

 


Lancaster was a lifelong liberal, having grown up poor, and always wanting to make the world better. In this tale, he saw a story of redemption, and indeed Lancaster campaigned unsuccessfully for years to get Stroud released, and for the rest of his life Lancaster was an advocate for prison reform.

Like many cinematic biographies, though following the central story, certain elements were altered to make the main character more likeable (i.e.-General Custer in THEY DIED WITH THEIR BOOTS ON (WB,1941). In this case, Stroud is whitewashed from the sociopath who inspired the tale. The film works on its own strengths, though knowing the facts makes it harder to enjoy. It also does show the dehumanizing treatment in some prison systems, which is also an important issue.

 

 

The plot
Robert Stroud (Burt Lancaster) is a troublemaker prisoner. On the train to prison for a murder that he committed in Alaska (the film dialogue makes it appear he came to the rescue of a woman’s honor, but in real life he was a pimp who killed the man who refused to pay his working girl), he breaks the window in their car, so the other prisoners can get some air.

Warden Harvey Shoemaker (Karl Malden) notes that he will be keeping a special eye upon his newest prisoner during his stay in Leavenworth Prison. He has several points against him when he is told that his mother was turned away for a visit and told to return another time (in real life it was his brother who was turned away. The brother is eliminated from the screenplay, but in real life Stroud’s mother was a major force ).

After trying to convince a guard not to revoke his visitation privileges, the guard berates him in front of everyone in the dining room and tells him to sit down. Angered, Stroud knives the guard ,who slumps to the floor, dead.

 

Now charged with the additional murder, he is sentenced now to be executed. While awaiting the sentence being carried out, he is placed in solitary confinement. His mother (the wonderful Thelma Ritter, who in real life was the real-life mom of John Ritter) pleads with President Wilson’s wife for mercy for her son. Amazingly, her campaign works, and his sentence is transmuted to life in solitary.

 


Prisoners in solitary were allowed one hour into the courtyard alone, and one day, Stroud finds a wounded bird. He takes the injured creature to his cell and begins to care for it. Soon, he has turned his cell into an aviary, and even gets a prisoner in the next cell Feto Gomez (Telly Savalas, who made his film debut in THE YOUNG SAVAGES) to also begin caring for some. He also receives some aid from his guard, Bull Ransom (Neville Brand, on the other side of the bars, after his wonderful performance in RIOT IN CELL BLOCK 11,A.A.,1954)

However, they become ill, and begin dying. Frantic, Stroud scours the library of the prison, and creates a makeshift medicine that seems to cure the birds. The prison doctor (the great Whit Bissell) offers help and suggestions. He publishes a book on his findings and gains some notoriety.

 

One of his fans, Stella Johnson (Betty Field) goes to meet him and Stroud decides that they should go into business. Stella falls in love with Stroud, and they are married. This proves a breaking point for Stroud’s mother, who decides that he has put another woman before her. They never speak again.

 

Stroud gets upset and uses his lab to make some makeshift alcohol. This is what prison officials have been waiting for, and he is sent to the new maximum-security prison, Alcatraz (a federal prison from 1934-1963). Most heartbreaking, he is sent immediately with only the clothes on his back, his equipment and birds they make him leave behind.

At Alcatraz, he finds that his old warden Shoemaker is in charge there. The prison is more modern and the food better, but it is also restrictive of what is allowed. Stroud finds that Feto is also there, now as a trustee. Stroud is visited by Stella, who offers to move nearer so she can still see him, but he tells her that she should find someone else.

Years pass, and Stroud, still rebellious, even manages to help stop a 1946 prison rebellion that became known as The Battle of Alcatraz. The event began when Bernard Paul Coy and five accomplices attempted to escape. Scaling the cages that formed the gallery (known as Times Square and Michigan Ave by the prisoners), Coy also bent some bars with a crude device that he had fashioned. He was able to then get a guard’s Billy club and over power a guard (in the film he uses a gun). Soon he was distributing weapons to other prisoners and the guards were held prisoner.

 

Unable to escape, as one of the guards had hidden the key they most needed, Joseph Cretzer began shooting into the cell where the captured guards were held. The Coast Guard and the marines were called in.


Stroud tried to end the shootout. At 56 years old, he climbed railings and then lowered himself to the second tier, dropping to the floor of D Block. He closed doors to safeguard the wounded, and that there were no weapons now in D block but that if they kept firing the would be killing unarmed guards and wounded prisoners. In the film, he is shown tossing out the remaining weapons, but the battle raged on in another area, with the leader found dead in a guard’s uniform. In real life, two correction officers and three prisoners died, with two others executed together for the murder of a guard, while a third was given an additional 99 years to his life sentence.

It did not seem to do anything to help Stroud, however, and he stayed in Alcatraz until, due to petitions and his failing help, he was transferred to the Medical Center for Federal Prisoners in Springfield , Missouri in 1959 .Arriving on the mainland after decades , the handcuffed older Stroud is met by reporters who asks him how it feels to be entering a world so changed. He makes a joke after someone asks him about television (“From what I hear I m not missing much”) then shows how much he has learned, as he looks up to the sky and sees a plane, describes its make and its working specs. He even meets Thomas E Gaddis (played by Edmond O’Brien) who had written his biography. He is going to a facility which will be less restrictive, and he feels free and at peace.

The film received several Oscar nominations :
Lancaster(losing to Gregory Peck in TO KILL A MOCKINGBIRD, Universal ), Thelma Ritter(who lost to Patty Duke in THE MIRACLE WORKER,U.A.) , Telly Savalas (losing to Ed Begley in SWEET BIRD OF YOUTH,MGM) ,Burnett Guffey for cinematography (losing to Jean Bourgoin, Walter Wottiz and Henry Persin for THE LONGEST DAY, Fox) and failing to win a Best Picture or Best Director nod . The film was also not a financial success, though a critical one, which is being appreciated more as time goes on.

BIRDMAN OF ALCATRAZ had been released in 2014 by Twilight Time, but its 3,000-print run quickly sold out. Olive Films picked up the release to make it available to fans who missed the prior release. It is not quite the same, however, as it has some different extras.

Not having the prior version,  I must say that the Olive Film releases is stunning.


The sound in 1.0 DTS-HD MA is clear and sharp and the dialog and Elmer Bernstein’s score is never overpowering but emotionally effective. 1962 was a great year for the composer, as he also wrote the understated but powerful music for TO KILL A MOCKINGBIRD (Universal,1962). The prison riot scene I had to lower the sound a bit, but it was not overwhelming, and no fake stereo was added.

The picture quality (1080p/AVC MPEG-4) is sharp and clear, and I found it one of the best presentations of the title which I have ever seen. Some reviewers found the transfer dark, but I had no such quibble.

The optional subtitles (English only) are easy to read and follow the action and dialog precisely.

Where the Olive Film differs from Twilight Time’s release is the different extras.

There is no isolated score track, and the audio commentary is different.

The running audio commentary here is by Lancaster biographer Kate Buford (BURT LANCASTER: AN AMERICAN LIFE, Knopf,2000). Ms. Buford has a radio program on NPR, but here, she seems a bit ill at ease in front of a microphone. Studied pacing and a continuous monotone show the importance of a commentator to not only be knowledgeable but also able to transfer their excitement about the subject. This should not dissuade you from listening, as Ms. Buford delivers a wealth of information about the film as well as the real-life subjects upon whom the film is based. I also liked her opinion that BIRDMAN OF ALCATRAZ could have worked very well as a silent film, since the acting and direction tells us much without dialog.

The original Theatrical trailer also appears on this disc (as well as the o.o.p Twilight Time).

Extras aside, the main thing is, is this BLU RAY worth adding to my collection. I would wholeheartedly say YES, due to the quality of the film itself, as well as the audio and image quality of the disc.

HIGHLY RECOMMENDED for fans of prison pictures, true story adaptations, Burt Lancaster, Telly Savalas, and the superb supporting cast, as well as the work of John Frankenheimer.

-Kevin G Shinnick

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WUTHERING HEIGHTS (1970) Twilight Time Blu Ray

Wuthering Heights ,1970 A.I.P ( Twilight Time Blu-ray – limited pressing of 3,000 only)
Region free. Color . 1 hr 44 mins List Price: $29.95
https://www.twilighttimemovies.com/wuthering-heights-blu-ray/

AMERICAN INTERNATIONAL PICTURES never won an Academy Award. It was too busy making money on low budget features. While the larger studios saw their profits dipping due to changing audience demographics and the lure of television, A.I.P was able to make films that would appeal to certain demographics, seeing trends and making films cheaply and quickly.

Teenage themed -movies, horror movies, and later rebel outsider films were popular with the younger crowds who were filling drive -ins.

Then Roger Corman threw off their formula. He made a horror film, yes but it was as expensive as two of their regular films, in color and wide screen.

It made money. Lots of it. Better, it got good reviews. AIP was getting respectability.
It was a heady experience to finally stop being the Rodney Dangerfield of studios.

Oh, they kept grinding out Beach blankets stuffed into a wild bikini on wheels two headed transplants, but they also would continue to do, for them, a prestige picture, usually with the name of Edgar Allan Poe attached.

The zenith of these films was MASQUE OF THE RED DEATH (AIP ,1964) which was incredibly stylish (thanks to the magnificent cinematography of Nicholas Roeg).

 czech poster WUTHERING HEIGHTS 1970

AIP kept grinding out films, doing quite well but reviews were of the nature of “good for its kind”.

In 1970, they took a chance again on some “prestige” pictures, picking up for distribution the independent produced feature JULIUS CAESAR (1970) starring Charlton Heston, Jason Robards, John Gielgud, Diana Rigg, and many others. It flopped both financially and critically.

However, Louis M.” Deke” Heyward, who oversaw A.I.P. productions lensed in the U.K. (and whose career included the tv animated series WINKY DINK & YOU ,1953)pushed for something more ambitious.

Franco Zeffirelli ‘s ROMEO & JULIET (Paramount,1968) had been a huge cross over hit with both young audiences as well as their parents, and Heyward felt that he had a classic romance that would appeal to a similar cross over crowd.  Also in 1970 , M.G.M. was going to release a big historical romance ,RYAN’s DAUGHTER, so A.I.P. probably felt that this would a trend worth taking part in.

With one of the largest budgets ever accorded an American International film (publicity bragged about 3 million dollars, equivalent to what United Artists spent on their 1971 prestige period film THE MUSIC LOVERS by Ken Russell. In comparison, another U.K. production from AIP in 1970, SCREAM & SCREAM AGAIN, cost about $350,000.).

Emily Bronte’s only novel, WUTHERING HEIGHTS, was published in 1847 with a pseudonym used for the author (“Ellis Belle”). Emily Bronte died the following year at age 30 from tuberculosis. Charlotte edited the novel and had the novel published again under her sister’s proper name in 1850. By then the name Bronte was known due to the other sister’s works, Anne’s AGNES GRAY (1847, under the pen name Acton Bell then under her own name in 1850) and Charlotte’s JANE EYRE (1947 under the name Currer Bell, then the following year in the United States by Charlotte Bronte)

The tragedy of Emily’s early death adds an air of tragic Romanticism that already permeates the novel. The work was received with mixed feelings, some due to its criticism of Victorian mores. It was, however, a big seller, and has become required reading in many college literature classes.

To me, revisiting the book recently, it seemed to me to be a story of a dysfunctional destructive relationship that would not be out of place in a 50 SHADES OF GRAY story! Her playing with his affections and his obsessiveness destroys them both, with events of mental and physical abuse that make a modern reader ponder, so one can imagine how readers of that more gentile time reacted.

 

Still ,the basic story stayed popular with readers ,and it’s basic structure served as a frame work for future popular novels as GONE WITH THE WIND by Margaret Mitchell (1936 ,MacMillan) REBECCA by Daphne Du Maurier(1938 ,Victor Golanz,U.K.) and DRAGONWYCK by Anya Seton (1944,Houghton Miffin ).Incidentally ,Twilight Time has just released a magnificent must have Blue Ray of the film of DRAGONWYCK https://www.twilighttimemovies.com/dragonwyck-blu-ray/

 

The first film version of WUTHERING HEIGHTS was a 1920 British silent, now sadly lost.

 

In 1939, often called the greatest year for movies, Samuel Goldwyn produced the version now best remembered telling of the tale, with director William Wyler guiding a superlative cast and crew through a stirring moving version of the tale. Laurence Olivier became a movie matinee idol (though he had starred in several films before as well as being a star of the stage in two countries) due to his brooding portrayal of Heathcliff. The director and star often clashed, but in the end, Olivier was glad that Wyler how to truly focus as a film actor. Merle Oberon embodied Cathy, David Niven the good but weak Edgar, Donald Crisp, Geraldine Fitzgerald, Flora Robson…. An embarrassment of acting riches. Add to that a literate screenplay by FRONT PAGE creators Charles MacArthur & Ben Hecht, a beautiful Alfred Newman score and cinematography by the magnificent Gregg Toland, it is little wonder that the film in 2007 was selected for preservation by the National Film Registry.

Eliminated from this version was the son that Heathcliff fathered nor Cathy’s daughter, both of whom are major characters at the end of the novel. However, the ending of this film retains a powerful gothic and supernatural finale that leaves people weeping.

The BBC over the years has done various versions for tv and American television produced various adaptations , such as this heavily abridged production for CBS in 1950, starring a very stiff Charlton Heston as Heathcliff https://www.youtube.com/watch?v=XbiaEgjgJX8 .

 

The 1970 version had a screenplay by Patrick Tilley, who seemed to have had a limited career. An episode of an obscure U.K. tv series starring Patrick Allen called CRANE (1963-5, A.R.T.), additional dialogue for a 1968 caper film called ONLY WHEN I LARF(Paramount)and then this. Later he went on to write for Amicus /AIP the film THE PEOPLE THAT TIME FORGOT (1977), the disappointing THE LEGACY (Universal,1978) and another supernatural obscurity, GUN OF THE BLACK SUN (2011).

Like many previous versions, the second half of the book is jettisoned to concentrate on the obsessive love/hate relationship of Heathcliff and Cathy.


Chosen to oversee this adaptation was former art director turned director Robert Fuest. Fuest had mostly done television, helming several episodes of THE AVENGERS (A.B.C.,1961-9). He changed his style for his directorial debut to a more subtle one in his superlative thriller AND SOON THE DARKNESS (1970, Associated British/EMI) before moving on to WUTHERING HEIGHTS. A.I.P must have liked what he did, as they let him go back to his flashier style in the brilliant ABOMINABLE DR PHIBES (1971) and its sequel.

Composer Michel Legrand gave the film an extra feeling of class, as he had worked on such major films as ICE STATION ZEBRA (MGM ,1968). Here, he writes a classical theme that underlines the tragedy and romance of the piece.

His choice of cinematographer John Coquillon had a wonderful feel for period, as he lensed AIP/Tigon’s WITCHFINDER GENERAL in 1968. The color and cinematography help create the sense of mood, of isolation and madness. Coquillon would go on to be a director of photography on several later Sam Peckinpah films, including STRAW DOGS (ABC/Cinerama ,1971).

The opening shot right away sets up the film. A close shot of a beautiful field and babbling brook, then the camera tilts up and, in the background, we see a funeral taking place. We observe the sad mourners as the body is lowered into the grave. One of the mourners looks up and the camera shows a lone horseman silhouetted against the gray barren sky. This is our introduction to Cathy (already dead) and Heathcliff (and aloof figure apart from the rest).
After the titles (by Maurice Binder, not what we expect from the dazzling eye of the designer of the magnificent James Bond openings), we flash back to a family awaiting the return of their father.

The children are awaiting gifts, and even the servant girl as been promised something special. However, when Mr. Earnshaw (the marvelous Harry Andrews) finally arrives, he has with him a small orphan boy, looking almost wildly feral, that he claims that he found in London. Mrs. Earnshaw (Rosalie Crutchley) is angry, feeling that the husband has in fact brought home the result of one of his affairs (adding a dark hint of incest to the rest of the tale, if true). Mr. Earnshaw says no, but that he has named the child Heathcliff, in memory of a son they had who died some time before.

Turkish poster

Their son Hindley takes an instant dislike to Heathcliff, as he sees that a gift that his father has brought him is broken, blaming his new “brother”. The mother implores her husband that he not forget Hindley in his inheritance, and not favor the cuckoo in their family nest. Their young daughter Cathy seems fascinated by the young man.

 

Years later (the film, like the original tale, is set during the mid-1700s), Hindley (now played by Julian Glover) is master and treats Heathcliff (now portrayed by Timothy Dalton) as little more than a servant.

The resentment between the pair is palpable, but the only thing that keeps Heathcliff there is his love for Cathy (Anna Calder-Marshall). Fuest’s first shot of the now adult young woman hints already at her unstable nature, which will see grow as the story goes on.

When Hindley’s wife dies in childbirth, his already sadistic nature comes out full force, sending all his pain and anger towards Heathcliff. Hindley’s drinking exacerbates the problem.

Catherine accepts the proposal of wealthy neighbor Edgar Linton (Ian Ogilvy) but confides to servant Nelly (Judy Cornwall) that she still loves Heathcliff. However, because of the social stigma, she cannot marry someone below her station.

This drives Heathcliff to his vow of revenge, which ends up in destruction for the main characters, with Heathcliff cursing his love to haunt him forever.

While the 1939 adaptation had a sense of heightened almost operatic passion, the 1970 version due to it’s location filming, has a feeling of being more grounded. Therefore, though the film was rated G, the brutality seems more violent. Bucking the trend of many films of the time, the sex is not shown onscreen but that the destructive passion between the two leads is quite palpable, with Heathcliff becoming a brutal Stanley Kowalski in ruffles dealing with his mad paramour.

 

This was Timothy Dalton’s first leading film role, after making his screen debut in THE LION IN WINTER (Avco Embassy,1968) as the scheming King Phillip of France. He also played the weak Prince in the big budget CROMWELL(Columbia,1970) and the next year the weak Henry, Lord Darnley in MARY, QUEEN OF SCOTS (Universal ,1971). Here, he is a brooding, barely contained wounded animal, who slowly comes undone due to his obsession. While Olivier in the 1939 version always seemed to be thinking, Dalton is almost animalistic, with his moments of passion turning quickly into wounded anger, lashing out at all.

Anna Calder-Marshall is fascinating in her portrayal of Cathy. As mentioned, she hints at the inner demons that are growing within her, so when we see her eyes when she reappears at the end to tempt Heathcliff to his death, her eyes (in close ups shot during reshoots to patch up studio cuts) have an evil madness that would fit in perfectly with any Roger Corman Poe villainess. Sadly, she did not do a lot of film and television (she was a marvelous Cordelia to Laurence Oliver’s Lear in the 1983 ITV tv adaptation), seemingly satisfied to be married to David Burke (one of Jeremy Brett’s two t.v. Dr Watsons) and mother to actor Tom Burke.

The film was the first A.I.P. motion picture to premiere at the RADIO CITY MUSIC HALL. Critical reviews were mixed, and though the film did decently at the box office, it was not enough for A.I.P., and so several planned classic story adaptations were dropped.

 


When the film was released on VHS, the color was muted, and the image seemed compressed. Later, when MGM took over the A.I.P library, they released a much cleaner version of the film to DVD (including one that was sold along with the cliff notes of the book!!).

TWILIGHT TIME, once again, has released what perhaps is the best version of this film that we will ever see. The color palette seems to be a proper gray, brown and gray tone, conveying the feelings of the rustic and lonely wild countryside. The film is presented in 1:85:1 widescreen in a 1080p transfer.


The sound is 1.0 DTS-HD, which is fine for the film. There never were any major audio effects, but the music and sound are all crisp.

There are optional English subtitles that follow the dialogue and action and are quite easy to read.


Other extras include the isolated music score by Michel Legrand. Originally released on vinyl (on AIP’s short-lived AIR RECORDS, A-1039) and later a limited-edition CD from LA LA LAND, LLLCD 1087), you can now enjoy his beautiful score seeing how much it supports the imagery of the film.

 

The original theatrical trailer is also presented, where we are “introduced” to Timothy Dalton, and told Timothy Dalton is Heathcliff, Heathcliff is Timothy Dalton and Anna Calder-Marshall is Cathy while Cathy is Anna Calder-Marshall. Got that?

 


The greatest extra is the information packed running commentary by film historian Justin Humphreys (Interviews Too Shocking to Print, Bear Manor, 2016). While he gives some interesting background on the film’s history (including that director Curtis Harrington was originally developing the story before AIP moved him to WHOEVER SLEW AUNTIE ROO? (1971) and that Bryan Forbes of EMI recommended Fuest for the project, and that Ian Ogilvy and Hillary Dwyer are reunited after working on WITCHFINDER GENERAL), what is most fascinating is how he discusses the original cut of the film that seems no longer to exist.

Having a copy of the original screenplay, we are informed of sequences that makes us wonder why they were cut, while others we can understand their loss for clarity and running time. Sam Arkoff’s son does not think that a complete print exists, and that the original negative was cut to produce the version that stands. Humphreys also explains what is now missing, and that the voice overs were meant to patch over missing and reshot sequences.


Finally, once again Twilight Time provides us with a lovely booklet with an essay about the film by the always informative Julie Kirgo.

The disc is region free, and like most releases from the company, are a limited edition pressing of only 3,000.
Highly recommended for fans of classic Gothic Dramas.

Kevin G Shinnick

 

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ENGLAND IS MINE (2017) Blu Ray

ENGLAND IS MINE – (Cleopatra Blu Ray) 2017. color.94 mins. Region A. $29.95- https://www.amazon.com/England-Mine-Blu-ray-Jack-Lowden/dp/B074R49SZX/ref=sr_1_2?ie=UTF8&qid=1513794098&sr=8-2&keywords=ENGLAND+IS+MINE

 

Indie icon Morrissey continues to stir controversy. His first album in three years, LOW IN HIGH SCHOOL, was released on a new label that he created after he felt his last release was mishandled.

 

He claimed that HMV was refusing to carry the album due to it’s anti -monarchy cover art as well as throwing his support behind an anti-Muslim politician in the U.K. (who was trounced) rather than throwing his arms around Paris. After seemingly defending Kevin Spacey and other serial abusers (“When you are in somebody’s bedroom, you have to be aware of where that can lead to. That’s why it does not sound very credible to me. It seems to me that Spacey has been attacked unnecessarily”), he has sworn off any future print interviews, saying that he was misquoted.

 

Plus, he has cancelled a recent spate of performances for a variety of reasons (one because the venue was “too cold”), so he has been front and center in the public’s eye, and not for his music. Even today as I write this, an hour ago he claimed that he was interviewed by the Secret Service after a flip comment about Donald Trump.

 

ENGLAND IS MINE is a film that seeks to explore what turned shy socially awkward intellectual became the darling of the alt rock scene as well as a dissent magnet.

 

 

Steven Patrick Morrissey (born 22 May 1959) to Irish Catholics who immigrated to Manchester, a poor working-class area. The film opens with Morrissey (marvelously embodied by Olivier Award winner Jack Lowden, also in the epic DUNKIRK( W.B,2017 )and to portray Lord Darnley in the upcoming MARY, QUEEN OF SCOTS (Focus,2018) deep in thought about his place in life observing churning waters that seem to reflect his own inner turmoils.

He and his friend and confidante Anji (Katherine Pearce, recently in MY COUSIN RACHEL, Fox,2017) go to local clubs wherein he writes blistering letters to N.M.E.(New Musical Express). She says he should stop complaining about others and start his own band. To this end, she contacts another musician, who shows up at the appointed place, but Morrissey’s shyness has him run away before even chatting.

 

Meanwhile, all is not good at home, as his father abandons the family at Christmas, forcing the young man to take a dead-end job at the Inland Revenue Service. His outlook is bleak until he meets free spirited artist Linder (Jessica Brown Findlay, so good in VICTOR FRANKENSTEIN, Fox,2015). She exemplifies what he would like to be, and so he finally joins a band.

 

There first gig is so well received that an agent gives them his card. Morrissey quits his dead-end job, thinking that stardom is now his but finds that the agent only wanted their guitarist.

 

Morrissey plunges into a massive depression, made worse by Linder leaving for London due to her art.

 

The film ends just as Morrissey joins up with Johnny Marr (Laurie Kynaston, THEY FOUND HELL, Cinetel ,2015) to form The Smiths.

 

Lowden & Kynaston as Morrissey and Marr

 

Sadly, since this was not an authorized biography, the movie was not allowed to use any of Morrissey’s music. Instead, music that he loved and inspired him is used as a soundtrack to events happening. One would have liked music by the composer to be used, especially with The Smiths (The title ENGLAND IS MINE comes from “Still Ill”, a Smiths song (“England is mine, and it owes me a living”). The film began production as “Stevie”).

The real Marr & Morrissey

 

However, since this is set just prior to their formation, one could be forgiven that absence if more New York Dolls and Sex Pistols had been used. Instead, we are treated to Martha Reeves & The Vandellas, Diana Dors, The Shangri-Las, and The Marvelettes pops up. Mostly, it is not even used as ironic counterpoint. It might have been wiser to have had a completely original score.

 

Heaven Knows, I’m Miserable Now” (another Smiths hit) may have been a more appropriate title for the film, as this kitchen sink drama gets caught up in the depressive side of the singer composer’s life.

 

First time director Mark Gill (who co-wrote the screenplay with William Thacker) get the air of depressiveness that overwhelmed England during the time of Margaret Thatcher, but makes his lead a most unlikeable smug egomaniac (accurate perhaps, but not one with whom you wish to spend 90 minutes of cinema time).

 

It is odd that one of the producers of ENGLAND MADE ME was involved with CONTROL (Weinstein, 2007) which dealt with the life and early death of Ian Curtis ,the lead singer of Joy Division, at age 23. That film got it so right.

Another rock star biopic by a first-time director that works was NOWHERE BOY(Weinstein,2009), about young John Lennon.

The filmmakers make a lot of assumptions that the audience for this are die hard Smiths fans alone, and so no explanation is given for example of the fixation for the Moor Murders by the characters. For those who do not know, The Moors murders were of 5 children sexually assaulted and murdered between 1963 and 1965 around Manchester. Ian Brady and Myra Hindley were both convicted for the killings, Brady dying in prison in 2002, and Hindley just this past May,2017.

The Blu Ray disc from Cleopatra accurately reproduces the dark drab grays and blues of cinematographer Nicholas D. Knowland (The Quay Brothers’ INSTITUTE BENJAMENTA, Image 1995). It is presented in a widescreen ratio of 2.35:1

The 5.1 Dolby Digital 5.1 is serviceable, but nothing memorably outstanding.

The extras include:
SMOKE & MIRRORS: an onset chat with cinematographer Nicholas D Knowland .

Audio Commentary: Actor Jack Lowden and director Mark Gill discuss the making of the film. Both have a great deal of respect about each other’s work. Stand out moment to me was when Lowden said the most difficult thing for him to learn was to use a record player (! I’m old).

SAD FACTS WIDELY KNOWN: Some behind the scenes footage. It is without commentary, so it is best to check this out after watching the film to see what is going on.

Optional English subtitles: this may come in very handy for those not accustomed to English accents, and it follows the action quite well.

Original theatrical trailer. https://www.youtube.com/watch?v=4DHJa10Sa8A

The film will be of interest to

Fans of Morrissey (of course) who may say “Please, Please, Please, Let Me Get What I Want”.

British Drama.

  –  Kevin G Shinnick

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PIRATES OF BLOOD RIVER (Twilight Time Blu Ray

 

PIRATES OF BLOOD RIVER (Hammer/Columbia,1962) Twilight Time Blu Ray. 87 min. Color. $29.95. Region Free (A/B/C). https://www.twilighttimemovies.com/pirates-of-blood-river-the-blu-ray/ Limited to 3,000 copies.

Hammer in the late 1950s had found a popular and financially profitable niche with their now classic horror films. The studio, however, also produced a wide variety of titles in other genres. Powerful War films (YESTERDAY’S ENEMY, Hammer/Columbia 1959), Comedies (WATCH IT, SAILOR! Hammer/Columbia ,1961), even crime dramas ( HELL IS A CITY, Hammer/Warner Pathe ,1960).
They even made movies for the popular family market U certificate films. In England, to get the “U” (Universally suitable for all) certificate, a film was thought generally acceptable for ages four and up.

SWORD OF SHERWOOD FOREST (Hammer/Columbia, 1960) was a surprise hit, and so Hammer decided more swashbucklers would do the same. Hammer had done a Robin Hood film back in 1954 (THE MEN OF SHERWOOD FOREST) but each of their Robin Hood tales were standalone stories. *

Oddly, Hammer waited two years to do another swashbuckler, but what they came up with was a winner. PIRATES OF BLOOD RIVER was paired with the Ray Harryhausen adaptation of Jules Verne’s MYSTERIOUS ISLAND, and upon its release in July,1962, quickly became the highest grossing double bill in the U.K. that year.

To get that important “U” rating, a gory filmed scene had to be excised. In the film, actress Marie Devereux unfortunately flees into a river filled with piranhas, and as the vicious killers swarm around her, she screams as the water around her turns red with blood. This scene was returned in later versions of the film, including its DVD release in a 2-disc set called ICONS OF ADVENTURE (Sony Home Entertainment,2008. The other titles were Hammer’s THE DEVIL SHIP PIRATES (1964), THE STRANGLERS OF BOMBAY (1959) and TERROR OF THE TONGS (1961)). In fact, PIRATES at various times was rated ‘U’, ‘A’ (Those aged 5 and older admitted, but not recommended for children under 14 years of age) and even an “X” certificate (Suitable for those aged 16 and older (enforced by all councils) due to what scenes were edited in or out of a release.

 

The film opens with a stock shot of a 17th Century sailing vessel (anyone recognize from what movie this was lifted,let me know) and then we are told via credit crawl that the island is a refuge for Huguenots fleeing religious persecution and settling upon an island they named Devon. “But in the years to come, the just laws of the Colony began to yield to greed and tyranny. Happiness became an echo of the past. Freedom-just a memory.”

Now Huguenots were mostly Northern French Protestants who fled for their lives after the St. Bartholomew’s Day Massacre of 24 August – 3 October 1572, wherein Catholics killed over 25,000 Huguenots in the country, only to have the murderers granted amnesty, as well as the edict of Fontainebleau in 1685 wherein the beleaguered religious sect had to convert to Catholicism or risk ruin, imprisonment of worse.

Devon is a British Iron age name derived from Dumnonia, so it is an odd name for French Settlers to choose. Then again, none of the islanders speak French nor even with an accent but sound very British indeed. Maybe they were some Huguenots who fled first from France to England and from there to the New World?

They are an island whose location is never exactly placed, but piranhas mostly reside in the Amazon and certain Brazilian or Venezuelan rivers. We can thus guess that this island is supposedly located in that general region. Not a wise area for the groups to settle, as the Spanish and Portuguese who occupied those countries were Catholics nations.

This, however could explain why they chose to remain so isolated, and established their harsh fundamentalist governing system. Then again, I am perhaps over thinking this fun romp, so back to the story.

Jonathan Standing (American actor Kerwin Mathews ,forever to be remembered for Columbia’s 1957 classic THE 7TH VOYAGE OF SINBAD ) is found with Maggie Mason (Marie Devereux in her final appearance in an Hammer film ),the wife of one of the town elders Godfrey Mason (Jack Stewart ,who had appeared in the early Hammer film A CASE FOR P.C. 49,1951), The religious leaders, led by Jonathan’s stern father Jason Standing (Andrew Keir, to me the best Professor Quatermass due to his performance in QUATERMASS & THE PIT for Hammer ,1967).They seek to arrest and punish the lovers but the poor Maggie flees into the river, suffering the fate of the piranhas mentioned earlier. Jason says that it is a judgement of God.

Jonathan is tried by the council, who, led by his father, sentences for him to be sent to a penal colony for 15 years. Jonathan’s sister Bess (Marla Landi, so good in Hammer’s HOUND OF THE BASKERVILLES,1959) tells her father that the council is using him. It seems that Henry (American actor Glenn Corbett, who had starred in William Castle’s HOMICIDAL the year prior) says sarcastically says that Jason’s grandfather who helped found the colony and whose carved likeness stands above the courtroom, would be so proud. Jonathan asks that Henry, besides watching over his sister with whom Henry is in love, also watch over Jason’s father until the tyranny is brought down.

 

We then see the cruelty of the mining operations wherein the prisoners are forced to work and be tortured, including leaving Jonathan punished by having his hands tied to a cross beam and dangling above the ground (a form of crucifixion Hammer also used in 1965’s THE SECRET OF BLOOD RIVER). Thank goodness this is family friendly?

Jonathan escapes with an older prisoner who drops dead from exertion. Jonathan flees into the swamps and is presumed killed by the guards. He however, was shot in the arm, and is found by Mack (the great Michael Ripper, who appeared in more Hammer films than any other actor) Hench (Peter Arne, THE HELLFIRE CLUB, Tempean Films,1961) and Brocaire (Oliver Reed, right after his starring role in Hammer’s CURSE OF THE WEREWOLF) and a group of pirates. They bring him to their boat (a wonderful Les Bowie glass matte) and to Captain LaRoche (Christopher Lee, who does speak with a French accent). LaRoche is a soft-spoken, intelligent character, adorned with an eye patch and withered arm and Lee makes the most of his performance. Eleven years later , he donned and eye patch once again and demonstrated his wonderful swordsman skills , with Oliver Reed now an international star in THE THREE MUSKETEERS (Salkind, 1973 ).

 

The pirates say that they would travel back to Jonathan’s colony, which has remained hidden for a 100 year, and help Jonathan establish a just rule, in exchange for a haven and a place they can safely refresh their supplies. They trudge through the river (Michael Ripper disappearing briefly below the surface, Lee trudging on, probably inwardly cursing once again being soaked and walking through muck in another film, like his end in THE MUMMY, Hammer ,1959). Brocaire gets into a fight in the water with another pirate, which is stopped by a stare from the Captain. Filmed in brackish water that smelt awful (Black Park), Oliver Reed got inflamed eyes while Lee got a stomach infection.

Of course, the pirates have no intention of a peaceful co-existence, believing that there is a hidden treasure within the colony. Can Jonathan and the settlers rid themselves of their occupiers?

The film is an exciting, thoughtful thriller. The underlying distrust of an oppressive religious leadership is heavy, considering this is again thought of a family film. Hammer would expand on the idea of Religious close mindedness in greater detail in their horror film TWINS OF EVIL (1971). For the most part, though, this is a thrilling and well-made period adventure piece, that once again Hammer’s wonderful technicians make look so much more expensive than their limited budgets should allow. Michael Ripper has a much larger role than many of his films, and you get to see what a truly fine actor he was. When drunk, he foolishly mocks his Captain, satirizing his bad eye and injured arm.

Now TWILIGHT TIME has released a magnificent blu ray of this fun Hammer action adventure.

The previous Sony DVD was fine, and a bargain when released with the other three titles.

This new Blu Ray release, however, is a revelation. A 1080p High Definition / 2.35:1 / Color print really shows off the Megascope cinematography (kudos to Arthur Grant ,who worked brilliantly at Hammer from 1957 to 1972 ). The colors are incredibly rich, and the sharpness makes this look like a new film rather than a 55-year-old movie.

The 1.0 mono DTS-HD Master Audio is surprisingly rich, with the dialogue, soundtrack and effects all quite clear and crisp.

As for extras,

the optional English SDH subtitles are clear and easy to read, following the action and dialogue perfectly.

There is an isolated music and effects track, wherein you can really enjoy how much both add to the enjoyment of this film. Composer Gary Hughes seemed to be Hammer’s going to man for their 60s swashbucklers, as he also composed their THE CRIMSON BLADE (1963), THE DEVIL-SHIP PIRATES (1964), THE VIKING QUEEN (1967) and A CHALLENGE FOR ROBIN HOOD (1967). You also appreciate how much care Hammer put into their sound design, with not only gunshots and screams added in, but so many tiny details that perhaps go unnoticed by most moviegoers that subconsciously make the scene stronger. Kudos to Alfred Cox (sound editor) and Jock May (sound recordist). They also knew when to pull back on sound, as during the wonderfully suspenseful scene between Hench and Brocaire, wherein both men are blindfolded and have a sword fight. It is without music, and the sounds are dropped down to those of clashing blades and items scattered during the conflict.

An informative audio commentary runs the length of the picture (taken from a previous DVD release) with film historian Marcus Hearn (THE HAMMER STORY, co written with Alan Barnes, Titan Books, 1997), who keeps things going by dropping in some wonderful facts, and prodding the memories of writer Jimmy Sangster (who passed away in 2011) and art director Don Mingaye (who is as of this writing, still alive at age 88).

 

They discuss their experiences with the studio, writing and budgeting, memories of various actors (look for Desmond Llewelyn, later gain fame as Q in the James Bond series) and crew, and having to write a pirate movie without a ship (save for the opening stock shot and glass matte). They also verify that director John Gilling was while a brilliant craftsman was subject to mood swings wherein he could be quite nasty. Christopher Lee even found him difficult to work with.The commentators attribute this to a head wound that Gilling had, which left him with a large scar. Gilling did give us several horror classics, such as FLESH & THE FIENDS (Regal 1959) and the Hammer “Cornish “horrors, THE REPTILE and PLAGUE OF THE ZOMBIES (both 1966). They also talk about how surprised Sammy Davis Jr, a huge Hammer fan, was when he visited the set of this film.

Julie Kirgo as always supplies a nice overview appreciation of the film in the booklet enclosed with the blu ray.

Finally, we get the original theatrical trailer.

Today, to do a pirate film costs over $200 million dollar and is CGI crazy to the point wherein the actors often become ciphers to the visual chaos. However, releases like this show you what talent before and behind the camera could do with a very small budget.

Recommended to fans of Hammer, Christopher Lee, and adventure fans of all ages (just watch out for those piranhas!).

-Kevin G Shinnick

 

*-the other Hammer Robin Hood film was A CHALLENGE FOR ROBIN HOOD (Hammer/Warner Pathe ,1967). WOLFSHEAD: THE LEGEND OF ROBIN HOOD was a failed tv pilot from 1969 that Hammer acquired but did not produce, and released theatrically as a B feature in 1973.

 

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STILL TIME TO ENTER TO POSSIBLY WIN A DVD/BLU RAY of BETTER WATCH OUT . December 1,2017 deadline. 

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DECOY (dvd collection -Film Chest )

DECOY  (1957 Television series) (Film Chest Media) DVD set (all 39 episodes on 3 DVDs) $19.98 First episode date: October 14, 1957 episodes run about 25 minutes each. https://www.amazon.com/gp/product/B06Y18TNQ1/ref=as_li_tl?ie=UTF8&tag=tvobscur47-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=B06Y18TNQ1&linkId=24b5dd7a881e2acaab9606c6f8f612bf

Back in 1992, I had the extreme pleasure of interviewing actress Beverly Garland .The interview appeared in issue ten of SCARLET STREET (to read and see the issue, go to http://scarletstreetmagazine.blogspot.com/2015/10/ )

Best known for her films with Roger Corman as well as her later appearances on MY THREE SONS (74 episodes,Don Fedderson Productions 1969-1972) ,in the late 1950s she starred in a syndicated New York lensed series called DECOY (Official Films ,39 episodes, October 14,1957 -July 7,1958) .

In our SCARLET STREET #10 interview , she called the series the “biggest mistake of her life” as it ran only one season but rerun for seven, and she was labeled a TV actress, thus being forced to start her career all over again.

Now ,in hindsight , we can see how forward thinking the show was, as well as a time capsule of ideas and mores of the period . For one, she was an independent woman who knew self defense and how to work a side arm, as well intelligence. That said, reactions to her show the difficulty of a police woman being looked at as an equal.

 

The series has had certain episodes available from several public domain companies as well as on line video sources, but this is the first time that the entire series has been released in a three DVD collection.

“Presented as a tribute to the Bureau of Policewomen, New York City Police Dept.”(opening credit ).*

 

Ms. Garland was Policewoman Patricia ‘Casey’ Jones . She seems to live up to the Decoy title , as she is often undercover to investigate and stop crime in a no nonsense style reminiscent of the then popular DRAGNET (Mark VII,Ltd. ,1951-1959). She often breaks the fourth wall to address the audience about the case that has just been solved.

She often finds herself in dangerous situations, like becoming an inmate at an insane asylum while pursuing a lead in an heroin case (“Dream Fix”). We know very little about Jones’ personal life except that her boyfriend was a police officer who was killed by a person he was sent to arrest (“The Sound of Tears”), but like her counterpart Joe Friday from DRAGNET ,it was the cases, not her personal life, that were front and center.

Being shot in New York on location gives the series a grittiness often lacking in other series from the time . It also is a time capsule of the many sites and sights no longer around in the city that never sleeps, such as Colony Records and Steeplechase Park ,as well as several that still are (John Jovino’s Gun Shop in Little Italy. The photographer Weegee had a room above the store that overlooked the large pistol replica).

 

                                                (Weegee from his apt fire escape, same locale today)

 

Also, the New York location gave them a talent pool of up and coming actors from the New York Theatre scene .Larry Hagman ,Frank Campanella,Ed Asner , Colleen Dewhurst, Martin Balsam ,Suzanne Pleshette, Diane Ladd and Al Lewis all appeared on the series.

As a syndicated show, it was shot quickly ,and some continuity errors exist .For example, Al Lewis is with a cigar in his mouth in wide shot but cutting to closeup ,we see him putting the cigar into his mouth again.The exteriors were often filmed with a hidden camera , as they did not have the funds to get permits and shut down streets.

The show probably slipped into obscurity due to it’s noticeable lack of violence ,concentrating on gathering evidence and good police work .Plus, with so many people wishing to be “politically correct” , there is a lot of smoking on the show (amazing that Westinghouse rather than Winstons Cigarettes sponsored the series.).

 

That said, it is historically important that it is one of the first dramatic shows to star and be built around a female character, who didn’t have to “sex” it up , or need a male side kick. Indeed, Ms Garland is one of the few recurring characters, having her instead work with officers in different departments to solve the week’s story .Without Policeman “Casey “ Jones, we may not have had an Angie Dickinson’s Sgt. Suzanne “Pepper” Anderson , Teresa Graves’ Christie Love , or Mariska Hagitay’s Olivia Benson .

In other interviews, Ms Garland said : “Throughout my life, I’ve had ten or twenty women come up to me and tell me that they saw me on ‘Decoy’ and because of it they became a policewoman.”

I think that was a source of pride for the actress.

FILM CHEST has done a great job of presenting these full frame black and white episodes. Images are sharp and clear ,with no noticeable dirt or film damage. The mono sound was clear and serviceable. Each of the three discs has 13 episodes ,and can be either played straight through or episodes played separately .

-Recommended.
Kevin G Shinnick

 

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The Creep Behind The Camera (Synapse S.E. Blu Ray)

The Creep Behind the Camera (Color,111 min .2014)/The Creeping Terror (B&W,75 min.1964) / (Blu-ray) (Synapse )All-Region $24.99 s.r.p.
http://synapse-films.com/synapse-films/creep-behind-the-camera-the-blu-ray-special-edition/

 

Back in the late 1960s, I caught this awful science fiction film on an UHF channel. At that time, you had to adjust antennas to get a good signal ,as weather could affect your receiving a broadcast. I thought that film was going to be THE CREEPING UNKNOWN (1956, aka THE QUATERMASS XPERIMENT,Hammer).

The film I experienced was another matter entirely. I mean, it had a spaceship and a creature, but– this seemed awfully inept . And the sound ! Where was the sound for long stretches ? Adjusting the antenna did nothing to bring it in.Oh there it is-narration?? Dubbed voices?? I realized I was watching an American made cheapie, but in those pre VTR days ,as a Monster Kid, you sat and watched what you could get.

For a short film ,it seemed mercilessly drawn out , with nothing happening for what seemed like ages. When it ended ,I remember thinking well I’ll never watch that again.

 

Wrong. Years later it was released by several Public Domain companies (as well as more reputable ones ) who would find a poor 16mm dupe of films and put them onto VHS for a hungry new video market. Ah, while working at a video store, how often it would be brought to the counter and I’d stay silent unless asked for my opinion.

The Creepie Crawlie Meets the Troops

 

Later, the film was “discovered” by a larger audience when Mystery Science Theatre 3000 “riffed the show in their sixth season (episode 606 ,September 17,1994) . The inept film had finally found its audience ,who all laughed at the pictures dreadfulness.

What the majority of us were unaware of was that the true monster was not the carpet creature, but the sadistic sociopath who convinced many that he was the next Orson Welles ,while abusing and using women and possibly even being involved with child pornography.                                                                                         Vic Savage

Writer/Director Pete Schuermann (who directed the comedy Star Trek Spoof ,HICK TREK:THE MOOVIE(1999,ATOZ Films) was someone fascinated by the film THE CREEPING TERROR ,and started to look into the history of the film.

What began as a straightforward documentary developed into a hybrid recreation/documentary/true life film on the project and it’s insane creator Vic Savage .

BOBBY

 

Savage was a perfect moniker for him, as he was seemed to be the poster boy for Anti Social Personality Disorder (ASPD). Those who have this may show symptoms as far back as childhood.Those with ASPD tend to lie, break laws, act impulsively, all with a lack of regard for the well being of others or them selves. That seems to be Savage to a T”.

Born in was born August 14 ,1933 in Bridgeport, Connecticut as Arthur Nelson White , one of the lies he would tell people is that he was born in Oklahoma of Cherokee descent .

Somehow, he met actor Joseph Sargent ,and for some reason Savage gave Sargent his first opportunity to direct . Savage co-produced the film (under his real name Arthur N. White) with Karl Kappel while co-writing the screenplay with Lois White (his long suffering spouse?? ).Savage also cast himself in a supporting role as a 26 year old street punk in the film STREET FIGHTER (1959,Joseph Brenner Associates).

The film ,shot in Savage’s own Bridgeport Connecticut , tells the story of an arrogant teen gang leader who when his girlfriend is murdered, decides to clean up his life .

Star Dora Conn seemed to have appeared only in this one film but actress Ann Atmar appeared in INCUBUS (Contempo III Productions ,1966 , itself a film that was briefly lost )as well as a COLD WIND IN AUGUST(U.A.,1961). Ahmed Bey had appeared in an Arabic film, EL zanati Khalifa in 1952, and was a boxing champ.

Director Sargent went on to direct television episodes of STAR TREK (Paramount,1966-1969) and feature films like COLOSSUS THE FORBIN PROJECT (Universal,1970).

STREET FIGHTER the  film is practically lost. In an odd footnote, in October 2014 , Savage’s ex-wife placed her VHS copy of the film up for auction. The original film print was destroyed by her after it was transferred to this VHS copy, supposedly the only existing copy of the movie . I could not find if this print had been sold .

 

                                                                                               Old DVD cover

Savage bummed around for awhile ,until he got the idea of making a monster movie ,originally to be called ‘Dangerous Charter”. Here ,his con man skills sparked into full gear, fooling nearly everyone that he was a star producer ,getting people to donate materials ,locations, and most of all money to his project .

He also slept around ,often in front of his terrified and abused bride , basking in her helplessness. He also was drugging himself to fuel his excesses, and may have also been involved with creating children pornography. All facts that will make it harder to now sit and laugh through the resultant mess that was and is THE CREEPING TERROR (released by Crown International in 1964).

Pete Schuermann with his THE CREEP BEHIND THE CAMERA creates an appropriately interesting hybrid film, interviewing certain surviving members of the film which are inter-cut with the dramatic recreation of the insanity and terror behind the scenes.                                                                               (A weird fetish of the director ? )

The film definitely holds your attention, thanks in no small part to the powerful performance of actor Josh Phillips. A working actor , this film is a showcase for Phillips, as he goes from goofy to terrifying, often within the same scene. One hopes he was not as method as Daniel Day Lewis, for to be around a personality like that would be too much ,especially on a low budget film.

 

He is matched by the performance of Jodi Lynn Thomas, who suffers more abuse than anyone should or could imagine. That the real life Lois survived and indeed is interviewed for the film is a testament to her inner strength .She even co-wrote a book (HOLLYWOOD CON MAN by Lois Schwartz and Janice Wenger ,iUniverse (January 4, 2001))wherein she changes names of many of the people but tells a sad compelling tale of physical and mental abuse since childhood.

Thinking she found love when she married, she soon realized that another even more vicious abuser had her in his control. That she escaped and is now happily remarried is a reassurance about her but makes you wonder how many thousands of others go through such hell on a daily basis ?

The technical aspects of the film are fine with the early 1960s well recreated ,again on a low budget. The photography and sound are sharp and serve the story, rather than drawing attention to themselves.

Imagine if you will a much darker ED WOOD (Touchstone,1994) and it will give you an idea of what to expect from THE CREEP BEHIND THE CAMERA .

 

                                                                             (Model kit of the Creepie Crawlie)

The Synapse single disc Blu Ray release of THE CREEP BEHIND THE CAMERA is a hi-definition 1080p (1.78:1)presentation with a super sharp image and DTS-HD MA 5.1 surround sound .

Synapse has not skimped on the extras on this release.

They include :

-An all new 2K Scan of the original THE CREEPING TERROR. Having only seen this film in dupey washed out prints ,it is nice to see it as how it probably looked upon its original release. That said, there is nothing that can be done about the QUALITY of the actual acting and storytelling.

-An informative running commentary by Schuerrmann, along with Producer Nancy Theken and actors Josh Phillips and Jodi Lynn Thomas. The group seem to enjoy recalling the making of their film with a lot of laughter as well as awe for the work that was put into their project .

-A Behind The Scenes – MAKING OF documentary

                                                                          (Another VHS box cover )

HOW TO BUILD A CARPET MONSTER– this multi part doc shows the progress of creating their recreation of the infamous thingie,though done with materials that were probably unavailable to the original creators.

Breaking Down Art’s Death Scene

Monster Movie Homages

ONE MICK TO ANOTHER Byrd Holland (the original Sheriff from CREEPING TERROR ) and Allan Silliphant (screenwriter, later known for directing /writing /producing the successful 3-D nudie cutie THE STEWARDESSES (Hollywood Films, 1969) over 50 years later about their experiences and lives since CREEPING TERROR.

                                                                                  And another VHS Cover

Alternate Ending

The Original Theatrical Trailer

SCREAMFEST Promo Trailer

SCREAMFEST Q&A with Frank Conniff (TV’s Frank from MST3K ).An interesting talk with the director and two stars ,with Josh looking like he is auditioning to join the band THE MISFITS !

 

                                                                                   (Annnnnd another VHS release)

Removable SDH English subtitles .They seem to follow the dialogue fairly closely.

As I am writing this review, Harvey Weinstein  of Miramax /Weinstein  fame is becoming a Pariah due to his long history of sexual misconduct and abuse. He says his attitude was due to the work enviornment of the 1960s.  Vic Savage would smile in sadistic delight.

 

HIGHLY RECOMMENDED!

Kevin G Shinnick

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