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DEATH LINE from Blue Underground Blu Ray/DVD combo

DEATH LINE (aka RAW MEAT)Blue Underground Blu Ray/DVD combo (DEATH LINE ,K.L. Productions/released by Rank (U.K.)1972; A.I.P,1973 as RAW MEAT ). color. 87 minutes. Region Free. $39.98 https://www.amazon.com/Death-Line-Limited-Combo-Blu-ray/dp/B06ZZZN1TS/

“MINDDADOORS!”

The 1970s was a time when horror films were changing. Hammer Films biggest hits were their t.v. based comedies,while their final pairing of Peter Cushing and Christopher Lee was the barely released THE SATANIC RITES OF DRACULA . Traditional horror was on it’s way out ,as major studios would soon be pouring millions into the type of films that smaller studios used to make .,among them THE EXORCIST (W.B.). Still ,there were still several intelligent and interesting British horrors made although they too got minimal releases outside of the U.K.,such as THE WICKER MAN (British Lion)and DEATHLINE (K.L.Productions,released by J.Arthur Rank in the U.K. ,aka RAW MEAT via A.I.P. in the U.S.).

 

When people start vanishing in the London subway system ,the police ,led by Inspector Calhoun (Donald Pleasence ,seemingly having a grand time in the role) is put in charge of the investigation. What he discovers involves a cave in from the late 19th century and cannibalism.

The film was writer /director Gary Sherman’s debut feature (he had made a short film in 1966 called THE LEGEND OF BO DIDDLEY). Sherman had the original story idea which was expanded by Ceri Jones into the screenplay. Producer Paul Maslansky had previously backed Michael Reeves debut features (CASTLE OF THE LVING DEAD (1964 Italy,released by Tigon in the U.K. and Woollner Brothers in the U.S. IN 1965;and SHE BEAST (1966 Italy,released by Europix in the U.S. in 1967)as well as John Hough’s debut SUDDEN TERROR(1970,MGM- EMI,NATIONAL GENERAL in the U.S. 1971),so he was a producer willing to take a chance on a creative novice.

 


J.Arthur Rank Film distributed the film in the U.K. where it had some success as a co-bill to the Mark Lester starrer NIGHT HAIR CHILD . However, in the U.S., it was re-titled as RAW MEAT in 1973,with a misleading poster that made it seemed that the underground was swarming with a group of near naked zombies,and the film did sluggish business.

When it was released to television in the early 1980s ,it was in dark murky prints and edited for broadcast. It seemed to have been completely over looked in the U.S. VHS release marketplace, only getting a bare bones (get it?) DVD release by MGM in 2003.

                                                                      BARE BONES-get it?

 

Now ,BLUE UNDERGROUND has done horror fandom a great resurrection, restoring the film and releasing it in a BLU RAY/DVD All Region combo pack.

 

The film has been cleaned up and given a new 1080p transfer from a 2k master,restoring it to a Wide-screen 1.85:1 / 16×9 ratio . The film has some grain,due to it’s low budget but the miracle that the lighting crew did on lighting vast areas of the subway with little lighting equipment is addressed in the commentary track.

Indeed, the commentary track is one of the most fun and informative that I have heard in some time. It involves director Sherman, producer Maslansky, and a.d. Lewis More O’Ferrall discussing the genesis of the film ,its cast, shooting and distribution. There recollections are quite vivid for a project that they worked on some 46 years years ago,and you can sense the affection that they have for the project.

One interesting bit was the cameo by Christopher Lee . It was hard to shoot a dialogue scene between he and Pleasence due to their height difference and so the director used it to his advantage ,for they shot the men in separate takes, and the camera edged higher on Pleasence to show that he was being diminished by his bowler hatted superior, Stratton-Villiers, MI5 (Lee).

Donald Pleasence is credited for a lot of the humor that the character he portrayed displayed in the film.The actor seemed to have been universally revered and respected.

 

Also discussed is Norman Rossington (best known to American viewers for his role as The Beatles ‘ manager Norm in A HARD DAY’S NIGHT(U.A.,1964) but in the U.K. he was a very well regarded and well known performer.

Actor Hugh Armstrong is  rightfully given credit for his exceptional sympathy that can switch to savagery quickly in the role of “The Man”. I doubt he ever forgot his dialogue, as his lines consisted of the one phrase :”Minddadoors” (Mind The Doors,which was often shouted as the doors on the railway carriages closed) .That he can put so many different feelings and emphasis on that one phrase is a credit to his acting skill.

The film script had to be submitted to the London Underground for approval ,and so a false script was provided and given approval. The film’s U.K. release poster also caused some stir with the London Underground as well.

Vic Flair’s original Transparency Art

Interestingly, Marlon Brando was attached to the production but dropped out when his son Christian became ill.

Back to the BLUE UNDERGROUND release. The sound DTS-HD Mono / Dolby Digital Mono .It is perfectly adequate and quite clear,with no need to play around with shifting speakers.

 

Tales From The Tube – is a short video Interview with Co-Writer/Director Gary Sherman and Executive Producers Jay Kanter & Alan Ladd Jr.

From The Depths – another short video Interview with Star David Ladd (grandson of the legendary Alan) and Producer Paul Maslansky.

Mind The Doors -An Interview With Hugh Armstrong. The charming gentleman talks about how he became an actor and his role in DEATH LINE, which involved a lot of improvisation.

Also included are original RAW MEAT TV and radio spots ,both U.K. and U.S. movie trailers,and a posters and still gallery.

If that isn’t enough for you ,there is a marvelous bonus collectible booklet written by Michael Gingold of Fangoria as well as author Christopher Gallo (THE FILMS OF DONALD PLEASENCE http://www.bearmanormedia.com/the-films-of-donald-pleasence-softcover-edition-by-christopher-gullo).

The DVD cover can be reversed ,as one side is for DEATHLINE and the other is the RAW MEAT poster.

The sound DTS-HD Mono / Dolby Digital Mono .It is perfectly adequate and quite clear,with no need to play around with shifting speakers.No Head Splitting Sound…

DEATH LINE was screened at Lincoln Center as part of their Horror Series in 2002, and director Guillermo Del Toro declared it to be one of his all time favorites. That is a pretty major endorsement for the film.

I think that if you pick up this BLUE UNDERGROUND release of DEATH LINE, that it may become one of your favorites as well.https://www.youtube.com/watch?v=CNVVjYhketY

Highly Recommended !

Kevin G Shinnick

 

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I AM MICHAEL

We welcome writer SEAN FALLON reviewing a controversial true story drama, I AM MICHAEL . -We look forward to more of his intelligent reviews . – Kevin G Shinnick

 

I AM MICHAEL (Passion River )DVD $19.99.Color .98 Minutes. 2015 Also available currently to view on Netflix .

 

The movie I AM MICHAEL is based on the true story of Michael Glatze, a former advocate for gay rights, who converted to Christianity, renounced homosexuality, became a Christian pastor, and married a woman. The film, starring James Franco, and directed by Justin Kelly, seems very subtle in its tone, despite addressing such a loaded topic that generates such strong feelings from so many people.

 

Franco and the real Michael Glatze

In today’s society full of hatefully divisive rhetoric found both by some left-wing gay rights advocates and some right-wing evangelical preachers who grossly misrepresent Christianity, it is imperative that people distinguish the difference between rejecting gay marriage and hating gay people. This movie fails to clearly make that distinction, despite a small attempt. “I’m not condoning hate. In fact, this is about love. Choosing a gay identity will condemn you to an eternity of suffering and I want to save people from that,” are theologically flawed words that influenced Michael Glatze, but address the reality that love can be the motivator behind objections to gay marriage.

 

According to true Christian theology, the mere state of being gay is not sinful. It is the unrepentant practice of illicit sexual behaviors, whether heterosexual or homosexual, that 1 Corinthians 6:9 warns will prevent people from entering the Kingdom of God. Christians believe that God loves the gay community, we are called to love the gay community, God is all knowing, God is all loving, God has communicated that practicing homosexuality is harmful to those who do so, love can not condone behavior that harms our fellow man, Christians are called to be courageous, and courage requires standing up for what is truly loving, as defined by God, even if mainstream society will persecute us for doing so, while branding us with nasty labels.

 

Quinto & Franco in happier times.

 

Michael Glatze (James Franco)tells a young male teenager, “If you are a moral person, then you will choose heterosexuality, in order to be with God.” Glatze makes no attempt to help lead the teenager to Jesus, through love. Rather, he makes an ill-conceived, insensitive, and theologically flawed attack on the teenager’s morality and decency, based on feelings that the teenager did not choose to have. Not everyone can just “choose” heterosexuality. People who experience same sex attraction can instead choose to avoid sexual sin by living a chaste and celibate life, a difficult challenge, but possible by God’s grace. While the movie addresses the reality that there are people who simultaneously are openly gay and openly Christian, it fails to address the aforementioned way of celibacy through which those people can still live in obedience to God. Not surprisingly, the teenager who Michael Glatze spoke to is later seen in a store with a gay male partner.

Whether you are a Christian, gay, both, or neither, you will likely find this movie that is by no means family friendly to also be ultimately unsatisfying and unsettling in its wishy-washy approach to such a sensitive issue. Furthermore, many may find the male on male kissing scenes, profanity, and controversial dialogue to be very off-putting. Despite great acting performances by James Franco and Zachary Quinto, I could not in good conscience recommend this movie, since it essentially asks people to choose between sin and heresy, without properly defining the truly Christian road that rises above both.

 

Review by Sean Fallon

 

 

The Reel & REAL Michael & Rebekah Glatze

 

 

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The Jester’s Supper (DVD)

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

 

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

 

 

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

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

 

 

 

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

 

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

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

 


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

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


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

 

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

 

 

 
Raccomandato (recommended!).
-Kevin G Shinnick

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

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The RETURN OF SHERLOCK HOLMES (2016)

THE RETURN OF SHERLOCK HOLMES (Alpha New Video) DVD-r. Region 0. Released March ,2017. $ 7.98. 69 Min. Color. BONUS:  Lost in Limehouse (1933) B&W. 20minutes 33 seconds.

http://www.oldies.com/product-view/1103D.html
Sherlock Holmes continues to be popular with fans of mysteries ever since his first appearance in Beeton’s Christmas Annual ,1887. Stage plays, movies, radio, television shows, books continue to explore and exploit the Master Detective’s adventures in both canonical and original works. New fans discover the tales of Holmes and his Boswell, Dr. Watson, and celebrate his tales.
One of those is 22-year-old Joshua Kennedy. Beginning at the tender age of five, Kennedy has made a dozen projects, including this his latest. Kennedy is obviously a true classic movie buff, as his previous efforts have been inspired by the output of Ray Harryhausen ,1950s science fiction, and Hammer films. The director has been twice nominated for a Rondo Award.


THE RETURN OF SHERLOCK HOLMES is perhaps his most accomplished piece of cinema. The opening titles and uncredited music suggest the great Holmes adventures like THE PRIVATE LIFE OF SHERLOCK HOLMES (U.A.,1970). The cinematography and editing throughout the film are first rate. Camera set ups reference THE HOUND OF THE BASKERVILLES (Hammer,1959) and the Jeremy Brett series (Granada ,1984-94). The choice of locations (shot on or around Pace University, NY) for the most part suggest Edwardian London. The costuming is serviceable, considering the ultra-low budget under which that the film was shot. The story is a good one that weaves in elements of Arthur Conan Doyle’s “The Empty House” (1903) and “The Adventure of The Six Napoleons (1904), both later part of the collection The Return of Sherlock Holmes (1905).


Where the film fails for me is a common bugaboo in no and low budget films is one of the most important- the acting. Joshua Kennedy gives himself the lead role, and acquits himself quite nicely. He is energetic, quirky, and holds the viewer’s attention with his portrayal. Sadly, the rest of the cast is defeated by British accents, often cockney, that would make Dick Van Dyke wince.

(‘Oi!”)

 

The range of performances go from monotonic to wildly gesticulating. The best actor in the film, Mark Redfield, appears in a blink or you’ll miss it cameo as Professor Moriarty. Dr. Watson is played by actress Bessie Ellis. Having a female Watson follows the precedent set by James Goldman’s stage play THEY MIGHT BE GIANTS (London,1961, later the basis for the 1971 Universal film) and more recently delightfully played by Lucy Liu on TV’s ELEMENTARY (C.B.S./Paramount ,2012-). Interestingly, all the women Dr. Watsons are intelligent companions to Holmes, often providing essential information to the Master Sleuth.
I wish that these films would take that extra step and audition performers who can perform. For me, a grating performance takes me out of a film faster than an ineffective special effect.


It would have been nice had there been a commentary track on the making of the film, as I am sure that many like myself would be interested in the director/writer’s process. There is a blooper reel (8 minutes 23 seconds) that shows that the cast and crew had an appropriate time making the movie, as well as how carefully shots had to be set up or modern traffic would be shown rolling by.

An interesting extra is the two-reel comedy short LOST IN LIMEHOUSE or LADY EMSERELDA’S PREDICAMENT (Masquers Club ,1933). The Masquers Club is an L.A. group founded in 1925 by former Broadway actors who moved West to make motion pictures and would be instrumental in helping to form The Screen Actors Guild in 1933.Their motto is “We Laugh to Win” and they would often put on skits or “Revels “of which proceeds went to various charities. From 1931 to 1933 the Masquers produced a series of comedy shorts that were co-produced by R.K.O. Radio Pictures. Their best remembered work is THE STOLEN JOOLS (1931) which had a large cast of major film stars, such as Laurel & Hardy.The Masquers,note Boris Karloff

LOST IN LIMEHOUSE is a broad spoofing of Victorian melodramas with British Stiff Upper Lip clashing with cads and dastardly Tongs. Lady Esmeralda (Laura LaPlante, best known for Universal’s 1927 silent THE CAT & THE CANARY and 1929’s SHOWBOAT (released silent and sound)) seeks help from Sheerluck Jones (Olaf Hytten, later to appear in a small role in Universal’s 1942 SHERLOCK HOLMES & THE VOICE OF TERROR) and Hotson (Charles McNaughton). Her father, the Duke of Dunkwell (Ivan F Simpson) is held captive by mustache twirling Sir Marmaduke Rakes (John Sheehan). The trail takes them to Limehouse, where they meet tongs led by a Fu Manchu like evil mastermind.

 
The film is pure silliness, full of lines like: “It was then I realized my dear Hotson that the victim was dead.” “How did you deduce that?” “His head was missing.” Plus, when someone sneezes at one point, they are clearly saying “Hashish!”. The film ends with everything blowing up (via some stock footage). Silly but fun.

 
How much you enjoy this disc depends on how much you are willing to overlook budgetary constraints (I was) and the mixed acting (I couldn’t for the most part). That said, Kennedy has a loyal fan base and I am sure that this disc will be well received.

 

 

See the trailer here: https://www.youtube.com/watch?v=I47tddDo8UA

Kennedy already has another film finished (his last as a Pace University student, a remake of THE OMEGA MAN, W.B.,1971) and was doing a Kickstarter campaign to do a tribute to Harryhausen in an upcoming story of THESEUS AND THE MINOTAUR.
I understand that Kennedy is planning on moving to England. Perhaps when there, Kennedy will do a Holmes sequel using actual London locales and a stronger cast.

Kevin G Shinnick

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When Comedy Was King

when comedy was king

WHEN COMEDY WAS KING (VCI) DVD $19.99 DVD | 1 DISC | 81 minutes | 1960 | B&W | NR | English language | 1.37:1 | Dolby Digital Mono | All REGION /

http://www.vcientertainment.com/index.php?route=product/product&product_id=1096

Back before the easy availability of YouTube, Turner Classic Movies, and Home Video, it was not always easy to see classic films. You had to scour the television guides and hopefully a classic film would be airing on one of the smaller channels. If you lived in a larger city, you might have a revival movie house that would for one or two days show a film made long before you birth.

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Robert Youngson was a documentary film producer who loved bringing the past to movie goers. From 1948 to 1956, he produced a series of nostalgia laden short subjects for Warner Brothers, most often using old silent movie clips. They were popular enough to win Youngson Six Academy Award Nominations for Best Live Action Short Films (One Reel), winning two in the process.

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Youngson made a feature length historical documentary in 1950 for Warner Brothers called FIFTY YEARS BEFORE YOUR EYES. Rumored to have taken three years to make, the look back over the first half of the Twentieth Century was narrated by Arthur Godfrey and came and went with little fanfare.

1996

When Warner Brothers and the other studios began shutting down their short subject departments, Youngson decided to chance another full-length feature. With his contract with Warner Brothers over, he at first contracted with a small distributor, Distributors Corporation of America (DCA). DCA existed from 1952-59, beginning as a releasing company for foreign films like ALRAUNE (1952) and ANIMAL FARM (1954). The company folded after it released PLAN NINE FROM OUTER SPACE (1959). Before that happened, they released Robert Youngson’s  THE GOLDEN AGE OF COMEDY  (1957). The compilation was later picked up and got a wider distribution from Twentieth Century Fox.

The film was successful enough that it brought a renewed popularity for Laurel & Hardy who featured strongly in the documentary. Sadly, Oliver Hardy died in August of that year, and Stan Laurel retired, so they didn’t personally get to take advantage of this renewed interest, though their films were now being shown regularly on television.

when-comedy-was-king-movie-poster-1960-1020233742

Three years later, WHEN COMEDY WAS KING was released (by Twentieth Century Fox) and was again a popular success. Once again, the film opened with Chopin’s Etude Op. 10, No. 3 that was used under Youngson’s credit on his films from 1957. Many feel that this is the best of his compilation films , though I would say that this and DAYS OF THRILLS & LAUGHTER (Fox,1961,also available from VCI on DVD http://www.vcientertainment.com/index.php?route=product/product&product_id=507 ) which covers a wider range of films are tied for  his best , but it is nit picking on my part.

DAYS OF

Once again, Youngson put together a wonderful collection of clips from the golden age of silent comedy. While there are clips of Chaplin, Keaton, Laurel & Hardy, the film also brought Ben Turpin, Harry Langdon, and Mabel Normand among others back into the public view. The movie was well reviewed (“Here’s a toast to this sort of comedy !”-Bosley Crowther, NY Times, March 30,1960) and financially successful.

Youngson made six more feature compilations before his untimely passing at age 54 in 1974. His wife Jeanne Keyes Youngson, by the way, has had an interesting career of her own. An animator and documentarian, she produced a short called “MY NAME IS DEBBIE” about a post-operative male to female as well as helping to found The Count Dracula Fan Club in 1965.In 2000 they changed their name to The Vampire Empire.

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V.C.I. has done a marvelous job on this release. Sprocket Vault and Kit Parker Films went out and retimed and corrected footage from the original 35 mm negative (which had been in a series of mislabeled film cans. Having worked in a film storage house, I saw firsthand how common this problem was and how easy it was for films to get lost or dissolving Nitrate films).

I know that Kit has a lot more classic films coming down the pike, so I just want to make sure he gets the credit, where credit is due.

Best regards,

s-l500

The picture quality of this DVD is as perfect as one could hope (some film deterioration had already started happening from the original silent elements that Youngson had used, and so this compilation is also important as film PRESERVATION as well).

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A nice new addition is a very informative running commentary by Richard M Roberts, a collector and silent film historian who I first heard of as programmer for Slapsticon, where many a rare two reeler was unspooled. Not only does he speak about the films shown, but also about director Youngson. I kept smiling at our common reference points like Blackhawk Films, where many a collector could buy many a classic film on 8mm and 16mm. I also chuckled at how his detestation of collector Raymond Rohauer is palpable. Rohauer (or as my friends referred to him*** You Raymond Rohauer”) was falsely claiming to own rights to certain classics, which kept many like Universal’s THE OLD DARK HOUSE (1932) out of the public eye, as well as nuisance lawsuits on films like BIRTH OF A NATION (D.W. Griffith/Epoch,1914).

when-comedy-was-king-movie-poster-1960-1020245937

 

If that was not enough, Richard M Roberts has added three rare bonus short silent, with a piano score by Donald Sosin, who has been providing music for silent films for 45 years! Roberts provides more informative commentary on these shorts.

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AN ELEPHANT ON HIS HANDS (Security ,1920) Hughey Mack gets a letter that he is getting an inheritance which turns out to be TWO elephants. The title card is different from the rest of the titles, making me think that it was from a 16mm home collector release. His wife is not amused. This film is not restored, but is such a rarity I am grateful that it exists at all. Dot Farley plays a comic maid.

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FAST & FURIOUS (Educational,1924) seems to be complete with original titles. Director Norman Taurog had a long film career, including directing several Elvis movies! Star Lige Conley somewhat resembles Chaplin when he was out of his Tramp makeup and does some amazing physical work, including a high fall from a ladder onto a countertop. . Nothing to do with later Vin Diesel films, Conley works in a store and his misadventures. There is a cute bit of stop motion in the short. The films second half earn the film its title with chase by motorbike, car and even atop a moving train (so maybe it did inspire Vin Diesel =)). It reminded me of the short PLAY SAFE (Pathe,1927) starring Monte Banks that appears in DAYS OF THRILLS & LAUGHTER.

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Finally, A TON OF FUN in HEAVY LOVE (Standard,1926), a Joe Rock produced comedy. Joe Rock, a former stunt man/comedian, he had produced several of the early Stan Laurel solo comedies. The Three Fatties (as they were referred to) Frank Alexander, Hilliard Karr and Kewpie Ross are carpenters. The big men do some very physical comedy that belies their size, though their weight is often the catalyst for much of their comedy. This film seems to be in the best shape of the three (some frame jitter appears). It reminded me of the Buster Keaton comedy ONE WEEK(Metro,1920).

 

You must play the three shorts in order, without the option of picking and choosing. A minor problem, as you will want to see them all.

If you are a lover of classic silent comedies, or want to introduce someone to them, WHEN COMEDY WAS KING is the film you need.

HIGHLY RECOMMENDED.

-Kevin G Shinnick

March 8,2017 UPDATE :  I gave VCI most of the credit for this new release. However, I was informed that most of the credit for this new DVD release should go to Kit Parker’s new DVD LABEL : THE SPROCKET VAULT . 

 VCI did work with Kit to digitally restore the new HD master and authored the DVD, but this is a Sprocket Vault release. Thank you to those involved for the correction .

VCI is the releasing company of DAYS OF THRILLS AND LAUGHTER though.

Kit Parker, I am also told,  has a lot more classic films coming ,and I look forward to seeing.

PSThe 2017 Rondo Awards were just announced .

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When you vote, would you write in SCARLET THE FILM MAGAZINE REVIEWS ( https://scarletthefilmmagazine.wordpress.com/)
under the category #17 BEST WEBSITE OR BLOG ?

Thank you .

Deadline to vote April 17,2017.

*REST IN PEACE ROBERT OSBORNE *

rest

 

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SABOTAGE (1939)

sabotage

SABOTAGE(Republic,1939) B&W.67 minutes – Blu Ray released by Olive Films. $29.95 http://olivefilms.com/product/sabotage/ (also available on DVD $19.95 )

 

 

SABOTAGE is one of those films that very few film fans may be aware of. Not to be confused with Hitchcock’s earlier SABOTAGE (aka A WOMAN ALONE, General Film Distributors,1936) or his later SABOTEUR (Universal,1942), it does have certain parallels with those two films, especially the latter film.

 

While not a classic, it is a solid example of film making that came out of the Hollywood Dream Factory regular to fill cinemas.

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Filmed under the title ‘HEADLINE NEWS’, it had been announced that Sidney Salkow was supposed to direct. When it went into production on August 12,1939 (wrapping by the end of the month), it was under the direction of Harold Young (who had directed the Leslie Howard THE SCARLET PIMPERNEL (London Films,1934) and later several Universal horror films like THE MUMMY’S TOMB (1942).

 

At the time, studios were being cautious of making product that might end up banned in Europe, and the U.S. was going through an isolationist mood.

 

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Republic made most of their films for rural America, keeping their budgets low to make profit easier. Not being as dependent on overseas income, they were freer to tackle issues of spies. They may also have been encouraged by the box office returns by the then daring CONFESSIONS OF A NAZI SPY (Warner Brothers, released in May,1939), which did outstanding business despite being banned in certain countries.

 

War began September 1,1939 when Germany invaded Poland and in response England and France both declared war in response. Within a month and a half (October 13,1939) SABOTAGE was on movie screens.

 

While the Republic film does not name who is doing the espionage (as the United States would not officially enter the conflict for over two more years), audiences would infer that it was German interference going on in American factories.

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Tommy Grayson(Gordon Oliver ,a good looking character actor who later switched back and forth from acting and producing for television on shows like PETER GUNN(Spartan,1958-1961) ,a mechanic at the Midland Aircraft Corporation ,has convinced actress Gail(Arleen Whelan, who played Sarah Clay in YOUNG MR LINCOLN,Fox,1939) to leave showbiz and marry him .She was afraid of the small town reaction to actors (we see later how they look down on her, so she was not being paranoid) but is convinced to stay when Tommy’s family goes out of their way to embrace her and welcome her.

 

The day before their marriage, a new plane is being tested, and the whole town turns out to watch the test flight. However, the test ends in disaster, with the plane crashing and burning (superb as always model work by the uncredited Lydecker brothers).img_20170118_150639

 

There have been other failures due to engines from the plant, and tests point to Tommy, as all the failing pistons came from his bench.

 

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Major Matt Grayson (Charley Grapewin,most beloved as Uncle Henry in THE WIZARD OF OZ(MGM) from the same year) , and his Civil War Vet friends Mel(J.M. Kerrigan, THE INFORMER(RKO,1935)) ,Smitty (Frank Darien (Uncle John in THE GRAPES OF WRATH ,Fox,1940),and Eli (Lucien Littlefield(Dr Horace in SONS OF THE DESERT (Hal Roach,1933)) investigate to clear Tommy’s name .

 

The film surprisingly shows the dark side of Middle America (they readily turn on the Grayson family, blaming them for the factory closing). However, it also shows that when we work together we can defeat evil (subtly done by having vets from both side of the Civil War working together).

 

 

SABOTAGE is full of wonderful character actors, including Joe Sawyer as Gardner, who also works at the factory with Tommy. Sawyer is one of those actors who could go from good guy to bad guy with ease, and be acceptable as both.

 

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Towards the end of the film, there is a scene that harkens back to the underworld capture of M(Nero-Film,1931), though here it is the vets from the various wars who capture the spies and bring them to the factory. Extra tension is within the scene as there is a bomb planted by the terrorists that is set to go off shortly.

The old vets are played very slapstick to provide comic relief throughout the movie so that they solve and fix everything is a nice twist.

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One little continuity goof at the very end of the film has the happy hero & heroine flying off for the honeymoon. You see that a string of pots and pans afe attached to the tail as it taxis for takeoff, but when the plane is in flight the items are not there.

Olive Films has released a superlative clean and sharp print of SABOTAGE. The mono sound is pop and hiss free. The optional English subtitles ae clear and easy to read. There are no extras, though that such an overlooked film is released in such a magnificent print is reason enough to buy it.

I don’t recall seeing this film airing on Turner Classics Movie, so for many, this will be the discovery of a small gem of a film.

Recommended.

Kevin G Shinnick

(note -frame grabs are not mine and do not do justice to the sharpness of the actual print).

 

PS- for those surprised that there were still Civil War Vets in 1939, here is a photo from that same year of an actual Civil War Survivor .http-%2f%2fa-amz-mshcdn-com%2fwp-content%2fuploads%2f2015%2f04%2fcivil-final-15

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2000s, Anita Page, Athena Demos, CAMP, cult, diy filmmaking, dvd, fantasy, film, genre, gore, Horror, independent, killer brain, Nazi, nudity, Randal Malone, review, Ron Ford, SCIENCE FICTION, Stephanie Beaton, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, wierd

THE CRAWLING BRAIN

 

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THE CRAWLING BRAIN (2002) released 2016.Blood Banquet Theatre.
$10.99. DVD. Color. Shot on Video. Available from
http://bbtheatre.xyz/collections/1423514-blood-banquet-theatre-distribution-dvd-titles/products/18388604-the-crawling-brain-dvd

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   “Has he health insurance?”Behind the scenes photo

 

If Andy Milligan (GURU THE MAD MONK, Nova Int.,1970) made movies for Independent International that were produced by John Waters, it would give you an idea of the craziness that is THE CRAWLING BRAIN.

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The term “camp” was made for films such as this. The film is a loving if inept tribute to classic b movie camp like THEY SAVED HITLER’S BRAIN (Paragon/Gold key ,1968), BRAIN OF BLOOD(I.I.,1971) MAD DOCTOR OF BLOOD ISLAND(Hemisphere,1968) and most obviously, FIEND WITHOUT A FACE (MGM,1958). Gore and nudity are sprinkled liberally throughout.

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The story has Stefan (Randal Malone) finding out his grandmother is the former nurse/lover of Franz Kindler (the name of the Nazi from Orson Welles classic THE STRANGER(RKO,1946)), a mad Nazi scientist who has his spine and brain placed into a tank until a new body can be found for him.

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        (Young Anita Page Ziegfeld Follies;92 year Ms Page in this film)

 

The grandmother Anita is portrayed by then 92-year-old Anita Page, who starred in the first sound film to win an Academy Award for Best Picture, BROADWAY MELODY (MGM,1929). She passed away in 2008, her last film being released posthumously in 2010, FRANKENSTEIN RISING (Sterling), which also starred Malone.

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The brain suddenly decides to take over Stefan, who manipulates his brother (Mark Shady) into helping him. Every once and awhile the brain crawls from its tank and takes things into its own-err— spinal column, and kills people itself.

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People visit the house end up being used as experiments for surgery, until a new nurse named Jillian (Heather Beaton, EYES OF THE WEREWOLF, Leo Films,1996) arrives to care for Grandma. Jillian, it seems, looks exactly like Anita did when she was young (also played in flashback by Beaton) and it seems once the evil brain finds a new body for itself, Anita may have herself a new host body as well.

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The whole film has a “Hey I got a camcorder, let’s make a movie” feel to it. Shot on video, the entire budget wouldn’t stretch to craft services for one meal on a T.V. show. That said, the film is unlike a lot of s.o.v. product at least competently put together, though the dialogue suffers at times from microphones being too far away.

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Hey there IS a script!

 

Music (credited to Ronald Stein) sounds like it is mostly lifted from DEMENTIA 13(AIP,1963) with certain sounds effects taken directly from FIEND WITHOUT A FACE.

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As to the “acting”, always a major bugaboo of mine in these s.o.v. films:

Randal Malone, who it seems has more than 50 films to his credit, minces through his part like a bitchy Divine wannabee.randal-malone

At the other end of the spectrum we have Stephanie Beaton, who never seemed to get a film that truly showcased her actual acting talent.

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The effects are a fun throwback to the onset physical effects of the films that inspired them (at points reversing the film has the spinal column appear to wrap around its hapless victims).

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(Because You’re Mine, I’ll steal your spine ….)

A well -staged car crash surprised me, although I was left wondering did they just do the stunt and leave?

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               (How dis-arming !)

Indeed, I wish there was a commentary track from those involved, to hear what it was like on set and their thoughts of the final product (and indeed, how they got Anita Page to be in their film).

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Extras are limited to an alternate opening (full nudity as it stands now, topless nudity in the alternate, both supplied by actress Athena Demos) and an alternately edited flashback sequence (which I admit I saw no difference).

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Also included is an over the top trailer that would have put people into their local drive ins had it been made in the 1970s. Finally, there are trailers for other films to be released by BLOOD BANQUET (including DEVILS’ NIGHTMARE(French,1971)).img_20170117_114835
Blood Banquet also sells a 3D version of MANIAC (Roadshow,1934), GRAVE OF THE VAMPIRE (Ent.Pyramid,1972), as well as other S.O.V. titles by Ron Ford.

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Should you wish to see a modern-day exploitation film, leave your brain outside as you watch THE CRAWLING BRAIN.

Trailer.
https://www.youtube.com/watch?v=RMBNzl1tIsc

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Kevin G Shinnick

              (note:some photos courtesy BLOOD BANQUET,some Frame Grabs from the DVD).

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