THE OTHER SIDE OF MADNESS -Film Detective Blu Ray

THE OTHER SIDE OF MADNESS (1971) Film Detective. Release November 13,2020. B&W. 81 minutes. Region A.

Ltd Edition (1,500 copies) Blu Ray $29.99 https://www.amazon.com/Other-Side-Madness-BONUS-Blu-ray/dp/B08HGPPRRS/ref=sr_1_2?crid=22CB1CDJH7Z7V&dchild=1&keywords=the+other+side+of+madness+blu+ray&qid=1606010306&sprefix=the+other+side+of+madness%2Caps%2C168&sr=8-2

DVD $21.95 https://www.amazon.com/Other-Side-Madness-BONUS-CD/dp/B08HGRZRJ9/ref=tmm_dvd_swatch_0?_encoding=UTF8&qid=1601923760&sr=1-1

Back before we had non stop reality show and true crime recreations , including entire T.V. networks and podcasts dedicated to same, there were a lot of films released in the late 1960’s and 1970’s that dealt with shocking murders, a few being made by Hollywood, but more often rushed and amateurish , concentrating on salacious details to pad out the running time, or just making things up around the few details that were known at the time.

THE BOSTON STRANGLER (Fox,1968) and IN COLD BLOOD (Columbia,1967) were two of the big budget studio pictures that set the tone about true crime recreations, having the benefit of big budgets and major studio backing. Independent filmmakers were not going to leave such a profitable subgenre go unmined.

THE ZODIAC KILLER (Adventure ,1971, which has been restored and released on Blu Ray by AGFA/Something Weird) was made with the idea that it might even capture the infamous murderer , making it quite unique , though wildly conjectured . GUYANA: CRIME OF THE CENTURY (1979) was another quite inaccurate and exploitive film based upon the Jim Jones/Jonestown massacre, that got distribution by a major studio (Universal).

Somewhat in between is THE OTHER SIDE OF MADNESS, now being released on DVD and Blu Ray by Film Detective in a 50th Anniversary Edition. The film was possibly the first* to deal directly with the Charles Manson cult , the savage murder of a pregnant Sharon Tate and four others in her home, and then two other murders soon after ( all taking place between August 8-10,1969). So savage and senseless were the killings , that it became an international fixation on the police search and eventual arrest and trials of Charles Milles Manson (né Maddox) and his insane cult followers.

Manson had spent at least half of his life in and out of institutions, he ended up in California in 1967. The changing mores and the urge of many to question authority as well as explore alternative ideas was perfect for a con artist like Manson. People who feel adrift often join gangs or cults to feel that they belong to something greater than themselves, and Manson was obviously able to convince several people, mostly women, that he was the solution.

Manson’s dogma was a Doomsday Cult that would result in a Race War (Manson was a White Supremacist), that would somehow end up with Manson and his true believers leading the remnants of the human race. A failed musician, he read dark meaning into the Beatles song ‘Helter-Skelter”. In British English, a helter- skelter is a fairground attraction consisting of a tall spiral slide winding round a tower, but the phrase can also mean chaos and disorder . The murders were supposed to start the war. Later, Lynette “Squeaky” Fromme, another cult member tried and luckily failed to assassinate President Gerald Ford.

On July 15, 1970, the trials of Manson, Leslie Van Houten, Susan Arkins and Patricia Krenwinkel began (Tex Watson was tried later). One of the people who was fascinated by the case and attended the actual trials was producer /film collector Wade Williams. Williams was so fascinated by the case that he somehow even got to interview Manson in prison, even buying the rights to two of his songs. He chose first time director Frank Howard(who also was the cinematographer and editor on this, his only credit) to helm the script written by J.J. Wilke Jr. (screenplay), Duke Howzer (additional dialogue). They gathered a cast of unknowns for whom the majority that this film would also be their only known film credit.

The film was shot in black and white to give it the look of a documentary, as had been used in IN COLD BLOOD or THE HONEYMOON KILLERS (Cinerama, 1970). The film chooses to jump back and forth from the courtroom (using actual court transcripts) to the events leading up to the murders, wherein Manson gathers his followers. There is a surreal moment wherein we are shown what to expect when the projected race war happens, with black militants murdering everyone in the suburbs(one wonders if this film was viewed by donald trump ?) , but it is rather clumsily staged.

The director fades into color for a brief sequence about Sharon Tate’s acting career. The costumes used are obviously referencing Polanski’s THE FEARLESS VAMPIRE KILLERS (MGM ,1967). Interestingly, since the trials were still going on while the film was being made, the real names were not used , and thus Tate is only referred to as ‘The Starlet “. Debbie Duff, the actress who portrayed her, certainly has a resemblance to Sharon Tate. Duff is one of the few performers who had more than one credit (HONKY, Getty & Fromkess Pictures Corp,1971). The name Charlie is used several times, though actor Brian Klinknett (who appeared in SLIME TOWN BLUES, NB Releasing,1974) is only referred to as “Killer “in the credits.

Debbie Duff

Sharon Tate

The actual murders, which, while not gory, are staged with almost fetishistic attention to details. The poor acting detracts from the frisson that the film works so hard to create. One character, after escaping from his bonds, stiffly walks toward the insane killers saying, ‘What the hell is going on?” before being shot dead is a prime example. The film often has stretches without dialogue (which, given how bad some of the actors are, is a bit of a blessing), with the court room scenes doing most of the heavy lifting in that area.

Much of the score is by Sean Bonniwell ,but Charles Manson himself is heard singing his composition “Mechanical Man “, a monotonic recitation with twangy guitar joined halfway through by mournful chanting ,showing Manson was also delusional about his dreams of being a rock star. The new Film Detective release has a bonus CD of “Mechanical Man “and “Garbage Dump” for you to listen apart from the film to judge for yourself.


The film ends with a credit crawl that makes one think of REEFER MADNESS (G& H, 1936) with its warning about the need to control drugs, which completely avoids the complexity of cults.

In a 1970 Box Office article, producer Williams stated that the film was in post-production for a November ,1970 release. The film’s production company, Auric Ltd, had announced it would be in “Auramation”, a “special cellular film treatment designed to heighten or depress the emotions …by subliminal monochromatic suggestions.”. Checking out the Blu-Ray, I saw no subliminal effects, so it may have been either ballyhoo or dropped.

Of note is that some parts of the film were shot on the actual Spahn Movie Ranch, where the Manson Cult had lived from 1968-69. Indeed, some of the remaining Manson followers appear in the footage. Shortly after the scenes were shot, the Spahn Ranch burnt to the ground. The ranch, established in 1947, had been used in several films, including THE CREEPING TERROR (Crown Int.,1964). Spahn was 80 years old, going blind and living at his ranch when he allowed the Manson Family to move in, rent-free, in exchange for labor .He was unaware of their nefarious activities.

The film was submitted to the MPAA in October ,1971 and slapped with an “X’ rating. To give it a chance for wider distribution, some further cuts were made to the film, garnering a re-release an R Rating. No record of what was cut, but the film went from an announced 91 minutes at a Cannes screening to its present length of 81. The film’s original rating may have hurt its box office originally, so the later R rating probably was too little too late. In 1976, the film was retitled as THE HELTER SKELTER MURDERS. For a time, the film was banned outright in Los Angeles.

Released theatrically by Prestige Pictures (BLACKENSTEIN,1973), it sat virtually unseen after it is 1976 reissue until the ever- hungry video market was born, which was desperate for product, any product. Media Home Entertainment released it on VHS as THE HELTER-SKELTER MURDERS (1989) before Wade Williams took it back, releasing it on his Englewood Entertainment label in both VHS and DVD.

Now, Film Detective has made a new deal with Wade Williams to release his vast library in brand new restored versions for the current DVD /BLU RAY market. THE OTHER SIDE OF MADNESS is their first release to mark it is 50th Anniversary in 2021.

First off, they have gone back to the original 35mm camera negative, they have given a clean up and a new 4K transfer that is a vast improvement over the previous home video releases. Sound is in DTS-HD Master Audio 2.0. Optional subtitles are available in either English or Spanish.

Then there are the extras

There is the already mentioned CD of Manson performing “Mechanical Man” & “Garbage Dump”, taken from the original 7” vinyl soundtrack.

Ballyhoo Motion Pictures has created two original featurettes for this release:

– ‘The Other Side of Manson: An Interview with Producer Wade Williams”-an interview with the producer.

Wade Williams with Martin Scorsese

– “Mechanical Man: Wade Williams Meets Manson” – the story of how he got to have a meeting with the madman.

Two Trailers: the original release and as THE HELTER SKELTER MURDERS.

A 12-page booklet packed in the case with liner notes by filmmaker Alexander Tuschinski (MISSION CALIGULA ,2018) examining the film and its history.

THE OTHER SIDE OF MADNESS is of interest to those who wish to study the infamous history of Manson and his followers, especially from the context of it’s closeness to the actual crimes and trials, as well as use of actual songs by the master monster himself and footage of the Spahn Ranch.

-Kevin G Shinnick


*-A film called THE COMMUNE (1970) was purportedly the first to deal with the actual crimes, but I can find no information about this picture .

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

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

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

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

 

 

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

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

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

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

 

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

Don’t poke his eye out…

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

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

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

 

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

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

 

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

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

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

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

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

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

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

 

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

 

 

 

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

 

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

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

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

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

 

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

 

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

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

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

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

HIGHLY RECOMMENDED

For Classic Film Lovers

Mysteries
Noir Fans
1950s Movies

-KEVIN G SHINNICK

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

 

BOUND (Olive Signature Blu Ray)

 

BOUND (Olive Signature Blu Ray) 1996, Gramercy, color. 108 min Theatrical & 109 min unrated. 1:85:1 aspect ratio. 1080p Resolution. DTS-HD Master Audio 2.0 Stereo .1-disc $39.95 Limited edition 3500 pressing only. Region A. August 28,2018 release.

https://olivefilms.com/product/bound-olive-signature-blu-ray/

 

Back in 1996, a new and exciting film noir thriller opened to nearly universal raves. It reminded one of the excitement from 12 years earlier, when BLOOD SIMPLE (1984, Circle Films) won the praise of critics due to its clever plot and style.

 

Like BLOOD SIMPLE, this film was also the work of a dynamic brother writer/ director duo.

BLOOD SIMPLE was our introduction to the dazzling Coen Brothers Joel & Ethan while BOUND was the brainchild of Andrew (now Lilly) and Laurence (now Lana) Wachowski.

While BOUND was a critical darling, it failed to make back it’s $4,500,000 estimated production budget. However, when it was released to video by Republic video, the film was a major seller and was discovered on cable by an even larger audience.

 

The video remained popular, being released by Republic in 2001 on DVD. This release was the uncut version that had trailers, a behind the scene featurette, a commentary with the brothers, Tilly, Gershon, Pantoliano, film editor Zach Staenberg and tech advisor Susie Bright. However, the print was not the best, with a rather flat look that did not do the movie justice.

 

Paramount bought the Republic library and they licensed OLIVE FILMS to release a DVD and Blu Ray of the title in 2012. Unlike the previous releases, the Olive Film version was released in an anamorphic print that showed off the superb cinematography of Bill Pope (who would dazzle people with his work on the MATRIX trilogy for the Wachowskis for Warner Brothers) along with an improved picture along with the choice of viewing either the theatrical or unrated cuts (really, only 14 seconds difference). The extras were dropped in favor of offering the two versions. There were complaints at the time by some tech fans that the Olive Films release was only Dolby Digital 2.0, while oversea versions had an DTS-HD Master Audio 5.1 track.

 

These people will be disappointed,then, as this release is DTS-HD Master Audio 2.0. However, I found nothing to complain about with the sound, as it was clear and clean, and a wide range (so much so that I had to turn the sound down during one of the more violent sequences). Indeed, I had no complaints with the audio or indeed anything about this presentation.

 

Both versions of the film are presented in a beautiful 1080p transfer in the film’s original 1.85:1 aspect ratio with optional easy to read white English SDH subtitles.

BOUND tells the story of Corky (a superbly confident performance by Gina Gershon), an “out” lesbian (whom we first see IN a closet!)  an ex-con now doing repair work in a mob owned apartment building. When she meets Violet (Jennifer Tilly, an often-underrated actresses), the girlfriend of mobster Caesar (the always marvelous Joe Pantoliano), they begin a torrid affair. Violet wants out of her 5-year-old relationship with Caesar, who launders money for the mob.

Shelly (Barry Kivel) is caught and tortured for stealing money from the mob, and then killed by Johnnie (Christopher Meloni), son of Mob Boss Gino (Richard C Sarafian). Caesar returns to the apartment with a bag full of bloody bills and will now have to literally launder the money!

Violet hatches a plan to steal the $2 million and leave Caesar to face the wrath of the mob, but of course, like all good noir stories, things spin out of control, with a lot of people being brutalized and murdered.

The film was praised (as well as condemned by conservatives) for its lesbian romance, wherein the characters enjoyed their relationship (indeed sex consultant Susie Bright loved the characters. And had high praise for the main sex scene that was shot in a single take).

This plot point made it difficult for studios to back the film (all wanted it if they changed Corky to a man), but the Wachowskis stuck to their guns, being saved when Dino DeLaurentiis backed the project. The 38-day shoot was carefully planned, even though their original cinematographer quit feeling he could not do the film in the time allotted. Bill Pope stepped in and indeed helped plan some of the films visual look.

The film is a superb example of style serving the story. The colors often reminded me of a Dario Argento film, and often the camera often takes a god like view looking down on the action.

 

The original leads were Linda Hamilton as Violet and Tilly as Corky, but when Hamilton had to step out, Tilly switched roles and Gina Gershon was cast as Corky. Gershon then recommended Joe Pantoliano. The rest of the cast is top notch with Christopher Meloni as the not too bright but violent Johnnie stealing every scene he is in. No easy feat, when you consider marvelous performers as John P. Ryan (as mobster Mickey Malnato) are also in the cast.

As noted earlier, the previous OLIVE FILMS release had no extras. This Limited Edition goes out of its way to correct that.

 

Besides the Hi-Def digital restoration the original Republic audio commentary has been restored. One of my favorite things is hearing how the creatives behind a project feel about their finished work and the enthusiasm runs throughout this commentary.

Ported over from the 2014 Arrow U.K. Blu Ray /DVD release by Red Shirt Pictures in conjunction with Arrow :

• “Here’s Johnny!” – with Christopher Meloni– “My character had poor impulse control” is the first thing Meloni says about his character, which must be a major understatement in this new video interview with the actor and how he gives major credit to Joe Pantoliano for his career and how he infused humor into his character.
•
• “Femme Fatales” – with Gina Gershon and Jennifer Tilly -new interviews with the two leads on how they got cast and their work process. 

•

• “Modern Noir: The Sights & Sounds of Bound” – with cinematographer Bill Pope, editor Zach Staenberg, and composer Don Davis) the crew speak with great pride of their involvement with the project, and how they became attached to it. . Pope, for example, got hired due to his work on ARMY OF DARKNESS (Universal,1992) and he worked cheap!

New for this release:
• “Part and Parcel” – with titles designer Patti Podesta – a (2017) video interview with the  designer on how she created the noirish titles in the era before CGI took over.

•
• “The Difference Between You and Me” – with B. Ruby Rich (Prof of Film/Digital Media U, C, Santa Cruz) and Jen Moorman (Prof of Film Studies & Gender Studies, Loyola Marymount U., L.A.) discuss BOUND and its importance in Neo -Noir ,as well as an examination of Film Noir.
•

• Theatrical Trailer-the original Gramercy Theatrical trailer which makes it look like a RESERVOIR DOGS (Live,1992) rip-off.

•
• Essay by Guinevere Turner -an interesting 4 page read as to why this film is so important to LGBTQ cinema, and especially for its portrayal of lesbians.

 

 

 

 

This is a MUST HAVE for anyone who loves classic thrillers, well-made cinema done with style and dark humor, superbly acted and directed in an engrossing story.

HIGHEST RECOMMENDATION!

-Kevin G Shinnick

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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

 

KISS OF DEATH (Twilight Time Blu Ray)

KISS OF DEATH. (Twilight Time Blu Ray) 20th Century Fox 1947. B&W. 99 minutes. Region Free. $29.95 .Limited to pressing of 3,000 discs. https://www.twilighttimemovies.com/kiss-of-death-blu-ray/

People who have never seen the complete film know of it due to the iconic scene of a giggling insane Tommy Udo (essayed by Richard Widmark in his stunning film debut) pushing a helpless wheelchair bound woman (Mildred Dunnock) down a flight of stairs as she screams in abject horror.

 

KISS OF DEATH is a classic example of film noir that needs to be in every film lovers collection. Dark storytelling with the sense that violence and death permeates the entire story. Shot mostly in New York City at many actual locations (though, in my humble opinion, I think the interior apartment scenes and stairwells are sets, as knowing the size of the old Mitchell 35mm cameras, as well as lights needed, that is a heck of a lot of equipment and people to squeeze into such small spaces, not to mention loading in and out). around the city.

Ex con Nick Bianco (Victor Mature, at the height of his stardom) and three others botch a jewel robbery that results in Nick getting arrested.

Rather than turn on his accomplices, Nick is sentenced to twenty years at Sing Sing Prison. Nick thinks that his accomplices will protect his family, but three years into his stretch, Nick’s wife commits suicide and his two daughters are sent to an orphanage. Nick tries to make a deal with the Assistant D.A. D’Angelo (Brian Donlevy) but too much time has passed to make a deal. However, if Nick will help the A.D.A. on another case, Nick will get paroled.

 

 

 

On the streets, Tommy Udo(Widmark)who served time with Nick, tracks down the mother of Rizzo. Rizzo, who is unseen in the film, was supposed to guard Mrs. Bianco, but instead it was hinted that he raped her, which resulted in her committing suicide. Tommy looks up to Nick (and many critics feel an almost homoerotic passion) and so when Rizzo’s mother (Dunnock) lies to him, we end up with the famous stairwell killing.

Udo tries to show off to Bianco, taking him to various establishments and talks freely about his previous crimes, to impress his “friend”. Nick, however, turns the info over to the Assistant District Attorney, who indicts Udo and grants Nick his pardon.

Nick tries to restart his life on the straight and narrow, marrying friend Nettie Cavallo (Coleen Gray ) who used to baby sit his daughters when he first went to prison. However, despite evidence, Udo is acquitted and wants revenge.

The film when it was first released was not an enormous success, but over the years its status has grown to where it is now acknowledged as one of the great film noirs of all time.

The film has been available on video and DVD in previous releases from Fox Video, but TWILIGHT TIME has really gone all out with its definitive release of this classic piece of cinema.

First off, the 1080p High Definition scan has increased the sharpness of the imagery, showing off the beautiful cinematography of Norbert Brodine. Brodine began working in the silent era (including Lon Chaney’s A BLIND BARGAIN, Goldwyn,1922), and during the early sound period he hopped around from major studios to independents (Bela Lugosi’s THE DEATH KISS, KBS,1932; DELUGE, Tiffany 1933) before finding a home at Hal Roach (TOPPER ,1937; OF MICE & MEN,1939; ONE MILLION B.C.,1939).

By the mid-1940s, he went over to Fox, where he had prior to KISS OF DEATH had lensed the noirish HOUSE ON 92nd STREET (1945).and the overlooked gem SOMEWHERE IN THE NIGHT (1946). His black and white photography has deep blacks and various shades of gray.

The sound is mono (DTS-HD Master Audio 2.0) and there is really no need for surround sound, as the music dialogue and sound effects are crisp and crackle free. David Buttolph’s music is sparse but always efficient when used.

As to extras:

There are two audio commentary tracks that are well worth listening to.

Original to this release are popular Twilight Time Film Historians Julie Kirgo and Nick Redman, who have a more conversational style and while knowledgeable, still have the joy of fans.

Kirgo, for example, points out that she grew up in NYC and recalls how it looked somewhat as the film presented it. They also go into the homoerotic feelings that Widmark’s character may have had for Mature (“Ya can’t have fun with dames about”).and how Widmark originally thought the script hilarious (!) and read the script to friends in the voice he used in the movie. It made me wonder if the erotic undertone was added by Widmark, similar to  what Stephen Boyd did years later to Charlton Heston in BEN HUR (MGM,1959).

Ported over from the prior Fox Film Noir series DVD release is the Audio Commentary with Film Historians James Ursini and Alain Silver has a more scholarly tone but never monotonic while delivering so much information on the making of the film and behind the scenes going ons (for example, Miss Dunnock had to be flung down the stairs TWICE because the cameraman was not ready!). They also discuss the (loose )1995 remake.

The music score is also available on a separate audio track. The trailer features legendary columnist Walter Winchell praising the film with hyperbole that must have made the publicity team go crazy about. The optional white English subtitles are clean and easy to read, and follow the dialogue and action.

Get it and add it to your collection or Tommy may have to visit you!

 

HIGHLY RECOMMENDED

–Kevin G Shinnick

Riccardo Freda: The Life and Works of a Born Filmmaker

Riccardo Freda: The Life and Works of a Born Filmmaker
Roberto Curti Price: $45.00 40 photos, notes, filmography, bibliography, index
376pp. softcover (7 x 10)McFarland  2017                                                http://www.mcfarlandbooks.com/book-2.php?id=978-1-4766-6970-0

Like many American film fans, my knowledge of director Ricardo Freda was mostly limited to his
Horror films I Vampiri /THE DEVIL’S COMMANDMENT (Titanus,1957),Caltiki il mostro immortale /CALTIKI,THE IMMORTAL MONSTER(Lux,1959),L’orrible segreto del Dr. Hichcock /THE HORRIBLE DOCTOR HITCHCOCK(Panda,1962) and Lo specttro /THE GHOST (Panda,1963).

• However, Freda had a career in cinema that lasted from 1937 (Lasciate ogni speranza /LEAVE ALL HOPE ,Juventus Film) until 1994 (La fille de d’Artagnan /REVENGE OF THE MUSKETEERS ,Canal+ )starting and ending his career as a writer.
•

• Writer Roberto Curti of Cortona Italy has done a remarkable job tracking down an amazing amount of information on Freda’s life and career.His love for the subject comes though with his very detailed synopses of these rarely seen (outside of certain countries), providing the history behind many of them, production facts, and their success or failure in various territories as well as changes made to them .

• Curti uses Freda’s memoir Divoratori di celluloide (Emme Edizioni (1981),164 pages)as a starting point ,but also researching though film magazines and newspapers from several countries, as well as tracking down and watching the titles from the director’s long career. Curti points out that the director could often be petty and recall incidents that might not always match the facts.Curti’s interviews and research sometimes contradicts what Freda put into his book.

• Still ,the Egyptian born Italian director lived La Dolce Vita, being an extravagant personal spender and gambler as well as womanizer. It is ironic that he despised films like Fellini’s La Dolce Vita (Riama,1960) as well as the entire neo-realist movement of films like Ladri di biciclette/THE BICYCLE THIEF(Ente Nazionale,1948).

He was more a storyteller who felt that film should be escapist,and take us out of reality. Not only did he have those skills, he was also able to make limited budgets look richer than they were, due to his understanding of film editing and camera placement ,as well as working with innovators like the great Mario Bava. Indeed, the short tempered Freda walked off the set of a I Vampiri ,leavinng it to be  finished by Bava. We see throughout the book that Freda had a habit of walking off set, much to the detriment of his films and career.  I Vampiri has an important place in Italian horror films ,as it was the country’s first true sound horror film (the first Italian horror film may have been Il monstro di Frankenstein(1920) a now sadly lost silent picture).

Freda had prior to I Vampiri had done a lot of regional comedies ( he cared little for the comics in many of his films ,but put in many physical gags inspired by the likes of Buster Keaton ,historical dramas and swashbucklers . Indeed ,his love of classic novels and adventure tales seemed to have merged into Caccia all’umo /LES MISERABLES( Lux,1952) ,making it more of an action thriller!

His swashbucklers seemed to have broken new ground in storytelling in Italy, being more inspired by American filmmakers than the home grown artisans. His love of tracking shots to get a lot of detail within a long take was developed during this period .Having reviewed the Italian historical drama La cena delle beffe / THE JESTER’s SUPPER* (Società Italiana Cines,1942 ,not by Freda, but by a contemporary),I would love to see more these  rarely motion pictures                (see review at https://scarletthefilmmagazine.wordpress.com/2017/05/07/the-jesters-supper-dvd/ ) .

Freda also was one of the first to leap into the sword and sandal films ,even telling an earlier version of the tale of SPARTACUS(Spartaco(API,1953),released in the U.S. by RKO as SINS OF ROME ). He hopped from genre to genre with various budgets and varying success. Comedy (at which he seemed to have a lot of success),drama ,spy thrillers ,Krimi( he faced off and WON against the antagonistic Klaus Kinski) ,swashbucklers,historicals, and of course horror.

His indifference to some parts of the movies he made show with some sloppy work (in ROGER LA HONTE( Comptoir Francais du Film Production ,1966,one of his later films with a decent budget, he allows a major stunt to show clearly that a “woman” passenger is actually a stunt man since his trousers are clearly visible ),as well as his indifference to actors (he was notorious for using doubles when actors gave him any grief). Yet in staging ,he often surpassed the budget with strong imagery and tracking shots that convey a lot of information .Plus several actors who worked with him praised the director .

Curti’s book makes me want to revisit several of Freda’s films and seek out some of his rarities. Curti has done what any film researcher should do, and that is evaluate and place into historical context the work of the subject.

McFarland is to be commended once again for putting out such a detailed volume about a filmmaker not as well known as perhaps he should be. Each film has b&w illustrations of the film posters or on set photographs, The graphics are sharp and easy to see.

This is a MUST HAVE for lovers of film, especially for those who love Euro-Cinema.

Highly Recommended.

–Kevin G Shinnick

 

                  "Acquista il libro o ti farò del male ..."

BOSTON STRANGLER/PRETTY POISON Twilight Time Blu Rays

THE BOSTON STRANGLER ( 1968 Fox)116min        http://www.twilighttimemovies.com/boston-strangler-the-blu-ray             / PRETTY POISON (1968 Fox)89min         http://www.twilighttimemovies.com/pretty-poison-blu-ray/ –Twilight Time Blu Rays      $29.95 each Limited to 3000 pressings each

 

 

1968 was a banner year for movies: 2001: A SPACE ODYSSEY(MGM), OLIVER(Columbia), ROMEO & JULIET(Paramount), ROSEMARY’S BABY (Paramount), PLANET OF THE APES(Fox). Among those films were two marvelous murder thrillers, both from 20th Century Fox, one a box office and critical success (BOSTON STRANGLER) the other a box office failure that has developed a strong cult following that continues to grow (PRETTY POISON).

First, we have THE BOSTON STRANGLER.

 

THE BOSTON STRANGLER was a big budget ($4.1 million) film released October 16,1968. Critical reaction was mixed for director Richard Fleischer (20,000 LEAGUES UNDER THE SEA(Disney,1954) and his then daring split screen and multiple images to show various points of views at the same time (also used in GRAND PRIX (MGM,1966) as well as THE THOMAS CROWN AFFAIR (U.A.,1968)). There was a more unanimous consensus of praise for Tony Curtis and his daring and solid performance as split personality Albert DeSalvo. Curtis won a Golden Globe for Best Actor, which must have been thrilling for him, considering that he was not considered able to play the role, but had to win the role by taking photos of himself in makeup and having director Fleischer slip them to the studio head, who said that was the type that they were looking for!

                                                                   (old VHS  print from Key Video)

 

Based upon Gerold Frank’s best-selling well researched non -fiction book of the same title (Hardcover, New American Library,1966), there was difficulty in finding the right screenplay adapter. The original choice, Playwright Terrence Rattigan who wrote stage plays like THE WINSLOW BOY(London,1946) was a friend of producer Robert Fryer. However, the screenplay that he turned into a comedy! Luckily, cooler heads prevailed and writer Edward Anhalt (winner of an Oscar for the adaptation he co-wrote with his wife Edna for PANIC IN THE STREETS (Fox ,1950) produced a script that was more faithful in feeling to the Gerald Frank book.

 

Henry Fonda portrays John S Bottomly, who leads the investigation into a series of Strangle Murders in Boston. The police get so desperate they even resort to a Psychic to aide them. The killings continue unabated until plumber Albert DeSalvo is apprehended for attempted breaking and entering. A series of incidents and clues lead them to believe that DeSalvo is killer whom they have been seeking.

Tony Curtis is superb playing the family man who has a dual life and even a dual personality. The fractured screen shots and isolated images also perfectly encapsulate the isolation and separation that DeSalvo seemed to be suffering from. That he was not nominated for an Academy Award (the best actor award going to Cliff Robertson for portraying another person suffering from mental problems in CHARLY (Cinerama,1968)) is one of the major shames in the whole award process mentality, as he gives a superlative performance.

Besides Fonda, other great performances are given by George Kennedy (a year after his best supporting actor Oscar win for COOL HAND LUKE(WB,1967)) and Murray Hamilton (who had performed on stage with Fonda, but is perhaps best known as playing the Mayor in JAWS(Universal,1975)as two of the detectives who piece together the various bits of evidence, as well as various members of law enforcement and society being portrayed by William Marshall(BLACULA,AIP,1972),Sally Kellerman (MASH,Fox,1970),Hurt Hatfield (forever Dorian in THE PICTURE OF DORIAN GRAY,MGM 1945),Jeff Corey (SECONDS,Paramount,1966),James Brolin (still a struggling contract player at Fox at the time before rising to fame as a T.V. heartthrob on MARCUS WELBY,M.D.(Universal,1969-1976) ,and many more .

William Marshall

(William Hickey as a suspect )

 

 

 

 

The 1080P transfer Region Free transfer is sharp and clean. Audio is an optional 2.0 or 3.0 DTS-HD Master. There are optional English (SDH)subtitles.

Extras on the Blu Ray reviewed include:

-An isolated music and sound effect track. The score by Lionel Newman (COMPULSION, Fox, 1959) is effective, but, to me, not memorable on its own.

-An informative and nonstop Audio Commentary with Film Historians David Del Valle and Steven Peros that covers both the production history of the film as well its cinematic style, as well as a lot of information about the actual murders, the doubts that exists that if DeSavlo was the killer of all the victims, and where the film deviates from the facts of the case.

– “Real Killer, Fake Nose”- is over a half hour long documentary about the making of the film, and how innovative its cinematography and editing was for the time. Interviews include Sally Kellerman (who plays one of the victims) and Mark Fleischer (the director’s son) and D.P. Richard H Kline.

– “Split Screen Personality” -has director William Friedkin (THE FRENCH CONNECTION,Fox 1971) discuss the real-life events and the film, plus how the film influenced his style.

-Original Theatrical Trailers (approximately 4 minutes)

-An 8-page booklet by Julie Kirgo about the film

Two extras ported over from the Fox 2004 DVD release are

– “AMC Backstory: The Boston Strangler”- a nice overview of the film made for The American Movie Classics channel when it was still about movies.

– A Fox Movietone News clip (roughly 3 ½ minutes) from the era about Albert DeSalvo.

Like Most of Twilight Times releases, this is limited to a print run of 3000.

Highly recommended.

 

***********************************************************************************************************

Next we have PRETTY POISON.

PRETTY POISON was and is a quirky little thriller that failed to find an audience when first released. The screenplay by Lorenzo Semple Jr (fresh from T.V.’s BATMAN (Fox,1966-68)) is a fairly faithful adaptation of the short novel “She Let Him Continue “by Stephen Geller (first edition: Hardcover E.P. Dutton,1966), save for a reduction of the pill taking so prevalent in the book.

 

            (note,this paperback edition says filming for EMBASSY PICTURES!)

 

Director Noel Black had only had a short film released by U.A. before he was given his feature film debut. He had seen Tony Perkins on Broadway, and thought he would be perfect for the part of Dennis Pitts, a young man who had killed his aunt when he set fire to their home when he was 15. So, sure that Perkins was right for the role, that Black waited at Perkins’ request until the play closed before filming began.

Dennis Pitts, after his release, is stuck in a dead-end job at a local chemical company. To break up the monotony, he thinks of young Sue Ann Stepanek (Tuesday Weld, who had been acting since age 13 in ROCK ROCK ROCK (DCA,1956)). Weld was a perfect choice for this role of the young innocent who it turns out is not as innocent as she first appears.

Dennis tells Sue Ann that he is secretly a CIA operative spying on the factory for dumping chemicals into the river. His harmless fantasies however fuel an amoral side to Sue Ann, who becomes the dominant partner in both sex, wanton destruction, and finally murder, starting with her mother (Beverly Garland, star of many Roger Corman 1950s films).

Weld supposedly hated her director, and would often refuse to do as he asked or would break down in tears. Perkins had no such problem with Black, and the finished film was affected by the behind the scenes dramas. Weld & Perkins would work together again in PLAY IT AS IT LAYS (Universal,1971), another wonderful film that was also a box office failure.

Though not hired with it in mind, it is hard to escape the idea that this is a variant of Norman Bates for Perkins. Indeed, parts of it could be a template for PSYCHO II (Universal ,1983). The film also seems to me to be a precursor of Terrence Malik’s BADLANDS (WB,1973), albeit with a darker sense of humor than that latter film.

Shot over 30 days on location in Massachusetts, with only an additional day of studio work, the film was brought in for a 1.3-million-dollar budget.

Sadly,1968 was a year when random gun violence was on the rise, with the murders of Robert Kennedy and Martin Luther King Jr happening earlier. The studio, which didn’t seem to have much faith in the finished film, dumped it into 42nd Street double bills. However, when Pauline Kael and Rex Reed championed it, the studio gave it a more halfhearted art-house release, again with little support.

Director Noel Black never seemed to have ever gotten the chance to ever match this film. Several aborted projects, some barely released (MIRRORS,1978, First American Films), and a lot of tv work.

His biggest theatrical success was the teen sex comedy PRIVATE SCHOOL(Universal,1983). Towards the end of his life, Anthony Perkins tried in vein to get Noel Black as director for PSYCHO IV, which eventually was directed by Mick Garris from an awful Joseph Stefano script (Universal TV,1990).

 

It was only when PRETTY POISON began showings on t.v. in a heavily edited edition that a wider group of people began to discover the movie. A rather bland vhs release and a no frills 2006 DVD from Fox (the region 2 DVD at least had a commentary by director Black) were also both released without fanfare.

TWILIGHT TIME, once again, has gone all out on bringing this gem to the attention of the movie loving public, and what a wonderful job that they have done.

First, we have the beautiful 1080p High Definition transfer. The magnificent cinematography by
David Quaid (whose previous work varied from SANTA CLAUS CONQUERS THE MARTIANS(Embassy,1964) to THE SWIMMER(Columbia,1968)) gets a proper framing and clean sharp images.

The original mono sound can be heard in crisp 1.0 DTS-HD MA, with optional English SDH subtitles.

As for extras:
At this point (January ,2017), I think of those who worked on PRETTY POISON, only producer Lawrence Turman (age 90!) is still with us. Turman’s latest production was the 2011 remake of THE THING(Universal), so we are lucky that TWILIGHT TIME could get him for the audio commentary. With him are film historians Lem Dobbs and Nick Redman. The trio keep up a lively commentary.

Also included is the audio commentary from the 2004 region 2 DVD. This has director Noel Black and film historian Robert Fischer discussing the history and tribulations of the film,

Johnny Mandel’s music and the films effects sound track are given an isolated sound track on the disc. Mandel’s score strikes the right balance between a thriller and a romance.

Optional English Subtitles are also available.

Julie Kirgo once again supplies an informative 8-page booklet about the film.

The BluRay sleeve is reversible with a stylized drawing of Perkins & Weld.

Also included is the audio commentary from the 2006 region 2 DVD. This has director Noel Black and film historian Robert Fischer discussing the history and tribulations of the film,

An interesting extra is a text script scene that was deleted that has commentary by Black and Fischer.

This TWILIGHT TIME release is limited to only 3,000 units.

Once again, I must say, HIGHLY RECOMMENDED. I may just have to save time at this rate and say TWILIGHT TIME -HIGHLY RECOMMENDED for all future reviews.

–Kevin G Shinnick

 

(Did I mention the 1996 remake?I didn’t? Good, because it was pretty bad.) 

Tony Rome & Lady in Cement (Fox) (TWILIGHT TIME BLU RAY)

Tony Rome & Lady in Cement (Fox) (BLU RAY) original release Nov 10,1967 and November 20,1968 respectively. Blu Ray. Region Free. August 16,2016. Twilight Time. (color) Rated M (now PG). 203 MINUTES. $29.95. Limited to 3,000 print run.

http://www.twilighttimemovies.com/tony-rome-lady-in-cement/

I must admit that I am not a person who is blown away by Frank Sinatra. I know it is nearly blasphemous for anyone who lives next to Hoboken, NJ (Ol’ Blue Eyes birthplace) to admit this. There was always something about him that I just found off putting.

However, as I have gotten older, I am discovering what an amazing natural actor. His performance in THE MANCHURIAN CANDIDATE (U.A., October 24,1962) is superb, and he holds his own in this classic political thriller. Sinatra also shows strong acting chops and his own strong persona works in his favor in these two Tony Rome stories, as well as the unrelated THE DETECTIVE (20th Century Fox, May 28,1968), not included in this release. The three films were released previously in nice but frill free DVDs from Fox.

Sinatra had a certain no-nonsense style and weariness when he played detectives, ending with THE FIRST DEADLY SIN (Filmways, October 3,1980), which was also his final starring role in a film. He turned down the role of Dirty Harry due to fibromatosis crippling his hand. It’s interesting to think of how he might have played the part. Another bit of trivia: thee was a sequel written to THE DETECTIVE written by its author Richard Thorp in 1979. It was called NOTHING LASTS FOREVER (W.W. Norton & Co.,1979). Sinatra turned down the idea of the sequel when it was broached to him. It was finally made in 1988 as a film starring Bruce Willis (who had an uncredited bit in THE FIRST DEADLY SIN) called DIE HARD (Fox, July 20,1988).

• Now TWILIGHT TIME has given TONY ROME and LADY IN CEMENT a marvelous 1080p/AVC MPEG-4 single disc Blu Ray release.
•
• Tony Rome is an ex Miami cop who has seen it all. He now spends as much time as he can on his boat, making money by doing private detective work. His ex-partner Ralph (Robert J. Wilke,an actor who was best known for appearing in westerns, having appeared in films since 1936.He was one of the outlaws from HIGH NOON ( U.A. July 24,1952)) asks Rome to escort a young woman, Diana Pines (Sue Lyons ,the original LOLITA(MGM,June 13,1962) home after she was left passed out in a hotel room.

Her father, Rudolph Kostleman (Simon Oakland, best known as Vincenzo, the boss of Kolchak from T.V.’s THE NIGHT STALKER (ABC, January11,1972) is a powerful rich man who is worried about his daughter. She has been acting strangely of late, and he hires Rome to find out why. Diana and her stepmom Rita (Gena Rowlands, soon to win a well-deserved Oscar nom for her star turn in A WOMAN UNDER THE INFLUENCE (Cine-Source, November 18,1974) also hire Rome to fins a missing piece of jewelry.

Rome ends up getting beaten up, a murder takes place, and Rita is almost killed as well. Can Rome solve the case, and perhaps end up with the lovely Ann Archer (Jill St. John, who had appeared previously with Sinatra in the comedy COME BLOW YOUR HORN (Paramount, June 5,1963))?

TONY ROME was based upon the novel MIAMI MAYHEM by Marvin H Albert (New York: Pocket Books, 1960.). Screenwriter Richard L. Breen (Oscar winner for his screenplay for the 1953 TITANIC (Fox, April 11,1953)) did a faithful adaptation of the story, with all its little twists and turns.

Director Gordon Douglas was a former child actor who could jump genres with a straightforward no nonsense style (THEM, WB, June 19,1954; STAGECOACH, Fox, June 15,1966; SKULLDUGGERY, Universal, March 6,1970). Obviously, he and Sinatra got along, as he directed TONY ROME, LADY IN CEMENT, as well as THE DETECTIVE.

Extras for this feature include an audio commentary by film historians Lee Pfeiffer, Scarlet friend Paul Scrabo and Anthony Latino. The three keep up a fact filled dialogue about the film as well as director Gordon Douglas (who had directed Sinatra in the comedy ROBIN & THE 7 HOODS (WB, June 24,1964) as well as Sinatra’s film career. They drop little tidbits as that Sinatra was performing at the Fontainebleau Miami Beach at night, and that they used it as a location during the day. That hotel still exists, but it seems many of the other locales are gone.

The original sound track is available to hear on an isolated music and sound effects track. Composer Billy May had worked with Sinatra since his album, COME FLY WITH ME (January 6,1958, Capitol Records), and the soundtrack has that reflects that brassy sound. Daughter Nancy Sinatra sings the title song.

The original Theatrical Trailer is also an extra.

Sadly, some of the behind the scenes documentaries shot at the time are not added as extras, perhaps due to legal reasons or poor source material. They are available to see on YOUTUBE:
https://www.youtube.com/watch?v=A-AS1OT-aQA with Shecky Greene, who plays Catleg in the film, is a behind the scene look at filming. Shecky was a comic who played a lot of club circuits.

Also, a brief b&w silent sequence exists:
https://www.youtube.com/watch?v=Gr8RoJYxCxw

By the way, future LAND OF THE GIANTS (Fox,1968-1970) star Deanna Lund, who appears on the poster, was so embarrassed by her role that she asked for her name to be removed from the credits.

TONY ROME was successful enough for the studio to make a sequel a year later.

LADY IN CEMENT was based upon Marvin H Albert’s second Tony Rome novel (LADY IN CEMENT, Robert Hale, London, 1961. hard cover) was adapted for the screen by Albert and Jack Guss (this seems to be his only theatrical screenplay, working mostly on television shows like DANIEL BOONE (1964-1970, Arcola/NBC. Arcola was one of the producers of the Tony Rome films, so that may be how he connected to the project. Indeed 70 minutes into LADY IN CEMENT, you see DANIEL BOONE playing on a hotel T.V. set.).

Sadly, this film is a big drop in quality from the previous film. While sexism was more to the forefront of the detective films of the period, LADY IN CEMENT seems to revel in it as well as strong homophobia. The film manages to be sleazier yet less interesting than the first film.

In this one, Rome(Sinatra) and a police man friend go diving from Rome’s boat looking for treasure. What Rome finds is a dead nude blonde woman (Christine Todd, of whom this seems to be her only film appearance) underwater, her feet encased in cement.

He alerts the authorities and think his involvement is done. However, a big ex con Waldo Gronsky (Dan Blocker, best known as “Hoss” for T.V.’ s BONANZA (NBC FILMS,1959-1972)*) wants to hire Rome to find Sandra Lomax, who happens to be the dead woman .Gronsky is a likeable lug, and the plot at times echoes FAREWELL MY LOVELY by Raymond Chandler (Alfred A. Knopf ,1940). Indeed, Blocker is one of the best things in the film, and makes the film worth watching until the end.

Also in the film is tough guy Richard Conte (returning from TONY ROME as Police Lt. Dave Santini),Richard Deacon (known from T.V.’s DICK VAN DYKE SHOW, Sheldon Leonard Productions,1961-66)as a pervy artist, singer actress Lanie Kazan as a stripper who ends up dead after talking to Rome , and the main reason people remember this film, Raquel Welch. Welch was now an international sex symbol, due to her appearances in FANTASTIC VOYAGE and ONE MILLION YEARS BC (both Fox,1966). Here, she is given little to do but look beautiful, which she does.

The soundtrack by Hugo Montenegro (best known for scoring such shows as THE PARTRIDGE FAMILY(Paramount,1970-74), to put it mildly, is grating and repetitive of the level of elevator music ( https://www.youtube.com/watch?v=5ywuJh19U5w) and distracts from the action rather than moving it along.

The film just kind of lurches along until the ending with the actors trying gamely to make something of it. The budget was estimated to be about $3,500,000(a bit more than the previous film) and had mixed reviews and middling box office. Due to that, a third Tony Rome novel MY KIND OF GAME (New York, N.Y.: Dell, 1962) remains unfilmed.

The only extra for LADY is the original theatrical trailer.

TWILIGHT TIME’s BLU RAY does a superb job with the two films. TONY ROME looks a bit sharper, with LADY IN CEMENT appearing a bit grainier. The sound is superb and hiss free. Once again, Twilight Time’s subtitles are clear and follow the action precisely.

Julie Kirgo once again provides nice info in a small enclosed booklet ,illustrated with some fine photos and posters .

Limited to only a 3,000 disc printings, I would recommend it mostly because of TONY ROME to fans of hard boiled detectives and Sinatra fans.

–Kevin G Shinnick

*Another in -joke, they have BONANZA ‘s opening playing on T.V. with Dan Blocker watching. Indeed, both films are full of in jokes.

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NINE YEARS ON

NINE YEARS ON

It is hard for me to grasp still but that it has been nine years since writer, playwright, editor, publisher, actor, and friend RICHARD VALLEY passed away.

What I wrote quickly then
http://scarletstreet.yuku.com/topic/4623/SADDEST-NEWS-I-VE-HAD-TO-POST-HERE?page=1#.V_47YvkrLIU

kevin g shinnick
SADDEST NEWS I VE HAD TO POST HERE-

Posts: 15257
Oct 12 07 11:37 AM

RICHARD VALLEY, SCARLET STREET EDITOR, has passed away at age 58.

He leaves behind a beloved mother, and his love of over a quarter century,
Tommy Amorosi.

Since then, many other fanzines have ceased publications, many other friends in the genre have gone on to join him in the great beyond, and many of the issues that were important to him have become political fodder once again.

To me, though, it is a personal loss of a man who was a great true and loyal friend who could irritate the hell out of me and then move one with his extreme generosity and kindness.

I have been lucky to have had four truly great friends in my existence, and though now two have departed, I still cherish them all.

I hope that each and every one of you is fortunate enough to know or have known such a shining presence in your life.
-Kevin G Shinnick

Feel free to share any memories that you have of Richard and SCARLET STREET.

I hope you enjoy the https://scarletthefilmmagazine.wordpress.com/    and share it with your friends.

BIG THANKS to JOHN C STOSKOPF for preserving SCARLET STREET and painstakingly scanning them to post them online for people to enjoy the work of Richard and so many contributors.  http://scarletstreetmagazine.blogspot.com/

https://scarletthefilmmagazine.wordpress.com/2015/10/13/remembering-where-we-come-from-rest-in-peace-richard-valley/?preview_id=2

X MARKS THE SPOT (1931)

X MARKS THE SPOT (1931) B&W. 67 Minutes. Oldies.com $7.98
http://www.oldies.com/product-view/7792D.html

Inspired by plays and films like THE FRONT PAGE (U.A.1931), X MARKS THE SPOT (Tiffany,1931) starts with peppy banter that was common in newspaper stories of the 1920’s and thirties.

The film changes tone briefly when reporter Ted Lloyd (Wallace Ford) finds his younger sister collapsed in the street. Ted finds out he will need $5,000 to save his kid sister by sending her to this one Dr. Mueller in Germany.

He gets offers of $500 here and $600-$700 there from his friends, but says it’s not enough (hinted, if you take it and add it up, it’s closer to your goal!).

Desperate, Ted goes to the local pool hall to meet with gangster Edward Riggs (Fred Kohler)to ask for the money. “Ha ha Ha-you don’t make five grand a year, says the gangster. Ted offers to get info on the district attorney if it helps save his sister. The gangster socks him saying he hates squealers but gives him the five grand.

More stuff occurs in the newsroom before Ted meets with Sue(Sally Blane) for some quips and flirting before the film heads off to the Follies. Some pre-code dialogue (reporter offers to print an actress’ photo in the paper, only this time with her clothes on.).

Showgirl Vivian Parker (Mary Nolan) ends up murdered, and Ted becomes the main suspect as he was the last one to see her alive. Ted finds out that Riggs was responsible for the killing, but the gangster reminds him of how he helped with his sister’s medical bills.

How will Ted act when Riggs is put on trial?

X MARKS THE SPOT was one of the last three films made by Tiffany (along with DEATH KISS,1932 starring Bela Lugosi). The studio had been involved with a major prestige picture (JOURNEY’s END ,1930, James Whales ‘adaptation of the stage play), but like so many indie producers, they lacked proper distribution. When they folded, their films like so many independent productions, fell into public domain.

X … is a compactly made drama of the early sound era. The acting ranges from very good to stiff.

Lew Cody as editor George Howe is a strong competent performer. He had been acting in films since 1914, and had been married to actress Mabel Nomand. He died in 1934 at age 50.

Wallace Ford is probably the best known actor from this film by today ‘s viewers, appearing a year later in MGM’s FREAKS as well as Frankie McPhillips in THE INFORMER(RKO,1935). His career last until 1965, with television making up the bulk of his later work.

Sally Blane also had a long career, usually in supporting roles in major films (CHARLIE CHAN AT TREASURE ISLAND, FOX,1939) but here she is the female lead and makes one wish that she had larger parts in films.

Mary Nolan as showgirl Vivian has a bit of a Midwest accent (“Git Outta heah!”) and is a bit stiff (no pun intended). Her life seemed to be one of those tales that warned of the dangers of show business. She had been a Ziegfeld showgirl who had been fired due to a scandal with a married man (who beat and abused her), but had a good career in silent films both in the U.S. and Germany. Under contract to Universal, she was loaned out to appear in the Lon Chaney MGM film WEST OF ZANZIBAR (1928) and received good reviews. She had another abusive relationship with Eddie Mannix (who also was possibly involved with the murder of George Reeves. Reeves had been having an affair with Mannix’ wife), who beat her so bad that she became addicted to morphine. This led to her contract being terminated at the major studios and thus struggled along at the indies. She died at age 45 from a Seconal overdose.

Clarence Muse made a career of playing butlers, porters, and servants, but the actor had starred and worked in theatre, as well as starring in HEARTS IN DIXIE (1929), the first all-black movie produced by Fox. Here he is trapped in embarrassing stereotype dialogue in his scenes.

Helen Parrish also began in silent films, playing Babe Ruth’s daughter in BABE COMES HOME (1st National,1927; also released as a Vocafilm sound film, with added music and sound effects) as well as appearing in Our Gang films. Later she appeared in films starring Deanna Durbin, as well as the female lead in another film called X MARKS THE SPOT (Republic,1942), also available from OLDIES http://www.oldies.com/product-view/4748D.html . She died at only age 34 from cancer.

Fred Kohler had made a career playing baddies, most memorably in the silent John Ford THE IRON HORSE (Fox,1924).

Director Earl C. Kenton directed over 130 films from 1916 to 1957. He is best known for ISLAND OF LOST SOULS (Paramount,1932) and HOUSE OF DRACULA(Universal,1945). The camera work is very fluid at times with some dolly work showing that sound equipment was no longer holding directors to static shots that had plagued earlier sound films.

The film comes from the collection of John Carpenter and his THE MOVIE MAN’S MOVIE MATINEE https://www.facebook.com/groups/1117540858264025/ . Collectors like Carpenter have done much to save a lot of films from disappearing, as well as getting them out to the general public. The print is from a dupey 16mm, but to be fair, I would doubt a better print still exists. At one point, we see a notice about a reel change, which made me nostalgic for when the only way you could see these films was from a private collection.

While not a classic, it is an entertaining little drama, with some good 30s banter, a bit of pre code naughtiness, a shootout near the finale and a style that would later lead to film noir.

–Kevin G Shinnick