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THE CHAIRMAN (Twilight Time Blu Ray)

THE CHAIRMAN (Fox,1969) TWILIGHT TIME Blu Ray July,2019. Color 98 minutes. Region Code: Region Free (A/B/C) Limited Edition of 3,000 Units $29.95
https://www.twilighttimemovies.com/chairman-the-blu-ray/

 

The 1960s was a time when spy stories were incredibly popular. James Bond of course became a cultural phenomenon, but also the pop culture reflected the tensions that had been growing since the Cold War began in 1947.

 

Most of the films dealt with the conflict between the United States and the U.S.S.R. Indeed, The Berlin Wall became a physical demarcation line for the cultural and political differences between these two superpowers.

 

Few stories, however, dealt with the other large Communist nation that was at social odds with the West. Red China had become Communist in 1949, and, under the leadership of Mao ZeDong, a cruel regime was established that had millions dying from starvation, or inhumane torture and imprisonment.

One of the only movies to deal with the political tensions between the United States and the People’s Republic of China (which Mao led until his death in 1976) is the 1969 Twentieth Century Fox production, THE CHAIRMAN.

 

 

The novel was written by Jay Richard Kennedy. Kennedy worked as Harry Belafonte’s manager for years, before becoming V.P. of Sinatra Enterprises, as well as a story editor. He began to develop an idea for Sinatra (along the lines of his hit THE MANCHURIAN CANDIDATE, UA 1962) that would film in Hong Kong, and costar Spencer Tracy and Yul Brynner. When that didn’t happen, he turned it into a novel. Kennedy had some inside knowledge of the spy game, as, feeling that Communists were infiltrating certain political groups, he also worked as an informant for the FBI and CIA.

 

Fox picked up the rights to the novel, and a screenplay was fashioned by Ben Maddow (who was Oscar nominated for his work on THE ASPHALT JUNGLE (MGM, 1950) before being blacklisted and forced to work uncredited through a “front” writer until 1958. Producers Mort Abrahams (who began producing early tv sci fi like TOM CORBETT,SPACE CADET,CBS ,1950-1955) and Arthur Jacob were able to bring Gregory Peck (Oscar winner for TO KILL A MOCKINGBIRD, Universal,1962) into the project (Jacobs’ formerly had a company wherein he had been Peck’s publicist) giving the project some star power.

 

Also added to the cast was Golden Globe nominee Anne Heywood, Tony Award winner Arthur Hill, classic film favorite Keye Luke (number one son to Warner Orland’s Charlie Chan in seven films), Burt Kwouk (Cato in six Pink Panther films),and actor Conrad Yama. Yama had been Mao in Edward Albee’s avant-garde play “Box-Mao-Box,” which premiered in Buffalo and opened on Broadway in October ,1968, which led to his casting in this film. The American actor of Japanese descent even portrayed the Chinese leader for several advertising agencies!

Action director Lee Thompson, who had directed Peck in GUNS OF NAVARONE (Columbia,1961) and CAPE FEAR (Universal,1962), was brought in to direct. Thompson also directed Peck in MACKENNA’S GOLD(Columbia,1969) that same year.

 

Due to the closed society of China and the film’s subject matter, the production team decided to film in Taiwan, with some exterior locations filmed in the rougher terrain of Snowdonia, Gwynedd, Wales! Some other location work was done in London, as well as some sets being built at Pinewood Studios.

The science fiction tinged tale concerns a University Professor, Dr John Hathaway (Peck) being asked to investigate a possible new Chinese discovery, which allows them to grow food in areas formerly considered too inhospitable or harsh to sustain growth prior.

 

A one-way transmitter is implanted into his skull (he can transmit but cannot receive messages) that also can be used as an explosive device to prevent him from falling into Chinese hands, should he be captured.

Peck goes to Hong Kong, under the pretense of visiting an old colleague (Keye Luke). Suspicion abounds, and he is the subject of intense interest by the Chinese and the Russians (who, like the U.S., do not want China to be the only mega-power with this special growth enzyme.). Things get a bit more intense when Mao himself wants to meet with the Professor.


Double crosses and murder follow, leading to a chase leading up to the Russian border.

As I am writing this, Hong Kong is in it’s second week of protests and marches against China ,while  there are also massive marches taking place within Russia against their oppressive government.

This film suddenly has gone from a relic of cold war geo-politics as possibly reflective of what is to come.

When first released, the film was not a financial success, losing to audiences flocking to the flashier ON HER MAJESTY’S SECRET SERVICE (UA). Hitchcock’s own political thriller, TOPAZ(Universal) also failed to find an audience in that summer of MIDNIGHT COWBOY (UA) and EASY RIDER (Columbia).

In England, THE CHAIRMAN  was released as “The Most Dangerous Man in the World”, whose title makes you wonder were they referring to Mao or to the character Peck played?

 

The Twilight Time presentation, need I say, is, as always, first rate. The Region Free (A/B/C) 1080p High Definition print is as good as one has come to expect from the company, with the work of cinematographer John Wilcox (GUNS OF NAVARONE) and an uncredited Ted Moore (A MAN FOR ALL SEASON, Columbia ,1966) shown to fill the full 2.35:1 ratio frame ,particularly in shots as the camera pans through the Hong Kong clubs or at the ending during the final chase.


The sound is available in English 2.0 DTS-HD MA or English 1.0 DTS-HD MA .The original Mono sound has been cleaned up, and I noticed no pops or hiss upon the soundtrack, but I noticed very little difference switching back and forth between the two tracks (except for the explosions seemed a bit louder on the 2.0). There is also optional English SDH that follows the dialogue and action accurately.

 

The extras:

Jerry Goldsmith’s score is available on a separate isolated music /sound effects track. Though not as strong as his score for THE SAND PEBBLES (Fox,1966), even lesser Goldsmith is superior to the best work of many other composers. The OST on CD, released in 2011, is now commanding prices of nearly $100, so this alone makes the Blu Ray a bargain.

 

Audio Commentary with Film Historians Eddy Friedfeld and Lee Pfeiffer. The duo has done many other Twilight Time commentary tracks (OUR MAN FLINT, Fox 1966), and, as usual, are very relaxed in tone but informative.

The Chairman Mini-Film – This little oddity is an abridged version of the movie, almost as if it was one of those Super 8mm versions available in the 1980s. I assume it was made to give the press an idea of the film without showing the entire production.

Two Alternate Scenes from the International Version. -Even until 1969, filmmakers were shooting two versions, one for general audiences and for more restrictive markets, and then a bit racier (i.e. female nudity) for certain foreign markets.

Original Film Trailer.

RECOMMENDED for fans of
GREGORY PECK
Political Thrillers

-Kevin G Shinnick

 

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THE INTRUDER (Sony,2019)

THE INTRUDER (Sony) Thriller. PG-13. Color .84 Minutes.

Blu Ray /DVD/ download and streaming available from Apple TV, AMAZON, Google Play and More

Reviewed DVD. Available July 30, 2019

THE INTRUDER* was one of those films that snuck out into the market in May before its release upon home video on July 30th. The $8 million film took in a domestic box office of $35 million, a tidy profit for the flick.

The movie harkens back to earlier “crazies in your home films” like PACIFIC HEIGHTS (Fox,1990) as well as aiming at audiences who jumped out of their seats at GET OUT (Universal,2017).

 

While not as strong as either of those two films (few are), THE INTRUDER is a good evening’s entertainment.

The Russells , Scott (Michael Ealy, starring in the soon to be released remake of JACOB’S LADDER, Vertical, 2019) buys his wife Annie (Meagan Good ,star of the upcoming Paul W.S. Anderson sci fi film , MONSTER HUNTER ,Screen Gems,2020 ) a house in Napa Valley . When they meet the current owner, Charlie Peck (Randy Quaid, BENEATH THE DARKNESS, Image 2011), they should have turned around and said nope this is going back on sale.

 

Charlie jumps out of some bushes, shoots a deer, then stands over it and proceeds to shoot the helpless animal some more. Seeing this, I was reminded of Eddie Murphy’s routine about black people starring in horror films.

“You can’t make a horror with black people in it cause the movie would stop.

Wow, baby this is beautiful, we got a chandelier hanging up there, kids outside playing, it’s a beautiful neighborhood. I really love this.”

“Getttt Ouuuuutttt”

“Too bad we can’t stay …”

Unluckily, it seems the Russell’s never heard that classic routine, and move in.

The problem becomes that Charlie just can’t leave his beloved home, which has been in his family for generations, and where we learn that his wife died from a shotgun blast, suspected at being self-inflicted. Charlie pops up riding his lawn mower around and starts yelling at workers drilling to install security systems, as if he still owns the place.

Annie, ever the gracious hostess, invites Charlie to a dinner. At the dinner, Mike (Joseph Sikora, also appearing in the upcoming JACOB’S LADDER), a friend of the Russells, insults Charlie and puts out a cigarette on the lawn that Charlie had earlier mowed.

The following day, there is a cigarette burn on the driver’s seat of Mike’s car, and he starts warning the couple that Charlie is looney tunes.

 

Joseph Sikora

Charlie keeps showing up at the house, more unhinged but Annie keeps letting him in, defying logic as well as warnings from Scott.

It results in a final showdown between Charlie and the couple.

The film requires audiences to suspend belief (and logic) several times for the film to work, but we keep watching, due to the fine cast.

Director Deon Taylor had directed a similar type film with TRAFFIK (Lionsgate, 2018).

Writer David Loughery wrote DREAMSCAPE (Fox, 1984), which incidentally had starred a younger Dennis Quaid as a hero. He also is infamous for STAR TREK V (Paramount, 1989) so make of that what you will.

The picture quality is fine, with no outstanding flourishes.

 


Sound is fine (5.1 Dolby), though some of the gunshots seemed to be a bit louder than expected. The audio is available in English and subtitled in Spanish, English SDH, and French.

Extras include

An Alternate Ending

Deleted Scenes

A Gag Reel

A Cast and Filmmaker commentary

And a short making of: Behind the Scenes of Foxglove (Foxglove being the name of the House).

A decent B movie and fun to watch Quaid go full Jack Nicholson towards the end.

-Kevin G Shinnick

*No connection to the Sony 2015 horror film THE INTRUDERS, the 1999 Canadian film THE INTRUDER, THE INTRUDER (1975), a lost Mickey Rooney(!) thriller, or the Roger Corman THE INTRUDER (Filmgroup,1962), starring William Shatner.

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HUSSY (Twilight Time Blu Ray)

 

HUSSY (TWILIGHT TIME Blu Ray,2019) original theatrical release UK-Watchgrove Films,1980. Color. Rated R. 95 min. 1080p High Definition / 1.85:1 English 1.0 DTS-HD MA.\No subtitles. REGION FREE. Extras -Original Theatrical Trailer. $29.95  https://www.twilighttimemovies.com/hussy-blu-ray/

 

In the 1970s, Joan Collins starred in two low budget soft core porn films, THE STUD (Brett Walker,1978) and THE BITCH (Brett Walker,1979). Both were low budget films, but based upon steamy novels by Joan’s sister Jackie, and done with style and enough sex scenes provided by Ms. Collins, the films were enormously profitable, especially when they were some of the first films licensed for the brand-new home video market.

 

Other producers looked at the profits and tried to come up with films of a similar nature. HUSSY seems to be a film that came into being with that idea, but the producers got a film with a lot more depth than they expected.

Writer /Director Matthew Chapman is the great great grandson of Charles Darwin, and who has written extensively on the creation-evolution debate, and in 2007 co-founded ScienceDebate.org, which has been trying to get Presidential Figures to discuss scientific issues (something the current occupant would fail dreadfully).

What he created for his first film was more of gritty drama than a seedy sex romp. Then 35-year-old
Helen Mirren, a naturalist at heart, had no problem with nudity, have appeared in the controversial 1979 Penthouse film CALIGULA. She also brought her usual intelligence and lots of character shading to her part of Beaty, the “hussy “of the title.

 

Actor John Shea (WINDY CITY, Fox,1984) had appeared on Broadway in YENTL opposite Tovah Feldshuh. HUSSY was his film debut, portraying Emory, a member of stage crew at the cabaret where Beaty works, and where he falls in love with her.

Basically, Beaty (Mirren) works as a call girl in this seedy club, where she falls in love for Emory (Shea). Complicating matters is that Beaty has a young son as well as a psycho strong arm pimp /ex-lover Alex (Paul Angelis, who in 1968, provided the voices of Ringo and the chief Blue Meanie in United Artists’ animated YELLOW SUBMARINE!), who is fresh out of prison. Meanwhile Emory’s friend Max (Murray Salem , who later wrote the screenplay for KINDERGARTEN COP ,Universal ,1990,died of AIDS complication at only age 47. ) wants Emory to join him on an upcoming drug deal.

Paul Angelis

 

Alex finds out about the deal and muscles his way in, further endangering Emory and Beaty’s future and safety. The result will end up in murder, but of whom?

 previous DVD release 2006

HUSSY had been released on DVD in 2006 in a rather dull flat print. This new Blu Ray from TWILIGHT TIME has given the film a 1080p High Definition clean up, with colors and images being much sharper, showing cinematographer Keith Goddard ‘s work to good advantage (this film seems to have been his biggest credit).

The 1.0 DTS-HD MA (English only) sound is clear, with dialogue and sound clear and free from pops and hiss. The score by George Fenton (DANGEROUS BEAUTY, WB,1998), his second theatrical soundtrack, is a mixture of club music and songs, as well as disco influence, very much a product of it’s time.

There are no subtitle options.

The only extra is the original theatrical trailer.

Limited to ONLY 2,000 copies,
This Blu Ray is recommended to
Those who like
British Noir and
Helen Mirren fans

 

 

 

Kevin G Shinnick

 

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TRESSPASSERS -now playing theatrically , IFC MIDNIGHT FILMS

 

TRESSPASSERSIFC Midnight-Now Playing Theatrically. Color -87 Minutes Unrated.

Watch the trailer :  https://www.youtube.com/watch?v=RawgS69nvR8&list=PLzbzLEBDQ5MqDFjyhpI4gGPsOlQRNP7ti

When a film opens with a bunch of guys donning cloth masks that give them the suggestion of skulls and walk towards a house wielding machete, you know there is going to be trouble.

That is the opening of TRESSPASSERS, a new nail biter from Director Orson Oblowitz (director of the crime drama THE QUEEN OF HOLLYWOOD BLVD, Dark Star ,2017; as well as having a small role in the darkly comic yet violent Bobcat Goldthwait film GOD BLESS AMERICA, Magnet, 2011).

 

After the murder of an unnamed man and woman , the film changes mood and switches to a couple, Sarah (Angela Trimbur, THE FINAL GIRLS, Sony ,2015) and Joseph (Zack Avery, CURVATURE, Screen Media 2017. CURVATURE was produced by The Hallivis Brothers, producers of TRESSPASSERS)., who are dealing with some relationship issues and they have gone to this isolated house out in the California desert to have some alone time. At least, that is, until two friends that Sarah has invited show up, Estelle (Janel Parrish, from the television series PRETTY LITTLE LIARS, ABC ,2010-17) and her boyfriend (Jonathan Howard), much to Joseph’s annoyance.

 

Shortly thereafter, another unexpected visitor arrives. A quirky bespectacled woman who doesn’t identify herself (Fairuza Balk, AMERICAN HISTORY X, New Line ,1998) says that her car broke down and there is no cell phone signal in the area.

She wonders if she might use their phone to check in on her babysitter with her son, as well as possibly get a tow truck. The thing is, as the night goes on, the visitor doesn’t seem to want to leave, as strange things happen, like a sudden power outage. The visitor says that  such outages are common in the area, which is why they have backup generators, but Jonathan, who is, shall we say, a major dick, feels that there is something wrong with the woman and wants her gone.

 

Things quickly escalate until a horrible accident occurs (which made this reviewer jump). The events do not start going any better, when first the police stop by, and then the masked trio from earlier returns.

 

I am trying to keep from giving away too many too many of the delicious surprises and thrills that this film has ,hoping you go and enjoy this thrill ride .

 

The film has a few flaws (none of the four leads are particularly likeable, but that is more to how they are written ,and not the fault of the performers) , but it makes for an enjoyable thriller along the lines of THE STRANGERS (Universal, 2008) and THE STRANGERS PREY AT NIGHT (Aviron ,2018).

 

Composer Jonathan Snipes (SNAKES ON A PLANE, New Line,2006) at times evokes the Giallo thrillers of old, such as using a harpsicord accompanying a female vocalist for the opening and the end credits, at other times a kind of techno sound score. The cinematography by Noah Rosenthal (the horror comedy DETENTION OF THE DEAD,Anchor Bay ,2013) is sharp and crisp , at times giving the house a cold sterile look, against which the horrors play, while at other times, colored filters are used, which also recalls early Dario Argento.

 

A good creepy thriller that if you are at all paranoid, this will do nothing to reassure you.

-Kevin G Shinnick

Personal Thanks to IFC Midnight.

 

 

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TRESSPASSERS original title

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THE NEW YORK RIPPER (Blue Underground Blu-Ray ,June 2019 release)

      THE NEW YORK RIPPER (Blue Underground) June ,2019

                                 original Theatrical release: 1982, Vidmark.

                                        Color. 93 mins. Unrated REGION FREE

         NEW YORK RIPPER, THE

(3-Disc Ltd Ed/4K REM)
1-BD + 1-DVD + 1-CD $49.95

http://www.blue-underground.com/product.php?product=294

 

When a film exists to shock, and succeeds beyond expectations, is it a good film ?

Surely there are many controversial films that do this –CALIGULA (Penthouse,1979) for one. THE NEW YORK RIPPER takes the Giallo archetype and extends it to a point where the misogyny of so many in that genre is multiplied and multiplied again. However, if that is what the killer’s mind set is and the film captures it, is it not then delivering upon its subject matter?

 


Lucio Fulci (1927-1996) was a director who seemed to invite controversy. Though he began as a writer director of documentary shorts in 1948 ,he got into full length features in 1959, working in all genres, from comedy (I LANDRI, ICM,1959) ,musicals RAGAZZI DEL JUKE-BOX (ERA,1959), and westerns (THE BRUTE & THE BEAST ,Mega,1968) with little notice.

 

In 1969, he made his first Giallo, Una sull’altra (ONE ON TOP OF THE OTHER, Empire ,1969) shooting some of the film in California), and he had found his niche in the mystery /horror genre. These films proved successful and with each successful one he increased the gore and often the sexual content. His Gates of Hell horror trilogy (CITY OF THE LIVING DEAD, Dania ,1980; his masterpiece, THE BEYOND Fulvia,1981 and HOUSE BY THE CEMETERY, Fulvia,1981) put him on the horror /thriller map as a director to watch.

For good or bad, he became known as a Master of Splatter, and he delivered by the gooey bucketful. Shooting parts of his films within different regions of the U.S. probably set his films apart from a lot of other Italian productions of the time, and I am sure were used to sell the films as American movies to certain markets.

 


THE NEW YORK RIPPER (Lo squartatore di New York, Fulvia, 1982) continued his streak of lensing his films, at least good portions of them in the United States, here, of course, the title city. New York City thrillers were popular with the success of films like DEATH WISH (Paramount, 1974) due to the urban decay that the metropolis had declined into and remained in throughout the 70s,80s, and early 90s.

The world viewed the place as a petri dish where unimaginable crimes could happen almost anywhere, a belief that was solidified by events like the Son Of Sam shootings in 1976-7.

MANIAC (Analysis,1980) (also available in a beautiful Blu Ray Edition from BLUE UNDERGROUND http://www.blue-underground.com/product.php?product=291 ) amped up the ultra-violence (and yes, the objectification of women as victims ) in a powerful thriller .

THE NEW YORK RIPPER cranks it up to 11 with the sex and violence combo .

 


A dog out for a walk with its master finds a rotting human hand, later identified as having come from a local hooker. The lead Detective, Lt Fred Williams (British actor Jack Hadley, who had to take his stage name since there already was a famous Jack Hawkins, starred in the BBC series COLDITZ ,1972-4) begins interviewing people who may have known the unfortunate woman. In his search, he finds out that she had gotten a call from a person who spoke with an odd quacking sound and high-pitched voice.

Another young woman is murdered upon the Staten island Ferry by a knife welding unseen stranger, using the bizarre voice. The police suspect that there is a pattern to the crimes, tying into another murder that had happened previously. They realize that they are dealing with a serial murderer.

The Chief of Police (Lucio Fulci himself!) tells Williams to stop having press conferences that might panic the public (as indeed happened during the Son of Sam spree). Right after, Williams finds out that someone: sounding like a duck” called wanting to talk to him, like the taunts that Jack the Ripper gave the Police and Press.


Another victim is a live sex show performer, brutally murdered by a broken bottle into her genitals. That same night, another prostitute, Kitty (Daniela Doria, who was one of the victims Fulci’s THE HOUSE BY THE CEMETERY) receives a call from the quacking killer.

Several more vicious killings occur by the mad person dubbed “The New York Ripper”, often involving seedy locations or sexual situations. The film has a rather grim as well as downbeat ending which is one more kick to the gut that the film delivers before the titles roll.

 

Fulci had felt the film was a tribute to Hitchcock, though it owes a great deal more to Dario Argento with its graphic gore.

 

The combination of sex and violence got the film banned in the U.K. until 2002, while in the U.S. it was barely released, getting most of it’s following from its 1987 Vidmark VHS release in an edited version.

BLUE UNDERGROUND had released THE NEW YORK RIPPER uncut since 2008 on DVD (out of print) as well as Blu Ray since 2009.

 

This new (June 25th,2019) Limited Edition is a must have for fans of the film. For one, this print is a 4K scan from an ORIGINAL CAMERA NEGATIVE. The image sharpness is amazing, and probably looks better than any version prior, including its limited theatrical run. The film makes good use of color ,thanks to cinematographer Luigi Kuveiller (FLESH FOR FRANKENSTEIN , BLOOD OF DRACULA (Bryanston 1973,1974; Dario Argento’s DEEP RED, Mahler ,1976 ) that show off the makeup effects of Germano Natali (DEEP RED; SUSPIRIA ,International Classics,1977) in all their gory glory .

 

The audio is available in English 7.1 and Mono DTS-HD, as well as French, Italian and Spanish. I sampled the other tracks, and all seem fine, probably closer to the original theatrical sound but the 7.0 is the way to go. The background city sounds give the film a richer bigger budget feel, with dialogue usually clear and hiss free. I had to turn down the speakers a few times with the screams, that seem to get a bit loud, but let’s face it, that is to be expected in this sort of film.

There are also optional subtitles in English, French, and Spanish.

 

 

The film is given an incredible number of extras (which we have come to expect and treasure in these marvelous Blue Underground special 4K releases like MANIAC.)

 


A running Audio Commentary by Troy Howarth. Really one would be hard pressed to find a better commentator than Troy, who began writing for Fangoria, and is an expert on Italian Horror, having published at least three books that deal with the subject, including one on Fulci. That knowledge flows effortlessly in a conversational relaxed manner as he drops an amazing amount of info about the film’s production ,cast & crew  as well as the various censorship and release problems that it encountered .


NYC LOCATIONS THEN & NOW – a personal favorite, as I am a life-long denizen of the city, the too short featurette examines how the city looked then and now (well ,2009). With all the chain stores and Starbucks as well as aimless tourists nowadays, I am unsure which is preferable.

 

PAINT ME BLOOD RED– an interview with Poster Artist Enzo Sciotti, who has painted over 3,000 Italian film posters, including this film. To see some of his work: https://www.cvltnation.com/demons-death-color-art-enzo-sciotti/

 

THE ART OF KILLING -An interview with Co-Writer Dardano Sacchetti (in Italian, subtitled), who worked with Fulci on several of his films, including HOUSE BY THE CEMETERY and MANHATTAN BABY (Fulvia ,1982) and has worked with Mario Bava and Dario Argento.

 

THREE FINGERS OF VIOLENCE– Interview with actor Howard Ross.


– ‘THE BROKEN BOTTLE MURDER– Interview with actress Zora Kerova, who was on the receiving end of one of the most controversial “murders” in the film.

– ‘I’M AN ACTRESS!” – A 2009 interview with the Hungarian born Zora Kerova.

THE BEAUTY KILLERStephen Thrower, author of BEYOND TERROR: THE FILMS OF LUCIO FULCI, give a little more background on the director and the film. Between Thrower and Howarth’s comments, I feel I need to revisit Fulci’s films to better appreciate them.

The Original Theatrical Trailer – bizarre and violent.

Poster & Still Gallery

-A DVD version of THE NEW YORK RIPPER (should you find yourself wanting to watch on your laptop sans a Blu Ray Player).

 

-One of the biggest extras is the OST CD for THE NEW YORK RIPPER by Francesco De Masi. An eclectic mix, the score has lots of electronic guitar, some jazz horn, a bit of disco funk sound, lots of tambourine (what no cow bell? )- yet the score works well with the film that it accompanied. The limited-edition vinyl soundtrack that was available was going for about $25 in some areas, so this Bonus CD is a great addition to this release.

 

– Finally , A twenty-page booklet with essay by Travis Crawford from Indiewire with more information about the flick.

THE NEW YORK RIPPER admittedly is not for everyone’s tastes. However, for fans of
Lucio Fulci,

Italian horror/slasher films,

New York City set sleaze,

gore,

this BLUE UNDERGROUND belongs within your collection.

-KEVIN G SHINNICK

Also from BLUE UNDERGROUND mentioned in the article

MANIAC (ltd edition Blu Ray) https://www.amazon.com/Maniac-Blu-ray-Joe-Spinell/dp/B07FQ3RPND/

 

HOUSE BY THE CEMETERY https://www.amazon.com/House-Cemetery-Special-Catriona-MacColl/dp/B0057O6IMS/

CITY OF THE LIVING DEAD https://www.amazon.com/City-Living-Special-Christopher-George/dp/B0036R92US/

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THE BIG FIX (Twilight Time Blu Ray)

      THE BIG FIX ( Twilight Time Blu-Ray) 1978. Color. 108 min .PG . Region Free. $29.95 Limited to a print run of 3,000 only.

 


https://www.twilighttimemovies.com/big-fix-the-blu-ray/

 

Richard Dreyfuss was at the height of his popularity in 1978. He had been a major force behind such mega successes as JAWS (Universal,1975) and CLOSE ENCOUNTERS OF THE THIRD KIND (Columbia,1975), and had just won the Academy Award for Best Actor for THE GOODBYE GIRL (MGM,1977).

There was therefore great anticipation for his next film , which was THE BIG FIX. The television commercials seemed to promise us another whacky comedy, following his popular turn in THE GOODBYE GIRL. https://www.youtube.com/watch?v=-O0zOa41kos

 

The film got positive reviews , but it never seemed to click as expected with audiences   (though it was profitable ), and so the film came and went quickly.

 

It was released on VHS and on cable, but never seemed to find an audience it deserved .

 

The problem is that the marketing sold it as a comedy, which is wrong as it is a clever updating of the detective drama (there was a 1947 crime drama with the same name ,which was the final film from Producers Releasing Corporation (PRC) ) ,with a quirky title character.

 

The screenplay was adapted by Roger L. Simon , based upon his own 1973 novel. His character of Moses Wine appeared in 3 further novels, and has been nominated for an Edgar Award .

 

Jeremy Paul Kagan was a successful television director, who had helmed an episode of the successful COLUMBO (Universal,1971-2003) as well as the marvelous telefilm mystery JUDGE DEE AND THE MONASTERY MURDERS  (ABC CIRCLE FILMS ,1974).

 

THE BIG FIX was his second theatrical feature (the first being HEROES , Universal,1977).

Private Investigator Moses Wine (Richard Dreyfuss) is a former radical now struggling within the system , struggling on catching up on late child support and losing on sports betting . His right hand is in a cast, and  one wonders if it was a warning from a bookie, from a case, or simply clumsiness. He doesn’t make it clearer ,when he himself gives various reasons for his injury (Dreyfuss supposedly actually injured himself ,and so they worked it into the film).

Moses is contacted by Lila (Susan Anspach,BLUME IN LOVE, WB 1973) to see if he can help Milles Hawthorne (John Cunningham ). Cunningham is running for Governor of California, but there is a smear campaign against him .Fliers are being distributed that have doctored photos that show Hawthorne with radical Howard Eppis (F Murray Abraham , 6 years before his international fame as Salieri in AMADEUS , Orion ,1984 ),who is also supposedly also endorsing him. This could be the kiss of death to Hawthorne’s campaign ,and Lila wants Moses to find out who is doing it.

 

The problem for Moses is that he has contempt for Hawthorne’s policies and intelligence ,but for Lila (with him Moses was involved with back in HIS radical younger days) , he takes the case , even though he has to deal with Hawthorne’s buttoned down campaign manager,Sam Sebastian (John Lithgow , the same year appearing in Bob Fosse’s ALL THAT JAZZ (Fox,1979)).

 

They start checking with old radical sources and friends (some of whom are in prison due to their activities with Eppis )to try and uncover the truth of the smear campaign , which results in death along the way. Moses needs to find Eppis and finds many of his old associates now regard Eppis with hatred and contempt .

The FBI becomes involved and question Moses about Eppis . Moses also encounters wealthy Industrialist Oscar Procari (Dennis Weaver, so memorable in many classic TWILIGHT ZONE episodes) who feels Eppis radicalized his son and got him involved with the California Four (sort of a variant to the Weather Underground).

Along the way, Moses comes in contact with many of those who were involved with the turbulent sixties, and he questions when did things start to change for him and the rest ?

My favorite scene in the film is where Moses watches old news footage of the California Four and their passion that they could bring about change, bringing tears to Moses’ eyes.

 

Other wonderful supporting actors in the film include Bonnie Bedelia (before she played Holly McClane in DIE HARD I & II (Fox ,88,90) as Suzanne ,Moses’ ex-wife, Ron Rifkin ( L.A. CONFIDENTIAL, WB,1991) as her sleazy current boyfriend , as well as a watch or you’ll miss him Mandy Patinkin (YENTL ,UA, 1983) bit as a stoner pool man.

The score is by Bill Conti (ROCKY,UA,1976) ,and the cinematography is by Frank Stanley ( Blake Edwards ‘10”,WB ,1979) . Bill Conti’s score is available to listen to on an isolated music & sound effects track as the disc’s only extra , besides an original theatrical trailer.

The film has been given a 1080p High Definition upgrade (1.85:1 screen ratio) and is a big step up from the Universal DVD-On Demand that was available prior.

Here the image and colors are sharper and not as flat as that transfer and the framing seems less cramped.

The sound is only in English (1.0 DTS- HD MA) but again the original film was mono sound and TWILIGHT TIME has cleaned up the track as much as possible, It is hiss and pop free ,with dialogue and soundtrack both easy to enjoy .

A good updating of the detective thriller, with a superb cast in a clever film looking at the failings and ideals of the counter culture movement, as well as what people are willing to “sell out “ for on both sides of the political spectrum .

Recommended for RICHARD DREYFUSS fans, detective fans, political junkies, and those who like counter culture movies (this being almost a counter-counter-culture film!).

Kevin G Shinnick

 

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BLUE MOVIE(1971) Cult Epics Blu Ray/DVD combo release

BLUE MOVIE (CULT EPICS Blu Ray DVD Combo, Feb 2019) Dutch,1971 89 mins. Color. Dutch, with optional English subtitles.
https://www.paypal.com/webapps/hermes?token=1E9409251B771762H&useraction=commit&mfid=1552229982906_40b8158c54ef8

 

                          “This is Holland Today.” -Michael (Hugo Metsers, BLUE MOVIE)

BLUE MOVIE is an interesting motion picture that became one of the most successful Dutch films ever made (it is still listed as number 5). Its importance cannot be overlooked, as it was a film that showed that an intelligent thoughtful film could be made that contained actual (as well as simulated) sex within it.

Indeed, were it not for films like BLUE MOVIE helping break down and through the censorship that films endured both in Europe and the U.S., it is doubtful that Catherine Breillat, Gaspar Noe, and Lars Von Trier would probably not being creating their works today.

A “blue movie” was one that was considered racier than the standard film of the time. Andy Warhol had done a film also called BLUE MOVIE (1969), which became the first film with explicit sex that received a wide theatrical release in the U.S. and began what became in the 1970s as “porn chic”.

 

 

The 1971 film being reviewed here could have played like a comic sex romp similar to the popular Robin Askwith films from England that followed in the decade, such as CONFESSIONS OF A WINDOW CLEANER (Columbia, 1974), were it not for the thoughtful direction, script and performances. That said, the filmmakers do sometimes see the humor in the various couplings, with one sequence within an elevator showing the couple going at it within the box, while frustrated people gather below wondering what is holding up the lift.

 


Michael (Hugo Metsers*, at age 28 ,starring in his first feature after just two t.v. appearances) has been released from prison after five years ,due to having sex with an under-aged girl .His parole officer Eddie (Helmert Woudenberg )escorts Michael (oddly none of the characters seem to  have a last name, not even those who are married seem to have a surname) to a sterile modern apartment block. Michael’s small apartment seems almost as small as a prison cell, barely furnished. Eddie tells Michael that he will be keeping an eye upon him.

 

 

Still, Michael has urges, and, one night, peers around his balcony and watches his neighbors have sex. Later, he meets with the neighbors, and becomes sexually involved with the wife Elly (Carry Tefsen). He soon finds others within the building are open to sexual exploration, and he is soon having flings with several within the complex, including one amusing bit wherein a husband walks in on his wife and Michael, only to jump in and join them!

 

Michael, however, starts developing actual feelings for Julia (Ine Veen) ,an unmarried mother within the complex. He cares for her but skips a date with her rather than possibly hurting her.

 

He continues exploring the sexual mores of the time, and soon comes upon the idea of making money off the obvious fixations within the complex. He starts a private sex club and his neighbors stand about staring at black & white porn films (which have the most graphic sex of a few seconds that are depicted within Blue Movie), and later nude models walk about and finally a doctor is invited who examines the guests who wish to take part in an orgy .

One of the guests, Newman (Bill van Dijk, later to star on Broadway in the title role of CYRANO THE MUSICAL ,1994 as well as international pop star) commits suicide by leaping from the balcony of the apartment . Things start to fall apart, but Michael realizes that he truly has feelings for Julia. Can sex be truly satisfying without an emotional connection?

 

One of the Dutch Sex Wave, these films helped change how films were reviewed and censored. The producers released several other films that continued and expanded the trail blazed by BLUE MOVIE, and CULT EPICS has several of them available (see trailers mentioned below).

Though low budget, the film shows true talent both in front of and behind the camera.

The most notable is the director of photography is Jan de Bont .Mr. de Bont, after hopping back and forth from other European productions (most notably THE 4TH MAN ,Rob Houwer Productions,1983)and low to mid budget U.S. films ( CUJO, 1983;Sunn Classics/Taft) , he got major notice for his works on such blockbusters as DIE HARD (Fox,1988) before becoming a director himself on the megahit SPEED (Fox 1994),

 

The soundtrack by Juergen Drews (he played a street singer in the giallo SHORT NIGHT OF THE GLASS DOLLS (Deter Geissler Filmproduktion ,1971) is a simple effective score, which at times reminds me of the music used in MIDNIGHT COWBOY (U.A.,1969) .

 

CULT EPICS has done a phenomenal job with their restoration.

A 1080p HD transfer (thanks to the Eye Institute in Amsterdam, using original 16mm and 35mm negative elements), the picture is clean ,with outdoor scenes having a strong blue tinge . This seems to be more due to the color stock used than any intentional referencing to the title. The film is as sharp as it has probably ever looked.

The DTS-HD Master Audio 2.0 mono track on the blu ray Dolby Digital dual Mono sound is crisp and clear, with no noticeable pops in the Dutch language only soundtrack. Optional English subtitles are easy to read.
Extras on the discs include

-A 1971 Interview from the director Wim Verstappen (who passed way in 2004) who discusses (in Dutch, with burnt in English subtitles) about making the film, dealing with censors, raising funds outside of the country, and plans for a thriller.

-A 2018 interview with producer Pim de la Parra while he was attending a retrospective of the “Dutch Sex Wave “. We learn that the director based his film upon sexploitation films that he had seen when he had visited New York.

 

-Another 2018 interview (in English) with Hugo Metsers Jr, son of the lead actor. He talks about seeing this film when he was quite young, and how seeing his father was the star destroyed any eroticism the film might have had upon him. He also recalls his father is happier with stage work over film.

 

– A short piece on, the Eye Film Institute. The organization is dedicated to the preservation of film, particularly Dutch works. Also, in their collections are rare film books, posters, and publicity material, as well as screening rooms. By the way, should you wish to check out their website in English, https://www.eyefilm.nl/en . The structure, built near the river in Amsterdam, looks like the Sydney Opera House mated with the MOMA in New York!

– A poster and photo gallery for BLUE MOVIE.

-Four trailers for films by the same production team (Pim & Wim’s Scorpio Films), including

BLUE MOVIE (which gives you an idea of how the film may have looked before the restoration),

OBSESSIONS (1969 ,which shows a strong Hitchcock influence as well as a Bernard Herrmann score that he used from pieces he created back in 1957 for the CBS Music Library!) available from Cult Epics http://www.cultepics.com/product-detail/obsessions/

 

FRANK & EVA (1973, also starring Metsers) http://www.cultepics.com/product-detail/frank-eva/ ,

and MY NIGHTS WITH SUSAN, SANDRA, OLGA and JULIE (1975 ,that appears to be a more erotic variant of THE BEGUILED ,Universal, 1971) ,currently not listed as available from Cult Epics.

Recommended, especially for fans of foreign films, art house, and erotica.

Kudos to Cult Epics for the care that they give to these films.

Kevin G Shinnick

*- there is another Dutch actor, also named Hugo Metsers, who was only about 3 when BLUE MOVIE was made.

 

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