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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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BAD SAMARITAN

giphy (1)

 

BAD SAMARITAN is a superior example of the serial killer thriller genre.

Opening in 2000 theatres in May 2018, the film did not do well in its three week run ( making only $3,435,047 ) . It’s distributor , Electric Entertainment, who produced several television  and theatrical  co productions) has released three motion pictures ,all of which had high profile stars (BLACKWAY starring Anthony Hopkins in 2016; LBJ directed by Rob Reiner and starring Woody Harrelson in the title role in 2017; and now this film) but have not registered a blip on the radar financially.  The real shame is that two of them films(I have not seen BLACKWAY to honestly comment) are superb motion pictures.

BAD-SAMARITAN-Dean-Devlin2-300x200

 

Back to BAD SAMARITAN . Directed by Dean Devlin (INDEPENDENCE DAY) with  true style , and a clever screenplay by actor writer Brandon Boyce ( his skill as a thriller writer were in full view in  his adaptation of Stephen King‘s APT PUPIL ,Columbia,1998), the film, set in present day Portland Oregon ,makes full use of modern technology .

 

Bad-Samaritan-Robert-SheehanAmateur photographer Sean Falco      (Irish  actor Robert Sheehan , who appeared in Devlin‘s noisy but empty  GEOSTORM ,WB/Electric ,2017)  also  works with his best friend Derek (Carlito Olivero , who began in show biz  as a lead singer in a revamped Menudo ) parking cars at an upper class restaurant. This job also allows them to pilfer the homes of those in the eatery, since it is obvious that they are not home, often using the victim’s own cars to drive to and from the burglary! Sean takes mostly items that won’t be noticed ,such as photographing a gift card’s info and number, as  the card itself isn’t needed to purchase items online.

 

Screen-Shot-2018-02-07-at-12.00.52-PM-1200x520

 

One day a rich self centered Cale Erendreich  (an absolutely terrific David Tennant, making one forget his DR WHO persona for BBC TV from 2005-2010) drives up in a $200,000 Maserati ,and his attitude spurs  Sean to go to Cale’s home and rob it.  However, when he breaks in, he finds a woman bound and gagged (Irish actress Kerry Condon ,from AMC tv‘s BETTER CALL SAUL ,2015-present). He ungags her but she points out that the house is wired to be control and surveilled remotely by Cale from his phone . In a moment, Sean gets fearful and yells I’m sorry to the imprisoned woman ,and flees.

bad-samaritan-2

         Ah, the glamorous life of a film actress. 

Getting the car back to a waiting Cale, a guilt ridden Sean contacts the police, which brings him to the attention of Cale . Cale decides that Sean needs correcting ,and thus begins to systematically destroy everything that the young man cherishes , while the police find Sean’s stories less than credible, especially when they check out Cale’s home and discover nothing. Bad-Samaritan

 

The tale becomes then one where not only must Sean try and save the unknown woman, but he must also try and hang onto his own existence. Bad-Samaritan-movie

 

Interestingly, three of the main leads are from the U.K., with Tennant and Condon  mastering American accents, while Sheehan is allowed to use his natural Irish accent).

Bad-Samaritan-1-600x400

Cinematography by David Connell (who had worked with Devlin on the tv series, THE LIBRARIANS( Electric , 2014-8) is sharp ,and makes marvelous use of cold blues as well as sterile clean white rooms . The music by Joshua LoDuca   ( tv’s ASH VS THE EVIL DEAD  , Renaissance/Starz,2015-18)is quite superb at underlining  and supporting the suspense ,with several well placed stings to accentuate jump moments.

 

Dean-Devlin-Bad-Samaritan-interview

 Is he more creepy dead eyed and emotionless? 

david-tennant-bad-samaritan

or more creepy smirking ?

 

91ycMi9TkHL._SX385_The film is definitely worth seeking out, and has been released on DVD and Blu Ray from Sony Home Entertainment.  The Blu Ray is Region A ,and features a running audio commentary by Devlin and Boyce, as well as deleted scenes as well as optional subtitles.

Bad_Samaritan_-_4

It can also be rented/ purchased on AMAZON PRIME (available for free viewing to Amazon Prime Subscribers.  https://www.amazon.com/Bad-Samaritan-David-Tennant/dp/B07F1P5L19/ref=tmm_aiv_swatch_0?_encoding=UTF8&qid=&sr=

image4

Seek out the BAD SAMARITAN, and pray that he does not seek YOU out.

Screen-Shot-2018-04-12-at-4.02.07-PM

-HIGHLY RECOMMENDED.

Kevin  G Shinnick

 

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BOSS (Kit Parker Blu Ray/DVD combo)

BOSS (Kit Parker Blu Ray/DVD combo)
Dimension ,1975 color. Rated PG .87 mins. Region A/1. Release August 28,2018. Also known as BOSS NIGGER; THE BLACK BOUNTY HUNTER

https://www.amazon.com/Blu-ray-Williamson-DUrville-William-Armstrong/dp/B07C5K53N4/ref=tmm_blu_swatch_0?_encoding=UTF8&qid=&sr=.

If you ever wondered what BLAZING SADDLES(1973,W.B.) might have looked like done as a straightforward film, BOSS should give you an idea.

Fred “The Hammer ” Williamson, the former football star’s initial forays into acting were in such films as M*A*S*H (1970, Fox) as well as Diane Carroll’s boyfriend on T.V.’s JULIA (1968-71, Fox/NBC). The Larry Cohen actioner BLACK CAESAR (1973, AIP) featured him as a man who climbs his way up in the underworld, and THREE THE HARD WAY (1974, A.A.) solidified his status as an action star.

 

 

Williamson decided the first film he would co-produce himself would be based upon 20-page treatment he showed to director Jack Arnold (they had worked together on the Warner Brother actioner BLACK EYE,1974). Dimension Pictures decided to release the film and so production began on a town set left over from the big budget Gene Kelly film THE CHEYENNE SOCIAL CLUB (1970, National General) in Santa Fe New Mexico.

 

 THE CHEYENNE’S SOCIAL CLUB set used for BOSS

Boss (Williamson) and his sidekick Amos (D’Urville Martin, who directed DOLEMITE, Dimension,1975) a former slave, are two bounty hunters who decide to become the law in a small town when they save a woman named Clara Mae (Carmen Hayworth) from a pack of outlaws. On one of the men they killed while saving her they find a letter from the mayor of the town of San Miguel that invites the possessor of the letter to become the new sheriff. The bounty hunters also find out that a man they are tracking, Jed Clayton (cult baddie William Smith, best known for playing Falconetti on the miniseries RICH MAN POOR MAN ,1976, Universal TV, as well as the vampire hunting son in GRAVE OF THE VAMPIRE ,1972, Millenium), also spends time in the town and so they decide to escort Clara Mae there.

Boss gives the letter to the mayor (western great R.G. Armstrong) who is forced to accept them as the new law. They set upon their task with zeal as they confront members of Clayton’s gang, killing and wounding several of them.

 

 

The new laws that the bounty hunters post does not make them popular with the racists town folk, resulting in a few well-dressed town folk (including the bank President) having to pay a fine or a stay in the cell in the sheriff’s office. The “N” word is tossed about as readily as at a trump rally, but the two bounty hunters put their bigoted butts behind bars or make them pay for their words. Not everyone is a racist in town, exemplified by local school marm Miss Pruitt (Barbara Leigh, who later co-starred with William Smith in SEVEN,1979,AIP).

 

Things escalate as they always do with a final showdown between boss and Clayton.

Black westerns were nothing new (going back as least as far as Norman Film Manufacturing Co’s CRIMSON SKULL ,1922), but in the 1960s and 1970s, they went from black only cinemas to mainstream theatres. Films like SGT. RUTLEDGE (1960, WB) began to finally acknowledge that people of color made up a lot of the history of the American West. Indeed, the character of The Lone Ranger may have been inspired by the exploits of the first black Marshall Bass Reeves.

The 1970s though allowed black stars to shine and take the lead in a variety of films, including westerns.

No longer the sidekick, black performers were front and center of the action.

Williamson was born to play the action hero, with his good looks and natural athleticism, one could readily accept him facing down the bad guys. He was wise enough to surround himself with familiar western faces like R.G. Armstrong (PAT GARRETT & BILLY THE KID, 1973.MGM, as well as numerous Sam Peckinpah films) and Don “Red” Barry (star of many Republic Westerns, here playing a bad guy).

The direction by Jack Arnold is effective , using creativity to make his film look as exciting as possible. One example was clever editing when a horse was to run over a small child.

 

BOSS was released previously by VCI /Sprocket Vault /Kit Parker in 2008. This Kit Parker BLU RAY has been given a 1080p resolution release, with an aspect ratio of 2.35:1. The film has been cleaned up, but there are still some color shifts due no doubt from the negative fading. A full restoration for this film probably would have been prohibitively expensive, and the print is quite watchable, and I am sure in much better condition than the worn-out prints shown in many grindhouse and drive in theatres of the period.

The audio is an English 2.0 mono track. It is clear, and the dialogue is easy to understand, along with all the sound effects and music. For the hard of hearing, there is an optional white lettering subtitle in English.

The extras on this Kit Parker BLU RAY release are all ported over from the VCI release.

A CONVERSATION WITH FRED “THE HAMMER” WILLIAMSON with Joel Blumberg. Shot ten years ago, it is amazing that Williamson appears to have hardly aged in the 33 years since he shot the film. He brags that a film he did for Universal ,THAT MAN BOLT (1973), was the first major studio film to have a black action star, forgetting MGM produced SHAFT in 1971. Still, he was among the first, and indeed with his own production company (PO BOY) was able to call the shots that he was the hero and got the girl.

 

A BOSS MEMORY (8 min) with producer/ director & UCLA film prof Myrl A. Schreibman ( he was the associate producer on BOSS).Schreibman got into film working with Jack Arnold .After Arnold had directed BLACK EYE, Arnold brought Schreibman aboard for this film .He talks about their filming the big fight scene between Smith (who as cast because he looked like he would be an equal match in a fight) & Williamson while a dust devil storm raged outside with ho

wling winds.

JACK ARNOLD TRIBUTE by producer Myrl Schreibman– For any fan of 1950s science fiction, Jack Arnold was the go -to guy in the 1950s (CREATURE FROM THE BLACK LAGOON,1954, Universal )before he transitioned to TV on such shows as GILLIGAN’S ISLAND ( 1964-1967,CBS).Schreibman lets us know that Arnold began as actor, but when in the Army ,trained in their film division under famed filmmaker Robert Flaherty(NANOOK OF THE NORTH, 1922,Pathe) .Returning to civilian life, he did a documentary called WITH THESE HANDS (1950 ,ILGWU ) about the Triangle Shirtwaist Fire. The featurette was Oscar nominated, which led to his career at Universalhttps://www.youtube.com/watch?reload=9&v=1OKcJcJ4TfA

 

The disc also has the original theatrical trailer :  https://www.youtube.com/watch?v=fWDTw7IjeiI

 

The BLU RAY also has a reversible cover, using the more politically safe version, or the or original poster and art.

This is a fun action adventure and a good addition to any fans of
Westerns
-Blaxploitation
-Fred Williamson.

Kevin G Shinnick

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THE SONG OF SOLOMON (2018) MVD Blu Ray

             THE SONG OF SOLOMON (Released August 14,2018). MVD BLU RAY $24.95

https://www.amazon.com/Song-Solomon-Blu-ray-Gene-Palubicki/dp/B07CSLNHXM

(also available separately on DVD ($21.95) a Limited Edition (Blu-Ray/DVD of the film, and a CD soundtrack,3 discs) $39.98.)

Region A/1 NTSC. English. 1 disc .NR. 86 mins. Color. Unearthed Films. Dolby Digital 2.0. 1.85:1/16:9
The disc reviewed was the single Blu Ray disc.

When a film’s cover blurb has a quote: ‘In this critic’s opinion better than THE EXORCIST” (Spencer Evatt, House of Tortured Souls), you set expectations for something spectacular. Sadly, the film falls far short of the 1973 W.B. masterpiece. On its own, however, it is not a movie to be lightly dismissed.


T.S.O.S. is considered part of the American Guinea Pig series (begun in 2014 by Unearthed Films). The American Guinea Pig films are basically just gore effects and not much more. Wisely, they chose not to put the American Guinea Pig imprimatur on the cover, as it would perhaps limit its audience.

That said, gore fans will have a field day with a series of superior practical effects (no cgi snapping bones here, its on set splatter).


Indeed, the film is technically one of the better indie horror films that I have seen, with super sharp photography and cinematography, music and as mentioned in makeup trickery.

Where the film fails, and it is a problem that haunts a lot of indie films, is in the acting and pacing. Most of the cast either say their lines with an indifference that means they could as well just be going over their grocery list rather than a possession leading to many mutilations and murders, or with a stilted seriousness of trying too hard.

 

Writer/producer /director Stephen Biro is the founder / President of Unearthed Films. Besides his own work, unearthed has released several obscure Asian films, as well as an upcoming October 2018 release of the sadly neglected H.P. Lovecraft THE UNNAMEABLE (1988). Biro is also an author, who written several books about God and The Devil, as well screenplays for others.

 

T.S.O.S. opens with Mary’s father (one of the film’s make-up artists) having a screaming fit at his daughter, ending with him taking a knife, slitting his own throat, and then, reaching into the wound and pulling out his own tongue (sometimes referred to as a “Columbian necktie”, due to it being an act of mutilation done by drug cartels).

 

 

Mary (very busy actress /director Jessica Cameron; TRUTH OR DARE, Small Town Girl Productions,2013) is possessed by a demon and the Church sends in several exorcists to try and drive the Demon from the young woman.

The priests and their associates suffer several terrifying deaths (tearing out one’s own eyes, another pulls out his own tongue- this film doesn’t like tongues!) as the demon grows stronger with each attempt at driving it out.

However, we also begin to wonder is the Church trying to drive the Demon out, or bring about the return of the Anti-Christ?

There are a lot of interesting ideas in the film, but the performers, as I mentioned, for the most part, let the film down. A stronger cast would have made this a much more powerful film.


T.S.O.S. was produced in part due to a very successful Indiegogo campaign (over $52,000 raised, or 1497% of original goal), so there are a lot of fans who wish to see more of Biro’s work.

Those fans will be pleased at the 100 % all practical effects within the film, as well as appearances by people like Jim Van Bebber (THE MANSON FAMILY, Dark Sky,2005) as Father Blake getting a gory comeuppance.

The rituals of exorcism seem to try for a level of authenticity not seen in most films that deal with the subject, so kudos to the people going the extra mile.

The Blu Ray is superb transfer of the HD 4K cinematography by Chris Hilleke (ABC’s OF DEATH, Magnet Releasing 2012). The sharpness and color put many a larger budget film to shame. The Dolby 2.0 sound is good, with a nice mix of dialogue and music. Some of the sound effects needed a bit more punch to them, and some of the dialogue seems a bit echoey, due to shooting in real locales, but that is no fault of the transfer.

The music, by the way, includes some by Gene Palubicki from the group Angel Corpse, who portrayed Father Corbin in movie. The score works well with the picture, and one can see why they added a CD soundtrack to the limited special edition.

Extras on the disc include:

-A commentary track by director Biro and star Jessica Cameron. Their passion and pride for the final product comes through on the running commentary, as well as a mutual admiration for each other.

-A second commentary track has director Biro this time with effects whizzes Marcus Koch and Jerami Cruise.

-On camera Interview with actress Jessica Cameron
-Interview with writer/director Stephen Biro
-Interview with SPFX artist Marcus Koch
-Interview with DOP Chris Hilleke
-Interview with actor Gene Palluvicki
-Interview with actor David McMahon

-A behind the scenes documentary on how the practical effects were done. This goes from the planning stages, planning where the real person will bend and where the fake limbs for breaking bones will be added, the molding and life masks of the lead actress, on set touch ups, as well as the construction of the special bed used in the movie. One nearly gags watching the poor performers forcing fake intestines and things into their mouths to pull them out as the cameras roll. Who says show business is all glamor?

-An Outtake reel- scenes with clap boards and prepping of sequences as well as bloopers.

-Photo Gallery.

Overall, one of the more interesting variants on the exorcism horror genre, let down by the performances.

Still, for fans of grue, you will not be disappointed.

-Kevin G Shinnick

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NEXT STOP, GREENWICH VILLAGE (Fox,1976,111 min.color) Blu-Ray Twilight Time $29.95

                                                                                NEXT STOP, GREENWICH VILLAGE

(Fox,1976,111 min.color) Blu-Ray Twilight Time $29.95 https://www.twilighttimemovies.com/next-stop-greenwich-village-blu-ray/ released May 22,2018 limited to 3,000 copies only.

 

While not as well known or as financially successful as AN UNMARRIED WOMAN (Fox,1978) or BOB &CAROL & TED & ALICE (Columbia ,1969), to me NEXT STOP GREENWICH VILLAGE is writer/producer/actor/director Paul Mazursky’s masterpiece that can be revisited again and again.

A semi-autobiographical work, N.S.G.V. perfectly captures the mood of a vibrant bohemian culture that defined the Village scene until the early 2000s, when the area grew too expensive and the quirky and energetic art, individualism, and yes, just plain fun crazy inhabitants were driven out, and the cozy brownstones and shops turned into expensive high-rises and expensive pretentious stores that lack any personality.

 

Much of the credit must go to the casting geniuses of Juliet Taylor and Sylvia Fay (background). Ms. Taylor and the late Ms. Fay (if you ever saw tv’s  FRIENDS(W.B.,1994-2004), actress June Gable obviously based her character of the chain-smoking Estelle on the late Sylvia Fay) were the unsung heroes of NY casting.

Unlike many casting directors today, they would attend Off -Off Broadway shows, seeking out new interesting faces and talent.

That is how Ms. Taylor came across actor Lenny Baker. The actor was busy working in Off Broadway shows, when she brought him to the attention of director Mazursky very close to the start of actual filming. The role fit the actor to a “t”, and he went on to win a Tony Award in 1977 for his role in the musical I LOVE MY WIFE. It is a major shame that illness took him from audiences too soon, dying from AIDS in 1982 at age 37.

   Ilene Graff as Cleo and Lenny Baker as Alvin in I Love My Wife

 

The film is also filled with a lot of New York stage actors who were still unknown at the time, including leading lady Ellen Greene (later most famous for her star turn both on stage and off as a blonde tressed Audrey in the musical LITTLE SHOPPE OF HORRORS) and a blink and you’ll miss him Bill Murray. This film and many New York lensed films of the 1970s truly did live up to the maxim, ‘They had faces then”.

 

Surrounding the talented newcomers were seasoned stars and supporting actors like Shelley Winters, Lou Jacobi, and Mike Kellin (whose last film role was as Mel in SLEEPAWAY CAMP, American Eagle, 1983).

 

• The Lapinskis are a nice if eccentric working class Jewish family living in Brooklyn ,1953 when son Lenny Lapinski (Baker) decides it’s time for him to move to Manhattan and pursue his dream of becoming an actor, much as the idea brings agita to his mother Fay (Winters) and his somewhat henpecked dad Ben (Kallin).

• Finding a flat in a Village brownstone, he is soon surrounded by loving bohemian friends who are artistically hungry, assured self-centered intellectuals, or creating lives and backgrounds for themselves that help them survive the real world. Among this idiosyncratic crew are Anita (Lois Smith), a high-strung friend who contemplates suicide, Robert (Christopher Walken) as the smug poet Robert, and Bernstein a black gay man who is full of fanciful stories of his life (Antonio Vargas, whom if you only know him as Huggy Bear from tv’s STARSKY & HUTCH, Spelling-Goldberg,1975-79, you will be astonished by his brilliant and touching turn here), hanger on Connie (Dori Bremmer).

The cast and director Mazursky

 

Lenny also a girlfriend, free spirit Sarah Roth (Greene). Their relationship is very sexual, in contrast to the normal conformity of the era. She enjoys their relationship but doesn’t want to be merely someone’s girlfriend. The problem is she isn’t sure exactly where she fits in the world.

 

That is not an issue with Lenny, who goes to acting classes, hoping like so many to be the next Brando, while working in an health food shop run by Herb (Lou Jacobi) and his wife (Helen Hanft, a fixture in Off -Off and Off-Broadway productions).

 

Along the way, we have many funny and tragic events happen along the way to Lenny’s journey to achieve stardom. Moments perfectly capture what feel honest and true of the period, including rent parties (a $1 a head, when a flat could be had for $50 a month!).

 

Among the names mentioned above, keep an eye out for Jeff Goldblum as a self-centered actor who studied at “The Studio” whose big mouth costs him from even being able to audition, Joe Spinnell as a cop who watches Lenny performing on a subway platform, and Rutanya Alda as an uncredited party guest.

 

The film was lensed by Arthur J. Ornitz (son of one of the Hollywood Ten ,Samuel Ornitz),who had been behind the camera for such films as THE BOYS IN THE BAND (National General,1970),SERPICO (Paramount,1973) and DEATH WISH (Paramount,1974) ,which all used a similar grainy look and brown palette in color, but he was also the cinematographer on HOUSE OF DARK SHADOWS (MGM,1970), so he was not limited in his color use or cinematic style .

 

Bill Conti was the composer, the same year that he wrote his score for ROCKY (U.A.,1976). For N.S.G.V., his score is a bluesy jazzy score that perfect evokes the era, often using pieces from the Dave Brubeck Quartet (the 1953 set film has Brubeck’s 1959 composition ‘Blue Rondo a la Turk”) or Charlie Parker.

 

 Don’t you hate when your parents walk in during sex?                                                                    

 

 

The film was mostly shot on location in NYC, though you would be hard pressed to find many of the locations nowadays. A shot looking toward the city from the subway platform clearly shows on the far-left buildings that were not there in the 1950s, but this, like the Brubeck note, are so nitpicky, that if you notice them while seeing the film then you aren’t paying attention to the brilliance of the storytelling.

 

You can still recognize the location on 7th Avenue South and Christopher Street (Village Cigar is still there) and you can still a nice meal at Café Reggio on 119 MacDougal Street, as well as Julius’s Bar at 159 W 10th Street, which is NYC’s oldest Gay Bar (it was also used in a scene for the film of THE BOYS IN THE BAND).

The commentary track by Mazursky (more on in a bit) mentions that Alan Ladd Jr, then head of 20th Century Fox, gave the director a lot of input on the film, up to and including the poster design by graphic designer Milton Glaser. Mazursky leaves it at that, but I was curious as to why he felt that was important to reference.

 

 

Though his imagery is well known even when his name is not (the original Broadway production of ANGELS IN AMERICA, for Bob Dylan, and the I LOVE NY logo, this is one of the illustrators few movie posters.

 

The more Norman Rockwell-ish design is by artist Birney Lettick, whose artwork graced movie posters for many a major American film across the genres..

 

The Blu Ray from Twilight Time is another winner from this company. An upgrade in picture quality from the previous DVD release from Fox, this is a 1080p High definition transfer in 1:85:1 ratio. The original grain and dark colors perfectly capture the look of the film when it played theatrically in 1976, to critical praise but small audiences in the U.S. It found a more appreciative audience for its European screenings, but slowly and surely it has been discovered by new audiences with each release. This stands as the one that fans will want to own.

The sound is available to listen to in DTS-HD MA 2.0 stereo as well as the original mono sound. I really didn’t notice any major difference, but since this is a dialogue driven score, it really doesn’t affect the overall enjoyment.

 

There are optional English SDH subtitles.

 

Other extras include

A very warm and informative commentary track recorded for the 2005 DVD release by director Mazursky and Ellen Greene. Though recorded separately, they are very nicely edited together for a commentary track that you may wish to listen to more often than other more technical but cold commentaries heard on bigger budgeted new releases. The joy that each have on recalling the film, and how it affected each one, is engrossing.

 

Another audio track allows you to hear the music track isolated in DTS-HD MA 2.0 stereo. This is a fun score to listen to while you are doing things, like perhaps writing a film review.

The Original Theatrical Trailer- this will give you an idea of how much the film elements have been cleaned, as well as idea of how the studio sold films at the time.

 

 

There is a reversible case sleeve as well as a nice booklet with liner notes by Julie Kirgo, ending with some more personal commentary than usual that shows the power of this film.

This is a must have addition to anyone who

-Loves Great Independent Style filmmaking (ironically, it was greenlit by Alan Ladd Jr, then head of 20th Century Fox)
-seeing famous actors in their early works
-Nostalgia
-Superlative Storytelling.

 

 

Heck, I think I am going to watch it again right now.

HIGHEST RECOMMENDATION!
Get it now- remember -only 3,000 pressing.

-Kevin G Shinnick-

If you enjoyed this film, may I also recommend MOSCOW ON THE HUDSON https://www.twilighttimemovies.com/moscow-on-the-hudson-blu-ray/
And
BOB & CAROL & TED & ALICE
https://www.twilighttimemovies.com/bob-carol-ted-alice-blu-ray/
, also directed by Paul Mazursky.

Remember to like and follow us here: https://scarletthefilmmagazine.wordpress.com/

Also like and follow us on Facebook: https://www.facebook.com/SCARLETreviews/

 

 

 

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1960s, American General, exploitation, fantasy, ghosts, Horror, independent, john carradine, monsters, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, Wade Williams, wierd, zombies

DAVID L HEWITT and his GALLERY OF HORROR

 

GALLERY OF HORROR (1967)
director: David L. Hewitt .American General Pictures. color .widescreen. 83 min.

Alternative Titles
Dr. Terror’s Gallery of Horrors
Return from the Past
The Blood Suckers
Cast
Lon Chaney John Carradine Rochelle Hudson Roger Gentry Ron Doyle Karen Joy Vic McGee Ron Brogan Margaret Moore Gray Daniels Mitch Evans Joey Benson

PRESENTING
1 ‘The Witches Clock’
2 ‘King Vampire’
3 ‘Monster Raiders’
4 ‘Spark of Life’
5 ‘Count Alucard’

Here is horror anthology that you may have seen on late night television but thought that you had only imagined it .

Seriously, this film lifts clips from better Roger Corman  films, then inserts them throughout this picture to add production value (think of that- Corman giving production value!!).

 

Stiff acting, staging, accents that make Dick Van Dyke  in MARY POPPINS (Disney,1964) sound like Laurence Olivier ,the barest of sets ,often just a wall flat with windows ,or a darkened sound stage street with a lamp, helps give this film an impoverished look . Not to the level of an Ed Wood or Andy Milligan , but as off beat in its own peculiar way .

David L. Hewitt ,the auteur 0f all this, was the man behind THE WIZARD OF MARS  (John Carradine again)MONSTERS CRASH THE PAJAMA PARTY(both 1965) JOURNEY TO THE CENTER OF TIME(1967 ),THE MIGHTY GORGA (1969 );all films with special (de)fects ,and the non fantasy The Girls from Thunder Strip in 1970.

 

He began as a stage magician ,until he met Forrest J Ackerman .  He had an idea for a film script, and Ackerman put him in contact with science fiction writer and filmmaker Ib Melchior (AIP’s 1959 ANGRY RED PLANET ,and the screenplay for the Danish REPTILICUS ,AIP 1961).  Melchior would later pen the short story “The Racer”which would be adapted to the screen as DEATH RACE 2000(New World,1975).

Melchior and Hewitt worked on reworking the ambitious story (originally known as “The Trap”) and shot some test footage to convince investors that they could make the film on a modest budget.  Hewitt was able to create several effects that could be shot live on set, as they were variations of several magician’s tricks. Forrest  J Ackerman even gets a nice cameo doing one of the tricks.

The film became THE TIME TRAVELLERS (AIP,1964),an ambitious tale of time paradoxes and the future,shot on a budget of $250,000.

Trying to go it alone, Hewitt created a film that ran only 33 minutes. Not wishing to lose his investment, he created a stage show involving magic tricks ,performers and people in costumes (probably some poorly underpaid usher) who would run through the theatre onto the stage. All this would then  seque into the film . The result was MONSTERS CRASH THE PAJAMA PARTY (1965).https://www.youtube.com/watch?v=2crI6OdUOA0

 

Hewitt’s next picture was THE WIZARD OF MARS . Shot on a budget of $33,000 , the film was a science fiction retworking of  Wizard Of Oz set upon the Red Planet. John Carradine worked for Hewitt for the first time, shot against a blue screen as a transparent figure appearing against a star field . The money was raised by a group of vending machine operators . Since it was a cash business, the operators looked for ways to invest ,and felt that Hewitt was worth the risk.

THE WIZARD OF MARS was edited by Tom Graeff . If the name is familiar to you, he was the mad “genius ” behind 1959’s TEENAGERS FROM OUTER SPACE (W.B.). This was Graeff’s last known film work, with him committing suicide in 1970 .

T.W.O.M was an ambitious film filmed with effects, but it had no one willing to distribute it.  The investors, having no experience in film at all, started their own distribution company ,American General Pictures.

Knowing they did not have the resources to keep producing films, they picked up other movies that had limited release or had been sitting upon the shelves. One of the films they picked up was SPIDER BABY . The bizarre but original Jack Hill film starring Lon Chaney Jr  had been shot in 1964 , but not released until 1967 . Being in black and white made it a harder sell, even when changing the name often to The Liver EatersAttack of the Liver EatersCannibal Orgy, and The Maddest Story Ever Told.

The same year Hewitt created GALLERY OF HORROR ,he also made JOURNEY TO THE CENTER OF TIME . Very talkative ,with some effects lifted from other films, Scott Brady took on the John Carradine type role in this (was Carradine busy filming HILLBILLIES IN THE HAUNTED HOUSE??)  . Antony Eisley appears as the nominal hero.The film seems like a variation of the superior THE TIME TRAVELLERS.

As embarassing as some of these films were , none can reach the levels of ineptitude that is THE MIGHTY GORGA (1969).Poor Scott Brady and Anthony Eisley both appear in this jawdroppingly bad film. Long ago SNL did a sketch about dinosaurs, using purposely fake effects. It was hysterical.

 

Here, you feel that the team was serious about their use of force perspective toy dinosaurs and third rate gorilla costume work. How third rate?Hewitt, who constructed and wore the suit, never bothered creating the lower half .

American General folded after one of the partners disappeared and another partner died from a heart attack. The widow of the third partner felt it wasn’t worth the headache, and let the company fold in 1970.   American General did not make a lot of prints of their films, at best 35  copies for the entire country ,and so they were often played until they were worn so badly that they were unscreenable.

Wizard Of Mars Model work

After this, Hewitt became an effects man for hire ,ironically with some of his own space ship footage from JOURNEY TO THE CENTER OF TIME ending up in the I.I. patchwork film HORROR OF THE BLOOD MONSTERS (1970).

 

The 79 year old Hewitt (born December ,1939) is still with us, having worked on effects as late as 2003 on INSPECTOR GADGET 2 for Disney.

 

However, back to the “gallery ” :

John Carradine, in tux, is the host for several tales ,bringing to mind Boris Karloff in the vastly superior  BLACK SABBATH (AIP,1963). DR TERRORS HOUSE OF HORRORS (Amicus/Paramount,1965) was also big hit  ,which is why one of the alternate titles for this film attached DR TERROR’s for one of its releases.

Lon Chaney appears in a tale wherein he references Dr Frankenstein . Chaney is a teaching professor who ,with the aid of two med students, revive a corpse. It must have been nice for him not to be the one on the slab for once. Oh, wait…

Though top billed, Chaney could have shot his whole part in a day .

Carradine probably shot his narrator role reading off of cue cards in front of a blue screen, with his part in the first story, THE WITCHES CLOCK, probably taking all of an afternoon.

 

Most of the rest of the cast seem to declaim their lines as if trying to reach the back of a theatre .

The sound at times is very echoey, meaning that sound proofing was not added to the studio wherein they filmed.

That it felt like inferior CREEPY comics stories may be because one of the screenwriters was Russ Jones,founder of that magazine. He had wanted to film to feel like a comic book, but the distributors and Hewitt vetoed that idea,except for the intentional splash wipes .Audiences would have to wait until CREEPSHOW (Laurel,1982).

The music and sound effects are stock ,coming from a company called COMMERCIAL SOUND RECORDERS ,which sound like a bunch of fans in a basement full of machines .

Wade Williams released a DVD of the film from a print that he owned . That the film looks as good as it does means it was not shown as often as many other copies of the title were .G.O.H. astonishly shot widescreen  ( 2.35:1 )and in color ,which added to the budget perhaps but somehow makes the picture as a whole  look a whole lot cheaper. http://www.wadewilliamscollection.com/ft-haunted.html 

I didn’t go into great detail about the film to allow you to “experience”it for yourself .

This film is Screaming out for a MST3K /Rifftrax treatment.

Kevin G Shinnick

 

ps- some information on David Hewitt, American General, and their films was taken from Fred Olen Ray‘s wonderful 1991 book from MacFarland : THE NEW POVERTY ROW  .https://mcfarlandbooks.com/product/the-new-poverty-row/

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