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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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Enter for a chance to win a copy of THE MIMIC Blu Ray .Contest ends June 1,2018.
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THE MIMIC (2017) ( update -CONTEST NOW ENDED-6.3.2018)Enter for a chance to win a blu ray copy from Well Go USA

UPDATE- this contest is now concluded. Thank you for all the entries. The winner is being contacted and their prize is being mailed to them- Thank you to everyone who played. – Keep following us for future contests and articles.-Kevin

Well Go USA (http://www.wellgousa.com/) is offering one lucky SCARLET reader a chance to win a blu ray disc of their new release ,                                                                                                         

  THE MIMIC .

Enter for a chance to win a copy of THE MIMIC Blu Ray .Contest ends June 1,2018.

Enter for a chance to win a copy of THE MIMIC Blu Ray .Contest ends                          June 1,2018.

CONTEST NOW OVER-

Screenanarchy.com posted : “…Huh Jung directs what is is probably the best commercial Korean horror film in years.”

To Enter , send an email to

SCARLETTHEFILMMAG@yahoo.com

with the heading ” MIMIC CONTEST”

and in the body of the letter, tell us what you think the scariest movie involving a child was and why.
Also include your name and an address .

ONE winner will be drawn at random from all entries on June 2,2018 . The winner will be emailed a notification of their win. Contest ends June 1,2018.

THE MIMIC (Well Go USA),releasing on DVD as well as BLU RAY ON  June 12,2018  is a South Korean horror film directed by Huh Jung (HIDE & SEEK).

 

Based upon the legend of the ‘Tiger Of Mt. Jang”,in the film
a family gets involved with a mysterious creature known as “Jangsanbum.” This creature can imitate a human’s voice and entices children to eat them.

 

The Mimic stars Yum Jung-Ah (Tell Me Something), Park Hyuk-Kwon (A Taxi Driver), Shin Rin-Ah (Ode To My Father), Heo Jin (The Wailing), Kil Hae-Yeon (Missing) and Lee Yool (Hello Murderer).

100 mins. Color . Korean with optional English subtitles. REGION A.

TRAILER
https://youtu.be/d6p-XXamvAU

If you want to order your copy now for purchase (either Blu Ray or DVD )instead of playing the contest  , please go to https://www.amazon.com/Mimic-Blu-ray-Park-Hyeok-kwon/dp/B07CBH6GQT/ref=sr_1_2?ie=UTF8&qid=1527085404&sr=8-2&keywords=the+mimic+blu+ray&dpID=51CtvJK1VgL&preST=_SY300_QL70_&dpSrc=srch

Big thank you to WELLGOUSA.

Like and Follow us . https://scarletthefilmmagazine.wordpress.com

Like and Follow us on Facebook . https://www.facebook.com/SCARLETreviews/

Looking for reviewers , writers, contributors (all sadly unpaid ,but a chance to get your work seen).  Contact Kevin at scarletthefilmmag@yahoo.com

CONTEST IS NOW OVER. Thank you to all who entered. The winner is being contacted and the prize is being sent to them shortly. Keep following us for future contests and articles. -Kevin 6.3.2018

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THE BLOODTHIRSTY TRILOGY (Arrow Blu Ray) THE VAMPIRE DOLL; LAKE OF DRACULA; EVIL OF DRACULA

BLOODTHIRSTY TRILOGY (THE VAMPIRE DOLL; LAKE OF DRACULA; and EVIL OF DRACULA; Toho, 1970-4)

Arrow Blu Ray set release .2 disc set. Color. Japanese with subtitles.

U.S. Release $49.99 s.r.p. https://www.amazon.com/Bloodthirsty-Trilogy-Vampire-Dracula-Special/dp/B07B12HN97

U.K. Release £ 29.99 s.r.p. https://www.amazon.co.uk/Bloodthirsty-Trilogy-Blu-ray-Kayo-Matsuo/dp/B079VCZJC3/ref=sr_1_1?s=dvd&ie=UTF8&qid=1525722582&sr=1-1&keywords=bloodthirsty+trilogy

In the 1960s and early 1970s, vampire films were quite popular, Thanks to Hammer Films, Dracula and his many off-shoots invaded movie theatres and television sets internationally. Many countries made their own variations and even rip offs of the British horror studio’s output.

One country where fantasy films and horror were enjoyed by a wide audience was Japan.
Japanese theatre had a long history of popular ghost stories. Oddly, Japan seems to lack any legends of vampire folklore, the closest being the Yōkai, a malevolent spirit.

Yotsuya Kaidan (四谷怪談 Ghost Story of Yotsuya), written in 1825, was a kabuki ghost story revenge play. So far it has  been adapted for films at least 30 times.

One year after the cinema camera was introduced in the country, local filmmakers made Bake Jizo (Jizo the Spook / 化け地蔵) and Shinin no sosei (Resurrection of a Corpse),1898 ,both films currently presumed lost.

The first film adaptation of Yotsuya Kaidan was made in 1912, and it was filmed some 18 times between 1913 and 1937. All but the 1936 and 1937 films were silent adaptations.

In 1933, a three-reel silent comedy Wasei Kingu Kongu (和製キング・コング, literally  Japanese King Kong) was made, also now sadly missing for modern viewers. Japan made silent films well into the mid-1930s. In 1938, Kong returned for another silent Japanese film, this time released in two parts, King Kong Appears in Edo (江戸に現れたキングコング Edo ni Arawareta Kingu Kongu) .This film ,like so many Japanese films made before the 1950s, is also lost.

From the early to mid-1940s, most of Japanese cinema was turned to the propaganda for the war effort. Still, future great artists like Akira Kurasawa began their careers during this period.

In the 1950s, Japanese films began to get a wider release worldwide. Kurasawa’s brilliant RASHOMON (Toho,1950) won international praise and awards. Ugetsu, Tales of Ugetsu or Ugetsu Monogatari (雨月物語) was a 1953 ghost story from Daiei Studios that won great acclaim.

1954 ,The same year that people were introduced to Seven Samurai (七人の侍 Shichinin no Samurai,Toho), the same studio released a film that would spawn sequels, remakes ,rip-offs ,and introduced the world to Kaiju (giant monster )cinema, Godzilla (ゴジラ Gojira). Both films nearly bankrupted the studio but luckily the international box office rewarded the daring producers . Another supernatural film, The Invisible Avenger (透明人間 Tōmei ningen, literally Invisible Man), loosely based upon the H.G. Wells classic, was released by Toho that same year, but never was given international release.

Between all the monsters stomping all of Tokyo, supernatural tales continued to be popular. Nobuo Nakagawa directed a series of horror films, including The Ghosts of Kasane Swamp (Shintoho Films. 1957), The Mansion of the Ghost Cat (亡霊怪猫屋敷Bōrei kaibyō yashiki, Shintoho, 1958) and The Ghost of Yotsuya (Tokaido Yotsuya kaidan (東海道四谷怪談), another telling of the famous ghost story, Shintoho 1959), and Jigoku (Jigoku (地獄, “Hell”, Shintoho ,1960).

The 1960s continued to have more supernatural tales ,alternating between the giant monsters, and supernatural thrillers, including an interesting hybrid ,GOKE BODY SNATCHER FROM HELL (吸血鬼ゴケミドロ Kyuketsuki Gokemidoro ,which translates to Vampire Gokemidoro, Shochiku,1968).This hybrid vampire /ufo film has an alien invasion using bloodsuckers ,and has a rather bleak ending.

Finally, Toho, one of the oldest of the big four Japanese Film companies, saw the profits Hammer was making on their relatively modest budget horror films, and decided to take a chance on their own three vampire films.

All these films were directed by Michio Yamamoto ( 1933- 2004 ) . Yamamoto began as an assistant director to the great Kurasawa on THRONE OF BLOOD (Kumonosu-jô), the director’s take on the tragedy of Macbeth. He continued as an A.D. until 1969, when Toho let him direct Yaju no fukkatsu , a gangster crime drama.

He was given directorial control on the Hammer influenced but modern setting vampire films that the studio produced between 1970-4. Between films, he directed for Nippon tv some dramas, ending his career in 1976 directing episodes of a tv action drama.

First was The Vampire Doll (幽霊屋敷の恐怖 血を吸う人形 Chi o suu ningyo, Toho,1970, color ,71minutes). THE VAMPIRE DOLL was released in a subtitled form in NY and LA as THE NIGHT OF THE VAMPIRE. THE VAMPIRE DOLL as also been known as BLOODSUCKING DOLL, THE GHOST MANSION’S HORROR: A BLOODSUCKING DOLL, FEAR OF THE GHOST HOUSE: BLOODSUCKING DOLL, and when released on VHS by Paramount, THE LEGACY OF DRACULA.

The film shows that the director and writer Hiroshi Nagano (who doesn’t seem to have any other fantasy credits and worked mostly on television) and Ei Ogawa (who wrote all three vampire films, as well as SPACE AMOEBA (Gezora, Ganime, Kamēba: Kessen! Nankai no Daikaijū  (ゲゾラ・ガニメ・カメーバ 決戦! 南海の大怪獣ba: , , translated as “Gezora, Ganimes, and Kamoebas: Decisive Battle! Giant Monsters of the South Seas ”, Toho, 1970) seemed have studied THE OLD DARK HOUSE (Universal,1932), PSYCHO (Paramount ,1960), and CITY OF THE DEAD(Vulcan,1960), as well as Hammer’s vampire films.

Kazuhiko goes to an isolated house during a rainstorm to reunite with his fiancé, Yuko. Interestingly, the house and cab are depicted via model work.

Upon arriving, the young man is greeted by Genzo, the silent servant, as well as Yuko’s mother, Shido. Kazuhiko is told by Yuko’s mother that the young woman died during a landslide just a few weeks prior. Due to the storm, he must spend the evening, wherein he is awakened by the cry of a woman. It does not end well for him.

We cut to Kazuhiko’s sister Keiko and her boyfriend Hiroshi ,who are concerned that he hasn’t returned or even contacted
them to let them know how he is. They go to the same remote home and are greeted by Shido and Genzo. What they uncover leads to more deaths as the family curse is uncovered.

The film is a mix of Gothic horror (old dark house, stormy night) and Japanese Ghost Story. While the killer is called a vampire, they never spout fangs, instead using a very deadly blade to dispatch their victims. Still, the film is full of atmosphere, and at a brisk 71 minutes, it really moves.

Composer Ricchiro Manabe wrote the scores for all three Toho vampire films. Besides composing for the vampire trilogy, Manabe also wrote the scores for GODZILLA VS HEDORAH (ゴジラ対ヘドラ Gojira tai Hedora, Toho,1971) better known as GODZILLA VS THE SMOG MONSTER; and GODZILLA VS MEGALON ( ゴジラ対メガロ Gojira tai Megaro, Toho,1973).

His scores for this first film is harpsicord, piano, and organ, mixed in with discordant sounds to create a feeling of unease. It also includes some traditional Kokiriko (basically a pair of sticks struck together rhythmically) electric keyboard and flute. At one point it goes a little muzak, but overall, it is quite spare but effective. At times, it reminded me of some of the music from tv’s DARK SHADOWS (ABC TV 1966-1971) https://www.youtube.com/watch?v=J5Kh9z-mExk .

The cinematography by Kazutami Hara is effective, with nicely composed shots that help the mood of the piece. He would skip the next film in the series, only to return for the final entry.

The film must have done well, as the studio made another vampire film the following year with the same director, screenwriter (Ei Ogawa) and composer.

Lake of Dracula (呪いの館 血を吸う眼 Noroi no yakata-Chi o su me, Toho, 1971, also known as also known as Japula, Dracula’s Lust for Blood, The Bloodthirsty Eyes and Lake of Death). After it’s Japanese release, it was given a limited subtitled release in the U.S., followed up by a television dubbed version from UPA under the title LAKE OF DRACULA.

A young girl, Akiko, looking for her lost dog, wanders into a house, where she finds a dead woman and a vampire. We jump ahead years later, where Akiko is now a young woman. She thinks what happened to her was only a dream, until the vampire turns up again, and her dog once again goes missing, only now her sister Natsuko also disappears.

She is attacked by a friend who has been vampirized and brought to the original vampire. Just before he can bite her, two men interrupt the monsters, and they run away.

More near fatal events happen, wherein they discover that the original vampire chasing them is a descendent of Dracula himself!

This film is a more traditional vampire film, with an ancestor of the King of all Vampires playing heavily into the story. The vampire here has a ghastly pale complexion and yellow eyes. The final staking is effective (I understand that this was cut from some tv prints, making a very frustrating viewing for late night tv addicts). Certain points in the film made me think of BRIDES OF DRACULA (Hammer/Universal,1960).


The Hammer influence is strong in the design of the vampire’s mansion , which has a very European look, or at least strong Bernard Robinson construction (kudos to production designer Shigekazu Ikuno, who had worked on the horror film MATANGO, Toho ,1963). The film overall has a feel of a larger budget than its predecessor.

The camerawork by Rokurô Nishigaki is quite good, and it is a shame he didn’t do more genre work.

Three years later, the final film of the series was EVIL OF DRACULA ( 血を吸う薔薇 , literally The Bloodthirsty Rose, Toho,1974). The original cameraman returned to join the other original director, writer and composer.

 

Once again, BRIDES OF DRACULA seem to have had some influence on the plot, along with LUST FOR A VAMPIRE (Hammer, 1971).

Shiraki, a new teacher at the Seimei School for Girls, finds out that he is to become the new Director. The principal has just suffered the death of his wife. That night, Shiraki, who is staying in the principal’s home, is attacked. He wakes up in his own bed, and at first assumes it was all a dream.

However, he goes down into the cellar and finds that the ghastly woman who attacked him the night prior is the occupant of a coffin, namely the principal’s late wife.


Later, one of the female students is attacked and left with two bite marks upon one of her breasts. The school Doctor Shimimura, who also collects local legends, feels that the violence and strange things going on are the result of a vampire.

The origin of this Dracula is quite original, to say the least. If you have seen Martin Scorsese’s SILENCE(Paramount,2016), you will be aware of the 17th Century attempt at bringing Christianity from Europe to Japan. Well, here, Dracula comes into being as a pious man who renounces his faith due to the tortures of the missionaries, and thus is cursed with vampirism! 

This film is a bit more violent and some semi nudity to spice up the proceedings. Once again, the team has done a great job of mixing Western culture with a Japanese spin.

These films were released sparsely in the U.S. in subtitled prints in limited release, as well as dubbed versions, somewhat edited for television by UPA.

Paramount Home Video released the films in the edited dubbed versions on VHS, but they have long been out of print. The prints were rather flat and the copies suffered from pan and scan .

Finally, ARROW FILMS has once again graced us with an amazing presentation of an unjustly obscure film, or in this case, three.  

First off, they have gone to the original film elements for a   1080p High Definition Blu Ray release. The color and image quality are amazingly sharp and clear, with no noticeable speckling or blemishes. Though supposedly low budget, the artisans and artists at Toho bring a professionalism and pride to their work.

The Mono sound is now in a clean uncompressed 1.0 PCM Audio.  The previous VHS release was on certain videos released in the LP (long play) speed, rather than the SP (Standard Play). This softened the picture image as well as flattened the sound.

Though not mixed in any fake stereo, the music and sound effects mix are clear.

The prints used are in the original Japanese, so you can hear the performances of the actors, with very easy to read new English language subtitles.

 

Kim Newman (film historian, as well as author of the delightful ANNO DRACULA book series) provides a nice little video appraisal of the trilogy on disc one.

• Reversible sleeve featuring original and newly commissioned artwork by Matt Griffin (which also graces the discs), while on the flip side are some of the original Japanese theatrical posters.

FIRST PRESSING ONLY: Collector’s booklet featuring new writing on the film by Japanese film expert Jasper Sharp (Historical Dictionary of Japanese Cinema; Scarecrow Press ,2011), illustrated with some beautiful photos from the movies.

Disc One consists THE VAMPIRE DOLL and Kim Newman’s video comments.
Disc Two consists of LAKE OF DRACULA and EVIL OF DRACULA.

The only thing that I could have suggested was perhaps adding alternate audio track of the English dubs from UPA , but perhaps they were too prohibitively expensive to license .

Once again, Arrow Films has given us another must have Blu Ray Collection.

HIGHLY RECOMMENDED.

Kevin G Shinnick

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

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

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

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

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

 

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

 


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

Back to BIRDMAN:


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

 


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

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

 


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

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

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

 


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

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

 

 

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

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

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

 

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

 


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

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

 

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

 

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

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

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

 

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


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

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

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

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

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


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

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

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

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

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

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

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

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

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

-Kevin G Shinnick

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THE STRANGERS:PREY AT NIGHT (March ,2018, theatrical Aviron) Review by Sean Fallon

For what I, Sean Fallon, consider to be the absolute all-time greatest acting performance by a teenage actress in a horror movie, I highly recommend THE STRANGERS: PREY AT NIGHT.

On March 9th, this sequel to 2008’s THE STRANGERS (Rogue), hit the big screen. Director Johannes Roberts does an amazing job with this horror movie that is written by Bryan Bertino and Ben Ketai, and is based on true events.

Bailee Madison who was only seventeen at the time of the filming excels in the leading role of Kinsey, by convincingly selling every line, expression, emotion, and reaction. From sarcastic teenage rebelliousness to extreme panic that borders on hyperventilating, Bailee Madison delivers it all as if she was personally experiencing everything that Kinsey was enduring, whether physically, intellectually, or emotionally. Her acting was so strong that it never looked like acting, but like live footage of a terrified teenage girl fleeing for her life.

The premise behind the movie is that a family of four goes to an aunt and uncle’s trailer park, during the off-season, which leaves it vacant, to spend the night, on the way to bringing the daughter, Kinsey, to a boarding school, after Kinsey got in serious trouble for a behavior (minor spoiler alert) that remains undisclosed in the movie. When they arrive in the trailer park, the aunt and uncle are not there to greet them, but the keys are left for them to get into their trailer. Three masked homicidal maniacs, however, are lurking about.

Martin Henderson and Christina Hendricks portray Kinsey’s parents who are good with her, despite their frustrations. Their love for their children and love for each other is clearly demonstrated, making them both likeable and believable.

The Strangers 2 6-5-17-9807.dng

Actor Lewis Pullman plays Luke, Kinsey’s older brother. Luke and Kinsey have a typical sibling relationship, with the bickering in the car, the name calling and fighting, but with ultimately the love for one another that is above all their conflict. Luke is the central male character in this movie, and the one with whom a male audience will most likely identify with the most. Lewis Pullman’s strong acting performance makes Luke a very believable and relatable character.

The dynamic of a brother/sister relationship at the heart of the movie, rather than a romantic relationship enhances the genuine concern that a male audience has for the well-being of Kinsey, as well. There are no obnoxious teen fornication scenes, and Kinsey is always modestly dressed, never objectified the way teen actresses, or older actresses who portray teenagers typically are in movies and television.

It is much more cinematically effective to watch a fellow human being, an equal journeyer through life, fleeing for hers, than to watch an objectified bimbo making stereotypically stupid decisions. Identifying with Luke and how he wants to protect his younger sister out of genuine pure love furthermore, from a Christian perspective, makes it very easy to obey 1 Timothy 5:2 towards Kinsey. You end up truly caring about Kinsey as a person, irrelevant to whatever misbehavior she may have shown in the past. It no longer matters.

Music from the 1980s, mostly with female lead singers is heard throughout the movie. This is another dynamic shift that works quite well, as the backdrop for emotionally intense scenes.

 

This movie avoids those obnoxious quick cuts that in other horror movies often create viewer frustration by preventing the viewers from mentally processing what is happening on the screen. Instead, the action is clear and present, with intensity that draws the moviegoers right into the world of Luke and Kinsey, keeping us constantly on edge, in a good way, of wanting to see Luke and Kinsey overcome their three biggest obstacles, the three masked homicidal maniacs.

The writing, directing, acting, score, and editing all work together to create a truly great horror movie that contains all the positive elements of horror, while avoiding the stereotypical pitfalls. While there are some cuss words and scenes with blood, the quality of this movie is unmistakable. I highly recommend THE STRANGERS: PREY AT NIGHT.

Sean Fallon

The original THE STRANGERS (Rogue,2008)cost about $ 9 million and made over $52 million during it’s theatrical run .

The new film’s budget has not been released, but in it’s first four days, STRANGERS:PREY AT NIGHT has made $11,270,512 . This is Aviron‘s second release, the first being the Halle Berry thriller KIDNAP (2017) .That film broke even, considering it cost $21 million to produce ,and an estimated $9 million advertising. KIDNAP brought in $30,718,107

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WUTHERING HEIGHTS (1970) Twilight Time Blu Ray

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

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

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

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

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

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

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

 czech poster WUTHERING HEIGHTS 1970

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

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

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

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

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

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

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

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

 

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

 

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

 

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

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

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

 

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

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


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

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

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

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

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

Turkish poster

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

 

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

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

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

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

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

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

 

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

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

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

 


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

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


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

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


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

 

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

 


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

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


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

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

Kevin G Shinnick

 

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Andy Milligan Double Feature (Alpha DVD) Body Beneath/Guru

Andy Milligan Double Feature: The Body Beneath (1969)74 min. / Guru, The Mad Monk (1970) 56 min. Color. $7.98 single disc DVD.Region “0”

https://www.oldies.com/product-view/8028D.html

Andy Milligan (Feb 12,1929- June 3,1991) was an interesting eccentric.
An avante garde theatre director. Born in the Midwest, his early life was troubled by an abusive alcoholic mother.

After serving four years in the Navy, he was discharged and move to NYC to run a dress shop. During that period, he became involved in the genesis of the original Off Off Broadway theatre movement at Café Cino and La Mama. He got involved with directing, writing, and even designing and creating the costumes for his productions. Some of them were so quickly put together that the costumes practically fell apart as actors exited the small stages.

It was a time of great freedom and creativity, though very little financial reward.

To make a bit of extra money, he did appear in some early television as an actor, though how many he appeared in is not quite clear (Imdb lists 4 shows, but not what he played in them).

The greater though secretive freedoms of homosexuality in New York City also allowed him to explore that aspect of his life.

Andy Milligan  

This led him into creating a 30-minute short called VAPORS (1965). Milligan assumed a lot of alias but seemed to have done almost everything but act to get this film made. It plays like a one act by writer Hope Stansbury (a member of his film family before and behind the camera). It is a sad tale of sex and a failure to connect with others (though only a male male kiss is shown, and a character opening his robe walking towards the camera is shown. In most prints, there is a black line across the nudity.) .

Like most of his films, the film deals with rejects, degeneracy, and a palpable gloom. VAPORS is probably one of his most thoughtful film and shows the direction that he could have gone.

Milligan moved to Staten Island to a large house where he would shoot a large portion of his NYC area made projects. As always, he handled almost every job, probably including the catering. His budgets were never very large, but his ambitions were.

Sadly, for him, he got involved with distributors who took advantage of him, so that he rarely saw any real money for his projects.

He ran a hotel in Staten Island (which probably provided some of his funding) as well as running a theater on West 39th Street for several years, from 1979 until he left NYC in 1985.

His move to California only produced three more films as well as briefly running a dress shop and another theatre company. Nearly penniless, ill health took him in 1991.

Since the early day of video, Milligan’s films have been offered on tape. The transfer was often taken from prints that were dupes. Milligan shot often on 16mm, with his films blown up to 35mm. The duplicates seem to have been reductions from 35mm to 16mm again, meaning the films had been through several transfers.

Framing was off, and grain was often a major problem, as well as color shifts and sound warbling. Mind you, these may have existed in the originals, but so many of his film negatives have disappeared (indeed many of his films have vanished as well, again due to shady distributors).

Having worked in a film storage house, it is amazing how films can be mislabeled and put within the wrong film cans. Perhaps one day we will find a cache of his original prints as well as his lost films and be better able to judge his works.

 

As I was researching this piece, I discovered that someone had posted a print of one of his “lost “sexploitation films, COMPASS ROSE (1967) https://youtu.be/00AS-GaLe78 . I reached out to playwright Robert Patrick, and identified the opening bedroom set as being one for a Landford Wilson play at Caffe Cino ! Just a little more info on this never released film .

 

That said, now to this Alpha DVD double feature. The prints are worn, and the sound has a bit of warble in places. That said, they are in better condition than copies of these films that I have seen in the past. The scratches on the film also increase the grindhouse feel of the theatres in which these films were unspooled.

GURU, THE MAD MONK was released September 1970. The film was shot for an incredibly small $11,000. PINK FLAMINGOS (1972) was produced for only $10,000, but that was a modern-day project. GURU was an ambitious period piece, which required several costumed characters, as well as furniture, props and locations that would suggest the time.

 

The main part of the filming took place around and in St. Peter’s Episcopal Church ,346 W 20th St in NYC. The Church, established in 1832 on land donated by, among others, Clement Clarke Moore, author of “A Visit From St. Nicholas/The Night Before Christmas”.

 

The Church, which is still a major part of the Chelsea Community to this day, has dedicated outreach programs, food banks, and permit a lot of performances upon the property.

Nothing, I think, was quite like the craziness of GURU THE MAD MONK. One wonders what the director did to convince them to film this hysterical historical within these sacred walls?

The film was obviously shot with haste, with some shots carefully composed (a nice travelling shot is quite impressive within the Church) as well as many obvious one take blunders that remain in the final print (an actress stumbles upon her line, a character steps upon the train of Guru, a loud rip being heard. Nothing is made of this, so it appears to be unintentional. A light switch is quite visible in one shot in this medieval tale, as well as the title card for the screenplay is misspelled!

Some of the costumes are quite good, some, like the dress of the leading lady, are an obvious 1960s sun dress with alterations. The makeup is never blended, with one character playing an older man wearing obvious white and blue make up, while poor Igor, the hunchback, suffers most from non-blended applications to his face.

Producer M.A. Issacs ( whose initial form the first letters of Maipix Organization in what seems there only attempt at producing, the film later being released by Nova International Productions)seems to have suggested the story to Milligan, perhaps inspired by Hammer’s RASPUTIN THE MAD MONK (Fox, 1966).

Milligan upgraded his equipment on this project to 35mm, which may explain why this film is a bit slicker looking than a lot of his earlier projects. However, it is also more expensive film stock, so even using short ends (left over unexposed film sold back to the labs from other productions), it increased the costs on his already tiny budget. Milligan, later in life, felt that this was his worst film. While it is not a classic, it is certainly far from his worst.

Set upon the fictitious island of Mortavia during the Middle Ages, a young woman named Nadja (Judith Israel, her only film credit) is imprisoned upon a false charge of having killed her baby.

Everything seems to center around the Lost Souls Church of Mortavia, which seems to contain the prison as well as the Church wherein sentencing is carried out.

Carl (a very monotonic Paul Lieber, who went on to a long successful career on television and on stage in L.A., winning 5 Dramalogue Awards and an L.A. Weekly Award for his performances), her jailer, is smitten with her, and seeks to save her.

He appeals to FATHER (not a mad monk as the title suggests) Guru, the religious leader. Guru is played by actor Neil Flanagan, who also appeared in Milligan’s SEEDS (Aquarian,1968,) and TORTURE DUNGEON (Constitution,1970, an earlier “period” film that was shot on 16mm with a $15,000 budget).

Flanagan was a staple of the Village theater scene, winning an Obie in 1967 for his starring role as an aging drag queen in Lanford Wilson’s hit ‘THE MADNESS OF LADY BRIGHT” and a second Obie in 1976 for his contributions to over 10 years of Off Off-Broadway Theatre. He died from AIDS in 1986 at age 52. He relishes his plummy role in this film and plays it to the hilt.

 

Guru makes a deal with Carl to save the girl, but it involves Carl having to help finance the Lost Souls Church by a bit of body snatching. In exchange, Guru will keep Nadja hidden until his three-month morbid indenture is over.

Carl is sent to see Olga (Jacqueline Webb) who will provide a potion to make it appear that Nadja is dead (a la Juliet in Romeo & Juliet). Olga also requires a price, which is to supply human blood from the executed for her experiments. Carl reluctantly agrees, and Olga seals the deal by pricking his palm with a needle. It is almost laughable when he lifts his hand, for it is drenched in blood!

 


We see various accused brought before Guru within the Church, wherein he gives them a blessing and then brands them before they are dragged away. Igor (Jack Spencer) the deformed hunchback, stirs the fire and hands over the torture instrument. When Nadja is brought before him, he slips the drug into some sacrificial wine, and gives it to the young woman.

The medicinal works and Nadja is buried, only to be dug up by Carl, and hidden within the church. Carl is really not too observant, as both the mad mon…er.. Priest and Olga have plans for the young woman . Guru and Olga are, it seems bumping uglies, and enjoying torturing and killing others from Milligan’s stock company. Olga, it seems, doesn’t want the blood for experiments, but for herself, as, it is revealed, that she is a vampire! One thing about a Milligan film, is sometimes things can appear out of nowhere.

Next up on the disc is THE BODY BENEATH. In 1968, Milligan had gone to England after making a multi picture deal with producer Leslie Elliot. Eliot had been involved with producing the MGM film THE LIQUIDATORS (1965) but  he also ran the privateThe Compton Cinema), and ,having released some of Milligan‘s earlier work in the U.K.,  he may have been on the lookout for inexpensive product that he would own.


Their first production was NIGHTBIRDS (Cinemedia, released in 1970). The dark kitchen sink drama barely got a release and vanished for years. Thanks to Nicolas Winding Refn (director of NEON DEMON, Broad Green 2016) and the BFI, the film was been restored and released to DVD in England in 2013, where it has been getting mixed reviews but better than one often associates with Milligan’s work.

Refn is obsessed with Milligan’s work, buying up prints from various sources, including those in the private collection of author Jimmy McDonough, who wrote the must have biography of the director, THE GHASTLY ONE (Chicago Review Press,1st Edition, October 1,2001). For more on the fascination by the one director for the other, read
https://www.theguardian.com/film/filmblog/2012/jun/14/obsession-andy-milligan-cult-movies .

For some reason, Leslie Eliot dissolved the partnership during the making of one of the remaining films (no doubt the director’s caustic personality) , and Milligan was forced to deal once again with William Mishkin.

Mishkin and his Constellation Films were known mostly for cheap nudies and sexploitation films. He was willing to help distribute films by Milligan because even if they just played the NYC grind circuit he could make his money back. Unfortunately, distributors could and would sublease titles out to other regional distributors, so filmmakers would be at the mercy of the original distributors for a full accounting. Neglect by the distributors is also how many of these and other films were lost (it is said that Mishkin’s son destroyed the films rather than pay for film storage fees). Is it any wonder after a lifetime of mistreatment that Milligan’s negative world view seeped so heavily into his work?

 

It is doubtful that Milligan ever saw more than what he spent on making his films, and, like poor Ed Wood, did not retain the rights to his own work. Mishkin had backs Milligan’s sexploiter THE PROMISCUOUS SEX (1967, “Made in Greenwich Village! “  for about $10,000, returning a profit over 13 times its budget), and so he was willing to back the four remaining British films, if they were exploitive.

The results were BLOODTHIRSTY BUTCHERS (released January 1970,on a whopping $18,000 budget, with certain scenes filmed when Milligan returned to the U.S.),THE RATS ARE COMING, THE WEREWOLVES ARE HERE (released in May,1972, again an $18,000 budget ,with some footage shot in Staten Island to complete /pad the film after Milligan returned to the U.S. in 1970), THE MAN WITH TWO HEADS (released June 1972,shot on a “massive” $20,000 budget) ,and the film we are reviewing here THE BODY BENEATH (released September, 1970,again with a budget of $20,000 estimated).

THE BODY BENEATH is one of Milligan’s most uniformly acted production. There are less overly over the top histronics, though still many plummy performances. Like all his British films, this was shot with his 16mm Auricon camera. These cameras were popular with journalists as they were a single system machine that recorded sound DIRECTLY to the optical track, thus eliminating the need for a separate audio recorder. A major liability was the camera were parallax view, meaning you were not looking directly through the lens, but what you saw from your viewfinder was slightly off from what was really being filmed.

In a wide shot, this is not normally a problem, but Milligan’s style were tight shots to cover perhaps how little set decoration there was in the scene, giving the framing an often claustrophic effect. Plus, one of the characters might be barely in the shot due to the framing problem combined with the parallel view. Retakes, alas, would cost too much.

     Auricon 16mm camera rig used by reporter Tony Hamilton not Milligan

The film begins with Anna Ford (Susan Clark,NOT the Canadian actress of the same name who played Mary Kelly in MURDER BY DECREE ,Avco,1979. This British actress seemed to have done mostly minor roles, with this being her largest part.) going to place flowers at her mother’s grave just as the graveyard is about to close. Never a good thing, as Barbra (Judith O’Dea) found out in NIGHT OF THE LIVING DEAD(Continental,1968).

Moments after the caretaker alerts her to the closure, Anna finds herself surrounded by several bluish tinged blonde women. “Hellloooo” says one with an almost childlike quality. This is a bit chilling, but the print has very warbly sound at this point (though I don’t know if any other print that I have seen is any better, so it may have been in the original recording and Milligan never bothered to redub it later.).

 


Just a side note: the original poster declared that the film was “filmed in the graveyards of England”. This was probably to make ticket buyers assume they were going to see a Hammer or Amicus Film. The one thing these films shared was filming in Highgate Cemetery, which was also used in Hammer’s TASTE THE BLOOD OF DRACULA (1970) and AmicusTALES FROM THE CRYPT (1972) and FROM BEYOND THE GRAVE(1973).

 

      Highgate today and as it appears in TASTE THE BLOOD OF DRACULA

 

 

Back to this film. Graham Ford (Colin Gordon.I think IMDB is mistaking him for another actor with the same name so I cannot tell what his credits are.) is awaiting his wife’s return when he is visited by the Reverend Alexander Ford (Gavin Reed,who had small roles in films like CARRY ON LOVING,Rank ,1969, relished his leading role here ) and his wife, Alicia (Susan Heard,who played a maid in Milligan’s NIGHTBIRDS as well as various crew roles on his other  U.K. films .).

 

                                          IMDB : not the same actor who appeared in this film !


Gavin Reed is delightful, making Milligan’s overwrought writing roll easily off his tongue as if he is in an Oscar Wilde play (who is referenced during their exchange), giving the part some much needed wit. His talk of the family genealogy reminds one of Ernest Thesiger in THE OLD DARK HOUSE (Universal, 1932). Graham we discover is Canadian and finds that the Reverend and his wife are freshly arrived from Ireland to re-open All Souls Church (a satellite of the LOST Souls church from GURU?) and he has a lease on Carfax Abbey (a clue for all you Dracula fans) next door. To put a point on it, Graham says that it is right next to Highgate Cemetery. In real life Carfax is near Whitby, nearly 264 miles from London.

 

Anna comes home but reacts startled by seeing the Reverend. We abruptly cut to another couple, Susan Ford (Jackie Skavellis,who also appeared in Milligan’s THE RATS ARE COMING….) and her boyfriend Paul (Richmond Ross,his only listed film credit). We find out that Susan is pregnant and that she is going to Carfax to meet a relative who recently contacted her, namely the Reverend.

We are introduced to one final relative, Candace Ford (Emma Jones,in her only major role). As she is about to leave her home, her maid answers the door a hunchback, Spool (Berwick Kaler ,who appeared in all of Milligan’s British films, and who since 1981 has appeared as The Grand Dame in York Theatre’s Royal!He has little recollection of his three day’s work on this, other than Milligan wanting him to stoop more) hands her flowers. When she turns, one of the blue faced woman is behind her. She sends the maid to deliver the flowers and steal some blood from Candace by pricking her finger.

Gavin Reed discusses with Berwick Kaler how to stoop lower

 

      Berwick today,in a costume that Milligan would have loved!

The basic plot unfolds that the Ford family line have been vampires, but they need to replenish. Thus, the gathering of the family to restore the bloodline with Susan popping out vampire babies while the other relatives supplying blood.

There is a lot of shaky camera work that is meant to add style but instead induces motion sickness, and many scenes are very ill lit. Gore is low in this film, though a second maid Jessie (Felicity Sentence,who played First Girl in NIGHTBIRDS) ends up with knitting needles to the eyes and dragged off by Spool, while the Reverend seems to need leeches applied to him to keep his blood pressure down, and poor Spool, perhaps the most sympathetic character, is cruelly crucified by the Reverend.

At the end of the film, there is a vampire gathering that shows that Milligan had seen several of Roger Corman’s films, particularly aping the Vaseline smeared lens that Corman employed for his dream sequences. While giving the scene an arty effect, it also perhaps helped hide the improvisational nature of the costumes, which often look they were made from grandma’s sofa!

      Hazel Court  hazy in Masque Of The Red Death

 Milligan’s attempt 

No one ever addresses why many of the vampires are blue skinned, while the Reverend is not (a question, though, that also comes be questioned about the superior RETURN OF COUNT YORGA, A.I.P.1971, wherein his brides look the worse for wear while he looks handsome, at least until he attacks).

I thought having a vampire as a priest was a unique idea, which allowed Milligan to express his feelings about religion through the character. However, it was pointed out to me that the title character in VARNEY THE VAMPIRE by James Malcolm Rymer and Thomas Peckett Prest (serialized beginning in 1845) posed as a monk (but was he mad??)at one point and he told his story to a sympathetic priest, before he hurled himself into a volcano . Varney’s subtitle would have fit a Milligan film by the way,  FEAST OF BLOOD.

Neil, are you wearing Grandma ‘s curtains? ” ” No, Ma….”

Andy Milligan’s films , unlike Ed Wood’s , are hard for many to take. One cannot certainly warm up to them as one does with Wood.

Wood, no matter how inept his films, had a certain positiveness to them, a definite “Let Me Entertain You” sincerity, no matter how many wobbly cardboard headstones one saw on display.


Milligan was a more complex individual, dealing with a lot of anger issues, a rage against the world, that he used his theatre work and his films to lash out at what he perceived a cruel world. From all he endured in his life, one is not surprised, but his cruel streak still emerges.

A few of his films have some animal torture which simply pure sadism is (THE RATS ARE COMING had Milligan himself mutilating a poor mouse in the Staten Island shot footage, as well as his killing a pigeon in NIGHTBIRDS) that cannot be condoned.

 

Luckily none of that is in these two films (just the poor abused actors!).

I cannot say that I find his films entertaining, but that said, they are hypnotically fascinating. Had he more money, a proper crew and support, one wonders what he might have accomplished? Maybe it would have tamed the anger in him. Perhaps he would have eased from the horror films into more films like NIGHTBIRDS and VAPORS, which seem to be where his heart truly was.


What we are left with is a collection of odd films that seem to become more and more a time capsule of what grindhouse truly was.

This ALPHA dual feature could have been called the Andy Milligan Deliver Us from Religion Co bill, and it is nice to get the two films on one affordable disc to recreate the original theatre release from Nova.

If you are curious about grindhouse, microbudget, or seeing what all the cult buzz is about Andy Milligan, then definitely pick up this release.

Kevin G Shinnick

 

 

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