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

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

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

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

 

 

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


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

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

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

 

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

Don’t poke his eye out…

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

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

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

 

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

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

 

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

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

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


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


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

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

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

 


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

 

 

 


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

 

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


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


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

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

 


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

 

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

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

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

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

HIGHLY RECOMMENDED

For Classic Film Lovers

Mysteries
Noir Fans
1950s Movies

-KEVIN G SHINNICK

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

 

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BOUND (Olive Signature Blu Ray)

 

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

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

 

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

 

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

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

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

 

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

 

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

 

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

 

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

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

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

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

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

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

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

 

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

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

 

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

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

• “Here’s Johnny!” – with Christopher Meloni– “My character had poor impulse control” is the first thing Meloni says about his character, which must be a major understatement in this new video interview with the actor and how he gives major credit to Joe Pantoliano for his career and how he infused humor into his character.

• “Femme Fatales” – with Gina Gershon and Jennifer Tilly -new interviews with the two leads on how they got cast and their work process. 

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

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



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


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


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

 

 

 

 

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

HIGHEST RECOMMENDATION!

-Kevin G Shinnick

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KISS OF DEATH (Twilight Time Blu Ray)

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

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

 

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

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

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

 

 

 

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

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

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

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

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

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

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

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

As to extras:

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

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

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

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

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

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

 

HIGHLY RECOMMENDED

Kevin G Shinnick

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