THE VAMPIRE'S GHOST -- DVD Review by Porfle

 Originally posted on 10/27/2017

 

Clocking in at 59 minutes and originally released on a double bill with "The Phantom Speaks", Republic's 1945 horror-thriller THE VAMPIRE'S GHOST is a short-but-sweet foray into the supernatural that owes more to that studio's jungle features and serials than to the sort of dark Gothic chills you'd expect from a vampire tale.

The setting reminds me of Republic's serial PANTHER GIRL OF THE KONGO but with somewhat richer production values. (Olive Films' DVD of this beautifully-shot black-and-white film looks terrific.) A small village in darkest Africa is beset by a series of murders which, to the superstitious, appear to be the work of a vampire. 

Roy Hendrick (Charles Gordon of SWAMP FIRE, here bearing some resemblance to Buster Crabbe), soon to marry his sweetheart Julie (Peggy Stewart, THE RUNAWAYS, BOBBIE JO AND THE OUTLAW), is having trouble keeping native workers on his rubber plantation as more of them flee the bloodsucking menace.

Julie's father, Dr. Vance (Emmett Vogan, THE MUMMY'S TOMB, THE MUMMY'S GHOST), is, in fact, baffled by the great loss of blood from the victims, which also has the local priest, Father Gilchrist (Grant Withers, FORT APACHE, RIO GRANDE), keeping a crucifix within reach at all times. 

The only local who doesn't seem overly concerned is cucumber-cool club owner, Webb Fallon (John Abbott, perhaps best known to TV fans from Star Trek: "Errand of Mercy" and The Man From UNCLE: "The Birds and the Bees Affair"), whose star attraction is an alluring dancer played by Adele Mara (SANDS OF IWO JIMA).  Fallon's luck on his own gambling tables is almost supernatural in itself, raising the ire of ship captain Jim Barrett (prolific Western actor Roy Barcroft) who accuses him of cheating. 

Barrett attacks him, but one piercing stare from the mysterious Fallon causes the man to back off in fear.  It isn't long before we're pretty sure Fallon is the vampire, a suspicion soon borne out when Roy comes under the mysterious man's mental control.  After that, the ailing Roy seems powerless to stop Fallon as the centuries-old vampire sets his sights on none other than Julie herself as his undead bride.

Gordon and Stewart play the typical romantic couple from a million adventure yarns, but Abbott's interpretation of the bloodsucking fiend of ancient lore is about as low-key and restrained as one could imagine.  In fact, even when he's exercising his insidious mind control over helpless victims or revealing his sinister intentions for the hapless Julie, Fallon barely ruffles a thread of his tailored suit or a hair on his neatly-clipped head. 

He doesn't even sleep in a coffin--a small box of native soil underneath his pillow suffices--and is capable of withstanding daylight in small doses.  And what with the constant native drums in the background (local tribes keep each other informed on local vampiric goings-on) and other familiar tropes of the jungle adventure--safaris, native carriers, huts, spears--the emphasis of the rather literate screenplay by Leigh Brackett (STAR WARS V: THE EMPIRE STRIKES BACK) is more upon characterization and a measured suspense than eliciting nightmares.  

Which, indeed, is the modest appeal of THE VAMPIRE'S GHOST, a "horror" tale that feels like an extended serial chapter in which the cliffhangers consist of quietly suspenseful moments rather than action thrills.  (It was helmed by prolific Western director Lesley Selander, responsible for several of the better "Hopalong Cassidy" entries.)  Even the climactic showdown between humans and vampire in a remote jungle temple is a pleasantly told diversion meant simply to entertain us, which it does. 

Order it from Olive Films

Subtitles: English (optional)
Video: 1.33:1 aspect ratio; B&W
Runtime: 59 minutes
Extras: none
Year: 1945

@OliveFilms
https://www.facebook.com/olivefilms/

THE VAMPIRE'S GHOST -- DVD Review by Porfle

COMMANDO CODY: SKY MARSHAL OF THE UNIVERSE -- DVD Review by Porfle

 Originally posted on 9/13/16

 

You already know whether or not you love the old movie serials.  And if you do, then chances are the words COMMANDO CODY: SKY MARSHAL OF THE UNIVERSE should already have you salivating like a geek incarnation of Pavlov's Dog. 

I know that's how I reacted when I scarfed an eyeload of this new 2-disc DVD from Olive Films, which contains all 12 episodes of the 1953 serial.  That cool cover pic of Cody in his gadget-bedecked leather jacket, quasi-military cap, and Lone Ranger mask just seems to say "You know you love me." 

I call them "episodes" instead of "chapters" because this isn't your usual serial.  In fact, many fans would argue that it isn't a serial at all, being that it consists of 12 half-hour adventures which, while being parts of an overall story arc, each have a beginning, middle, and end without the usual cliffhanger.

Without going into the technical reasons for this, suffice it to say that the series was first shown in theaters in 1953 as a serial, and then showed up two years later as the television series it was intended to be all along.  And while I do miss the nail-biting cliffhanger endings, I got used to the self-contained stories after awhile.

At any rate, this has all the elements I love in serials--a cool hero with both capable and comical sidekicks, a hokey villain with an evil master plan and plenty of goofy, inept henchmen to carry it out, lots of fantasy sci-fi that doesn't make much sense and consistently defies the laws of physics, cheap production values, and a general air of hokiness with plenty of corn. 

The main gist of the story concerns the efforts of a secret government organization to thwart an evil madman who calls himself The Ruler, who wants to conquer Earth so he can use it as a base to take over all the other planets in the solar system.  (The Ruler is played by Gregory Gaye, who can be seen in CASABLANCA as the irate customer whom Rick won't allow into the back room of the casino.)

Our hero, Commando Cody (Judd Holdren), wears a mask to protect his identity and flies around by means of a cool rocket pack on his back.  Not only is he one of those rigidly upstanding paragons of virtue, but with his ever-present mask he even resembles Clayton Moore in both looks and voice.  Which, as a big "Lone Ranger" fan, I found to be a definite plus.

His boss, Commissioner Henderson (Craig Kelly, who appeared in the first two DIRTY HARRY movies), gives him two assistants--loyal but comical Ted Richards (the great character actor William Schallert) and the lovely and capable Joan Gilbert (winsome Aline Towne), who eventually becomes Cody's spaceship co-pilot.  Ted will be replaced after a few episodes by equally comical Dick Preston (Richard Crane, who would go on to star as "Rocky Jones, Space Ranger" the following year.)

Over the course of the show's 12 episodes The Ruler pulls all manner of devious schemes to either enslave the Earth or wipe it out--he never can seem to decide which--and each of these results in as much widespread calamity and destruction that the copious amounts of stock footage can depict.  In his employ are traitorous humans such as Lyle Talbot, Fred Graham, and Lane Bradford, and various aliens played by the likes of Denver Pyle, John Crawford, and Rick Vallin.

Time after time, Earth comes close to destruction via tidal waves, shifting of its axis, blocking out the sun, duplicate suns roasting the planet, deadly storms, a near-miss with our own moon, and meteor attacks.  The latter are repelled by Cody's creation of a cosmic dust barrier around the Earth which makes any foreign object from the sky explode, including enemy space ships not equipped with a special "dispersal beam."

Cody's own spaceship, while primitive by modern SPFX standards, is still very cool.  An impressive full-size mockup was constructed on the Republic Pictures backlot which is seen in conjunction with a fairly large working model suspended by wires.  It's a real step above the wobbly, rinky-dink spaceships of the old "Flash Gordon" serials and is almost always used to good effect. 

Sets range from the usual 50s backdrops to sometimes impressive otherworldly settings where The Ruler carries out his dastardly plans on various planets such as Saturn and Mercury. The costumes are gloriously tacky (The Ruler seems to be wearing his mom's kimono) and the dialogue is both arch and delightfully corny.  Ray guns sound like car horns.  Each episode offers a couple of furious fistfights and several appearances by our main man in flight.

This is accomplished using the same remarkable technique seen in perhaps the greatest serial of all time, 1941's "The Adventures of Captain Marvel" (also from Republic Pictures), with a realistic mannequin suspended on wires combined with nice springboard take-off and landing shots with actor Holdren.  The effect is stunningly good and well worth waiting for in each episode.

The 2-disc DVD from Olive Films is in the original full-screen ratio with mono sound and English subtitles.  No extras.  Picture quality is very good.  

Just as much fun as the title sounds, COMMANDO CODY: SKY MARSHAL OF THE UNIVERSE is one of the most consistently entertaining and well-produced serials I've seen.  It easily transcends the "so bad it's good" quality of many cheaply-produced serials, especially if viewed with the same giddy, childlike enthusiasm with which both kids and adults greeted these films on theater and TV screens back in the 50s.

COMMANDO CODY: SKY MARSHAL OF THE UNIVERSE -- DVD Review by Porfle

All The Giant Lobster Scenes From "PANTHER GIRL OF THE KONGO" (1955) (video)

"Panther Girl of the Kongo" is a 12-chapter serial from Republic Pictures.

Phyllis Coates plays Jean the Panther Girl, an anthropologist in Africa.
Her work is interrupted by the sudden appearance of giant lobster monsters.

The "claw monsters" are created from ordinary crawfish by a crooked scientist...
...who wants to chase the local natives away from his illegal diamond mine.

Jean summons her adventurer friend Larry Sanders (Myron Healy) to help fight the monsters.

The special effects were created by Howard and Theodore Lydecker.

"Panther Girl of the Kongo" was the next-to-last serial produced by Republic.
It used extensive stock footage from their 1941 serial "Jungle Girl."

A 100-minute edit was released to television with the title "The Claw Monsters."

Read our review of the "PANTHER GIRL OF THE KONGO" serial HERE


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

All The Giant Lobster Scenes From "PANTHER GIRL OF THE KONGO" (1955) (video)

THE BELLS OF ST. MARY'S -- Blu-ray Review by Porfle

Originally posted on 11/20/19

 

Like its Paramount predecessor, "Going My Way", the RKO sequel THE BELLS OF ST. MARY'S (Olive Signature, 1945) was, to that point, the highest-grossing film for its studio. It's easy to see why it was and continues to be so popular, especially for war-weary audiences looking for something uplifting and inspirational.

Both films starred Bing Crosby as unconventional singing priest Father O'Malley, in this case having just been transferred to St. Mary's, an urban Catholic school presided over by nuns. 

Their leader, Sister Benedict (Ingrid Bergman), will establish a fond though often adversarial relationship with the easygoing but opinionated priest, especially in regard to the teaching of their young students.  In time, both their adverse methods as well as their personalities will begin to compliment each other.



Other subplots involve miserly old millionaire Mr. Bogardus (Henry Travers, IT'S A WONDERFUL LIFE) erecting a shiny new building next door and hoping to acquire the school itself to tear down for a parking lot.  Sister Benedict, meanwhile, prays constantly for the mean old coot to have a change of heart and donate the building as the new St. Mary's.

Meanwhile, a woman named Mary Gallagher (Martha Sleeper) implores Father O'Malley to take in her daughter Patsy (Joan Carroll) and give her the kind of secure, decent upbringing she alone can't manage.  Fatherless and withdrawn, Patsy's mental and emotional welfare becomes a major concern for the priest and nun, who will differ greatly  on how to deal with the troubled girl.

It's interesting how the Production Code-era writers clue us in on what's what when Patsy's mother hesitantly tells Father O'Malley she has "done everything she can" to support her daughter.

 

Also of note is O'Malley's warm, non-judgmental response, especially considering that Patsy was clearly born out of wedlock although the dialogue doesn't quite spell it out.  This single element alone elevates our opinion of the priest and of the film's benign intent.

While each subplot is vital, they sort of swirl around each other during the film rather than jostle for attention. There's a good deal of gentle humor to lighten things up along the way, beginning with the very first scene of Father O'Malley moving into his new boarding house as the housekeeper, played by the delightful Una O'Connor (BRIDE OF FRANKENSTEIN, THE INVISIBLE MAN) warns him ominously that the school's previous resident priest had to be carried away in a wheelchair in frightful condition.

Another wonderful scene occurs when the smallest children put on a nativity play. Here, director and co-writer Leo McCarey told the boy playing Joseph the general story of the play and then had him improvise the entire thing, telling the other castmembers what to do. McCarey then secretly filmed this and the result is a charming sequence which ends with the children gathered around a toddler playing Baby Jesus and singing "Happy Birthday To You."

At one point O'Malley and Benedict clash yet again over how to deal with a boy being bullied on the playground. O'Malley praises the victor for having what it takes to make it in a "man's world", while the sister takes it upon herself to teach the other boy, Dickie (Eddie Breen), how to defend himself after reading a book on the art of pugilism.

In what I consider to be the film's most amazing sequence, Bergman improvises a lively boxing lesson composed of several long, largely unedited takes. Keeping up a steady stream of banter about defense, footwork, bobbing and weaving, various jabs, and other tips, she conjures a magical moment for her character with a charm and spontaneity that I found utterly disarming.

With her classic beauty downplayed, Bergman has the chance to create this memorable character mainly through dialogue and presence. Der Bingle, of course, is his usual honey-smooth self, getting to croon a song or two along the way.  Though never getting particularly worked up over anything, his Father O'Malley exudes a gentle caring and empathy even when we may not agree completely with his methods.

The entire film has a noticeably reserved, restrained tone--even the humor often seems rather solemn.  We pretty much know right off the bat how each situation is going to work itself out, so we just settle in comfortably and watch it happen.

I found myself settling in quite a lot during the sweetly sedate THE BELLS OF ST. MARY'S. A bit corny and maudlin at times, it's genuinely heartfelt at its core and even evokes a few well-earned tears. McCarey's vision of a spiritually uplifting family entertainment is exquisitely rendered and, in this day and age, warmly nostalgic.



YEAR: 1945
GENRE: DRAMA
LANGUAGE: ENGLISH (with optional English subtitles)
LABEL: OLIVE FILMS
TOTAL RUNNING TIME: 126 min
RATING: N/A
VIDEO: 1.37:1 Aspect Ratio; B&W
AUDIO: MONO

BONUS FEATURES:
    Mastered from new 4K restoration
    Audio commentary by Bing Crosby biographer Gary Giddins
    “Faith and Film” – Sr. Rose Pacatte on The Bells of St. Mary’s
    “Human Nature” – Steve Massa on The Bells of St. Mary’s and Leo McCarey
    “Before Sequel-itis” – Prof. Emily Carman on the film in the context of Hollywood production history
    Screen Guild Theater radio adaptations
    Essay by cultural critic Abbey Bender

THE BELLS OF ST. MARY'S -- Blu-ray Review by Porfle

APPOINTMENT WITH CRIME -- DVD Review by Porfle

Originally posted on 6/18/16

 

If you like those lean, tough gangster pics that guys like James Cagney and George Raft used to churn out in the 30s and 40s, then APPOINTMENT WITH CRIME (1946) should be right up your dark alley.

The scrappy, bantamweight main character Leo Martin (William Hartnell, THE MOUSE THAT ROARED) even reminds me of a cross between the two actors only with a rough veneer of British street smarts. 

The plot is a foretaste of such later films as POINT BLANK and its remake PAYBACK, with its story of a wronged criminal returning to exact merciless revenge against the underworld organization that betrayed him and using a "fast" woman as his accomplice.

Here, Leo gets double-crossed by low-level crime boss Loman (Raymond Lovell) and ends up with crushed wrists and a stiff prison sentence.  Upon his release, he goes after not only Loman but the real brains behind the outfit, a smugly sophisticated art dealer played by the young Herbert Lom (later to gain fame as Chief Inspector Dreyfus in the "Pink Panther" series among other distingished roles). 

Leo's sort of an anti-protagonist here, being that he's still a mean, ruthless little bastard even though we're pulling for him to get the best of the even badder bad guys.  The film's real hero is a Canadian detective on loan to the British police, played by Robert Beatty (who would go on to roles in such high profile films as WHERE EAGLES DARE and 2001: A SPACE ODYSSEY).

Beatty's Detective Inspector Rogers is stalwart without being full of himself, and in fact has a wry sense of humor which makes his scenes with Leo punchy and rife with stinging dialogue.  Where some stories such as this make the main cop unlikable, here we're conflicted about who to root for since we're so invested in both his and Leo's concerns. 

 

Also making the most of her scenes with Hartnell is Joyce Howard as melancholy dancehall girl Carol Dane (nicknamed "Chastity Anne"), whose performance as the girl Leo uses as his alibi in murder by stringing her along with romantic promises and playing on her sympathies just gets better as the story goes along.

Two interesting things I noted while watching are (1) British films could pretty much say "damn" and "hell" to their hearts' content back in 1946, and (2) the fact that characters Gregory Lang (Herbert Lom) and his criminal associate Noel Penn (Alan Wheatley) are unabashedly gay is wonderfully obvious.

Writer-director John Harlow keeps his script zinging along with cracking dialogue and lots of hardboiled conflict between rival thugs and the short-fused Leo--who's equally tough whether slapping someone around or getting tortured for information.

 

Harlow's directing style brings all this to life with creative camera angles, editing, and montages which keep the film visually interesting.  The production itself has a lovely vintage appeal enhanced by a singularly British flavor and the no-nonsense economy of film noir.

The DVD from Olive Films is in the original 1.37:1 aspect ratio (full screen) with mono sound.  Subtitles are in English.  No extras.

Those who appreciate the beauty of old black-and-white cinema should find themselves easily drawn into this visually compelling film.  For modern audiences in general,  APPOINTMENT WITH CRIME offers good performances in a sharply-written crime story that never lets up until the end. 

Release date: June 21, 2016

APPOINTMENT WITH CRIME -- DVD Review by Porfle

THE RATINGS GAME -- DVD Review by Porfle

The best reason to watch the Showtime original movie THE RATINGS GAME (1984, Olive Films), which is directed by and starring Danny DeVito and his wife Rhea Perlman, is if you have a really big nostalgia jones for the 80s, and specifically bad 80s television.  Because not only does this film spoof bad 80s television, it IS bad 80s television.

DeVito plays feisty New Jersey trucking magnate Vic De Salvo, who has just set up shop in Hollywood so that he can realize his dream of pawning one of his awful TV show ideas off on some gullible producer. 

When evil MBC network programmer Parker Braithwaite (Gerrit Graham) fires one of his longtime executives, the spurned employee gets revenge on his way out by putting Vic's terrible pilot script for a smutty "Three's Company"-style sitcom called "Sittin' Pretty" into production. 

Meanwhile, Vic's budding romance with Francine Kester (Rhea Perlman), who works for a Nielsen-like network ratings service, yields big-time rewards when he persuades her to use her position to make sure "Sittin' Pretty" gets monster ratings. 

Vic does his part by getting 200 families whose TV choices are monitored to disappear for several weeks by basically kidnapping them onto a fake sea cruise, then hiring a bunch of goombas to break into their houses and watch his programs on their TVs. 

This premise sounds promising, but THE RATINGS GAME seems off in every department.  Not only is the script by Jim Mulholland and Michael Barrie, who gave us AMAZON WOMEN ON THE MOON, about as bland as anything I've ever seen, but the leaden direction and performances--not to mention an awkward musical score--fail to inject much life into it.

Hard to believe this is the same DeVito who would go on to direct the biting WAR OF THE ROSES and the raucous THROW MOMMA FROM THE TRAIN.  Despite his endless mugging, sequences such as the taping of his sitcom pilot before a live audience and the chaos that erupts during a climactic TV awards show where he's chased down by the police for fraud just seem to sit there.   

Even the chemistry between Danny and real-life wife Rhea Perlman is lacking.  The rest of the cast are unable to overcome the dull script, especially less comedy-savvy players such as Joe Santos (THE LAST BOY SCOUT) and Frank Sivero (GOODFELLAS), while venerable stars Kevin McCarthy, Barry Corbin, and Ronny Graham manage to add some zing to their scenes.  Vincent Schiavelli, bless his heart, is required to queen it up as the resident unfunny gay stereotype.

The movie comes to life when DeVito stages some wickedly funny mock promos for upcoming fall season premieres including some of the really bad shows that Vic has conned the network into green-lighting.  There's also some "spot the familiar face" fun with cameos from Bowery Boys alumnus Huntz Hall, Steve Allen and Jayne Meadows, George Wendt, Randi Brooks, Schiavelli's wife Allyce Beasley ("Moonlighting"), Jason Hervey, Lainie Kazan (in a deleted scene), Army Archerd, John Megna (TO KILL A MOCKINGBIRD's "Dill"), Michael Richards, and, very briefly, a pre-stardom Jerry Seinfeld. 

The DVD from Olive Films is in 1.33:1 widescreen with 2.0 sound and subtitles in English.  Extras consist of a making-of featurette, deleted scenes, a Showtime trailer, and a collection of four short films directed by Danny DeVito.  Also included is a terrific 28-page collector's booklet with liner notes and art from the film. 

THE RATINGS GAME appears to have amassed a generous amount of glowing reviews from reputable publications, including some genuine raves.  So clearly my less-than-enthusiastic reaction to it should hardly be taken as the final word on the subject.  I only wish that I'd enjoyed watching it as much as Danny DeVito seems to have enjoyed making it.

THE RATINGS GAME -- DVD Review by Porfle

INVASION OF THE BODY SNATCHERS (1956) -- Blu-ray Review by Porfle

 Originally posted on 10/10/2018

 

I remember watching INVASION OF THE BODY SNATCHERS (Olive Signature, 1956) on TV as a kid and being severely creeped out by it.  It's definitely a sci-fi/horror movie that kids can appreciate--creepy, atmospheric, and featuring some horrific special effects and themes.

Watching it again as an adult (as I have several times), I find the film loses none of its effectiveness and is indeed a wholly adult, mature story that develops its characters well and places them in situations that are relatable while still brimming with elements of horror and even film noir.

Dr. Miles Bennell (Kevin McCarthy, INNERSPACE, SLIPSTREAM) returns to his hometown of Santa Mira, California to find old high school sweetheart Becky (Dana Wynter, THE CRIMSON PIRATE, AIRPORT) back in town after many years.  Now both divorced, their reunion is sweetly romantic with a clear likelihood of growing deeper.

The trouble is, Santa Mira seems to have been hit by an epidemic of people convinced that their loved ones have been replaced by physically exact but emotionally empty duplicates. Miles and Becky are skeptical at first, until friends Jack (King Donovan) and his wife Teddy (Carolyn Jones, "The Addams Family") find a body in their house which appears to be a dormant, half-formed copy of Jack himself.

As the mystery deepens, Miles discovers a duplicate of Becky in her own cellar, placed there by what appears to be her own father.  It quickly becomes clear that the duplicates come to life and take over when the actual person goes to sleep. Trying to convince others of what is happening, they realize that many townspeople including former trusted friends and family have already been replaced.

The film's slow and subtle build-up soon gives way to growing fear as Miles and Becky don't know who to trust or confide in.  It kicks into high gear when they and friends Jack and Teddy discover giant seed pods in Jack's greenhouse which are in the process of manufacturing duplicate bodies for them all, ready to be inhabited when they go to sleep.

Special effects in this scene are flawless, the grotesque pod replicas being the result of full-body and facial casts of the actors, and Siegel stages it with impressive imagination and skill.  It's an iconic sequence that still retains every bit of its original emotional power.

INVASION OF THE BODY SNATCHERS then becomes a true cinematic nightmare of hysteria and deep paranoia.  The still-human characters, struggling to stay awake, are forced to flee while almost everyone else in town conspires to stop them.

It's an alien invasion of the most insidious kind, so different from the usual spaceships and death ray stuff of the 50s that it strikes home in ways that make it uniquely unsettling, disturbing, and personal.
Director Don Siegel (DIRTY HARRY, THE SHOOTIST) does some of his absolute best work here, his seemingly simple style yielding consistently effective shots that are deftly staged yet lean and economical.

The camerawork and black-and-white photography and lighting are exquisite, giving the middle third of the film, which takes place at night, the look and feel of the most visually arresting film noir.  Carmen Dragon (father of Daryl Dragon of "Captain and Tennille" fame) offers a highly effective musical score which some think is overpowering at times but I consider a major asset in the film's emotional power.

Siegel's cast is stocked with great actors, with both the leads and supporting players handling their roles with utter conviction.  Familiar character actors include Virginia Christine (THE MUMMY'S CURSE, "Mrs. Olsen" in the old Folger's coffee commercials), Jean Willes, Dabbs Greer, Larry Gates, and even future iconic director Sam Peckinpah.

Miles and Becky's flight from the "pod people" grows more frantic and desperate with each passing minute, culminating in an exhausting chase through the mountains in which the two protagonists are pursued by hundreds of human-looking alien "monsters."  Trying to make it to the main highway, they will endure a final, heartrending nightmare that is still burned into the memories of many viewers over the years.

The original ending by Siegel was abrupt, open-ended, and disheartening.  Test screenings showed it to be either confusing or just too downbeat for the audience, so the studio demanded new scenes to bookend the story. In them, Miles is desperately trying to convince skeptical psychiatrists and police of his wild story before they lock him away for good as a raving lunatic.

Many viewers still bristle at these added scenes, preferring the film to end at its most pessimstic point, and also object to a new voiceover by Miles (imposed by the studio to help clear up various plot points) which they liken to the one in BLADE RUNNER.

Personally, I feel Miles' narration gives his experiences a heightened immediacy and better draw us in to his story.  Likewise, the bookend scenes work very well for me, increasing the urgency of Miles' account and ending with a priceless moment when the truth dawns on the faces of Dr. Bassett (the great Whit Bissell at his powerful best) and "Dick Van Dyke Show" icon Richard Deacon.

Rather than offering a "happy ending" as its detractors insist, this merely sets the stage for what we can imagine will be a long, protracted, and horrific war between the humans and the invaders.

The Blu-ray from Olive Films' "Olive Signature" label (limited to 5,000 units) is a high-def digital restoration that looks better than I've ever seen it before, with a 2.00:1 aspect ratio and mono sound. Optional English subtitles are available.

Extras consist of two audio commentaries, one by film writer/historian Richard Harlan Smith and another with stars Kevin McCarthy and Dana Wynter and director Joe Dante.  "The Stranger in Your Lover's Eyes" is a two-part visual essay by Siegel, read by his son Kristoffer Tabori.

Featurettes include "The Fear is Real" with filmmakers Larry Cohen and Joe Dante, "I No Longer Belong: The Rise and Fall of Walter Wanger", "Sleep No More: Invasion of the Body Snatchers Revisited" featuring the film's stars and celebrity admirers, a 1985 interview with Kevin McCarthy, a look at the film's locations in the present day, and "What's In a Name?" which explores the origin of the film's title.

There's also a gallery of production documents, an essay by author and film programmer Kier-La Janisse, and the film's original theatrical trailer.

Whatever your age (this film works great for both young and old) or political persuasion (people have been interpreting its metaphorical intent however they choose since it was first released), INVASION OF THE BODY SNATCHERS remains one of the most perfectly realized and enduringly effective horror films of the 50s or any era. 


YEAR: 1956
GENRE: SCI-FI
LANGUAGE: ENGLISH (with optional English subtitles)
LABEL: OLIVE FILMS
TOTAL RUNNING TIME: 80 mins
RATING: N/R
VIDEO: 2.00:1 Aspect Ratio; B&W
AUDIO: MONO
US+CANADA
STREET: 10/16/18
CAT: OS018
UPC: 887090601801
SRP: $39.95 

OLIVE SIGNATURE FEATURES
New High-Definition digital restoration
Audio Commentary by film historian Richard Harland Smith
Audio Commentary by actors Kevin McCarthy and Dana Wynter, and filmmaker Joe Dante
“The Stranger in Your Lover’s Eyes” – A two-part visual essay with actor and son of director Don Siegel, Kristoffer Tabori, reading from his father’s book A Siegel Film
“The Fear is Real” – Filmmakers Larry Cohen and Joe Dante on the film’s cultural significance
“I No Longer Belong: The Rise and Fall of Walter Wanger” – Film scholar and author Matthew Bernstein discusses the life and career of the film’s producer
“Sleep No More: Invasion of the Body Snatchers Revisited” – An appreciation of the film featuring actors Kevin McCarthy and Dana Wynter, along with comments from film directors and fans, John Landis, Mick Garris, and Stuart Gordon
“The Fear and the Fiction: The Body Snatchers Phenomenon” – Kevin McCarthy and Dana Wynter, along with film directors John Landis, Mick Garris and Stuart Gordon, discuss the making of the film, its place in history, and its meaning
1985 archival interview with Kevin McCarthy hosted by Tom Hatten
“Return to Santa Mira” – An exploration of the film’s locations
“What’s In a Name?” – On the film’s title
Gallery of rare documents detailing aspects of the film’s production including the never-produced opening narration to have been read by Orson Welles
Essay by author and film programmer Kier-La Janisse
Original theatrical trailer

Buy it from Olive Films

INVASION OF THE BODY SNATCHERS (1956) -- Blu-ray Review by Porfle

THE PRIDE AND THE PASSION -- DVD Review by Porfle

 

Originally posted on 8/15/16

 

While not quite the epic you might expect from the title, THE PRIDE AND THE PASSION (1957) is a good example of how a great director's lesser efforts (in this case, Stanley Kramer) can still make for a fun and rewarding watch. 

Here, in fact, the unintentional hokiness in this C.S. Forester adaptation by husband and wife team Edna and Edward Anhalt (PANIC IN THE STREETS) and performances by some miscast yet likable stars make the film way more watchable than it would've been without it. 

The mercifully simple story is a 19th-century military yarn about a huge cannon that's pushed over a cliff by retreating Spanish soldiers to keep it out of the hands of a conquering Napoleon.  The English army sends naval captain Cary Grant (TO CATCH A THIEF) to recover it with the help of the Spanish, but local rebel leader Frank Sinatra (as "Miguel") insists that Cary first help them transport the great cannon to the walled city of Avila and retake it from the French.



Lugging that big heavy cannon across the Spanish terrain with the French army searching all over for their ragtag group is no easy task, and the journey gives Cary and Frank plenty of time to clash, not only over their own vast differences (Cary's a proper, by-the-book officer while Frank's peasant rebel is brash, cocky, and headstrong) but also over Sophia Loren as an improbably sexy country babe whose impetuous beauty gives the men even more reason to compete.

Most of the action and suspense in the film's first half involve their efforts to raise the cannon out of the deep gorge in which it was pushed, hiding it from passing French troops (who somehow miss the deep grooves that the cannon's wheels must be carving into the landscape), crossing rivers and blowing up bridges, and engaging the enemy in combat while trying to rouse the local Spaniards to their aid. 

In addition to this are the usual romantic complications that follow when Sophia starts to fall for the irresistible Cary while agonizing over her loyalty for long-time beau Frank, with whom she's lived for many years.  (In one touching scene, cobbler Frank makes her a pair of shoes, compounding her emotional dilemma.)



Meanwhile, Theodore Bikel (who would later play the doggedly pursuing sheriff in Kramer's THE DEFIANT ONES) is the French general overseeing the occupation of Avila and hanging ten of its citizens per day to punish the errant rebels.  Also getting relatively juicy parts as French officers are familiar character actors Jay Novello and Philip Van Zandt, who previously popped up in such things as Three Stooges comedies and Universal monster movies. 

As you might expect, Cary and Frank eventually form a grudging respect for each other that transcends their differences, although none of these are entirely resolved when the final siege on the city of Avila begins.  It's like THE ALAMO in reverse, with a ragtag group of citizen soldiers taking on a superior military force in a seemingly hopeless battle, but on different sides of the wall this time.

It's at this point that THE PRIDE AND THE PASSION's ambitions come closest to fruition, with a cast of thousands taking part in a furious, explosive battle that's highlighted by an impressive full-scale mockup of the city's immense wall.  For the patient viewer the sequence serves as a reward for enduring all the film's slower and more melodramatic passages.

Cary Grant, of course, is as effortlessly appealing as ever, while the stunning Sophia Loren's impetuous beauty seems somewhat out of place--although welcome just the same--on the Spanish plains. 

Hardest to swallow, though, is "Ol' Blue Eyes" as a brown-eyed Spanish peasant whose inner Nathan Detroit seems ready to burst out at any moment.  Frank filled in for Marlon Brando in the role (I can't see him as "Miguel" either, but who knows?) and came to dislike Spain so much that he left location filming early, making it necessary to shoot some scenes on very obvious studio sets.  His lack of enthusiasm for the project is all too obvious.

The DVD from Olive Films is in 1.78:1 widescreen with 2.0 Dolby sound and English subtitles.  No extras.

For director Stanley Kramer, the film is, as stated before, a lesser yet worthwhile effort.  Even his epic comedy IT'S A MAD, MAD, MAD, MAD WORLD has more sweep, and his serious message films such as THE DEFIANT ONES and JUDGEMENT AT NUREMBERG are deeper, more convincing human dramas.  But for all its faults, I found THE PRIDE AND THE PASSION an absorbing, appealing, and just plain entertaining volley that doesn't quite hit the target. 

Facebook: www.facebook.com/OliveFilms
Twitter: @OliveFilms

Buy it at Amazon.com:
Blu-ray
DVD

THE PRIDE AND THE PASSION -- DVD Review by Porfle

IF IT'S TUESDAY, THIS MUST BE BELGIUM -- DVD Review by Porfle

 

Originally posted on 6/17/16

 

Expecting a raucous comedy romp, I found IF IT'S TUESDAY, THIS MUST BE BELGIUM (1969) disappointing at first.  Gradually, though, I began to realize that I was watching something considerably less scatterbrained and more quietly clever in small ways than I'd thought, and that the movie regarded its screwball characters with a disarming fondness.

This isn't quite evident at first, however, when our American tour group arrives in jolly old England (the first in a whirlwind tour of nine countries in 18 days) and the movie tries too hard to mirror the hip, happening vibe of the era in its rather clueless way.  Thus, we get a lot of that freaky strobe-like editing that was in vogue at the time and are even treated to flashes of scribbled onscreen text containing "hip" one-liners in a "Laugh-In" vein.

Here, things resemble a less magical version of the Beatles' MAGICAL MYSTERY TOUR only with more old fogeys wandering around complaining about everything.  It isn't until we get to know these people that their grumblings begin to be endearing, and even then much of the bad dubbing seems designed to take the bite out of their witty asides. 

Still, the movie gets better and better as we settle into its rather sedate pace and warm up to the characters.  And with a cast like this it isn't hard--this is one of the most amazing groups of character actors, stars doing cameos, and familiar faces in general that you could hope to see all in one place. 

First of all, nobody does world-weary grumbling better than guys like Norman Fell and Murray Hamilton, with the wonderful Reva Rose and Peggy Cass as their long-suffering wives.  One nice running gag involves Norman and Reva getting separated early on and his vain attempts to track down the Japanese tour group she's accidentally become a member of.  Hamilton has a nice vignette in which he tries to order some custom shoes in Venice from a cobbler played by famed director Vittorio De Sica. 

Also aboard the cross-continental tour bus are the likes of Michael Constantine (he's revisiting the places where he had the most fun in life--during WWII), Marty Ingles as a schlub who thinks he can score with European women, Mildred Natwick, a young Sandy Baron ("Seinfeld"), Pamela Britton, and Aubrey Morris ("Mr. Deltoid" of A CLOCKWORK ORANGE) as Harry Dix, a kleptomaniac determined to take half of Europe home in his luggage. (Be sure to watch the film to the very end, where he adds the final gag.)

One of the film's most charming features is the gradually-building romance between bachelor tour guide Charlie (a dashing Ian McShane in his way younger days) and Sam (Suzanne Pleshette), a single woman unsure of whether she's ready for marriage to her fiancé George.  Pleshette is at her peak of sophisticated loveliness here and is a joy to watch as she serves as catnip to notorious skirt-chaser Charlie.

Sam and Charlie's uneasy relationship is handled in a surprisingly adult manner and is actually interesting--in fact, it was during their first really good dialogue scene together that I realized I was starting to enjoy this movie as more than a lightweight comedy.  A morning-after love scene in their hotel room after a night of passion even resembles something out of a "foreign film."

Some of the other celebrity faces to spot along the way include John Cassavetes, Ben Gazzara, Joan Collins (stunning in one brief shot of her walking down the street in a miniskirt), Senta Berger, Virna Lisi, Anita Ekberg, Elsa Martinelli, Luke Halpin ("Flipper"), folk singer Donovan Leitch, and "The Man From U.N.C.L.E." star Robert Vaughn as an Italian photographer. 

Shot entirely on location, the film is directed by Mel Stuart of WILLY WONKA & THE CHOCOLATE FACTORY fame and written by David Shaw (A FOREIGN AFFAIR).

The DVD from Olive Films is in 1.85:1 widescreen and mono sound. Subtitles are in English.  A trailer is the sole extra.

After the usual "ugly American" gags have run their course, the old fogeys of IF IT'S TUESDAY, THIS MUST BE BELGIUM actually start being endearing.  (A big breakthrough is during a dinner scene when Murray decides that squid isn't so bad.) We've come to know them sufficiently that broad comedy strokes are unnecessary and simple character humor is enough to add a warm, satisfying glow to the proceedings. 

IF IT'S TUESDAY, THIS MUST BE BELGIUM -- DVD Review by Porfle

THE PRIVATE AFFAIRS OF BEL AMI -- DVD Review by Porfle

 

Originally posted on 5/20/16

 

They say that the girls always go for the bad boy, which is fortunate for Georges Duroy (George Sanders) in Guy de Maupassant's THE PRIVATE AFFAIRS OF BEL AMI (1946) since he is a bad, bad boy indeed. 

He is, in fact--in the words of one acquaintance--"an unmitigated cad", and this elegantly-told story is all about his casual betrayals of both women and men in romance, business, and various matters of basic trust and decency which he regards as mere impediments on the path to his narcissistic self-advancement.

Sanders, naturally, is perfectly cast as such a jaded, perversely attractive smoothie, not unlike his character Lord Henry Wotton in the earlier THE PICTURE OF DORIAN GRAY (1945) which also featured director Albert Lewin and co-star Angela Lansbury.  Wotton, however, relished decadence for its own sake, while Duroy considers it a means to an end.

The affairs of "Bel Ami", the pet name given to him by Lansbury's Clotilde de Marelle, are recounted matter-of-factly with all of Duroy's methodical mendacity presented in leisurely and picturesque tableaux that are beautifully designed and refreshingly un-melodramatic. 

The restored film's black-and-white photography by Oscar-winner Russell Metty (SPARTACUS) is exquisite, as are the 1880s Parisian sets that are lovingly shot with a sort of Kubrickesque romanticism.  A single color shot is a close-up of Max Ernst's painting "Temptation of St. Anthony", commissioned for the film.

Lansbury is gorgeous as a young single mother (her daughter is played by IT'S A WONDERFUL LIFE's "Zuzu", Karolyn Grimes) who first loses her heart to the duplicitous Duroy along with her self-respect. It's no wonder that she is ultimately his one regret after all is said and done.

Ann Dvorak is equally good as the sharp-witted wife of his old military friend Charles Forestier (John Carradine), both of whom secure Duroy a lucrative position as a writer for a leading newspaper.  It's through them that Duroy commits some of his most devious plays for wealth and status, using friends, enemies, and lovers alike as chess pawns.

The story seems quite a bit ahead of its time in its frank portrayal of Duroy's calculated promiscuousness with women both married and single, and in its portrayal of these women as equal players in his high-stakes game.

Much occurs between scenes--between the lines, as it were--to stimulate our imaginations and give the story an added dimension which would probably be lacking if filmed today.

The supporting cast is fine, with THE WOLF MAN's Warren William in his final role as Duroy's most bitter rival Laroche-Mathieu, Katherine Emery as scorned lover Madame Walter, and Marie Wilson ("My Friend Irma") as a "common" woman who is the butt of one of Duroy's most wicked putdowns in the very first scene. 

The DVD from Olive Films is in 1.33:1 with mono sound.  Subtitles are in English.  No extras.  The film's restoration from the highest quality picture and audio elements available is a visual delight. 

Surprisingly, a story about such a cold fish as Duroy yields a richly involving viewing experience enhanced by sharp, Oscar Wilde-level dialogue.  Emotionally distant as its protagonist at first, THE PRIVATE AFFAIRS OF BEL AMI gradually builds to a dramatic life-or-death ending which lingers in the mind.

THE PRIVATE AFFAIRS OF BEL AMI -- DVD Review by Porfle

WILD IN THE STREETS -- DVD Review by Porfle

 

Originally posted on 8/16/16

 

What would happen if a rock-singing hippie in his early 20s could run for President?  And 14-year-olds could vote for him?  And Shelley Winters was his mom? 

These and hundreds of other questions are answered in goofy and sometimes scary psychedelic splashes of cinematic wonderfulness in the 1968 American-International classic WILD IN THE STREETS (Olive Films, Blu-ray and DVD). 

The film vividly depicts a Hollywoodized view of the 60s counter-culture era with its constant clashes between the younger and older generations--represented by bellbottoms, long hair, groovy lingo, and drug use on one side, and either straitlaced moral rigidity or sad attempts to remain "relevant" to the younger set, despite encroaching age, on the other--and is packed to the gills with knowing satire that skewers them both to the very core at every delightfully hokey turn.

If it seems dumb, it's deliberately so, almost in the same way that the "Batman" TV series with Adam West risked looking stupid to deliver its payload of delicious deadpan humor.  (Minus, that is, the more farcical elements of that show and plus a stern voiceover by Paul Frees.)

And yet, it's this quality that allows the story at times to sneak up on the unsuspecting viewer with a powerful emotional wallop which, especially during the film's downbeat climax, turns the improbable fantasy into a too-close-for-comfort Orwellian nightmare. 

The film's nominal "hero", Max Frost (James Dean lookalike Christopher Jones), who mass-produces LSD in the basement of his family home, rebels against his conservative father (Bert Freed) and dippy, clinging mother (Shelley Winters at her overpowering, self-deprecating best), leaving them to become a millionaire rock star with a loyal entourage that includes Richard Pryor, Larry Bishop (HELL RIDE, KILL BILL VOL. 2), and Diane Varsi as sexy acid-head "Sally LeRoy."

Ambitious senatorial candidate John Fergus (Hal Holbrook) makes the mistake of enlisting Max and his band to help him court the youth vote, but Max uses it as an opportunity to rouse his frenzied followers into a movement to lower the voting age to fourteen. 

When this (improbably) occurs, Max then rides his superstardom all the way to the presidency itself, whereupon he declares thirty to be the new mandatory retirement age.  At thirty-five, all citizens are to be interned in concentration camps where they'll be fed LSD to keep them docile and out of the younger generation's way.

Along the way, we're treated to some really great scenes that run the gamut from the ridiculous to the sublime.  Winters is hilarious in her bull-in-a-china-closet efforts--doomed from the start--to ingratiate herself with her newly-moneyed son and appear young and hip.  She's really amazing to watch.

Max's rise to power, taunting disrespect for the establishment, and easy manipulation of the masses are potent fantasy, while seasoned actors such as Hal Holbrook and Ed Begley, Sr. lend needed dramatic weight to their scenes.  (Seeing Begley and the rest of Congress tripping out on LSD after Max and his "troops" have spiked Washington, D.C.'s water supply is a trip in itself.)

The songs aren't half bad, either, including the haunting "The Shape of Things to Come" which follows a Kent State-style shooting during a massive protest rally. 

Director Barry Shear worked mainly in television and gives WILD IN THE STREETS the look of a gilt-edged TV movie with welcome bursts of color and style.  Scripter Robert Thom adds another winner to a body of work that also includes DEATH RACE 2000, BLOODY MAMA, THE LEGEND OF LYLAH CLARE, and ALL THE FINE YOUNG CANNIBALS. Importantly, his "generation gap" screenplay doesn't choose sides--it's a wickedly satirical putdown of both. Composer Les Baxter contributes his usual lively musical score. 

 

In addition to the rest of the standout cast, a major part of the film's appeal is its star, Christopher Jones, whose uncanny resemblance to James Dean (in looks if not acting skill) is of constant visual interest.  He carries the picture as its charismatic focal point and makes us feel a dramatic involvement in scenes that might otherwise seem insubstantial while deftly revealing to us his "Angel of Light" character's inner corruptness. 

The DVD from Olive Films is in 1.85:1 widescreen with 2.0 mono sound and English subtitles.  A trailer is the sole extra.

My older sister used to take me to grown-up movies all the time back in the pre-ratings-system days when such films, as does this one, carried a "suggested for mature audiences" disclaimer.  (It has since been rated "R" mainly for its depiction of drug use.)  I vividly remember watching WILD IN THE STREETS with her in our local movie theater then, and now, 48 years later, I still find it just as disturbing, just as crazy, and just as wildly whacked-out--but a whole lot funnier. 

WILD IN THE STREETS -- DVD Review by Porfle