Welfare offer bet365 casino free play_free login bet365?apk_Welfare offer bet365 live streaming app https://www.google.com//fbe/ Celebrating Films of the 1960s & 1970s en Serendipity 1.5.2 - http://www.s9y.org/ Wed, 01 Aug 2018 14:46:06 GMT /fbe/templates/default/img/s9y_banner_small.png RSS: Cinema Retro - Adrian Smith - Celebrating Films of the 1960s & 1970s https://www.google.com//fbe/ 100 21 BOOK REVIEW: "BARBARA LA MARR: THE GIRL WHO WAS TOO BEAUTIFUL FOR HOLLYWOOD" BY SHERRI SNYDER https://www.google.com//fbe/index.php?/archives/10157-BOOK-REVIEW-BARBARA-LA-MARR-THE-GIRL-WHO-WAS-TOO-BEAUTIFUL-FOR-HOLLYWOOD-BY-SHERRI-SNYDER.html Adrian Smith /fbe/index.php?/archives/10157-BOOK-REVIEW-BARBARA-LA-MARR-THE-GIRL-WHO-WAS-TOO-BEAUTIFUL-FOR-HOLLYWOOD-BY-SHERRI-SNYDER.html#comments /fbe/wfwcomment.php?cid=10157 0 /fbe/rss.php?version=2.0&type=comments&cid=10157 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:9769 --><img class="serendipity_image_center" src="/fbe/uploads/barbaralamarr_edited-1.jpg" width="450" height="647" /> </p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">University Press of Kentucky</span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">464 pages</span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">Published 15 December 2017</span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">ISDN: 978-0-8131-7425-9</span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-family: &quot;Times New Roman&quot;, serif;" lang="EN-GB"> </span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-family: &quot;Times New Roman&quot;, serif;" lang="EN-GB"><font size="2"><font face="verdana,arial,helvetica,sans-serif"><strong>REVIEW BY ADRIAN SMITH</strong></font></font><br /></span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-family: &quot;Times New Roman&quot;, serif;" lang="EN-GB"> </span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">Born in 1896, as a teenager Barbara La Marr, then Reatha Watson, lead something of an adventurous life. Her father worked in the newspaper business, and the family moved home constantly, almost inevitably contributing towards the turbulence and seeming inability to settle down that plagued her life. At the age of sixteen, now living in California, her elder sister and her husband kidnapped Reatha, causing a minor scandal, with some accounts stating that Reatha had helped plot the kidnaping herself in a desire to flee her oppressive parents. Reatha was already an incredibly luminous and attractive young woman, and she was regularly spotted in the nightclubs of Los Angeles dancing, drinking, and generally behaving in such a way that soon brought the wrong kind of attention. For her own protection a court declared that she was ¡°too beautiful¡± to be on her own in the city and was ordered to leave Los Angeles. </span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB"> </span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">This did nothing to assuage her ambitions however, and she attempted to turn this publicity into a Hollywood career. Having had stage experience as a child, she appeared as an extra in several films within the still developing Hollywood studio system. Being somewhat disappointed by her perceived lack of success, she went on to develop a career as a dancer, and performed in nightclubs around the country, attracting men wherever she went, until the strain on her health proved too great and she headed back home to California. Reatha Watson was incessantly creative and decided to try her hand as a writer. Her first attempt at a novel found its way into the right hands, and in 1920 the Fox Film Corporation produced <em>The Mother of His Children</em> (Edward J. Le Saint), the success of which lead to her becoming a staff writer for Fox. </span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB"> </span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">Aware of the negative publicity attached to Reatha Watson, it was around this time that she changed her name to Barbara La Marr, and she was overjoyed to back in Hollywood, even if it was on the other side of the camera. However, that state of affairs did not last long, and she was soon invited to screen test and began appearing in small roles again. Her friendships with A-list stars soon lead to bigger roles, and within just three years she was playing major roles in <em>The Three Musketeers</em> (1921, Fred Niblo) alongside Douglas Fairbanks, in <em>The Prisoner of Zenda</em> (1922, Rex Ingram) with her good friend Ramon Novarro, and in Hollywood satire <em>Souls for Sale</em> (1923, Rupert Hughes), the cast-list of which reads like a <em>Who¡¯s Who</em> of the silent era. La Marr often found herself cast as a ¡®vamp,¡¯ a Hollywood type popular in the pre-code films, and as such she was often dressed in amazing jewelled costumes and over-the-top headwear whilst tempting men to their fate, often being punished for such licentiousness by the end of the film. Despite being kind, overly generous and unselfish towards everyone she knew in her real life, this Hollywood ¡®vamp¡¯ image began to follow her wherever she went, and the Hollywood gossip press loved to tell tales of her somewhat scandalous personal life, the truth of which is laid out in this meticulously researched biography by Sherri Snyder. </span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB"> </span></p><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> 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mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Calibri",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-ansi-language:EN-GB;} </style> <![endif]--> <br /><a href="/fbe/index.php?/archives/10157-BOOK-REVIEW-BARBARA-LA-MARR-THE-GIRL-WHO-WAS-TOO-BEAUTIFUL-FOR-HOLLYWOOD-BY-SHERRI-SNYDER.html#extended">Continue reading "BOOK REVIEW: &quot;BARBARA LA MARR: THE GIRL WHO WAS TOO BEAUTIFUL FOR HOLLYWOOD&quot; BY SHERRI SNYDER"</a> Wed, 01 Aug 2018 13:35:00 +0000 /fbe/index.php?/archives/10157-guid.html http://creativecommons.org/licenses/by/3.0/ REVIEW: "THE MOUNTAIN OF THE CANNIBAL GOD" (1978) STARRING URSULA ANDRESS; UK BLU-RAY RELEASE FROM SHAMELESS SCREEN ENTERTAINMENT https://www.google.com//fbe/index.php?/archives/10108-REVIEW-THE-MOUNTAIN-OF-THE-CANNIBAL-GOD-1978-STARRING-URSULA-ANDRESS;-UK-BLU-RAY-RELEASE-FROM-SHAMELESS-SCREEN-ENTERTAINMENT.html Adrian Smith /fbe/index.php?/archives/10108-REVIEW-THE-MOUNTAIN-OF-THE-CANNIBAL-GOD-1978-STARRING-URSULA-ANDRESS;-UK-BLU-RAY-RELEASE-FROM-SHAMELESS-SCREEN-ENTERTAINMENT.html#comments /fbe/wfwcomment.php?cid=10108 0 /fbe/rss.php?version=2.0&type=comments&cid=10108 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:9715 --><img class="serendipity_image_center" src="/fbe/uploads/mountaincannibal.jpg" width="450" height="554" /> </p> <p><strong>BY ADRIAN SMITH&#160;</strong> <br /></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">Shameless has released the UK video debut of the 1978 cult film <em>The Mountain of the Cannibal God </em>as a Blu-ray special edition. (The film is also known as <em>The Slave of the Cannibal God.</em>) The plot is as follows: Susan Stevenson (Ursula Andress) and her brother Manolo (Claudio Cassinelli), unable to get help from the New Guinea authorities, hire former explorer Edward Foster (Stacy Keach) to help them find her husband. He went missing months ago in the jungle whist on a quest to reach the sacred mountain of Ra Ra Me. Susan clearly loves her husband and would do anything to get him back. Foster agrees to take them, despite the obvious difficulties ahead, not only from the dangerous animals, but also from the legendary cannibal tribe said to be lurking within the darkness of the jungle canopy. Along the way they find a cult-like village of local tribespeople watched over by Father Moses (Franco Fantasia) and Arthur Weisser (Antonio Marsina), who is also a jungle explorer. An affection seems to develop between Susan and Arthur, despite her supposed devotion to her lost husband, and after some trouble in the village when two locals are murdered by mysterious masked figures, they all set off together to find the mountain. Along the way they experience Herzogian levels of physical punishment as the game cast scramble down mountains, face an eight-metre-long snake, and, in one astonishing sequence, attempt to climb up a clearly deadly waterfall. It is a miracle that none of the cast were hospitalised.</span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB"> </span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">Of course, the title of the film giving it away somewhat, the exhausted group eventually run into cannibals and all hell breaks loose. Susan discovers the fate of her husband and is stripped, tied up and oiled by the cannibals who then indulge in a frenzied orgy that would have made Caligula blush; even the livestock are not left out of the sexually-charged proceedings. This energetic display is just the primer however for a darker appetite which will soon be satisfied¡­</span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB"> </span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">With Ursula Andress being surrounded by sex, nudity, graphic violence, real snakes and a devious dwarf, it is no wonder <em>The Mountain of the Cannibal God</em> has developed something of a reputation over the last forty years. The 1970s Italian cannibal films are notorious for their use of real onscreen animal killings, something which became popular as a result of <em>Mondo Cane</em> (1962) and its many sequels and rip-offs over the preceding decade. The directors have always claimed that these scenes were added at the insistence of financially-minded producers, and debates continue to rage amongst fans and scholars as to whether new releases of the films should still include the footage, or whether it should now be removed. In the UK this decision tends to be in the hands of the BBFC, where all films released have to conform to The Cinematograph Act of 1937. <em>The Mountain of the Cannibal God</em> originally included a scene of a monkey fighting a losing battle with a snake, as well as another snake fighting a bird of prey, and other assorted real-life animal slaughter, all of which no doubt contributed to its inclusion on the Video Nasties list in 1984. Two minutes of these scenes have now been removed for this new Blu-ray restoration, although not all animals get through the film unscathed; we still see a tarantula get impaled on a knife, a large lizard is gutted, skinned and eaten alive, and in one frenzied scene, dozens of green water snakes are grabbed and eaten by hungry cannibal tribesmen. </span></p> <p class="MsoNormal" style="text-align: justify; line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB"> </span></p><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> 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SemiHidden="true" UnhideWhenUsed="true" Name="toc 2"/> <w:LsdException Locked="false" Priority="39" SemiHidden="true" UnhideWhenUsed="true" Name="toc 3"/> <w:LsdException Locked="false" Priority="39" SemiHidden="true" UnhideWhenUsed="true" Name="toc 4"/> <w:LsdException Locked="false" Priority="39" SemiHidden="true" UnhideWhenUsed="true" Name="toc 5"/> <w:LsdException Locked="false" Priority="39" SemiHidden="true" UnhideWhenUsed="true" Name="toc 6"/> <w:LsdException Locked="false" Priority="39" SemiHidden="true" UnhideWhenUsed="true" Name="toc 7"/> <w:LsdException Locked="false" Priority="39" SemiHidden="true" UnhideWhenUsed="true" Name="toc 8"/> <w:LsdException Locked="false" Priority="39" SemiHidden="true" UnhideWhenUsed="true" Name="toc 9"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Normal Indent"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="footnote text"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="annotation text"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="header"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="footer"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="index heading"/> <w:LsdException Locked="false" Priority="35" SemiHidden="true" UnhideWhenUsed="true" QFormat="true" Name="caption"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="table of figures"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="envelope address"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="envelope return"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="footnote reference"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="annotation reference"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" 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UnhideWhenUsed="true" Name="List 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List 4"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List 5"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Bullet 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Bullet 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Bullet 4"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Bullet 5"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Number 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Number 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Number 4"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Number 5"/> <w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Closing"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Signature"/> <w:LsdException Locked="false" Priority="1" SemiHidden="true" UnhideWhenUsed="true" Name="Default Paragraph Font"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Body Text"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Body Text Indent"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Continue"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Continue 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Continue 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Continue 4"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="List Continue 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SemiHidden="true" UnhideWhenUsed="true" Name="Normal (Web)"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Acronym"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Address"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Cite"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Code"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Definition"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Keyboard"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Preformatted"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Sample"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Typewriter"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Variable"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Normal Table"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="annotation subject"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="No List"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Outline List 1"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Outline List 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Outline List 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Simple 1"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Simple 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Simple 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Classic 1"/> <w:LsdException Locked="false" SemiHidden="true" 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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Professional"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Subtle 1"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Subtle 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Web 1"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Web 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Web 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Balloon Text"/> <w:LsdException Locked="false" Priority="39" Name="Table Grid"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Theme"/> <w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/> <w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/> <w:LsdException Locked="false" Priority="60" Name="Light Shading"/> <w:LsdException Locked="false" Priority="61" Name="Light List"/> <w:LsdException Locked="false" Priority="62" Name="Light Grid"/> <w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/> <w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/> <w:LsdException Locked="false" Priority="65" Name="Medium List 1"/> <w:LsdException Locked="false" Priority="66" Name="Medium List 2"/> <w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/> <w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/> <w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/> <w:LsdException Locked="false" Priority="70" Name="Dark List"/> <w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/> <w:LsdException Locked="false" Priority="72" Name="Colorful List"/> <w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/> <w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/> 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QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" SemiHidden="true" UnhideWhenUsed="true" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" SemiHidden="true" UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/> <w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/> <w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/> <w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/> <w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/> <w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/> <w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/> <w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/> <w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/> <w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/> <w:LsdException Locked="false" 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mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Calibri",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-ansi-language:EN-GB;} </style> <![endif]--> <br /><a href="/fbe/index.php?/archives/10108-REVIEW-THE-MOUNTAIN-OF-THE-CANNIBAL-GOD-1978-STARRING-URSULA-ANDRESS;-UK-BLU-RAY-RELEASE-FROM-SHAMELESS-SCREEN-ENTERTAINMENT.html#extended">Continue reading "REVIEW: &quot;THE MOUNTAIN OF THE CANNIBAL GOD&quot; (1978) STARRING URSULA ANDRESS; UK BLU-RAY RELEASE FROM SHAMELESS SCREEN ENTERTAINMENT"</a> Fri, 22 Jun 2018 14:22:00 +0000 /fbe/index.php?/archives/10108-guid.html http://creativecommons.org/licenses/by/3.0/ Book Review: "Conversations with Classic Films Stars: Interviews From Hollywood¡¯s Golden Era" & "You Ain¡¯t Heard Nothin¡¯ Yet: Interviews with Stars From Hollywood¡¯s Golden Era" by James Bawde https://www.google.com//fbe/index.php?/archives/10021-Book-Review-Conversations-with-Classic-Films-Stars-Interviews-From-Hollywoods-Golden-Era-You-Aint-Heard-Nothin-Yet-Interviews-with-Stars-From-Hollywoods-Golden-Era-by-James-Bawde.html Adrian Smith /fbe/index.php?/archives/10021-Book-Review-Conversations-with-Classic-Films-Stars-Interviews-From-Hollywoods-Golden-Era-You-Aint-Heard-Nothin-Yet-Interviews-with-Stars-From-Hollywoods-Golden-Era-by-James-Bawde.html#comments /fbe/wfwcomment.php?cid=10021 0 /fbe/rss.php?version=2.0&type=comments&cid=10021 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:9610 --><img class="serendipity_image_center" src="/fbe/uploads/classicfilmstars.jpg" width="400" height="599" /> </p> <p><strong>BY ADRIAN SMITH&#160;</strong></p> <p><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> 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Name="List Table 4 Accent 5"/> <w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/> <w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful Accent 5"/> <w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful Accent 5"/> <w:LsdException Locked="false" Priority="46" Name="List Table 1 Light Accent 6"/> <w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/> <w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/> <w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/> <w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/> <w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful Accent 6"/> <w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful Accent 6"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Mention"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Smart Hyperlink"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /<strong> Style Definitions </strong>/ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Calibri",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi; mso-ansi-language:EN-GB;} </style> <![endif]--> </p> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">James Bawden was a TV columnist for the <em>Toronto Star</em>, and Ron Miller was TV editor at the <em>San Jose Mercury News</em> and is a former president of the Television Critics Association. During their respective careers stretching back some fifty years the list of stars they have interviewed reads like a <em>Who¡¯s Who</em> of Hollywood. These two volumes bring together an incredible assortment of interviews from almost the birth of cinema itself, with Buster Keaton, Jackie Coogan and Gloria Swanson representing the silent era. The great leading men are all here, including James Stewart, Henry Fonda, Kirk Douglas, Victor Mature and Cary Grant, and of course classic leading ladies like Bette Davis, Janet Leigh, Fay Wray and Joan Fontaine. Along the way they also met character actors and horror stars like Ernest Borgnine, Victor Buono, John Carradine, and Lon Chaney Jr., and even singing cowboys Gene Autry and Roy Rogers make an appearance. With each book containing over thirty interviews, this is an opportunity to revisit the golden era of Hollywood. Many of the interviews, generally to publicise their latest film, were conducted on sets, in theatre dressing rooms, or if they were lucky, the star¡¯s home, and the authors preface each interview with their own recollection of the moment, giving us a little more insight into how these stars were when the cameras were switched off. Ron Miller has even written an entire chapter titled ¡°My seven minutes alone with Elizabeth Taylor,¡± recalling the lengths he was required to go to in order to interview with star whilst she was filming the TV miniseries <em>North and South</em> (1985). The effort that went into securing those seven minutes is possibly more entertaining than the interview itself, and secures some sympathy for those dogged TV and film journalists who have to jump through sometimes dozens of hoops before getting their moment.</span></p> <p><!-- s9ymdb:9611 --><img class="serendipity_image_center" src="/fbe/uploads/youaintheardnothingyet.jpg" width="400" height="602" /> </p> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB"> </span></p> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">Miller has helpfully also provided a chapter titled ¡°How to Talk to a Movie Star,¡± which provides invaluable advice for anyone considering taking this up as a career, including a recollection of the time James Bawden interviewed Julie Harris. ¡°I hate star interviews!¡± she exclaimed, so Bawden quickly told her that he had never understood Shakespeare until the time he saw her in a production of <em>Romeo and Juliet</em>. ¡°You¡¯ve convinced me!¡± she replied and spent an hour answering his questions. The lesson? Flattery frequently gets you somewhere.</span></p> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB"> </span></p> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB">From nervously interviewing stars like Boris Karloff when barely out of their teens to developing personal friendships with stars such as Bob Hope, Bawden and Miller¡¯s collection is a feast of nostalgia and insight into a never-to-be-repeated era of Hollywood history, and these two books are a must for the bookshelf of any respecting film fan or potential Hollywood journalist. (Both books are published by University Press of Kentucky.)</span></p> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB"><strong><a href="http://www.amazon.com/dp/0813167108/?tag=cinemaretroco-20">CLICK HERE</a> TO ORDER &quot;CONVERSATIONS WITH CLASSIC FILMS STARS&quot; FROM AMAZON USA</strong></span></p> <p class="MsoNormal" style="line-height: 115%;"><br /><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;" lang="EN-GB"><strong><a href="http://www.amazon.com/dp/081317421X/?tag=cinemaretroco-20">CLICK HERE </a>TO ORDER &quot;CONVERSATIONS WITH CLASSIC FILMS STARS&quot; FROM AMAZON UK</strong></span></span></p> <p><strong><a href="https://www.amazon.co.uk/Conversations-Classic-Film-Stars-Interviews/dp/0813174384/ref=sr_1_1_twi_pap_1?s=books&amp;ie=UTF8&amp;qid=1522943214&amp;sr=1-1&amp;keywords=conversations+with+classic+film+stars&amp;dpID=51Y0fRisZyL&amp;preST=<u>SY291_BO1,204,203,200_QL40</u>&amp;dpSrc=srch">CLICK HERE </a>TO ORDER &quot;YOU AIN'T HEARD NOTHIN' YET&quot; FROM AMAZON USA</strong></p> <p> <strong><a href="https://www.amazon.co.uk/You-Aint-Heard-Nothin-Yet/dp/081317421X/ref=sr_1_1_twi_har_1?s=books&amp;ie=UTF8&amp;qid=1522943283&amp;sr=1-1&amp;keywords=you+ain%27t+heard+nothin+yet&amp;dpID=61UEIwL%252B-jL&amp;preST=<u>SY291_BO1,204,203,200_QL40</u>&amp;dpSrc=srch">CLICK HERE</a> TO ORDER &quot;YOU AIN'T HEARD NOTHIN' YET&quot; FROM AMAZON USA</strong></p> <br /> <p> </p> Fri, 06 Apr 2018 13:26:00 +0000 /fbe/index.php?/archives/10021-guid.html http://creativecommons.org/licenses/by/3.0/ BOOK REVIEW: "AMERICAN GOTHIC" BY JONATHAN RIGBY; EXPANDED AND UPDATED EDITION https://www.google.com//fbe/index.php?/archives/9890-BOOK-REVIEW-AMERICAN-GOTHIC-BY-JONATHAN-RIGBY;-EXPANDED-AND-UPDATED-EDITION.html Adrian Smith /fbe/index.php?/archives/9890-BOOK-REVIEW-AMERICAN-GOTHIC-BY-JONATHAN-RIGBY;-EXPANDED-AND-UPDATED-EDITION.html#comments /fbe/wfwcomment.php?cid=9890 0 /fbe/rss.php?version=2.0&type=comments&cid=9890 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:9413 --><img class="serendipity_image_center" width="450" height="558" src="/fbe/uploads/AMERICANGOTHIC.jpg" /> </p> <p><strong>BY ADRIAN SMITH</strong></p> <p> </p> <p>American filmmakers have been fascinated by horror and the fantastical since the birth of cinema itself, with one early example cited here being an 1898 New York screening by the Thomas Edison Company of a short film featuring a witch and an appearance from Mephistopheles. Partially inspired by the work of French magician Georges M¨¦li¨¨s, it was not long before ghosts, demons, witches and devils would become commonplace in the silent films being produced in New York, and eventually Hollywood itself.</p> <p><br /></p> <p>Jonathan Rigby¡¯s American Gothic (Signum publishing) is a fascinating and idiosyncratic exploration of the American horror film, a genre which has inspired filmmakers to create some of the most memorable moments in cinema history. More than a simple encyclopaedia, the book charts the historical development of the genre through not only the classics such as Phantom of the Opera, Dracula and The Cat and the Canary, but also through the hundreds of cheaper independent films and supporting features which are often forgotten but are no less enjoyable. Each chapter, written in his inimitable prose style, covers a specific period and discusses in detail not only the films but the filmmakers, actors and studios involved. Rigby is not afraid to criticise films which many hold sacred, as well as finding positive aspects amongst the failures. Boris Karloff and Bela Lugosi loom large of course, their enduring appeal spanning at least half of the period covered here. Having slipped almost inevitably from their 1930s heights into B-movie lows, Karloff still managed to maintain some level of dignity despite the cheapness of the material, whereas the same could not be said for Lugosi, who suffered the ultimate indignity of finishing his career in the Z-grade films of Edward D. Wood Jr.</p> <p><br /></p> <p>Out of print for more than ten years, American Gothic has now been revised and expanded by Jonathan Rigby, completing his horror trilogy alongside English Gothic and Euro Gothic. What this book confirms is that American cinema has been the world¡¯s leading producer of the horrific and terrifying, in sheer number if not always in quality. Whereas those other two books cover the entire history of film in their respective countries and continents, Rigby has had to curtail American Gothic¡¯s coverage at 1959, arguably when things were about to get really interesting. This was perhaps as much for his own sanity as well as for the length of the book. With dozens of rare and exceptional film stills and publicity materials, American Gothic is an essential read for any serious enthusiast of horror or cinema history. Here¡¯s hoping that Rigby will eventually pluck up the courage to tackle the next sixty years.</p> <p><strong><a href="http://www.amazon.com/dp/0995519137/?tag=cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON USA</strong> </p> <p><strong><a href="http://www.amazon.co.uk/exec/obidos/ASIN/0995519137/cinemaretro-21">CLICK HERE</a> TO ORDER FROM AMAZON UK</strong> </p> <p><br /></p> <p> </p> Mon, 04 Dec 2017 14:19:00 +0000 /fbe/index.php?/archives/9890-guid.html http://creativecommons.org/licenses/by/3.0/ REVIEW: "KIM NEWMAN'S VIDEO DUNGEON: THE COLLECTED REVIEWS" (TITAN BOOKS) https://www.google.com//fbe/index.php?/archives/9866-REVIEW-KIM-NEWMANS-VIDEO-DUNGEON-THE-COLLECTED-REVIEWS-TITAN-BOOKS.html Adrian Smith /fbe/index.php?/archives/9866-REVIEW-KIM-NEWMANS-VIDEO-DUNGEON-THE-COLLECTED-REVIEWS-TITAN-BOOKS.html#comments /fbe/wfwcomment.php?cid=9866 0 /fbe/rss.php?version=2.0&type=comments&cid=9866 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:9380 --><img class="serendipity_image_center" width="450" height="687" src="/fbe/uploads/VideoDungeon.jpg" /> </p> <p> </p> <p> <span style="font-family: Verdana, sans-serif; font-size: 10pt; text-align: justify;">Titan Books</span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">ISBN: 9781783299393<o:p /></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Dimensions: 234 x 153mm<o:p /></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Paperback: 560pp&#160;<o:p /></span></p> <p><strong>BY ADRIAN SMITH&#160;</strong></p> <p> </p> <p> <span style="font-family: Verdana, sans-serif; font-size: 10pt; text-align: justify;">As well as being an accomplished novelist and historian, Kim Newman has written a regular column in </span><em style="font-family: Verdana, sans-serif; font-size: 10pt; text-align: justify;">Empire</em><span style="font-family: Verdana, sans-serif; font-size: 10pt; text-align: justify;"> magazine for almost twenty years covering the video (then DVD and eventually Blu-ray) releases no one else wanted to watch. Rather than serve as an encyclopaedia, </span><em style="font-family: Verdana, sans-serif; font-size: 10pt; text-align: justify;">Kim Newman¡¯s Video Dungeon: The Collected Reviews</em><span style="font-family: Verdana, sans-serif; font-size: 10pt; text-align: justify;"> is organised, in a somewhat idiosyncratic style, into thematic rather chapters than simply an alphabetic or chronological presentation. His identification of recurring genres or styles has allowed for chapters on ¡°Confinements and Dangerous games,¡± ¡°Cryptids and Critters,¡± ¡°Serial Killers and Cops¡± and ¡°Weird Hippie Sh*t,¡± amongst more recognisable genre descriptions such as ¡°Found Footage,¡± ¡°Famous Monsters¡± and ¡°Secret Agent Men (and Women)¡± and others.</span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Spanning almost the entire breadth of film history and encompassing productions from around the globe, the reader is presented with hundreds of obscure titles alongside the occasional classic. From silent film to spoofs and pornography, Kim Newman has sat through over thirty films featuring Frankenstein and a similar amount featuring Dracula. The trend for sharksploitation films, which still shows no sign of abating, is particularly noticeable here as Kim Newman patiently reviews dozens of films such as <em>Sharkenstein</em> (2016), <em>Shark</em> <em>Exorcist</em> (2015) and the infamous <em>Sharknado</em> series (2013-2016 so far). Refusing to fall into the film historian¡¯s trap of sneering at anything cheap or new, Kim Newman is fair to each film he reviews, finding positive elements even in some found footage films, despite having had to sit through so many.<o:p /></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Being a collection of reviews of home video releases, there is also the occasional vintage gem in here, such as <em>Curse of Bigfoot</em> (1975), <em>Las</em> <em>Vampiras</em> (1969) and <em>Confessions of an</em> <em>Opium Eater</em> (1962). Indeed, most of the films in the ¡°Weird Hippie Sh*t¡± section, including <em>Drive, He Said</em> (1971), <em>Toomorrow</em> (1970), <em>Wonderwall</em> (1968) and <em>Permissive</em> (1970) date from the hippie heyday itself.<o:p /></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Kim Newman¡¯s writing is distinctive and authoritative, with a gleeful sense of humour for the absurd, which means that even when the films sound terrible, which they occasionally do, the reviews are still entertaining to read. It is this skill which has made his <em>Video Dungeon</em> column in <em>Empire</em> so enjoyable over the years, with trusted recommendations as to what to seek out, and what to avoid. <em>Kim Newman¡¯s Video Dungeon: The Collected Reviews</em> is highly recommended, particularly for those who think they have seen a lot of weird films over the years. The chances are high that Kim Newman has seen more.<o:p /></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"><strong><a href="http://www.amazon.com/dp/1783299398/?tag=cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON USA</strong></span></p> <p><strong><a href="http://www.amazon.co.uk/exec/obidos/ASIN/1783299398/cinemaretro-21">CLICK HERE T</a>O ORDER FROM AMAZON UK</strong> </p> Sun, 19 Nov 2017 14:44:00 +0000 /fbe/index.php?/archives/9866-guid.html http://creativecommons.org/licenses/by/3.0/ REVIEW: SERGIO MARTINO'S "THE STRANGE VICE OF MRS. WARDH" (1971); UK BLU-RAY RELEASE FROM SHAMELESS https://www.google.com//fbe/index.php?/archives/9851-REVIEW-SERGIO-MARTINOS-THE-STRANGE-VICE-OF-MRS.-WARDH-1971;-UK-BLU-RAY-RELEASE-FROM-SHAMELESS.html Adrian Smith /fbe/index.php?/archives/9851-REVIEW-SERGIO-MARTINOS-THE-STRANGE-VICE-OF-MRS.-WARDH-1971;-UK-BLU-RAY-RELEASE-FROM-SHAMELESS.html#comments /fbe/wfwcomment.php?cid=9851 0 /fbe/rss.php?version=2.0&type=comments&cid=9851 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:9353 --><img class="serendipity_image_center" width="450" height="637" src="/fbe/uploads/StrangeVice-Art-2.jpg" /> </p> <p><strong>BY ADRIAN SMITH&#160;</strong></p> <p> </p> <p> <span style="font-family: Verdana, sans-serif; font-size: 10pt; text-align: justify;">Julie Wardh (Edwige Fenech) is a woman who needs some time off men: she attempts to escape her sado-masochistic relationship with Jean (Ivan Rassimov) by marrying Neil Wardh (Alberto de Mendoza), an ambassador at the Italian embassy in Austria. But things are not that simple. Julie suffers from erotic nightmares, wherein she makes love to Jean whilst being showered in broken glass, but continues to proclaim her hatred for him to anyone that will listen, including jean himself. At a friend¡¯s party, where women tear paper dresses from each other and wrestle naked, Julie meets the cool George (George Hilton) a man determined to seduce Mrs Wardh, regardless of her husband or complicated romantic history. He seems kind and he rides a motorbike, so it does not take Mrs Wardh long to fall for him.</span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Of course, this being a giallo, in the middle of this menage au quattro there is a psychosexual killer stalking Vienna, murdering prostitutes and other beautiful women at random. Could the murderer be the vicious Jean, who seems determined to destroy Julie¡¯s marriage, if not her life? Or is her sanity in question?<o:p /></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="text-align: justify;"><em><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">The Strange Vice of Mrs Wardh</span></em><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> is an interesting blend of Hitchcock¡¯s <em>Frenzy</em> (1972) and Clouzot¡¯s <em>Les</em> <em>Diaboliques</em> (1955), with more red herrings and plot twists than an M. Night Shyamalan film. Things become even more confusing if you watch this back to back with <em>All the Colours of the Dark </em>(1972, Sergio Martino), a film made the following year with Fenech, Hilton and Rassimov whose plot is similarly constructed, right down to the intense dream sequences with Ivan Rassimov making violent love to Edwige Fenech. Following the rough template laid out in Mario Bava¡¯s <em>Blood and Black Lace</em> (1964), where a faceless black-gloved killer murders his way through a swath of beautiful young women, this film works hard to keep the audience guessing as to the identity of the sex maniac. Any sense of logic in the plot is however secondary to the amount of time spent looking at a naked Edwige Fenech. When she is not baring all for the various men in her life she is running around looking scared or confused, seemingly to pad out the running time, the thin script probably only filling fifteen pages. <o:p /></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">This is an entertaining thriller which continues to enthral and fascinate fans. It¡¯s importance to Italian cinema was confirmed in 2015 when a three-day academic conference was held at the Austrian Institute in Rome to celebrate the film, with director Sergio Martino, screenwriter Ernesto Gastaldi, composer Nora Orlandi star George Hilton and this <em>Cinema</em> <em>Retro</em> contributor in attendance. Although dismissed by serious film critics in the 1970s, the giallo is now seen as a vital element of Italian film, its influence seen in the slasher films that Hollywood produced in earnest in the 1980s.<o:p /></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">This new Shameless Blu-ray is an excellent upgrade from their earlier DVD release, and is a great addition to their burgeoning range of cult Italian film releases.&#160;<o:p /></span><span style="font-family: Verdana, sans-serif; font-size: 10pt;">Bonus features include interviews with both Sergio Martino and Edwige Fenech as well as a fact track from genre expert Justin Harris.</span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"><o:p /></span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="text-align: justify;"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">UK READERS:&#160;<a href="http://www.shameless-films.com/shop/The-Strange-Vice-of-Mrs.-Wardh-Bluray.html">Click here</a> to order a copy of <em>The Strange Vice of Mrs Wardh</em> on Blu-ray, and check out their other giallo releases whilst you are there.&#160;</span></p> <p><a href="http://www.amazon.com/exec/obidos/ASIN/B071W79FQC/cinemaretroco-20">CLICK HERE </a>TO ORDER REGION-FREE IMPORT FROM AMAZON USA&#160;</p> Mon, 06 Nov 2017 14:27:00 +0000 /fbe/index.php?/archives/9851-guid.html http://creativecommons.org/licenses/by/3.0/ REVIEW: UMBERTO LENZI'S "ALMOST HUMAN" (1974) STARRING THOMAS MILIAN AND HENRY SILVA; BLU-RAY SPECIAL EDITION FROM SHAMELESS https://www.google.com//fbe/index.php?/archives/9781-REVIEW-UMBERTO-LENZIS-ALMOST-HUMAN-1974-STARRING-THOMAS-MILIAN-AND-HENRY-SILVA;-BLU-RAY-SPECIAL-EDITION-FROM-SHAMELESS.html Adrian Smith /fbe/index.php?/archives/9781-REVIEW-UMBERTO-LENZIS-ALMOST-HUMAN-1974-STARRING-THOMAS-MILIAN-AND-HENRY-SILVA;-BLU-RAY-SPECIAL-EDITION-FROM-SHAMELESS.html#comments /fbe/wfwcomment.php?cid=9781 0 /fbe/rss.php?version=2.0&type=comments&cid=9781 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:9239 --><img class="serendipity_image_center" width="450" height="527" src="/fbe/uploads/almosthuman.jpg" /> </p> <p><strong>BY ADRIAN SMITH</strong></p> <p class="MsoNormal"><span lang="EN-GB" style="font-family: Verdana, sans-serif;">¡°Only one thing counts: either you have money and you¡¯re someone, or you don¡¯t have any and you¡¯re a doormat.¡± So states Giulio Sacchi (Tomas Milian), as he plans to kidnap the beautiful young daughter of a wealthy business-owner. Together with two small-time hoods, who are more accustomed to snatching purses than snatching rich girls, Sacchi hopes to take 500 million lira, enough never to have to work again. Having grown up on the streets with no parents or opportunity, Sacchi constantly rails against the system. He believes he is a genius and can commit crime because the world owes him a living; in reality he is short-tempered, dangerous and cowardly, as he proves when he guns down a traffic officer whilst acting as getaway driver for a bank robbery. This hasty murder brings swift police attention and the gang are nearly caught, leading them to beat Sacchi and reject him from their organised crime ring. This spurs him on to plan his perfect big score, but his short temper causes him to leave a string of dead bodies in his wake, which soon brings tough cop Walter Grandi (Henry Silva) hot on his trail.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><em><span lang="EN-GB" style="font-family: Verdana, sans-serif;">Almost Human</span></em><span lang="EN-GB" style="font-family: Verdana, sans-serif;"> fits what the Italians called the <em>poliziotteschi</em>, a genre which depicted corrupt or inept cops and violent criminality. The 1970s was an incredibly violent period in Italy¡¯s history, often referred to as <em>Anni di piombo</em>, or the Years of Lead, when both left- and right-wing extremists engaged in acts of terrorism including bombings and political assassinations. The authorities seemed unable to bring any form of control to this unstable and terrifying situation and the Italian films of the period charted this chaos and mistrust through explicit depictions of crime and horror. Although Milan is now a popular tourist destination for its important art and architecture, <em>Almost Human</em> depicts it as a city which looks more like the mean streets of 1970s New York, filled with crumbling buildings, ugly apartment blocks, abandoned quaysides and patches of rubbish-strewn wasteland. This comparison is surely no coincidence, as the <em>poliziotteschi</em>, as well as addressing issues of contemporary Italy, borrows heavily from the tough American crime thrillers of the period like <em>The French Connection</em> (1971) and <em>Dirty Harry</em> (1971). The film¡¯s original Italian title, <em>Milano odia: la polizia non puo¡¯ sparare</em>, translates as ¡°Milan hates: the police can¡¯t shoot¡±, which sounds as if it is criticising the targeting abilities of the local constabulary. What is actually implied by this is that the bureaucracy means that the police are powerless to stop the criminals. Even if they are caught and arrested, as Grandi complains, they are released again twenty-four hours later to go out and steal and kill again. Sacchi is so blas¨¦ about killing people because he believes no one will notice another body in Milan.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><em><span lang="EN-GB" style="font-family: Verdana, sans-serif;">Almost Human</span></em><span lang="EN-GB" style="font-family: Verdana, sans-serif;"> may be derivative of the American cop thriller, but it is also an exciting and shocking political critique of Italian society, where women and children can be gunned down in cold blood and the police are powerless to stop it unless they step outside the law they are sworn to protect.</span></p> <p><!-- s9ymdb:9240 --><img class="serendipity_image_center" width="450" height="530" src="/fbe/uploads/almosthuman1.jpg" /> </p> <p class="MsoNormal"><span lang="EN-GB" style="font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-family: Verdana, sans-serif;">Director Umberto Lenzi is a legend of Italian cinema. Like many who worked outside the arthouse or neo-realist traditions of Visconti or Fellini, Lenzi made films within every popular genre from sword-and-sandal to giallo, from sex comedies to cannibal horror. Like his contemporaries he made whatever was popular, whether for the local or international audiences, so his name can even be found on spy films like <em>008: Operation Exterminate</em> (1965), spaghetti westerns such as <em>Pistol for a Hundred Coffins</em> (1968) and zombie splatterthons like the deliriously ridiculous <em>Nightmare City</em> (1980). Shameless sat him down for an exclusive interview for this new Blu-ray, which features an HD restoration from the original negative. He is a fascinating figure whose career spans over fifty years and he has plenty of stories to tell about his time in the film industry. Also included are some archival interviews with Lenzi, co-star Ray Lovelock and writer Ernesto Gastaldi, himself legendary in the Italy with over 100 film credits. Tomas Milian, a Cuban-American who had a tremendous career both in Europe and in the U.S, and who passed away earlier in 2017, is also interviewed and proved himself to be equally entertaining as he was in his movies.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-family: Verdana, sans-serif;"> </span></p> <p><span style="font-family: Verdana, sans-serif; font-size: 9.5pt;">The Blu-ray comes in the traditional Shameless yellow case with both original and alternative artwork. With a terrific heavy-rock score from none other than Ennio Morricone, </span><em style="font-family: Verdana, sans-serif; font-size: 9.5pt;">Almost Human</em><span style="font-family: Verdana, sans-serif; font-size: 9.5pt;"> is an exciting film from the golden period of Italian exploitation cinema and is not to be missed.</span></p> <p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B06XH2K9VR/cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON USA</strong></p> <p><strong><a href="http://www.amazon.co.uk/exec/obidos/ASIN/B06XH2K9VR/cinemaretro-21">CLICK HERE</a> TO ORDER FROM AMAZON UK&#160;</strong> </p> Sun, 10 Sep 2017 13:20:00 +0000 /fbe/index.php?/archives/9781-guid.html http://creativecommons.org/licenses/by/3.0/ BOOK REVIEW: "INTO THE UNKNOWN: THE FANTASTIC LIFE OF NIGEL KNEALE" (REVISED AND UPDATED EDITION) BY ANDY MURRAY https://www.google.com//fbe/index.php?/archives/9761-BOOK-REVIEW-INTO-THE-UNKNOWN-THE-FANTASTIC-LIFE-OF-NIGEL-KNEALE-REVISED-AND-UPDATED-EDITION-BY-ANDY-MURRAY.html Adrian Smith /fbe/index.php?/archives/9761-BOOK-REVIEW-INTO-THE-UNKNOWN-THE-FANTASTIC-LIFE-OF-NIGEL-KNEALE-REVISED-AND-UPDATED-EDITION-BY-ANDY-MURRAY.html#comments /fbe/wfwcomment.php?cid=9761 0 /fbe/rss.php?version=2.0&type=comments&cid=9761 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:9209 --><img class="serendipity_image_center" width="450" height="682" src="/fbe/uploads/intotheunknown.jpg" /> </p> <p><strong>REVIEW BY ADRIAN SMITH</strong></p> <p> <span style="font-family: Verdana, sans-serif; font-size: 10pt;">Published by Headpress</span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Paperback <o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">229mm x 152mm <o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">340 pages <o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">ISBN: 978-1-909394-46-9<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">RRP: ¡ê14.99/ $21.95<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Nigel Kneale, who passed away in 2006 at the age of eighty-four, was responsible for some of early British television¡¯s seminal moments, and is best remembered by popular audiences for scaring the population half to death in 1953 with <em>The Quatermass Experiment</em>, followed over the next few years by <em>Quatermass II</em> (1955) and <em>Quatermass and the Pit</em> (1958). In 1954 he was responsible for adapting George Orwell¡¯s <em>1984</em> into a television play starring Peter Cushing and Donald Pleasence, a production that was considered so shocking that questions were asked in Parliament. The repeat performance the following week was only allowed to go ahead once word came through that the Queen had liked it.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Despite Kneale¡¯s success at the BBC he had a difficult relationship with the corporation and eventually became an independent writer, spending most of the next few decades writing television dramas and film scripts, as well adapting novels for films. Some of this work was relatively pedestrian, but when he wrote scripts like <em>The Stone Tape</em> (1972), depicting the scientific exploration of a haunted house, or the dystopian nightmare <em>The Year of the Sex Olympics</em> (1968), a world in which television serves up a constant diet of violence and pornography, his legacy as one of the most important writers of horror and science fiction was assured. <o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Ironically he hated being associated with science fiction and horror, constantly rejecting requests to write for shows like <em>Doctor Who</em>, (1963 ¨C 1989, 2005 ¨C), which he thought was too frightening for children, and in the 1990s he rudely turned down an invitation to contribute to <em>The X-Files</em> (1993 ¨C 2002, 2016 ¨C), stating ¡°This is the worst kind of science fiction,¡± before going on to denigrate the main cast. This no doubt disappointed the show¡¯s creator Chris Carter who was a big fan. His influence on a new generation of filmmakers and TV producers from the late 1970s onwards meant that Kneale was constantly being offered work, including from Hollywood, where he worked with John Landis on an unrealised remake of <em>The Creature From the Black Lagoon</em> (1954) before scripting <em>Halloween III: Season of the Witch</em> (1982) for John Carpenter. Upon seeing the finished film and how, in his opinion, it had veered drastically from his script, Nigel Kneale was so furious he had his name removed from the credits.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">First published in 2006, this vastly updated and expanded edition of Andy Murray¡¯s excellent biography of Kneale is a fascinating insight into one of television¡¯s most influential, important and occasionally belligerent writers. From his childhood on the Isle of Man to his final moments, no aspect of his life has been neglected. The book is built around a series of interviews with the Kneale and his wife, successful children¡¯s author Judith Kerr, as well as with dozens of people who have either worked with Kneale or are fans, including John Carpenter, Russell T. Davies and Mark Gatiss. Andy Murray has also identified many of the references and homages to Kneale¡¯s work in film and television, including, ironically, <em>Doctor Who</em>, the show which Kneale despised so vehemently. Most notably the 1970s stories featuring Jon Pertwee battling alien invasions of Earth alongside UNIT were effectively Quatermass stories under a different name.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><em><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Into the Unknown: The Fantastic Life of Nigel Kneale </span></em><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">is a thorough and well-researched read for anyone interested in television history, science fiction, or who might have spent Saturday nights as a child hiding behind the sofa during <em>Quatermass and the Pit</em>, and is highly recommended.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">You can purchase <em>Into the Unknown: The Fantastic Life of Nigel Kneale </em>here: <a href="http://www.headpress.com/ShowProduct.aspx?ID=170">http://www.headpress.com/ShowProduct.aspx?ID=170</a> <o:p /></span></p> Wed, 16 Aug 2017 10:52:00 +0000 /fbe/index.php?/archives/9761-guid.html http://creativecommons.org/licenses/by/3.0/ "THE ART OF THE B-MOVIE POSTER": ADRIAN SMITH INTERVIEWS EDITOR ADAM NEWELL https://www.google.com//fbe/index.php?/archives/9553-THE-ART-OF-THE-B-MOVIE-POSTER-ADRIAN-SMITH-INTERVIEWS-EDITOR-ADAM-NEWELL.html Adrian Smith /fbe/index.php?/archives/9553-THE-ART-OF-THE-B-MOVIE-POSTER-ADRIAN-SMITH-INTERVIEWS-EDITOR-ADAM-NEWELL.html#comments /fbe/wfwcomment.php?cid=9553 0 /fbe/rss.php?version=2.0&type=comments&cid=9553 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:8939 --><img class="serendipity_image_center" width="450" height="520" src="/fbe/uploads/bmovieposterbook.jpg" /> </p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">The Art of the B-Movie Poster!<o:p /></span></strong></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">Interview with Adam Newell<o:p /></span></strong></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">By Adrian Smith<o:p /></span></strong></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></strong></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">The Art of the B-Movie Poster!<o:p /></span></strong></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">Adam Newell (ed.) <o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">Gingko Press<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">€39.90<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">320 pages<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">Hardback<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">209 x 279mm<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">ISBN: 978-1-58423-622-1<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></strong></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">Cinema Retro</span></strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> recently caught up with the editor of this fantastic new film poster book to talk movies and poster collections.<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">CR</span></strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">: Where did you find all these posters? Are they from several collections, are they yours, or are they sourced from online collections?<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">Adam Newell</span></strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">: There are just over 1,000 posters in the book, and boy, do I wish they were all mine! That would be an amazing collection to own. Alas, only a handful of them are mine, some are from my co-authors, and many are from online collections (with a special tip of the hat going to Mikhail Ilyin).<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">CR</span></strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">: Regarding the originals, how does one go about finding posters like these, and how do you store and protect them?<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">AN</span></strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">: Back in the day, hunting down vintage movie posters was a question of going to specialist shops down dusty back alleys, being on the (snail) mailing list of the right dealers, or attending movie ephemera fairs. I remember the first time I visited the US, in 1992, finding a shop down a back street in Hollywood, which was stuffed to the gills with amazing US one-sheets for movies going back decades. It was a real kid/candy store moment, and I spent hours in there looking at posters I'd never seen before, mostly for films I'd never heard of! (As a complete aside, I also remember that day earwigging a long conversation<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">between the shop owner and a customer who was agonising over whether to buy a piece of TV history the shop had for sale: an original Batgirl cowl, as worn by Yvonne Craig. The price tag was $3,000, and I think he ended up not buying it. I daren't think what that thing might be worth today...) <o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">These days of course, the internet has changed all that. At any one time, tens of thousands of original movie posters are for sale online, along with countless repros, if it's just the art you want. Need a repro of the one-sheet for <em>Devil's Express</em>, starring the amazing Warhawk Tanzania in a pair of yellow dungarees? eBay will oblige. When I looked a few weeks back, there was even an <strong>original</strong> one-sheet from that movie, for a mere twenty bucks! I wish I'd bought it now. Specialist shops and dealers are still around of course, and are always worth checking with if you're after something in particular, and then there are auction houses for the really high-end stuff. If you have several million dollars to spare, you could build up a nice collection of original 1930s horror movie posters: in recent years there have been quite a few sales of 'the only known surviving copy' of particular posters, from the Karloff <em>Frankenstein</em>, for example. <o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">As for storage and protection, it's the same as for any paper-based collectable: avoid damp, cigarette smoke, and too much direct sunlight. I always think the best way to store a poster collection is to have one of those floor-standing display/portfolios you can flip through, so they can at be at least partially 'on display' at all times. If you've got the wall space, then put as many up as you can! Decent clip frames will allow you to easily 'rotate' what you have on the wall at any one time. Otherwise, it's best if they can be stored flat or rolled, rather than folded, even if they came folded in the first place.</span></p> <p><!-- s9ymdb:8940 --><img class="serendipity_image_center" width="450" height="679" src="/fbe/uploads/DevilsExpress.jpg" /> </p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">CR</span></strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">: What advice would you have for someone who wants to become a film poster collector?<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="line-height: 115%;"><strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">AN</span></strong><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">: If you don't mind having a repro, then even those million dollar posters can be found inexpensively (though you should always beware of the quality: one of those semi-automated eBay sellers will happily sell you a full size repro of a poster, taken from a scan which is not nearly up to the task...). If you're looking to buy original posters, then whenever you can, simply buy what you like, not what you think you 'should' be buying as an investment or whatever. Certain genres, artists and series (James Bond, for example) will always attract a premium price, and are way out of reach for most collectors, but that<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;">doesn't mean there aren't plenty of other posters to go around. Foreign language posters can be cheaper than their US/UK equivalent, and often have cooler art!<o:p /></span></p> <p class="MsoNormal" style="line-height: 115%;"><span lang="EN-GB" style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal" style="line-height: 115%;"><br /></p> <br /><a href="/fbe/index.php?/archives/9553-THE-ART-OF-THE-B-MOVIE-POSTER-ADRIAN-SMITH-INTERVIEWS-EDITOR-ADAM-NEWELL.html#extended">Continue reading "&quot;THE ART OF THE B-MOVIE POSTER&quot;: ADRIAN SMITH INTERVIEWS EDITOR ADAM NEWELL "</a> Sun, 26 Feb 2017 14:42:00 +0000 /fbe/index.php?/archives/9553-guid.html http://creativecommons.org/licenses/by/3.0/ REVIEW: "MAN IN THE MOON' (1960) STARRING KENNETH MOORE AND SHIRLEY ANNE FIELD UK DVD RELEASE FROM NETWORK https://www.google.com//fbe/index.php?/archives/9400-REVIEW-MAN-IN-THE-MOON-1960-STARRING-KENNETH-MOORE-AND-SHIRLEY-ANNE-FIELD-UK-DVD-RELEASE-FROM-NETWORK.html Adrian Smith /fbe/index.php?/archives/9400-REVIEW-MAN-IN-THE-MOON-1960-STARRING-KENNETH-MOORE-AND-SHIRLEY-ANNE-FIELD-UK-DVD-RELEASE-FROM-NETWORK.html#comments /fbe/wfwcomment.php?cid=9400 0 /fbe/rss.php?version=2.0&type=comments&cid=9400 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:8772 --><img class="serendipity_image_center" width="450" height="643" src="/fbe/uploads/man-in-the-moon.jpg" /> </p> <p><strong>BY ADRIAN SMITH</strong></p> <p> <span style="font-family: &quot;Times New Roman&quot;, serif; font-size: 10pt;">William Blood (Kenneth More) is a man with an incredible immune system and without worries. He spends most of his time working as a human guinea pig for government departments such as the Common Cold and Flu Research Agency. There he frustrates the men in white coats by stubbornly refusing to catch a cold. He never gets ill, and his secret is that he has no emotional attachments. ¡°The minute you get into a relationship with a woman, your guard is down and the coughing will start!¡± News of this remarkable constitution gets to the scientists at N.A.A.R.S.T.I., the National Atomic Research Station and Technological Institute, who are preparing to send the first maned rocket to the moon. They have previously sent up dogs and monkeys, but owing to public complaints about cruelty to animals, they have decided it would be far better to send a human. However, it is far too risky to send one of their trained astronauts. After all, training is expensive. Far better to send William Blood instead in the first rocket, and provided he gets there in one piece, they will then send up the real astronauts. This sounds like a fool-proof plan, but what is not accounted for is a distraction, in the shapely form of stripper Polly (Shirley Anne Field), who has fallen in love with him.</span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: &quot;Times New Roman&quot;, serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: &quot;Times New Roman&quot;, serif;">Once Blood begins his astronaut training he has to face the other jealous astronauts lead by a young Charles Gray, who are furious that they won¡¯t be the first on the moon after all their preparations. However, he does have the project leader Dr. Davidson (Michael Horden) on his side, and he goes through a rigorous raining regime featuring extreme temperatures and G-force simulators to prepare him for the adventure ahead. <o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: &quot;Times New Roman&quot;, serif;"> </span></p> <p class="MsoNormal"><em><span lang="EN-GB" style="font-size: 10pt; font-family: &quot;Times New Roman&quot;, serif;">Man in the Moon</span></em><span lang="EN-GB" style="font-size: 10pt; font-family: &quot;Times New Roman&quot;, serif;"> is a delightful film with a sparkling and witty script written by Bryan Forbes and Michael Relph. Basil Dearden¡¯s direction is inventive and makes use of some excellent location work at RAF Denham alongside impressive sets built at Pinewood Studios. It is a perfect encapsulation of an England on the cusp of great change. Blood, whizzing around in an open-topped Messerschmitt bubble-car, is the epitome of modern man, whilst those in charge at N.A.A.R.S.T.I. he meets are still wearing tweed and smoking pipes. His thinking is progressive, as he has no qualms about seducing a beautiful woman whilst still actively berating the institution of marriage. The Britain of <em>Man in the Moon</em> has one foot in the war years, the other in the Atomic Age, with an endearing performance by Kenneth More at the centre of it all.</span></p> <p><!-- s9ymdb:8773 --><img class="serendipity_image_center" width="450" height="346" src="/fbe/uploads/maninthemoon02.jpg" /> </p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: &quot;Times New Roman&quot;, serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: &quot;Times New Roman&quot;, serif;">In his forty-year career, Basil Dearden made dozens of film, many of which are now considered classics. With notable hits including <em>Violent Playground </em>(1958), <em>The Blue Lamp </em>(1950) and <em>The League of Gentlemen </em>(1960), he clearly had an affinity for film noir-style crime dramas, and it is perhaps easy to forget that one of his early hits was actually the early Ealing comedy <em>The Goose Steps </em>Out (1942) starring Will Hay. Dearden made many films for Ealing Studios, even contributing to the classic supernatural portmanteau <em>Dead of Night</em> (1945). His last film was the supernatural mystery <em>The Man Who Haunted Himself</em> (1970), frequently cited by Roger Moore as the best film he ever made. Sadly, Dearden died in a car crash shortly after completing the film, the accident occurring in the very spot where months earlier they had shot Roger Moore¡¯s character¡¯s car crash for that film.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: &quot;Times New Roman&quot;, serif;"> </span></p> <p> <em><span lang="EN-GB" style="font-size: 10pt; font-family: &quot;Times New Roman&quot;, serif;">Man in the Moon</span></em><span lang="EN-GB" style="font-size: 10pt; font-family: &quot;Times New Roman&quot;, serif;"> is another release in Network Distributing¡¯s ¡®The British Film¡¯ collection, and as such comes with little bonus material, limited to an original trailer, image gallery and press book. Despite this reservation it is still a superb release. The main reason for watching is to see an excellent transfer from original elements, and like all the films in their collection, <em>Man in the Moon</em> is a forgotten but entertaining gem.&#160;</span></p> <p><a href="http://networkonair.com/shop/2432-man-in-the-moon-5027626456948.html"> </a><strong><a href="http://networkonair.com/shop/2432-man-in-the-moon-5027626456948.html">CLICK HERE</a> TO ORDER</strong></p> Sun, 30 Oct 2016 13:43:00 +0000 /fbe/index.php?/archives/9400-guid.html http://creativecommons.org/licenses/by/3.0/ REVIEW: "TAXI- THE COMPLETE SERIES" DVD BOXED SET https://www.google.com//fbe/index.php?/archives/9211-REVIEW-TAXI-THE-COMPLETE-SERIES-DVD-BOXED-SET.html Adrian Smith /fbe/index.php?/archives/9211-REVIEW-TAXI-THE-COMPLETE-SERIES-DVD-BOXED-SET.html#comments /fbe/wfwcomment.php?cid=9211 0 /fbe/rss.php?version=2.0&type=comments&cid=9211 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:8524 --><img class="serendipity_image_center" width="450" height="365" src="/fbe/uploads/TAXISERIES.jpg" /> </p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"><strong>Review by Adrian Smith</strong><o:p /></span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">From 1978 <em>Taxi</em>, one of the most beloved sitcoms in TV history, ran for five seasons and featured a hugely talented collection of character actors. This was the show that made its¡¯ stars household names, and now that you can look back on the series nearly forty years later, it is easy to see why. Unlike some classic television from the 1970s, <em>Taxi</em> is still funny.<o:p /></span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><em><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Taxi</span></em><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> focused on several taxi drivers and other staff who worked for Danny de Vito, who sat safely in his dispatcher¡¯s cage barking orders at all around him. On the surface an unlikeable character, there were occasional chinks in his armour revealing a softer side. Doing their best to get by, surviving life near the bottom in New York City, were Judd Hirsch, Tony Danza, Marilu Henner, Jeff Conaway, Christopher Lloyd and Andy Kaufman, amongst others. The latter played Eastern European idiot-savant Latka, the mechanic who quickly became everyone¡¯s favourite character, as evidenced by the studio audience cheering whenever he walks on to the scene.<o:p /></span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">This new box set, carrying every single episode, enables you to see how these great performers grew into their characters, developing quirks and catchphrases as the interplay of their personal relationships became the main reason audiences came back every week. Sure, it was a funny show, but these were people you could believe in. You could switch on your TV and spend time with a group of working stiffs whose lives, loves and daily struggles were a lot like your own, and the fact that they faced their challenges with a smile and a (mostly) positive outlook gave you hope for your own sometimes difficult existence. The set itself is thin on extras however: original series promos are on here which are a slab of nostalgia in themselves. The only other bonus feature is a one-hour compilation of the best of <em>Taxi</em>, which given the fact that you now hold all 114 episodes in your hands seems a little redundant.<o:p /></span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">It is no surprise that <em>Taxi</em> only survived one more season after the show¡¯s main writers Glen Charles and Les Charles, along with director James Burrows, left to create <em>Cheers</em>. <em>Taxi</em>¡¯s final season shows the hole they left, but still contains a lot of entertainment nonetheless. And looking back at <em>Taxi</em> now, a sitcom repeated less often than <em>Cheers</em>, one can see how the two are connected. Both take a comical look at the American working man, but are not afraid to turn down the jokes for emotional moments when the time is right. <em>Taxi</em> will bring back waves of nostalgia for anyone over a certain age who remembers watching television in the late 1970s and early 1980s. All that is missing from this box set to make the experience complete are some vintage commercials and a few TV dinners.</span></p> <p><strong><a href="http://www.amazon.co.uk/exec/obidos/ASIN/B002PQ7JR4/cinemaretro-21">CLICK HERE</a> &#160;TO ORDER FROM AMAZON UK</strong> </p> <p><strong>U.S. CUSTOMERS: THE COMPLETE SERIES BOXED SET IS SOLD OUT. &#160;<a href="http://www.amazon.com/exec/obidos/ASIN/B002PQ7JR4/cinemaretroco-20">CLICK HERE</a> TO ORDER THE COMPLETE SERIES IN DVD PACKS FROM AMAZON USA</strong> </p> Tue, 31 May 2016 10:50:00 +0000 /fbe/index.php?/archives/9211-guid.html http://creativecommons.org/licenses/by/3.0/ REVIEW: "I LOVE LUCY- THE COMPLETE SERIES" DVD BOXED SET https://www.google.com//fbe/index.php?/archives/9210-REVIEW-I-LOVE-LUCY-THE-COMPLETE-SERIES-DVD-BOXED-SET.html Adrian Smith /fbe/index.php?/archives/9210-REVIEW-I-LOVE-LUCY-THE-COMPLETE-SERIES-DVD-BOXED-SET.html#comments /fbe/wfwcomment.php?cid=9210 0 /fbe/rss.php?version=2.0&type=comments&cid=9210 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:8523 --><img class="serendipity_image_center" width="450" height="545" src="/fbe/uploads/ilovelucybox.jpg" /> </p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"><strong>Review by Adrian Smith</strong><o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">When <em>I Love Lucy</em> debuted on American television in 1951, nobody could have suspected that it would become one of the most beloved shows of all time. Across six seasons Lucille Ball and her real-life husband, Cuban band leader Desi Arnaz, shared their lives with millions. At the time it was the most watched show in the United States, and undoubtedly helped fuel TV set sales during the decade. It has also been repeated constantly since, and sold around the world. Now, almost sixty years since the final episode, it is possible to go back and view it all from the beginning.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Keeping their own names helped further blur the line between the show and reality in the minds of the audience, and watching Desi and Lucy every week felt like you were spending time with real friends. For the most part the situations played out in <em>I Love Lucy</em> were relatable (despite the occasional flights of fancy, such as a visit from Superman to her son¡¯s birthday party), and reflected the new booming post-war economy in the States, when homes were new and filled with the latest labour-saving devices. Lucy was the perfect housewife and foil to Desi¡¯s rather serious-minded band leader. She was always involved in schemes to manipulate or get around him, but would always end up being put back in her place. In many ways Lucille Ball was a proto-feminist, becoming one of the first powerful women in Hollywood, but the message of the show was not always quite so advanced. Despite this she was adored by both male and female viewers. <o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><em><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">I Love Lucy</span></em><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> was, in part, an attempt to hold their marriage together. Lucille had insisted Desi play her husband in the show to enable them to spend more time together, but it clearly didn¡¯t work. She filed for divorce in 1960, one day after filming the final episode, claiming their marriage had not been like it was on TV. She bought out ownership of their production company Desilu Productions and became important and powerful force in Hollywood at the time. <em>The Twilight Zone</em> had first aired as an unofficial pilot show as part of the Westinghouse Desilu Playhouse in 1958, and Desilu went on to produce <em>Star Trek</em>, <em>Mission Impossible</em> and many more. <o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">If you have watched a lot of early television, particularly that made in the UK, the first thing to strike you when viewing <em>I Love Lucy</em> on DVD is the quality of the production. Eschewing early, cheaper video formats, the show pioneered the technique of using a multi-camera studio arrangement and recorded straight onto 35mm film. Therefore, watching it now <em>I Love Lucy</em> looks as good, most likely better, than it did at the time. This image quality occasionally works to <em>I Love Lucy¡¯</em>s detriment now, as it is easy to spot the occasional painted backdrops and hastily-created sets, something which would have been lost in the low resolution broadcasts of the 1950s. The high production value is owed almost entirely to Karl Freund, director of the Peter Lorre-starring <em>Mad Lov</em>e (1935) and one of the most important cinematographers to come out of Germany: <em>The Golem </em>(1920) and <em>Metropolis</em> (1927) are amongst his credits, and one of the first Hollywod movies he shot was Tod Browning¡¯s <em>Dracula</em> (1931). He was invited to be the Director of Photography on <em>I Love Lucy</em> and effectively invented the multi-camera format that is still used for studio sitcoms and dramas today.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">This box set includes dozens of bonus features alongside the hours and hours of actual episodes. They have found original openings and trails from the archives, which provide an interesting glimpse into early 1950s television viewing. Also included are episodes of Lucille Ball¡¯s earlier radio sitcom <em>My Favourite Husband</em>, the show that inspired <em>I Love Lucy</em>, deleted footage, home movie footage from the set, interviews and much more. <o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">If you <em>Love Lucy</em>, pick up this box set from 30<sup>th</sup> May.</span></p> <p><strong><a href="http://www.amazon.co.uk/exec/obidos/ASIN/B013FCLEIG/cinemaretro-21">CLICK HERE</a> TO ORDER FROM AMAZON UK&#160;</strong></p> <p><strong>U.S. CUSTOMERS: <a href="http://www.amazon.com/dp/B013FCLEIG/?tag=cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON USA</strong> </p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> Mon, 30 May 2016 18:43:04 +0000 /fbe/index.php?/archives/9210-guid.html http://creativecommons.org/licenses/by/3.0/ FEATURE FILM DEBUT OF MICHAEL WINNER NOW AVAILABLE ON DVD FOR THE FIRST TIME https://www.google.com//fbe/index.php?/archives/8870-FEATURE-FILM-DEBUT-OF-MICHAEL-WINNER-NOW-AVAILABLE-ON-DVD-FOR-THE-FIRST-TIME.html Adrian Smith /fbe/index.php?/archives/8870-FEATURE-FILM-DEBUT-OF-MICHAEL-WINNER-NOW-AVAILABLE-ON-DVD-FOR-THE-FIRST-TIME.html#comments /fbe/wfwcomment.php?cid=8870 0 /fbe/rss.php?version=2.0&type=comments&cid=8870 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:8070 --><img class="serendipity_image_center" width="341" height="482" src="/fbe/uploads/londonentertains.jpg" /> </p> <p><strong>BY ADRIAN SMITH&#160;</strong></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">In 1960 a young Michael Winner began a collaboration with the British producer and distributor E.J. Fancey which would enable him to break into the world of feature films. Fancey had been in the industry for over twenty years, and specialised in &quot;quota quickies&quot;: cheap, forgettable films which could play as supporting features and qualify for government tax breaks. The average Fancey production usually combined low-rent comedians, stock footage, long tedious amounts of travelling and a confused crossover between documentary and narrative film. As a distributor of European exploitation cinema he was prolific, being responsible for bringing thousands of equally cheap and forgettable films into British cinemas in the hope of making a fast buck. Into this cut-throat world stepped Michael Winner, who prior to directing had been working in some of the smaller film studios around London as well as at the BBC. The film in question is <em>Climb Up the Wall</em>, a piece of entertainment so peculiar and grating it has even been missed off Winner's filmography on Wikipedia.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><em><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Climb Up the Wall</span></em><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> begins with typically cheap hand-drawn title cards and some jazzy music before introducing us to our host Jack Johnson, a popular cardigan-wearing comedian of the day. Speaking to camera he explains his latest invention, which is basically a large computer with a television screen. In 1960 this was still somewhat fantastical, but which now looks laughable. Along with his amiable son Malcolm we are bombarded with sketches and music, held together with the vague storyline of Jack Johnson showing us what his computer can do. We are treated to footage of Elvis as a GI, comedians, popular singer Mike Preston, clips from the <em>Goon Show</em> film <em>Down Among the Z Men</em> (1952, also produced by E.J. Fancey) and even footage from old westerns. Before long Jack and Malcolm get bored of this, like the audience, and head into London for a night out. This is an excuse to show us some naked models and exotic nightclub dancing, as well as more singing and an odd sequence in a kitchen where they all decide to do some cooking. The film feels like it was being made up as they went along, which perhaps it was.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Clearly Winner was told to make something out of a load of old stock footage, including some of the Fancey back-catalogue, with the specific mention of making it appeal to the rock and roll crowd. Fancey had recently made one of Britain's first rock and roll films (<em>Rock You Sinners</em>, 1958) so clearly felt like he had his finger on the pulse. For a sixty-three minute film <em>Climb Up the Wall</em> packs in a lot of music by long-forgotten singers and groups, and even manages to reference Cliff Richard. They seem to be targeting a younger audience, yet the focus on an older generation of comedians suggests they did not really know what teenagers would be into in 1960. <em>Climb Up the Wall</em> is something of a curiosity, and is well worth seeking out, not because it is a good film, which it isn't, but because of its authentic shots of London life. It was also an important milestone in the development of one of the most prolific and influential directors to come out of Britain in the 1960s.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Accompanying the film on this DVD are two other E.J. Fancey productions. The first, <em>London Entertains</em> (1951) tries to pass itself off as a documentary, although it is effectively a feature film. Popular television presenter Eamonn Andrews tells us the story of a group of girls from a Swiss Finishing School who come to London to start their own escort agency. The girls, who all look around twenty-five, believe that visiting tourists and dignitaries will want to be escorted around the Festival of Britain, as well as the nightclubs of London. This allows Fancey, who directed it himself, to cram in loads of stock footage, including skiing, synchronised swimming and film star Gloria Swanson inspecting the Festival of Britain building site. We are also treated to the attractions of London, including the Windmill Theatre and an open-air performance at Battersea of Canadian former child-star Bobby Breen. Meanwhile Eamonn has fallen in love with one of the girls, whilst they have to fight off the attentions of a brash American, played by character actor Joe Baker. One of the highlights of the film is the visit to the BBC Radio Theatre for a recording of <em>The Goon Show</em>. This is rare early footage when Michael Bentine was still performing alongside Peter Sellers, Spike Milligan and Harry Secombe, and we even get to meet producer Dennis Main-Wilson and original presenter Andrew Timothy. Moments like this make <em>London Entertains</em> worth seeing for anyone with an interest in the history of comedy.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">The final film on the DVD is <em>Calling All Cars</em> (1954), another combination of stock footage and low-rent comedy. Cardew Robinson, better known in those days as Cardew the Cad, plays a hopeless romantic in love with the unattainable blonde across the road. When he finds out she is planning to drive to the continent he conspires with a friend to buy a car and follow them as they head off to the newly-built Dover car terminal. This means we are treated to stock footage of how the terminal was built, accompanied by a relatively unfunny commentary. Cardew's comedy has sadly dated, along with his car. The film mainly consists of shots of driving, and for some bizarre reason Fancey decided to give Cardew's car an internal monologue, voiced by Spike Milligan. The highlight of <em>Calling All Cars</em> is when Cardew pulls into a service station for petrol. The attendant claps his hands and before he knows it they are surrounded by beautiful women in short skirts and stockings who give the car a quick once-over.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">This DVD is a reminder that everyone back then smoked, and if you have recently quit it may be a struggle to get through all three movies in one sitting. Renown Pictures have found good quality prints and the sound is clear, given that these films would have looked and sounded cheap back then and were never intended to be seen sixty years later. Whilst worth picking up for <em>Climb Up the Wall</em> alone, the fact that there are three films here makes this disc a must-have for anyone interested in the forgotten corners of British film history.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Renown have also recently launched a free TV channel in the UK called Talking Pictures, where more obscure British films from the 1930s through to the 1970s can be found and enjoyed. You can find more information at www.talkingpicturestv.co.uk. <o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">London Entertains/ Climb Up the Wall/ Calling All Cars is released by Renown Pictures on R0 DVD. <strong><a href="http://www.renownfilms.co.uk/comedy-c-2/london-entertains-climb-up-the-wall-calling-all-cars-p-385.html">CLICK HERE</a> TO ORDER&#160;</strong><o:p /></span></p> Thu, 15 Oct 2015 20:39:00 +0000 /fbe/index.php?/archives/8870-guid.html http://creativecommons.org/licenses/by/3.0/ DVD REVIEW: "THE SISTER OF URSULA" (1978), LIMITED EDITION RELEASE FROM SHAMELESS FILMS https://www.google.com//fbe/index.php?/archives/8871-DVD-REVIEW-THE-SISTER-OF-URSULA-1978,-LIMITED-EDITION-RELEASE-FROM-SHAMELESS-FILMS.html Adrian Smith /fbe/index.php?/archives/8871-DVD-REVIEW-THE-SISTER-OF-URSULA-1978,-LIMITED-EDITION-RELEASE-FROM-SHAMELESS-FILMS.html#comments /fbe/wfwcomment.php?cid=8871 0 /fbe/rss.php?version=2.0&type=comments&cid=8871 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:8071 --><img class="serendipity_image_center" width="450" height="633" src="/fbe/uploads/SISTEROFURSULA.jpg" /> </p> <p><strong>BY ADRIAN SMITH&#160;</strong> </p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Ursula (Barbara Magnolfi) and Dagmar (Stefania D'Amario) are sisters looking for their mother, a once successful actress who left them in a boarding school when they were children and disappeared. Their father has recently died, leaving them a substantial sum that they feel duty-bound to share with the absent mother. Their search leads them to a hotel on the outstanding Amalfi Coast near Naples where they meet a motley collection of people who have secrets to hide: Filippo (Marc Porel) is a heroin addict, Roberto (Vanni Materassi), the hotel manager, is having an affair with the resident singer, the amusingly-monikered Stella Shining (Yvonne Harlow, who claimed to be the great grand-daughter of Jean Harlow), who is herself smuggling drugs in lipstick tubes, and Roberto's wife Vanessa (Anna Zinnemann), a lesbian who is having a passionate affair with one of the hotel guests.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">If things weren't already complicated enough Ursula has psychic abilities that allow her to see the future. As explained by a conveniently-placed psychiatrist in the hotel, these powers could have been induced by some unexplained childhood trauma. Ursula is plagued by bad dreams of gruesome murders, and visions of her recently-deceased father in bed with other women. Dagmar may be falling in love with Filippo, who Ursula claims will be responsible for her own death, but Filippo is obsessed with Stella Shining. Into this already convoluted setup stalks a black-gloved murderer, a familiar figure from Italian <em>giallo</em> movies, who watches people have sex and then kills them with a giant phallus. This provides director Enzo Miloni with endless opportunities to show as much nudity as he could get away with, which was quite a lot. Apparently when <em>The Sister of Ursula</em> was released, it was shown in some cinemas with hardcore inserts. Even with those removed it is still quite strong stuff. <o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">With a title that makes one expect a film about nuns, this was Enzo Miloni's directorial debut. Primarily known as a writer, he made this film at the request of the producer in order to get his own pet project, which was to start Dirk Bogarde, off the ground. Despite all the sleaze and murder, the film is mainly a melodrama and feels like something you would find when flicking through the channels one morning on your hotel TV whilst on holiday. It is shot with very little verve or creativity. The camera was mainly set on a tripod and then just left at that height for the rest of the movie. Occasionally we see close-ups of a sinister pair of eyes in the shadows, but otherwise there is very little distinctiveness visually. The plots and sub-plots become confusing, with enough to provide narrative ideas for at least three movies. This is perhaps a symptom of Miloni's first love of writing for the theatre.</span></p> <p><!-- s9ymdb:8072 --><img class="serendipity_image_center" width="450" height="633" src="/fbe/uploads/SISTEROFURSULAD.jpg" /> </p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Anyone familiar with the Italian giallo will have seen most of what is here in other, better movies. What perhaps sets this one apart is the stronger focus on sex, with Shameless selling it as a &quot;proto porno giallo&quot;. The image quality is what one would expect from a film shot on location using cheap film stock, that is to say flat and not particularly sharp. The blood still looks bright red however. The DVD features a half-hour interview with the director from 2008, and watching it may make you feel warmer towards the film than you did before. He clearly enjoyed the experience and remained friends with the cast, and expresses his intentions and frustrations with the project well. He reveals that Marc Porel was a drug addict in real life, and explains how they dealt with this this during the shoot. The star of one of Italy's greatest crime thrillers, <em>Live Like a Cop, Die Like a Man</em> (1976, Ruggero Deodato), Porel sadly died at the age of just 34 from a drug overdose whilst shooting commercials in Morocco. <o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Shameless have released this DVD in a limited edition of just 2000 numbered copies. Featuring new artwork from genre specialist Graham Humphries (with a reversible sleeve featuring the original Italian artwork), the aforementioned interview, the theatrical trailer (revealing that some scenes were shot for an alternate version where clothes remained on) and lots of trailers for other Shameless DVD releases. Shameless are specialists when it comes to releasing trashy European cinema that other companies would steer well clear of, and for that they are to be congratulated.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Previously only available on a R1 DVD from Serverin Films, you can now buy The Sister of Ursula on Amazon UK by <a href="http://www.amazon.co.uk/exec/obidos/ASIN/B00U7DLSH4/cinemaretro-21">clicking here</a>.&#160;<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> Mon, 12 Oct 2015 10:46:00 +0000 /fbe/index.php?/archives/8871-guid.html http://creativecommons.org/licenses/by/3.0/ "Blood Moon" (2015): The Werewolf Horror-Comedy-Western You Have Been Waiting For! https://www.google.com//fbe/index.php?/archives/8851-Blood-Moon-2015-The-Werewolf-Horror-Comedy-Western-You-Have-Been-Waiting-For!.html Adrian Smith /fbe/index.php?/archives/8851-Blood-Moon-2015-The-Werewolf-Horror-Comedy-Western-You-Have-Been-Waiting-For!.html#comments /fbe/wfwcomment.php?cid=8851 0 /fbe/rss.php?version=2.0&type=comments&cid=8851 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:8050 --><img class="serendipity_image_center" width="450" height="643" src="/fbe/uploads/bloodmoon.jpg" /> </p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"><strong>By Adrian Smith</strong><o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Just one night after the world had enjoyed the astronomical spectacle of a real Blood Moon, Cinema Retro were invited to attend the cast and crew screening of a new British-made western about the mythical Skinwalkers, native Americans with the power to shape-shift during this rare lunar activity. A stagecoach full of passengers, a mysterious gunslinger and two outlaw brothers find themselves trapped in a ghost town and under attack from an eight feet tall werewolf. The screening, held at the glorious Genesis Cinema in Whitechapel, was packed out and everyone was having a great time. It was, of course, the first time this writer has seen an entire audience stay in their seats until the end of the credits.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><em><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">Blood Moon</span></em><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> is set in Colorado, but was actually shot in the &quot;real&quot; western town of Laredo, built by western enthusiasts in a field in Kent, England, and has the muddy, lived-in look of spaghetti-westerns like <em>Django</em> (1966). This is the director Jeremy Wooding's third feature film, and he has years of experience in television comedy and drama. The screenplay was written by Alan Wightman, who we've been told is a regular&#160;<em>Cinema Retro</em> reader, which explains his affection for classic film genres. His affection for Hammer horror and westerns is very clear, with the lead character Calhoun, played brilliantly by Shaun Dooley, coming across as a hybrid of Clint Eastwood's Man With No Name and Horst Janson's Captain Kronos.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p> <p class="MsoNormal"><span lang="EN-GB" style="font-size: 10pt; font-family: Verdana, sans-serif;">The film has now been released on DVD and digital download by Studio Canal, and is available in the United States and the UK with loads of extra features. <em>Blood Moon</em> is a loud and joyous celebration of the western genre, and one can only hope that we get to see the further adventures of Calhoun as he heads west in search of demons, vampires and other beasts to vanquish.</span></p> <p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B012XPZ90A/cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON USA</strong> </p> <p><strong><a href="http://www.amazon.com/Blood-Moon-Shaun-Dooley/dp/B012XPZ90A/ref=sr_1_1?s=movies-tv&amp;ie=UTF8&amp;qid=1443746484&amp;sr=1-1&amp;keywords=blood+moon">CLICK HERE</a> TO ORDER FROM AMAZON UK&#160;</strong> </p> Sat, 03 Oct 2015 10:42:00 +0000 /fbe/index.php?/archives/8851-guid.html http://creativecommons.org/licenses/by/3.0/