fun88?vietnam_Welfare offer bwin football predictions_login bonus royal panda india https://www.google.com//fbe/ Celebrating Films of the 1960s & 1970s en /fbe/templates/default/img/s9y_banner_small.png RSS: Cinema Retro - Celebrating Films of the 1960s & 1970s https://www.google.com//fbe/ 100 21 REVIEW: ROBERT ALTMAN'S "GOSFORD PARK" (2001); ARROW ACADEMY BLU-RAY SPECIAL EDITION https://www.google.com//fbe/index.php?/archives/10385-REVIEW-ROBERT-ALTMANS-GOSFORD-PARK-2001;-ARROW-ACADEMY-BLU-RAY-SPECIAL-EDITION.html <p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">¡°</span></strong></p> <p><!-- s9ymdb:10030 --><img class="serendipity_image_center" src="/fbe/uploads/GOSFORDBLU.jpg" width="450" height="522" /> </p> <p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">&quot;ALTMAN¡¯S DOWNTON UPSTAIRS ABBEY DOWNSTAIRS¡±</span></strong></p> <p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">By Raymond Benson</span></strong></p> <p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></strong></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">The magnificent Robert Altman whodunnit (or, as Altman and team called it, ¡°who cares whodunnit?¡±), <em>Gosford Park</em>, has received a top-class Blu-ray restoration and re-issue from Arrow Academy, and it is a gem.</span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Originally released in 2001, <em>Gosford Park </em>took its cue from the immensely popular BBC television series, <em>Upstairs, Downstairs</em>¡ªabout the dramas that exist in a stately British manor between the ¡°upstairs¡± folk¡ªthe wealthy upper-class family that owns the property, and the ¡°downstairs¡± people¡ªthe servants and staff who <em>run </em>the household. Throw in a dash of Agatha Christie, and a heaping helping of Robert Altman¡¯s ensemble improvisatory magic, and you have the director¡¯s only full-fledged British production. Interestingly, the screenwriter, Julian Fellowes (who won the Oscar for Original Screenplay) went on to create and write the next immensely popular BBC television series, <em>Downton Abbey</em>, which resembles <em>Gosford Park </em>in many ways.</span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Film historians will certainly recognize the homage Altman makes in his direction of the piece to Jean Renoir¡¯s 1939 masterpiece, <em>The Rules of the Game</em>, a similar masters/servants ensemble work that Altman was known to admire. The tone and broad canvas with many characters and their subtle ribald and clandestine liaisons was surely a blueprint on how to do <em>Gosford</em>. </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">The work began when actor/writer/producer Bob Balaban suggested a collaboration on a film, and the idea to do an Agatha Christie-style murder mystery became the desired goal (Balaban co-produced the picture and has a prominent role as one of two Americans in the nearly all-British cast). And while the murder mystery is at the core of the film, it¡¯s really not that important. After all, this is an Altman film. It¡¯s more about the characters, the relationships, and the exploration of what the British class system was like in the early 1930s when the U.K. was holding on to centuries-old mores and values that would soon slip away.</span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">The story concerns wealthy businessman Sir William (Michael Gambon), who is married to younger Sylvia (Kristin Scott Thomas), whose sisters are married to men struggling to stay in or begin business with Sir William. One weekend, all the relations and a few guests are invited to have a ¡°hunting party¡± (much like in <em>The Rules of the Game</em>), so the house if full of people and the servants are very busy.<em> </em>But nobody likes Sir William. After all, he has a history of impregnating servant girls and forcing them to either give up their babies to orphanages or leave their employment. (The picture has an added layer of meaning in today¡¯s #MeToo climate!) So, when he¡¯s found dead¡ªapparently stabbed with a kitchen knife¡ªno one is very surprised. In the last act of the story, we learn the secrets and lies of several characters, and how these all played into the scheme.</span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">The cast is impressive. Maggie Smith (as a wickedly opinionated older relation who depends on an allowance from Sir William) was nominated for Supporting Actress, as was Helen Mirren (who plays the head housekeeper). Also on hand are Alan Bates, Emily Watson, Charles Dance, Clive Owen, Tom Hollander, Ryan Phillippe, Eileen Atkins, Derek Jacobi, Richard E. Grant, and many other familiar faces of British TV and film. Jeremy Northam portrays the real silent-film actor Ivor Novello, and Stephen Fry appears as a bumbling police inspector. </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">The brilliant cast and wonderful script aside, <em>Gosford Park </em>is assuredly Altman¡¯s film. His style of overlapping dialogue, moving cameras throughout the house and picking up bits of business and dialogue here and there, and presenting a tapestry of words and images in which the viewer must piece together, is in full force. It works beautifully. In fact, <em>Gosford </em>was Altman¡¯s second-highest grossing picture (after <em>M*A*S*H</em>), and it was nominated for the Oscar Best Picture and Director.</span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Arrow¡¯s brand new 2K restoration from a 4K scan, approved by director of photography Andrew Dunn, looks marvelous. There are three audio commentaries¡ªone with Altman, production designer Stephen Altman, and producer David Levy, and a second one with writer Fellowes. A third one is new to the release, featuring critics Geoff Andrew and David Thompson. Supplements include a new introduction to the film by Geoff Andrew, brand new cast and crew interviews, and port-overs from the previous DVD release: featurettes on the making of the film, deleted scenes with Altman commentary, and more. The package comes with a reversible sleeve containing the original poster art backed with new artwork by Matthew Griffin. In the first pressing of the product only, a collector¡¯s booklet featuring new writing on the film by critic Sheila O¡¯Malley and an archival interview with Altman is included. </span></p> <p class="MsoNormal"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal"><em><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Gosford Park </span></em><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">was perhaps Altman¡¯s last great picture, one that stands proudly alongside his other classics like <em>M*A*S*H</em>, <em>McCabe and Mrs. Miller</em>, <em>Nashville</em>, <em>The Player</em>, and <em>Short Cuts</em>. Pick it up!</span></p> <p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B07GGCZ7GZ/cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON</strong> <br /></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> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> 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<![endif]--> Cinema Retro nospam@example.com (Cinema Retro) Raymond Benson (see also Criterion Corner), 2019-02-01T13:09:00Z /fbe/wfwcomment.php?cid=10385 0 /fbe/rss.php?version=1.0&type=comments&cid=10385 THE BIZARRE LAWSUIT INVOLVING LUCASFILM AND THE ORIGINAL "STAR WARS" STORM TROOPER HELMET DESIGNS https://www.google.com//fbe/index.php?/archives/10375-THE-BIZARRE-LAWSUIT-INVOLVING-LUCASFILM-AND-THE-ORIGINAL-STAR-WARS-STORM-TROOPER-HELMET-DESIGNS.html <p> </p> <p><!-- s9ymdb:10017 --><img class="serendipity_image_center" src="/fbe/uploads/starwarsstorm.jpg" width="450" height="192" /> </p> <p>Writing on the web site syfy.com, Drew Turney relates the remarkable modern David vs. Goliath story of how a British prop maker became unwittingly ensnared in an international legal case when Lucasfilm filed suit against him and demanded $20 million in damages. His &quot;crime&quot;? Having provided helmets he had previously designed for use by the Storm Troopers in the original &quot;Star Wars&quot; then replicating his own designs for sale decades later as collectibles.&#160; Rather than spill the beans in this synopsis, just <a href="https://www.syfy.com/syfywire/how-lucasfilm-sued-the-guy-who-made-the-stormtrooper-helmets-and-lost">click here </a>to read the fascinating case that ended up having a happy ending, though not for Lucasfilm. <br /> </p> Cinema Retro nospam@example.com (Cinema Retro) Out of the Past, 2019-01-31T13:02:00Z /fbe/wfwcomment.php?cid=10375 0 /fbe/rss.php?version=1.0&type=comments&cid=10375 RAY HARRYHAUSEN DYNAMATION FESTIVAL RETURNS TO BAY AREA MARCH 1-3 https://www.google.com//fbe/index.php?/archives/10381-RAY-HARRYHAUSEN-DYNAMATION-FESTIVAL-RETURNS-TO-BAY-AREA-MARCH-1-3.html <p><!-- s9ymdb:10025 --><img class="serendipity_image_center" src="/fbe/uploads/DYNAMATIOND.jpg" width="450" height="675" /> </p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Cinema Retro has received the following press release: </span></p> <table class="MsoNormalTable" style="width: 100%; border-collapse: collapse;" width="100%" cellspacing="0" cellpadding="0" border="0"> <tbody> <tr> <td style="width: 100%; padding: 15pt;" width="100%" valign="top"> <div align="center"> <table class="MsoNormalTable" style="width: 100%; border-collapse: collapse;" width="100%" cellspacing="0" cellpadding="0" border="0"> <tbody> <tr> <td style="padding: 0in;"> <p class="MsoNormal" style="line-height: normal;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Bay Area Film Events Brings Back The Dynamation Celebration!</span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"></span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Bay Area Film Events is celebrating our 15th&#160;anniversary by revisiting our very first show! 2004¡¯s Dynamation Celebration, a tribute to Special Effects Titan Ray Harryhausen!</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">But this time, we¡¯re doing it up BIG! Three days at the Balboa Theater in San Francisco!</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Movies, prizes, vendors, artists, displays and more!</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Our special guests for the show will be Ray¡¯s daughter, Vanessa Harryhausen and Harryhausen Foundation Collection Manager Connor Heaney. Both guests will be with us all three days, including Friday night for a special evening benefiting the Ray &amp; Diana Harryhausen Foundation.</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">All the latest information and ticket availability are on our webpage,&#160;<a href="https://nam05.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.bayareafilmevents.com%2F&amp;data=02%7C01%7C%7Cc85c33c077a34e7a206b08d682e4a173%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636840315801870761&amp;sdata=ld%2BPnMN3EHbAMN80ogfVTfUpPcoGRTg9UT6uW4RIfQY%3D&amp;reserved=0" target="_blank" title="Protected by Outlook: http://www.bayareafilmevents.com/. Click or tap to follow the link."><span style="color: blue;">www.bayareafilmevents.com</span></a></span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Also keep up to date with our Facebook page,&#160;<a href="https://nam05.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.facebook.com%2Fbayareafilmevents&amp;data=02%7C01%7C%7Cc85c33c077a34e7a206b08d682e4a173%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636840315801880767&amp;sdata=NcYuMsjSq7j4D2NdeVpGizl2dCIEhgJGENGEm%2FgbEsU%3D&amp;reserved=0" target="_blank" title="Protected by Outlook: http://www.facebook.com/bayareafilmevents. Click or tap to follow the link."><span style="color: blue;">www.facebook.com/bayareafilmevents</span></a></span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">There are event pages on Facebook, dedicated to the Dynamation Celebration, the Friday night benefit and our upcoming Godzillafest on August 23-25!</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Join us for all the fun and excitement! You never know who else may show up¡­.</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Special Guests:</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Vanessa Harryhausen</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">&#160;Vanessa is the daughter of Ray and Diana Harryhausen, and is now proud to be a trustee of the Foundation responsible for maintaining her father¡¯s collection and legacy. Vanessa was present on the set of all of her father¡¯s films from ¡®The Valley of Gwangi¡¯&#160;onwards, and has many fond memories of watching Ray working on set and in his workshop at home. Her unique perspective on her father¡¯s creative processes will fascinate Harryhausen fans, having grown up in a home packed full of his legendary creatures!</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">&#160;Vanessa is now passionate about ensuring that the Foundation¡¯s incredible collection is preserved and restored for future generations to enjoy. She has assisted with the cataloguing of his many models, artworks and posters, as we count down to Ray¡¯s centenary in June 2020. The opportunity to hear Vanessa¡¯s many recollections of her extraordinary father and his lasting legacy, alongside unique imagery from the Foundation¡¯s archive, will be a must-attend event for cinema fans everywhere.</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Connor Heaney</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Connor Heaney is the Collections Manager for the Ray and Diana Harryhausen Foundation, and deals with the day-to-day care of Ray's archive. His responsibilities include the cataloguing, digitisation and conservation of the collection, as well as ensuring awareness of Ray's work and legacy through worldwide exhibitions and events. Alongside administering and managing the Foundation's physical archive and database, Connor is responsible for promoting Ray Harryhausen¡¯s life and creations through social media. He co-hosts ¡®The Ray Harryhausen Podcast¡¯&#160;alongside trustee John Walsh. Connor has spoken about Ray and the collection at screenings, exhibitions and conventions across the world, including San Diego Comic Con and 2017¡¯s ¡®Mythical Menagerie¡¯&#160;exhibit at the Science Museum Oklahoma.</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">&#160;For more information on the Foundation¡¯s current projects and exhibitions, please see:</span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"><a href="https://nam05.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.rayharryhausen.com%2F&amp;data=02%7C01%7C%7Cc85c33c077a34e7a206b08d682e4a173%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636840315801890772&amp;sdata=C2OitMbK7BnzwffZnih2wkXb2SCCJSAnwjhw%2BAEYoqk%3D&amp;reserved=0" target="_blank" title="Protected by Outlook: http://www.rayharryhausen.com/. 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Click or tap to follow the link."><span style="color: blue;">www.facebook.com/RayHarryhausen</span></a></span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"><a href="https://nam05.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.twitter.com%2FRay_Harryhausen&amp;data=02%7C01%7C%7Cc85c33c077a34e7a206b08d682e4a173%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636840315801910788&amp;sdata=orT6mNdB%2BI2T55zDLVBXgQkbE6o6C8mbHrwWQPHtXcQ%3D&amp;reserved=0" target="_blank" title="Protected by Outlook: http://www.twitter.com/Ray_Harryhausen. 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</style> <![endif]--> Cinema Retro nospam@example.com (Cinema Retro) Events, 2019-01-30T13:06:00Z /fbe/wfwcomment.php?cid=10381 0 /fbe/rss.php?version=1.0&type=comments&cid=10381 REMEMBERING "CLOSE ENCOUNTERS": AN INTERVIEW WITH "MAKING OF" AUTHOR RAY MORTON https://www.google.com//fbe/index.php?/archives/10383-REMEMBERING-CLOSE-ENCOUNTERS-AN-INTERVIEW-WITH-MAKING-OF-AUTHOR-RAY-MORTON.html <p><!-- s9ymdb:10027 --><img class="serendipity_image_center" src="/fbe/uploads/raymorton.jpg" width="450" height="409" /> </p> <p><strong>(Note: this interview with conducted to coincide with the 40th anniversary of <em>Close Encounters of the Third Kind </em>in 2017.) </strong><br /></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">By Michael Coate</span></strong></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; background: yellow none repeat scroll 0% 0%;"> </span></strong></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; color: black;">Ray Morton</span><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> is the author of ¡°Close Encounters of the Third Kind: The Making of Steven Spielberg¡¯s Classic Film¡± (Applause Theatre &amp; Cinema Books, 2007). He is a screenwriter, script consultant, and senior writer and columnist for Script magazine. His other books include ¡°King Kong: The History of a Movie Icon from Fay Wray to Peter Jackson¡± (Applause Theatre &amp; Cinema Books, 2005), ¡°Amadeus: Music on Film¡± (Limelight, 2011), ¡°A Hard Day¡¯s Night: Music on Film¡± (Limelight, 2011), ¡°A Quick Guide to Screenwriting¡± (Limelight, 2013), ¡°A Quick Guide to Television Writing¡± (Limelight, 2013), and ¡°A Quick Guide to Film Directing¡± (Limelight, 2014).</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background: white none repeat scroll 0% 0%;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; background: yellow none repeat scroll 0% 0%;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background: white none repeat scroll 0% 0%;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; color: black;">Cinema Retro:</span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; color: black;"><span> </span></span><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">How would you like ¡°Close Encounters of the Third Kind¡± to be remembered on its 40th anniversary?</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Ray Morton:<span> </span></span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">As a wonderful, entertaining movie. </span></p> <p> </p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">As the first true Steven Spielberg movie. ¡°<span>Jaws</span>¡± is a magnificent film, but in a way an atypical film for Spielberg in terms of genre and subject matter. ¡°<span>Close Encounters</span>¡± is the first of Spielberg¡¯s movies to contain many of the elements that would become closely associated with him in the years that followed: an uplifting sci-fi/fantasy narrative infused with a tremendous sense of wonder; a focus on children; an exploration of life in the American suburbs; broken families; a fascination with World War II; a highly sophisticated use of visual and special effects; the use of a powerful John Williams score to create a powerful emotional response; cinematography that emphasizes backlighting; and Spielberg¡¯s trademarked ¡°push in¡± close-ups onto the awed faces of his characters. ¡°<span>Jaws</span>¡± made Spielberg hot, ¡°<span>CE3K</span>¡± made him a brand name.</span></p> <p> </p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">As one of the two films that transformed science fiction and fantasy from vaguely disreputable ¡°B¡± genres into ¡°A¡± movie material in the eyes of both the public and the film industry. The other was, of course, ¡°<span>Star Wars.</span>¡±</span></p> <p> </p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">As the masterwork of Douglas Trumbull, Richard Yuricich, and their great team of visual effects magicians at Future General.</span></p> <p> </p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">As one of the most intense and honest depictions ever filmed of obsession and of the rewards and costs of pursuing a dream.</span></p> <p> </p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">As one of the most authentic, non-idealized, and non-stereotypical depictions of American suburban life ever shown on screen.</span></p> <p> </p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="background-color: #fff0f6;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; color: black;">Cinema Retro:</span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; color: black;"><span> </span></span><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Can you recall your reaction to the first time you saw ¡°Close Encounters¡±?</span></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Morton:<span> </span></span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">I can absolutely recall the first time I saw <span>¡°Close Encounters</span>¡±¡ªit was the most significant movie-going experience of my life. I saw it in December 1977 at the Ridgeway Theater in Stamford, Connecticut¡ªon a school night with my sisters Kathy and Nancy.I loved the movie as a movie¡ªit was intriguing, thrilling, frightening, funny, awe-inspiring, thought-provoking, and ultimately extremely moving. But the effect ¡°<span>Close Encounters</span>¡± had on me went well beyond the simple enjoyment of a very good film. By the time<span> </span>¡°<span>CE3K</span>¡± opened, I had already been a film fan for a few years, but ¡°<span>Close Encounters</span>¡±<span> </span>is the movie that awakened me to the true power of cinema. Until that night, if you had asked the very young me what the most important ingredients in a movie were, I would have said dialogue and performance. Those things are certainly present in<span> </span>¡°<span>CE3K,</span>¡± but they are secondary. The storytelling in ¡°<span>Close Encounters</span>¡±¡ªespecially in its final thirty minutes¡ªis accomplished primarily through the manipulation of the core elements of cinema: imagery, sound effects, and music. Watching the film for the first time, I found myself having a profound emotional response to Spielberg¡¯s masterful orchestration of light and sound¡ªI was filled with feelings of awe, wonder, and joy so intense they were almost spiritual. When the movie ended, I just sat staring at the screen, enraptured and unable to move as I processed the overwhelming intensity of what I had just experienced. I sat there so long that my sisters finally lost patience with me. ¡°Wake up!¡± my sister Nancy snapped. ¡°The movie¡¯s over!¡± That brought me back to the world, but I still hadn¡¯t come back to Earth.I realized then and there the powerful effect that movies could have on an audience ¡ª that in the right hands they could transcend mere storytelling and impact viewers on a much deeper and more profound level. Driving home that night (in a heavy fog that filtered the headlights of oncoming cars in ways that mimicked much of the imagery in the movie we had just seen), I knew I wanted to do something more than just watch movies¡ªthat I wanted to make a life in the cinema as well.</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background: white none repeat scroll 0% 0%;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></strong></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background: white none repeat scroll 0% 0%;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; color: black;">Cinema Retro:</span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; color: black;"><span> </span></span><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Is there any significance to ¡°Close Encounters¡±?</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Morton:<span> </span></span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Well, it¡¯s one of the best sci-fi movies ever made, both creatively and from a production stand-point. And, as I mentioned earlier, it¡¯s one of the films that made sci-fi into a respectable genre.</span></p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Beyond those two points, however, it was the first major sci-fi film to depict first contact as a potentially positive experience¡ªthat a meeting between mankind and beings from another world could be a joyous, peaceful, uplifting event¡ªsomething that could be good for us¡ªrather than an occasion of invasion and horror. In the years following<span> </span>¡°<span>CE3K</span>¡±<span> </span>and especially ¡°<span>E.T.</span>¡± that became a commonplace idea, but in 1977 it was pretty revolutionary.</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background: white none repeat scroll 0% 0%;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background: white none repeat scroll 0% 0%;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; color: black;">Cinema Retro:</span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; color: black;"><span> </span></span><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Which edition of ¡°Close Encounters¡± do you like best?</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Morton:<span> </span></span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">I prefer the 1977 theatrical cut, in part because it¡¯s the first version of the movie I saw and the one that made such a strong impression on me. But I also prefer it because it¡¯s the most subtle version of the film. As an example, in the scene in which Roy has his initial close encounter at the railroad crossing, as he drives off in pursuit of the UFO, the 1977 version cuts to a long shot of Roy¡¯s truck driving across the landscape and in the sky above you see a little point of light moving along. Is it a UFO? Or is it just an airplane or a satellite? We¡¯re not 100% sure and that adds some mystery and intrigue to the picture¡ªwas what we just saw happen real or did Roy perhaps imagine it? We¡¯re not sure and neither is Roy until the three UFOs come flying around the corner in the Crescendo Summit scene a few minutes later. In the <span>Special Edition</span> and the 1997 <span>Director¡¯s Edition</span>, that shot is replaced by the shadow of an impossibly large UFO zooming across the landscape¡ªall of the ambiguity is gone and the point is hit right on the head that what we saw was real and that UFOs are real before they are revealed to us at Crescendo Summit. It takes a little bit of the magic out of it for me.</span></p> <p> </p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="yiv2530531763msonormal" style="margin: 0in 0in 0.0001pt;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">As technically wonderful as it is, I feel the Cotapoxi scene has similar problems. The jeeps leaping over the sand dunes in 1-2-3 formation and the helicopters zooming low across the desert feel like they belong in a slightly broader, slightly less real film than the theatrical cut is. One of the things I like so much about <span>¡°CE3K</span>¡± is that the fantastic events occur in a very real setting¡ªRoy¡¯s world and Jillian¡¯s world all feel very authentic and real to me¡ªbut when people are zooming around like they are in an action movie, some of that reality gets lost for me. And, as cool as seeing the ship in the desert is, the scene is really just a repeat of the opening sequence in which the airplanes are discovered, so it¡¯s a bit repetitious. I do like some of the family strife material that was put back in for the <span>Special Edition</span> and the <span>Director¡¯s Edition </span>and some of the editing in the second act is tighter and less raggedy. But I still prefer the 1977 version. Following that I would choose the 1997 cut and then the Special Edition. (I think going inside the Mothership was always a mistake.)</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background: white none repeat scroll 0% 0%;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background: white none repeat scroll 0% 0%;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; color: black;">Cinema Retro:</span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif; color: black;"> <span> </span></span><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Where do you think ¡°Close Encounters¡± ranks among Steven Spielberg¡¯s body of work?</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Morton:<span> </span></span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;">Near the top, along with ¡°<span>Jaws,</span>¡± ¡°<span>E.T.,</span>¡± ¡°<span>Raiders,</span>¡± ¡°<span>Schindler¡¯s List,</span>¡± and ¡°<span>Empire of the Sun.</span>¡± It has always struck me as being one of his most personal movies.</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background: white none repeat scroll 0% 0%;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p><br /> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 107%; font-family: &quot;Verdana&quot;, sans-serif;"> </span></p> <!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> 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Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="E-mail Signature"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Top of Form"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="HTML Bottom of Form"/> <w:LsdException Locked="false" 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" UnhideWhenUsed="true" Name="Table Classic 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Classic 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Classic 4"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Colorful 1"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Colorful 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Colorful 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Columns 1"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Columns 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Columns 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Columns 4"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Columns 5"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Grid 1"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Grid 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Grid 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Grid 4"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Grid 5"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Grid 6"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Grid 7"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table Grid 8"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table List 1"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table List 2"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table List 3"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table List 4"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table List 5"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table List 6"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table List 7"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table List 8"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table 3D effects 1"/> <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true" Name="Table 3D effects 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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"/> <w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/> <w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/> <w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/> <w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/> <w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/> <w:LsdException Locked="false" SemiHidden="true" Name="Revision"/> <w:LsdException Locked="false" Priority="34" QFormat="true" Name="List Paragraph"/> <w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/> <w:LsdException Locked="false" Priority="30" QFormat="true" Name="Intense Quote"/> <w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/> <w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/> <w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/> <w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/> <w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/> <w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/> <w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/> <w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/> <w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/> <w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/> <w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/> <w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/> <w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/> <w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/> <w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/> <w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/> <w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/> <w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/> <w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/> <w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/> <w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/> <w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/> <w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/> <w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/> <w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/> <w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/> 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Priority="51" Name="Grid Table 6 Colorful Accent 1"/> <w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful Accent 1"/> <w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light Accent 2"/> <w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/> <w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/> <w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/> <w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/> <w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful Accent 2"/> <w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful Accent 2"/> <w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light Accent 3"/> <w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/> <w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/> <w:LsdException Locked="false" Priority="49" Name="Grid Table 4 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Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/> <w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/> <w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/> <w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful Accent 5"/> <w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful Accent 5"/> <w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light Accent 6"/> <w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/> <w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/> <w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/> <w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/> <w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful Accent 6"/> <w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful Accent 6"/> <w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/> <w:LsdException Locked="false" Priority="47" Name="List Table 2"/> <w:LsdException Locked="false" Priority="48" Name="List Table 3"/> <w:LsdException Locked="false" Priority="49" Name="List Table 4"/> <w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/> <w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/> <w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/> <w:LsdException Locked="false" Priority="46" Name="List Table 1 Light Accent 1"/> <w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/> <w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/> <w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/> <w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/> <w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful Accent 1"/> <w:LsdException Locked="false" Priority="52" Name="List Table 7 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AUTHOR RAY MORTON"</a> Cinema Retro nospam@example.com (Cinema Retro) Interviews, 2019-01-29T13:04:00Z /fbe/wfwcomment.php?cid=10383 0 /fbe/rss.php?version=1.0&type=comments&cid=10383 REVIEW: "THE LATE GREAT PLANET EARTH" (1979); KINO LORBER/SCORPION BLU-RAY RELEASE https://www.google.com//fbe/index.php?/archives/10379-REVIEW-THE-LATE-GREAT-PLANET-EARTH-1979;-KINO-LORBERSCORPION-BLU-RAY-RELEASE.html <p><!-- s9ymdb:10022 --><img class="serendipity_image_center" src="/fbe/uploads/LATEGREATPLANETEARTH.jpg" width="450" height="551" /> </p> <p><strong>BY TODD GARBARINI</strong> <br /></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family: &quot;Verdana&quot;, sans-serif;">The 1970¡¯s were a time of much spookiness and speculation in this country. Unidentified Flying Objects (UFO¡¯s), a publicity-shy Plesiosaur called Nessie steaking out the Scottish Highlands, Sasquatch ¡°sightings¡±, ghosts, satanic cults, witchcraft, and the threat of nuclear catastrophe highlighted the newspapers when Vietnam, Richard Nixon and Watergate weren¡¯t. Between 1977 and 1982, Leonard Nimoy¡¯s narration provided the basis for nearly 150 speculative and generally outright creepy episodes of <em>In Search Of¡­</em>Similarly-themed television specials were even categorized by TV Guide as ¡°speculation¡± in their genre listings. I even recall a scenario in 1979 that was reported in a local newspaper concerning the discovery of ribcages and bowls of blood at a nearby campground. Yikes! </span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family: &quot;Verdana&quot;, sans-serif;">May 1970 saw the release of Hal Lindsey and Carole C. Carlson¡¯s book <em>The Late Great Planet Earth</em>, a grimly-titled caveat in eschatological terms detailing the end of the world and destruction to humankind as we know it (it was followed up in 1972 with <em><span style="color: #222222; background: white none repeat scroll 0% 0%;">Satan Is Alive and Well on Planet Earth</span></em><span style="color: #222222; background: white none repeat scroll 0% 0%;">&#160;and&#160;in 1982 with <em>The 1980s: Countdown to Armageddon</em>).</span> The genesis of this line of thinking has its roots in the Holy Bible, specifically the Book of Revelation which is the final book of the New Testament. What better way to get the word out than in a major motion picture? The book was optioned for a film in 1976 by Pacific International Enterprises, known as PIE for short, which was both a film production and distribution company founded two years earlier by Arthur R. Debs (it folded in <span style="color: black;">2001) </span>for the purpose of releasing ¡°family films¡±. How they came to the subject of Armageddon is anyone¡¯s guess. Between 1976 and 1978, interviews were conducted with renowned thinkers, scientists and religious folks to get their views and interpretations of the Bible and the promise of pestilence. </span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family: &quot;Verdana&quot;, sans-serif;">The film sports the same title as the book and was released in a good number of neighborhood theatres on Wednesday, January 17, 1979. It opens with a sequence involving a group of men chasing a Gandalf wannabe up a mountain (in reality, Vaszquez Rocks in California where Captain James T. Kirk fought the Gorn in the Star Trek episode ¡°Arena¡± in 1966) and pushing him to his death. These are actors, of course, and they look like they might have tried out to be the apostles in Martin Scorsese¡¯s first attempt to bring <em>The Last Temptation of Christ</em> to the screen via Paramount Pictures on a minimal budget. Orson Welles appears with a skull meant to represent the fallen man from thousands of years earlier and sets the film¡¯s tone by explaining how the ancient Hebrews believed that a prophet was God¡¯s Man and spoke the Words of God, foretelling, many centuries before, of events to come. The prophet was killed because he wasn¡¯t accurate one hundred percent of the time and therefore was deemed a fraud. </span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family: &quot;Verdana&quot;, sans-serif;">The film talks of the Anti-Christ entering the world of politics ¨C shades of <em>Omen III: The Final Conflict</em> (1983)? There are many predictions made using stock footage to enunciate impending doom. However interesting or frightening the claims, the orator¡¯s guessing of the timeline is vague at best. Something that <em>was</em> correctly predicted at the time of the film¡¯s shooting was the estimate of the world population 40 years hence to be roughly 8 billion people. It is closer to 7.5 billion, but not a bad estimate. </span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family: &quot;Verdana&quot;, sans-serif;">Earthquakes, world famine, floods, killer bees (I recall this threat in 1979 and wondered how they came about. The film provides the not-so-surprising explanation) were the stuff of disaster movies in the 1970s. I¡¯m not sure if <em>Planet Earth</em> is a statement of veracity or pure bollocks, but it¡¯s an interesting examination of prophesies, nonetheless. <span> </span></span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family: &quot;Verdana&quot;, sans-serif;">The film has been recently released on Blu-ray by Kino Lorber/Scorpion and the transfer is exceptional. There are two bonus features. The first is a making-of featurette that runs fourteen minutes and is comprised of interviews with nearly ten people behind-the-scenes. Roger Riddell is the film¡¯s producer who discusses how the movie came into being. Alan Belkin, President of American Cinema, a division of American Communications Industries, shares his memories of the film. The rough cut was two hours; the film¡¯s running time is 86 minutes. Composer Dana Kaproff provides an exceptional score that is one of the film¡¯s strongpoints (it deserves a soundtrack album release) and he explains his role as a composer. Tom Doddington, head of Sound and Production, explains how Orson Welles was a consummate professional, going so far as to record his voiceover at his house. Thomas Nicely, one of the actors running in the opening sequence, also weighs in. Lynn McCallon and Anne Goursaud were editors on the film. Jean Higgins, Head of Production for American Cinema, and David Miller, Head of Distribution, discuss the film¡¯s marketing. </span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-family: &quot;Verdana&quot;, sans-serif;">Bonus features consist of a selection of trailers: theatrical trailer and TV spot for <em>The Late Great Planet Earth</em> (1979); <em>Go Tell the Spartans</em> (1978) theatrical trailer, <em>Charlie Chan and the Curse of the Dragon Queen</em> TV spot; <em>The Apple</em> (1980) theatrical trailer; and <em>The Salamander</em> (1981) theatrical trailer.</span></p> <p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B07CCFRZQ8/cinemaretroco-20">CLICK HERE </a>TO ORDER FROM AMAZON</strong> <br /></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/> 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</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-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:8.0pt; mso-para-margin-left:0in; line-height:107%; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Arial",sans-serif;} </style> <![endif]--> Cinema Retro nospam@example.com (Cinema Retro) Todd Garbarini, 2019-01-28T13:08:00Z /fbe/wfwcomment.php?cid=10379 0 /fbe/rss.php?version=1.0&type=comments&cid=10379 MICHEL LEGRAND, OSCAR-WINNING COMPOSER, DEAD AT 86 https://www.google.com//fbe/index.php?/archives/10382-MICHEL-LEGRAND,-OSCAR-WINNING-COMPOSER,-DEAD-AT-86.html <iframe src="https://www.youtube.com/embed/4hJCqjoJoAM" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" width="560" height="315" frameborder="0"></iframe> <p> </p> <p>Michele Legrand, the French composer who won three Academy Awards, has died at age 86. Legrand originally hit the big time as a crooner and pianist with his 1954 album &quot;I Love Paris&quot; which went on to be an international sensation, selling more than 8 million copies. Other hit albums followed and he began to score feature films. With more than 200 films to his credit, Legrand's style of scoring films would is considered &quot;old school&quot; today, employing lush, romantic melodies that have included some of the most memorable film scores of all time. He first gained international attention in film scoring with the 1964 French production &quot;The Umbrellas of Cherbourg&quot;, a romance in which literally every word of dialogue was sung. The film earned him three Oscar nominations and the best known song from the film, &quot;I Will Wait for You&quot; became a major hit that was covered by many artists. He would also create the score for the related 1967 film &quot;The Young Girls of Rochefort&quot;. </p> <p><!-- s9ymdb:10026 --><img class="serendipity_image_center" src="/fbe/uploads/the_thomas_crown_affair.jpg" width="400" height="400" /> </p> <p>The following year, Legrand won an Oscar for Best Song for &quot;The Windmills of Your Mind&quot;, a puzzling but hypnotic piece with lyrics by Alan and Marilyn that perfectly fit the stylish crime caper &quot;The Thomas Crown Affair&quot;.&#160; Noel Harrison sung the piece in the film but it was covered by many artists and Dusty Springfield had a Top 40 version of it. Other Oscars followed for his haunting score for &quot;Summer of '42&quot; and &quot;Yentl&quot;. For more about his life and career <a href="https://www.washingtonpost.com/local/obituaries/michel-legrand-oscar-winning-composer-of-windmills-of-your-mind-dies-at-86/2019/01/26/14182e42-216b-11e9-9145-3f74070bbdb9_story.html?utm_term=.e0b1613857ff">click here</a>. <br /> </p> Cinema Retro nospam@example.com (Cinema Retro) Obituaries, 2019-01-27T13:09:00Z /fbe/wfwcomment.php?cid=10382 0 /fbe/rss.php?version=1.0&type=comments&cid=10382 REVIEW: "LOVE ME DEADLY" (1972); CODE RED BLU-RAY SPECIAL EDITION https://www.google.com//fbe/index.php?/archives/10380-REVIEW-LOVE-ME-DEADLY-1972;-CODE-RED-BLU-RAY-SPECIAL-EDITION.html <p><!-- s9ymdb:10023 --><img class="serendipity_image_center" src="/fbe/uploads/lovemedeadly1.jpg" width="450" height="559" /> </p> <p><strong>BY TODD GARBARINI</strong> <br /></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;">If you¡¯re one of the many moviegoers who are unfamiliar with the Jacques Lacerte thriller <em>Love Me Deadly</em>, you¡¯re not alone. A product of early 1970s low-budget motion picture production, this film is the sole title directed by Mr. Lacerte who passed away in 1988. Lensed in 1971 and released in San Francisco right around the same time as Gerard Damiano¡¯s wildly popular and controversial couples-flick <em>Deep Throat</em> in June 1972 just before the Watergate burglary, the film played in roughly ten markets, including rained-out drive-ins, before it nearly disappeared from view. However, there are subsequent movie posters for the film that have the audacity to mention William Friedkin¡¯s <em>The Exorcist</em> (1973) and give the impression that spiritual possession is somehow to blame for the unsavory goings-on. It¡¯s not. </span></p> <p class="MsoNormal" style="text-align: justify;"><em><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;">Love Me Deadly</span></em><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;"> was originally titled <em>Kiss Me Deadly</em>, however Mickey Spillane had the rights to that title, hence the name change. What is billed as a story of demonic diabolical deeds is rather a heartbreakingly tragic tale of a young woman who cannot seem to connect with men¡­who are alive. The film never really seems to get a grip on how it wants to play out the subject matter at hand but you get the feeling that the director is attempting to pass the film off as some sort of dissertation on necrophilia which, in my humble opinion, is one of the most incomprehensible, disgusting, and desperate of all sexual proclivities and one that I can only <em>hope</em> is relegated to the cinema. I interpreted the film from a much different perspective, so each viewer might see something differently due to the film¡¯s inability to construct a single tone. </span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;">The opening credits play over images of a happy young girl, Lindsay Finch, playing with her father who dotes on her, pushes her on a swing, and comforts her when she falls. As an adult, Lindsay (Mary Charlotte Wilcox) is a looker who tries her best to make friends with attractive men. She leads on Wade Farrow (the late Christopher Stone of 1981¡¯s <em>The Howling </em>and 1983¡¯s <em>Cujo, sans</em> his trademark ¡®stache) only to rebuff him when he makes sexual advances. Like Harold and his pal Maude, Lindsay looks through the newspapers and attends afternoon wakes of complete strangers although her reasons for doing so are far more disturbing: she attempts amorous contact with the recently deceased. While about town, she hones in on men who bear a resemblance to her father whom we can safely assume has passed. Meanwhile Fred (Timothy Scott), a funeral director of Morningside Mortuary (the name anticipates 1979¡¯s <em>Phantasm</em>), catches her and persuades her to join him after hours in necrophilic activities with similarly afflicted gonzos who don black mass-like capes in a ritual prior to becoming intimate with corpses, the victims of Fred¡¯s nocturnal cruisings along the Sunset Strip in search of johns and prostitutes. </span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;">Lindsay takes a liking to Alex Martin (Lyle Waggoner) whom she sees as a father figure. They court and marry soon afterwards, although their bedroom habits suffer greatly as she¡¯s unable to allow Alex to make love to her. He¡¯s patient and even sleeps in another room yet becomes suspicious of his wife¡¯s behavior when he follows her to the funeral parlor and sees her enter the premises. When he asks her about it later on, she denies going there at all. A brief conversation with the housekeeper who practically raised her leads Alex to the cemetery in the film¡¯s most heartbreaking scene wherein Lindsay is dressed in pigtails, playing around her father¡¯s grave like a child. Anyone who has seen enough horror films knows how the film will end so while it¡¯s not a shocker, it¡¯s actually tragically sad given how her father died and the guilt that Lindsay feels. This is the biggest issue that I have with the film. While the ads promise one thing, what you get is something much different. The biggest evidence of this is in the inclusion of elegiac songs sung by Kit Fuller that play over the <em>kinderscene</em> that opens the film and the romantic silliness between she and Alex. This is, a sequence that seems to have been borrowed from the overlong romantic interlude that plagues Clint Eastwood¡¯s otherwise crackerjack <em>Play Misty for Me</em> (1971), with Roberta Flack crooning on that film¡¯s soundtrack for nearly five minutes. The original movie poster even claims that Lindsay is 18, however she¡¯s clearly in her early to mid-twenties.</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> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> </w:Compatibility> 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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-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; 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;} </style> <![endif]--> <br /><a href="/fbe/index.php?/archives/10380-REVIEW-LOVE-ME-DEADLY-1972;-CODE-RED-BLU-RAY-SPECIAL-EDITION.html#extended">Continue reading "REVIEW: &quot;LOVE ME DEADLY&quot; (1972); CODE RED BLU-RAY SPECIAL EDITION"</a> Cinema Retro nospam@example.com (Cinema Retro) Todd Garbarini, 2019-01-26T13:00:00Z /fbe/wfwcomment.php?cid=10380 0 /fbe/rss.php?version=1.0&type=comments&cid=10380 "THE SPY IN THE GREEN HAT" (1967) - WATCH THE TRAILER FOR THE "MAN FROM U.N.C.L.E." FEATURE FILM https://www.google.com//fbe/index.php?/archives/10369-THE-SPY-IN-THE-GREEN-HAT-1967-WATCH-THE-TRAILER-FOR-THE-MAN-FROM-U.N.C.L.E.-FEATURE-FILM.html <iframe src="https://www.youtube.com/embed/9YzphF_g24Y" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" width="560" height="315" frameborder="0"></iframe> <p> </p> <p>&quot;The Man from U.N.C.L.E.&quot; was not only a TV phenomenon in the 1960s but the mania also extended to the big screen. MGM produced eight feature-length movies derived from two-part episodes of the series. (Some included extra &quot;bonus&quot; footage that would deemed to be too sexual or violent for network broadcast.) These lazily-compiled efforts were astonishingly profitable, especially in England where some house records were set at theaters. (Only three of the feature films were released theatrically in the USA: &quot;To Trap a Spy&quot;, &quot;The Spy with My Face&quot; and &quot;One Spy Too Many&quot;. &quot;One of Our Spies is Missing&quot; was planned for American release but we've yet to substantiate that it actually was.) This trailer is suitably hokey, mod, cheesy and fun as we once again watch Robert Vaughn and David McCallum save the world from the threat of Thrush!&#160; </p> <p><!-- s9ymdb:5227 --><img class="serendipity_image_center" src="/fbe/uploads/unclemovies.serendipityThumb.jpg" width="110" height="110" /> </p> <p><strong><a href="https://www.moviezyng.com/883316362914.aspx?microstoreid=47">CLICK HERE</a> TO ORDER THE COMPLETE &quot;U.N.C.L.E.&quot; MOVIE COLLECTION FROM THE CINEMA RETRO MOVIE STORE</strong><br /></p> Cinema Retro nospam@example.com (Cinema Retro) U.N.C.L.E HQ, 2019-01-25T13:00:00Z /fbe/wfwcomment.php?cid=10369 0 /fbe/rss.php?version=1.0&type=comments&cid=10369 DVD REVIEW: "THE SECRET PARTNER" (1961) STARRING STEWART GRANGER AND BERNARD LEE; WARNER ARCHIVE RELEASE https://www.google.com//fbe/index.php?/archives/8718-DVD-REVIEW-THE-SECRET-PARTNER-1961-STARRING-STEWART-GRANGER-AND-BERNARD-LEE;-WARNER-ARCHIVE-RELEASE.html <p><!-- s9ymdb:7869 --><img class="serendipity_image_center" src="/fbe/uploads/secretpartner.jpg" width="450" height="643" /> </p> <p><strong>BY LEE PFEIFFER</strong></p> <p>&quot;The Secret Partner&quot; is yet another unheralded gem from the cinematic past that has been made available through the Warner Archive. It's a fairly low budget British film noir that nevertheless is completing engrossing and will have viewers guessing throughout. Stewart Granger is John Brent, a successful executive at a London shipping company who we find in great distress from early in the film. It seems Brent is being routinely blackmailed by his milquetoast dentist, Beldon (Norman Bird). We don't know what he has on Brent until much later in the story, a clever device used by screenwriters David Pursall and Jack Seddon that only increases the interest of the viewer. Brent understandably despises Beldon but is intimidated enough by him that he continues to pay astronomical sums of money to buy his silence. In the interim, Brent can't explain to his wife Nicole (Haya Haraeet) why their money is disappearing almost as fast as he can earn it. She logically suspects that he is seeing another woman and their marriage very publicly goes on the rocks when she moves out. Meanwhile, Beldon himself is subject to the terrors of blackmail when a masked man with a gun demands that he follows explicit instructions to administer a drug to Brent during his next dental visit. While under the influence of sleeping gas, Brent is injected with a truth serum that results in his telling Beldon the combination of his company's safe. Additionally, Beldon follows instructions to remove Brent's office keys and make a clay impression of them. The masked man promises Beldon a payoff of 15,000 pounds if he complies- and death if he doesn't. Beldon pulls off his end of the scheme and Brent appears to be none the wiser. Predictably, the office safe of Brent's employer is rob of 130,000 quid and he is the logical suspect.&#160;<span style="font-size: 9.5pt;">The case falls into the lap of Det. Superintendent Frank Hanbury (Bernard Lee), a veteran cop who is counting the days until his imminent retirement. He questions Brent but when Brent realizes he is about to be arrested for grand larceny, he flees. Hanbury relentlessly pursues him even as his investigation leads him to believe that Brent might have been set up as a fall guy. Hanbury repeatedly interviews Nicole and discovers that she is apparently having affairs with some of Brent's most trusted friends and co-workers. Meanwhile, Brent is trying to avoid the police while he conducts his own investigation, desperate to prove he is innocent. &#160;</span></p> <p>&quot;The Secret Partner&quot; is a prime example of the kind of efficient, low-profile films that used to be turned out regularly decades ago and this one is top notch throughout. It's impressively directed by the ever-capable Basil Dearden, who helmed other gems like &quot;Woman of Straw&quot; and &quot;Khartoum&quot;. Granger, who should have been a much bigger star, is dashing and determined as a leading man and he plays well off of the great British character actor Bernard Lee. Lee's slow, unemotional approach to solving the case is a joy to watch, as he patiently absorbs the facts and tries not to jump to conclusions even as he smokes what must be a record number of cigarettes ever consumed by one actor in one film. The film is peppered with fine performances from an impressive supporting cast with Harareet especially enticing as Brent's sexy, estranged wife. Even the smallest roles are well-performed (keep an eye out for Paul Stassino, the ill-fated NATO pilot from &quot;Thunderball&quot; as a pimp!). There is also a funky if somewhat bombastic jazz score by Philip Green and some nice period photography around London. The real pay off is a surprise revelation near the end of the film that I doubt even the most astute viewer will see coming. </p> <p>&quot;The Secret Partner&quot; is a thoroughly enjoyable film that represents the cliche &quot;They don't make 'em like that any more!&quot;&#160;</p> <p><strong><a href="https://www.moviezyng.com/888574144753.aspx?microstoreid=47">CLICK HERE</a> TO ORDER FROM THE CINEMA RETRO MOVIE STORE</strong><br /> </p> Cinema Retro nospam@example.com (Cinema Retro) DVD/Streaming Video Reviews & News, 2019-01-24T13:08:00Z /fbe/wfwcomment.php?cid=8718 0 /fbe/rss.php?version=1.0&type=comments&cid=8718 OUT OF THE PAST: PROMOTING "BERSERK!" AND "THE GOOD, THE BAD AND THE UGLY" https://www.google.com//fbe/index.php?/archives/10367-OUT-OF-THE-PAST-PROMOTING-BERSERK!-AND-THE-GOOD,-THE-BAD-AND-THE-UGLY.html <p><!-- s9ymdb:10006 --><img class="serendipity_image_center" src="/fbe/uploads/BERSERKWEB.jpg" width="450" height="728" /> </p> <p><!-- s9ymdb:10007 --><!-- s9ymdb:10008 --><img class="serendipity_image_center" src="/fbe/uploads/GBUWEB_edited-1.jpg" width="450" height="703" /> <br /></p> <p>A long time ago in our own galaxy, independent movie theaters prided themselves on creating unique promotional stunts, as evidenced from these photos from a March 1968 issue of Boxoffice magazine. In the parlance of the era, theater owners were &quot;taking it to the streets&quot; in order to drum up awareness of their latest showings. Sometimes models were employed and on other occasions, hapless theater employees were subjected to participating in rather bizarre and comical publicity stunts. These two photos show a model on the streets passing out leaflets to seemingly unimpressed passersby for the Joan Crawford thriller &quot;Berserk!&quot; and a mannequin dressed as Clint Eastwood's Man with No Name for &quot;The Good, the Bad and the Ugly.&quot; Those were the days! <br /></p> Cinema Retro nospam@example.com (Cinema Retro) Out of the Past, 2019-01-23T13:04:00Z /fbe/wfwcomment.php?cid=10367 0 /fbe/rss.php?version=1.0&type=comments&cid=10367 THE 91ST ANNUAL ACADEMY AWARDS NOMINATIONS: THE FULL LIST https://www.google.com//fbe/index.php?/archives/10376-THE-91ST-ANNUAL-ACADEMY-AWARDS-NOMINATIONS-THE-FULL-LIST.html <iframe src="https://www.youtube.com/embed/wnm7n7zlZ7U" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" width="560" height="315" frameborder="0"></iframe> <p> </p> <p> </p> <p>Here is the official listing of all nominees for the 91st annual Academy Awards. <a href="https://www.oscars.org/oscars/ceremonies/2019">Click here</a> to view.&#160; For Washington Post analysis, <a href="https://www.washingtonpost.com/arts-entertainment/2019/01/22/oscar-nominations-snubs-surprises-spike-lees-first-best-director-nod-poor-bradley-cooper/?utm_term=.95b0525b2506">click her</a>e. <br /></p> Cinema Retro nospam@example.com (Cinema Retro) Events, 2019-01-22T23:18:53Z /fbe/wfwcomment.php?cid=10376 0 /fbe/rss.php?version=1.0&type=comments&cid=10376 FOUR GREAT NATALIE WOOD FILMS https://www.google.com//fbe/index.php?/archives/7620-FOUR-GREAT-NATALIE-WOOD-FILMS.html <p> </p> <p> </p> <div class="serendipity_imageComment_center" style="width: 600px;"> <div class="serendipity_imageComment_img"><!-- s9ymdb:6516 --><img class="serendipity_image_center" src="/fbe/uploads/natalietub.jpg" width="600" height="339" /></div> <div class="serendipity_imageComment_txt">Natalie cools off even as she heats up the audience in Splendor in the Grass. </div> </div> <p> </p> <p>Kimberly Lindbergs of the Movie Morlocks site presents her &quot;Four Reasons Why I Love Natalie Wood&quot; through analyzing Love With the Proper Stranger, This Property is Condemned, Rebel Without a Cause and Splendor in the Grass. (What? No West Side Story or Bob &amp; Carol &amp; Ted &amp; Alice???) &#160;We concur that Natalie Wood's screen presence just seems to get better with time. <a href="http://moviemorlocks.com/2013/08/15/four-reasons-why-i-love-natalie-wood/">Click here</a> to find out why.&#160;</p> Cinema Retro nospam@example.com (Cinema Retro) Out of the Past, 2019-01-22T13:37:00Z /fbe/wfwcomment.php?cid=7620 0 /fbe/rss.php?version=1.0&type=comments&cid=7620 OUT OF THE PAST: PROMOTING "THE ITALIAN JOB" (1969) https://www.google.com//fbe/index.php?/archives/10365-OUT-OF-THE-PAST-PROMOTING-THE-ITALIAN-JOB-1969.html <p><!-- s9ymdb:10001 --><!-- s9ymdb:10002 --><!-- s9ymdb:10003 --><img class="serendipity_image_center" src="/fbe/uploads/italianalbum.jpg" width="458" height="374" /><br /> </p> <p><!-- s9ymdb:10004 --><img class="serendipity_image_center" src="/fbe/uploads/italiannovel.jpg" width="436" height="355" /> </p> <p><strong>BY LEE PFEIFFER<br /></strong></p> <p>Those of us of a certain age can recall collecting movie pressbooks (called campaign books in the UK). These were sent by movie studios to theaters and served as a guide to the specific film, loaded with promotional ideas and alerting theater owners to merchandise they could tie into when showing the movie. Pressbooks are now a thing of the distant past, a casualty of the more cost-efficient method of providing publicity materials through on-line sites for which the press is given passwords. It may be more practical but there was great joy for collector's thumbing through these marvelous guides page-by-page. Here are some promotional blocks from the American pressbook for the 1969 comedy crime classic &quot;The Italian Job&quot; starring Michael Caine and Noel Coward. They recall a golden era when you could count on a vinyl soundtrack and paperback novel tie-in to accompany the release of a movie. It may surprise our readers to know that the film wasn't a hit in America but over the decades it has built a very loyal following in the UK where you can still buy a reproduction of the quad movie poster in souvenir stores in Piccadilly. As for the Americanized remake starring Mark Wahlberg, well, the less said the better. <br /> </p> Cinema Retro nospam@example.com (Cinema Retro) Out of the Past, 2019-01-21T13:14:00Z /fbe/wfwcomment.php?cid=10365 0 /fbe/rss.php?version=1.0&type=comments&cid=10365 REVIEW: "MANIAC" (1980) BLU-RAY SPECIAL EDITION FROM BLUE UNDERGROUND https://www.google.com//fbe/index.php?/archives/10364-REVIEW-MANIAC-1980-BLU-RAY-SPECIAL-EDITION-FROM-BLUE-UNDERGROUND.html <p><!-- s9ymdb:9998 --><img class="serendipity_image_center" src="/fbe/uploads/2019_01_10-MANIACBlu-rayReview.jpg" width="450" height="584" /> </p> <p class="MsoNormal" style="text-align: justify;"><strong><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;">By Todd Garbarini</span></strong></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;">Following the financial success of John Carpenter¡¯s <em>Halloween</em> (1978) and Sean Cunningham¡¯s <em>Friday the 13<sup>th</sup></em> (1980), movie studios were making slasher films in large quantities. They didn¡¯t necessarily <em>want</em> to, they just knew that there were scores to be made at the box office. Producers and directors alike were trying to come up with the next big franchise to keep pumping out money makers for years to come. The success of Tobe Hooper¡¯s <em>The Texas Chainsaw Massacre</em> (1974) directly inspired <em>The Toolbox Murders</em> (1978). Likewise, <em>Maniac </em>(1980), released in New York City on Friday, January 30, 1981 (the same day as David Cronenberg¡¯s <em>Scanners</em>), was the result of a brainstorming conversation between the film¡¯s eventual director Bill Lustig and his friend Frank Pesce (who can be seen as the restaurant manager in James Toback¡¯s 1978 film <em>Fingers</em> and as fugitive Carmine in Martin Brest¡¯s 1988 comedy <em>Midnight Run</em>. His life story was also the subject of the 1991 comedy <em>29<sup>th</sup> Street</em>, directed by George Gallo who, incidentally, penned <em>Midnight Run</em>). The idea was to make a horror film that could be billed as ¡°<em>Jaws</em> on land.¡± <em>Jaws</em> (1975), of course, changed the cinematic landscape and how movies are distributed and promoted using catchy tag lines, effective advertising campaigns, and rolling out a film in hundreds of movie theaters at once. It also provided the basis for obvious and cheap imitations and rip-offs. <em>Maniac</em> isn¡¯t so obvious to the untrained eye. </span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;">Shot back-to-back in the fall and brutal winter of 1979 with much of the same crew from <em>Friday the 13<sup>th</sup></em>, <em>Maniac</em> stars the under-rated, under-utilized and, unfortunately, late Joe Spinell, an actor of considerable range who, despite his intimidating stance and demeanor, was actually a thoughtful and exceedingly nice personality on the set and behind-the-scenes, always eager to help fellow performers. Here he plays Frank Zito, a middle-aged man who lives alone in a New York City apartment amid toys and mannequins who double as his friends and personal company following a childhood ruined at the hands of an overbearing and physically abusive mother whom he lashes out against when he comes into physical contact with women. Following in the footsteps of the slasher films of the time, <em>Maniac</em>¡¯s theme of an outcast with sexual hang-ups has provided more than enough fodder as a theme for disturbed young men who engage in ruthless killing sprees. Frank converses with the mannequins which are adorned with the real scalps and clothing of women who met their end at his hands, thus giving credence to the notion that serial killers keep trophies of their victims, a point spouted by Clarice Starling in <em>The Silence of the Lambs</em> ten years later. Not all his victims are women, however. One night he follows a couple and shoots the man (Tom Savini!) point blank with a double-barreled shotgun before adding his girlfriend to his macabre collection. <span> </span>On another night he spots two nurses at a hospital (one of them is played by former porn actress Sharon Mitchell) and follows one of them into a subway bathroom in the film¡¯s creepiest and most unsettling sequence. </span></p> <p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;">A chance encounter with a photographer named Anna (Caroline Munro, who actually got her start as an actress after someone took her photograph and entered the winning image into a contest) leads him to her apartment. Anna doesn¡¯t appear to be the slightest bit concerned that he obtained her name and address from her camera bag and invites him in! They soon begin a platonic friendship, but one of Anna¡¯s model friends, Rita, catches Frank¡¯s eye at one of her photo shoots and soon meets a terrible end. Anna is oblivious to this fact until she accompanies Frank to his mother¡¯s grave with flowers and all hell breaks loose and heads towards an ending that is inspired until the final shot which is often relegated to the domain of slasher films, most notably Michele Soavi¡¯s 1987 stylish <em>giallo</em> classic <em>Stagefright</em>. </span></p> <p class="MsoNormal" style="text-align: justify;"><em><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;">Maniac</span></em><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;, sans-serif;"> developed a notorious reputation for its then-shocking violence, angering feminists from coast to coast. While it¡¯s still fairly disturbing even by today¡¯s standards, there is an argument to be made that AMC¡¯s <em>The Walking Dead</em> is infinitely more savage. Shot on 16mm, the film holds up very well and has now been made available on Blu-ray in a three-disc set that includes a transfer mastered from a 4K restoration of the original camera negative.</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> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> 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mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <br /><a href="/fbe/index.php?/archives/10364-REVIEW-MANIAC-1980-BLU-RAY-SPECIAL-EDITION-FROM-BLUE-UNDERGROUND.html#extended">Continue reading "REVIEW: &quot;MANIAC&quot; (1980) BLU-RAY SPECIAL EDITION FROM BLUE UNDERGROUND "</a> Cinema Retro nospam@example.com (Cinema Retro) Todd Garbarini, 2019-01-20T13:07:00Z /fbe/wfwcomment.php?cid=10364 0 /fbe/rss.php?version=1.0&type=comments&cid=10364 NICK REDMAN, FILM HISTORIAN AND DOCUMENTARY MAKER, HAS PASSED AWAY https://www.google.com//fbe/index.php?/archives/10373-NICK-REDMAN,-FILM-HISTORIAN-AND-DOCUMENTARY-MAKER,-HAS-PASSED-AWAY.html <p><!-- s9ymdb:10016 --><img class="serendipity_image_center" src="/fbe/uploads/nickredman1.jpg" width="450" height="450" /> </p> <p>Cinema Retro mourns the passing of our friend and colleague Nick Redman, film historian and Oscar-nominated documentary maker as well as recognized scholar of the works of Sam Peckinpah. Nick passed away after a long illness we all had hoped he would prevail over. The film industry has lost a major champion of classic cinema. Nick, his wife Julie Kirgo, a fellow film historian, and Brian Jamieson were the founders of <a href="https://www.twilighttimemovies.com/">Twilight Time</a>, the boutique video label that puts out first rate limited editions of retro movie classics. Nick and Paul Seydor were nominated for documentary Oscars for their 1996 film &quot;The Wild Bunch: An Album in Montage&quot;.&#160;</p> <p> The world is a sadder place today.</p> Cinema Retro nospam@example.com (Cinema Retro) Obituaries, 2019-01-20T00:53:41Z /fbe/wfwcomment.php?cid=10373 0 /fbe/rss.php?version=1.0&type=comments&cid=10373