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TheCapsuleCritic
I started doing movie reviews in 1979 when I was with a public radio station in Charleston, SC. After moving to Asheville, NC in 1983, I wound up as a classical music announcer with the local NPR affiliate from which I retired in 2019 after 36 years. I also recently retired from the Southeastern Film Critics Association (SEFCA).
I taught film classes for the OLLI program at UNC Asheville from 2008-2019 and at USC Beaufort from 2019-2020. I also lectured on composers for the Asheville Symphony. I first began contributing movie reviews to Amazon in 2001. The vast majority of my 650+ reviews concern either silent movies or B movie horror/sci-fi films. To read them visit my blog-thecapsulecritic.com-
Reviews
The Iceman Cometh (1973)
4 Hour Adaptation Of O'Neill Play Could Use Subtitles...
...but that's highly unlikely at this point in time. Chances are this 2003 release from Kino won't get an upgrade unless they decide to put it on Blu-Ray along with the other American Film Theatre titles which, like the original series, have no commercial potential. That's really too bad for just like Shakespeare or any serious drama, subtitles are needed to help people not only get the dialogue but the subtext of that dialogue. This is especially true of O'Neill who uses lots of words to express what his characters are feeling and thinking. THE ICEMAN COMETH is loaded with dialogue that not only works as a character portrait but as a vehicle for the ideas these characters (and O'Neill) want us to think about. No other O'Neill play, not even LONG DAY'S JOURNEY INTO NIGHT, has such heavy discussions.
This 1973 film version has become legendary for being uncut, for its performances, and for being impossible to see since the original release. Now that it's been preserved, it's something to be treasured. Much has been written about the performances of Frederic March, Robert Ryan, and especially Lee Marvin (who began his career on the stage before becoming a tough guy in the movies) but it's the supporting players who make this version really special. In addition to the young Jeff Bridges there's Moses Gunn whose "I'm a gamblin' man" speech still has the power to take your breath away. Bradford Dillman has never been better as the pathetic son of rich parents who has become a helpless alcoholic. There's Martyn Green, 34 years after his Koko in the 1939 MIKADO and last but not least Tom Pedi, the original bartender from 1946.
Director John Frankenheimer, who began his career directing plays for television in the 1950s, still knows how to film a stage play retaining it's theatricality while making it cinematic. The crisp editing combined with the inexorable close-ups allow us to see the characters' reactions as well as provide a look into the characters' souls. What seems slow and deliberate at first becomes a powerful viewing experience by the end. It's even better on subsequent viewings and it should be seen more than once in order to grasp the subtleties and complexities of the characterizations and to appreciate O'Neill's poetic dialogue. Thanks to Kino (now Kino Lorber) for issuing this classic but now it's time to upgrade to subtitles so that we can get so much more out of what O'Neill has bequeathed to us.
POSTSCRIPT: This review was originally written in 2013, 10 years after the DVD was first released. In 2019, Kino issued it on Blu-Ray which contains the much appreciated subtitles...For more reviews visit The Capsule Critic.
Krakatoa: East of Java (1968)
Krakatoa Is Actually WEST Of Java.
This cinematic oddity from 1969 is actually interesting in many ways. It was one of the last movies to be filmed in Cinerama (a widescreen process similar to today's IMAX) and one of the first to use stereo Surroundsound. It's also a precursor to the many Irwin Allen disaster flicks of the 1970s such as THE POSEIDON ADVENTURE and WHEN TIME RAN OUT not to mention such volcano epics such as DANTE'S PEAK and VOLCANO. It is also has a script that a B movie producer would have turned his nose up at but when you get performers like Maximillian Schell, Brian Keith, Sal Mineo, and SOUTH PACIFIC's Rosanno Brazzi to appear in it along with singing Asian children, female pearl divers, and a Jules Verne style scenario...how can you resist?
There appears to be something for everyone in the overall mix within the limits of a G rating. KRAKATOA is Hollywood hokum meets new technology for the special effects were awesome for the time especially if you got to see it on a giant screen as I first did with pre-Dolby Surroundsound. If it could be refitted for today's IMAX theaters it would still be impressive. As it is on this restored MGM DVD it's still worth seeing although there will be black bars on the top and bottom as it has not been anamorphically enhanced. It will bring back memories for many while still being capable of enthralling young children if they see it before they get too exposed to newer stuff.
The time is August 1883, the setting is Krakatoa, an island in the Dutch East Indies (which was actually WEST of Java). A cargo ship named the BATAVIA QUEEN is hoping to recover a cargo of pearls from a recent shipwreck. On board are a variety of characters including the stalwart ship's captain (Schell), a laudanum addicted diver (Keith) and his female entertainer companion, a widow attracted to the captain, an Italian father (Brazzi) and his rebellious son (Mineo) along with a devious convict with plans of his own. The Jules Verne angle comes in with the use of an experimental diving bell that will allow them to go to the ocean floor to recover the pearls (remember this is 1883). Naturally things do not go smoothly as the convicts take over the ship and the celebrated volcano is getting ready to blow.
The original running time was to have been 147 minutes but it was cut to 131 minutes for the film's release. This may explain some of the choppy quality of the narrative although nothing could have saved the script which makes Cecil B. DeMille sound like Shakespeare. Still when it's time for the effects, they do not disappoint especially on today's huge flatscreens with impressive sound reproductions. Speaking of DeMille, it's the sort of movie he would have made had he still be around and that should tell you everything you need to know. Good, old fashioned fun from a different era of moviemaking...For more reviews visit The Capsule Critic.
Java Heat (2013)
Exotic Indonesian B Movie Kept Me Engaged.
I first saw JAVA HEAT at a local action movie festival back in May of 2013. I had never heard of it and went to see it to help support the festival and raise money for a local charity. I wasn't expecting much as most of the movies in this festival had been no great shakes. All action and nothing else. This suited the fans just fine but it left me with a sprained wrist from checking my watch so often. However I came out of JAVA HEAT pleasantly surprised. Not only was I engaged throughout but I got to see lots of local Indonesian culture and more than capable performances from Indonesian actors Ario Bayu and Atiquah Hasiholan.
Mickey Rourke as the international villain (in addition to English he speaks French, Arabic & Javanese) is a delight to watch and to root against. He's clearly enjoying himself as much as Javier Bardem did in SKYFALL. While he-man Kellan Lutz is the weak link in the chain, he is more than adequate to the task at hand (resembling a cross between Christopher Reeve and a young Arnold Schwarzenegger) and he looks great in the buff. There's also a brief moment that makes fun of him having been in TWILIGHT. The film proved so popular that the theater brought it back for a one week run shortly after the festival.
JAVA HEAT is a throwback to the exotic B movie fare of yore like MACAO or SIROCCO only retooled for the 21st century with a little nudity, occasional bursts of graphic violence, and a lot of action set pieces. It has no aspirations of being anything other than what it is, an entertaining way to fill 100 minutes of your time. The use of split screen ala Brian De Palma (think CARRIE) is both retro and put to good use. The movie is technically accomplished in a no-nonsense way with crisp editing, solid photography and effective use of traditional and contemporary music.
The story is familiar but effective. A young American (Lutz) who is not what he claims to be joins forces with a local police lieutenant (Bayu) to try and solve the assassination of a female member of Indonesian royalty (Hasiholan). Things quickly get complicated with payoffs, cover-ups, and a plan to steal the royal treasury thrown into the mix and all masterminded by uber-villain Rourke. The majority of movies are made with nothing more than entertainment in mind and if you enjoy an action flick with an exotic locale and a budget well under $100 million, then JAVA HEAT will more than fill the bill.
The Blackbird (1926)
One Of Browning & Chaney's Lesser Efforts But Still Worthwhile.
I am grateful for this Warner Archive release of the Turner Classic Movies version of this rare Tod Browning film. Up until now I only had it on a VHS tape which was dubbed from a PAL released in the U. K. The picture quality was OK but the transfer was a little too fast (typical of PAL transfers) and the music score was inappropriate. Now this film and several other of Lon Chaney's MGM films are seeing the light of day giving us the opportunity to really see "The Man of a Thousand Faces" at work. As another reviewer pointed out, there is little makeup involved but Chaney's body language is extraordinary especially as the crippled missionary proprietor, The Bishop.
The story is a typical offbeat Chaney love triangle where his Limehouse criminal Dan "Blackbird" Tate is in love with French puppet performer Renee' Adoree who is in love with a sophisticated jewel thief played by Mary Pickford's first husband Owen Moore in the performance of his career. The Blackbird's alter ego is the fake cripple The Bishop which gives Chaney the opportunity to distort his body (see DVD cover). Strangely enough the criminal Chaney looks just like Albert Finney while Moore's West End Bertie could easily have been the inspiration for The Penguin in the Batman comics.
As is usually the case with Tod Browning, this film is a deft combination of striking visuals coupled with a far-fetched but strangely believable plot that is anchored in the grotesque. The black box puppet show of Rene Adoree is a classic example of this. It startles when it's first seen and once seen it's hard to forget. As is also typical of Browning, the ending is rather sudden. Nevertheless THE BLACKBIRD leaves an impression thanks to a couple of powerhouse scenes. The confrontation between The Blackbird and West End Bertie in Bertie's apartment is a classic. This release is also aided memorably by TCM's commissioned background score. While it isn't a top drawer offering, it's never less than compelling...For more reviews visit The Capsule Critic.
The Show (1927)
Another Tod Browning Sideshow Melodrama But Without Lon Chaney.
There was a time not that long ago that when Tod Browning was remembered, it was for either directing the Bela Lugosi DRACULA (1931) - (to which all the credit was given to Lugosi) or as the man responsible for FREAKS (1932) a horror film that featured real deformed carnival performers and was a notorious failure (it virtually ended his career even though he lived another 30 years) until it was championed by photographer Diane Arbus in the early 1960s. Then, as more of his silent films were uncovered, he was remembered as the director of several bizarre Lon Chaney melodramas for which Chaney received the credit. While I am in no way downgrading Lugosi and Chaney's contributions, THE SHOW (1927) proves that there was a lot more to Browning than he is usually given credit for.
Before getting into movies as an occasional performer and assistant director to D. W. Griffith, Tod Browning had worked in several circuses as a carnival barker and side show attraction. He loved this tawdry low budget world and frequently recalled it in several of his movies. While THE UNKNOWN (also 1927) with Lon Chaney and a young Joan Crawford is much better known, THE SHOW proves that it was Browning who transformed the performers rather than the other way around. John Gilbert was MGM's biggest star at the time. He specialized in romantic leads and yet here is transformed into the highly unglamorous yet still seductive Cock Robin (how's that for a name!) who does a number of very unromantic things. He is again paired with French actress Rene Adoree (his co-star in the hugely successful THE BIG PARADE) and a younger Lionel Barrymore who strangely resembles Jared Harris here. None of the principal characters are really likeable but they engage you.
THE SHOW showcases Browning at his stylistic peak. Shadows prevail, the characters' body language is extraordinary, and the faces (especially Barrymore's) are devilish and malevolent. The camerawork is remarkable and the film is edited for maximum impact. Fortunately, after being lost for many years, the TCM print is in very good shape and the new background score is suitably appropriate. The simple story is straightforward enough. Street criminal Barrymore loves carnival performer Adoree who loves fellow performer Gilbert who loves only money. Of special interest is seeing how the carnival illusions are carried out as the story of Salome is re-enacted (take a close look at the cover) on a side show stage. It isn't his best, but THE SHOW has proven to be my favorite Tod Browning silent movie...For more reviews visit The Capsule Critic.
The Magician (1926)
A Must See For Classic Horror Fans.
Like another reviewer, I first became familiar with Rex Ingram's THE MAGICIAN through Carlos Clarens' book AN ILLUSTRATED HISTORY OF THE HORROR FILM back in the late 1960s. A few years later it was one of the films/stories selected by Peter Haining in his fascinating 1971 collection THE GHOULS which featured the source material that some classic horror films were based on. Both publications indicated that THE MAGICIAN was a lost film or at best incomplete. Unlike a number of other silent films that I successfully tracked down after the VHS/DVD explosion of the late 1980s and early 90s, I totally forgot about THE MAGICIAN assuming that it was a lost cause. Then in 2010 this Warner Archive Edition appeared out of nowhere and I finally got to see it after some 40 odd years in a good print and with a proper soundtrack . Silent film lovers owe a huge debt to Turner Classic Movies. Not only do they give a large audience a chance to experience silent movies through their SILENT SUNDAY NIGHTS program but they have made these films available to purchase on DVD-R.
It's fascinating to see how many horror films borrowed their backgrounds from this film most notably, as has been mentioned before, James Whale's original FRANKENSTEIN. This gives the viewer, especially in the film's final scenes, a strong sense of deja vu since it looks so familiar but then THE MAGICIAN got there first. Director Rex Ingram was a major visual stylist of the silent era. He moved to France to get away from Hollywood control (THE MAGICIAN was shot in France and on location) and especially Louis B. Mayer whom he despised (notice that Mayer's name is pointedly missing from the title credits). When sound arrived, Ingram's career waned. He didin't care much for sound and Mayer reportedly worked behind the scenes to keep his movies from being distributed. I find it interesting that Ingram (an Irishman) shooting in France for an American company not known for its horror films should come up with such a German looking picture as THE MAGICIAN. I suspect that star Paul Wegener, famous for playing THE GOLEM and a director as well, had a hand in the proceedings.
THE MAGICIAN was inspired by W. Somerset Maugham's 1908 novel which was inspired by the English occult practitioner, Aleister Crowley. The film is set in contemporary 1926. When sculptor Alice Terry (director Ingram's wife and a popular star of the silent era) is injured by a falling statue, she is saved by the "miracle" surgery of an American doctor. Attending the surgery is magician Oliver Haddo (Wegener) who is obsessed with a medieval formula for creating life. It requires the "heart blood of a maiden" and guess who he has in mind. After hypnotizing Terry and transforming her statue of a faun into a vision of Hell (one of the film's great set-pieces), he whisks her away to his tower/laboratory to conduct his experiments with the doctor in hot pursuit. If this sounds like high melodrama, it is but intentionally so. A title card even refers to Wegener as a character out of a melodrama. It's all style over substance and a must for fans of classic, old school horror. WARNING: Beware of public domain prints like the one currently on You Tube. It has an unrelated soundtrack and no color tints...For more reviews visit The Capsule Critic.
The Scarlet Blade (1963)
The Arrival Of Oliver Reed.
Oliver Reed once said that "Hammer gave me my start, (Michael) Winner gave me my craft, and (Ken) Russell gave me my art." Well in 1963's THE SCARLET / CRIMSON BLADE you can see the arrival of the Oliver Reed we all know 5 years before his international success in OLIVER!. Here he crystallizes his screen trademarks. The quiet voice that can suddenly erupt, the smoldering look of rage and/or pain, and his sheer physical presence that can dominate the screen. This was Reed's penultimate film with Hammer (out of 6) and he owns the movie.
Although the nominal stars are Lionel Jeffries (usually known for comic roles in movies like CHITTY CHITTY BANG BANG but quite good here) ,Jack Hedley and June Thornburn, Reed's portrayal of the adventurer Captain Tom Sylvester is clearly the focus of the film. Writer-director John Gilling, who made a number of films for Hammer including the celebrated "Cornish Double Feature" THE PLAGUE OF THE ZOMBIES and THE REPTILE, had worked with Reed before on THE PIRATES OF BLOOD RIVER showing that he could handle the actor as well as make a well mounted period action-adventure movie.
The story is set in 1648. Colonel Judd (Jeffries), once a royalist but now a follower of Cromwell, is trying to capture King Charles I to further his own career. Sylvester (Reed) is his second in command and has eyes for Judd's daughter Claire (Thornburn) who is secretly helping the local Royalists led by Edward Beverly (Hedley) aka The Scarlet Blade (the movie's original title). Claire exploits Sylvester's feelings for her while really loving Beverly. When Sylvester realizes this he is none too pleased but, rather than flying into a typical rage, Reed internalizes his anger and makes us feel his character's pain and sadness at what has happened.
The rest of the film is a solid period adventure yarn with swordfights and ambushes and an authentic look to the film despite the low budget. In fact parts of this film reminded me of Michael Reeves' WITCHFINDER GENERAL with Vincent Price made 5 years later only less brutal. This release of the American version (hence the title change) is its first appearance ever and the transfer is first rate. Not a great film by any means but a surprisingly engaging one thanks to Oliver Reed...For more reviews visit The Capsule Critic.
The Old Dark House (1963)
Not Good, But Not As Bad As I Remember.
Whenever a classic film gets remade, there are always those who say that's it not as good as the original and that is certainly the case here. However, taking that into consideration, this reworking of James Whale's 1932 version is better than I remember it being. I had seen it years ago (in black & white) and do recall rather enjoying it but then I was in grade school at the time. I then later saw a VHS version in color and didn't much care for it that time around. Of course I had just seen the James Whale version (which had been kept out of circulation because of this film) so that's an understandable reaction. Having just watched it again, I found, much to my surprise, that I liked it more than I expected to.
Part of it is that the transfer is absolutely gorgeous. Another factor is that, aside from director William Castle, the technical team is all Hammer (the film was shot at Bray) headed up by set designer Bernard Robinson and cameraman Jack Asher. Finally there is the wonderful British cast that features Robert Morley, Peter Bull, and Mervyn Johns. I remember Tom Poston from his TV quiz show days and another William Castle comedy ZOTZ! Which was made at the same time. Years later he would play a prominent role on NEWHART. As the only American in the film, he holds his own against the ensemble British cast. The first 2/3 of the film is rather amusing (there is no hint of suspense or menace whatever) but the final third descends into 3 STOOGES slapstick.
Although the source material (J. B. Priestley's BENIGHTED) is the same, there is very little resemblance between the 1932 film and this one. The characters have the same names but what they do is a totally different matter. The material has been "Americanized" to try and sell it here in the U. S (it ends with THE STARS & STRIPES FOREVER on the soundtrack and the hoisting of the American flag). The cast does their best but Robert Dillon's screenplay is the chief culprit here. There are also some really cheap effects such as the hyena "attack" or the bump on Danny Green's head at the end. In spite of all this THE OLD DARK HOUSE manages to entertain in spite of itself. Just don't compare it to the 1932 original. The opening titles are by Charles Addams and "Thing" makes a quick appearance...For more reviews visit The Capsule Critic.
The Ballad of Tam Lin (1970)
A Poetic Romance Not A Horror Film.
Roddy McDowall's only directorial effort, THE BALLAD OF TAM LIN, is one of the most misunderstood films of its time. Based on a ballad by Robert Burns, the story was updated to then contemporary 1970. The original story tells of a medieval knight who is seduced and held captive by a witch before being saved from her power by the love of a maiden. McDowall and screenwriter William Speier transform the witch into a fabulously wealthy older woman (Ava Gardner still looking great at 48) and the knight into a contemporary young man (Ian McShane in an early role) distracted from life by easy pleasures.
He's happy to be the head boy toy among her minions of fashionable young people (which include Joanna Lumley, Madeline Smith, and future director Bruce Robinson) until he meets the local Vicar's daughter (Stephanie Beacham at her loveliest) and then he's in a quandry. Ava doesn't take kindly to competition and plots his demise, just as she has done with several boy toys before him. However, like the others, he'll be given a slight chance to survive although so far, no one has.
The misunderstanding arises from the fact that AIP (American International Pictures) promoted it as a horror film rather than as a poetic romance even reediting the film and retitiling it THE DEVIL'S WIDOW to try and achieve this effect. As a result, no one was happy, and the film sank without a trace although I managed to catch it on a double bill with the Timothy Dalton version of WUTHERING HEIGHTS. I didn't understand it at the time but I was able to pick up on the romance angle and it was close to being the loveliest film I had ever seen.
Seeing it now, uncut, in McDowall's original version is a true delight. Yes the fashions have dated along with some of the dialogue but the music by The Pentangle and Stanley Myers is still evocative and the cinematography reflects McDowall's expert knowledge of photography. Ava gets a great final leading role and Scotland has never looked lovelier. The drugged out finale has lost some of its punch but as a bittersweet statement on growing old and the power of young love, TAM LIN still has something to say. This Olive Films transfer is absolutely gorgeous...For more reviews visit The Capsule Critic.
Only Lovers Left Alive (2013)
Complex, Layered, & Literary.
What do William Lawes, Smokey Robinson, Christopher Marlowe, and Dr Strangelove have in common? They are only a few of the many individuals alluded to in what is one of the most unique movies ever made. If you are familiar with the movies of Jim Jarmusch such as DEAD MAN, NIGHT ON EARTH, or MYSTERY TRAIN then you'll have some idea of what his take on a vampire picture might be but even if you do, you cannot imagine how rich and rewarding ONLY LOVERS LEFT ALIVE can be. Of course the film is not for everyone especially those expecting a traditional vampire flick. The literary and artistic references as well as the languid pace and the total lack of action will leave many viewers (and reviewers) cold and bored to tears. This is not your father's vampire movie but a meditation on life, eternity, the undying beauty and power of art, and on man's many failings and the consequences thereof.
Imagine a vampire movie where the principal vampires are centuries old and are named Adam and Eve. From the posters it resembles THE HUNGER with Catherine Deneuve and David Bowie but it isn't. One of the characters is playwright Christopher Marlowe, also a vampire, who is 450 years old and spending his last days in Tangier. Adam & later Eve hang out in Detroit amidst the ruins of the once fine city and consume "the good stuff" - untainted blood from special containers - while coexisting with humans whom they refer to as "zombies". They possess a weltschmerz reminiscent of Klaus Kinski in NOSFERATU THE VAMPYRE and yet they prevail. Imagine all the things a pair of lovers would have seen come and go and come again since the world began. That's only part of ONLY LOVERS LEFT ALIVE. High minded and pretentious? To some it will seem so but others will find it deeply satisfying.
There's also transcendent performances from Tom Hiddleston & Tilda Swinton and a wonderful supporting role for John Hurt as Marlowe. The cinematography is hypnotic, the music appropriate, the writing sublime and the direction knowing and sensitive. There are several remarkable set pieces including the initial visit with Marlowe, evening rides in a white Jaguar through the ravaged areas of Detroit, and the havoc wreaked by Eve's little sister (Mia Wasikowska) when she comes to visit. This is such a complex and layered movie that it will take several viewings before it yields all its secrets. Too bad some of the extended and deleted scenes on the special features section weren't left in. If this sounds like something that you'd like to experience then go for it. Others who want a traditional or fashionable vampire picture need to look elsewhere. One of my Top 10 favorite movies of all time...For more reviews visit The Capsule Critic.
Merry-Go-Round (1923)
Started By Stroheim But Finished By Rupert Julian.
Until now MERRY-GO-ROUND has been one of those silent films more talked about than seen. This was the movie that producer Irving Thalberg fired Erich von Stroheim from halfway through the shooting. Director Rupert Julian (PHANTOM OF THE OPERA) replaced him and got sole credit. Thalberg would leave Universal after this and go to MGM where he would later cut von Stroheim's most famous film GREED to a little over 2 hours thereby eliminating two-thirds of the movie. Viewing this film 100 years after the fact, MERRY-GO-ROUND has much to recommend it.
Erich von Stroheim's hand is still very much in evidence from the opulent settings of the Austrian aristocracy to the use of two members of his stock company, Dale Fuller and Cesare Gravina. The real revelation here is Mary Philbin best known for PHANTOM OF THE OPERA. Here she demonstrates greater acting ability then in any other of her surviving films. She does tend to go a little over the top near the end of the film which is no doubt the fault of director Julian who according to Lon Chaney encouraged his performers to overact in PHANTOM. Norman Kerry, a dependable leading man from the silent era, gives his usual fine performance but the acting honors go to veteran villian George Siegmann (BIRTH OF A NATION) and especially George Hackathorne as the hunchback Bartholemew.
The story of an Austrian nobleman who falls in love with a woman outside his social class would be remade by von Stroheim in 1928 as THE WEDDING MARCH. This DVD transfer comes from two surviving 16mm prints which feature the original color tints and the elaborately illustrated title cards. The quality of the transfer considering the source is excellent. I've never seen 16mm look this good before. The new musical accompaniment is taken from the original 1923 cue sheets. If you're a fan of Erich von Stroheim or silent films in general then you'll want to take a ride on this MERRY-GO-ROUND...For more reviews visit The Capsule Critic.
The Phantom of the Opera (1925)
Current Version Of 1925 PHANTOM Is Not The Original One.
The PHANTOM OF THE OPERA with Lon Chaney that most everyone knows is not the original version of the film. It is a 1929 reissue with several changes made to accommodate the addition of sound. Ironic that one of the most famous silent films of all time should be known from a sound version that lost its voice. New footage was shot, characters were changed and most important of all whole scenes were rearranged or eliminated altogether. This makes the storyline much harder to follow and interrupts the flow of the film when compared with the original which sticks much closer to Gaston Leroux's novella except for the rousing chase scene added at the end by the studio. Now thanks to Milestone with this handsome 2 DVD set you can have both versions and make the comparison for yourself. As the 1929 film is discussed in much greater detail in other reviews, I shall focus on the original 1925 version.
The biggest problem with it is that it hasn't been restored. The film exists only in a 16mm reduction made for the home market back in the 1920's. While the quality will never be that of the 1929 version which exists in 35mm, it is possible as in the case of MERRY-GO-ROUND (which was also directed by Rupert Julian) to significantly improve the picture quality. I shall look forward to that day as I much prefer the 1925 version not only for a clearer storyline and better motivated characters (Raoul and Christine have more depth and Inspector Ledoux of the Secret Police actually makes sense) but for its more expressive title cards and overall pace. While longer than the 1929 reissue it seems shorter due to the way it unfolds drawing the viewer in more. It is a true silent film rather than one reedited for sound.
Until the restored version of the original appears this one will have to do. Here's a tip to maximize your viewing experience. Decrease the brightness mode on your TV along with the contrast as this reduces the overall stark quality by softening the image. In closing special thanks should be given to Jon C. Mirsalis for creating a fine score to accompany the 1925 version. While not as sumptuous as the Carl Davis score for the other, it does set the mood perfectly...For more reviews visit The Capsule Critic.
The Yankee Clipper (1927)
THE YANKEE CLIPPER (1927) Sails Again.
I am so happy for this release as it finally allowed me to see Rupert Julian's THE YANKEE CLIPPER in something other than the truncated 1998 Critic's Choice VHS version which was taken from the Killiam Collection. That version ran less than an hour and had narration from Paul Killiam himself. It was probably taken from his old SILENTS PLEASE TV series (which would account for the narration) and gives you a feel for the film, but now Flicker Alley has given us an 81 minute version that not only plays well but gives us the opportunity to appreciate the glorious at sea cinematography as well as the more complete performances from the actors.
Long before he became associated with the role of Hopalong Cassidy, William Boyd was a capable leading man for Cecil B. De Mille during the late 1920s. In CLIPPER he is joined by his wife Elinor Fair, child actor Junior Coghlan, and veteran silent villain Walter Long. The real stars here are the clipper ships which were refitted for the movie and captured on film for all time. The movie is also one of only 3 films from director Rupert Julian to survive. Julian's main claim to fame is the 1925 Lon Chaney PHANTOM OF THE OPERA. He was also given solo credit for the 1923 MERRY-GO-ROUND where he took over from a fired Erich von Stroheim.
The title of this DVD, UNDER FULL SAIL, refers to the 3 documentaries included as well as THE YANKEE CLIPPER. They are SHIP AHOY, THE SQUARE RIGGER, and AROUND THE HORN IN A SQUARE RIGGER. Bonus features in addition to the docs are a 10 minute excerpt from the 1922 feature DOWN TO THE SEA IN SHIPS (which is fully available elsewhere) and an audio interview with 90 year old Frank (Junior) Coghlan who was 10 when he made CLIPPER. Special mention should also be made of the fine organ scores provided by Dennis James who has stepped in to fill the shoes of the late Gaylord Carter. Yet another top flight release from Flicker Alley. Thanks to all concerned who helped bring this project to fruition.
Der heilige Berg (1926)
Template For The German Mountain Movie Genre.
If you have never experienced the 1920's German genre of the mountain film, there is no better introduction than this. In fact it may be the only one you need unless you truly love the genre as most of the films are carbon copies of each other. What gives this film added interest is the debut of Leni Riefenstahl as a performer (and occasional director).
Riefenstahl began her career as a dancer in the Isadora Duncan mold until a knee injury ended her career. Nevertheless she does a fair amount of dancing in this film especially in the beginning. While it may look somewhat silly today and Riefenstahl is far from the prototype of today's dancers, it is an excellent example of what Duncan's free form dancing was like and some of it is remarkably effective. Director Arnold Fanck wrote the screenplay in three days after being given a photo of Riefenstahl by co-star Louis Trenker and so began her brilliant and highly controversial career.
The story (standard for this kind of film) is the classic love triangle with a lot of German mysticism about Man and Nature thrown in to give it "depth". The real star of the film is the stunning cinematography by Hans Schneeberger (how appropriate) and Sepp Allgeier. There are incredible shots of breathtaking beauty of mountain crags and vistas taken in what seem like impossible positions for a cameraman. The actors were really there and labored under the harsh conditions as recalled by Riefenstahl in a clip from a documentary which is also included (although professional climbers were used in the more harrowing sequences).
I found myself engrossed by the obvious sincerity of the film despite the shallowness of the storyline. The print is in fairly good shape with the proper tinting restored which enhances the mountain scenes. The new musical score by Aljoscha Zimmerman strikes just the right balance between Classical and New Age depending on what the story requires. While certainly not a film that will appeal to everyone, it is worth seeing for the astonishing photography and for the young Riefenstahl who is radiant in her film debut..For more reviews visit The Capsule Critic.
The Undying Monster (1942)
1942 Mystery Thriller With Supernatural Overtones.
Following the surprising success of Universal's 1941 THE WOLF MAN with Lon Chaney Jr, a number of other Hollywood studios jumped on the supernatural bandwagon and a number of interesting, well made B movies were the result. The Val Lewton series at RKO starting with CAT PEOPLE remain the best known and the most acclaimed but there were a number of lesser known titles that deserve your attention. One of them is 20th Century-Fox's THE UNDYING MONSTER, made in 1942, which is worthwhile in a number of ways.
The most noteworthy aspect is the photography by award winning cinematographer Lucien Ballard who started with Josef von Sternberg on the Marlene Dietrich vehicle MOROCCO (1930) and would later shoot THE WILD BUNCH for Sam Peckinpah in 1969. The opening shot alone tells you that the look of the film is way above the average B movie. The director John Brahm would later do THE LODGER and HANGOVER SQUARE for Fox and would wind up directing episodes for Boris Karloff's THRILLER in the early 1960s.
The cast is a mixture of old pros who add a touch of class to the proceedings. They include James Ellison (I WALKED WITH A ZOMBIE), Bramwell Fletcher (THE MUMMY), and Heather Angel (THE MYSTERY OF EDWIN DROOD). The plot, as pointed out in other reviews, plays like a cross between THE WOLF MAN and THE HOUND OF THE BASKERVILLES (which was shot at Fox 3 years earlier). There is atmosphere to burn and the film stands up to repeated viewings even once you know the ending which isn't all that surprising.
Twentieth Century-Fox first released this film on 2007 as part of a 3 DVD set called FOX HORROR CLASSICS - VOL. 1 that also contains the earlier mentioned John Brahm features THE LODGER and HANGOVER SQUARE. Used copies of this DVD set go for almost twice the price of this Blu-Ray making the set a better buy value wise especially if you want all 3 films. However the Blu-Ray has a crisper HD picture and slightly better sound. It also comes with all the same extras plus two commentary tracks not previously available...For more reviews visit The Capsule Critic.
Cry of the Werewolf (1944)
Solid 1940s Low Budget B Horror Movie.
When it comes to horror movies of the 1940s, Universal, RKO's Val Lewton series and the Grade Z Monogram/PRC films usually get all the attention. Lost in the shuffle were a trio of B movies made by Columbia in the middle of the decade. One of them, THE RETURN OF THE VAMPIRE, is easily the best known thanks to the presence of Bela Lugosi but the other two are almost completely forgotten. One of them is CRY OF THE WEREWOLF and it's easy to see why it has been forgotten. Not because it's bad but because it's different from expectations.
We are so conditioned to seeing onscreen werewolf transformations that we feel cheated when we don't get one. The transformations in this film are done through shadows on a wall and not all that well but that is not what this movie is about. What makes CRY OF THE WEREWOLF worthwhile is the story of a female werewolf and the performances of an above average cast led by Nina Foch who was the victim in the Lugosi film. Here's she's a Gypsy princess with the curse of lycanthropy who is both evil and pitiable.
Foch is joined by Stephen Crane (one of Lana Turner's husbands and no relation to the author) and Osa Massen as the romantic leads. They are adequate but what really makes the film worthwhile are the performances of character performers Blanche Yurka as an elderly gypsy and Barton MacLane as the investigating detective. Even better are the uncredited performances of Fritz Lieber as the professor and John Abbott as the tour guide. Director Henry Levin would later do JOURNEY TO THE CENTER OF THE EARTH (1959) with Pat Boone and James Mason.
For years CRY OF THE WEREWOLF has only been available on VHS with the occasional showing on TV. Late in 2018 it finally appeared on DVD. However this was not an official release by Sony Pictures but rather one on independent label Rogue Pictures. This is a public domain copy from a 16mm print which has some contrast issues and no subtitles. It will have to do until Sony decides to give us an official release like they did with THE RETURN OF THE VAMPIRE and SOUL OF A MONSTER...For more reviews visit The Capsule Critic.
Daughter of Dr. Jekyll (1957)
DODJ Is Actually The Arthur Shields Show.
Arthur Shields (1896-1970) was the younger brother of Oscar winning character actor Barry Fitzgerald (GOING MY WAY, AND THEN THERE WERE NONE). He rarely got the big picture opportunities or the on-screen time that his brother did even though he wound up appearing in many more movies. One time where he did get to carry a film was in this 1957 thriller from low budget specialist Edgar G. Ulmer which was produced and released by low budget movie specialists Allied Artists.
THE DAUGHTER OF DR JEKYLL was a perennial on afternoon and late night TV throughout the 1960s. It officially starred Gloria Talbott as the title character and 1950s sci-fi stalwart John Agar as her fiance' who have come to Scotland to celebrate her 21st birthday. It is there that her guardian (Shields) informs her that she is the "daughter of Dr Jekyll". This naturally causes her great consternation and sure enough there soon are murders in the village and the angry villagers blame her because of her legacy.
Director Ulmer (THE BLACK CAT, BLUEBEARD) by this time was an old hand at making the most out of the least and he does his very best to pull it off here. He almost succeeds but the script by producer Jack Pollexfen (THE INDESTRUCTIBLE MAN) ultimately does him in with a vampire and a werewolf along with torch bearing villagers added to the Jekyll/Hyde story for good measure. No matter how hard you try, the film just doesn't make any sense but that doesn't keep it from being quite entertaining.
Star Gloria Talbott recalled that the movie was shot in 5-7 days primarily in an old house in Hollywood. She said that after seeing it she found it to have a lot more substance that she would have thought. Co-star Agar said that he only did it for the money and found it "completely unbelievable". Which brings us back to Arthur Shields. There is no record of what he thought of DAUGHTER but he gives a solid performance while carrying the burden of the plot's inconsistencies and chewing the scenery in a delightfully understated manner.
The movie is loaded with plenty of atmosphere thanks to fog and low key lighting and this transfer, done for the multi-disc EDGAR G ULMER COLLECTION, is easily the best of the various versions out there so make sure that it is this Image Entertainment version that you get. It seems that most of these classic 1950s B movies are finally making it to Blu-Ray so I hope that THE DAUGHTER OF DR JEKYLL will soon join them. Until then, sit back and enjoy this DVD version which will more than do until then...For more reviews visit The Capsule Critic.
All That Money Can Buy (1941)
My Belated Review Of An Old Favorite.
I was in junior high when I first read Stephen Vincent Benet's THE DEVIL & DANIEL WEBSTER. It is one of a handful of stories that I have never forgotten. The trial scene between Daniel Webster and Mr Scratch (a New England term for the Devil) and the jury of long dead souls fired my imagination as few stories at that time had. I even read Benet's magnum opus JOHN BROWN'S BODY as a result (it was in my parent's library) but the effect wasn't quite the same. Shortly after reading DEVIL, I ran across the film version on morning TV back when local stations ran old movies and game shows instead of DR PHIL and the like.
It was called ALL THAT MONEY CAN BUY which is a key phrase that the Devil uses in the story. I was completely blown away as I had never seen B&W photography like that and the trial scene was everything my imagination had conjured up (and that's saying something). Walter Huston as Mr. Scratch may be the finest incarnation of the Devil ever captured on film. His performance would later influence such French movies as CARNIVAL OF SINNERS and BEAUTY & THE DEVIL.
I didn't know it at the time but the version I first saw on TV was heavily cut (from 107 to 85 minutes). This wasn't done for commercials but because the film had been cut by its studio (RKO) for re-release in 1952. The 16mm print I saw in college was essentially the same. Movie books had told me there was a longer version but I never saw it until this Criterion release came out in 2003. I quickly acquired it and cannot believe that it has taken me this long to write a review of it.
Truth of the matter is I thought I already had and when, after watching it again recently, I went to read the review and couldn't find anything. So here it is. Not only is the DVD a visual revelation, but it comes with a wealth of extras including alternate footage, background photo galleries, essays, and Alec Baldwin reading the original short story. The plot is simple, a variation on the Faust legend. A farmer sells his soul to the Devil for prosperity and good luck for a period of 7 years. When the time is up and he wants out, he gets noted statesman Daniel Webster to defend him in an infernal trial. For those who don't want the DVD, it's available on streaming from various sites but beware the quality.
POSTSCRIPT - Criterion has since released a newly restored version (2024) under the original release title of ALL THAT MONEY CAN BUY...For more reviews visit The Capsule Critic.
Black Magic (1949)
Orson Welles Is Over-The-Top & Completely Spellbinding.
To begin, BLACK MAGIC is not a good movie. It is however wildly entertaining with a rare opportunity to see Orson Welles at his thinnest (which makes you realize how tall he really was) and doing his best to emulate Tyrone Power when he was in full swashbuckling mode. The film was shot in Italy in 1949 with a largely Italian crew (which makes for some great looking scenic backdrops) and right after Welles had bombed as a director the year before with LADY FROM SHANGHAI and MACBETH.
He was always in demand as an actor and it was during this film that he began his 3 year quest to film OTHELLO by borrowing cameras and other equipment when they weren't being used. Outside of Welles, only Akim Tamiroff would be familiar to audiences today although none of the other major players were top tier in 1949. The film was directed by the Russian born, Stanislavsky trained Gregory Ratoff who is best remembered for his acting performances as the producer in ALL ABOUT EVE the following year and as the old painter in O. HENRY'S FULL HOUSE 3 years later.
The basic elements of the plot are taken from Alexandre Dumas' THE QUEEN'S NECKLACE combined with a highly fictionalized version of the life of Count Caligliostro (1743-1795). Here he is the son of itinerant gypsies who are put to death by a cruel French nobleman. He meets the famous hypnotist Franz Anton Mesmer who helps him discover his power to bend people to his will. He then uses a Marie Antoinette lookalike to get revenge and to try and seize power in France.
He is ultimately defeated by a French officer who is in love with the lookalike. Welles knows that the screenplay is rubbish and overacts outrageously and director Ratoff gives him full rein. It's good old-fashioned rip-roaring melodrama and it's incredibly entertaining. Vivid cinematography and a colorful soundtrack add to the fun. That's a young Raymond Burr in the opening prologue as Dumas Jr. BLACK MAGIC isn't great by any stretch of the imagination but it is great fun to watch. This Hen's Tooth DVD is the best looking version of this public domain title...For more reviews visit The Capsule Critic.
Gabriel Over the White House (1933)
Disturbing Political Fantasy Is Still Relevant.
What are we to make of GABRIEL OVER THE WHITE HOUSE today? Walter Huston stars as a corrupt, self-serving politician who becomes President of the United States. It's business as usual until he's critically injured in a car accident. Given up for dead, he suddenly revives (with help from above we're led to believe hence the film's title) and proceeds to right America's (and ultimately the World's) wrongs by any means possible. He dissolves Congress because they won't take action on any of his initiatives, has criminals tried and executed by military courts, and finally uses America's military superiority to enforce World Peace. All of this 6 years before the outbreak of WW II.
This film was made in 1933 when the Great Depression was at its height and the New Deal was just getting underway. FDR had just been elected as had Adolph Hitler in Germany. The film was privately financed by William Randolph Hearst as a blueprint for how FDR should run the country. FDR didn't take the hint but it would appear that Hitler did although he didn't have divine intervention and ultimately took the film's methods and its message to its extreme and horrifying conclusion. Although billed as a fantasy, much of what GABRIEL had to say came to pass in the 1930s and seems strangely relevant to how American politics are playing out today.
The director, Gregory La Cava, began his career as a cartoonist in the silent era before turning to live action films. He is best remembered today for MY MAN GODFREY (1936) and STAGE DOOR (1937). He was also a good friend and drinking companion of W. C. Fields. Walter Huston had played Abraham Lincoln for D. W. Griffith a few years earlier and his character is an amalgam of Lincoln and FDR. FDR reportedly loved the film and watched it several times. Although made by New Deal liberals, the movie is amazingly pro-Fascist which seems to be OK as long as you do the right things. A one-of-a-kind film that still has the power to polarize audiences...For more reviews visit The Capsule Critic.
Topsy-Turvy (1999)
Time Travelling With Gilbert & Sullivan.
An observation that I have made before on many occasions has to do with film being the only true time machine that humans have come up with so far. Starting with the oldest films from the beginning of movies in the late 1890s through the latest releases, we have a visual and aural record of events, people, places, and the fashions and attitudes in favor at the time the movies were produced. In addition there are those movies which are deliberate historical recreations of a specific time and place with specific historical characters that are also subject to the attitudes present when they were made. TOPSY-TURVY is one of these latter movies and it is one of the best examples of that genre that I have ever seen.
It is set in 1885. Gilbert & Sullivan have lost their creative spark and are relying on revivals of past works to keep themselves and the Savoy Theater going. A chance visit to a Japanese exhibition in London gives Gilbert the idea for a "Japanese opera" and thus THE MIKADO comes into being. That's the story of the film in a nutshell. What director Mike Leigh does is to expand that basic scenario and give us much, much more. We not only see THE MIKADO come into being but get a good look at the lives of Gilbert & Sullivan away from the theater. We also get to see a detailed look at the world of Victorian London and a behind-the-scenes look at the D'Oyly-Carte Opera Company and how a show is created from scratch.
What makes TOPSY-TURVY truly stand out is that you really do feel as if you have been transported back in time to the late 19th century. Every detail from the opulent and repressive Victorian fashions to the cluttered rooms with heavy furnishings to the secret lives of the characters is captured with remarkable fidelity (or the illusion of it). Gas jets and horse drawn carriages, backstage dressing rooms and secret boudoirs, the lost art of elegant conversation and more are impeccably recreated. Only ANONYMOUS (2011) about the authorship of Shakespeare's plays with its vivid rendering of Elizabethan London gave me such a powerful feeling of being there not as an audience member but as an actual observer.
The performances are all flawless from Jim Broadbent and Alan Cordurer as G & S to Timothy Spall and Martin Savage as leading members of the company. Since this is a Mike Leigh film there are several strong roles for women with Lesley Manville as Gilbert's long suffering wife a standout. The look of the film is incredibly sumptuous and to think that it was made for only 10 million pounds seems beyond belief. The film's length (160 minutes) and deliberate pace will frustrate some people and Savoyards will want more opera and less background but if you love history, it's a dream come true. The Criterion edition is a definite upgrade from the previous DVD featuring lots of extras with the only flaw being no subtitles...For more reviews visit The Capsule Critic.
An Awfully Big Adventure (1995)
An Awfully Mislabeled Movie.
Director Mike Newell has always made films that have a literary quality to them which comes as no surprise since most of his movies (THE AWAKENING, HARRY POTTER & THE GOBLET OF FIRE, the recent GREAT EXPECTATIONS to name 3) are adaptations of books. He concentrates on characters and dialogue and as a result his movies have a very deliberate pace and his choice of material is often quite dark in tone.
Those already familiar with his work will be ahead of the game but others should take the plunge so that they can discover the wonderfully self-contained worlds that his movies allow us to visit. Other films of his worth investigating or revisiting include the well known FOUR WEDDINGS & A FUNERAL, the wonderfully acted ENCHANTED APRIL, and the remarkable DONNIE BRASCO.
AN AWFULLY BIG ADVENTURE is set in post World War II Liverpool and tells the coming-of-age story of a young girl who gets involved with a second rate theater troupe and the people who are part of it. They are led by a classic old school "queen" played by Hugh Grant who has a waspish tongue and designs on the male members of the company much to the consternation of his long suffering partner (Peter Firth). Our naive young heroine Stella (Georgina Cates) doesn't realize he's gay at first and idolizes him and when that illusion is shattered, she takes up with the company's Don Juan (Alan Rickman) who sees her as just another conquest until he develops feelings for her.
This leads to an amazing discovery and a remarkable ending. The title of the film comes from a line in PETER PAN which the troupe performs throughout the movie. Full of comic moments, ADVENTURE is definitely not a comedy. Like most coming-of-age stories it has its share of pain and self-discovery. The final shot is remarkable in its poignancy. While not a movie for everyone, those capable of going the distance will have a memorable film experience. A must for Alan Rickman fans...For more reviews visit The Capsule Critic.
A Midsummer Night's Dream (1968)
A Remarkable Version With A Once-In-A-Lifetime Cast.
I first saw this version of A MIDSUMMER NIGHT'S DREAM as a special presentation on commercial television before going off to college (yes, commercial TV did things like that back before PBS and in the pre-cable days). I fell in love with it and this is before I knew who any of the people (outside of Diana Rigg who was Emma Peel in THE AVENGERS) were. It is my favorite adaptation of the play. The late 1960s-early 1970s were a Golden Age for Shakespeare on film as directors reached out to humanize Shakespeare and remove him from the lofty pedestal where earlier theatrical generations had placed him. Starting with Franco Zefferelli's ROMEO & JULIET (1968) through Roman Polanski's MACBETH (1971), there were a handful of fresh, youth oriented adaptations of the Bard that featured gifted, up and coming performers. This is one of the best.
First up there's the once-in-a-lifetime cast almost all of whom would go on to major careers in movies and TV. There's Ian Holm, Helen Mirren, Diana Rigg, Ian Richardson, David Warner, and dressed in little more than a fig leaf (ivy actually) the one and only Judi Dench. Second and probably more important is the way they deliver Shakespeare's dialogue. Not stuffy and erudite but as if it were everyday conversation. They are also highly sensitive to Shakespeare's meter reminding us that Shakespeare was a poet as well as a playwright. Rarely have the lines sounded this fresh and spontaneous. This is one of the few Shakespeare adaptations where you won't need subtitles which is good because this DVD-R doesn't have any.
Finally there is the DVD-R itself. For years this performance was released in a substandard DVD from Waterbearer Films who simply copied their already existing VHS tape with its muddy visuals and muffled sound. It wasn't great and it was good enough just to have a record of it but it was a far cry from the film that I saw on TV and then in college. This new MGM Limited Edition DVD-R restores the film to how it looked then. A sharp, clear, colorful picture with clean, crisp sound so that you won't miss a word of dialogue. You also won't miss the Carnaby Street fashions which were contemporary then and now make the movie something of a period piece. However there's nothing dated about Shakespeare's dialogue or the way this cast delivers it making this A MIDSUMMER NIGHT'S DREAM for the ages...For more reviews visit The Capsule Critic.
The Sailor Who Fell from Grace with the Sea (1976)
Powerful, Erotic & Disturbing.
It had been many years since I first saw THE SAILOR WHO FELL FROM GRACE WITH THE SEA. I had forgotten what a beautiful film it is to look at and what a perverse film it is thematically. I've never read the original Yukio Mishima story but considering his life and death, I shouldn't be surprised by the content. I hadn't read the story before seeing the film and now I'm glad that I didn't. A number of reviews talk about how it doesn't work in its English setting transplanted from the Japanese. That may be but with nothing to compare it to, I found the English seaside setting most effective. Now, out of curiosity, I'll seek out the original and make my own comparison.
The inherent British class system among the boys lends itself to the events that unfold. The head boy, known simply as "The Chief" (a wonderfully disturbing performance by Earl Rhodes), comes from a wealthy and privileged background. He is all intellect and no emotion making him a Nietzschean prototype who despises the weak and seeks perfection in all forms. The other boys, who aspire to his position and wishing to curry favor, hang on his every move and go along with him in each increasingly disturbing act that he commits. One of these boys, Jonathan (Jonathan Kahn), is the central character of the film for it is his connection with The Chief and with his widowed mother (Sarah Miles) that is the primary focus of SAILOR.
Despite the film's great beauty (lovingly photographed by Douglas Slocombe) and evocative music from Johnny Mandel (MAS*H) or perhaps because of it, the film becomes increasingly uncomfortable to watch ***SPOILERS*** as we are invited to take part in voyeurism (the boy secretly watches his mother undress in her bedroom), dispassionate violence (the boys dissect the Chief's house cat), and a final scene that saddened me. Perhaps that's the point. Writer-director Lewis John Carlino started his career as a playwright (THE BRICK & THE ROSE) before becoming a screenwriter (THE MECHANIC) and occasional director (THE GREAT SANTINI, CLASS). He knows how to write dialogue and how to bring characters to life. My question is...Why these characters?
There is much food for thought here but most of it is of a very depressing nature. The love scenes between Miles and Kris Kristofferson are no longer scandalous just erotic and they heighten the impact the film has. Back in 1976 this was considered a mainstream film that many people went to see (the spread in PLAYBOY didn't hurt) and that was all but dismissed by critics. Today it would be an arthouse indie that would garner critical awards and audience indifference (think NO COUNTRY FOR OLD MEN). Along with A CLOCKWORK ORANGE it remains one of the most pessimistic movies ever made. Although well done, I have no desire to see it again...For more reviews visit The Capsule Critic.
Welcome to Arrow Beach (1973)
Laurence Harvey's Final Film.
ORIGINAL REVIEW OF THE UNCUT 102 minute VHS VERSION......Back in 1974 Warner Brothers along with Brut Productions (remember Brut cologne for men?) barely released two films that were classified as horror films but really weren't. One of them, THE WICKER MAN, has attained the status of a cult classic and is well known even inspiring a remake in 2006. The second film, WELCOME TO ARROW BEACH, disappeared without a trace although I managed to see it on its initial run (later it wound up on the drive-in circuit minus 15 minutes as TENDER FLESH and on TV minus another 11 minutes as COLD STORAGE). This twisted psychological study of modern day cannibalism is one of the more bizarre film scenarios ever conceived for a mainstream release. Who knows why it appealed to director/star Laurence Harvey (he may have needed the money or relished a challenge). In what turned out to be his final film role, Harvey portrays a Korean War veteran (just as in THE MANCHURIAN CANDIDATE) who had to eat his dead companions in order to stay alive. 20 years later he is living on a private beach in a possibly incestuous relationship with his sister (Joanna Pettet) and killing people in order to satisfy his craving for human flesh.
While the story is as sick as it sounds, Harvey manages to direct it with skill and sensitivity making good use of his meager budget. Among the film's remarkable set pieces are the eating of an extremely rare cooked steak and the murder of a victim done as a series of camera stills. Veterans John Ireland and Stuart Whitman are on hand to lend credibility along with the strikingly beautiful Meg Foster (those blue eyes!) in one of her earliest roles. ARROW BEACH does have some serious problems. The dated hip dialogue wasn't very good to begin with and the groovy early 70s music (Lou Rawls sings the title song!) is totally inappropriate to what's going on. In spite of this the film has its effective moments. Harvey reportedly edited the film by phone while dying from stomach cancer (at 45) and never saw the finished version. Still a remarkable achievement for the shocking storyline and restraint used considering the subject matter. With a better script and more atmospheric music, this could have been another PSYCHO. Nevertheless WELCOME TO ARROW BEACH is one of those films that stays with you whether you like it or not.
UPDATE ON DVD RELEASE: Despite using the original title on the DVD cover (a computer printout that misspells Meg Foster's name as Forster) this is a Brazilian release of the edited drive-in version known as TENDER FLESH which is minus 15 minutes from the first run theatrical release. The print quality is significantly improved over the old VHS copy with better color and sound but there are some missing frames. Considering how rare this title is, this version will have to do but won't somebody please release a restored version of the original and at an affordable price!... For more reviews visit The Capsule Critic.