Tuesday, 15 May 2018

Space Truckers. Blu-ray. Second Sight

Stuart Gordon's 1996 Science Fiction comedy comes armed with a strong cast and a rollicking story, set in a galaxy far, far away.
Dennis Hopper takes the role of John Canyon; an independent trucker who moves freight beyond the stars, in order to make a living.
It's a world of synth burgers and sham fries, where a canteen deal is struck for the eventual marriage of John and Cindy (Debi Mazar)
providing he can get her back to Earth for her mother's operation.
Enter Nabel the creator (Charles Dance) who is responsible for the design of an army of state-of-the-art disintigrators: biochemical super warriors
who will soon be bound for planet Earth in a cargo that's officially claimed to be sex dolls.
John and Cindy join forces with Mike (Stephen Dorff) in an effort to thwart this murderous mission, with Nabel just as intent in carrying it through.
The result is a pacey, often hilarious romp that makes the minutes fly if you don't think too hard about what you're viewing. Certainly, there's enough
explosions, excitement and general mayhem to satisfy all but the most demanding viewers.

Hopper is great value for money as the last of the breed trucker, while Dance also excels: watch out for a particularly strange case of erectile disfunction!
Even those raised on a steady diet of Stuart Gordon's OTT Horror fare will find much to enjoy here, as trademark humour rubs shoulders with some nifty fx,
and there's a nice surprise at the end for fans of a certain leading lady who certainly left her mark in the director's filmography.
There's no doubt "Space Truckers" has a healthy cult following, and members of that club will be delighted by the image quality on Second Sight's
Blu-ray presentation.

The special features begin with "Space Trucking with Stuart Gordon" (22m 53s)
Here, the director talks about his early ambition to be an astronaut (shared with script writer Ted Mann), which eventually led to the creation
of this film. Stuart talks about the $27 million budget, and the quest to source additional funding, and of working with Dennis Hopper who unleashed
a stinging rebuke for his director, during filming.

"The Art of Space Truckers" (8m 7s)
Art director Simon Lamont breaks down his role in this production, and gives his thoughts on how the film stands up today.

"Scoring Space Truckers" (12m 31s)
Composer Colin Townes - the original score composer - gives a brief resume of his early career, and explains his approach to scoring the film,
which benefited from his versatility.

"Space Truckers" is available to buy now on the Second Sight label.

Tuesday, 1 May 2018

Blu-ray Review: Heimat (Second Sight)

"Love and suffering lie so close together"

Edgar Reitz's acclaimed television drama depicts the lives of ordinary people in the Hunsrueck: a mountain range in Rhineland Palatinate, Germany,
which is bordered by four rivers.
Here, the fictional village of Schabbach plays host to a thoroughly engaging series of events, following village life from 1919 to 1982.
The cast - comprising of over 120 speaking parts - contains some beautifully drawn characters wo win and retain our most earnest attention
throughout the 889 minute running time.
We have Maria (Marita Breuer): daughter-in-law of Mathias (the village blacksmith) and his wife, who is married to their son, Paul.
The turmoil of World War One has taken its toll on Paul, who suddenly disappears, leaving Maria with her two sons, Anton and Ernst.
As the years gop by, there will be new additions to the family: Maria has another son, Hermann; Mathias' son Eduard gets married to the over ambitious Lucie;
Hermann grows up and finds love and, inevitably, characters dear to our hearts pass away.
Where did Paul go to on his long walk to enjoy a beer? Why did he leave his wife? Did he ever return to Schabbach? Not all of these questions are answered,
tantalisingly out of reach to cast and audience who experience some big changes down the years.
The rise of Nazism - personified by the big chief Weigand and his son; the introduction of the telephone, radio and television; the rise of Anton's
optics company and a soul-searching decision he is called to make, all presented by Glasisch, the narrator who guides us towards a quite beautiful
finale, set in a place many of us have wondered about. We must hope it turns out to be like Reitz's vision.

Throughout the series, triumph and despair, economic hardship and prosperity, life and death are all captured by some gorgeous cinematrography,
as Eduard's camera joins in with the recording of memories.
Here luminous monochrome vies with colour. Sometimes colour is used for fleeting moments, then for longer spells. Occasionally, b/w and colour
are used in the same shot: look out for the carnations dropped over the village during a homecoming flight to remember.
The onset of war brings its own physical and psychological challenges, scarring those involved, yet pushing them onwards and upwards
in a collective quest to create better times.
Some of the scenes are heartbreakingly sad, but there are happy times enjoyed by people who work and play together down the years.
Of course, this story is tinged with bitterness and regret, but it's also extremely uplifting in places,
demonstrating the human spirit car soar, even through hardship.

It's a tall order to chronicle 63 years of family life in a single project, but Edgar Reitz and his cast and crew delivered a work of art
that will endure for many years to come.
Indeed, it's the cinematic equivalent of a page-turner, sustaining interest and offering unlimited replay value.
A masterpiece, no less.

Second Sight's Blu-ray presentation offers a sumptuous image, restored from the original negative by the Edgar Reitz Foundation.
Here, the glorious Hunsrueck countryside comes alive during the four seasons, , whether it's the monochrome shots of Winter or the warm Autumnal glow
of the surroundings. Outstanding!

The extras begin with "Heimat The Hunsrueck Villages: Stories from the Film Locations" (1 hr 53m 17s)
This documentary offers a comprehensive look at German village life, taking in memories of the wars; transport; slate mining and history
lessons for children, and there's footage of an old mine that's now used for concerts because of the excellent acoustics (something that occurs in the series, too).

"An interview with Edgar Reitz on the making of "Heimat." (38m 39s)
Edgar begins by explaining how he became one of 26 young directors to sign the 1962 Oberhuasen Manifesto, designed to create a new type of German cinema.
He talks about his early work - which including success and failure; casting his series; how the actors grew into their roles and reminisces about
the war years and growing up in a world without men.

"Maria's Story: Marita Breuer on Heimat" (11m 18s)
The still gorgeous Marita recalls how she landed the role; talks about the mutual trust she enjoyed with her director and how she grew into the role.

"An interview with Christian Reitz on the restoration of Heimat (17m 24s)
Christian explains how "Heimat" was restored, with an arduous and rewarding process that repaired scratches, tears and warps to create
the wonderful high definition image we have today.

Showing Not Talking: Jan Harlan on Heimat (12m 16s)
Jan Harlan talks about seeing this series at the Lumiere cinema in London, and of the impression "Heimat" made on friend and colleague Stanley Kubrick.

"A visual essay by Daniel Bird" ( 8m 44s)
Film historian Daniel Bird delivers an excellent visual essay, demonstrating the role of the camera to enact the process of memory. It's a key theme
of this series, and explored so very well here.

This release is rounded off with a 50 page soft cover book (which I haven't seen), featuring liner notes by Carmen Gray; 'The Collaboration with Gernot Roll'
by Edgar Reitz and 'Germany as Memory' by Anton Kaes.
"Heimat" is avialable to buy right now, and highly recommended.

Saturday, 20 January 2018

Blu-ray Review: Carrie (Arrow Video)

School, the workplace, social media... the reprehensible act of bullying today has more outlets than ever before, making Brian De Palma's "Carrie" particularly relevant in
this day and age.
Meet Carrie White (Sissy Spacek): a put-upon high school girl who lives with her religious zealot mother, Margaret (Piper Laurie), and is a prime example of a troubled teen
who must deal with a motley crew of girls and guys.
The offending party is headed by Chris Hargensen (Nancy Allen) and Billy Nolan (John Travolta), with PJ Soles and cohorts adding their support to a most unsavory project.
Carrie befriended by PE teacher Miss Collins (Betty Buckley), who takes this troubled girl under her wing as tampons fly during her first period amidst a throng of cat-calling
teens. It's just as well Carrie has an alternative mother figure in her life as support at home is zero, thanks to her domineering mother who prefers Carrie to be shut away from any potential friends and admirers who may introduce her to real life.

Based on Stephen King's debut novel, De Palma's film cats Sissy Spacek as probably the most naturally beautiful girl in the picture, shy and awkward but with special qualities
to entrance the right suitor.
She also possesses the power to move objects at will; something that's triggered by rage whenever the situation feels threatening to her. Tommy Ross (William Katt) slowly comes to recognise her beauty and her pesonality, when his girlfriend Sue (Amy Irving) persuades him to escort Carrie to the school prom where things go very badly wrong.
The high school shoot is a prime example of De Palma's special brand of filmmaking prowess, beautifully lit with economic use of split-screen photography and tensioncranked up to 11.
The cast - several of whom made their film debuts here - are uniformally excellent, split between the good, the inbetween and the downright ugly, who are all ultimately tarred
by the same brush.
It's certainly a rip-roaring finale, leading up to that famous 'jump' moment that helps make this film such a memorable one.
"Carrie" has certainly stood the test of time, emerging as one of the very best King adaptations and a most worthy inclusion in Horror's Hall of Fame.

Arrow Video's Blu-ray release unveils a 4k scan that really shows off the intricate lighting with strong, stable colours.
The extras begin with a commentary track from Lee Gambin and Alexandra Heller-Nicholas.
The pair deliver an informative track, taking in critical reception to the film and addressing accusations of De Palma as a misogynist.Lee talks about Piper Laurie - not first choice for the role - and Alexandra goes into the use of space in this film. King's book, the mythological feel to the prom and De Palma's lighting of his female cast members are just a few of the additional things discussed in this enlightening talk.

Next up is "Acting Carrie" (42m 42s)
This is a 2001 featurette, comprising of interviews with De Palma (who calls this film "one of the great cast experiences"), Amy Irving, art director Jack Fisk and others.
Key scenes are discussed, including the prom and shower scenes.
"More Acting Carrie" (20m 19s)
A continuation of the previous featurette, with input from Nancy Allen, Betty Buckley and William Katt who discuss the script, rehearsals and De Palma's energy.
"Visualising Carrie: From words to Images" (41m 33s)
De Palma, scriptwriter Lawrence D Cohen, editor Paul Hirsch and Jack Fisk discuss the FX shots; Pino Donnagio's wonderful score; the first draft of the screenplay and the famous 'rain of stones scene that was left out of the finished product.
"Singing Carrie:The Musical" (6m 24s)
This is another 2001 featurette, where Cohen recalls how a night at the theatre inspired thoughts of a musical, and Betty Buckley (who played a different character in the stage version) tells how one particular performance went from boos to a standing ovation at the finale.
"Writing Carrie" (29m 7s) 2016
Here, Lawrence D Cohen talks about King's novel, explaining why it was decided not to include that literally heart-stopping scene. He also explains the challenges posed on this production, and there's a great midnight screening story.
"Shooting Carrie (15m 22s) 2016
This is an interview with cinematographer Mario Tosi, who talks about his mix-up approach to lighting this film and about the tools he had back in the day, comparing them to today's ultra high tech world.
"Cutting Carrie" (25m 9s)
A 2016 interview with editor Paul Hirsch, who explains why he was less than enthusiastic about the split-screen device and waxes lyrical on the freedom De Palma gave him.
"Casting Carrie" (16m 3s)
A 2016 interview with casting director Harriet B Helberg, who reveals how Spacek got into character for her screentest; her thoughts on the film and why they were initially unsure about one of the characters.
"Bucket of Blood" (23m 53s)
A 2016 interview with composer Pino Donnagio, who talks about how "Carrie" changed his life and reflects on De Palma, Bernard Herrmann and the challenges posed by the film.
"Horror's Hallowed Grounds" (11m 25s)
A look at the film's original locations, including the pig farm and the high school playing field.
"Comparing Carrie (20m 43s)
A visual essay from Jonathan Bygraves comparing the 3 screen versions of "Carrie": the 1976 original, the 2002 TV film and the 2013 adaptation.
Margaret White's character; the use of telekinetic powers and timelines are just some of the subjects discussed.

The extras are rounded off with an alternate TV opening; photo gallery; trailer; TV spots; radio spots and a "Carrie" trailer reel.
There's also a booklet (which I haven't seen), comprising of new writing on the film by Neil Mitchell, author of Devil s Advocates: Carrie, a reprint of the Final Girls 40th anniversary Carrie zine, and an archive interview with Brian De Palma.
It's so good to see a classic film receive such reverential treatment.

Tuesday, 28 November 2017

Blu-ray Review: Celine and Julie Go Boating (BFI)

"Celine and Julie Go Boating" turned out to be Jacques Rivette's biggest commercial hit, throwing together two women who will ultimately seek to intercede
in a parallel universe that plays out in a Jamesian inspired haunted house.
Celine (Juliet Berto), a magician, and Julie (Dominique Labourier) who is a librarian, cross paths in Paris and become inseparable, trading lives and personalities in their quest to stop a truly hideous crime.
Magic sweets enable the pair to watch events at the house unfold in a film-within-a-film as Bulle Ogier and Marie-France Pisier become the 'Phantom Ladies Over Paris',
with Barbet Schroeder in tow as the father of a young girl in mortal danger.
As recurring scenes play out, Celine and Julie react with amusement, boredom and horror, finally deciding to join this dislocation in time and save the girl. But from whom?

In parts, "Celine and Julie Go Boating" is very funny, with the two leads injecting physical comdey into proceedings, while at other times it anticipates Lynch's
"Mulholland Drive" with regard to the doubling experienced by Celine and Julie, and the population of the house who reach into 'the present' with bloody handprints
triggered by scenes from alternate reality.
Here, Berto and Labourier were given a degree of improvisational freedom, though for the most part, "Celine and Julie Go Boating" followed a script that grew with input from the cast.
The end result is a 193 minute feature that fair zips by, begging repeat viewings to fully appreciate all that lies within.
The wafer-thin line between fantasy and reality; the powers of memory and perception and the idea that each and every event is destined to be played out on a loop
for all time are just a few of the pieces in this puzzle, leading to a most haunting finale.
Rivette's clever use of mirrors which join this world and the next, and use of Montmartre locations to create a magical zone that bends all the rules and reshapes them, as leading ladies trade their lives make this a compulsory purchase for all lovers of Cinema Fantastique.

The BFI Blu-ray was restored and scanned at 2K from the original 16mm frame elements. Image quality is very impressive, unveiling a strong, stable picture that will delight
fans of this film.
The extras begin with a commentary track from Adrian Martin. Adrian provides background to the film; highlights the director's love of theatre and his willingness to take risks; gives valuable information on cast and crew (and quotes from a number of sources, such as Rivette and Berto); talks about various influences on this production; identifies cameos
and puts forward his theories and ideas regarding the onscreen events. It's a wholly rewarding track, and I'd strongly urge you to listen to every minute to increase understanding and appreciation of how much was accomplished here.

Next up, is "Jonathan Romney On Rivette and Celine and Julie Go Boating (19m 17s)
This excellent 2006 video essay takes a look at Rivette's career, and packs in theories and observations about the film, taking in Henry James, silent cinema and the idea that this is a girls own adventure. A valuable addition to the package.
"Tout la Memoire du Monde" (1956, 21m 54s)
Alain Resnais takes us inside the Bibliotheque Nationale in Paris, offering a fascinating look at how books are catalogued and also sharing some of its rare treasures.
We also see the constant battle against the slow decay of papers, books and manuscripts.
"The Haunted Curiosity Shop" (1901, 1m 55s)
WR Booth's 1901 short shows a shop owner plagued by various ghostly forms and includes some rather impressive effects shots.

The BFI also includes a booklet, featuring interviews with Rivette, Berto and Labourier; a review by Tom Milne; Susan Seidelman's reflections on her Rivette-inspired
"Desperately Seeking Susan", and an essay by scholar Jonathan Rosenbaum who is an authority on Rivette.
"Celine and Julie Go Boating" is available to buy now and a strong contender for those best disc of the year lists.

Thursday, 7 September 2017

DVD Review: Kill, Baby...Kill! (Arrow Video)

That wafer- thin line between the living and the dead has been crossed by many directors but few, I'll wager, could walk the walk like Mario Bava. With the sole exception of Lisa And The Devil, Bava had to work with meagre budgets and tight schedules, relying on ingenuity, imagination and those painterly eyes that created some of the most vivid nightmares ever committed to celluloid.

Kill, Baby...Kill! pits science and law against the forces of evil when Dr. Paul Eswai ( Giacomo Rossi-Stuart) and Inspector Kruger (Piero Lulli) arrive at the small Transylvanian village of Kremingen; the latter in response to a letter from one extremely frightened girl who was found impaled on iron railings before Kruger could reach the village. Eswai is asked to perform an autopsy, aided by Monica ( Erika Blanc), an ex-local girl who returns home to find her birthplace gripped by fear. As Bava works his magic, we slowly discover the legend of Melissa Graps (played by a young boy ,Valerio Valeri) , a 7 year old girl who, many years earlier, bled to death following an accident while drunken villagers ignored her cries for help. Now, those who catch sight of her unquiet spirit suffer a similar fate while her mother (Giana Vivaldi) presides over the family villa, surrounded by memories and fueled by hate.Although Bava is often cited as a master of style over substance, Kill, Baby...Kill! is a veritable feast for lovers of the macabre who like nothing better than a tale well told. A frightened coach driver who reluctantly delivers Eswai into a place of evil; terrified villagers who form a wall of silence; a scorceress ( Fabienne Dali', echoing Rada Rassimov's character in Bava's Baron Blood) who uses 'the old ways' to ward off the dead; wonderful mist-shrouded night scenes where a tolling bell signals another impending death.... a familiar storyline with stock characters? To an extent, yes, but even though we're on familiar ground, the soil seems firm and fresh, thanks to Bava's supreme technical skill, coupled with his unerring ability to get under the skin of what really scares us. Here, the spectral figure of Melissa Graps takes centre stage, emerging as one of Bava's eeriest and most imitated creations. This 'bambino diavolo' has inspired the likes of Martin Scorsese (The Last Temptation Of Christ) and Federico Fellini (Toby Dammit, from Spirits Of The Dead), who took note of the images of a child clad in white, emerging from the shadows of half-lit corridors, peering through windows with a malevolent, death-dealing stare or, most chilling of all, perched on a swing, her laughter peeling through the cold night air: wish I had a gold coin (embedded in the heart, perhaps?) for every film that wheels on a child's ball bouncing down the stairs to land at the feet of the living.Melissa's evil mother also succeeds in quickening the pulse rate, at first commanding our sympathy and then moving to the other end of the scale as her part in this story becomes apparent.
In many ways, this is possibly Bava's finest achievement and a film that has stood the test of time. Still scary after all these years.

My DVD review copy from Arrow Video unveils a fine presentation of this film, and I found myself contemplating the long journey to finally seeing this film in pristine condition. I first saw "Kill,Baby...Kill!" on a grainy, 3rd gen video copy and graduated, years later, to DVD. I was also lucky enough to see this film on the big screen at London's National Film Theatre, as part of a Mario Bava retrospective, many moons ago. Arrow's superb presentation really does tick all the boxes here, with interior and exterior shots dripping with atmosphere created by Bava's ingenuity, often bathed in greens and blues that highlight the director's eye for creeping unease which so often reaches fever pitch.
The extras being as they should, with a Tim Lucas commentary track. Tim delivers a wealth of information on cast and crew, going on to talk about the history of some of the locations used, and also where they appeared in other Italian films. He discusses the prevalence of low angle shots, and highlights the many 'twinning' instances in the film. "Forbidden Planet", "Twin Peaks", "Toby Dammit" and "Demons 2" are just a few of the films and shows mentioned in this track, and there are interesting snippets from a telephone interview with Erika Blanc also included. It's a stimulating track, which enriches understanding and appreciation of this film.

The Devil's Daughter (21m38s)
This is an excellent video essay from critic Kat Ellinger, which covers a lot of ground in its running time.
Kat takes a look a gothic literature featuring children - such as "Children of the Abbey" by Resina Maria Roche - goes into child mortality rates in the 17th and 18th century, and offers thought-provoking analysis on child trauma in the family., touching on films and novels which include "The Devil's Backbone", "Don't Torture A Duckling", MR James' "Lost Hearts" and "The Turn of the Screw."
It's a beautifully delivered essay, guaranteed to prompt further reading and viewing from its audience.

Kill, Bava, Kill (25m 2s)
This is an interview with Mario's son, Lamberto, where his formative years are discussed, with golden memories of working under his father's stewardship.
Lamberto also takes us back to the locations used for "Kill, Baby...Kill!" in a nostalgic return to a place where time has stood still for 30 years.
It's an emotional piece, with Lamberto still greatly missing his father and justifiably proud of his achievements.

Erika In Fear (11m)
This is a 2014 interview with the still gorgeous (and very lively) Erika Blanc. Erika ehtuses over Bava's expertise, the lighting and colours used and the amtmosphere he conjured, seemingly at will. It's lovely to see this lady talking about her contribution to a great film, and proclaiming herself "a complete horror fanatic."

Yellow (6m 49s)
Semih Tareen's 2006 love letter to Mario Bava, which begins with a couple sitting down to a game of chess in a garishly lit apartment. What could go wrong? The tension is ramped up in this short film, as familiar tropes surface to delicious effect.

Arrow also provides the German opening titles for the main feature (3m 26s), which provides an early glimpse of Melissa Graps, and a 2m 32s international trailer.
Finally, we get to step through an image gallery comprising of 28 German posters and lobby cards under the title "Die Toten Augen Des Dr. Dracula".
There's also a collectors booklet included (which I haven't seen) which contains new writing on the film by critic Travis Crawford.

Wednesday, 19 July 2017

Blu-ray Review: The Orchard End Murder

As with Saxon Logan's wonderful "Sleepwalker" (reviewed elsewhere on this blog), the story of "The Orchard End Murder" will surely strike a chord with aspiring directors and lovers of British Cult Cinema.
Christian Marnham's 49m 43s film was released in 1980, and was screened as support act to Gary Sherman's "Dead and Buried."
Now, almost 40 years later, "The Orchard End Murder" has been resurrected as part of the BFI essential 'Flipside' series, beckoning newcomers and those who caught it first time round.
As well as directing, Christian Marnham also wrote the screenplay which was inspired by a local murder case which came to his attention.
The result is a black comedy with some wickedly funny lines, and also genuinely disturbing in places.

A crane shot of a village cricket game in Kent introduces a stunningly beautiful locale, where Mike Robins (Mark Hardy) romps with new love interest Pauline (Tracy Hyde)
while waiting his turn to bat.
Pauline is very much a city girl and soon becomes tired of her escape to the country, keen to be released from a ritualised setup where familiarity is all.
Her wanderings lead to the railway station where the stationmaster (Bill Wallis) invites her in for tea and cake.
This cosy English tradition is made increasingly disconcerting by the close attention of her new acquaintance, and things come to a head with the arrival of Ewen
(Clive Mantle):house guest of some three months standing who horrifies Pauline with a brutal act.
Now the scene is set for a particularly graphic murder, which launches a police investigation in this sleepy village.

For a mini-feature running under 50 minutes, "The Orchard End Murder" packs so much into its running time.
First of all, the characters are beautifully drawn and complex. Bill Wallis' station master belies his initial appearance as a simpleton, exhibiting a cool, devious mind and well
capable of talking himself out of almost anything, while Clive Mantle also excels, with Ewen's mentally unstable mind carrying him just short of Buttgereit territory.
Tracy Hyde also delivers an excellent performance as a sexually active female who finds the countryside can be even more of a threat than her beloved towns and cities.
Of course, the graphic murder is hard-hitting in the extreme, but there's plenty of quite wonderful humour to be found elsewhere in the film - do listen out for the side-splitting 'apples' gag - and even the story about the double railroad suicide is told with a twinkle. The location is almost a character on its own, combining beauty with a sense of dark foreboding with the scent of murder hanging heavy in the air.
This really is a small gem, and fully deserving of its place in the 'Flipside' collection.

The BFI Blu-ray presentation unveils a lovely transfer, with the bold, bright countryside colours looking like they were shot last week. Kudos to Peter Jessop's photography
which is beautifully captured by this 2K remaster taken from an original 16mm positive element.
The supplementary feature begin with "The Showman" (25m 45s).
This entertaining short from Christian Marnham tells the story of 63 year-old Wally Shufflebottom. Wally is the 'Last Showman', who gives the public what they really want by devising and staging a striptease knife-throwing act with flames thrown in for good measure.
We bear witness to Wally's methods of drawing in the crowds, how he enlists the girls to participate and the shows themselves.
At the outset, Wally makes some pretty bold claims, but actually keeps to most of his promises to deliver an entertaining show.

"Christian Marnham on The Orchard End Murder". (37m 26s)
Christian recalls his first job (in rep theatre); tells of his progression to the cutting room and how he graduated into television.
We hear about his partnership with Julian Harvey - who suggested doing a film for the cinema - and there's much praise for cast and crew, including Tracy Hyde, DOP Peter Jessop and Sam Sklair who did the score.
Christian is refreshingly honest about mistakes made along the way, and has some good news concerning future projects.

"Christian Marnham on The Showman." (4m 40s)
Christian explains how the idea for "The Showman" began after a chance meeting at a fairground, and talks about his utmost confidence in Wally who emerged as an expert in this dangerous craft.
We're also privy to a huge problem which reared up before the shoot, and the steps that were taken to overcome it.

"From Melody to Orchard End Murder: An interview with Tracy Hyde." (11m 19s
Tracy talks about her career, recalling the Orchard End shoot and "Melody": the film that won her 'Best Actress' in Japan, at such a tender age.
She returns Christian's praise, speaking well of her director and has good memories of the film, even accepting some of the less glamorous aspects of the shoot.

"An Interview with David Wilkinson." (12m 28s)
David recalls how Christian persuaded him to appear as a batsman in Orchard End, and gives a resume of his prolific career.
He talks about his fellow actors in the film; how impressed he was with the production and has some surprising news about the financial result earned by Orchard End.

The BFI includes a booklet with this dual format release, which contains a beautifully written essay from Josephine Botting; a fine piece on "The Showman" by Vic Pratt; colour stills, credits, notes on the transfer and an original review from Tim Pulleine.
"The Orchard End Murder" will be available to buy on 24th July .

Tuesday, 11 July 2017

Blu-ray Review: One-Eyed Jacks

Based on Charles Neider's novel "The Authentic Death of Hendry Jones", "One-Eyed Jacks" was originally slated for Stanley Kubrick to direct.
Instead, the baton was handed to Marlon Brando for his first and only film as director. Guy Trosper and Brando wrote the screenplay, which turned out to be
a major revision of its source, and the film is now widely regarded as a masterpiece.

Brando himself headlines as Rio; a headstrong apprentice to Dad Longworth (Karl Malden). Together, the pair stage holdups which relieve law abiding folks of cash and jewellery.
Their latest heist - two bags of gold from a bank - sees them chased out of town by Mexican mounted police.
Holed up in the mountains and facing seemingly insurmountable odds, the pair decide one of them will strike out in search of fresh horses after Rio's mount is killed,
leaving the other to wait behind in a perilous situation.
Dad rides off into the sunset, never to return, leaving Rio to be captured with a jail term the result of his trust.
Deprivation of freedom, instigated by a revered friend, must have been a bitter pill that proved impossible to swallow and Rio escapes after 5 years in jail, with a burning desire for revenge.
Rio is soon on course for a long-awaited reunion when a conversation with outlaw Bob Amory (Ben Johnson) points him at towards the town of Montorey.
During the town's annual fiesta, the bank closes for two days,leaving potentially rich picking for Rio and his gang.
Rio soon gets the chance to meet with Dad, who is Sheriff of the town. During one of many memorable scenes, Rio rides out to call on Dad, with the latter resting on his front porch, observing Rio from behind bars reminding Rio of the jail that accounted for 5 years of his life.
There's now a real hatred between the pair, but love soon rears its head as Rio and Longworth's stepdaughter Louise (Pina Pellicer) fall for each other, leaving Rio with a choice to make.

Relationships old and new play a key part in proceedings here, with even Dad and his wife (played by Katy Jurado) clashing over Dad's increasingly cruel behaviour.
Witness the scene where Rio is brutally whipped and has his trigger hand badly damaged by his former friend, making Dad a particularly odious villain, closely followed by Amory and Slim Pickens' sleazy deputy in the forces of evil stakes.
Even Rio has his dark side, and it's fascinating to observe his good and bad splits fighting to hold sway.
Brando quite simply was superb on both sides of the camera, and if one approached this film with no prior knowledge, it would be difficult to discern anything other than the director was a seasoned filmmaker.
While it's true that "One-Eyed Jacks" went over budget - some 5 hours of footage no longer exists - the end result is a treat for the eyes, with Brando's wait for magic hour shots and the right kind of waves paying dividends.
Here, the photography of Charles Long Jr uses deep focus shots and panoramic sweep to capture cast and scenery in exemplary fashion.
This was the last Paramount film to be shot in Vistavision, and we must be thankful that Martin Scorsese and Steven Spielberg made this stunning restoration possible, banishing previously inadequate home video versions.

Aspiring actors and directors would do well to study this film, while the rest of us will be enthralled while possibly regretting this was Brando's only time in the director's chair. Maybe his standoff with Paramount regrading the ending left a bitter taste that wouldn't wash away?
Whatever the reason, he certainly made his mark as an accomplished director and his film remains one of the great Westerns.

The 4K rstoration on Arrow Academy's Blu-ray presentation is, along with "Bring Me The Head of Alfredo Garcia", one of this year's best.
Interior and exterior scenes boast fine detail, warm colours and, at times, are simply breathtaking.
The supplementary features begin with a commentary track from author Stephen Price who wrote "Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies."
Stephen picks out Peckinpah's influence on the script; draws comparisons with other westerns; talks about the revised ending and praises Brando's meticulous approach to filming. It's an enjoyable, highly informative track.

"Marlon Brando: The Wild One." (53m 43s)
This documentary was originally broadcast by Channel 4 on 11th August, 1996. Martin Sheen, Dennis Hopper, Shelley Winters, Francis Ford Coppola and Arthur Penn
are just some of the artists interviewed in this valuable tribute to Brando.
The actors studio, early stagework and just what it was like to be touched by Brando's brilliance are all discussed, with clips from the likes of "On The Waterfront",
"A Streetcar Named Desire" and "Last Tango In Paris". Paul Joyce's absorbing documentary is required viewing for all Brando buffs, with great stories and insight from those who were there when the magic happened.

"Francis Ford Coppola on Marlon Brando." (48m 30s)
Paul Joyce interviews Francis, who talks about a genius he rates alongside Welles and Kurosawa, and who left a legacy for actors everywhere.
We hear about how Brando landed the "One-Eyed Jacks" gig and of course, there's plenty of insight and anecdotes regarding "The Godfather". Coppola had a tough battle to
add Brando to his fine cast, and goes into the trials and tribulations of coming up against a stubborn film company.

"Arthur Penn on Marlon Brando>" (44m 49s)
Once again, Paul Joyce takes the microphone for another interview. As with Coppola, his Arthur Penn interview was recorded for the documentary, comprising of familiar material with plenty of additions. Brando's work with Stella Adler; his improvisational skills regarding the intent of words and the first time Penn saw Brando at work are just some of the areas discussed. It's also well worth a second hearing regarding Penn's ice cube story and Coppola's 'gong' gag.
There's also a 2m 55s introduction to the film by Martin Scorsese, and a 4m 44s trailer.

Arrow includes, on this first pressing only, a collectors booklet (which I haven't seen) containing new writing on the film by Jason Wood and Filippo Olivieri; Karl Malden on Marlon Brando; Paul Joyce on "Marlon Brando: The Wild One" and an excerpt from Stefan Kanfer's "Somebody: The Reckless Life and Remarkable Career of Marlon Brando."

"One-Eyed Jacks" is available to buy now, and a surefire contender for those 'Discs of the Year' lists.