tag:blogger.com,1999:blog-83148186724186679782024-02-19T17:38:54.223-08:00WonderlandSteve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.comBlogger192125tag:blogger.com,1999:blog-8314818672418667978.post-12327404041179630582023-09-17T13:17:00.003-07:002023-09-17T13:17:27.925-07:00I'm Back<p> So, it's been over 3 years since I last touched base on this blog. For the first year of absence, my wife was very ill, and sadly passed away 2 years ago.</p><p>The opening of a new cinema just 5 minutes walk away was one of the factors behind restarting this blog, together with me becoming a bookworm who sets out time each day for reading.</p><p>So, this blog will feature cinema and Blu-ray reviews, together with book and audiobook reviews. I hope you will all stick around and keep my company.</p><p>t</p><p>w</p>Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-43290721992830850032020-07-13T07:15:00.000-07:002020-07-13T07:23:21.022-07:00youtube Shoutout number 1. Chris MohanDuring lockdown, I've been checking out the growing number of Blu-ray video blogs by a taleted, knowledgeable bunch of people who are building up communities of film fans.<br />
My first pick in what I intend to be a regular column is Chris Mohan.<br />
<br />
Chris has a nicely varied selection of casts to work your way through, with solid recommendations for Blu-ray purchases from Arrow, Criterion, Indicator and other labels.<br />
This is clearly a man who knows his films and loves his films, armed with real insight into what makes a great film tick.<br />
Chris is a genuinely nice guy, and happily engages with his subscribers in the comments section below each video.<br />
<br />
Enter Chris Mohan in the youtube search engine, and please subscribe to his channel for the lowdown on those valuable Blu-ray releases. Don't forget to tell him who sent you. Thank you.<br />
<br />
I'll give details of another must-see channel in the next youtube post.<br />
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https://www.youtube.com/user/chrismohan/videosSteve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-23981528897646198252020-07-11T06:56:00.000-07:002020-09-01T12:21:18.754-07:00Blu-ray Review: Walkabout (Second Sight)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1qdzbU5NVOiXb_ktxfcsR_ZY8jA-grDuR9spxj2ktcXIRPaB_YBA8Y46jVBBwCiRrO8SNtCxdRrUTkiLPKPpYWxVaSDQRyrQ07ksCeOpcX0485tJlIfO2efsKyqkPh4NwXztN_Kgr1XzA/s1600/download+%252845%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1qdzbU5NVOiXb_ktxfcsR_ZY8jA-grDuR9spxj2ktcXIRPaB_YBA8Y46jVBBwCiRrO8SNtCxdRrUTkiLPKPpYWxVaSDQRyrQ07ksCeOpcX0485tJlIfO2efsKyqkPh4NwXztN_Kgr1XzA/s400/download+%252845%2529.jpg" width="400" height="302" data-original-width="258" data-original-height="195" /></a></div><br />
Possibly the pinnacle of Nicolas Roeg's golden period of filmmaking, "Walkabout" is based on a novel by James Vance Marshall, and concerns a young brother and sister who find themselves stranded in the Australian outback. The female (played by Jenny Agutter) is a 16 year old schoolgirl whose younger brother ( played by the director's 7 year old son Luc) initially seems to take their new surroundings in his stride. Soon, the siblings encounter a young Aboriginal boy (David Gulpilil), sent out by his tribe on'walkabout'; a ritual that dictates an individual must leave his home and attempt to live off the land. The difference in cultures is somewhat offset by Luc Roeg's character who uses the international language of sings and gestures to communicate an urgent need for water, and a pattern emerges.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSWhxzPpvjkdtX-5GBJvuggqqfZmE7OV1WDhrO30QPmP4dDzzInZEFbBG-nnAuVHHS22HoAUYdFs89Ih1mowSMN9zUnL3DBNEZ5Zl9qCeGnZN020a5-aLT_YuNvPaG9uQG0JvZJMbUK6A0/s1600/images+%252813%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSWhxzPpvjkdtX-5GBJvuggqqfZmE7OV1WDhrO30QPmP4dDzzInZEFbBG-nnAuVHHS22HoAUYdFs89Ih1mowSMN9zUnL3DBNEZ5Zl9qCeGnZN020a5-aLT_YuNvPaG9uQG0JvZJMbUK6A0/s320/images+%252813%2529.jpg" width="320" height="133" data-original-width="348" data-original-height="145" /></a></div>In essence, this is a coming-of-age tale, embroidered by themes of identity, dislocation of time and decay, mixed in with growing sexual tension between the two elders. Accompanied by a gorgeous John Barry score, Roeg's film is quite beautifully shot, taking in harsh terrain and beautiful scenery to stunning effect. There are so many iconic scenes and images here, and the script is equally as strong, leading us on an unforgettable journey that ends exquisitely. The 16 year old Agutter - chosen for the role 2 years earlier - is perfect as the youngster on the verge of adulthood, while Gulpilil cuts and imposing, haunting figure whoser mating ritual late in the film leads to tragedy. Of course, Roeg's son must also take credit as the young boy who must face a trial that many adults would find beyond them. Roeg's masterly use of editing, zooms, fades and painterly eye for capturing the great outdoors so beautifully make this a veritable feast for the eyes, and the themes employed here add a vast amount to the lasting appeal of this film.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAffHELKud4FUc5UjhuAgxx1j42kol4jYNW4JoRPutQ_FqAsWykOfe0k7V8C47oiRMceDPqdwnL8Ke_sWry21rRxA20wz_NcmYClT8gHnbZKAXl6-r4x2mU2okOlqkpxasAJib2tVKKXhG/s1600/download+%252846%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAffHELKud4FUc5UjhuAgxx1j42kol4jYNW4JoRPutQ_FqAsWykOfe0k7V8C47oiRMceDPqdwnL8Ke_sWry21rRxA20wz_NcmYClT8gHnbZKAXl6-r4x2mU2okOlqkpxasAJib2tVKKXhG/s400/download+%252846%2529.jpg" width="297" height="400" data-original-width="193" data-original-height="260" /></a></div><br />
Second Sight's Blu-ray presentation employs a brand new 4K scan and restoration that delivers sumptuous image quality, with glorious orange sunsets, verdant greens and vivid skintones. The supplemental features begin with a new audio commentary track with Luc Roeg and David Thomson. David takes the mic for the lion's share of the talk, recalling the film received a AA rating for its UK release; discusses the source novel (which may have been written by Donald Payne, rather than Marshall); compares "Walkabout" with Nicolas Roeg's "The Man Who Fell To Earth"; tlaks about the movie-going experience then and now and turns the spotlight on Nic's inspirations from various works of art. Overall, Luc has excellent recall of the shoot and talks about how his late father evolved with technology. I think Luc was enjoying watching this film again, admiring his father's craft while at the same time feeling emotional at seeing his younger self all those years ago<br />
<br />
Producing Walkabout: an interview with Si Litvinoff (10m 7s) Si shares fond memories of what he terms Nic Roeg's "masterpiece", recalling how he met the director and became involved and talks about "A Clockwork Orange".<br />
<br />
Luc's Walkabout: an interview with Luc Roeg (11m 9s) Luc discusses the shoot and talks about his admiration for David and Jenny.<br />
<br />
Jenny And The Outback: an interview with Jenny Agutter (19m 20s) Jenny recalls her first meeting with Nicolas Roeg when she was 14, and how she joined the cast 2 years later, and goes into the ingredients that make Roeg's films so enduring.<br />
<br />
Remembering Roeg: an interview with Danny Boyle (18m 31s) Danny explains why he has such a very high regard for the late director; how Roeg employed the unused potential of cinema and why "Walkabout" still comes across as a radical, modern film. <br />
<br />
011 BFI Q&A with Nicolas Roeg, Jenny Agutter and Luc Roeg (16m 55s) Recorded at London's NFT on 5th March 2011, Nic talks about how he raised the finance for his film; Jenny recalls how she got the role and the trio remember the considerable contribution of David Gulpilil. <br />
<br />
Archive Introdction By Nicolas Roeg (3m 54s) The director discusses the initial short script and how it evolved. Second Sight's Blu-ray package also includes the source novel, with cover art exclusive to this release. There's also a soft cover book featuring facsimilie copy of the original 65 page script with a preface by Daniel Bird, and a soft cover book with new essays by Sophie Monks Kaufman, Simon Abrahams and Daniel Bird, plus stills and lobby card images(none of which I've seen to date). Second Sight's disc is Region B, and will be released on 27th July. An essential purchase for Roeg buffs and indeed for newcomers to his work who like to be challenged by a director at the top of his game.Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-76312254287233935922020-04-17T06:32:00.000-07:002020-05-04T04:50:27.838-07:00Blu-ray Review; The Man With The X-Ray Eyes (Second Sight)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMaja6VjxOBofh4gBCGBRZZoMFeVHPQLAO6twwqvwIRgQUtSmq3oxA9ei49F5WOU-ioE3pskZBg85Bxh4QXTop8mdQOLaR353HVM02OsMWCKKT4GKNa0ZVWf8pMtf9hrdGo_FOgUvsNYgp/s1600/IMG_3274-482x735.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMaja6VjxOBofh4gBCGBRZZoMFeVHPQLAO6twwqvwIRgQUtSmq3oxA9ei49F5WOU-ioE3pskZBg85Bxh4QXTop8mdQOLaR353HVM02OsMWCKKT4GKNa0ZVWf8pMtf9hrdGo_FOgUvsNYgp/s400/IMG_3274-482x735.jpg" width="262" height="400" data-original-width="482" data-original-height="735" /></a><br />
<br />
The history of cinema boasts many tales of mad scientist's whose desire to play God often leads to an unhappy ending for all involved.<br />
In Roger Corman's 1963 feature "The Man With The X-Ray Eyes", a much respected scientist Dr James Xavier (Ray Milland) begins ground-breaking experiments with all good intentions.<br />
Xavier claims that human vision is blind to all but one-tenth of the universe, and seeks to develop a way to sensitise the human eye <br />
so that it can see radiation up to the gamma rays and beyond, thus enabling us to truly see everything around us for the first time.<br />
<br />
Dr Brandt (Harold J. Stone) and Dianne Fairfax (Diana Van Der Vlis) both step in to warn Xavier of the consequences of self-testing,<br />
but Xavier stubbornly ploughs away, ignoring cease-and-desist calls from the medical authorities.<br />
Following a partially successful animal experiment, Xavier finds the serum now gives him the ability to see through solid objects,<br />
leading him on a journey to manslaughter, the thrill-seeking world of the fairground and the gambling halls of Las Vegas,<br />
en route to a truly chilling downbeat ending.<br />
<br />
The portrayal of Xavier by Ray Milland really is a triumph, running through the whole gamut of human emotions,<br />
with solid support from the smart Diana Van Der Vlis, whose character displays courage, compassion<br />
and a fierce sense of loyalty right up to the very end.<br />
However, it's Don Rickles who almost steals the show here, taking Xavier under his wing and turning him into a would-be healer and,<br />
consequently, money-making machine who can instantly diagnose exactly what is wrong with those who seek medical aid.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVVICDLPqpfcNS-tPAXxAH5KYcAABVbGaf_PMpy5KbhLA_V6p77_ENVlTy3xTmzcfWsu20RvbKYlmygxmwxKokfYA_ldgPCBLhx-LBfn1SosTzbfhzApOve1ASRZ-Shz4XUzaPK1y-E-Vj/s1600/images+%252810%2529.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVVICDLPqpfcNS-tPAXxAH5KYcAABVbGaf_PMpy5KbhLA_V6p77_ENVlTy3xTmzcfWsu20RvbKYlmygxmwxKokfYA_ldgPCBLhx-LBfn1SosTzbfhzApOve1ASRZ-Shz4XUzaPK1y-E-Vj/s320/images+%252810%2529.jpg" width="320" height="173" data-original-width="305" data-original-height="165" /></a><br />
It's a hugely entertaining ride for sure, with speculative scientific theories that are just about plausible, and special effects<br />
that would have fired the imaginations of early 1960s audiences.<br />
In many ways, this is my own favourite film from the Roger Corman collection, and Second Sight's Blu-ray presentation<br />
does the film full justice.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixzsjfQeAaquXEZhyOovr9O1ACg1RMBfmywABIo6EmZC90Qx8gJdUKiq1H6PhbPPxOSRQuAXJtUOOx5uwS7BCLqfW88v325Qj3pgO47I777nEO0-RxLNAV4WUp42bx0pdcLnD0WS2ofY-K/s1600/final_packshot_for_website_5871b8d3-1450-4c1b-88b0-a760b8068bc3_1822x.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixzsjfQeAaquXEZhyOovr9O1ACg1RMBfmywABIo6EmZC90Qx8gJdUKiq1H6PhbPPxOSRQuAXJtUOOx5uwS7BCLqfW88v325Qj3pgO47I777nEO0-RxLNAV4WUp42bx0pdcLnD0WS2ofY-K/s400/final_packshot_for_website_5871b8d3-1450-4c1b-88b0-a760b8068bc3_1822x.png" width="298" height="400" data-original-width="1190" data-original-height="1600" /></a><br />
Here, Floyd Crosby's cinematography looks splendid, with bold, bright colours beautifully rendered by this high definition disc.<br />
On the extras front, we begin with two audio commentary tracks.<br />
The first is by director Roger Corman, who talks about the 15 day shoot, explaining the original story concerned <br />
a jazz musician who took too many drugs and why this story was dropped.<br />
Roger is fullsome in his praise for Milland, Van Der Vlis, Rickles and Floyd Crosby, and justifiably proud of how well<br />
his film fared at the US box office against the industry big hitters.<br />
He also talks about his time with AIP, and explains why he feels this film should be remade.<br />
It's a fascinating track, setting us up nicely for another commentary; this time from Tim Lucas.<br />
As usual, Tim delivers a wonderfully informative track, and declares from the start that he considers "The Man With The X-Ray Eyes"<br />
to be Roger Corman's signature film.<br />
Tim manages to include a wealth of background and theory into his talk, going into a comparison between script and film; providing career information<br />
on credited and uncredited cast members; talks about David Cronenberg, "The Lost Weekend", "Through A Glass Darkly",<br />
"Nightmare Alley", Edgar Allan Poe - all highly relevant in his discussion of Corman's film - and X-ray vision.<br />
Do listen out for his comment regarding drying paint in Xavier's room! You will certainly see this film<br />
with fresh eyes after listening to this track.<br />
<br />
Next up is The X Effect; an interview with Roger Corman (14m 16s)<br />
Roger talks about his original treatment for this film; about the two movies he mad with Ray Milland;<br />
the importance of pre-production planning and connects X to his Poe films.<br />
<br />
American Gothic: an interview with Kat Ellinger (23m 13s)<br />
A video essay from one of the brightest and best film scholars. Here, Kat discusses the 50s and 60s films that preyed on our fears, and about the deep<br />
existential themes that lie within. <br />
"Paradise Lost", "Frankenstein", "Mr Sardonicus" and "Masque of The Red Death" are just a few of the books and films mentioned in this beautifully delivered talk that will<br />
raise your appreciation of what Corman accomplished here. Kat also references Corman's Poe series, with a look at the gothic<br />
aspects of Corman's work.<br />
<br />
Joe Dante on The Man With The X-Ray Eyes (6m 7s)<br />
Joe labels this film one of the most ambitious films of its decade, and goes on to enthuse about the cast,<br />
with a special mention for Don Rickles and also chats about film technology of today and yesteryear.<br />
<br />
Trailers From Hell (2m 35s)<br />
Mick Garris plays the trailer for his favourite Corman film.<br />
<br />
Original Prologue (5m 2s)<br />
Well worth inclusion here, the original prologue takes in the 5 senses touch, sight, hearing, smell and taste.<br />
<br />
The disc concludes with the 2m 19s original trailer.<br />
There's also a booklet - which I haven't seen - which includes writing by Jon Towlson and Allan Bryce.<br />
Most of the UK's excellent boutique labels provide booklets with their releases, which are a valuable addition<br />
to the special features. I respectfully encourage you to read them, if you don't already.<br />
<br />
Second Sight will release "The Man With The X-Ray Eyes" on 4th May. The disc is Region B.<br />
An essential purchase for lovers of Cinema Fantastique.<br />
<br />
Update:<br />
Thanks to the wonderful Debbie Murray at Aim Publicity, I now have a copy of the booklet.<br />
It's a beautiful 38 page affair, comprising of cast and crew credits, terrific colour and monochrome photographs<br />
and two informative essays.<br />
The first, by film historian Allan Bryce, is titled X Marks The Plot" Seeing Through A Cult Sci-Fi classic.<br />
Allan's 5 page overview of this film begins with his early fascination with X-Ray vision,<br />
moving onto a resume of Corman's career leading up to X and a look at the screenplay and optical effects.<br />
<br />
The second essay, by critic and novelist Jon Towlson, is titled Roger Corman: The Auteur With The X-Ray Eyes, running for 6 pages.<br />
Here, Jon talks about the failure of Corman's "The Intruder" and what drove him to make X, and goes into the script<br />
and the concept of 'Spectorama'.<br />
Both essays are so very well conceived and written, and eminently worthy of your time.<br />
Second Sight have also included a reversible poster with new and original artwork, and the disc and booklet<br />
are housed in a rigid box featuring some rather splendid artwork by Graham Humphreys.<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-6347142588736489292020-01-09T00:45:00.000-08:002020-01-09T00:45:25.697-08:00Final Curtain. Ed Wood (1957)With "The Twilight Zone" still two years away, Ed Wood's "Portrait of Terror" series ended almost as quickly as it had begun, though the sole surviving episode<br />
is recommended for fans of Rod Serling's series.<br />
<br />
Theatres all over the world have long been associated with supernatural manifestations, with the spirits of deceased performers and patrons reputed to<br />
revisit the places that gave them great pleasure during their time on earth.<br />
The setting here is the Dome Theatre, based in an unnamed American town or city. Here, the actor (played by James "Duke" Moore") finds himself onstage in<br />
the after hours, when cast and audience have departed to the safety of their homes.<br />
The actors imagination soon begins to move into overdrive. Was the burning out of an arc lamp due to intervention from another world?<br />
Is there someone/something out there amongst the supposedly empty seats?<br />
As the actor surveys the darkened auditorium, the urge to visit every room in the building takes hold, and he ascends the spiral staircase in the witching hour.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK3bDA2gN21RMIDXwtbpk9cBnOcQR0FMs4a44HGEq-r2c0vnIyJ7Jl6gHTqkkK4mMFahEwNN2YSBjE-ggWXUQNFgnqW7J-reIv0ESdVIfEF_-ojJRKdeVRMd-2bcGcaIY7nDWA3EB7k4so/s1600/download+%252838%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK3bDA2gN21RMIDXwtbpk9cBnOcQR0FMs4a44HGEq-r2c0vnIyJ7Jl6gHTqkkK4mMFahEwNN2YSBjE-ggWXUQNFgnqW7J-reIv0ESdVIfEF_-ojJRKdeVRMd-2bcGcaIY7nDWA3EB7k4so/s320/download+%252838%2529.jpg" width="320" height="240" data-original-width="259" data-original-height="194" /></a></div><br />
Of course, Dudley Manlove's narration some 'wonderful' Woodsian dialogue: " A night I had looked forward to with fear" is one such gem, and the familiar reliance<br />
of stock footage; the camera lingering for too long on shots of no great import and Moore's short bursts of overacting remind us that this is an Ed Wood production we're watching.<br />
Still, this 22 minute short really got under my skin at times, as Moore - who overall delivers an acceptable performance, wanders through the theatre en route<br />
to the final room that may contain a true portrait of terror.<br />
Credit must go to director of photography William C. Thompson for creating a truly unsettling point of view, and to Jenny Steven's whose involvement gels on <br />
repeated viewings.<br />
<br />
It's a real shame that the intended series never happened, but full marks to one Jonathan Harris who purchased "Final Curtain" from a collector,<br />
thus ensuring it received its 15 minutes of fame.<br />
"Final Curtain" is currently available to view on youtube, and well worth a view for Woodites and for those who enjoy a journey into fear, uneven as it is.Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-4536307204467211282019-02-12T07:02:00.000-08:002019-02-12T07:02:59.811-08:00Blu-ray Review: World On A Wire (Second Sight)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYy313xXsH7WklOCHqsdo0_sL2wOGg4gmNNgI1ya44FS20VnglWoKM_CQpYWoY6XxGJw3839-4ezlQH9jn83VeFIDq-vWpjttTkJoTRnepjVH1mWhZVfOyW3AnrJIPnHy2iL2cYoi8sj6h/s1600/Welt_Am_Draht_poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYy313xXsH7WklOCHqsdo0_sL2wOGg4gmNNgI1ya44FS20VnglWoKM_CQpYWoY6XxGJw3839-4ezlQH9jn83VeFIDq-vWpjttTkJoTRnepjVH1mWhZVfOyW3AnrJIPnHy2iL2cYoi8sj6h/s400/Welt_Am_Draht_poster.jpg" width="283" height="400" data-original-width="248" data-original-height="351" /></a></div><br />
Based on the novel "Similacrum-3" by Daniel F. Galouye, Rainer Werner Fassbinder's "World On A Wire" was broadcast in 1973 by German TV company WDR, in two episodes.<br />
This groundbreaking production anticipated the likes of "Blade Runner", "The Matrix" and Cronenberg's "eXistenZ" to push the envelope in the Sci-Fi genre.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyQED3wUrxfLUP7QXm93Xg78r2nFf-P48EXxZdRIF2VYd7fs66Ca8Oj5NSHIRoinAyXdWz8yfXhhn5DX7pxOhXAXzS60p4GTKpUlIoeV8cjsQvgSwOC2ht_J7FsXMiKKdimBqD8C97kqcg/s1600/images+%25284%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyQED3wUrxfLUP7QXm93Xg78r2nFf-P48EXxZdRIF2VYd7fs66Ca8Oj5NSHIRoinAyXdWz8yfXhhn5DX7pxOhXAXzS60p4GTKpUlIoeV8cjsQvgSwOC2ht_J7FsXMiKKdimBqD8C97kqcg/s320/images+%25284%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div>"World On A Wire" concerns a super computer that's being developed by the IKZ company. This computer is partly an electronic simulation machine that creates<br />
an artificial miniature world, populated by over 9,000 units or 'people'. A giant steel corporation discovers this computer can also study and predict consumer<br />
habits and demands for a 20 year period, and takes an active interest in development.<br />
Fred Stiller (Klaus Lowitsch) is assigned to debug the software after Professor Henri Vollmer (Adrian Hoven) dies in mysterious circumstances.<br />
When IKZA chief of security Gunther Lause (Ivan Desmy) literally vanishes into thin air, Stiller finds himself in a shadowy world where people are a bundle<br />
of electrical circuits, and private interests dominate.<br />
The introduction of Vollmer's daughter, Eva (Mascha Rabben); an Achilles and the Tortoise drawing; the name of Christopher Nobody and a parallel world<br />
that may or may not be the 'real' one all add to a thoroughly absorbing 204 minutes.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2IJS9SSX3OPn75bmPXFntDb6gGNVDaAnZ-FLI1J0pjVgS3LkEpLyHyaUJNjEYrvjD_Slj23gok2AHUfOzRsdrWR0nqitTTAqfZgZW2r2vcbAnvFMPc62ZcugbbSciFSiQ5qRtQLBn0R21/s1600/download+%25286%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2IJS9SSX3OPn75bmPXFntDb6gGNVDaAnZ-FLI1J0pjVgS3LkEpLyHyaUJNjEYrvjD_Slj23gok2AHUfOzRsdrWR0nqitTTAqfZgZW2r2vcbAnvFMPc62ZcugbbSciFSiQ5qRtQLBn0R21/s320/download+%25286%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div><br />
The general theme of alienation in what may be an artificial world is well conveyed by a marvellous cast who include Barbara Valentin, Margit Carstensen,<br />
Gottfried John, Kurt Raab, Uli Lommel, Ingrid Caven and Eddie Constantine, while the set designs with banks of TV screens and mirrors, which acknowledge and reflect the two<br />
worlds are major parts of a production that was indeed way ahead of its time.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLy23d-roOOj6akn3pjtSC9jxIZz4uZvgkbRNRN0yPrwOaagwKBOtplq4Px4BWBeX2VTWzMhNrNIQq5TUEJF6bYkY_o4XC3Wnc6DrgJ2Gj2RwZQhvdxvxXPPipS9EifXAlZeLLZXtOatI0/s1600/download+%25284%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLy23d-roOOj6akn3pjtSC9jxIZz4uZvgkbRNRN0yPrwOaagwKBOtplq4Px4BWBeX2VTWzMhNrNIQq5TUEJF6bYkY_o4XC3Wnc6DrgJ2Gj2RwZQhvdxvxXPPipS9EifXAlZeLLZXtOatI0/s400/download+%25284%2529.jpg" width="308" height="400" data-original-width="197" data-original-height="256" /></a></div>Second Sight's 2 disc Blu-ray presentation sees "World On A Wire" make its UK Home Video debut. The main feature is split over the 2 discs, and image quality<br />
is good with well managed grain and plenty of detail.<br />
The supplementary features being with "Looking Ahead To Today" (48m 31s) by Juliane Lorenz.<br />
This documentary takes a look at how Fassbinder and crew depicted the future; how the TV production deal was realised; Fassbinder's attitude towards<br />
location shooting and how the cast reacted to his ideas.<br />
With valuable contributions from cinematographer Michael Ballhaus, this is a stimulating work that adds further weight to its subject matter.<br />
<br />
Observing Fassbinder (7m 44s)<br />
This is a short tribute to photographer Peter Gauhe who was stills photographer on 15 of Fassbinder's projects.<br />
Peter is sadly in the early stages of dementia, but recalls how he started in the industry and learned his craft, and also discusses his relationship with the director<br />
and his own acting roles.<br />
<br />
On-Set Featurette (4m 19s)<br />
Fassbinder talks about his TV series and how he got to grips with translating the book.<br />
<br />
No Strings Attached: Renate Leiffer On Fassbinder (29m 15s)<br />
Here, Renate talks about her work as an on-set translator; her relationship with the director and exactly what working with WDR meant to them.<br />
<br />
Original TV Recap (4m 32s)<br />
A general recap of key events in this production.<br />
<br />
The Simulation Argument by Nick Bostrom (22m 38s)<br />
Nick Bostrom from the Future of Humanity Institute at the university of Oxford presents a fascinating talk about simulation civilisations, concerning the future and our place in the world, and how he became interested in the argument.<br />
<br />
"World On A Wire" will be released by Second Sight on 18th February, in rigid slipcase packaging.<br />
As an extra special bonus, there's a 50 page perfect-bound booklet (which I haven't seen) featuring new essays from Anton Bitel and Daniel Bird, archival writing<br />
by Daniel Oberhaus and Christian Braad Thomsen and rare on-set photos by Peter Gauhe.<br />
We are lucky enough to have some of the world's finest boutique labels here in the UK, and releases like this confirm we have never had it so good when it comes to the cream of World Cinema in our own homes.<br />
<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-51178797598655667172018-12-16T05:40:00.000-08:002018-12-16T05:40:23.049-08:00Blu-ray Review: When A Stranger Calls/When A Stranger Calls Back (Second Sight)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0ImwvE_Uw-pG69bO2ABRpMgoAY1hI_HDAmkBif4NUBZd2XYUOoqzUrLEa5aiVOmpL4UXuTNt95WsZOGWXFy36-TiEt2VLq1ffIxUO777W2cZ53X-Hp0qoPms9dKQae11fyFZz5z1u6dxu/s1600/220px-Whenastrangercallsoriginal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0ImwvE_Uw-pG69bO2ABRpMgoAY1hI_HDAmkBif4NUBZd2XYUOoqzUrLEa5aiVOmpL4UXuTNt95WsZOGWXFy36-TiEt2VLq1ffIxUO777W2cZ53X-Hp0qoPms9dKQae11fyFZz5z1u6dxu/s400/220px-Whenastrangercallsoriginal.jpg" width="267" height="400" data-original-width="220" data-original-height="330" /></a></div><br />
For me, the 1970s was a magical period for the movies. There were so many films possessing a certain aura which has lingered down the years.<br />
Made in 1979, Fred Walters' "When A Stranger Calls" is often compared to "Black Christmas" and John Carpenter's "Halloween", yet brings its own style and substance to the<br />
table. Almost 40 years on, it's ripe for rediscovery.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFvE-S_9JY7IRSosKQBcQSdk9G42KxoDbhdpJhJrrsqSY9SdpFuB5-Wh9u4YLvOrSb9s8k2eWSC1-rDEuD5HHwaiCXCpaTw3g52FttHyc5c9pdY0tJ8XvHXdk_BM0ySODaIxBnbgeqPsRH/s1600/images+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFvE-S_9JY7IRSosKQBcQSdk9G42KxoDbhdpJhJrrsqSY9SdpFuB5-Wh9u4YLvOrSb9s8k2eWSC1-rDEuD5HHwaiCXCpaTw3g52FttHyc5c9pdY0tJ8XvHXdk_BM0ySODaIxBnbgeqPsRH/s320/images+%25281%2529.jpg" width="320" height="240" data-original-width="259" data-original-height="194" /></a></div>Jill Johnson (Carol Kane) arrives for babysitting duties at the Mandrakis house, charged with looking after two young children while <br />
their parents enjoy an evening out.<br />
Following a series of anonymous phone calls - "Have you checked the children?" - Jill becomes convinced that someone is watching her every move.<br />
When the phantom caller declares he wants her blood all over him, the stage is set for a grisly discovery.<br />
Police involvement determined the calls were coming from inside the house, further upping the ante in this terrifying case.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVRnBY62675UQXDEE5ySE5F0lbfDxJQywOPW6Z-9X2FcGpTznWMhll6E8C5TLIE1rDsihm5Yw4xp918gd0Z2WUbldGK87g5BWouVMzbsgfIA2YjbKivnMQduj9osXsuqxHrYpZXZGmsq4D/s1600/download+%252820%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVRnBY62675UQXDEE5ySE5F0lbfDxJQywOPW6Z-9X2FcGpTznWMhll6E8C5TLIE1rDsihm5Yw4xp918gd0Z2WUbldGK87g5BWouVMzbsgfIA2YjbKivnMQduj9osXsuqxHrYpZXZGmsq4D/s320/download+%252820%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div>We then move forward 7 years to a time when Jill herself is a parent and soon to become embroiled in a similar case, as a killer escapes from an asylum and <br />
targets her own family.<br />
<br />
With some fine supporting turns from Charles Durning, Tom Beckley, Colleen Dewhurst and Rachel Roberts, "When A Stranger Calls" boasts an overwhelming sense of<br />
isloation and dread, driven by Dan Kaproff's ominous score.<br />
The film was beautifully shot by DOP Don Peterman who captures that unerring sense of unease when darkness falls and tensions are amplified tenfold.<br />
There are levles of suspense, too, that occur outside the Mandrakis abode: check out the pulse-pounding chase at a homeless shelter as the killer<br />
strives to elude cop turned private investigator John Clifford (Durning) in a gripping game of cat and mouse.<br />
It's testament to Fred Walton and his crew that their film still stands up today as a model of how to keep your audience on edge throughout.<br />
<br />
When A Stranger Calls Back (1993)<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyERF0CxHvxCaka7Js-jwvh5nxbsWC0aM9qkgu8BI8pm9ugLabyK-_yEh8UJ5mE8-sI9mH4lz6paNU_GrpyC8LdfsmvFmK7yqEq1yFHmlO6w3VN37lJMB9Zw9xtyRGLZA_APm6wMbYBwg1/s1600/250px-When_A_Stranger_Calls_Back.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyERF0CxHvxCaka7Js-jwvh5nxbsWC0aM9qkgu8BI8pm9ugLabyK-_yEh8UJ5mE8-sI9mH4lz6paNU_GrpyC8LdfsmvFmK7yqEq1yFHmlO6w3VN37lJMB9Zw9xtyRGLZA_APm6wMbYBwg1/s400/250px-When_A_Stranger_Calls_Back.jpg" width="295" height="400" data-original-width="250" data-original-height="339" /></a></div><br />
Julia Jenz (Jill Scholen) is harassed during her babysitting stint by a stranger who claims his car has broken down.<br />
Sensibly, she refuses to let him in to use the phone and tries to phone a repair firm herself.<br />
With the phone line dead, Julia claims to have been in touch with the company, promising help will arrive within the hour.<br />
As time ticks away, the man returns, demanding to call the repair firm himself and tensions rise leading to the abduction of two children.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0-F0v_w0_jCFb3cJzoUnKvEq6n1-uOVfZv_nNyp_sGOuyv1yjsPMsqRtsLnCmWlVHr500bvUn8P0ym6mnmHFz5vAssE1THfNLL2r_2_LQR2HCd8GBZs0QQNAPt8MYUa7vyRwJbzXiDyBl/s1600/download+%252822%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0-F0v_w0_jCFb3cJzoUnKvEq6n1-uOVfZv_nNyp_sGOuyv1yjsPMsqRtsLnCmWlVHr500bvUn8P0ym6mnmHFz5vAssE1THfNLL2r_2_LQR2HCd8GBZs0QQNAPt8MYUa7vyRwJbzXiDyBl/s320/download+%252822%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div>5 years later, Charles Durning's John Clifford character resurfaces when Jill Johnson (Carol Kane) - now with a family of her own - is traumatised<br />
by a phone call at a restaurant where she is enjoying a night out. <br />
Clifford once again uses years of experience on the force to identify the shadowy predator who has a wholly unique way of delivering pure evil<br />
inside the four walls of home. What should be the ultimate refuge.<br />
I won't give the game away with regard to the reveal, but will guarantee your jaw will hit the floor!<br />
With another wonderfully atmospheric score from Dana Kaproff, "When A Stranger Calls Back" is everything and more that a sequel could be, signing off<br />
a double-bill that has real replay value.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwSbvKjyg4bqdoTc-Bi_HoPYBE0dRB3eF0JcyeiiWWVA5k4TLOVN6hSbMa9PMZ2oHOFXQZcwjU-F05SAluX4OWR29nD9Kve2MLtMViOCJu_nfOeF9tAVVQmxMMJOD95BWp9RQ0NmmAPa9u/s1600/download+%252818%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwSbvKjyg4bqdoTc-Bi_HoPYBE0dRB3eF0JcyeiiWWVA5k4TLOVN6hSbMa9PMZ2oHOFXQZcwjU-F05SAluX4OWR29nD9Kve2MLtMViOCJu_nfOeF9tAVVQmxMMJOD95BWp9RQ0NmmAPa9u/s400/download+%252818%2529.jpg" width="302" height="400" data-original-width="195" data-original-height="258" /></a></div><br />
The supplementary features begin with "The Sitter" (21m 22s).<br />
This is the original, rarely seen short film which provided the basis for Walton's feature.<br />
While it didn't go down too well with certain movie execs, it's a fascinating watch, using ingenuity and imagination that would really blossom a little later.<br />
<br />
Directing A Stranger. An interview with director Fred Walton (16m 35s)<br />
Fred reveals the idea for his film came from a newspaper article; talks about Kane, Durning, Colleen Dewhurst mand other cast members, explaining he tends<br />
to leave actors alone and allow them to find their own levels.<br />
He admits he doesn't like to revisit his work, and also praises DOP Don Peterson.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lNDN1gQn6njXptj5X0Si19RkGy9OvEHQCIKAIu5m9JVa25_GS9Lp3TyF69lDayoKyAWxpHAUofM7XohmXRMYWka-7-_e3X9J6J4dLBdQP1jVISK3ynom5vrHuaOyHBi6Vj7X1h_l-IhM/s1600/download+%252823%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lNDN1gQn6njXptj5X0Si19RkGy9OvEHQCIKAIu5m9JVa25_GS9Lp3TyF69lDayoKyAWxpHAUofM7XohmXRMYWka-7-_e3X9J6J4dLBdQP1jVISK3ynom5vrHuaOyHBi6Vj7X1h_l-IhM/s320/download+%252823%2529.jpg" width="269" height="320" data-original-width="206" data-original-height="245" /></a></div><br />
Carol Kane on When A Stranger Calls (17m 25s)<br />
Carol reveals how she got the part; explains why she chose not to view "The Sitter"; talks about the humanity of the characters<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJI1kzw06AcRxu6w8Ny0bidV-42A-q-4qe6D5u0jMutpQgKP9qlGStET52tzCN1sIJevbfve32suaI4ddwiB99Cyzqurd7GHEgsaH3pLMZERft9Yv1b1vgehyphenhyphen84-W5IyKwVmsMzJWlJ1Yf/s1600/download+%252824%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJI1kzw06AcRxu6w8Ny0bidV-42A-q-4qe6D5u0jMutpQgKP9qlGStET52tzCN1sIJevbfve32suaI4ddwiB99Cyzqurd7GHEgsaH3pLMZERft9Yv1b1vgehyphenhyphen84-W5IyKwVmsMzJWlJ1Yf/s320/download+%252824%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div>and how her character changes in the sequel. It's a real delight to see this beautiful lady holding forth on these things and a nice addition to the package.<br />
<br />
Rutanya Alda On When A Stranger Calls (5m 18s)<br />
Rutanya (Mrs Mandrakis in the first film) talks about her career - including "Greetings", "Hi Mom" and "Rocky II" - the learning curve in acting,<br />
and how she got the part in Stranger.<br />
<br />
Scoring A Stranger: an interview with composer Dana Kaproff (7m 47s)<br />
Dan talks about his background; his famous mentor; composing the music for both films, and likens his scores to a character in the films.<br />
<br />
Second Sight's Blu-ray presentation from a brand new scan looks fabulous, and the package is nice rounded off with a CD soundtrack and a 40 page booklet.<br />
Please note: Second Sight really have listened to their customers, and have made this disc Region Free.<br />
<br />
"When A Stranger Calls" is released 17th December and is highly recommended for fans of the cinema of unease.<br />
<br />
<br />
<br />
<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-34086681380101217612018-09-30T05:34:00.000-07:002018-09-30T05:34:10.235-07:00Juliet of the Spirits (Cult Films)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUiZTICbikPep3g51cvnwudccGUc322ubXiJZshGTEmJD7uFQbIHF8rjWQ6LL-qi_6xGI9JbwtcAl06-NkVJbUXrjDp3To__lNIawaEh7pvdk3tuLUtdFbREV4XWtfiog-qUbib5dR6hKI/s1600/juliet-of-the-spirits-giulietta-degli-spiriti-vintage-movie-poster-original-1-sheet-27x41-7707.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUiZTICbikPep3g51cvnwudccGUc322ubXiJZshGTEmJD7uFQbIHF8rjWQ6LL-qi_6xGI9JbwtcAl06-NkVJbUXrjDp3To__lNIawaEh7pvdk3tuLUtdFbREV4XWtfiog-qUbib5dR6hKI/s400/juliet-of-the-spirits-giulietta-degli-spiriti-vintage-movie-poster-original-1-sheet-27x41-7707.jpg" width="268" height="400" data-original-width="1072" data-original-height="1600" /></a></div><br />
Fellini's 1st full-length feature film originally came to my attention via a big screen presentation at Derby Film Festival, many moons ago.<br />
"Juliet of the Spirits" certainly left its mark on me.<br />
The titular character here is played by Giulietta Masina (Fellini's wife) who takes the role of a repressed housewife.<br />
Juliet suspects her husband Giorgio (Mario Pisu) is being unfaithful, and takes steps to discover whether her fears are correct.<br />
Following a wonderfully over-the-top consultation with a renowned psychic, Juliet enters a parallel world of the spirits, unleashing an array<br />
of colourful creations that light up the screen during their time with us.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOY8WfR8IzbIE3YyhzI3idSa9vfrfRVz8DdPbbYedqkPE0PM3ZPSVFImWst7gKXpYxIA81Uipyrssm_6dfY_89h3nrUQPVjT2CNxBd1mb6hC9Im25fPzSJcLFTc2cnT0B-kiHzwmom1cuh/s1600/download+%252821%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOY8WfR8IzbIE3YyhzI3idSa9vfrfRVz8DdPbbYedqkPE0PM3ZPSVFImWst7gKXpYxIA81Uipyrssm_6dfY_89h3nrUQPVjT2CNxBd1mb6hC9Im25fPzSJcLFTc2cnT0B-kiHzwmom1cuh/s320/download+%252821%2529.jpg" width="320" height="294" data-original-width="234" data-original-height="215" /></a></div>This dreamlike world reflects the director's fascination with our experiences beyond the walls of sleep, coupled with his active interest in the occult and the afterlife.<br />
It all makes for an enticing cocktail that's made even more potent by the presence of Suzi (Sandra Milo). Juliet's sexually liberated neighbour is the polar opposite of<br />
this timid woman who ultimately seeks to break free from her shackles and finally live.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLf4BF0f0_QL4kG6tYialPl_dsZ-ziVAy8SS8kayGR1AI09RQsGRLff9MGba1c4yMiym_7PjEpA4tl_TuXIAZwpQ7ney1uO7v5gAjY19RzVyaeYvOo7nnVMI5uUuqMD8Z8VLSInBnj0E0-/s1600/bcd8c294d7d1fb0c19b63b1e5525fb34.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLf4BF0f0_QL4kG6tYialPl_dsZ-ziVAy8SS8kayGR1AI09RQsGRLff9MGba1c4yMiym_7PjEpA4tl_TuXIAZwpQ7ney1uO7v5gAjY19RzVyaeYvOo7nnVMI5uUuqMD8Z8VLSInBnj0E0-/s320/bcd8c294d7d1fb0c19b63b1e5525fb34.jpg" width="320" height="172" data-original-width="720" data-original-height="387" /></a></div><br />
"Juliet of the Spirits" succeeds in its brief to really get into the heart and soul of a woman, thanks to Fellini's inspired direction and a wonderful performance from Masina.<br />
Juliet won the Golden Globe for Best Foreign Language Film in 1966, and its reputation has endured for more than 5 decades in the annals of World Cinema.<br />
Now, this landmark film is available on Blu-ray for home viewing from Cult Films, via a 1080i presentation.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp8S2x-hJIydDOfOoF5rUfKBdYgreEaiYc502Jzs47KhuD0zItMXwB_nch-HYiFw7bqZSqoZnvjavdtBcfSU_l2eRzurYctLd_-K3P6DcoRR9f-W0Ob_cgSt9iVudfDraYSbTXgwjI8mAE/s1600/download+%252818%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp8S2x-hJIydDOfOoF5rUfKBdYgreEaiYc502Jzs47KhuD0zItMXwB_nch-HYiFw7bqZSqoZnvjavdtBcfSU_l2eRzurYctLd_-K3P6DcoRR9f-W0Ob_cgSt9iVudfDraYSbTXgwjI8mAE/s400/download+%252818%2529.jpg" width="320" height="400" data-original-width="201" data-original-height="251" /></a></div><br />
There are two commissioned extras on this disc. The first is an understanding Fellini commentary track from the excellent Kat Ellinger, who adds another triumph<br />
to an already impressive catalogue of commentaries, video essays and writing.<br />
Kat's track greatly increases our appreciation and understanding of this film, and also of Fellini's other work.<br />
She examines the director's conflict between the sacred and the profane; discusses the Jungian aspects of the film, and succeeds in her intention to help us better understand this great director.<br />
The other specially commissioned extra is a new video essay from author, critic and Oxford professor Guido Bonsaver.<br />
'Dazzling Spirit' runs for 14m 36s and examines the three important elements to the film, and also takes in the director's interest in the occult.It's a fine essay and increases our appreciation of what was accomplished here.<br />
<br />
"Juliet of the Spirits" is out now in a dual format Blu-ray and DVD release and is also available on digital platforms.Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-74676129699517133782018-09-07T05:36:00.002-07:002018-09-07T05:44:42.146-07:00Blu-ray Review: D.O.A. A Right of Passage (Second Sight)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinI6DnHxLeHP01BblBYCOefs71jCMqWa8mdvBxceQRYxlw7hJtZeMnIGkFuLWJ8zAWMG-bMCUOZTZcwF5XRcEhgoJ89MEfYh_IZakD8bcRRBl3-cmvNddlS97Q2859vCX5Fywicw-Z0jOK/s1600/doa-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinI6DnHxLeHP01BblBYCOefs71jCMqWa8mdvBxceQRYxlw7hJtZeMnIGkFuLWJ8zAWMG-bMCUOZTZcwF5XRcEhgoJ89MEfYh_IZakD8bcRRBl3-cmvNddlS97Q2859vCX5Fywicw-Z0jOK/s400/doa-poster.jpg" width="394" height="400" data-original-width="1290" data-original-height="1311" /></a></div><br />
"The world is yours for a season"<br />
Oscar Wilde<br />
<br />
I started going to music gigs in the Autumn of 1976, taking in the likes of Budgie, Man, Curved Air and Steve Hillage.<br />
Truth is, I was bored and didn't know it. Then, the Punk Rock explosion took place, which saw one of the most exciting musical revolutions ever.<br />
<br />
D.O.A. A Right of Passage offers fascinating insight on both sides of the channel, following the Sex Pistols' infamous tour of America, while also<br />
keeping tabs on what was happening in the UK.<br />
The end result is a must for those who were there at the time, and for anyone who wonders what all the fuss was about.<br />
Both sides of the fence are well catered for here, with fan interviews before and after gigs - some positive, some negative - while the odious<br />
chain-smoking Bernard Brooke Partridge and Mary Whitehouse do what they did best, attacking anything they didn't understand.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg857YJNj9P01JyFTwVLkvW0UOdDTJZXvEOhIge39Dpawz2j-scJDln_XGu8Qccd9wPPW0oe_gycOaGYio-i0QQQu3A-sr3MoFdKw-FSuQ0QU2u4gT8g7gI-dZPwgBy8T_q30S8xJ_EJG7I/s1600/Sexpistols.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg857YJNj9P01JyFTwVLkvW0UOdDTJZXvEOhIge39Dpawz2j-scJDln_XGu8Qccd9wPPW0oe_gycOaGYio-i0QQQu3A-sr3MoFdKw-FSuQ0QU2u4gT8g7gI-dZPwgBy8T_q30S8xJ_EJG7I/s320/Sexpistols.jpg" width="320" height="221" data-original-width="320" data-original-height="221" /></a></div>There is coverage given to other worthy bands - with footage of Generation X, Sham 69, X Ray Spex and The Rich Kids - but this is the Pistols' show,<br />
and their glorious wall of sound hits home with live footage of the likes of "Anarchy In The UK", "EMI" and "Holidays In The Sun".<br />
The band played seven dates in the USA, culminating in that final gig at Winterland, San Francisco when the band trudged off, leaving us with one of the finest debut albums ever recorded.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Kk9GbIUF4pwkFB39it2WIkmHFHTtEMnldm_D7L-86ClO5GIc0QMvVVQqsOoqK1zBEc5AJeH4QR_gQ0o83NnbvdSeW6Fn08zCK1M9MGhghnR620t6tPeH3aIqrjkShfhHJ1FmstiC6n2d/s1600/SPWinterland.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Kk9GbIUF4pwkFB39it2WIkmHFHTtEMnldm_D7L-86ClO5GIc0QMvVVQqsOoqK1zBEc5AJeH4QR_gQ0o83NnbvdSeW6Fn08zCK1M9MGhghnR620t6tPeH3aIqrjkShfhHJ1FmstiC6n2d/s320/SPWinterland.jpg" width="320" height="187" data-original-width="469" data-original-height="274" /></a></div><br />
Lech Kowalski's documentary really does get under the skin of Punk, with this movement's DIY attitude of making something out of nothing, uncovering<br />
the state of things for an army of participants who felt let down by a system designed to bring them down. Witness Terry Sylvester - a working class lad<br />
who tells it like it was before taking the microphone to front his own band, Terry and The Idiots.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrSZDIYur1ELNHxFA3CTdT5e01zjz9mq8W-RFQvtaQmCSJ20WQ37EANHpBqSeYkTgnEVXKiaK1JkYjF7G8kCko15cRDZXNJFzeKViE8ZnKCuhqflPVxNCnUduiG56wln1etAG3OrV9c2kj/s1600/358A87AF00000578-0-image-a-18_1466589613840.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrSZDIYur1ELNHxFA3CTdT5e01zjz9mq8W-RFQvtaQmCSJ20WQ37EANHpBqSeYkTgnEVXKiaK1JkYjF7G8kCko15cRDZXNJFzeKViE8ZnKCuhqflPVxNCnUduiG56wln1etAG3OrV9c2kj/s320/358A87AF00000578-0-image-a-18_1466589613840.jpg" width="320" height="205" data-original-width="962" data-original-height="616" /></a></div>There are some wonderful stories and anecdotes from the contributors here, who provides articulate insight into what went down and why, within a true example of guerrilla film-making.<br />
Of course, the concert hall footage is alone worth the price of the disc, with Lydon showing he's one of the very best live performers, being utterly mesmeric.<br />
I'd seen Joe Strummer, Iggy, Lux Interior, Patti Smith, Ari from The Slits, Siouxsie and Ian Curtis and Lydon can be added to anyone's list of fromtmen.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNddaMr8Iz2TljCCyTNIY8JiVKDYyO4BaeKYS88V8zbce4Fmy3gjQvVv9JbCJfaJvnMWrSB14otFItbLuvo_gF5b8RVFn5PeQLGpdrcR-rkRmscnUrs-O9rkzJm4NTcXqka0QDCP5WxCkR/s1600/download+%252815%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNddaMr8Iz2TljCCyTNIY8JiVKDYyO4BaeKYS88V8zbce4Fmy3gjQvVv9JbCJfaJvnMWrSB14otFItbLuvo_gF5b8RVFn5PeQLGpdrcR-rkRmscnUrs-O9rkzJm4NTcXqka0QDCP5WxCkR/s320/download+%252815%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div><br />
Another 30 years from now and the number of people who were present and incorrect during Punk's Golden Years will be vastly diminished. That's one of the reasons<br />
documentaries such as this are so terribly important, turning the spotlight onto an age When We Were Kings.<br />
<br />
The special features on this Blu-ray disc (which also includes a DVD) being with "Dead On Arrival: The Punk Documentary That Almost Never Was" (1 hr 55 mins 20s)<br />
Here, we are privy to the recollections and opinions of key players in this story.<br />
John Holmstrom (founder of Punk magazine); photographer Roberta Bayley; co-director and journalist Chris Salewicz; Pistols historian Mick O'shea; Midge Ure and many others, including Malcolm Maclaren. We hear about the origins of Punk with New York Dolls and Iggy namechecked (Roberta talks about being on the door at CBGB's); how the film ran into financial difficulties; why the crew were banned from filming at gigs, and there's valuable input from photographer Rufus Standefer. The Sid and Nancy infamous bed interview<br />
is also included.<br />
Nice to see Lamar St. John pop up, too, being the girl on the ground in the main feature, and still vital after all these years.<br />
This generous making-off doc with a wealth of nostalgic footage gives considerable added value to an already worthy disc.<br />
<br />
DOA A Punk Post Mortem (27m 8s) .<br />
Chris Salewicz talks about the documentary and certain individuals, recalling the Sid and Nancy interview; the part played by Tom Forcade of High Times magazine and<br />
looks at what Punk meant and continues to mean.<br />
I struggle to think of anyone better than Chris to tell this story, which continues to resonate over 40 years on.<br />
D.O.A. A Right of Passage will be released on the Second Sight label on 10th September. Image quality on this high definition presentation is strong,<br />
and there's also a limited edition booklet in the package, written by Punk aficianado Tim Murray with additional article by Phelim O'Neill. The booklet is limited to the first 2000 copies, so hurry!Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-17576022519877843312018-08-18T09:20:00.002-07:002018-08-18T09:20:56.491-07:00Blu-ray Review: The Changeling (Second Sight)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaYMvbuatzW2XlPIhYvVYXU7f1Zq6YZrBaAlSYASxePcJ1e1EY6UThnaPrWR4I28rESA6uPP4BLJDzPLNtfN4CCOqQ5IEkXF90heJo-gBS7DnbpPB1FyPIYnT5adMl0dolNyBb9JPbxv08/s1600/a18c34429ae0bedbb06ebc3fe0d83806--retro-horror-film-school.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaYMvbuatzW2XlPIhYvVYXU7f1Zq6YZrBaAlSYASxePcJ1e1EY6UThnaPrWR4I28rESA6uPP4BLJDzPLNtfN4CCOqQ5IEkXF90heJo-gBS7DnbpPB1FyPIYnT5adMl0dolNyBb9JPbxv08/s400/a18c34429ae0bedbb06ebc3fe0d83806--retro-horror-film-school.jpg" width="300" height="400" data-original-width="236" data-original-height="315" /></a></div><br />
Compile a list of big and small-screen superior spookers, and the usual suspects inevitably come out to play: the BBC's Christmas ghost stories, The Haunting,<br />
The Innocents, The Legend of Hell House, The Stone Tape, Bava's Kill, Baby...Kill!.....another solid addition would be Peter Medak's The Changeling.<br />
My own association with this film dates back to the opening weekend of its theatrical release when I was lucky enough to attend a screening at a cinema<br />
in London's Tottenham Court Road.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia1-rV8GkGBAo_E_nIYvEvOwOpOwRCYMwuR21C6lGUiDeBWzUPifBpB7_HntLa0Fe26sTPfPkVWbnILTc5aJVytDOkxXCROhNJG1zASeoPDqxGFLevpBkgZ6T8tgBei5iBGtV2gY10rO9S/s1600/MV5BMGQ0OTM0ZjYtZjBkYi00NGQzLTg1NWEtNWNiZmFiNzM2NTM0L2ltYWdlXkEyXkFqcGdeQXVyMTEzNzczMA%2540%2540._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia1-rV8GkGBAo_E_nIYvEvOwOpOwRCYMwuR21C6lGUiDeBWzUPifBpB7_HntLa0Fe26sTPfPkVWbnILTc5aJVytDOkxXCROhNJG1zASeoPDqxGFLevpBkgZ6T8tgBei5iBGtV2gY10rO9S/s320/MV5BMGQ0OTM0ZjYtZjBkYi00NGQzLTg1NWEtNWNiZmFiNzM2NTM0L2ltYWdlXkEyXkFqcGdeQXVyMTEzNzczMA%2540%2540._V1_.jpg" width="320" height="240" data-original-width="640" data-original-height="480" /></a></div><br />
"The Changeling" begins with a truly tragic scene. Composer John Russell (George C. Scott) is on vacation with his wife and young daughter when a roadside<br />
accident leaves him well and truly alone in this world.<br />
The grief-stricken Russell moves to Seattle in an attempt to rebuild his life, subsequently moving into the Chessman house, which has spent the last 12 years uninhabited... by the living, at least.<br />
<br />
Russell soon finds out why, as strange manifestations suggest the house - or something in the house - is reaching out to him.<br />
A piano that plays untouched by human hands; the ubiquitous child's ball that bounces down the stairs; a music box which plays the same tune<br />
as Russell's latest composition and - most chilling of all - a wheelchair with a mind of its own.<br />
Add to this the thoroughly unnerving banging sounds that always take place at 6.00am, and icy terrors that lie behind closed or half open doors<br />
and you have a haunted house tale par excellence.<br />
There are so many scenes that make the spine tingle and the blood run cold, including a seance that ultimately delivered far more than was<br />
initially suggested, leading Russell to investigate sinister Senator Joseph Carmichael, played by Melvyn Douglas.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUfGhup3JWkFmCKDeXPqxFspUwTPgeOnc1eWJTvTuLR8KdC7wN7znhneseg6ttNiFJu95zoZTI002uhe36p1eCQuqojXa3OM62jnO4niyEHTh2QD45C6HnjfZhIFox5I1bGIJvYyXciQO7/s1600/download+%25285%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUfGhup3JWkFmCKDeXPqxFspUwTPgeOnc1eWJTvTuLR8KdC7wN7znhneseg6ttNiFJu95zoZTI002uhe36p1eCQuqojXa3OM62jnO4niyEHTh2QD45C6HnjfZhIFox5I1bGIJvYyXciQO7/s320/download+%25285%2529.jpg" width="320" height="240" data-original-width="259" data-original-height="194" /></a></div><br />
Ken Wannberg's wonderfully evocative score builds the tension nicely, while also being sensitive to the twin tragic aspects of this story. Of course,<br />
George C. Scott is also finely tuned into proceedings, delivering a pitch perfect performance as a man who has lost his family and must start again.<br />
Russell's burning desire to positively react to voices from beyond the grave and his reactions to haunted memories are beautifully conveyed by Scott<br />
in one of his most heartfelt performances.<br />
In these times of overkill and excess, the resurrection of this superbly directed film will gladden the hearts of all those who hold it in high regard,<br />
and also bring new admirers to the fold.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu6aUenaj1kyqkvhHBJsTGExyn4p8gkxKP7OHIsjbUOWpzq-i5edC4hAFU85fx7hrthcA8IffWyH0mpER_u7miWKCss0Ga2vxye44IFqsSsgMORamUNBGlZ8qUyGjQwdi8e3DTHkHXJ9Hu/s1600/download+%25286%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu6aUenaj1kyqkvhHBJsTGExyn4p8gkxKP7OHIsjbUOWpzq-i5edC4hAFU85fx7hrthcA8IffWyH0mpER_u7miWKCss0Ga2vxye44IFqsSsgMORamUNBGlZ8qUyGjQwdi8e3DTHkHXJ9Hu/s400/download+%25286%2529.jpg" width="305" height="400" data-original-width="196" data-original-height="257" /></a></div><br />
Second Sight's Blu-ray presentation unveils a 4K scan from the IP that boasts rich colours and a healthy amount of grain.<br />
The extras begin with an informative commentary track featuring Peter Medak and producer Joel B. Michaels.<br />
We hear why the film almost didn't get made; how Medak started out in the business; his stories about being on the sets of "The Haunting" and "Marnie";<br />
why the film didn't take off in America, and there are discussions about the music and sound design and warm words for Scott and Douglas.<br />
<br />
The House on Cheesman Park (17m 31s)<br />
A featurette based on the Cheesman house which was built on a giant graveyard, with between 2,000 - 5,000 bodies still buried there when production began.<br />
The Cheesman property had all the trappings: secret compartments and doorways; a bouncing ball and the diary of a young boy, making this a fascinating story.<br />
<br />
The Music of The Changeling (8m 59s)<br />
Here, composer Ken Wannberg talks about the great John Williams; the process of scoring a film and the pressures involved.<br />
<br />
Building The House of Horror (10m 56s)<br />
Art director Reuben Freed talks about building and lighting the sets; logistical problems; the budget and the passion of the crew.<br />
<br />
The Psychotronic Tourist (16m 2s)<br />
The wonderful Kier La- Janisse - author of "House of Psychotic Women" - plays host to 12 locations used in the film.<br />
We get to see how the places look today, including the scene of the roadside accident, and visit a graveyard that contains two absolute legends.<br />
<br />
Master of Horror Mick Garris on The Changeling (5m 31s)<br />
Mick explains that he loves this film for its emotion, and talks about "The Haunting" and "Don't Look Now". He also explains why "The Changeling"<br />
remains a very personal film for those of us who saw it theatrically.<br />
<br />
The package is rounded off by the original theatrical trailer (2m 18s) and a TV spot running 29s.<br />
Second Sight have also included the original soundtrack on CD and a 40 page perfect-bound booklet (which I haven't seen) containing a new essay<br />
by Kevin Lyons, original production notes and an archive on-set interview.<br />
Hugely recommended for those cold Winter evenings when shadows cast long and the imagination takes over.<br />
<br />
<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-57040222633910418122018-05-15T07:16:00.001-07:002018-05-15T07:18:42.732-07:00Space Truckers. Blu-ray. Second Sight<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipwlPVxSul54YRMiUwWpN0QmEOGV3Js8fRuX-AORRbu5p1-RPyRHUFHWlol_6_zScUkKYZerCXgqTDCzhIXgLbpKc5ydc9OnZoT-S8enaxngu2aC14aMxPEQ9FeEs4nO7nZxagwaTOHjy7/s1600/space_truckers_ibr_video_poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipwlPVxSul54YRMiUwWpN0QmEOGV3Js8fRuX-AORRbu5p1-RPyRHUFHWlol_6_zScUkKYZerCXgqTDCzhIXgLbpKc5ydc9OnZoT-S8enaxngu2aC14aMxPEQ9FeEs4nO7nZxagwaTOHjy7/s400/space_truckers_ibr_video_poster.jpg" width="292" height="400" data-original-width="500" data-original-height="685" /></a></div><br />
Stuart Gordon's 1996 Science Fiction comedy comes armed with a strong cast and a rollicking story, set in a galaxy far, far away.<br />
Dennis Hopper takes the role of John Canyon; an independent trucker who moves freight beyond the stars, in order to make a living.<br />
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)<br />
providing he can get her back to Earth for her mother's operation.<br />
Enter Nabel the creator (Charles Dance) who is responsible for the design of an army of state-of-the-art disintigrators: biochemical super warriors<br />
who will soon be bound for planet Earth in a cargo that's officially claimed to be sex dolls.<br />
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.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwMZLDfDUM2SN4IO9WUQbGtskUe2BH2Vi5vzxocSoJ2d6ht2H9ji493eWoCeSjUTfh6W_CrFtZAe8iDB8mWoUQ3CfMQU4e4vfTaG4-iDJS5EhENN3NnK4nNFHI30J2sCS7T-lzReT-Tv8F/s1600/download+%252816%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwMZLDfDUM2SN4IO9WUQbGtskUe2BH2Vi5vzxocSoJ2d6ht2H9ji493eWoCeSjUTfh6W_CrFtZAe8iDB8mWoUQ3CfMQU4e4vfTaG4-iDJS5EhENN3NnK4nNFHI30J2sCS7T-lzReT-Tv8F/s320/download+%252816%2529.jpg" width="320" height="139" data-original-width="341" data-original-height="148" /></a></div>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<br />
explosions, excitement and general mayhem to satisfy all but the most demanding viewers.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOLV1EmTgouzz3dN6DePgVq2WSQ-OImb7hiht2dgjfcnX-qPZtuLYDg5lPNksOB8OuDtRhRQwQqOAMIHYQq5tp3N6qMA5Bj4jiIo77uRlDF6UIGQ2m0Ql3b1YPKo-aqMhV7WQb5DkaqGvB/s1600/images+%252810%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOLV1EmTgouzz3dN6DePgVq2WSQ-OImb7hiht2dgjfcnX-qPZtuLYDg5lPNksOB8OuDtRhRQwQqOAMIHYQq5tp3N6qMA5Bj4jiIo77uRlDF6UIGQ2m0Ql3b1YPKo-aqMhV7WQb5DkaqGvB/s320/images+%252810%2529.jpg" width="320" height="139" data-original-width="341" data-original-height="148" /></a></div><br />
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!<br />
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,<br />
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.<br />
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<br />
Blu-ray presentation.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_bFFlj9ywhmAkKx7oyVVHCjRcwaXR0x1TL5q06RY03kQOkBkUBm1ykMqz0szPbDCRUyeSsvSnZrOvyZSx6bvbX-WXgGfAMgM-nxLsaCZfX5MWiy0KDrc2wW24rvWWzHw2vjryJvoGQrf/s1600/179324_large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_bFFlj9ywhmAkKx7oyVVHCjRcwaXR0x1TL5q06RY03kQOkBkUBm1ykMqz0szPbDCRUyeSsvSnZrOvyZSx6bvbX-WXgGfAMgM-nxLsaCZfX5MWiy0KDrc2wW24rvWWzHw2vjryJvoGQrf/s400/179324_large.jpg" width="290" height="400" data-original-width="195" data-original-height="269" /></a></div><br />
The special features begin with "Space Trucking with Stuart Gordon" (22m 53s)<br />
Here, the director talks about his early ambition to be an astronaut (shared with script writer Ted Mann), which eventually led to the creation<br />
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<br />
a stinging rebuke for his director, during filming.<br />
<br />
"The Art of Space Truckers" (8m 7s)<br />
Art director Simon Lamont breaks down his role in this production, and gives his thoughts on how the film stands up today.<br />
<br />
"Scoring Space Truckers" (12m 31s)<br />
Composer Colin Townes - the original score composer - gives a brief resume of his early career, and explains his approach to scoring the film,<br />
which benefited from his versatility.<br />
<br />
"Space Truckers" is available to buy now on the Second Sight label.Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-13521903624833469932018-05-01T01:22:00.001-07:002018-05-15T07:18:01.504-07:00Blu-ray Review: Heimat (Second Sight)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG5s1Vpc3PnIBxIjnXPmInK5NUjbLHSBARQx1pne7fEmVQRhUIKN5gn-0upQXyjB5paXz35Y4OFLXLTrYQhk53ac5-eR_gSVYNS68e-Z88DK-N6pl2sX-lZQ-NRHC2WdpCu8eV8tyiD1Xh/s1600/220px-Heimat_poster.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG5s1Vpc3PnIBxIjnXPmInK5NUjbLHSBARQx1pne7fEmVQRhUIKN5gn-0upQXyjB5paXz35Y4OFLXLTrYQhk53ac5-eR_gSVYNS68e-Z88DK-N6pl2sX-lZQ-NRHC2WdpCu8eV8tyiD1Xh/s400/220px-Heimat_poster.JPG" width="275" height="400" data-original-width="220" data-original-height="320" /></a></div><br />
"Love and suffering lie so close together"<br />
<br />
Edgar Reitz's acclaimed television drama depicts the lives of ordinary people in the Hunsrueck: a mountain range in Rhineland Palatinate, Germany,<br />
which is bordered by four rivers.<br />
Here, the fictional village of Schabbach plays host to a thoroughly engaging series of events, following village life from 1919 to 1982.<br />
The cast - comprising of over 120 speaking parts - contains some beautifully drawn characters wo win and retain our most earnest attention<br />
throughout the 889 minute running time.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx9ZM7puAn9dit1tLyA3-thhDjvT5_NPwn2iOM61unFTLC4iaIX_0X24SOxzurhdx-jqX90mOl47DA77uuSzh_h1Up2za3DIFt_piQtclIgf3pgm8_ILmNSbxZhbYh1kPtXGX1rNNUPhum/s1600/hqdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx9ZM7puAn9dit1tLyA3-thhDjvT5_NPwn2iOM61unFTLC4iaIX_0X24SOxzurhdx-jqX90mOl47DA77uuSzh_h1Up2za3DIFt_piQtclIgf3pgm8_ILmNSbxZhbYh1kPtXGX1rNNUPhum/s320/hqdefault.jpg" width="320" height="240" data-original-width="480" data-original-height="360" /></a></div>We have Maria (Marita Breuer): daughter-in-law of Mathias (the village blacksmith) and his wife, who is married to their son, Paul.<br />
The turmoil of World War One has taken its toll on Paul, who suddenly disappears, leaving Maria with her two sons, Anton and Ernst.<br />
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;<br />
Hermann grows up and finds love and, inevitably, characters dear to our hearts pass away.<br />
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,<br />
tantalisingly out of reach to cast and audience who experience some big changes down the years.<br />
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<br />
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<br />
finale, set in a place many of us have wondered about. We must hope it turns out to be like Reitz's vision.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGEDDrsvD1yBEPmO8MW5J6S9rBhst5_t_OaggLtuMyzbYQOpiRddPNVsBa1LaqScTzHAWn9s8SQdiIRv1WSQ4eoHwql08Th2kNdT2Y5pUZUJjDO7_VwMGQ3zcZkOMgShpAv6b5-27KNZLo/s1600/images+%25288%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGEDDrsvD1yBEPmO8MW5J6S9rBhst5_t_OaggLtuMyzbYQOpiRddPNVsBa1LaqScTzHAWn9s8SQdiIRv1WSQ4eoHwql08Th2kNdT2Y5pUZUJjDO7_VwMGQ3zcZkOMgShpAv6b5-27KNZLo/s320/images+%25288%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div><br />
Throughout the series, triumph and despair, economic hardship and prosperity, life and death are all captured by some gorgeous cinematrography,<br />
as Eduard's camera joins in with the recording of memories.<br />
Here luminous monochrome vies with colour. Sometimes colour is used for fleeting moments, then for longer spells. Occasionally, b/w and colour<br />
are used in the same shot: look out for the carnations dropped over the village during a homecoming flight to remember.<br />
The onset of war brings its own physical and psychological challenges, scarring those involved, yet pushing them onwards and upwards<br />
in a collective quest to create better times.<br />
Some of the scenes are heartbreakingly sad, but there are happy times enjoyed by people who work and play together down the years.<br />
Of course, this story is tinged with bitterness and regret, but it's also extremely uplifting in places,<br />
demonstrating the human spirit car soar, even through hardship.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvpaWjMG0Ve4GhCoZXBdMcNvNDh742xYHf1WEHAodWMMIQFT4GAvzf3YmweEaKMHaBW4pypWINh4YsWToyiZLqd73BDL5_NN8pzczVqjmK20xqT0acI3EL39sQFIc26-Vgr2ugqT8XA-J/s1600/hqdefault+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvpaWjMG0Ve4GhCoZXBdMcNvNDh742xYHf1WEHAodWMMIQFT4GAvzf3YmweEaKMHaBW4pypWINh4YsWToyiZLqd73BDL5_NN8pzczVqjmK20xqT0acI3EL39sQFIc26-Vgr2ugqT8XA-J/s320/hqdefault+%25281%2529.jpg" width="320" height="240" data-original-width="480" data-original-height="360" /></a></div><br />
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<br />
that will endure for many years to come.<br />
Indeed, it's the cinematic equivalent of a page-turner, sustaining interest and offering unlimited replay value.<br />
A masterpiece, no less.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGvfy6lhkmHsqU5mCvSCJMfHRpYMs1XQ-hyCZ3MB7KwVlpKRC0SMLwYsgRgwO42kpNN2AqrvjCOjgXNWx1XF893lakgcphcsXWwzh9T7OJmYgHKHhMjMjxH59zDIeZJQtcNlWUDOR8gPsL/s1600/download+%252811%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGvfy6lhkmHsqU5mCvSCJMfHRpYMs1XQ-hyCZ3MB7KwVlpKRC0SMLwYsgRgwO42kpNN2AqrvjCOjgXNWx1XF893lakgcphcsXWwzh9T7OJmYgHKHhMjMjxH59zDIeZJQtcNlWUDOR8gPsL/s400/download+%252811%2529.jpg" width="316" height="400" data-original-width="237" data-original-height="300" /></a></div><br />
Second Sight's Blu-ray presentation offers a sumptuous image, restored from the original negative by the Edgar Reitz Foundation.<br />
Here, the glorious Hunsrueck countryside comes alive during the four seasons, , whether it's the monochrome shots of Winter or the warm Autumnal glow<br />
of the surroundings. Outstanding!<br />
<br />
The extras begin with "Heimat The Hunsrueck Villages: Stories from the Film Locations" (1 hr 53m 17s)<br />
This documentary offers a comprehensive look at German village life, taking in memories of the wars; transport; slate mining and history<br />
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).<br />
<br />
"An interview with Edgar Reitz on the making of "Heimat." (38m 39s)<br />
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.<br />
He talks about his early work - which including success and failure; casting his series; how the actors grew into their roles and reminisces about<br />
the war years and growing up in a world without men.<br />
<br />
"Maria's Story: Marita Breuer on Heimat" (11m 18s)<br />
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.<br />
<br />
"An interview with Christian Reitz on the restoration of Heimat (17m 24s)<br />
Christian explains how "Heimat" was restored, with an arduous and rewarding process that repaired scratches, tears and warps to create<br />
the wonderful high definition image we have today.<br />
<br />
Showing Not Talking: Jan Harlan on Heimat (12m 16s)<br />
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.<br />
<br />
"A visual essay by Daniel Bird" ( 8m 44s)<br />
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<br />
of this series, and explored so very well here.<br />
<br />
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'<br />
by Edgar Reitz and 'Germany as Memory' by Anton Kaes.<br />
"Heimat" is avialable to buy right now, and highly recommended.Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-67138532251332113812018-01-20T06:56:00.000-08:002018-01-20T06:56:26.785-08:00Blu-ray Review: Carrie (Arrow Video)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikNeSX_wj9eeLXzLP-TPVfTkuoD1TyjnQhTx6H_yoO04OgQUzHk2R2YRWb1sTWGhWJLCyW2EhN6cU2jV8EtviZmXPoa-QTrdiTXAfEipbpzpo-Ssz4oWITE6kAWndmzD9WosJf8Nr9Jm-0/s1600/carrie-1976-movie-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikNeSX_wj9eeLXzLP-TPVfTkuoD1TyjnQhTx6H_yoO04OgQUzHk2R2YRWb1sTWGhWJLCyW2EhN6cU2jV8EtviZmXPoa-QTrdiTXAfEipbpzpo-Ssz4oWITE6kAWndmzD9WosJf8Nr9Jm-0/s400/carrie-1976-movie-poster.jpg" width="277" height="400" data-original-width="832" data-original-height="1200" /></a></div><br />
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<br />
this day and age.<br />
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<br />
who must deal with a motley crew of girls and guys.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq0PxQC2ZUUiImHlih7lxqlk3ka78IwKNL3W4zMpnGeAz32jAVHKP2-EKzWU09iiyt77TymGmkbfFmzoATjTq89JOQD_Lm4tJ5xcZ-zwKDUfHHT_VeX_VewZ78fxuQYe2qCDnrTHRrh0Lp/s1600/images.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq0PxQC2ZUUiImHlih7lxqlk3ka78IwKNL3W4zMpnGeAz32jAVHKP2-EKzWU09iiyt77TymGmkbfFmzoATjTq89JOQD_Lm4tJ5xcZ-zwKDUfHHT_VeX_VewZ78fxuQYe2qCDnrTHRrh0Lp/s320/images.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div>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.<br />
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<br />
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.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW5sG-KEMoP29j-uyEAaOh5UOKybQRal74_j12CHaCQXobguj_F_1t_vw6g3S7PYRefacCiG5OAXo4scZpMtaevGVMdE-aTZbpcB0Zke4kU5JyQGOPSlFbFRONF8l1VoHThyslnbgQBCe3/s1600/images+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW5sG-KEMoP29j-uyEAaOh5UOKybQRal74_j12CHaCQXobguj_F_1t_vw6g3S7PYRefacCiG5OAXo4scZpMtaevGVMdE-aTZbpcB0Zke4kU5JyQGOPSlFbFRONF8l1VoHThyslnbgQBCe3/s320/images+%25281%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div><br />
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<br />
to entrance the right suitor.<br />
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.<br />
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.<br />
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<br />
by the same brush.<br />
It's certainly a rip-roaring finale, leading up to that famous 'jump' moment that helps make this film such a memorable one.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbqpI2F9QHJ0qCD00M6OSwZ4dda_F3WORc4wqVi0Rf2qYTIgCxc7M4QF7oxV5UIZpUn2MTFhOfR8OLtkQhg_WFgTqo26Z2nAXGz5-96I_YCLEQy5zhTxH8K7z2XAXjFomqobFPhuWBhqOH/s1600/download+%25286%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbqpI2F9QHJ0qCD00M6OSwZ4dda_F3WORc4wqVi0Rf2qYTIgCxc7M4QF7oxV5UIZpUn2MTFhOfR8OLtkQhg_WFgTqo26Z2nAXGz5-96I_YCLEQy5zhTxH8K7z2XAXjFomqobFPhuWBhqOH/s320/download+%25286%2529.jpg" width="320" height="283" data-original-width="239" data-original-height="211" /></a></div>"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.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9kLvnWGLqmrvhZacxgAQ1Qw06yUwS2NkUJ7sfFZJ2Txqnb1R5yGTpvxTNUm3pUFo0c5i7h1z9qK2IarqZ-jQ43Jd0n3LqwtEmCvuCEWqyEmNXCnpq-1SUtwYq-jkvm9g7O5touaGUPghJ/s1600/download+%252820%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9kLvnWGLqmrvhZacxgAQ1Qw06yUwS2NkUJ7sfFZJ2Txqnb1R5yGTpvxTNUm3pUFo0c5i7h1z9qK2IarqZ-jQ43Jd0n3LqwtEmCvuCEWqyEmNXCnpq-1SUtwYq-jkvm9g7O5touaGUPghJ/s400/download+%252820%2529.jpg" width="317" height="400" data-original-width="200" data-original-height="252" /></a></div><br />
Arrow Video's Blu-ray release unveils a 4k scan that really shows off the intricate lighting with strong, stable colours.<br />
The extras begin with a commentary track from Lee Gambin and Alexandra Heller-Nicholas.<br />
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.<br />
<br />
Next up is "Acting Carrie" (42m 42s)<br />
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.<br />
Key scenes are discussed, including the prom and shower scenes.<br />
"More Acting Carrie" (20m 19s)<br />
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.<br />
"Visualising Carrie: From words to Images" (41m 33s)<br />
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.<br />
"Singing Carrie:The Musical" (6m 24s)<br />
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.<br />
"Writing Carrie" (29m 7s) 2016<br />
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.<br />
"Shooting Carrie (15m 22s) 2016<br />
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.<br />
"Cutting Carrie" (25m 9s) <br />
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.<br />
"Casting Carrie" (16m 3s)<br />
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.<br />
"Bucket of Blood" (23m 53s)<br />
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.<br />
"Horror's Hallowed Grounds" (11m 25s)<br />
A look at the film's original locations, including the pig farm and the high school playing field.<br />
"Comparing Carrie (20m 43s)<br />
A visual essay from Jonathan Bygraves comparing the 3 screen versions of "Carrie": the 1976 original, the 2002 TV film and the 2013 adaptation.<br />
Margaret White's character; the use of telekinetic powers and timelines are just some of the subjects discussed.<br />
<br />
The extras are rounded off with an alternate TV opening; photo gallery; trailer; TV spots; radio spots and a "Carrie" trailer reel.<br />
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.<br />
It's so good to see a classic film receive such reverential treatment.<br />
<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-74359245195689473982017-11-28T05:12:00.001-08:002017-11-28T05:20:11.242-08:00Blu-ray Review: Celine and Julie Go Boating (BFI)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg07FYfdhUZlaQs6klVgPA7ZE9IQd78g9EUws5y5JEKErVOqPc0n6s-Y1nj7vLF11b5WK6BbCXgEn_6BsS28svE3hYCydW8K9sskEOR2tSu_LO3us5N0zo9NCS6yVFC94ZQTrDi94HHx2-y/s1600/CELINE+UND+JULIE+FAHREN+BOOT+-+German+Poster+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg07FYfdhUZlaQs6klVgPA7ZE9IQd78g9EUws5y5JEKErVOqPc0n6s-Y1nj7vLF11b5WK6BbCXgEn_6BsS28svE3hYCydW8K9sskEOR2tSu_LO3us5N0zo9NCS6yVFC94ZQTrDi94HHx2-y/s400/CELINE+UND+JULIE+FAHREN+BOOT+-+German+Poster+%25281%2529.jpg" width="280" height="400" data-original-width="600" data-original-height="858" /></a></div><br />
"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<br />
in a parallel universe that plays out in a Jamesian inspired haunted house.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3of20GknvabjUONq-BGmHhxOebZ7DQTVIpYJ3sDYvd3OLbhXnyjiaozSj9yAaP0mcmYnUTn98vKJfctxk-amkdBytfaM-g1Psl5yoOk8YrRPw_WcEsxjuzjNGJoOdyvDEDNaO5OVjnWlW/s1600/images+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3of20GknvabjUONq-BGmHhxOebZ7DQTVIpYJ3sDYvd3OLbhXnyjiaozSj9yAaP0mcmYnUTn98vKJfctxk-amkdBytfaM-g1Psl5yoOk8YrRPw_WcEsxjuzjNGJoOdyvDEDNaO5OVjnWlW/s320/images+%25281%2529.jpg" width="320" height="248" data-original-width="255" data-original-height="198" /></a></div>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. <br />
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',<br />
with Barbet Schroeder in tow as the father of a young girl in mortal danger.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ8zSxpsHnP0q0d68w1XTVcXsXYffAcNsoWK-i5IBCL5t03FfUFJ2hIeycz7xiLOm-ErtoBbJ0WTn5C72rGx3-eFKzhL8mLrnKpBCwzGZPxF2immQ7p_LlT1LnLPtydUDviqnNryjKCTcl/s1600/images+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ8zSxpsHnP0q0d68w1XTVcXsXYffAcNsoWK-i5IBCL5t03FfUFJ2hIeycz7xiLOm-ErtoBbJ0WTn5C72rGx3-eFKzhL8mLrnKpBCwzGZPxF2immQ7p_LlT1LnLPtydUDviqnNryjKCTcl/s320/images+%25282%2529.jpg" width="320" height="222" data-original-width="270" data-original-height="187" /></a></div>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?<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1HCYPp3V9MXZTJgNTAqIxAtRj93IvKKvvfywmRPU2o5qzYoVQJknOUNBa5q-6ol7SgNoq3KtpQ4JihpaL4TZsleItbTjNPj_KsY2HCnrKYv6z2gpUciF2B57YN2Yu0kEkS0WUXNs4tYxG/s1600/images+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1HCYPp3V9MXZTJgNTAqIxAtRj93IvKKvvfywmRPU2o5qzYoVQJknOUNBa5q-6ol7SgNoq3KtpQ4JihpaL4TZsleItbTjNPj_KsY2HCnrKYv6z2gpUciF2B57YN2Yu0kEkS0WUXNs4tYxG/s320/images+%25283%2529.jpg" width="320" height="240" data-original-width="259" data-original-height="194" /></a></div><br />
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<br />
"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<br />
triggered by scenes from alternate reality.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4tyYwKnqiX09NAJv9lx9qXrgMx-UzF2v8XOmXQF32b99Zp4ww4dMy8z0OyDImP9H-hIUHcXwrBN15fYy6cpIaOH2Q2AZ1wWdB6TR_Sy-UVoQrYXmhnsraIiG1PyZ7WdedW_GL3vENuYIG/s1600/download+%252818%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4tyYwKnqiX09NAJv9lx9qXrgMx-UzF2v8XOmXQF32b99Zp4ww4dMy8z0OyDImP9H-hIUHcXwrBN15fYy6cpIaOH2Q2AZ1wWdB6TR_Sy-UVoQrYXmhnsraIiG1PyZ7WdedW_GL3vENuYIG/s320/download+%252818%2529.jpg" width="320" height="240" data-original-width="259" data-original-height="194" /></a></div>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.<br />
The end result is a 193 minute feature that fair zips by, begging repeat viewings to fully appreciate all that lies within.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUjLhHHWX6imH7IrVBpLGy4q4XhoyxvgibShx8DweMxCN9hCs_PD9p97sO_yjtEhiinan6yMQb8xTWmdFTnb5jwVSIDTGBpYT7d95V0RAvMxXim11A_zrxxPQnT_9vmOaDGTC8stdpwwqV/s1600/images+%25284%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUjLhHHWX6imH7IrVBpLGy4q4XhoyxvgibShx8DweMxCN9hCs_PD9p97sO_yjtEhiinan6yMQb8xTWmdFTnb5jwVSIDTGBpYT7d95V0RAvMxXim11A_zrxxPQnT_9vmOaDGTC8stdpwwqV/s320/images+%25284%2529.jpg" width="320" height="180" data-original-width="299" data-original-height="168" /></a></div>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<br />
for all time are just a few of the pieces in this puzzle, leading to a most haunting finale.<br />
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.<br />
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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<br />
fans of this film.<br />
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<br />
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.<br />
<br />
Next up, is "Jonathan Romney On Rivette and Celine and Julie Go Boating (19m 17s)<br />
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.<br />
"Tout la Memoire du Monde" (1956, 21m 54s)<br />
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.<br />
We also see the constant battle against the slow decay of papers, books and manuscripts.<br />
"The Haunted Curiosity Shop" (1901, 1m 55s)<br />
WR Booth's 1901 short shows a shop owner plagued by various ghostly forms and includes some rather impressive effects shots.<br />
<br />
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<br />
"Desperately Seeking Susan", and an essay by scholar Jonathan Rosenbaum who is an authority on Rivette.<br />
"Celine and Julie Go Boating" is available to buy now and a strong contender for those best disc of the year lists.<br />
<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-16748637596088222232017-09-07T05:45:00.000-07:002017-09-07T05:45:53.230-07:00DVD Review: Kill, Baby...Kill! (Arrow Video)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBt0MYrIZbGVg5V9CjgN3BI4nMz4AcoqTDszZTOeeGvVKbAG-ZNR_yzfJrhgMQdXdRvmqy7pN-gHex-6LI5xnb-FDSNbFY3q3V6sJMxvFKsaa2eq2q75caoivOtPVriwGThtNbi0_WAuWX/s1600/kill-baby-kill-movie-poster-1967-1010422729.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBt0MYrIZbGVg5V9CjgN3BI4nMz4AcoqTDszZTOeeGvVKbAG-ZNR_yzfJrhgMQdXdRvmqy7pN-gHex-6LI5xnb-FDSNbFY3q3V6sJMxvFKsaa2eq2q75caoivOtPVriwGThtNbi0_WAuWX/s400/kill-baby-kill-movie-poster-1967-1010422729.jpg" width="282" height="400" data-original-width="200" data-original-height="284" /></a></div><br />
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.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9m9yQZwn2ERwjpz69lqtTZ2hVxaHbffEvAd5v4i9l_PpPyHFQgDQvK4j3lkJlo7kVDyWfRZ3483BTsb3Rf00_nTnP3JLDzdRdu33ZH1LzdCHvbaYFNu9pzOveRnSpNsxWue6fDvHBytZg/s1600/download+%252815%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9m9yQZwn2ERwjpz69lqtTZ2hVxaHbffEvAd5v4i9l_PpPyHFQgDQvK4j3lkJlo7kVDyWfRZ3483BTsb3Rf00_nTnP3JLDzdRdu33ZH1LzdCHvbaYFNu9pzOveRnSpNsxWue6fDvHBytZg/s320/download+%252815%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div><br />
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.<br />
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.<br />
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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.<br />
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.<br />
<br />
The Devil's Daughter (21m38s)<br />
This is an excellent video essay from critic Kat Ellinger, which covers a lot of ground in its running time. <br />
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."<br />
It's a beautifully delivered essay, guaranteed to prompt further reading and viewing from its audience.<br />
<br />
Kill, Bava, Kill (25m 2s)<br />
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.<br />
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.<br />
It's an emotional piece, with Lamberto still greatly missing his father and justifiably proud of his achievements.<br />
<br />
Erika In Fear (11m)<br />
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."<br />
<br />
Yellow (6m 49s)<br />
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.<br />
<br />
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.<br />
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".<br />
There's also a collectors booklet included (which I haven't seen) which contains new writing on the film by critic Travis Crawford.<br />
<br />
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Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-30731843413489245352017-07-19T06:15:00.001-07:002017-07-19T06:18:26.863-07:00Blu-ray Review: The Orchard End Murder<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3hnGCctxI2JFfh-kl1hsA4_PdWn8Zt-sQmqwcCu1E58el4XY1vp5jt04GgesW9kjV5XPa-Xd_k9zczms1OhwL8boDCQG4Xi1Vx5SwL2BvXkmUeKdK51ks9w0DIo4NIhbYlj6dWtPe1Fp8/s1600/download+%252812%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3hnGCctxI2JFfh-kl1hsA4_PdWn8Zt-sQmqwcCu1E58el4XY1vp5jt04GgesW9kjV5XPa-Xd_k9zczms1OhwL8boDCQG4Xi1Vx5SwL2BvXkmUeKdK51ks9w0DIo4NIhbYlj6dWtPe1Fp8/s400/download+%252812%2529.jpg" width="302" height="400" data-original-width="195" data-original-height="258" /></a></div><br />
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.<br />
Christian Marnham's 49m 43s film was released in 1980, and was screened as support act to Gary Sherman's "Dead and Buried."<br />
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.<br />
As well as directing, Christian Marnham also wrote the screenplay which was inspired by a local murder case which came to his attention.<br />
The result is a black comedy with some wickedly funny lines, and also genuinely disturbing in places.<br />
<br />
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)<br />
while waiting his turn to bat.<br />
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.<br />
Her wanderings lead to the railway station where the stationmaster (Bill Wallis) invites her in for tea and cake.<br />
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<br />
(Clive Mantle):house guest of some three months standing who horrifies Pauline with a brutal act.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq3cI5FwIuiRMSfPJF_0s8wgpxBy1Xqq1q50XG6TbaokQUXvkpWbVzJrvED5iTpmowvYJjxKrMumP_Nf3fhHytcBSZZvj_Kl54sEOlz9UKjbVohNocHO_CjmHAdlxoPXmuBVh-aKzfHQ7H/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq3cI5FwIuiRMSfPJF_0s8wgpxBy1Xqq1q50XG6TbaokQUXvkpWbVzJrvED5iTpmowvYJjxKrMumP_Nf3fhHytcBSZZvj_Kl54sEOlz9UKjbVohNocHO_CjmHAdlxoPXmuBVh-aKzfHQ7H/s320/maxresdefault.jpg" width="320" height="180" data-original-width="1280" data-original-height="720" /></a></div>Now the scene is set for a particularly graphic murder, which launches a police investigation in this sleepy village.<br />
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For a mini-feature running under 50 minutes, "The Orchard End Murder" packs so much into its running time.<br />
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<br />
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.<br />
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.<br />
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. <br />
This really is a small gem, and fully deserving of its place in the 'Flipside' collection.<br />
<br />
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<br />
which is beautifully captured by this 2K remaster taken from an original 16mm positive element.<br />
The supplementary feature begin with "The Showman" (25m 45s).<br />
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. <br />
We bear witness to Wally's methods of drawing in the crowds, how he enlists the girls to participate and the shows themselves.<br />
At the outset, Wally makes some pretty bold claims, but actually keeps to most of his promises to deliver an entertaining show.<br />
<br />
"Christian Marnham on The Orchard End Murder". (37m 26s)<br />
Christian recalls his first job (in rep theatre); tells of his progression to the cutting room and how he graduated into television.<br />
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.<br />
Christian is refreshingly honest about mistakes made along the way, and has some good news concerning future projects.<br />
<br />
"Christian Marnham on The Showman." (4m 40s)<br />
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.<br />
We're also privy to a huge problem which reared up before the shoot, and the steps that were taken to overcome it.<br />
<br />
"From Melody to Orchard End Murder: An interview with Tracy Hyde." (11m 19s<br />
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.<br />
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.<br />
<br />
"An Interview with David Wilkinson." (12m 28s)<br />
David recalls how Christian persuaded him to appear as a batsman in Orchard End, and gives a resume of his prolific career.<br />
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.<br />
<br />
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.<br />
"The Orchard End Murder" will be available to buy on 24th July .<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-52194758319930309292017-07-11T05:38:00.000-07:002017-07-11T05:38:02.455-07:00Blu-ray Review: One-Eyed Jacks<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggtVkwpa3V3mKY4bMyFdWYNT0sjdbbHrYMxdXFHQ6Hj9i0TF6Yc20vt2nMYzhjFd-K9-RRnSXoAXDTvCMWa30iua6Zrta1wFe-Bww4QUmx_YAhqDQPrb0oyEauoY-hm7wtTjK3NmwV-DMZ/s1600/one-eyed-jacks-poster-13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggtVkwpa3V3mKY4bMyFdWYNT0sjdbbHrYMxdXFHQ6Hj9i0TF6Yc20vt2nMYzhjFd-K9-RRnSXoAXDTvCMWa30iua6Zrta1wFe-Bww4QUmx_YAhqDQPrb0oyEauoY-hm7wtTjK3NmwV-DMZ/s400/one-eyed-jacks-poster-13.jpg" width="400" height="300" data-original-width="1600" data-original-height="1198" /></a></div><br />
Based on Charles Neider's novel "The Authentic Death of Hendry Jones", "One-Eyed Jacks" was originally slated for Stanley Kubrick to direct.<br />
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<br />
a major revision of its source, and the film is now widely regarded as a masterpiece.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabl47lymphzLzzNmCBoqXcPJhBhs3j2WCyGKmrBoj1HQlJh7jfOJZFIJXhY-d6s6n5vPKCmLVY0Wiu_jLdVJpLYCEQLvAmgdhAuMjVPAPKcap02Hnfme_DHNRBmNWRw9fhX7BzdbPObBm/s1600/One-Eyed-Jacks-images-983a40b1-295a-44c0-8a6d-7afde943bff.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabl47lymphzLzzNmCBoqXcPJhBhs3j2WCyGKmrBoj1HQlJh7jfOJZFIJXhY-d6s6n5vPKCmLVY0Wiu_jLdVJpLYCEQLvAmgdhAuMjVPAPKcap02Hnfme_DHNRBmNWRw9fhX7BzdbPObBm/s320/One-Eyed-Jacks-images-983a40b1-295a-44c0-8a6d-7afde943bff.jpg" width="320" height="180" data-original-width="780" data-original-height="439" /></a></div><br />
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.<br />
Their latest heist - two bags of gold from a bank - sees them chased out of town by Mexican mounted police.<br />
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,<br />
leaving the other to wait behind in a perilous situation.<br />
Dad rides off into the sunset, never to return, leaving Rio to be captured with a jail term the result of his trust.<br />
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.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdY6JhytAC1TE0dOZSIcEaHLo-RDCEYj7HjdLDi2hQ7ZsgU3nqGLHPr6ug-PPMBVPsxUgq9pPZ57TGds0qOSmsVPqvJKC6i95bDHYkQ6Cs0qxDuq5Yf9YyKSMC640yNTFYOeQZIXVWfJKf/s1600/Jacks737.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdY6JhytAC1TE0dOZSIcEaHLo-RDCEYj7HjdLDi2hQ7ZsgU3nqGLHPr6ug-PPMBVPsxUgq9pPZ57TGds0qOSmsVPqvJKC6i95bDHYkQ6Cs0qxDuq5Yf9YyKSMC640yNTFYOeQZIXVWfJKf/s320/Jacks737.jpg" width="320" height="177" data-original-width="700" data-original-height="387" /></a></div>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.<br />
During the town's annual fiesta, the bank closes for two days,leaving potentially rich picking for Rio and his gang. <br />
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.<br />
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.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMW-NSHmpFxQixqvLNx7U1wO_W2AZmU8vS5nRg4elbGDF1X7MuWNINHsomPYtffoB7Ej5CFWduSJGJgDMX-kfLbAPd-iXk769PXBXEVyRSz5F2iQzYd11hzjVM6AfPbFxiWI6bE3Vr1PVh/s1600/download+%252815%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMW-NSHmpFxQixqvLNx7U1wO_W2AZmU8vS5nRg4elbGDF1X7MuWNINHsomPYtffoB7Ej5CFWduSJGJgDMX-kfLbAPd-iXk769PXBXEVyRSz5F2iQzYd11hzjVM6AfPbFxiWI6bE3Vr1PVh/s320/download+%252815%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div><br />
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.<br />
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.<br />
Even Rio has his dark side, and it's fascinating to observe his good and bad splits fighting to hold sway.<br />
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.<br />
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.<br />
Here, the photography of Charles Long Jr uses deep focus shots and panoramic sweep to capture cast and scenery in exemplary fashion.<br />
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.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgctDgUr4Ct_oCD6MhjCJEzJegQWv3NeAucDSc-zQYi0jYWUr-EI4Yl2Y296EnY_UMApjBo7vjKGaEXAybid9b5NgfD0d5UmE7HtxwvSIiQGvAXd7Uri8esIlT5qx88XfCsIu2szKs8CRnU/s1600/hqdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgctDgUr4Ct_oCD6MhjCJEzJegQWv3NeAucDSc-zQYi0jYWUr-EI4Yl2Y296EnY_UMApjBo7vjKGaEXAybid9b5NgfD0d5UmE7HtxwvSIiQGvAXd7Uri8esIlT5qx88XfCsIu2szKs8CRnU/s320/hqdefault.jpg" width="320" height="240" data-original-width="480" data-original-height="360" /></a></div><br />
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?<br />
Whatever the reason, he certainly made his mark as an accomplished director and his film remains one of the great Westerns.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXdn77HjuqE_i-RoB-M0s24mqfCe5WqeBia3Wc3oKwi1Bh_3yot7b7ql-GfoOaXTlF9VQ4t_IEnHGAAOtBOBnjU8xMvaGk1gtLx4-XmbIl4h0uJiskissex74Up5ercSO1slw_6ZK8oeiY/s1600/ONE_EYED_JACK_2D_UK_BD-228x228.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXdn77HjuqE_i-RoB-M0s24mqfCe5WqeBia3Wc3oKwi1Bh_3yot7b7ql-GfoOaXTlF9VQ4t_IEnHGAAOtBOBnjU8xMvaGk1gtLx4-XmbIl4h0uJiskissex74Up5ercSO1slw_6ZK8oeiY/s400/ONE_EYED_JACK_2D_UK_BD-228x228.png" width="400" height="400" data-original-width="228" data-original-height="228" /></a></div><br />
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.<br />
Interior and exterior scenes boast fine detail, warm colours and, at times, are simply breathtaking.<br />
The supplementary features begin with a commentary track from author Stephen Price who wrote "Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies."<br />
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.<br />
<br />
"Marlon Brando: The Wild One." (53m 43s)<br />
This documentary was originally broadcast by Channel 4 on 11th August, 1996. Martin Sheen, Dennis Hopper, Shelley Winters, Francis Ford Coppola and Arthur Penn<br />
are just some of the artists interviewed in this valuable tribute to Brando.<br />
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",<br />
"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.<br />
<br />
"Francis Ford Coppola on Marlon Brando." (48m 30s)<br />
Paul Joyce interviews Francis, who talks about a genius he rates alongside Welles and Kurosawa, and who left a legacy for actors everywhere.<br />
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<br />
add Brando to his fine cast, and goes into the trials and tribulations of coming up against a stubborn film company.<br />
<br />
"Arthur Penn on Marlon Brando>" (44m 49s)<br />
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.<br />
There's also a 2m 55s introduction to the film by Martin Scorsese, and a 4m 44s trailer.<br />
<br />
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."<br />
<br />
"One-Eyed Jacks" is available to buy now, and a surefire contender for those 'Discs of the Year' lists.<br />
<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-3736170468882643942017-06-20T06:02:00.000-07:002017-06-20T06:02:40.764-07:00Blu-ray Review: The Amityville Horror (Second Sight)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPIINvecvziwYQkzGapuk3SVJUF8hyphenhyphen15Jd9NRDfU5oQZO0TKJ6fa5ZEr4SkVqOyEco8oGPBCRh3noURwZjI3ExhjHeKV-h-TF8Rj8bRKEjw1Z84NVNGZCKKOmXvhqaOLWSmS79mW6PwMrg/s1600/Amivtyville-Horror.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPIINvecvziwYQkzGapuk3SVJUF8hyphenhyphen15Jd9NRDfU5oQZO0TKJ6fa5ZEr4SkVqOyEco8oGPBCRh3noURwZjI3ExhjHeKV-h-TF8Rj8bRKEjw1Z84NVNGZCKKOmXvhqaOLWSmS79mW6PwMrg/s400/Amivtyville-Horror.jpg" width="282" height="400" data-original-width="705" data-original-height="1000" /></a></div><br />
The events that allegedly took place at 112 Ocean Avenue have inspired several films, documentaries, books and many thousands of column inches.<br />
What is beyond dispute is the house played host to bloody murder when Ronald Defeo Jr armed himself with a shotgun and killed five members of his family. Defeo was subsequently incarcerated and the house lay empty for a short while. Or did it?<br />
The house was put on the market for the knockdown price of $80,000, prompting George and Katy Lutz to take the plunge.<br />
Their stay lasted just 28 days, with the family fleeing on 14th January 1976, never to return.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhELiYjcIEUhGFl8z1tA4UpdktMUMRlmOET8W910DYymNLSGyelCAP0A2zTGjkpTOwN6-n4YlHureXI-ZNz5wE-p5zxP8mkwORCgr8Moa-s8JOe_acD76Sit5sggt1U8YOxr41Hp3fsXXut/s1600/MV5BMTQ0MjM1NzI4Nl5BMl5BanBnXkFtZTcwMjAxMTcyNA%2540%2540._V1_SY1000_CR0%252C0%252C659%252C1000_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhELiYjcIEUhGFl8z1tA4UpdktMUMRlmOET8W910DYymNLSGyelCAP0A2zTGjkpTOwN6-n4YlHureXI-ZNz5wE-p5zxP8mkwORCgr8Moa-s8JOe_acD76Sit5sggt1U8YOxr41Hp3fsXXut/s320/MV5BMTQ0MjM1NzI4Nl5BMl5BanBnXkFtZTcwMjAxMTcyNA%2540%2540._V1_SY1000_CR0%252C0%252C659%252C1000_AL_.jpg" width="211" height="320" data-original-width="659" data-original-height="1000" /></a></div>James Brolin and Margot Kidder play George and Katy, recently wed with a trio of kids in tow from Kathy's previous marriage.<br />
Before long, unexplained events occur, involving the family and a local priest who becomes convinced that dark forces are present in the house. <br />
Director Stuart Rosenberg chose to ground some of his film on the Lutz's claims, and used poetic license to fuel the rest. The result was an enormous commercial success, giving audiences a scary ride through all manner of tried and trusted shenanigans. <br />
The fun begins early on, when Father Delaney (Rod Steiger) arrives to bless the house and is plagued by an unseasonal swarm of flies and told top leave the house by a demonic voice.<br />
The Lutz family soon experience terrifying manifestations, with George - apparently a 'dead ringer' for Defeo - undergoing frightening shifts in his personality, with several episodes suggesting possession by an unclean spirit.<br />
Kathy and her children also encounter strange phenomena, including glowing eyes looking into an upstairs window and a most upsetting episode regarding a window sill that slams shut on tiny fingers all by itself.<br />
<br />
While there are times when proceedings enter the realms of the absurd, Rosenberg mostly manages to keep things sensibly scary, aided by a deliciously eerie score from Lalo Schifrin and a cast that certainly entered into the spirit of things.<br />
Did the Amityville house really play host to a demon, or was the whole thing a giant hoax?<br />
112 Ocean Avenue was actually built on an old indian burial ground and if you believe in the dead returning to life, that fact may well convince you that the Lutz's stories were true.<br />
Whatever, you'll surely wish to check out the supplementary material on Second Sight's Blu-ray.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaWxm46LWPsPS6fBpZZSVMykTJrhlsI9rymR1DoZGprNfaHKCvgARroE6nS3vLuVn_XbRihr7QjDu5m0xWbA2UqBMp9a19e5jASkdbthyHwzBC5U14oMIFrQohUcQnGleb_sPJeQpvBQeg/s1600/Amityville-Horror-UK-Blu-Ray.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaWxm46LWPsPS6fBpZZSVMykTJrhlsI9rymR1DoZGprNfaHKCvgARroE6nS3vLuVn_XbRihr7QjDu5m0xWbA2UqBMp9a19e5jASkdbthyHwzBC5U14oMIFrQohUcQnGleb_sPJeQpvBQeg/s400/Amityville-Horror-UK-Blu-Ray.jpg" width="290" height="400" data-original-width="976" data-original-height="1348" /></a></div><br />
The Blu-ray presentation here is crisp and detailed, leaving viewers with an impressive home viewing experience.<br />
First off on the extras front is a commentary track from professor Hans Holzer; a parapsychologist who was one of the first people called to the house when the Lutz's left.<br />
Hans talks about exorcisms, hypnosis, religion, draws on the history of the house which dates back to 1928, and the grounds it was built on.<br />
He points out no-one in the house heard the shots as Lutz went about his rampage (nor did the neighbours) and discusses the case.<br />
He also has some interesting theories on ghosts and demons. It's a thought-provoking track, though many will disagree with some of his ideas.<br />
<br />
"Brolin Thunder" (16m 1s)<br />
A new interview with James Brolin who recalls "Mutiny On The Bounty"; his 7 years with Fox and "Marcus Welby MD". Stuart Rosenberg, Margot Kidder and Lalo Schifrin also<br />
crop up in the conversation.<br />
<br />
"Child's Play" (16m 39s)<br />
Meeno Peluce chats about his fellow child actors in the film, and remembers he'd just finished filming on "Don't Go Near The Park" when Amityville came up.<br />
He displays mostly excellent recall about the shoot and do listen out for his Margot Kidder story!<br />
<br />
"Amityville Scribe" 16m 27s)<br />
This is an interview with screenwriter Sandor Stern, who recalls how and why he was hired to do a script re-write.<br />
Sandor shares his thoughts on the film, and relates his own experiences with the supernatural.<br />
<br />
"The Devil In The Music" (14m 5s)<br />
Here, Lalo Schifrin goes through his early musical influences; recalls his work on such films as "Dirty Harry" and "Enter The Dragon" and chats about Amityville, <br />
explaining he understood perfectly what the director wanted.<br />
<br />
"My Amityville Horror" (85m 11s)<br />
Directed by Eric Walter, this is an extraordinary view of the world inhabited by Daniel Lutz, whose siblings refused to take part in this documentary<br />
Daniel stands by his account of what took place at the house as a psychologist, demonologist's Ed and Lorraine Warren and trusted reporter Laura Didio file in to contribute.<br />
After watching this, I was no nearer arriving at a conclusion regarding the truth surrounding the Lutz's tenancy, but it is completely engrossing.<br />
One of the stories that often crops up is that George Lutz collaborated with William Webber (Defeo's lawyer) to dream up a convincing hoax: an insanity plea for his client, and a cash-in for Lutz could have been their targets? While it's an undisputed fact that none of the subsequent tenants of 112 reported any manifestations, it seems likely to me that Lutz really does believe his own version of events. If he is lying, why did he wait decades to give his own version of events? Perhaps George and Kathy took the real truth to their graves?<br />
<br />
"For God's Sake Get Out" (20m 41s)<br />
This comprises of separate interviews with James Brolin and Margot Kidder who talk about how they first got into acting; about the publicity behind the film, and reveal their was some tension between the pair.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRK9qxIu38wgCkkFSBXrdaMjT5vkEt9S-aUROzIRPE0yjz83b2A3kRdCQSj9YSZArZ1LPQyT9cub9p2nuOUWdyfVxUbXC-0gg2qN90GeJLN45c_WuEkTf68S0knPkEuIG7vZ3oENqGq9Fd/s1600/article-2019137-0D2D377D00000578-135_634x424.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRK9qxIu38wgCkkFSBXrdaMjT5vkEt9S-aUROzIRPE0yjz83b2A3kRdCQSj9YSZArZ1LPQyT9cub9p2nuOUWdyfVxUbXC-0gg2qN90GeJLN45c_WuEkTf68S0knPkEuIG7vZ3oENqGq9Fd/s320/article-2019137-0D2D377D00000578-135_634x424.jpg" width="320" height="214" data-original-width="634" data-original-height="424" /></a></div><br />
The extras are rounded off with a trailer (2m 30s); a TV spot (1m2s) and two radio spots (3m40s).<br />
There's also a 1m 18s introduction to the film by Hans Holzer.<br />
"The Amityville Horror" will be available to buy on 26th June. The legend surrounding this film shows no signs of going away, and this Blu-ray disc will delight those who have followed this story.<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-34420462132023322762017-06-10T23:59:00.000-07:002017-06-10T23:59:16.535-07:00Blu-ray Review: Long Shot (BFI)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy2mifs9_ItJKCJkdJ5wp2Ni4OpimlRXNN_iIrkog323DeM6fU5JKjxZyYAcnAZrdTgi7JpiAFXv1ulP-EUHOBviMQrkjU0WTkm13Ymo872B62zIgJNNjFcCXIIDVbFCQR7bceZiwDWNJn/s1600/download+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy2mifs9_ItJKCJkdJ5wp2Ni4OpimlRXNN_iIrkog323DeM6fU5JKjxZyYAcnAZrdTgi7JpiAFXv1ulP-EUHOBviMQrkjU0WTkm13Ymo872B62zIgJNNjFcCXIIDVbFCQR7bceZiwDWNJn/s400/download+%25283%2529.jpg" width="400" height="400" data-original-width="225" data-original-height="225" /></a></div><br />
The BFI's 'Flipside' collection of films continues to mine the archives, enabling us to view hidden gems; some of them barely seen for several decades.<br />
Maurice Hatton's "Long Shot" is one such film, shot in 1977 and thrust into the home video spotlight some 40 years later.<br />
"Long Shot" is a film about filmmaking; not the arduous process of shooting and editing, but rather the wheeling and dealing that goes on to secure finance and a name director.<br />
<br />
We're in Edinburgh, with the world's oldest film festival drawing a wonderful carnival of actors, directors and audiences to this historic city.<br />
Charlie Gormley and Neville Smith are producer and scriptwriter for "Gulf and Western": a film about the Scottish oil industry, which they hope Sam Fuller will direct.<br />
Fuller is expected to be in town for the premiere of Wim Wenders' "The American Friend", and Charlie is confident Fuller's recruitment will seal the deal with regard to the supremely difficult task of raising finance for his project.<br />
It's a serious business to be sure, but "Long Shot" is peppered with sharp humour; much of it centered round guest appearances from the type of name director they are desperate to enlist. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Y9ncPRuDrBqNO4zy79aJ1xmOStxADhjNNlkXhLhGQL8sscpgZyyqS1_xhHHPPHUu4pMYpN3xJ_7TRVxk4kJCNmtiRxry9eOYgeXSLrvJDZJ8JWVhEPGm348aqHhirE_1tB77so1vhGXg/s1600/download+%25288%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Y9ncPRuDrBqNO4zy79aJ1xmOStxADhjNNlkXhLhGQL8sscpgZyyqS1_xhHHPPHUu4pMYpN3xJ_7TRVxk4kJCNmtiRxry9eOYgeXSLrvJDZJ8JWVhEPGm348aqHhirE_1tB77so1vhGXg/s320/download+%25288%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div>Wim Wenders is one such name, hilariously approached as second choice in case the Fuller gig falls through, while John Boorman provides a wake-up call regarding the script.<br />
Stephen Frears takes the biscuit in a lovely cameo, and Alan Bennet appears as Nev's doctor, facing an acute case of the loneliness of the scriptwriter.<br />
Throw in Susannah York - a distinct possibility for an underwritten part - and you have a lively cast all relishing the game.<br />
Yet more humour is delivered with improvised taxis ferrying the hapless producer from pillar to post, yet with the sobering thought that creative control ebbs away with each and every mile.<br />
Does Fuller ever show up? You'll have to experience this film to find out, but this is a glorious slice of on-the-hoof filmmaking, displaying initiative and enterprise and a love of cinema every bit as prounced as the festival that serves as its backdrop.<br />
<br />
The BFI Blu-ray presentation has been scanned in 2K resolution using the original 16mm negative.<br />
Because this low budget film was shot with mainly expired film stock, the image and grain structure are very inconsistent but this is what was originally intended.<br />
All in all, you can be sure this is how the film should look.<br />
<br />
The extras begin with "Scene Nun, Take One" (25m 57s)<br />
This 1964 quickie, directed by Maurice Hatton, sets Susannah York as an actress storming off set, and thoroughly enjoying her newfound freedom.<br />
A bank heist and a fashion show are just two of her adventures as, kitted out in full nun regalia, York rally goes out on the lam, culminating in an impromptu dance with two buskers before a delighted audience. Great fun! <br />
<br />
"Sean Connery's Edinburgh" (29m 13s)<br />
Made in 1982, Connery's journey through Edinburgh begins in up-with-the-lark mode as early morning milk carts wake a city from its slumbers.<br />
Here, Connery invokes the spirits of Robert Burns, Queen Mary, Alexandra Graham Bell and, of course, Ian Fleming.<br />
The growth of Edinburgh's new town is recorded; golf inevitably rears its head (going back to a time when both golf and football were banned in the city) and the cultural significance of this historic town is lovingly showcased.<br />
<br />
"Hurray For Hollyrood" (39m 49s)<br />
This 1986 production makes for a great companion to the main feature, bringing in Neil Jordan, Bill Forsyth, Stephen Frears, Sam Fuller and also includes memories from former Edinburgh film fest directors, including Lynda Miles.<br />
We learn how the festival began - primarily screening documentaries at first - and how it evolved into a truly prestigious event. There's also the lowdown on the infamous "Bloody Mama" controversy, and clips from former fest faves include "Two Men and a Wardrobe", "This Sporting Life" and the wonderful "That Sinking Feeling."<br />
<br />
An informative booklet is included with this dual format release, covering the film and additional features, containing new writing from Bill Forsyth, Dylan Cave (BFI)<br />
and Vic Pratt (BFI).<br />
"Long Shot" will be released on 26th June. For me, it's this year's nicest surprise.<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-24312934072463787862017-06-02T08:22:00.000-07:002017-06-02T08:24:19.225-07:00Blu-ray Review: The Bird With The Crystal Plumage (Arrow Video 2017)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKE7T8enLdptFvhjkL841VzAX6Sn_SITfyduwAP_NmmqHzUhbDkS6_L4F1NNyHAYU6DoNFZdY7aiqqrWVgrLF-ygRHLzgdiHDGDCT4UR24enu9WiCJx26Ru59O3pHBsoPMegaHx0nWsR6c/s1600/the-bird-with-the-crystal-plumage-movie-poster-1970-1020455557.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKE7T8enLdptFvhjkL841VzAX6Sn_SITfyduwAP_NmmqHzUhbDkS6_L4F1NNyHAYU6DoNFZdY7aiqqrWVgrLF-ygRHLzgdiHDGDCT4UR24enu9WiCJx26Ru59O3pHBsoPMegaHx0nWsR6c/s400/the-bird-with-the-crystal-plumage-movie-poster-1970-1020455557.jpg" width="289" height="400" data-original-width="580" data-original-height="802" /></a></div><br />
Shot in 1969 and released the following year, Dario Argento's debut feature inspired filmmakers to don black gloves, sharpen their knives and enter the bloody arena of giallo cinema. <br />
The late, great Mario Bava had already kicked things off almost a decade earlier with "The Girl Who Knew Too Much", but it was "The Bird With The Crystal Plumage" that really kickstarted this movement.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW49xuxya3x1c_HlehDQuqTF7H1lanq-FpoqTiVAJqqgureKdvZz9q5ER-frhi_aExNWSKBBXp3oikdkmLSwJGJwh5Wob7Gwjzm56zzS8yLf3xVTYFB7W-7Bgd9bEonfqOS2qewf6Q3tnP/s1600/images.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW49xuxya3x1c_HlehDQuqTF7H1lanq-FpoqTiVAJqqgureKdvZz9q5ER-frhi_aExNWSKBBXp3oikdkmLSwJGJwh5Wob7Gwjzm56zzS8yLf3xVTYFB7W-7Bgd9bEonfqOS2qewf6Q3tnP/s320/images.jpg" width="320" height="136" data-original-width="320" data-original-height="136" /></a></div>Here, Tony Musante plays Sam Dalmas, an American writer who arrived in Rome 2 years earlier, in search of tranquility and inspiration.<br />
After exhausting the sights of this wonderful city, Dalmas signs off a book on the preservation of rare birds - anticipating an important discovery later in the film - written purely for commercial gain, rather than a burning interest in the subject matter.<br />
Dalmas is walking back to his apartment one night when he witnesses a beautiful woman who appears to be stabbed by a black clad figure inside an art allery.<br />
Dalmas finds himself trapped between two glass doors, and when the police arrive, the assailant has taken flight, leaving the victim with a serious but not life-threatening wound.<br />
Sam is interviewed by the police, who link this assault to a trio of slayings that have terrified the city's inhabitants and has his passport confiscated in the hope he will be of further assistance. After going through events several times, Sam is troubled by an incomplete vision of exactly what happened. Something doesn't quite make sense, and the question of what we see and what we think we see would become a recurring theme in Argento's cinema. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNe7ArT7Gkzhi_9wzGHzrb8Uns9jzjWjSNAAEl5TI0geP4Bh5vE3AdQksqK-tQ9B97_JCh4nhBvrmeh_UVooEVcWaDtQLYK_73Ppg2N5Md_p1jjRP5DTF3CDSfcutQw5HhSM8zsvAef-u1/s1600/images+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNe7ArT7Gkzhi_9wzGHzrb8Uns9jzjWjSNAAEl5TI0geP4Bh5vE3AdQksqK-tQ9B97_JCh4nhBvrmeh_UVooEVcWaDtQLYK_73Ppg2N5Md_p1jjRP5DTF3CDSfcutQw5HhSM8zsvAef-u1/s320/images+%25281%2529.jpg" width="320" height="179" data-original-width="300" data-original-height="168" /></a></div><br />
Although "The Bird With The Crystal Plumage" was not well received at the start of its life, the film went on to garner acclaim from audiences and critics and is, I believe, top-tier Argento.<br />
With a score from Ennio Morricone that sets the scene beautifully, weaving the upbeat with the eerie, and inspired camerawork by Vittorio Storaro, "The Bird With The Crystal Plumage" offers a delicious twist-and-turn plot, several exciting set pieces and a cast reacting well to a screenplay that's both gripping and punctuated with humour.<br />
Musante excels, leaving his mark as one of Argento's best leads, his performance unaffected by the various tensions that were present between actor and director.<br />
Enrico Maria Salermo makes for an engaging police inspector; Eva Renzi and Suzy Kendall handle their duties with aplomb, and watch out for two contrasting quickies: a gripping sequence involving Reggie Nalder, and a memorable meeting with Gildo Di Marco's pimp who makes us laugh with his 'So Long' character.<br />
It's a wholly entertaining ride, shocking in places and thought provoking always.<br />
Those of you unfamiliar with Argento's work will find this an excellent starting point, while 'old timers' will once again relish this landmark film.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiu-Mx3HtQzskY56S0oLh51MFpoq_7EoyOg4hVH6ATexlEus191e1F-GcKYH_HspxvG5zWDzlXMHEyBxdH5-uLWWsJ1iGzK9S4Jt7s6qRrPot-iYM0z1TCKRlYJIngLaDHJOWHcWizC5Sb/s1600/birdARROWcover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiu-Mx3HtQzskY56S0oLh51MFpoq_7EoyOg4hVH6ATexlEus191e1F-GcKYH_HspxvG5zWDzlXMHEyBxdH5-uLWWsJ1iGzK9S4Jt7s6qRrPot-iYM0z1TCKRlYJIngLaDHJOWHcWizC5Sb/s400/birdARROWcover.jpg" width="320" height="400" data-original-width="500" data-original-height="625" /></a></div><br />
My first encounter with this film came via a Betamax videotape, released, I think, on the Stablecane label, and cost me the princely sum of £40.<br />
Arrow Video's release unleashes a 4K restoration from the camera negative in its original 2.35:1 aspect ratio, that boasts exquisite detail.<br />
The supplementary material begins with "Black Gloves and Screaming Mimis" (31m 54s).<br />
This is an excellent video essay from film critic Kat Ellinger, who manages to pack in a wealth of material. Kat explores Frederic Brown's novel "The Screaming Mimi", offering a detailed breakdown of book vs film, and covers the 1958 film "The Screaming Mimi" starring Anita Ekberg.<br />
Impotency and gender are also covered in an enlightening essay that's beautifully delivered.<br />
<br />
"The Power of Perception" (20m 57s)<br />
This features the thoughts of Alexandra Heller-Nicholas, who reflects on the role of art and the theme of perception in Argento's films.<br />
"Four Flies On Grey Velvet", "Tenebrae" and "Phenomena" - a key example of heightened perception - are just a few of the films covered, together with "The Stendhal Syndrome" which Alexandra labels his last great film. Once again, it's a stimulating essay, underlining the many comlex themes at paly in Argento's work.<br />
<br />
"Crystal Nightmare" (31m 24s)<br />
This is a new interview with Dario Argento, shot in 2017.<br />
Dario talks about how Plumage was written after a trip to Tunisia, and explains why he was almost fired during the shoot.<br />
We get plenty of background info regarding the making of this film, including the lowdown on the director's experiences with Tony Musante, together with memories of working with Morricone, Storaro and Reggie Nalder. We also learn about which city held the key to Argento's future career. Fans will enjoy this recent interview with the great man.<br />
<br />
"An Argento icon" (22m 5s)<br />
Here, actor Gildo Di Marco recalls his role of 'So Long' (Garullo, the pimp), explaining how he got into acting and of Argento's way of working with actors.<br />
We are also privy to his memories of Musante and Storaro and his amazement that people ask him for interviews.<br />
It's a joy to witness this humble man discuss his own involvement in a film that still delights almost 5 decades on.<br />
<br />
"Eva's Talking" (11m 19s)<br />
This is an interview with Eva Renzi, recorded in 2005. Eva talks about her career (including "Funeral In Berlin"); Klaus Kinski and Tony Musante also crop up in conversation and she's not shy on holding forth about what she really feels about Plumage and the effect she thinks it had on her career.<br />
<br />
Last, but by no means least, we have an audio commentary track from author Troy Howorth.<br />
Troy delves into Argento's background; enthuses over Musante's performance; talks about "The Screaming Mimi " book; Krimi films; how "The Bird With The Crystal Plumage evolved and still finds time to cover Reggie Nalder's involvement (who apparently passed on a role in one of Argento's most famous films) and Argento's fallout with Morricone.<br />
It's an excellent commentary, beautifully delivered with a fair amount of humorous asides that reflect the playful moments in the film.<br />
Arrow also includes a trio of trailers: Italian (3m 11s), International (2m 48s) and Texas Frightmare 2017 (55s).<br />
<br />
The final extra comes in the form of a 60-page booklet (which I haven't seen), illustrated by Matthew Griffin, featuring an appreciation of the film by Michael Mackenzie, and new writing by Howard Hughes and Jack Seabrook.<br />
This is a compulsory purchase for Argento buffs, and highly recommended for newbies curious to see what all the fuss is about.<br />
"The Bird With The Crystal Plumage" will be released on 26th June<br />
<br />
<br />
<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-71599790208167159082017-03-20T08:08:00.002-07:002017-03-20T08:11:33.686-07:00DVD Review: S&M: Les SadiquesWith a wintry Berlin as its backdrop, Alex Bakshaev's "S&M:Les Sadiques" offers a heartfelt tribute to the late Jess Franco while making its own mark in the cinema of unease.<br />
Here, in the heartland of David Bowie's greatest triumphs (look out for the shrine), trans peed along tracks headed to nowhere; the lost and the lonely nurse drinks in seedy<br />
bars, and a young woman searches for bed and board in a city where everything has its price.<br />
<br />
College dropout Marie (Nadine Pape) soon discovers that if the streets are mean, bricks and mortar can hose even more hazards as she narrowly avoids rape,<br />
ending up in the abode of a woman who "takes orders from no-one.<br />
Sandra (Sandra Bourdonecc) soon introduces her latest charge to a world where pain and pleasure co-exist; a lifestyle that leads to betrayal and murder.<br />
<br />
With nods to "Succubus", "Venus In Furs" and "She Killed In Ecstasy", "S&M" also draws on the poetic elements of Jean Rollin, where snow covered streets replace beaches, <br />
leaving short-lived footprints that will soon fade forever.<br />
The film is accompanied by an evocative soundtrack from Kevin Kopacka and Alexander Zhemchuzhnikov ( Stuart Lindsay performing the music of Daniel White at various points), and brought to life by exquisite photography, capturing the magic and the harsh realities of the location.<br />
<br />
Cast-wise, there are two stimulating performances from the female leads, ably supported by Kevin Kopacka (Marie's lover), Harry Baer as her Uncle Franz and Nikolaus Sternfeld as Tom.<br />
Thanks to the script by Alex Bakshaev and Sarnt Utamachote, there's plenty to stretch performers and viewers alike, installing this as a film that will most certainly repay multiple viewings.<br />
<br />
It's extremely bloody in places, with jealousy and betrayal leading to a reprehensible act that will surely make your blood run cold.<br />
There are also moments of tenderness and togetherness, recalling happier times when the world seemed less oppressive.<br />
"S&M: Les Sadiques" scores highly in all the key areas and carries my recommendation as a perversion story with a heart and soul.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJL42SnGWWzm8nU8lgD6cc3Uw-PbSgWSk7dLzzqumQazmpFAfn0vv34glROJ8LTb1wyOCJKvvUMpDkK9BCOe5cJDEBuQVyVNLEI2fhbksN58X-5VzhO7ClM_uGyIBKMr1BcZUjlLmzJosm/s1600/MV5BZGJlMDI4MDEtYmRmZi00OGZiLWEwYmQtOTM0NjZlMDkwMWNkL2ltYWdlXkEyXkFqcGdeQXVyNTgwODgyMDg%2540._V1_UY268_CR10%252C0%252C182%252C268_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJL42SnGWWzm8nU8lgD6cc3Uw-PbSgWSk7dLzzqumQazmpFAfn0vv34glROJ8LTb1wyOCJKvvUMpDkK9BCOe5cJDEBuQVyVNLEI2fhbksN58X-5VzhO7ClM_uGyIBKMr1BcZUjlLmzJosm/s400/MV5BZGJlMDI4MDEtYmRmZi00OGZiLWEwYmQtOTM0NjZlMDkwMWNkL2ltYWdlXkEyXkFqcGdeQXVyNTgwODgyMDg%2540._V1_UY268_CR10%252C0%252C182%252C268_AL_.jpg" width="272" height="400" /></a></div><br />
Image quality on the DVD is pin-sharp, highlighting the beautifully lit interior and exterior scenes. There are also 3 trailers. One for the main feature,<br />
and for two other enticing titles: "Dylan" and "The Devil Of Kreuzberg".<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-33814792763390225522017-02-15T06:41:00.000-08:002017-02-15T06:42:54.003-08:00Blu-ray Review: The Crying Game (BFI dual format)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM9eIpbqGTC4c8x7ean0NnQZdNw47fUFihNXk-kKLkjPY3mO6v9NOzNR6BHpVX2OKzm7_xsktqTheLd6hSjgKzjducEilr67FNP2xU-Gnfj2wXuOAgiafr-2SdRXz2CDJej2Nx9lCzSjV-/s1600/Crying_game_poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM9eIpbqGTC4c8x7ean0NnQZdNw47fUFihNXk-kKLkjPY3mO6v9NOzNR6BHpVX2OKzm7_xsktqTheLd6hSjgKzjducEilr67FNP2xU-Gnfj2wXuOAgiafr-2SdRXz2CDJej2Nx9lCzSjV-/s400/Crying_game_poster.jpg" width="400" height="297" /></a></div><br />
In the world of cinema, different markets often deliver polar opposite responses. In the US, Neil Jordan's "The Crying Game" was greeted with open arms by audiences fascinated by the film's sexual politics.<br />
In the UK, the spectre of the IRA - very much active in England at the time - turned off cinema goers who were unwilling to accept that a member of this organisation could possess a human side.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvO8_2AVgFBva-OQK_ikptZkYA8cpcvt_SYnZPjFigE-TuqHsulJzaDhuGNqNir-wEFpxR9b6y6UO5CR8Vx66dj8u6PQG7AIIjhyNtQ63TaC5nFmjQxHsF-LOAC2Hge0pijC8v05-DoEHW/s1600/download+%25284%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvO8_2AVgFBva-OQK_ikptZkYA8cpcvt_SYnZPjFigE-TuqHsulJzaDhuGNqNir-wEFpxR9b6y6UO5CR8Vx66dj8u6PQG7AIIjhyNtQ63TaC5nFmjQxHsF-LOAC2Hge0pijC8v05-DoEHW/s320/download+%25284%2529.jpg" width="320" height="240" /></a></div><br />
A carnival in Northern Ireland is the setting for the kidnapping of Jody (Forest Whitaker); a soldier who is ensnared by the gorgeous Jude (Miranda Richardson) and taken at gunpoint to a safe house near Newry, some 34 miles from Belfast.<br />
One of the senior members of the IRA is being interrogated at Castlereagh, and Jody is informed that he'll be shot unless their comrade is released within 3 days.<br />
Slowly, Jody's personality and situation infiltrates the very soul of Fergus Hennessey (Stephen Rea); a footsoldier for the IRA, who reveals that behind the political brainwashing lies a man capable of forging friendships across the great divide.<br />
When the inevitable occurs, Fergus has cultivated a bond with Jude, resulting in a journey to London where Dil (Jaye Davidson) works in a hairdressers, awaiting Jodie's return.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgap4DUvW_Ot8_k9P_FBJj7-uaVpASfnrwN5Sf15vFaV4rycklxuzULovxHEBOBT5keGs3oeKM6JAWKT3jmpJaevExpdgCDYh6rK7bg8Eu-_A1gYUqayHHpBIghezv2_JzpdV3e0oxxFAh5/s1600/images.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgap4DUvW_Ot8_k9P_FBJj7-uaVpASfnrwN5Sf15vFaV4rycklxuzULovxHEBOBT5keGs3oeKM6JAWKT3jmpJaevExpdgCDYh6rK7bg8Eu-_A1gYUqayHHpBIghezv2_JzpdV3e0oxxFAh5/s320/images.jpg" width="320" height="210" /></a></div><br />
"The Crying Game" is a film of secrets deceptions and identity, with a twist halfway through through that's beautifully timed, and which leads to some incredibly moving scenes.<br />
Rea is particularly fine here, succeeding in a supremely difficult task of getting the audience on his side, moving from potential cold-blooded executioner to a person who can laugh, love and feel for fellow human beings. Praise too, for the excellent supporting cast, including Richardson's thoroughly evil agent who eventually turns up in London, reminding Fergus that "You're never out!", having established her cruel nature at an early stage: "Don't leave me with her!" implores a frightened Jody and that's before he takes a heavy blow to the face from the butt of her gun!<br />
Jim Broadbent's go-between barkeep Colin; an affecting turn from Whitaker; Adrian Dunbar's fiery IRA hitman and a quite brilliant performance from Davidson make this a film to enthrall from start to finish.<br />
While it's true there is one scene in particular that requires huge suspension of disbelief, the film overall succeeds as a love story punctuated by the blood and bullets of a dark period in our history.<br />
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"The Crying Game" may not have set the box office alight over here, but it's not been forgotten and the release of this dual-format BFI Blu-ray and DVD will delight old admirers and recruit a new generation of film buffs.<br />
The Blu-ray presentation offers solid colours, deep blacks and no anomalies. A rich viewing experience.<br />
The supplementary material commences with a director's audio commentary track. Neil Jordan talks about cinematic influences; casting choices; why he shot in cinemascope; the research undertaken for Jaye Davidson's character and also acknowledges the tip of the hat to "Mr Arkadin."<br />
Jordan also talks about shooting with a minimal budget: a state of affairs amplified in "The Making of The Crying Game" (50m 24s).<br />
Here, the director is joined by Stephen Woolley, Stephen Rea, Janes Giles and Nik Powell; the latter providing further insight with regard to the low budget.<br />
We also hear about Channel Four's main two objections to the script; how the finance was raised and why this film was very much make or break for Neil Jordan.<br />
<br />
An alternative ending (with optional director's commentary) is presented for the first time, taken from VHS tape and running for 4m 55s.<br />
Channel Four insisted on an alternative ending being shot, and finally agreed with Jordan that his original ending was better and could be filmed.<br />
I'd say this was the right decision, although the inclusion of the alternative - shot in snowy London streets - is worth seeing.<br />
"Northern Troubles" (8m 50s) Here, a Catholic and a Protestant take separate journeys through Belfast, sharing their respective views on the politics in their world.<br />
The package is rounded off with 2 trailers. The 1st runs for 1m 37s, while the second (53s) is a series of review quotes under the film poster.<br />
The BFI have also compiled a booklet featuring excellent essays by Ashley Clark and Juliet Jacques, and a valuable Neil Jordan overview from Brian Hoyle. Excellent writing from all three participants and worthy of your time.<br />
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"The Crying Game" will be released on 20th February.<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-47461614977962398682016-10-31T02:26:00.000-07:002016-10-31T02:30:10.208-07:00Blu-ray Review: Assault On Precinct 13 (Second Sight)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7lSKaRXAMC8nj1WTLUo7VA2ARlvFozNi0xMzA_exRwHAPFVVjwKsihGIkmJr0_IpNh52m6ajBo6-X0SxQuSurAhiDc98Dw04m7vUcY2ahne3s_LL0SFUEnAoRSe8JTbxtDN2w-gZKwW4R/s1600/assault_on_precinct_thirteen_xlg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7lSKaRXAMC8nj1WTLUo7VA2ARlvFozNi0xMzA_exRwHAPFVVjwKsihGIkmJr0_IpNh52m6ajBo6-X0SxQuSurAhiDc98Dw04m7vUcY2ahne3s_LL0SFUEnAoRSe8JTbxtDN2w-gZKwW4R/s400/assault_on_precinct_thirteen_xlg.jpg" width="263" height="400" /></a></div><br />
My first encounter with John Carpenter's "Assault On Precinct 13" occurred during a golden age of cinema double bills in the 1970s.<br />
In those days, film buffs had the opportunity to catch the likes of Lucio Fulci's "The Beyond" / "House By The Cemetery", "The Exorcist" / "Exorcist II" and "Jason And The Argonauts" / "Chariots Of The Gods". Assault turned up on a double header with "Halloween" and quickly convinced me that Carpenter was a director who merited special attention from that point on.<br />
Certainly, Assault still comes over today as a job well done, being an intoxicating old school mix of "Rio Bravo" and "Night Of The Living Dead" as heroes and heroines emerge from a retired police station under siege from a LA gang.<br />
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After a bloody shootout between police and gang members, we join Lieutenant Bishop (Austin Stoker) who is on the way to oversee the closure of the Anderson precinct police station. Here, the cells are empty and the electricity supply is due to be bumped before the 4.00am shutdown as Leigh (Laurie Zimmer) and Julie (Nancy Loomis) carry on winding down their duties. On the other side of town, shackled prisoner 'Napoleon' Wilson (Darwin Joston) is heading for Death Row under armed supervision while members of the LA Thunder - still smarting from the deaths of 6 members - commit an unbelievable atrocity which culminates in a shell-shocked man stumbling into Anderson station having killed the gang's leader.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvDSxk8S58WsjKVc1Nwl6m6PDZCHOufusZkzpbdq1dB7PghYb4RfxGbm095wwMFGkQ-TFMf1ZKoXVofXcj7XKNwIOfLG6ct2XEE66ffZoQYxB-JQ25Z0SgqW0yc09zEqZwUbaUAol3EgUp/s1600/download+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvDSxk8S58WsjKVc1Nwl6m6PDZCHOufusZkzpbdq1dB7PghYb4RfxGbm095wwMFGkQ-TFMf1ZKoXVofXcj7XKNwIOfLG6ct2XEE66ffZoQYxB-JQ25Z0SgqW0yc09zEqZwUbaUAol3EgUp/s320/download+%25282%2529.jpg" width="320" height="136" /></a></div>Wilson also ends up at the station , but it's really the grieving stranger who is the subject of the gang's attention, prompting the delivery of a chilling blood oath declaring they are willing to lose more gang members until revenge is taken.<br />
So begins a long, dark night of the soul with the hoodlums silencers greatly adding to the eerie atmosphere and ensuring no-one can hear their shots.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxisp5rhJ_Rw1WcnUAhRgloenlFgJVx3rrAF0LzsbMOswxbndLRjJsakPc9PikUDDQu8MFKLzaOLW5iRnnTec-eYdhPruS2i1GgGS-fwFW_JG5N4dkXXjnRYxNqLA7J4wV9NwxA6hSc0iL/s1600/download+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxisp5rhJ_Rw1WcnUAhRgloenlFgJVx3rrAF0LzsbMOswxbndLRjJsakPc9PikUDDQu8MFKLzaOLW5iRnnTec-eYdhPruS2i1GgGS-fwFW_JG5N4dkXXjnRYxNqLA7J4wV9NwxA6hSc0iL/s320/download+%25283%2529.jpg" width="320" height="179" /></a></div><br />
Carpenter's taut direction and entirely memorable score - one of his very best - creates a nightmarish scenario which the cast respond to admirably. We have Julie, desperate to turn over a man whose world (unknown to them) has already ended, while Bishop and Wilson gradually build mutual respect in the fight to stay alive. Best of all may be the gorgeous Laurie Zimmer, who comes over as an enormously resourceful woman in the face of true adversity.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMcrf32tcJiDscug2Esj391m9rr0dEunJrI-02llmlEHybYR3st2b1gGY3Y0toti2Awb63LbGl5jkh_hoXAVoBlbPt3rZIS44AE9UdtwnawGwMbKViREwp26-Tq8sADvYE7-dftVuv0GwR/s1600/download+%25284%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMcrf32tcJiDscug2Esj391m9rr0dEunJrI-02llmlEHybYR3st2b1gGY3Y0toti2Awb63LbGl5jkh_hoXAVoBlbPt3rZIS44AE9UdtwnawGwMbKViREwp26-Tq8sADvYE7-dftVuv0GwR/s320/download+%25284%2529.jpg" width="320" height="232" /></a></div>2016 marks the 40th anniversary of this film, which remains the crowd-pleasing gem it was all those years ago. The infamous scene that drew gasps of disbelief at the screening I attended has retained its power to shock to the core, and there are many other scenes that stay with you long after the credits have rolled: witness the scene where stray bullets disturb a wall clock from its previously serene resting place, demonstrating time no longer has any meaning in this night without end.<br />
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Second Sight's Blu-ray presentation adds fine detail, solid colours and even a greater sense of purpose to this classic, and goes on to deliver some meaty extras for those of us who love to really step inside a film.<br />
First up is a John Carpenter commentary track where the director talks about the challenges he faced with a $100,000 budget. John discusses the critical reception; admits there are a few scenes he wouldn't have got away with today; chats about cast and crew and pronounces that Assault was unique for its time.<br />
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Art director and sound effects designer Tommy Lee Wallace is joined by Michael Felsher for a second commentary track which takes in Tommy's high school days with JC; the panavision filmmaking process; that shocking murder scene and his own work as a director.<br />
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Return To Precinct 13: An Interview With Austin Stoker (9m 20s)<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKONurqhPl50rwF0WSak-I358QGaE8esmJ5VI6RF8EYZ10dC9OjHKkR07Tb2lpYsiMD5NHKkhbR4cJCQr7db8Cs-t1VYpvcJVu6o2S-AX3LJDyb1tccGeGRru2Ey9o30KcBqwI1JqcvNNo/s1600/download+%25285%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKONurqhPl50rwF0WSak-I358QGaE8esmJ5VI6RF8EYZ10dC9OjHKkR07Tb2lpYsiMD5NHKkhbR4cJCQr7db8Cs-t1VYpvcJVu6o2S-AX3LJDyb1tccGeGRru2Ey9o30KcBqwI1JqcvNNo/s320/download+%25285%2529.jpg" width="320" height="179" /></a></div>Austin recalls his early movie-going experiences; how he first met JC, and the big responsibility of being the main character.<br />
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Filmmaking With John: An Interview With Tommy Lee Wallace (21m 41s)<br />
Tommy recalls his high school band days with JC; talks about the magic of 35mm film and of his relationship with John, calling him extremely well prepared and motivated.<br />
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Producing Precinct 13: Interview With Executive Producer Joseph Kaufman (15m 39s)<br />
Here, Joseph brushes aside the $100,000 budget claims; chats about John's time at USC and digs into Assault's production history.<br />
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Captain Voyeur (8m 27s)<br />
Made in 1969 at Southern California's School of Cinematic Arts, "Captain Voyeur" is a John Carpenter student film, recently re-discovered by school archivist Dino Everett in 2011. This creepy little number could be loosely referenced to Carpenter's "Halloween", employing a masked figure on the loose in back gardens and alleyways where a light in a window is the signal for our peeping tom to strike.<br />
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Do You Remember Laurie Zimmer? (53m 41s<br />
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In 1977, Charlotte Szlovak wanted to make a film that would really translate the city of LA, with a woman at the centre of the story.<br />
Charlotte chose Laurie Zimmer who played an actress driving round the city in search of a indefinable something to spark her life.<br />
After filming was completed, Charlotte lost touch with her newfound friend, and this compelling short tells the story of her journey to find Laurie. It's a haunting tale for sure, as Charlotte delivers poetic narration while negotiating blond alleys and dead ends during her search for the actress. It's an uplifting story, demosntarting that a strong bond can never truly be broken.<br />
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Interview With John Carpenter and Austin Stoker (23m 8s)<br />
This was filmed before an appreciative audience at the Egyptian Theatre in 2002, where JC and Austin discuss how Austin got the role of Bishop and other cast choices. "They Live" and "Dark Star" are just two of the films that come up during a lively Q&A with the audience.<br />
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The Sassy One With Actor Nancy Loomis (12m 44s)<br />
Nancy recalls her formative years at high school and USC; tells how she handled nerves during her first couple of features; talks about "Halloween" and "The Fog" and touches on her opinion of fan conventions.<br />
The extras conclude with a 2m 3s theatrical trailer and 1m 4s worth of radio spots. Fans will also be delighted by the inclusion of a bonus CD soundtrack disc exclusive to the box set and 5 exclusive art cards.<br />
"Assault On Precinct 13" will be released on 28th November in the UK, and is an essential purchase for all fans of John Carpenter.<br />
Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-13832926973367121652016-10-13T06:52:00.000-07:002016-10-13T06:52:39.912-07:00Blu-ray Review: Paris Blues (BFI)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUZbac8w9Gg-ZEFtVcQIhKSv2UrlFLwa7jnHfITE3pbGch3b_uXHGej_AniReJ5uitYTgAYQ452rcxMriDUefEgjd_xYmOImz7ybLon30N0g1hjIVizl5pzCcJOInUQW91Bu52D8XuaXyx/s1600/MPW-54086.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUZbac8w9Gg-ZEFtVcQIhKSv2UrlFLwa7jnHfITE3pbGch3b_uXHGej_AniReJ5uitYTgAYQ452rcxMriDUefEgjd_xYmOImz7ybLon30N0g1hjIVizl5pzCcJOInUQW91Bu52D8XuaXyx/s400/MPW-54086.jpg" width="400" height="315" /></a></div><br />
Set in an Autumnal Paris, Martin Ritt's 1961 film throws together a quartet of Americans. Two of them - Ram Bowen (Paul Newman) and Eddie Cook (Sidney Poitier) - are jazz musicians drunk on the artistic spirit of the city, and also the freedom it provides.<br />
Lillian (Joanne Woodward) and Connie (Diahann Carroll) are tourists, arriving for a two week stay with the aim of taking in all the popular haunts in this city of lovers.<br />
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The arrival of jazz legend Wild Man Moore (Louis Armstrong) sends the local community into a frenzy; many of whom hang out a Marie Seoul's jazz cave where Ram and Eddie play.<br />
After a false start which suggested Ram and Connie could well develop a certain chemistry, Ram takes up with Lillian, leaving Eddie to fall for Connie.<br />
As jealousy and the plight of a talented musician and friend simmer and pop in the background, both men are forced to choose between their potentially rewarding careers and the chance to find real love with adoring partners.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHKq9Nf3x9WZs3PPWWK681QQTF9qD9i-hliSXRwByPpB_64jmV7dvPnrvPXU-voQ_gAQKkphBv28fvvXwBZH2fBoF538f5-j3D5MbXSI2yFOu7B83iiFQAGFjTayCf5O7iRTJagSie6-yF/s1600/801a830ac3dbdd61119a790d13ab7197.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHKq9Nf3x9WZs3PPWWK681QQTF9qD9i-hliSXRwByPpB_64jmV7dvPnrvPXU-voQ_gAQKkphBv28fvvXwBZH2fBoF538f5-j3D5MbXSI2yFOu7B83iiFQAGFjTayCf5O7iRTJagSie6-yF/s320/801a830ac3dbdd61119a790d13ab7197.jpg" width="320" height="243" /></a></div><br />
"Paris Blues" is beautifully paced throughout, moving from the exhilarating jam sessions and backroom bust-ups to quiet, reflective moments which involve the most painful soul -<br />
searching.<br />
We have Ram showing his drug-addicted buddy a mirror image of what he'll become if he doesn't quit the coke; Eddie, fearful of exposing himself to the racism back home, and there's a fateful encounter between Ram and a music promoter who must decide whether Ram's compositions represent a seriously accomplished piece of work.<br />
Add to this the two smitten females who are convinced their partners are a once-in-a-lifetime find, and you'll see there's a multitude of emotions to take in, all of them conveyed by a first rate cast while the superb soundtrack plays on.<br />
Wild Man's comment to Ram that "They tell me I have to blow real hard to put you down" is entirely correct, and both men participate in an almighty session, blowin' fit to burst, with not a hint of one upmanship. Just the joy of playing, and being a part of great things.The venue, too, is a delight as jazz aficionado's sit at tables with candles perched in wine bottles, living every note as the music flies up the stairs and out into the magical Parisian night air.<br />
"Paris Blues" captures the atmosphere of these venues, but also explores the fallout from musical infatuation and genuine fears about the specter of racism that haunts many who left their countries for something better. It's an absorbing study of how lives can change so quickly and why we sometimes do things for the wrong reasons.<br />
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This BFI release is part of their Black Star season, dedicated to the power and versatility of black actors.<br />
"Paris Blues" certainly looks splendid in HD, with exquisite detail. Duke Ellington's Oscar-nominated score can be enjoyed to the full on an isolated music and effects track.<br />
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Adrian Martin is fast becoming my favourite when it comes to the audio commentary department, so I was pleased to discover he takes the microphone here to deliver an informative talk.<br />
Adrian goes into the wealth of information and detail in various scenes; talks about method actors and character psychology; brings "One Eyed Jacks", Brando and John Cassavetes into the equation, and discusses the mixture of studio and location shots. Adrian acknowledges "Paris Blues" was not a highly regarded film at the time, but makes a solid case as to why it offers real value.<br />
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The BFI also includes a stills gallery, comprising of b/w and colour stills, plus film posters and there's also a 2m 49s trailer.<br />
You'll also find a booklet in this dual format release, which includes essays from Nicolas Pillai and Rashida K. Braggs, together with Philip Kemp's look at the career of<br />
Martin Ritt.<br />
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"Paris Blues" will be available to buy from 24th October. Highly recommended!Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0tag:blogger.com,1999:blog-8314818672418667978.post-72167091253077687442016-08-28T00:29:00.000-07:002016-08-28T00:29:14.878-07:00A Warm Welcome to Indicator: An Exciting New British LabelIndicator is a new British Blu-ray and DVD label, owned and operated by Powerhouse Films, London.<br />
Indicator promise a comprehensive range of classic films, expertly encoded and supported by a generous range of supplementary material.<br />
These dual format releases will be accompanied by booklets featuring newly commissioned essays, together with contemporary articles, features and reviews.<br />
New and improved English subtitles for the deaf and hard-of-hearing will also be a feature of Indicator releases.<br />
<br />
Launching on 24th October, the first titles will be John Carpenter's "Christine" and Brian De Palma's "Body Double".<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWnjFpKQm5PW54kTQTzF9kthS4UUeXZ6Rg0sapWa1uaE5ZBUFU1e6iEydorBm2cwBhEG3Jp38p6tdQHigskoo26bN6AapEm5CrHVGLS3lOe5wGWyvQWveo5HC1L8aUhrbwkQs6TfkHdUDC/s1600/001_CHRISTINE_BD_2D_packshot_72dpi_1000px_transp.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWnjFpKQm5PW54kTQTzF9kthS4UUeXZ6Rg0sapWa1uaE5ZBUFU1e6iEydorBm2cwBhEG3Jp38p6tdQHigskoo26bN6AapEm5CrHVGLS3lOe5wGWyvQWveo5HC1L8aUhrbwkQs6TfkHdUDC/s400/001_CHRISTINE_BD_2D_packshot_72dpi_1000px_transp.png" width="308" height="400" /></a></div><br />
INDICATOR LIMITED EDITION SPECIAL FEATURES <br />
• Original stereo audio <br />
• Alternative 5.1 surround sound track <br />
• Audio commentary with director John Carpenter and actor Keith Gordon <br />
• Christine: Ignition, Fast and Furious & Finish Line (2003, 48 mins): three-part ‘making of’ documentary, featuring interviews with cast and crew, including John Carpenter and Keith Gordon <br />
• Deleted scenes (26 mins): twenty-one sequences which never made the final cut <br />
• Isolated score: experience John Carpenter’s original soundtrack music <br />
• Image gallery: on-set and promotional photography <br />
• Original theatrical trailer <br />
• New and improved English subtitles for the deaf and hard-of-hearing <br />
• Limited edition exclusive 24-page booklet with a new essay by Jeff Billington and a 1996 article on Carpenter’s cinematic ‘guilty pleasures’ <br />
• Limited Dual Format Edition of 5,000 copies <br />
• UK Blu-ray premiere<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw4CRftC-RGFKqaAhxC93sQOe9rZrmWZPY_1sb328Gci_AobmXr_GFWX3y6K0WdOb_9bKJEDomgYZ5iIPXX28hCNqrTwtS38dgV0j9PRSj-0c3ULV1uAmovY_TV9rN73YvyU9rWjh45sQz/s1600/002_BODY_DOUBLE_BD_2D_packshot_72dpi_1000px_transp.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw4CRftC-RGFKqaAhxC93sQOe9rZrmWZPY_1sb328Gci_AobmXr_GFWX3y6K0WdOb_9bKJEDomgYZ5iIPXX28hCNqrTwtS38dgV0j9PRSj-0c3ULV1uAmovY_TV9rN73YvyU9rWjh45sQz/s400/002_BODY_DOUBLE_BD_2D_packshot_72dpi_1000px_transp.png" width="308" height="400" /></a></div><br />
INDICATOR LIMITED EDITION SPECIAL FEATURES <br />
• Original stereo audio <br />
• Alternative 5.1 surround sound track <br />
• Craig Wasson Interview (1984, 10 mins): archival NBC interview conducted by Bobbie Wygant <br />
• Pure Cinema (38 mins): extensive interview with first assistant director Joe Napolitano <br />
• The Seduction (17 mins): De Palma discusses the first treatment of the script <br />
• The Setup (17 mins): an examination of the plot <br />
• The Mystery (12 mins): Melanie Griffith discusses her nude scenes and De Palma's shyness <br />
• The Controversy (6 mins): cast and crew discuss the film's critical reception <br />
• Isolated score: experience Pino Donaggio’s original soundtrack music <br />
• Image gallery: on-set and promotional photography <br />
• Original theatrical trailer <br />
• New and improved English subtitles for the deaf and hard-of-hearing <br />
• Limited edition exclusive 40-page booklet with a new essay by Ashley Clark and archival reprints, including a lengthy 1985 interview with De Palma <br />
• Limited Dual Format Edition of 5,000 copies <br />
• UK Blu-ray premiere<br />
<br />
Here's a rundown of the first batch of releases:<br />
<br />
001 - CHRISTINE (John Carpenter, 1983)<br />
002 - BODY DOUBLE (Brian De Palma, 1984)<br />
003 - GUESS WHO'S COMING TO DINNER (Stanley Kramer, 1967)<br />
004 - TO SIR, WITH LOVE (James Clavell, 1967)<br />
005 - 10 RILLINGTON PLACE (Richard Fleischer, 1971)<br />
006 - HAPPY BIRTHDAY TO ME (J. Lee Thompson, 1981)<br />
007 - THE LADY FROM SHANGHAI (Orson Welles, 1947)<br />
008 - BUNNY LAKE IS MISSING (Otto Preminger, 1965)<br />
009 - FAT CITY (John Huston, 1972)<br />
010 - THE LAST DETAIL (Hal Ashby, 1973)<br />
011 - EXPERIMENT IN TERROR (Blake Edwards, 1962)<br />
012 - THE ANDERSON TAPES (Sidney Lumet, 1971)<br />
<br />
I hope you will join me in supporting this enterprising new label. A mouth-watering selection of titles for sure.Steve Langtonhttp://www.blogger.com/profile/00759586159893673244noreply@blogger.com0