THE FATAL WITNESS

 

THE FATAL WITNESS is a 1945 B movie from Republic Pictures that is fairly run-of-the-mill for the most part. Its climax, however, is so unexpected that the movie winds up being more memorable than one would expect. 

The movie, set in England, stars the elegant Universal Scream Queen Evelyn Ankers as Priscilla Ames, the ward of the curmudgeonly Lady Ferguson (Barbara Everest). The old woman is found strangled in her stately manor, and suspicion immediately falls on her dissolute nephew John Bedford (George Leigh). Bedford seemingly has an airtight alibi--he was in jail the night Lady Ferguson was killed, after causing a disturbance in a pub. The investigator on the case, William Trent (Richard Fraser), is convinced that Bedford is guilty, and he goes to great trouble to prove it--while also finding time to romance Priscilla. 

THE FATAL WITNESS isn't so much a whodunit, or even a how-he-done-it, as it is a will-he-get-caught? The murderer and how he was able to perform the deed is very clearly shown to the audience, and George Leigh makes John Bedford a very slimy and obnoxious individual. Inspector Trent's final attempt to get Bedford to reveal himself leads to an incident that throws the story into a totally different direction. What makes this twist more striking is that nothing in the earlier parts of the film even hints at such a resolution. I'm not going to spoil the ending, since it is the movie's high point--but I will say that it reminds one of various episodes from the many 1960s suspense anthology American network TV shows. (The plot of THE FATAL WITNESS was actually based on an episode of the radio anthology show SUSPENSE.) 

It is rather appropriate that Evelyn Ankers gets top billing in this film, as THE FATAL WITNESS feels in many ways like a Universal movie made during the same period. The story appears to be set in contemporary times, but there's no mention of World War II, and the England it portrays is rather generic in tone. These are attributes that showed up in plenty of Universal's B pictures. Director Lesley Selander (a prolific low-budget veteran) even throws in a foggy sequence set on the London docks that could have come from a Basil Rathbone Sherlock Holmes picture. One thing THE FATAL WITNESS lacks compared to Universal is that studio's stable of notable supporting character actors, although long-time Universal stalwart Harry Cording does show up as a pub owner. 

If you happen to be a fan of the Universal chillers of the 1940s, or you are someone looking for a B movie with a twist that won't take up too much of your time, I highly recommend THE FATAL WITNESS. 

THE SPY KILLER

 

The SANGSTER DIRECTS HAMMER box set from Severin has encouraged me to seek out some of Jimmy Sangster's American television work. THE SPY KILLER is a 1969 TV movie, first broadcast on the ABC Network. Jimmy Sangster produced the movie, and he wrote the script, which was based on his novel. 

One thing that stands out about THE SPY KILLER is that it is a Hammer film in almost everything but name only. The movie was filmed in England, and one of the locations was good old Black Park. It was directed by Roy Ward Baker, a name well-known to English Gothic fans. The behind-the-camera credits list has several names very familiar to Hammer fanatics, such as Arthur Grant, Scott MacGregor, Bert Batt, Neil Binney, and Phillip Martell. One of Hammer's best performers, Barbara Shelley, even shows up (though very briefly). 

Other than the Hammer connections, there isn't all that much to THE SPY KILLER. Robert Horton (WAGON TRAIN, THE GREEN SLIME) plays an American private eye based in London named John Smith (hard to believe Sangster couldn't have come up with a better moniker for the guy). Smith used to work for British Intelligence, but he got fed up with the life of a spy and quit. Smith is thrust back into the espionage game when he comes upon a notebook containing material wanted by the British and the Chinese. 

THE SPY KILLER is more John Le Carre than Ian Fleming, although I'd doubt Le Carre would appreciate the association. The movie runs about 75 minutes (it was made for a 90-minute TV slot), but it feels longer. It is a very talky story, and it very much resembles the early 1950s B movies made by Hammer, right down to the underwhelming American leading man. 

The London locations do make THE SPY KILLER stick out from the usual American TV fare of the period, but there isn't much done with them. (A later sequence does make good use of an abandoned RAF airfield.) The story is one in which nearly every character is lying or setting up others, and Robert Horton isn't much of an appealing lead--his John Smith is sardonic and sarcastic (and he doesn't seem to be much of an agent either). 

Sebastian Cabot plays the "M" equivalent (who is more devious than the supposed bad guys), and Jill St. John is Smith's girlfriend, the obligatory attractive young woman. As mentioned before, Barbara Shelley is in this as well, but unfortunately she contributes nothing more than a glorified cameo. 

Barbara Shelley in THE SPY KILLER

Jimmy Sangster also produced and wrote another TV movie focusing on John Smith, called FOREIGN EXCHANGE. This also featured most of the cast & crew of THE SPY KILLER. (I intend to view that as well.) I assume that Sangster was hoping ABC might pick up the activities of John Smith as a regular series, but it's easy to see why they didn't. John Smith (at least in the first TV movie) isn't all that charismatic a person, and Sangster's low-key dialogue-heavy portrayal of the spy world doesn't make for exciting TV viewing. THE SPY KILLER can be accessed on YouTube, and its most notable aspect is that it is a Hammer non-horror that officially isn't. 

JOHNNY GUITAR

 

Believe it or not, I had never seen JOHNNY GUITAR (1954) until I recently purchased the special edition DVD of it (at a major discount of course) recently. This is one of the biggest cult movies of all time, a title that has been discussed and analyzed in dozens and dozens of books and articles. 

Plenty of film geeks go gaga over JOHNNY GUITAR. It has been called an expressionist Western, an existentialist Western, a feminist Western, a queer Western, a baroque Western, a neurotic Western, and a statement on the Hollywood blacklist. Many film buffs have read all sorts of symbols and meanings into it, and that's probably why I never went out of my way to view it--whenever the so-called intellectuals go all in on any type of filmed entertainment, I immediately get suspicious. 

It is a striking and unusual production, that's for sure....but is it a great Western?? For all its stylized theatrics, the movie didn't affect me the way it has its legions of fans. I would call it interesting, but not brilliant. There's so much emotional angst in this film that your blood pressure goes up just by watching it. Nearly every scene involves people arguing, confronting, or challenging one another. 

The title character of JOHNNY GUITAR is not played by Joan Crawford, by the way. Sterling Hayden is Johnny, a vagabond and former gunslinger who shows up at a saloon run by the commanding Vienna (Crawford). Vienna knows that the land she owns lies next to a soon-to-be-built railroad line, and she's planning to make the most out of the situation. The citizens of the local town don't want the railroad coming through, and they also don't like Vienna. One woman in particular, Emma Small (Mercedes McCambridge) hates and is jealous of Vienna with a seething passion. The townsfolk link Vienna with The Dancin' Kid (Scott Brady), her former flame and a presumed bandit. Johnny Guitar is also a former flame of Vienna's, and all the heightened attitudes wind up boiling over. 

JOHNNY GUITAR was directed by Nicholas Ray, a man who is revered by a number of film buffs. I'm not one of them, and that's another reason why I was doubtful of this movie's reputation. Ray takes a basic Western situation and inflates it to a point where it becomes almost camp. The interior of Vienna's saloon resembles the lair of a James Bond villain, and Crawford's wardrobe seems more attuned to a fashion magazine layout instead of the requirements of the Old West. 

Mercedes McCambridge gives one of the most over-the-top performances in any major 1950's American film that I've ever seen. Her overwhelming hatred of Crawford's Vienna borders on the absurd--one expects a scene that gets to the heart of the reasons for her feelings, but it doesn't happen. It wouldn't be much of a surprise to know that McCambridge and Crawford didn't get along. 

Crawford didn't get along with Sterling Hayden either, and the two of them don't have much chemistry in the movie. Despite being the title character Hayden acts as if he would rather be somewhere else (I'm sure he realized Crawford and McCambridge were going to get all the attention). The movie does have a fine supporting cast, with such Western veterans as Ward Bond, Ernest Borgnine, John Carradine, Royal Dano, Paul Fix, and Denver Pyle. 

One notable aspect of the film is the Trucolor cinematography by Harry Stradling. Another is how it reminded me of various Euro Westerns made over a decade later. Sergio Leone was apparently influenced by JOHNNY GUITAR.....if Leone had actually directed it, that would have really been something. 

JOHNNY GUITAR is a weird, strange Western that has way more style than substance. Its overwrought nature makes it stand out, but if you're the type of person that just wants to watch good mainstream entertainment instead of getting bogged down in film theories, you may not be that impressed with it. It is worth watching just to see what all the fuss over it was about. 

MODEL FOR MURDER

 

MODEL FOR MURDER is a 1959 low-budget British film that reminds one of the many B pictures made by Hammer Films in the early 1950s. This movie features several performers associated with Hammer: Hazel Court (THE CURSE OF FRANKENSTEIN), and Michael Gough, George Benson, and Barbara Archer, who all appeared in HORROR OF DRACULA. 

MODEL FOR MURDER also has a somewhat dull American male lead in Keith Andes, a factor that was a constant in many low-budget British would-be noirs and crime stories in the 1950s. Andes plays David Martens, a merchant seaman who has come to England to clear up some issues involving his late brother. Andes becomes involved with Sally (Hazel Court), who happens to work in the design department at the same couture house that his brother's ex-girlfriend models for. The ex-girlfriend is killed during a jewel robbery at the modeling establishment, and Martens is framed for the crimes. Sally helps Martens to clear his name. 

The best aspect of MODEL FOR MURDER is its cast. The movie itself lasts about 70 minutes, and it's not all that thrilling. The viewer is shown what happens during the robbery/murder, which means the only suspenseful element is how Martens is going to get out of his predicament. It doesn't help that Keith Andes takes a very low-key approach. Instead of a man desperate to prove his innocence, he comes off as someone who is mildly annoyed by the situation. Why the appealing Hazel Court (who looks better than the models that she works alongside) immediately falls for Martens and does everything she can to help him is the real mystery. 

Michael Gough does what he can to enliven things, as he gives another of his slimy, sardonic portrayals as the man who runs the couture house. (Could you imagine a sitcom revolving around a modeling house with Gough as the unctuous owner??) Patricia Jessel (CITY OF THE DEAD) is a grande dame fashion designer who acts very suspicious, but winds up being just a red herring. 

Terry Bishop directed MODEL FOR MURDER. Bishop did a lot of TV work during the same period, and this film feels very much like an hour long episode of a series. (There's even some "cute" music on the soundtrack during what is supposed to be some lighthearted moments.) The entire movie has a very perfunctory feel to it, and it wastes a promising cast. If you want to know how a crime story set in a modeling house should really be presented, go check out Mario Bava's BLOOD AND BLACK LACE. 

Book Review: THE HAMMER HORROR OMNIBUS

 

The present-day Hammer Films company has been releasing a torrent of merchandise in the last few years, causing fans who actually work for a living (like myself) to pick and choose what goodies we should spend our money on. One of the more affordable items is THE HAMMER HORROR OMNIBUS. This is a paperback reprint of four novelizations of different Hammer movies, all originally published in 1966. 

The novelizations were written by John Burke, an English writer who specialized in the movie adaptation field. Film novelizations are extinct today, but before the advent of home video they were an important movie marketing commodity (I bought plenty of them in the 1980s). 

The four films adapted in this omnibus are THE GORGON, THE CURSE OF FRANKENSTEIN, THE REVENGE OF FRANKENSTEIN, and THE CURSE OF THE MUMMY'S TOMB. Each adaptation runs about 90 pages. 

The adaptations are for the most part fairly basic and straightforward. If you are a Hammer fanatic looking for alternate scenes and/or subplots left on the cutting room floor, you won't find them here. I'm sure Burke's job was to provide an accurate account of the features involved instead of filling in any story gaps or going off on any concepts of his own. Burke's writing style in this volume is brisk and to the point--it won't take an experienced reader long to finish this book. 

The standout items in this omnibus are the adaptations of THE CURSE OF FRANKENSTEIN and THE REVENGE OF FRANKENSTEIN. Each of them is a first-person narrative from Baron Frankenstein himself, and Burke perfectly captures the Baron's narcissism, snobbery, and self-assurance. You can't help but hear Peter Cushing's voice as Frankenstein while reading these adaptations, and it is a pity that the actor wasn't recorded doing a reading of them. 

The novelization of CURSE has a few subtle differences from the film. One is that the Baron actually looks forward to his marriage to Elizabeth (mainly due to the fact that he believes it will give him a better public persona), while in the movie Cushing barely tolerates her. Another is how the scene where the Baron and Paul Krempe go after the Creature in the woods is portrayed. In the film it is heavily hinted (but not shown) that the Creature kills an old man and his young grandchild. In the book the Baron and Krempe find the two would-be victims very much alive. (Was Burke trying to provide some sympathy toward the Creature this way?) The adaptations of CURSE and REVENGE are placed one right after the other in this omnibus, and the result is that one feels they are reading a mini-biography of the Baron, told from his perspective. 

THE HAMMER HORROR OMNIBUS contains a Forward by Stephen Gallagher, in which he discusses the career of John Burke and the attributes of movie novelizations in general. There is also an Afterword by Ramsey Campbell in which he examines aspects of the adaptations. This book is not illustrated, but it does contain fantastic cover art by Graham Humphreys (I'm surprised Hammer hasn't created a poster of it). 

I wouldn't say THE HAMMER HORROR OMNIBUS is a must-have, but it is a nice collectible for major Hammer fans. A follow-up volume is scheduled to come out in a few months, and one wonders if Hammer might decide to create a whole new line of novelizations for some of their films. 

ARIZONA COLT RETURNS

 

I assumed ARIZONA COLT RETURNS (1970) was one of those Euro Westerns which took advantage of a character's name from another Euro Western, but this movie does have a rough continuity with the original ARIZONA COLT. Ernesto Gastaldi, who was one of the writers of the original film, provides the story here, and actor Roberto Camardiel returns as Arizona's whiskey-swilling comic relief sidekick. (The movie also goes by a number of alternate titles, including the one on the European poster shown above.) 

The main difference between this Arizona Colt movie and the first one is how the title role is portrayed. The original Arizona Colt was played by Giuliano Gemma, a fresh-faced charismatic actor who had a sense of crafty humor about him. ARIZONA COLT RETURNS has Euro Western veteran Anthony Steffen as the main character, and his bounty hunter is scruffy, beady-eyed, and poker faced. 

Steffen is so taciturn and emotionless that one gets the feeling he's poking fun at the typical Spaghetti Western protagonist. In fact, the first part of ARIZONA COLT RETURNS feels like a spoof, with some goofy hi-jinks and a very lighthearted score by Bruno Nicolai. As the story heads toward the end, things become darker and more brutal. 

The main plot concerns Arizona's battle against a fearsome bandit (Aldo Sambrell) who has attacked the spread of a wealthy rancher, while also stealing his gold and kidnapping his daughter (Rosalba Neri). Arizona is hired to bring back the gold and the girl, and he and what few friends his has are made to suffer for it. 

Aldo Sambrell (another Spaghetti Western veteran) and the exquisite Rosalba Neri wind up being more interesting than Anthony Steffen, who looks and acts more like a villain than a hero. Sambrell appeared in dozens of Euro Westerns, and his part here happens to be one of his best in this genre. Neri doesn't get nearly enough screen time in the small but crucial role as the rancher's daughter. 

ARIZONA COLT RETURNS was directed by Sergio Martino, who is best known now for being a Giallo stalwart. As one would expect, the darker parts of this film flow much better. There's nothing all that extraordinary about ARIZONA COLT RETURNS, except perhaps how it goes from an almost Trinity vibe to a story where no characters are safe. I watched this on Tubi, which presented it in a very nice-looking widescreen print, and an English-dubbed dialogue track that could have used more vitality. 

JUST PLAY DEAD

 

JUST PLAY DEAD is a brand new movie, which I rented on demand. It's not playing in any theaters in my area, and after watching it I doubt it is going to have any sort of theatrical future at all. 

The movie concerns con artist Jack Wolfe (Samuel L. Jackson), who is living in luxury on the Caribbean island of San Miguel. Wolfe finds out he is going to be indicted for fraud, so he comes up with an idea to fake his death and collect on a $30 million dollar insurance policy. He tries to entice his wife Nora (Eva Green) into the plot, but she has plenty of reasons of her own to have Jack killed for real, and she's also juggling two lovers who might be enticed to help her: a cop (Eoin Macken) and a dopey boy toy (Jason Fernandez). 

JUST PLAY DEAD has a style that I would call "pseudo-Tarantino", which is probably the main reason Samuel L. Jackson was cast. All the characters try to act as cool and self-assured as possible, there's plenty of long dialogue exchanges in which every other line features a certain four-letter word, and there are flashbacks and flash-forwards. Director Martin Campbell (who is a long way from his THE MASK OF ZORRO and CASINO ROYALE days) tries to make things as edgy as possible, at least from a 21st Century perspective. Nora's boy toy beach bum is constantly stoned, and she and Jack are either always smoking cigarettes or drinking copious amounts of liquor. All the bad-ass posturing gets tiresome after awhile--all the characters are backstabbing each other or screwing one another (literally and figuratively). Due to the overall cynical nature of the film, the viewer really doesn't care what happens to anyone. 

The movie was filmed in the Canary Islands, and it at least looks attractive, as does Eva Green. Eva is once again playing a scheming femme fatale, and she proves here that she's still far more alluring and seductive than just about all the actresses half her age. Samuel L. Jackson does what is expected of him, but it's still entertaining to listen to him recite dialogue in his special way. 

One good thing about JUST PLAY DEAD is that it's only about 90 minutes long, but other than Samuel L. Jackson and Eva Green, it doesn't have many more positive attributes. 

SANGSTER DIRECTS HAMMER On 4K/Blu-ray From Severin

 

In my last post, a tribute to LITTLE SHOPPE OF HORRORS magazine, I mentioned that the Hammer Films brand may be stronger than ever. One prime example of that is this mammoth box set from Severin. It contains three Hammer movies--all directed by Jimmy Sangster--but it's the supplemental materials that make this set stand out. 

The set contains 7 total discs--3 UHD and 4 Blu-ray. There are 18 hours of special features spread out over the discs, and this set also contains a 312 page (!!!) book containing all sorts of articles on Hammer and English Gothic cinema. 

The films in this set are THE HORROR OF FRANKENSTEIN, LUST FOR A VAMPIRE, and FEAR IN THE NIGHT. All of these productions have been released on home video numerous times, and I wouldn't call any of them among Hammer's best (but I would put LUST FOR A VAMPIRE among Hammer's worst). The first chapter of the 312 page book has Severin's David Gregory even explaining why his company put out this set in the first place. Are these three films worthy of reappraisal? They haven't exactly been in hiding (I think you can even watch some of them for free on the Tubi streaming channel). It appears that Severin got a chance to put together a Hammer set with these three features, and they figured they better make it stand out....and it certainly does. 

Each of the three movies gets a UHD and Blu-ray disc, and each get plenty of extras, along with new audio commentaries. I've had this set for a couple months now, and I'm nowhere near watching or listening to everything on it.....but I'd much rather have a release that has too much stuff on it (if there is a sort of thing) instead of not enough. 

I'm not going to list all the extras in their entirety (you can go on the Severin website to find that) but I will list some of the highlights. There are new interviews with performers such as Judy Matheson, Christopher Neame, and Kirsten Lindholm, and archival talks with Veronica Carlson, Yutte Stensgaard, and David Prowse. There are special programs detailing the life and careers of Jimmy Sangster and Ralph Bates, along with a featurette on the horror film career of Joan Collins. There are also discussions on Mary Shelley, J. Sheridan Le Fanu, the Frankenstein myth, and lesbian vampire movies. 

Now we have to get to the book, which has chapters on Kate O'Mara, Ralph Bates, Mike Raven, David Prowse's performances as the Frankenstein Monster, and Hammer's production history during the early 1970s. The cover of the book has the famous (or some would say infamous) image of Yutte Stensgaard's blood-spattered Carmilla rising from her tomb, an image that pops up all over this set, as well it should. 

The accumulated extras are not just a bunch of random fluff--they are interesting and intriguing, and pure catnip for major Hammer fans. One could say that the extras on this set are more important than the films themselves. 

Speaking of the films, it must be pointed out that this is technically a Jimmy Sangster set. The program on his life and career makes the case that Sangster--whose main work in film was that as a writer--was an important player in classic English Gothic cinema. I agree with his importance to the genre--but I don't feel he was a great writer. I believe that Sangster was good at plot construction and good at coming up with ideas, and he certainly knew how to take famous tales and transform them into Hammer product. The extras on this set point out that Sangster did a lot of work on American television in the 1970s and 80s. That might surprise some, but his knack for quickly coming up with ideas and writing for a certain budget made him perfect for that era of TV. Sangster wasn't the best director in the world--an opinion he would have agreed with--but considering what he had to work and deal with, he did the best he could. I think Sangster's best work as a screenwriter was on the series of so-called "mini-Hitchcock" suspense stories he created for Hammer, and FEAR IN THE NIGHT, included in this set, is an example. 

I'm sure most Hammer fans already own the three films in this set, but Severin has provided so many exemplary extras that it is a must for English Gothic lovers. Severin knew they had to come up with something extraordinary to stand up to all the high-end sets Hammer themselves have been recently putting out, and you can't deny that they truly did so. 

An Ode To LITTLE SHOPPE OF HORRORS

 

The final issue of LITTLE SHOPPE OF HORRORS, "The Journal of Classic British Horror Films", is now available. Issue #53 marks the end of a publication that for decades has provided fans of Hammer Films and English Gothic cinema with pages and pages of insight and information on numerous genre movies and the people that were involved in making them. 

I first started buying LSOH in the mid-1990s (my first issue was #12). I've gotten every issue since. Not only has it been one of my favorite film magazines, I've wound up having a personal connection to it. 

I wrote an article on the making of Joshua Kennedy's Hammer-influenced HOUSE OF THE GORGON in issue #41, and I also provided a memorial tribute to my dear friend Veronica Carlson in issue #48. I've become friends with LSOH creator/editor Richard Klemensen, and I've also met and befriended talented LSOH contributors Mark Maddox, Neil Vokes, and Sam Irvin. LSOH writers John Hamilton and Bruce Hallenbeck are Facebook friends of mine. (By the way, my buddy Josh Kennedy also wrote the cover article of LSOH #47, concerning his favorite movie of all time, THE GORGON.) 

So yes, I'm a bit biased when it comes to the subject of LSOH. But even if I hadn't contributed anything to the magazine, or never even met anyone associated with it, I still would have been a dedicated reader. If you profess to be a fan of Hammer Films, you have to have read at least a few issues of LSOH. It has become an unofficial "official" guide and historical resource for everything and anything connected to and created by Hammer. 

LSOH has often been referred to as a "fanzine", since it is an independent publication that doesn't get shelf space at mainstream outlets, but I feel that description is undeserving. The word "fanzine" seems to bring to mind the idea of something amateurish, or below average. During its long history I've found LSOH to be far above average when it comes to genre films publications. Each issue is filled with insightful and informative articles and plenty of Hammer-related artwork from all sorts of talented individuals. Richard Klemensen (who I call Mr. K) has always steered the magazine on a steady course between Monster Kid goofiness and highbrow film theory. You don't have to be an Arts Major to enjoy LSOH, or even the greatest Hammer fan in the world. LSOH is a celebration of the movies of Hammer and its English Gothic cousins, but it also doesn't shy away from the fact that some of these films are not the best productions of all time. (I think the fact that Mr. K is from the American Midwest and that he actually worked for a living has a lot to do with LSOH's overall outlook). 

It goes without saying that LSOH has played an important role in how the films of Hammer have been looked upon and appreciated, but it needs to be pointed out that LSOH deserves a place in cinema history overall. Several people who worked in front of and behind the camera on various genre features have been interviewed in the pages of LSOH, and for most of them it was their only properly documented discussion. The thoughts, opinions and feelings of dozens of artists who worked in the movie industry only exist due to LSOH, and that fact alone makes the magazine worthy of high praise. 

Issue #53 may be the swan song of LSOH, but the magazine isn't taking a leisurely victory lap. #53 is a 162-page spectacular, and it fittingly features Peter Cushing on the cover (see above). It contains in-depth articles on THE ABOMINABLE SNOWMAN, THE GAMMA PEOPLE, and THE HORROR OF FRANKENSTEIN, and there are also archival interviews with Cushing, Christopher Lee, Roy Skeggs, and Anthony Hinds. There's also an eight-page color section showcasing fantastic artwork from some long-time LSOH contributors. 

I've seen a lot of horror & science fiction movie magazines come and go in my lifetime. Most of them faded away, some of them morphed into something totally different, and some others just simply limped along. LSOH is going out on its own terms, and it has never failed to be fresh, vital, and enjoyable for English Gothic cinema fans. I'm proud to have been a very small part of it, and I'm happy to know that back issues of LSOH will be available on the magazine's website. One could say that the Hammer brand name is bigger than ever, especially when one takes into account all the special edition home video sets and books dedicated to the company's product that have been released recently. Richard Klemensen and LITTLE SHOPPE OF HORRORS has had a major impact on the history of the classic Gothic horror film and on pop culture overall. 

HURRICANE ISLAND

 

HURRICANE ISLAND is about the most perfect example of a B movie that there is. It was produced (Sam Katzman) and directed (Lew Landers) by veterans of the form, it lasts only around 70 minutes, and it provides decent low-budget entertainment. 

This movie was shown recently on TCM as part of the cable channel's "Summer Under The Stars" day featuring the redoubtable Marie Windsor. She's the main reason to watch this pirate tale, which is set in the early 16th Century and deals with Spanish explorer Ponce de Leon's attempt to find the fabled Fountain of Youth in Florida. 

Windsor plays the striking and vivacious Jane Bolton, who leads her own pirate crew based in Cuba. (In her very first appearance, she is referred to as a "noisy wench".) Jane finds out about Ponce de Leon's expedition to Florida, and, assuming there will be gold found, joins up by infiltrating a group of women who are going along to become wives to those who will settle in the new land. 

Jane's ruse is soon discovered by Captain Carlos (Jon Hall), the second-in-command to de Leon (Edgar Barrier). Jane's crew follows along, and they and a tribe of natives cause plenty of trouble for the Spanish expedition. 

Sadly, Marie Windsor isn't used to her full advantage in HURRICANE ISLAND. Her character is so intriguing that she deserved her own movie, but in the later part of the story Jane Bolton gets very little to do. Windsor has far more screen presence than Jon Hall, a minor league Errol Flynn who for some reason got to play the lead in all sorts of period adventures. Windsor's Jane even falls for Hall by the end, an improbable turn of events that robs the viewer of the chance to see Marie heft a sword and engage in some daring-do of her own. The only standout in the supporting cast is long-time bad guy Marc Lawrence as Jane's treacherous pirate companion. 

Needless to say, historical accuracy wasn't much of a concern to those who were involved in HURRICANE ISLAND. No one acts as if they are Spanish, or even as if they come from the 16th Century, and the native tribe appears to be a mixture of Apaches and Polynesians. The climax is notable for the fact that it brings in a supernatural element. Not only does this element give a reason for the film's title, it also provides a twist that will be recognizable to any one who has seen any movie versions of H. Rider Haggard's SHE. 

HURRICANE ISLAND was filmed in a process known as "Supercinecolor", and the mediocre print shown by TCM didn't do it any favors. Marie Windsor still looked great, and it's too bad that the movie's budget and plot didn't do the actress justice. 

THE FORGOTTEN PISTOLERO

 

THE FORGOTTEN PISTOLERO is a 1969 Euro Western based on the ancient Greek tale of Orestes, a story concerning revenge and family betrayal. The movie's original title is IL PISTOLERO DELL'AVE MARIA, or GUNMEN OF AVA MARIA. 

This is a Spaghetti Western that is more concerned with the emotional dynamics between the main characters than violence or gunplay. It has a slower pace than most examples of the genre, and there are no quirky eccentric types to provide any comic relief. 

The story revolves around the murder of a well-to-do Mexican General named Carrasco. After returning home from fighting the French in the 1860s, the General is killed by his younger wife Anna (Luciana Paluzzi) and her lover Tomas (Alberto de Mendoza). Years later the General's son Sebastian (Leonard Mann) teams up with his boyhood friend Rafael (Peter Martell) to get revenge. Rafael has his own personal reasons for going after Carrasco's widow and Tomas--they have denied him the love of Sebastian's sister (Pilar Velazquez). 

A dark, brooding air hangs over THE FORGOTTEN PISTOLERO. Director Ferdinando Baldi made many other Italian Westerns and action-adventures that were far wilder and more rambunctious, but here he sticks to a mood of tragedy and regret. Leonard Mann and Peter Martell make effective, if dour, protagonists, but they resemble each other so much that at times it's hard to tell which one is which. 

The performance that really gets your attention in this film is that of Luciana Paluzzi as Anna. Paluzzi is best known for playing the feisty Fiona Volpe in THUNDERBALL, so one would assume that Anna is nothing more than a seductive, scheming femme fatale. She is that to an extent, but the script and Paluzzi give Anna some complexity--this is a woman who is haunted by what she has done, and she is well aware of how many other people she has hurt due to her actions. 

Perhaps the most notable aspect of THE FORGOTTEN PISTOLERO is its music score by Roberto Pregadio. Even if you have never heard of this movie, you've probably heard its main theme before, even without realizing it. The score is considered one of the best examples of Euro Western music (at least the best example of a score that wasn't composed by Ennio Morricone). Pregadio's theme has been used in various other movies, TV shows, documentaries, etc. It's a score that could be attached to every other Spaghetti Western ever made and still work. 

Tubi has an excellent-looking widescreen version of THE FORGOTTEN PISTOLERO with an English voice track, and it appears to be uncut as well. If you are looking for violent cheesy fun, this isn't the movie for you, but if you are interested in a Euro Western that takes a somewhat different tack, THE FORGOTTEN PISTOLERO is well worth your time. 

THE TALK OF THE TOWN

 

I recently purchased this movie on DVD at a discounted price (what did you expect??) I had seen THE TALK OF THE TOWN multiple times before, but it had never caught my fancy, despite the fact that it stars two of my favorites, Cary Grant and Jean Arthur. The film was produced and directed by George Stevens, and it wound up getting nominated for seven different Academy Awards (including Best Picture), but for me it is an uneasy mixture of screwball comedy and social drama. 

Jean Arthur plays Nora Shelley, a schoolteacher renting out her old family home during the summer to a distinguished Harvard law professor named Michael Lightcap (Ronald Colman). One night while Nora is getting the house ready for Lightcap's arrival, her childhood acquaintance Leopold Dilg (Cary Grant) shows up, looking for sanctuary. Dilg has escaped from jail, where he was awaiting trial on charges of murder & arson. The professor also shows up, a day early, and Nora has to hide Leopold while keeping the suspicious Lightcap happy. Leopold reveals himself, posing as a gardener, and he and Lightcap become friends, despite their very different opinions on the application of the law--the professor believes the law should be followed to the letter, while Leopold thinks a flexible human element should be injected into it. Both men are also attracted to Nora, while she's also attracted to them. Nora tries to figure out a way to get Lightcap to help Dilg prove his innocence while keeping the latter from being captured. 

Needless to say, the plot of THE TALK OF THE TOWN is rather convoluted. The story veers from romantic-triangle farce to discussions about law and its effect on the individual. There's also a political aspect to it--the movie takes place in a fictional town called Lochester, which happens to be corrupt. Dilg is accused of burning down the factory owned by the town big-wig, and it's highly likely that Leopold will be lynched if he is caught again. 

With all the various elements of the plot, the movie (and George Stevens) never figures out which tone to take. It appears that Stevens was trying to go down the Frank Capra route, but he isn't able to pull it off, despite all the award accolades the movie received. 

One big issue is that in my opinion Cary Grant is miscast as Leopold Dilg. It is established in the story that Dilg is the town malcontent, a guy always getting into trouble--and one just can't see Grant as that type of person. The very name "Leopold Dilg" suggests someone who has a working-class immigrant background, and that is decidedly not Cary Grant's screen persona. Someone like John Garfield would have been much better as a desperate wanted man with a chip on his shoulder. 

Another issue is that while Dilg and Professor Lightcap are set up as opposites, they wind up becoming fond of each other, almost as fond as each of them are to Nora. Predictably both men even come around to the other's point of view about the law. If the men really had been major romantic and intellectual rivals, the movie would have had more of an edge to it, and it would have been more interesting. (The dramatics over Dilg's plight are tempered by the fact that you just know Cary Grant isn't a murderer and an arsonist.) 

Jean Arthur's poor Nora is stuck in between both men and all the plot complications, and she spends the whole movie in a state of exasperated panic. Arthur is great in this type of role, but you never get the feeling that she's all that enamored of either Dilg or the professor--she worries about them simply because she's the main female lead, and that's what she's supposed to do. 

Among the supporting cast in THE TALK OF THE TOWN: Edgar Buchanan, Glenda Farrell, Tom Tyler, Rex Ingram, and a very small appearance by a young Lloyd Bridges. It's the three main stars that get all the attention, and there are plenty of talky scenes involving the trio that feel like they come from a stage play. 

Cary Grant and Jean Arthur are always worth watching, and Ronald Colman is quite good as the bemused upper-class fellow trying to do the proper thing, but THE TALK OF THE TOWN never seems to come together properly. It is a production that tries hard to be important instead of natural and entertaining. 

DESTINATION MOON On Blu-ray From Film Masters

 

Film Masters continues its series of home video releases of neglected classic genre films with a sparkling Blu-ray of George Pal's 1950 space exploration saga DESTINATION MOON. This release also comes with a bonus disc featuring the 1951 sci-fi adventure FLIGHT TO MARS, a movie about as different from DESTINATION MOON as you can get. (I will be covering FLIGHT TO MARS in a future blog post.) 

DESTINATION MOON was meant to be a serious and earnest attempt to dramatize a realistic trip to the moon, based upon what was known at the time. I'm sure that for many viewers today DESTINATION MOON comes off as quaint and old-fashioned, but one can't deny the honesty and integrity that producer Pal, artist Chesley Bonestell, and writer Robert A. Heinlein applied to the project. 

What needs to be realized is how far-sighted DESTINATION MOON actually was. The main plot details how a group of industrialists and businessmen band together to plan and implement a trip to the moon, despite the fact that the American government--and shadowy forces--are not too keen on the endeavor. That plot description has a very 21st Century feel to it. There are some elements of DESTINATION MOON that seem creaky--Dick Wesson's wisecracking "regular guy" crew member in particular--but the overall production holds up very well if one places it in the proper context. 

What's most important is how great DESTINATION MOON looks on this Blu-ray. The transfer was taken from a new 4K scan of 35mm elements, and it is colorful and clear, bringing out all sorts of detail. The sound quality is excellent as well. 

As usual, Film Masters provides plenty of nice extras. This release comes with an illustrated 15-page booklet that has an essay on the film's production history by Sloan De Forest. The disc has a 23 minute featurette which also details the movie's background and history, along with a gallery of pictures from the film's pressbook. There's also a 40 minute audio reading of an article written by Bob Burns detailing how he actually visited the set of DESTINATION MOON, and his long friendship with George Pal. This extra is presented by Tom Weaver, and it is set up to run along with the last half of the movie. An original restored trailer for the film is also included. 

The main extra is a new audio commentary by George Pal biographer Justin Humphreys. It is an excellent talk that is well-paced, insightful, and informative. Humphreys provides the listener with everything they need to know about DESTINATION MOON, and he rightfully goes out of his way to explain why the movie is one of the most important American genre films ever made. 

For some reason DESTINATION MOON very rarely gets shown on TV anymore, so hopefully this magnificent release gives the film some much-needed attention. A 75 year old movie about a trip to the moon may seem totally outdated to most, but it had a major impact on the cinematic science fiction boom of the 1950s, even though most of its brethren were not in any way as well crafted or as well thought out. Film Masters has been coming out with some impressive products recently, and this Blu-ray of DESTINATION MOON is one of their best releases yet. 

THE DEATH KISS

 

A few weeks ago I took advantage of Kino's summer sale to purchase a few items. One of the Blu-rays I picked up was THE DEATH KISS, a 1932 murder mystery that has become a public domain staple. 

THE DEATH KISS has had a multitude of home video releases over the years, mainly due to the fact that it features three performers from Universal's 1931 DRACULA: Bela Lugosi, David Manners, and Edward Van Sloan. Despite this, THE DEATH KISS is not a horror film--its main novelty comes from the story being set in a minor Hollywood studio. 

The movie starts out with a very clever double twist. We see a well-dressed man exiting what appears to be a nightclub, and a sultry woman proceeds to walk up to him and give him a kiss. The man is then gunned down in a very early cinematic example of a drive-by shooting. It is revealed, however, that this is a scene being staged for a film....and then it is revealed that the actor really was shot and killed. 

This sequence is the best thing in the movie, and it also provides the reason for the title (the man in the scene was given "the death kiss"). The murdered actor is Myles Brent, who despite being the leading man of Tonart Studios has a very bad reputation. Screenwriter Franklyn Drew (David Manners) takes it upon himself to investigate the crime, even though he's hampered by a sarcastic police inspector (John Wray) and the studio manager (Bela Lugosi). 

THE DEATH KISS is what I would call a nifty little feature. There's nothing outstanding about it, but it does provide 70 minutes of decent entertainment, especially if you are an old movie geek. Seeing the behind the camera aspects of a 1930s production company is one major highlight (the story was shot at the Tiffany Studios). There's also the bonus of seeing David Manners, Lugosi, and Edward Van Sloan playing different types of characters. I've always found David Manners to be lightweight and annoying, but he comes off more personable in this picture, even though I have to agree with the police inspector that the screenwriter is a bit of a noisy pain in the neck. Edward Van Sloan plays film director Tom Avery. Usually in a movie that is about movies, directors are portrayed as cartoonish dictatorial types, but Van Sloan's Avery is shown as someone who is trying to get a job done (in more ways than one). The only major female role, that of Tonart Studios' main leading lady, is played by Adrienne Ames, whose character appears to have some sort of involvement with every man in the story. 

Bela Lugosi fans have always been disappointed in THE DEATH KISS, for he really doesn't get all that much to do in it. Bela is once again a red herring, but this time he doesn't even act all that suspicious. At least in this film Lugosi got to play a "normal" role, and he looks quite sharp wearing early 1930s-era suits. A number of misleading publicity stills (see below) were taken for this movie in which it appears that Bela is some sort of diabolical menace, which he assuredly is not. 

The mystery aspects of THE DEATH KISS are quite good, and the methods of murder are quite inventive. The movie can't be called an all-out thriller due to its excess of comedic scenes. There's a dopey studio cop (Vincent Barnett) who gets way too much screen time, and there's also the studio president (Alexander Carr) who constantly mangles the English language, and a prissy production assistant. The movie is enlivened with some brief color hand-tinting, which was restored for this Kino Blu-ray. The hand tinting is striking, but there's very little of it. 

THE DEATH KISS was the directorial debut of Edwin L. Marin, who went on to become a solid Hollywood filmmaker. Like most early 1930s pictures, the story zips along, and it's fun to see a studio from the inside, so to speak. (This movie continues a cliche that I've seen over and over again--whenever a film or TV show is set on a studio lot, we always see cowboys and chorus girls wandering around in the background. The next time you watch a show or movie with studio scenes, look out for this--you could play a drinking game with this cliche.) 

I wouldn't call this Kino Blu-ray of THE DEATH KISS a brilliant restoration, but it is better looking than the usual versions one sees of this film. If you can get over the fact that Bela Lugosi doesn't have anything major to do in it, you'll find that THE DEATH KISS is a nice example of entertaining low-budget 1930s movie making. 

Bela Lugosi and Adrienne Ames in a very misleading publicity still for THE DEATH KISS 

HORROR OF DRACULA On 35mm!

 

Last night I had the rare opportunity to see a 35mm Technicolor print of HORROR OF DRACULA in Chicago at the Gene Siskel Film Center. The showing was part of the Chicago Film Society's "Technicolor Weekend" series, in which a number of classic features were shown in their original color prints--a unusual treat in today's digital age. 

A lady from the Chicago Film Society gave an introduction before the showing, and she explained that this print of HORROR OF DRACULA came from a private collector, who couldn't remember where it came from. It was the real deal--it opened with the Universal-International logo, and it was the full version of the movie, or at least the full American version of the film. 

The print had not been restored or remastered in any way--it had some scratches on it, and there were times when the focus wavered a bit, and it had some wear--but it was a glorious experience to see one of my favorite movies shown in this manner. 

One thing I noticed in particular was how deep and vivid the colors were. if you've seen HORROR OF DRACULA you know that the main titles are in red--and this was a very rich red. The settings and the costumes came off magnificently. The sound was very clear and direct--James Bernard's fabulous punctuation of a score came out wonderfully. 

Once again, this wasn't the version that the present-day Hammer is preparing to put out on home video soon. This was the 1958 HORROR OF DRACULA, shown to American audiences....and I can assure you, there was absolutely no blue tint!!!!

Now....I have to cover the audience reaction, which was notable, to say the least. 

First of all, the seating accommodation in the theater in which it was shown wasn't large, but nearly every seat was filled. I assumed there might be plenty of other Hammer fans in the audience....but as the movie was rolling along, there were plenty of snickers and laughs. There were even some laughs during the climax!

I certainly didn't expect people to worship this film, but some in the theater were laughing at it most of the time. I thought maybe a big-city audience made up of cineastes would put HORROR OF DRACULA in the proper context, but maybe I was expecting too much. (Michael Gough's performance as Arthur Holmwood really got blasted--the audience laughed at nearly everything he said and did.) 

And to top it off, I wore my Peter Cushing shirt to the event.....and no one acknowledged it. Maybe it was because I was also wearing a White Sox hat, or maybe I'm just weird to begin with--heck, I don't know. 

Even though the audience didn't react the way I thought it should, I don't regret driving all the way out to Chicago and dealing with tolls and bad traffic--when are you going to be able to see a Peter Cushing-Christopher Lee film in original 35mm Technicolor? Seeing HORROR OF DRACULA on the big screen in an actual theater was truly tremendous. 

THE MAN UPSTAIRS

 

The final film that I will be covering in Kino's BRIT NOIR COLLECTION III Blu-ray set is THE MAN UPSTAIRS, a 1958 film released by British Lion. 

The entire story of THE MAN UPSTAIRS takes place in a dingy apartment building. The man of the title is played by Richard Attenborough, who one cold night goes out of his way to annoy nearly everyone else in the building he is staying at, causing one of the tenants to call the police. When the police arrive, the situation takes a turn for the worse. The mysterious man (who goes by the name of Wilson) barricades himself in his upstairs room, while various authorities and the other tenants debate how to deal with him.

One would expect THE MAN UPSTAIRS to be all about Attenborough's character and his problems, but he doesn't have as much screen time as one would think. Much of the story is devoted to how numerous officials react to the situation, and how the other tenants feel about Wilson in the context of their own lives. The other tenants are a bickering lot, and they become so annoying that one wonders if they are the ones who have driven Attenborough over the brink. 

The movie tries hard to create sympathy for Attenborough's character and his plight, but it doesn't give the viewer much to go on. Attenborough is edgy, nervy, and temperamental, and eventually we learn he was somehow involved in some sort of accident which caused the death of his fiancee's brother, but this incident isn't established enough. The result is that while watching this movie I kept thinking "Is someone finally going to go up there and deal with this guy??" (I kept expecting a flashback explaining what set off Attenborough, or at least one showing what his character was like when he was "normal", but it never comes.) 

The supporting cast does what they can with some very one-note roles. Bernard Lee is a tough police inspector who just wants to go up and end the situation once and for all (and I can't say I blame him), while Donald Houston is a welfare officer who bends over backward to try and help Attenborough. Patricia Jessel (from CITY OF THE DEAD) is the building's brash landlady, while Kenneth Griffith is a milquetoast tenant and a young Edward Judd plays a constable. 

THE MAN UPSTAIRS was directed by Don Chaffey, who is best known now for helming such colorful fantasy adventures as JASON AND THE ARGONAUTS and ONE MILLION YEARS B.C. Those movies are about as far away from THE MAN UPSTAIRS as you can get. THE MAN UPSTAIRS is in black & white, very talky, and very claustrophobic. Chaffey and cinematographer Gerald Gibbs do throw in a few unusual shots here and there, and the pace does go up a bit as the story goes along....but just when it seems things are coming to a boil we get another sequence where various people stand around and debate what to do. THE MAN UPSTAIRS might have been better if the focus was squarely on Attenborough and the viewer had more info and insight into his character. 

As in the other BRIT NOIR COLLECTION sets, the visual and audio quality in the third one is excellent. Once again new audio commentaries are provided for each film. In my opinion PAYROLL is the best movie in the third set......and yes, Kino has a BRIT NOIR COLLECTION IV set coming soon. 

If Hammer Films Had Made THE ODYSSEY

 

I know what you are thinking....."Hammer Films would have never had enough money to make a version of THE ODYSSEY!!!" Your thoughts are correct--they would have never even attempted such an epic and highbrow concept. 

But let's say that Hammer's 1965 version of SHE became a huge mainstream success, and Metro-Goldwyn-Mayer, their partner in that production, decided that they wanted to use the British company to make even more ancient spectacles. So....MGM gives Hammer more money than they are used to working with, and they suggest an adaptation of Homer's classic tale. 

Let's imagine that the movie starts out with Peter Cushing as Homer, telling the story to a rapt audience. The film then fades into the main action, with Cushing's voice periodically narrating parts of the story and filling in gaps (such as describing scenes that Hammer didn't have the money or the wherewithal to shoot). 

The cast & crew of this non-existent spectacular is listed below. I know one thing--no matter how it would have turned out, it wouldn't have taken more than three hours of your time to watch it! 

MGM and Hammer Films Presents THE ODYSSEY 

Starring 

Stanley Baker as Odysseus

Oliver Reed as Telemachus

Barbara Shelley as Penelope

Ursula Andress as Helen of Troy

Christopher Lee as Agamemnon

Michael Gough as Antinous 

Michael Ripper as Eumaeus

Martine Beswicke as Athena

Hazel Court as Calypso

Francis Matthews as Menelaus

Andrew Keir as Eurylochus 

Milton Reid as the Cyclops

Richard Pasco, Patrick Troughton, Duncan Lamont, Marne Maitland and George Pastell as members of Odysseus' crew

With special guest star Barbara Steele as Circe and Peter Cushing as Homer 

Special Effects by Ray Harryhausen 

Music by Bernard Herrmann

Screenplay by Richard Matheson 

Produced by Michael Carreras and Anthony Nelson Keys

Directed by Don Chaffey 

THE ODYSSEY

 

I realize that this movie is the major trending topic right now, but personally I wasn't impressed with it. Christopher Nolan's adaptation of Homer's ancient epic is a lumbering, dreary affair that has a murky, overcast look to it. 

Nolan tries to make the story "realistic", which results in a lot of awkward dialogue and awkward performances. None of the main actors seem comfortable with what they are doing--things might have worked better if Nolan used a cast of unknowns, but if he did he wouldn't have gotten the clickbait he received from the trendy people he did use. 

There's a lot of flashbacks and flash-forwards in THE ODYSSEY, which is a Nolan staple, but here it just seems to drag things out more. As with all of Nolan's work, there's a remoteness and coldness here that prevents a viewer from being all that engaged with what is going on. 

Plenty of folks are absolutely gushing over this film, so what do I know? For whatever reason, I just wasn't able to get into it. If someone had given Mario Bava about $200,000, a cast of European cult actors, and about 90 minutes of screen time, and told him to do a version of THE ODYSSEY, he no doubt would have a much more entertaining--and much more interesting--film. 

THE MAVERICK QUEEN On Blu-ray From Kino

 

This is a 1956 Republic Western that I had never seen, despite the fact that it stars one of my favorites, Barbara Stanwyck. 

Stanwyck plays the title role, a hard-edged woman named Kit Banion. Kit has managed to make herself a bigwig in the Wyoming town she resides in, mostly due to her association with Butch Cassidy (Howard Petrie) and the Sundance Kid (Scott Brady). A drifter named Jeff (Barry Sullivan) rides into town, convincing Kit he's one of the Younger gang....but he's actually an undercover Pinkerton agent who is trying to infiltrate the Wild Bunch. Kit starts to fall for Jeff, but he has an interest in local cattle rancher Lucy (Mary Murphy). 

THE MAVERICK QUEEN was based on a Zane Grey novel, but its most notable quality is that it was shot on some spectacular locations in Colorado. There's some stunning scenery here, all rendered in a widescreen process that Republic called "Naturama" and a technique the studio referred to as "Trucolor". Director Joe Kane makes great use of the outdoor locations, and the result is one of the best looking Westerns of the 1950s. 

The story is rather predictable--Stanwyck had already played a number of roles just like Kit, and there isn't much surprise in how the ending comes out (especially considering that Mary Murphy, who gets as much screen time as Stanwyck, is the "Good Girl" equivalent to Kit). The main notable aspect of the plot is that it involves Butch Cassidy and The Sundance Kid, over a decade before their famous big-screen portrayals by Paul Newman and Robert Redford. Here Butch and Sundance are about as far away from Newman and Redford as you can get. Howard Petrie and Scott Brady are scruffy, ornery, and violent....and in this movie they are most assuredly not good buddies. 

Like most Westerns of the 1950s, THE MAVERICK QUEEN has plenty of recognizable actors, such as Jim Davis, Wallace Ford, and John Doucette. Mary Murphy is very good as the spunky Lucy, and of course it's a treat to watch Barbara Stanwyck in anything. Barry Sullivan may not be most people's choice as a formidable Western hero, but he and Stanwyck work well together (the two would reunite in Sam Fuller's FORTY GUNS). Being that this is a Republic film, the stunt work is as excellent as expected. 

Kino's presentation of THE MAVERICK QUEEN on this Blu-ray is simply astounding. The movie is shown in the 2.35;1 aspect ratio, and the colorful transfer looks gorgeous. Other than some trailers for some similar films, the only extra is a new audio commentary by Dwayne Epstein, a somewhat ragged talk in which he spends most of the time reciting personal details about many of those involved in the production. 

THE MAVERICK QUEEN isn't what I would call a game-changing Western, but it is an entertaining one, and it is one of the best-looking 1950s movies I've seen on Blu-ray. 

NOWHERE TO GO

 

It's back to Kino's BRIT NOIR COLLECTION III Blu-ray set, with NOWHERE TO GO, a 1958 Man-On-The-Run story from Ealing Studios. 

The movie opens with an impressive sequence detailing a man breaking into a prison to break another man out. The escapee is Paul Gregory (George Nader) a Canadian who conned an older woman out of her rare coin collection. Gregory sold the coins, then put the money in a safe deposit box, while allowing the law to put him away. Gregory's overall goal is to get out of prison, get the money, and get out of England--but of course, things don't go as planned, as the felon gets himself into more and more trouble. 

NOWHERE TO GO reminded me of the 1950s low budget crime stories made by Hammer Films, mainly due to the fact that it has an underwhelming American-born leading man trying to get out of a desperate situation. The director of NOWHERE TO GO, Seth Holt, would even go on to work for Hammer a number of times. This was Holt's feature film directorial debut (he had mostly worked as an editor), and he brings plenty of style and panache to a very simple tale. Holt probably felt he had to do this, because George Nader shows no charisma, or even likability, as Gregory. If the story had Gregory set up for the crime, or a victim of mitigating circumstances, the viewer might have had more sympathy for his plight, but he's a criminal through and through, and he doesn't seem a very bright one at that. 

This film's supporting cast has several notable names, such as Bernard Lee, Geoffrey Keen, Lionel Jeffries, Andree Melly (THE BRIDES OF DRACULA), and Howard Marion-Crawford (Dr. Petrie in the Christopher Lee Fu Manchu series). Silent film star Bessie Love plays the woman fleeced by Gregory in the beginning of the story, and Maggie Smith gets her first major film role as an upper-class young woman who tries to help Gregory (her character readily admits to having a thing for hard cases). 

NOWHERE TO GO is a very apt title, because with such a dour personality as George Nader in the lead, the movie literally has nowhere to go. It is Seth Holt's direction and the supporting cast that makes NOWHERE TO GO notable.