RIP, continued ....

Barbara Cook (1927-2017),  aged 89.  Barbara was one of the legendary Broadway divas and remained much-loved to the end. She starred in several musicals (starting with Bernstein's CANDIDE and as Marian the librarian in the original THE MUSIC MAN ("Till there was you"), and later re-invented herself as a top solo artist, after weight and alcohol problems, filling out Carnegie Hall, and also did several appearances in London. Sondheim insisted on her for that 1986 Concert version of FOLLIES, where in an all-star cast (Lee Remick, Elaine Stritch, Carol Burnett) her versions of "Losing My Mind" and "In Buddy's Eyes" are standouts. Thank goodness its on dvd. I must now check out her available recordings. 

Elsa Martinelli (1935-2017), aged 82. Italian actress, Eurobabe and model. Elsa was one of our Italian favourites, the slim fashion model stood out from the usual statuesque beauties. She was a top model by the mid-fifties and was spotted for the Kirk Douglas western THE INDIAN FIGHTER, where she certainly looked the part. She alternated between American and Italian films (such as my favorite, LA NOTTE BRAVA in 1959), and Vadim's dreamy vampire film BLOOD AND ROSES. Her best known role is probably that of Dallas in Howard Hawks' 1962 African saga HATARI! where she has that delightful sequence with the baby elephants "Baby Elephant Walk" as scored by Henry Mancini. She also squared up nicely to John Wayne. There was also a little seen Charlton Heston comedy, and we like her in the swinging London spy saga MAROC 7 in 1967, and slinky euro-thrillers like THE 10TH VICTIM. She was also in Welles' THE TRIAL and his bored companion in THE VIPs. Also in FOUR GIRLS IN TOWN in 1957, MANUELA, RAMPAGE and more.  

Robert Hardy (1925-2017), aged 91. The splendid Robert Hardy was another long-standing veteran of British theatre, film and television. I seem to have been watching him almost all my life .... his most famous role must be of the country vet in James Herriot's ALL CREATURES GREAT AND SMALL, a long runner in the 1970s and 80s. He also played Churchill several times. Other tv roles included THE TROUBLESHOOTERS, Sir Tobt Belch and other assorted Shakespeare roles, and he did CORIOLANUS with Olivier in 1959. I remember him as the Earl of Leicester in a 1967 BBc series KENILWORTH, and of course he was also in the HARRY POTTER films,

My employers engaged him to host a prestigious evening event at the Tower of London in the 90s, and he was a great success, despite it raining.

Sam Shepherd (1943-2017) aged 73. The acclaimed Pulitzer-prizewinning American playwright and actor, who captured aspects of American life perfectly with plays like FOOL FOR LOVE. His film career began with DAYS OF HEAVEN, and THE RIGHT STUFF and more routine fare with BABY BOOM, STEEL MAGNOLIAS etc. 

Hywel Bennett (1944-2017), aged 73. Popular British actor of his era, who later found success on television as SHELLEY and of in EASTENDERS etc. His film career though in the late 60s and early 70s was typical of the tatty fare the British cinema descended into then: that dreadful film of LOOT (review at Orton label) , PERCY, PERCY'S PROGRESS (about penis transplants), THE BUTTERCUP CHAIN, etc THE VIRGIN SOLDIERS was fitfully amusing in 1969. I never liked THE FAMILY WAY with that grotesque role of the father as played by John Mills, and his other two with Hayley Mills, TWISTED NERVE and ENDLESS NIGHT were rather unpleasant too. At least he progressed to Dennis Potter plays like PENNIES FROM HEAVEN.

Ty Hardin (1930-2017), aged 87. Ty was quite a busy guy what with 8 wives and 10 children, and fitting in playing BRONCO on tv and assorted movie roles in tough guy movies like BATTLE OF THE BULGE, CUSTER OF THE WEST, MERRILL'S MARAUDERS etc, but we have fond memories of him here in THE CHAPMAN REPORT in 1962 in those spray-on shorts, getting Glynis Johns all in a tizzy, or in BERSERK!, a circus cheapo made in England in 1967 where he is Joan Crawford's love interest.

Glen Campbell (1936-2017), aged 81. Another titan of American popular country music, The Rhinestone Cowboy's work with Jim Webb will endure, also in movies since TRUE GRIT in 1969

If its Tuesday this must be Belgium - 1969

A friend who works in travel wanted to re-see this, so I got a copy for him - its passably amusing, dealing with a coach tour of Europe in the Sixties, taking in nine countries in eighteen days. The usual predictable comedy situations take place, ticking off each nation's stereotypes. The American tourists are mainly schlubs married to nagging wives, or rampant lechers .... at least Mildred Natwick, Murray Hamilton, Norman Fell try to create characters, while the leads are tour guide Ian McShane who of course has a girl in every country, and Suzanne Pleshette, looking and sounding marvellous here, as the romantic interest on the trip. The movie is Suzanne's all the way. 

Directed by Mel Stewart, the only point of interest here is the endless walk-ons by assorted European stars who turn up for a minute or less each. There's Anita Ekberg, Elsa Martinelli, Virna Lisi, Senta Berger, Catherine Spaak, Joan Collins (whom I did not even spot so tiny is her appearance), at least Vittorio De Sica gets a few minutes as a wily shoemaker. and Donovan sings the drippy theme song, and Patricia Routledge is the bossy London guide. 

There is one shot at the start of Ben Gazzara and John Cassavetes playing cards - why? it is like they are in a different film, Its hippies and mini skirts all the way, made palatable for the great family audience, 

It catches that late Sixties look and would actually be a good double bill with BUONA SERA, MRS CAMPBELL, that other late 60s look at American tourists in Europe ..... but its hardly essential cinema.

Take 4 girls - American style

Another delirious 1957 treat: (which I reviewed back in 2011)

FOUR GIRLS IN TOWN. I had totally forgotten this 1957 Universal-International item though I know I saw it at the time, it is perhaps, like AWAY ALL BOATS, the quintessential U-I flick. We have 4 girls arriving in Hollywood, all up for an important part in a new biblical epic.

They are: Julie Adams [with her fearsome mother Mabel Albertson], Italian go-getter Elsa Martinelli, from France Gia Scala [who has a secret husband and child] and from Austria Marianne Cook (or Koch – she was the mentally ill wife in Sirk’s INTERLUDE) who is recovering from losing her beloved in a car accident]. There is also one Rita Holloway, the studio's main star who is only ever seen from the rear and looks uncannily like Jayne Mansfield in THE GIRL CAN'T HELP IT as she sways around the studio lot.

The girls are nicely depicted and the guys they meet include director George Nader (ideal for Julie), actor-on-the-make John Gavin, playboy Grant Williams [that INCREDIBLE SHRINKING MAN] and composer Sydney Chaplin. The very attractive Gia (who got the GUNS OF NAVARONE gig but later commited suicide) has the least role here. Julie is as attractive as ever and Elsa (right) is the most eye-catching, she really is the most under-rated of the Italian sirens.

It plays out nicely with a surprise ending and is SO Fifties! The girls are not complete of course until they each have a new man, and the scene where they gleefully catch fish coming ashore to lay their eggs would horrify today's sensibilities. Written and directed by one Jack Sher.

Those Italian ladies

Regulars here will know how we appreciate those Italian ladies - Sophia, Monica, Gina, Claudia, Silvana, then there's Alida Valli, Elsa Martinelli, Laura Antonelli and of course Magnani .... here are a clutch of new stills. Thanks to Colin for the Sophia pictures I had not seen before; and to that great site Silents & Talkies for that stunning Vitti portrait. (http://silentsandtalkies.blogspot.co.uk/)
I like this one of Claudia and Monica together too - they co-starred a few times in Italian comedies in the '70s, BLONDE IN BLACK LEATHER is a lot of fun, as per my review at their labels. We love Silvana too in those items like MAMBO, THE SEA WALL, TEMPEST and those later Visconti and Pasolini films she appeared in. They all have amazing faces and certainly ramp up the glamour. Its been great too discovering Sophia's Italian movies from 1954 and '55 before she went into American films: I particularly like TOO BAD SHE'S BAD, SCANDAL IN SORRENTO, WOMAN OF THE RIVER etc., as per reviews (Italian labels). 

Lots more on them at the labels.

Claudia in THE LEOPARD or SANDRA, Monica in L'AVVENTURA or L'ECLISSE or MODESTY BLAISE, Sophia in anything. Valli in SENSO, Magnani in WILD IS THE WIND or BELLISSIMA, Antonelli in L'INNOCENTE, and how could we forget Gina Lollobrigida in so many movie moments ....

Stylish horror for Halloween ...

We don't do tortureporn or slasher moves or teen frightmares here at the Movie Projector, but we do like  good stylish horror fantasy, particularly if starring one of our favourite French ladies - or Vincent Price, or a deliciously twisted item from Roman Polanski .... Let's recap a few favourites:   
We had to re-visit the deliciously camp BRIDE OF FRANKENSTEIN from 1935 too, a James Whale classic, lovingly spoofed by Mel Brooks in YOUNG FRANKENSTEIN in 1974 where Madeline Kahn, Cloris Leachman, Terri Garr and Marty Feldman are all ace.

THE HUNGER. It was nice to have another look at Tony Scott's THE HUNGER too, that popular vampire flick from 1983, capturing that early '80s look nicely. That terrific opening scene at the nightclub looks like the old Heaven club in London, as our vampires prey on urban clubbers and pick up another couple, while Bauhaus intone "Bela Lugosi's dead" on the soundtrack ..... David Bowie and Deneuve are perfect casting - Bowie though is ageing rapidly and will have to be placed with the ageless Miriam's past lovers locked away in their caskets - I liked that quick flashback to Ancient Egypt with Miriam in full vampire mode. 
Then there is that great scene with Susan Sarandon who asks the piano-playing Miriam if she is making a pass at her to which Miriam cooly replies "Not that I am aware of, Sarah" .... love that final shot too of the new ageless vampire looking out over her new domain ... its a glossy exercise in style of course, but it certainly satisfies the eye. Deneuve's vampire is the equal of Delphine Seyrig's countess in DAUGHTERS OF DARKNESS (see item below). Sarandon was amusing in that THE CELLULOID CLOSET documentary, noting that her character had to be drunk to allow herself to be seduced by Catherine Deneuve, one of the great beauties of the movies!  

Roman Polanski's 1967 (though I think it was 1969 when it played in British cinemas) spoof DANCE OF THE VAMPIRES or THE FEARLESS VAMPIRE KILLERS is still an absolute delight - and should really be seen on a large screen as it's widescreen images are just marvellous - I particularly like that moment when Polanski (he plays Alfred, the bumbling rather dim-witted assistant to Professor Abronsius himself) is fleeing from Count Von Krolock's son ("a sensitive youth" as his father, the leader of the vampires, says) and he - Polanski - runs all around the four sides of the castle cloisters to return to the point he started from where the vampire son [Iain Quarrier] is waiting for him .... delirious stuff.

This was Polanski still in English movie mode, after REPULSION and CUL-DE-SAC before heading to America and ROSEMARY'S BABY, so it was made with his usual collaborators, writer Gerard Brach and composer Krystof Komeda. Veteran actor Jack McGowran is the dotty professor hunting for vampires in Transylvania with his assistant Alfred. They stay at an inn where everyone is superstitious and afraid of vampires. Alfred gets to meet and fall for the inn-keeper's daughter Sarah (Sharon Tate, quite lovely here) who has also come to the attention of the mysterious Count whose eerie castle is outside the village. Sarah is addicted to taking baths and during one the Count enters and takes her away. Alfred and the Professor follow but not before the inn-keeper (who is Jewish, played by Alfie Bass) also falls victim to the vampire, as does his busty barmaid/mistress Fiona Lewis.

This is all spendidly realised with great sets for the inn and the castle. They find the resting places of the count and his son but it too late as the sun goes down ... Count Von Krolock materialises and has his own plans for the Professor and Alfred who can provide some intellectually stimulating company for them during those long winter nights as the centuries pass by. The son Herbert takes a shine to Alfred and there is that delicious scene as Alfred sitting on the bed as Herbert gets closer realises his is the only reflection in the mirror ... hence that chase around the castle. So we have a Jewish vampire and a gay vampire, both hilariously done, and Ferdy Mayne is a perfect arch vampire.

Sarah will be initiated into the vampires during the great ball held once a year and there is that great eerie moment as ancient tombs covered in snow open as the rather decrepit vampires emerge for their ball. The ball is a delight with everyone dancing but the large mirror only shows Alfred, Abronsius and Sarah .... they manage to get away as the vampires give chase in some very funny scenes and the ending is quite nice, while Komeda's score is just right.... It is all just a perfect delight from start to finish and one I can relish any time - a key Polanski movie too, before those later darker movies like his MACBETH and CHINATOWN or THE TENANT, or THE GHOST (WRITER) (see Polanski label). Back in '69 or '70 when I was living around Chelsea I turned from Sloane Square into Kings Road and there was Polanski in front of me talking to someone - you could never mistake him for anyone else!

We have already covered Harry Kumel's 1971 perverse delight DAUGHTERS OF DARKNESS here, see recent post below, and we reviewed Franju's 1959 EYES WITHOUT A FACE too. 

Roger Vadim's 1960 BLOOD AND ROSES delighted me when I saw it in my early teens, when living in Ireland, and it has eluded me since, but I now sourced a copy, and it is a mysterious and erotic as I remembered. 
Made after his Bardot films and before the Jane Fonda ones, it featured his then wife Annette Stroyberg, a rather passive beauty - who also featured in his previous film, LES LIAISONS DANGEREUSES in 1959, but Jeanne Moreau and Gerard Philipe walked away with that one. BLOOD AND ROSES is adapted from Sheridan Le Fanu's "Carmilla" by Vadim who creates a perverse darkly romantic love story with that Gothic atmosphere. Elsa Martinelli and the dull Mel Ferrer are the engaged couple, but her friend Annette is jealous ... It is simply one of the best vampire movies ever made, miles better than those silly Hammer soft core items of the early 70s. The best Hammer vampire is BRIDES OF DRACULA in 1960, with the marvellous Martita Hunt - as per my review, Horror Label. 

Also in the '60s of course we had Roger Corman producing in the UK those two Vincent Price classics THE MASQUE OF THE RED DEATH with its great imagery and sets, and colour by Nicholas Roeg, with Price in his element as evil prince Prospero with those rooms in different colours, and the lovely young Jane Asher as well as stalwart Hazel Court, and the stylish THE TOMB OF LIGEIA was just as good. Price though was utterly terrifying as the THE WITCHFINDER GENERAL in 1968, a grim look at life back in the Civil War with superstitious villages isolated from each other. It's young director was Michael Reeves whose early death was surely a great loss to the horror genre, but Vincent was soon back in high camp mode in THEATRE OF BLOOD and the DR PHIBES films. WITCHFINDER GENERAL though is terrifying in its depiction of sheer cruelty as old women are dragged away to be hanged as witches or ducked in rivers to see if they sink or swim - either way they are doomed. The Witchfinder Matthew Hopkins is making money from it all as he goes from village offering his services as a persecutor of witches, and soon alights on the village where Rupert Davies is the priest and Hilary Dwyer his comely daughter who is in love with solder young Ian Ogilvy, whose sidekick is young Nicky Henson. It builds to a terrific climax as the Witchfnder is hacked to death by the enraged Ogilvy after seeing his girl tortured by his sadistic helper, who also gets his. It remains a savage disturbing film. 

Posters - an occasional series

Today's choice: LA NOTTE BRAVA, that 1959 Mauro Bolognini discovery I liked so much the other year. From a script by Pasolini featuring lowlife layabouts and prostitutes but glamorised by Bolognini by casting attractive people like Brialy, Terzieff, Milian, Demongeot, Schiaffino, Martinelli etc. The various posters give a taster.  I like that "The moral bankruptcy of desperate youth ... " Reviews at Bolognini, Brialy labels.
 It is on YouTube too: 

https://www.youtube.com/watch?v=f5kjDFVL_Us&index=65&list=PLoiWwTmzdQ_8V3J9hQZ47wU19Q00DilnG

Next: the more wholesome Troy Donahue in PARRISH!

Forgotten '60s movies: The 10th Victim

Where has THE TENTH VICTIM been all my life? This 1965 sci-fi fantasy has it all: glamour, pop art, great 60s soundtrack, camp to the ultimate, with great roles for Marcello, Ursula and Elsa Martinelli. Its directed by Elio Petri (who also helmed that 1969 trash classic A QUIET PLACE IN THE COUNTRY, with Vanessa Redgrave and Franco Nero - as per my previous posts on that, Trash label, and INVESTIGATION OF A CITIZEN ABOVE SUSPICION). This one is a Carlo Ponti production, scripted by Antonioni regular Tonino Guerra, among others, and its a delirious treat from start to finish - if only for watching Ursula (in that great year for her, with SHE, WHATS NEW PUSSYCAT?) in that delicious pink pantsuit or the silver bacofoil bikini with that bra that shoots bullets ... or Elsa in that pop art confection in black and white stripes. They must have had a field day making this and creating those futuristic sets and costumes. Mastroianni looks even cooler than usual with that blond hair and sunglasses ...

THE 1OTH VICTIM (La Decima Vittima):

It is the 21st Century and society's lust for violence is satisfied by The Big Hunt, an international game of legalised murder. But when the sport's top two assassins are pitted against each other, they find love is the most dangerous game of all  As the world watches, the hunt is on. Who will become the tenth victim?

THE 10TH VICTIM is the international cult classic whose wild action and sexy style has influenced a generation of movies, from THE RUNNING MAN to the AUSTIN POWERS series. It is an outrageous satire which critic Pauline Kael called "an inventive, witty sci-fi extravaganza". 

This is marvellously witty, with some stunning moments as people are hunted and eliminated, and should be up there with other 60s fantasy films like MODESTY BLAISE or DANGER DIABOLIK or the '70s' LOGAN'S RUN. Ursula is the American who is set to hunt and kill Marcello, in various great locations in New York (the World Trade Centre construction site!) and Rome - loved the helicopter ride over The Colosseum, caught perfectly by Gianni Di Venanzo's stunning photography, and the Piero Piccioni jazz score still dazzles. The Big Hunt rules as outlined during the exciting opening chase are fascinating, as we find out what hunters and hunted can and cannot do. Its like an early version of those reality shows of today and how far they will go. Will Marcello and Ursula fall in love or will they enact out the rules of the game .... 

This IMDb review (by sinistre 1111) captures it perfectly:
To judge this film by "today's standards" misses the point--what are we comparing it to? Armageddon? Scream 3? This was the European 60s vision of the 'future'-- and why didn't it turn out that way? An odd, cheeky little plot mixing romance, light sci-fi and gunplay is underscored by dazzling visuals in a similar style to The Prisoner series, or Alphaville (if it were in color). Piero Piccioni's score is pure 'Jazz 2001', and is available as an import reissue. Mastroianni is charming and Ursula Andress is at her sexiest, in an array of groovy ensembles. It all depends on what you're after, but personally I wish the WORLD LOOKED like this movie and that men's and women's fashion reflected this film's 'in the future, people will dress like this' style. Anchor Bay's DVD is a great addition to the collection of any 60s/European film fan. 

Heatwave movies: Hatari!

Director Howard Hawks reteams with John Wayne, who heads a group of highly skilled professional game hunters in Africa. Only they don't use bullets - they capture the ferocious big game with strong rope and cameras for zoos and circus attractions. It is an exciting business that pits man against beast. HATARI means "danger" in Swahili, but HATARI also means a spectacular adventure film.

Well yes, though some judicious editing could have removed most of Red Buttons' annoying character, Pockets - a little of him goes a long way. Nowadays we look at animals and game hunting in a different light to what we did 50 years ago .... but this remains an amiable, good-natured film, even if at least half an hour too long, at over 150 minutes! 
We see our hunters chasing all these animals - giraffe, zebra, water buffalo etc - only with the rhino does the danger element come to the fore. What is it with these macho directors and big game hunting - John Huston was always after big game too during his forays in Africa for THE AFRICAN QUEEN, THE ROOTS OF HEAVEN etc.

Wayne faced up nicely to young Sophia Loren a few years earlier when he was Joe January in another of our favourites, LEGEND OF THE LOST - here another Italian girl Elsa Martinelli is effortlessly chic as she and Wayne play out that Hawksian courtship - as we see from all those other Hawks items like ONLY ANGELS HAVE WINGS, TO HAVE AND HAVE NOT, RIO BRAVO, MAN'S FAVOURITE SPORT etc. This time she doesn't actually say "I'm hard to get, all you've got to do is ask" (as Dickinson and Bacall said) but its the same situation. With Hawks, if it ain't broke, don't fix it. I was stunned in MAN'S FAVOURITE SPORT - essentially the same movie as BRINGING UP BABY - the same ripped dress scene replayed by Rock Hudson and Maria Perschy, while Paula Prentiss was another delicious Hawks heroine, like Jean Artur or Angie D. Elsa Martinelli's Dallas here has to become part of the group and show she is a good sport before that romantic climax - she even gets co-opted by the local native women for that dance!. 
The baby elephants are a nice touch - as Henry Mancini provides one of his best scores, with that "Baby Elephant Walk". The protracted climax as the elephants run through Nairobi (?) looking for Dallas is joyous fun too.

So, its the usual Hawks fare - the group of men doing dangerous work and their code of comeraderie - and the outsider, the smart woman who has to prove her worth. Basically HATARI is ONLY ANGELS HAVE WINGS set in Africa, with added humour. 
I like too the names of Hawks' characters - the girls here are Dallas and Brandy, then there is Pockets the side-kick, RIO BRAVO had Feathers and Colorado, EL DORADO young James Caan as Mississippi. There is often an attractive younger guy in the mix in Hawks films too: Dewey Martin in LAND OF THE PHAROAHS, Ricky Nelson in RIO BRAVO, Caan in EL DORADO (virtually a remake of RIO BRAVO) and here we get two of them - European actors Gerard Blain (The Frenchman) and Hardy Kruger (The German), who head off together to Paris. HATARI too has that 1962 look in spades - its nice to pour a long cool drink or three, and settle down for a couple of hours in that Hawksian universe.  I hope no baby elephants were harmed during its making. Right: BRINGING UP BABY redux?

Heatwave movies: Maroc 7

I first reviewed this in 2010, but it deserves another look, as a great summer movie!

MAROC 7 is a riot of colour, girls, guns - a delicious crime caper from 1966 that plays like a UK version of those Dean Martin Matt Helm films such as THE SILENCERS. Here it is Gene Barry as the suave agent infiltrating a fashion shoot in Morocco - that endlessly fascinating mysterious exotic location (also well used in the caper DUFFY in '68, also reviewed here).

MAROC 7 was made about the same time as Antonioni's BLOW-UP and also features a photographer and lots of model girls - here though Leslie Philips (who also produces) is the snapper with crime on his mind, but its the girls who are the main interest. Cyd Charisse (for it is she) is the fashion editor using her magazine shoots to cover her criminal activities, top model girl is the stunning Elsa Martinelli (as nice here as for instance as her Dallas in Hawks' HATARI!) and that very intriguing Canadian actress Alexandra Stewart who had a career in European films (LE FEU FOLLET, DAY FOR NIGHT, ONLY WHEN I LARF with Hemmings, and Penn's MICKEY ONE with Beatty) and is still working now. She plays police inspector Denholm Elliot's assistant. Cyd and Leslie are ruthless in their ambitions, disposing of one of the girls who knows too much and the professor who won't reveal the whereabouts of a priceless medallion. The plot involves secret maps, robbing tombs and multiple double crosses, after a nice start with Evans breaking into Charisse’s house and stealing jewels while she returns and takes a shower. Then there is one of those ‘60s parties …… and then its off to Morocco with all those girls and those '60s outfits!

Above: girls on location.

It is all deliriously put together by director Gerry O'Hara, that '60s movie-maker of low budget independent glamour films (his THE PLEASURE GIRLS (1965 label) is an interesting minor film about girls in Swinging London) and he also helmed episodes of THE AVENGERS and, er, THE BITCH! This one kind of looks cheap but that suits it perfectly. It is great to see the mature Charisse, she is ideally cast here, her looks and voice are still sensational. I simply cannot wait to see it again .....it's a cult movie to match DANGER DIABOLIK!

Above: Elsa Martinelli, below: Alexandra Stewart and with David Hemmings in ONLY WHEN I LARF.