The Legend of BILLY JACK Continues! (National Student film Co 1971, re-released by Warner Brothers 1973)

When last we saw Billy Jack, he was dismantling a brood of outlaw bikers in BORN LOSERS . This time around, he’s taking on a whole town’s worth of rednecks as Tom Laughlin’s half-breed ex-Green Beret returns in BILLY JACK, the wildly popular film that combines action with social commentary, and helped kick off the martial arts craze of the 70’s.

BILLY JACK almost never saw the light of day, as Laughlin’s financing was shut off by American-International Pictures. 20th Century-Fox then picked it up, but didn’t think it deserved to be released, so Laughlin went the indie route, under the banner of National Student Film Co. in 1971. Poor distribution and poor reviews caused the film to tank, but the good folks at Warner Brothers saw something in it, and gave it a national release two years later. Young audiences of the day flocked to it in droves, cheering as Billy Jack took on the establishment and kicked their asses, and the studio had an unexpected hit on their hands!

The movie begins as local bigwig Stuart Posner and his boys, including Deputy Mike, conduct an illegal wild mustang hunt for a dog food company on Indian land. Here comes Billy jack, defender of the land, animals, and the downtrodden, astridehis horse and toting a rifle. “When policeman break the law, there is no law”, he says, “only a fight for survival”. The group of poachers back down, because he’s Billy Jack, and they’re not!

Mike gets home to find his wayward daughter Barbara has been retrieved from running away to Haight-Ashbury (where all them damn hippies live!). Not only is she pregnant, she doesn’t know who the father is, so loving dad Mike gives her a punch in the face! She runs away again, passes out in the woods, and is naturally found by Billy Jack, who takes her to the Freedom School, run by progressive pacifist Jean Roberts, where the kids learn to develop their passions for music, poetry, and acting.

Some of the kids head into town, and are harassed at the local ice cream parlor by bunch of toughs who pour flour on the Native Americans, turning them white. Guess who happens to show up? If you said Billy Jack, give yourself a hand! This is a great scene, with Billy Jack doing a real slow burn, his anger building, finally kicking the crap out of the bullies. One of the punks is Posner’s snotty kid Bernard, and the rich father sends his goons after Billy, who gets to strut his Hapkido stuff, including this…

…kick to Posner’s face (doubled for this one kick by Master Bong Soo Han of KENTUCKY FRIED MOVIE fame). But the odds are against him, and Billy Jack takes a beating by the thugs until the sympathetic town sheriff puts a stop to it. Tensions mount, and the Freedom School students attend a City Counsel meeting in a rowdy, rambunctious Town Hall scene that features an 11-year-old reading a speech on law and order given by Hitler in 1932, a fiery debate on constitutional rights, and insults hurled between the establishment and the kids (Councilman: “When was the last time you cut your hair?” Student: “When was the last time you brushed your teeth?”). It’s like something straight out of today’s cable news!

Now comes the Ceremony of the Snake scene, in which Billy Jack has to endure being bitten repeatedly by a rattler in order to receive a vision from his ancestors in the spirit world. Yeesh! Creepy Bernard takes the gullible Miss False Eyelashes for a ride to the lake in his $6,000 Corvette, then tries to molest her while digging for info on Barbara’s whereabouts. You guessed it, Billy Jack shows up (the man is everywhere!), and gives Bernard a choice – get your ass kicked or drive that ‘Vette into the lake! Cowardly Bernard chooses the latter, but gets his revenge by tying up and raping Jean in a brutal scene.

Jean confides in student Cindy, but makes her promise not to tell Billy Jack for fear of a violent reprisal (“Damn your pacifism!”, says Cindy). Barbara gets injured in a horseback riding accident and loses her baby, then Posner, Mike, and company kidnap passive Indian Martin, who they suspect is banging Barb. Cindy brandishes a shotgun and helps him escape, but the rednecks grab her. Yup, Billy Jack pops up out of nowhere and saves her! Martin is hunted down and killed by Bernard, and now Billy Jack, having ferreted out the truth from Jean, is out for blood. Jean tries to stop him, but Billy’s having none of it:

Billy: “You worked with (Martin Luther) King, where is he?”

Jean: “Dead.”

Billy: “Where’s Bob and Jack Kennedy?”

Jean: “Dead”.

Billy: “Not dead, their head’s blown off, because your people (the whites) wouldn’t even put the same controls on their guns as they did on their dogs, their cats, their bicycles!”

And with that, Billy Jack goes into action, catching Bernard in bed with an underaged girl, taking a  gunshot in the abdomen, then icing the punk with one swift karate chop. Deputy Mike comes after Billy, and receives a bullet in the head! Now Billy Jack holes up in an old church as local and state police arrive, along with the requisite media circus. There’s a violent shootout as Billy holds the cops off, but Jean, the sheriff, and a sympathetic local doctor (there’s ALWAYS a sympathetic local doctor in these type of films, isn’t there?) finally persuade him to give himself up. In return, Billy asks for certain conditions to be met regarding the school and the Natives. As our hero is cuffed and led away, the kids all raise their fists in the “Power to the People” salute as the theme song plays in an emotional final scene.

Star Tom Laughlin, director T.C. Frank, and co-writer Frank Christina are all one and the same person. Co-writer Teresa Christina is Laughlin’s wife Delores Taylor, who plays the pacifistic Jean. Even the couple’s daughter Teresa gets into the act as a student who warbles a bizarre tune called “My Brother’s Dead”. Of note in the cast is 50’s sci-fi stalwart Kenneth Tobey (THE THING ,  BEAST FROM 20,000 FATHOMS, IT CAME FROM BENEATH THE SEA ) playing Deputy Mike.  As opposed to his creature feature heroics, Tobey’s a real S.O.B here. Most of the rest of the cast isn’t well-known, except Bert Freed (Posner) and Richard Stahl (council president). The improv group The Committee (with a young Howard Hesseman, billed as Don Sturdy) play members of the school faculty and engage in some skits.

Say what you will about BILLY JACK: it’s dated, its politics is reactionary, it’s platitudes are self-righteous. Makes no differences to me, I freakin’ LOVE this film! Tom Laughlin scored a bull’s-eye for many moviegoers with BILLY JACK, stating sometimes you have to fight fire with fire. It’s a bold statement, and one that’s not very popular with some, but BILLY JACK is the little exploitation film that made good because it struck the right chord with its audience ( including yours truly), perfectly capturing the zeitgeist of the times. Plus I’ve always wanted to use the word “zeitgeist” in a post!

Fashions and hairstyles may have changed, but people are still politically polarized, the establishment still holds all the cards, young people are still as disaffected as ever, and Town Hall meetings are still rambunctious. The more things change, the more they stay the same, and there’s no one willing to stand up  and fight for the little guy anymore.

 

Where are you now when we need you, Billy Jack?!?!

Something Wilder: THE ADVENTURE OF SHERLOCK HOLMES’ SMARTER BROTHER (20th Century-Fox 1975)

The late Gene Wilder was well loved by filmgoers for his work with Mel Brooks, his movies alongside Richard Pryor, and his iconic role as Willie Wonka. Wilder had co-written the screenplay for Brooks’ YOUNG FRANKENSTEIN, and now branched out on his own as writer/director/star of 1975’s THE ADVENTURE OF SHERLOCK HOLMES’ SMARTER BROTHER.

The zany tale, set in 1891, finds Sherlock’s jealous brother Sigerson (Wilder, who derisively calls his more famous sibling “Sheer-Luck”) assigned to the case of music hall singer Jenny Hill (Madeline Kahn) who’s being blackmailed by opera singer Eduardo Gambetti (the enormously funny Dom DeLuise ). Assisting Sigerson is his own Watson, the pop-eyed Sgt. Orville Stacker (Marty Feldman), blessed with “a photographic sense of hearing” that he can only access by whacking himself upside the head. The plot thickens as Sigerson learns Jenny’s a practiced liar (who only trusts men when she’s sexually aroused), she’s actually the daughter of British Foreign Secretary Redcliff… which is another lie; she’s Redcliff’s fiancé, and has handed over an important document to Gambetti, who’s about to sell it to none other than the infamous Professor Moriarty (Leo McKern)!

Wilder displays a keen eye for film in his directorial debut. Like his friend Brooks, he’s obviously a student of the medium, and the film is a visual delight. There’s plenty of laughs to be had, like the scene where Sigerson and Sacker are trapped by Moriarty and Gambetti in a tiny room menaced by a buzzsaw, and escape by the seats of their pants… literally! The comic highlight is “A Masked Ball”, an opera parody starring Gambetti and Jenny invaded by Sigerson, Sacker, and Moriarty’s henchman (Roy Kinnear) where the document is passed around, all with expert comedy timing. Following this is a swashbuckling sequence with Wilder taking on the dastardly McKern.

Wilder, Feldman, and Kahn are all reunited from YOUNG FRANKENSTEIN, while McKern and Kinnear were previously paired in The Beatles film HELP! Douglas Wilmer, who starred as Sherlock in the 60’s BBC TV series, donned the deerstalker cap once again; his Watson is Thorley Walters, who essayed the part in three Holmes films. And yes, that’s the voice of Mel Brooks behind the door in a parody of “The Lady or The Tiger?’.

There are plenty of musical sequences in the movie, including the bizarre “Kangaroo Hop”. THE ADVENTURE OF SHERLOCK HOLMES’ SMARTER BROTHER is a madcap romp, but just a notch below Wilder’s films with Brooks. He’d go on to write and direct three more films; THE WOMAN IN RED was his most popular, though I prefer his silent era spoof THE WORLD’S GREATEST LOVER (let’s not talk about HAUNTED HONEYMOON). Still, it’s a solid first effort for Wilder in the director’ seat, with a sterling cast of comic pros, and if you like Mel Brooks’ brand of buffoonery, you’ll definitely enjoy this film, too.

 

She Was Never Lovelier: Rita Hayworth in COVER GIRL (Columbia 1944)

Bright, bold, and bouncy, COVER GIRL was a breakthrough film for both Rita Hayworth and Gene Kelly. Sultry, redheaded Rita had been kicking around Hollywood for ten years before Columbia Pictures gave her this star-making vehicle, while Kelly, on loan from MGM, was given free rein to create the memorable dance sequences. Throw in the comedic talents of Phil Silvers   and Eve Arden , plus a bevy of beauties and songs by Jerome Kern and Ira Gershwin, and you have what very well may be the quintessential 40’s musical.

Rusty Parker (Rita) is a hoofer at Danny McGuire’s (Kelly) joint in Brooklyn (where else?). She enters a contest sponsored by Vanity Magazine to find a new cover girl for their 50th anniversary issue. Editor John Coudair ( Otto Kruger ) spots her and is reminded of the girl he once loved and lost (who turns out to have been Rusty’s grandmother, as flashbacks tell us), and immediately signs her up, despite protests from his Gal Friday “Stonewall” Jackson (Arden). Romantic complications ensue when Broadway impresario Noah Wheaton ( Lee Bowman ) falls for her and wants to take her away from Danny. After speaking with Coudair, Danny doesn’t want to stand in her way, and concocts a rift between them so Rusty will quit his nightclub. Wheaton is about to marry Rusty, but Danny’s loyal pal Genius (Silvers) finds a means to put a stop to it. Rusty realizes she belongs with Danny, and our two lovers are reunited.

Yes, it’s your standard “boy meets girl/boy loses girl/boy regains girl” plotline, used as a framework to hang the musical numbers on, but done with buckets full of style and glamour. At long last, Rita Hayworth became a superstar after being groomed in films like THE STRAWBERRY BLONDE, BLOOD & SAND, and two with Fred Astaire (YOU’LL NEVER GET RICH, YOU WERE NEVER LOVELIER) that showcased her dancing skills. Her beauty and charms were put front and center in COVER GIRL (though her singing voice was dubbed by Martha Mears), in numbers like “Put Me to the Test”, an energetic, athletic tap duet with Kelly; “Long Ago (and Far Away)”, the Oscar-nominated song featuring a romantic dance by the duo; and the showstopping “Cover Girl”, with a host of cover girls from famous mags from the 40’s (Cosmo, McCall’s, Vogue, Harper’s Bazaar, Glamour, Redbook, Liberty, Look, et al) followed by gorgeous Rita outshining them all, dancing with a male chorus up a winding staircase as glitter rains down on them all. It’s sheer 40’s movie magic!

Gene Kelly had only made three pictures prior to COVER GIRL, but he was already an established Broadway star. Columbia promised him a free hand in the film’s choreography, and Kelly didn’t disappoint. He, Rita, and Silvers have a habit (in the movie) of going to Joe’s Place every Friday and ordering plates of oysters (or “ersters” as proprietor Ed Brophy calls them, laying on the Brooklynese thick), looking for an elusive pearl that will symbolize a big breaks a’comin’. The trio then break into “Make Way for Tomorrow”, a happy number that has them dancing their way down the streets of Brooklyn, until meeting up with a questioning cop (foreshadowing Kelly’s signature SINGIN’ IN THE RAIN dance). The song is reprised by Kelly and Silvers as a jazzy comic number, but Kelly has a big solo spot in the “Alter-Ego Dance”, a trick-photography enhanced production that finds Kelly, beside himself over Rita, dancing with his superimposed self! It was this athletic dance that made his home studio MGM sit up and take notice, leading to Kelly doing all the choreography in his films, beginning with ANCHORS AWEIGH .

If Rita Hayworth was never lovelier here, then Eve Arden was never funnier as the sarcastic, wisecracking Jackson. Her reactions to Rita’s first “animated” audition are priceless, as are her later responses backstage at Danny’s. Phil Silvers is given plenty of comic material as Genius, including a satirical solo song “Who’s Complaining”, spoofing wartime rationing. Phil’s manic comedy brightens the film, and he gets to show off his song-and-dance skills too, with more than a little help from Kelly and Hayworth.

The stylish and terribly underrated director Charles Vidor directs a witty script  (laced with some sly sexual innuendos) by Virginia Van Upp. Vidor would later go on to direct Rita in two of her best, GILDA and THE LOVES OF CARMEN. And you want Familiar Faces, COVER GIRL has ’em by the score! Besides those already mentioned, you’ve got Jess Barker (as the young Kruger during the flashback scenes), Billy Benedict Curt Bois , Leslie Brooks, Stanley Clements, Anita Colby , Jinx Falkenburg (as herself), Thurston Hall , Milton Kibbee, perennial drunk Jack Norton Barbara Pepper , Jack Rice, John Tyrrell, a very young Shelley Winters , and Constance Worth.

COVER GIRL exudes the kind of  Hollywood glitz and glamour you rarely find anymore, made stars out of Rita Hayworth and Gene Kelly, and is one of the best musicals made in the Fabulous 40’s. Loaded with talent at every position, it’s a must-see for lovers of classic movies.

Vincent Price Goes to Camp in DR. PHIBES RISES AGAIN (AIP 1972)

Since 1971’s THE ABOMINABLE DR. PHIBES  was such a big hit, American-International Pictures immediately readied a sequel for their #1 horror star, Vincent Price. But like most sequels, DR. PHIBES RISES AGAIN isn’t nearly as good as the unique original, despite the highly stylized Art Deco sets and the presence of Robert Quarry, who the studio had begun grooming as Price’s successor beginning with COUNT YORGA, VAMPIRE. The murders (for the most part) just aren’t as monstrous, and too much comedy in director Robert Feust’s script (co-written with Robert Blees) turn things high camp rather than scary.

Price is good, as always, bringing the demented Dr. Anton Phibes back from the grave. LAUGH-IN announcer Gary Owens recaps the first film via clips, letting us know Phibes escaped both death and the police by putting himself in suspended animation. Returning with loyal servant Vulnavia (who’s now played by Valli Kemp, replacing a then-pregnant Virginia North), Phibes plots to travel to Egypt with his deceased wife Victoria to the ancient Pharaoh’s Tomb where flows the River of Life. Seems the moon is in the seventh house, and Jupiter’s aligned with Mars… no wait, that’s from the rock musical HAIR! Anyway, there’s some sort of astrological phenomenon involving the moon that will allow Phibes to revive his dormant bride.

Phibes’ home in Maldeen Square is in ruins, and he discovers his safe emptied of the Scared Scroll he needs to locate the tomb. It can only be the work of Darrus Biederbeck (Quarry), who has his own reasons to find the River of Life. This gives the good doctor an excuse to commit a series of gruesome murders in order to achieve his fiendish goal. The best is when Biederbeck’s manservant (actor/wrestler Milton Reid) is attacked by snakes (and you know how much I hate snakes! ) and gets the old hidden-spike-in-the-telephone-receiver-through-the-ears! Phibes’ other ghastly deeds involve having a man eaten alive by an eagle, stung by scorpions, squished between two blocks of granite, sandblasted to death, and thrown overboard inside a giant bottle of gin (Oscar winner Hugh Griffith gets that dubious honor). Ingenious yes, but not as cool as the previous movie’s ten curses of Egypt murders. You just can’t beat that Old Testament-style torture!

I thought Valli Kemp was misused as Vulnavia; instead of a silent-but-deadly assassin, she’s more like a spokesmodel from THE PRICE IS RIGHT (no pun intended). Scotland Yard’s finest, Inspector Trout and Superintendent Waverly (Peter Jeffries, John Cater) return, as do Phibes’ Clockwork Wizards. But the intrepid cops are basically comic relief, and the robotic Wizards are wasted. Peter Cushing  , Terry-Thomas, and Beryl Reid are also wasted in too-small cameos, though Fiona Lewis  has a good turn as Biederbeck’s fiancé Diana. Victoria Regina Phibes is still played by Caroline Munro, who can’t do much but look beautiful as a corpse. DR. PHIBES RISES AGAIN is gorgeous to look at, but suffers the same fate as most sequels. The formula has worn thin, and though a third Phibes film was announced (THE BRIDES OF DR. PHIBES), it was never made. This entry did well enough at the box office, but Dr. Anton Phibes would rise no more.

 

 

 

 

Heel with a Heart: Dan Duryea in THE UNDERWORLD STORY (United Artists 1950)

Hollywood’s favorite heel Dan Duryea got a rare starring role in THE UNDERWORLD STORY, a 1950 crime drama in which he plays… you guessed it, a heel! But this heel redeems himself at the film’s conclusion, and Duryea even wins the girl. Since that girl is played by my not-so-secret crush Gale Storm , you just know I had to watch this one!

The part of muckraking tabloid journalist Mike Reese is tailor-made for Duryea’s sleazy charms. He’s a big-city reporter who breaks a story about gangster Turk Meyers spilling to the D.A., resulting in the thug ending up murdered on the courthouse steps in a hail of bullets. DA Ralph Monroe (Michael O’Shea )  puts the pressure on Mike’s editor, and Reese becomes persona non grata in the newspaper game. Seeing an ad for a partner at a small town newspaper, Mike gets a $5,000 “loan” from crime boss Carl Durham (a scary Howard DaSilva ), and hightails it to the sedate New England burg of Lakeville.

The Lakeville Sentinel is run by ‘Our Little Margie’ Miss Storm, as Cathy Harris, who inherited the failing rag from her late father. Cathy’s reluctant to take on the aggressive hustler as her partner, but is persuaded by old-time printer George “Parky” Parker (veteran Harry Shannon). Things get shaken up in Lakeville when the wife of Clark Stanton (Gar Moore), son of publishing mogul Ed Stanton (Herbert Marshall  ) is found murdered, and Mike exploits the tragedy for all its worth, leading to the frame-up of the Stanton’s black maid Molly (Mary Anderson).

THE UNDERWORLD STORY was pretty bold for it’s time in its subject matter, dealing not only with “yellow journalism”, but also issues of race and class. I had to rewind twice when rich Clark Stanton, who killed his wife and pins the blame on Molly, tells his dad, ” Who’ll believe the word of a nigger against ours?”. You just don’t hear something like that in a film made in 1950! The only complaint I have is that Anderson, who gives a sympathetic performance as Molly, is a white woman. Couldn’t the producers have hired a black actress to essay the role? It’s also implied that old man Stanton was a bit more than just fond of his daughter-in-law. The Stantons conspire to put the Sentinel out of business when Mike crusades for Molly’s innocence, using their blue-blood connections to get local businesses to stop advertising in the paper.

There are allusions to the HUAC hearings, as the case against Molly becomes akin to the “witch trials in old Lakeville”. Indeed, this was Howard DaSilva’s last film for awhile, as the actor wound up on the blacklist. He didn’t make another film until 1961’s DAVID AND LISA. Director Cy Enfield was also blacklisted, and had to move to England to continue his career with films like MYSTERIOUS ISLAND and ZULU. The screenplay by Henry Blankford (adapted by Enfield) contains some great, tough dialog, delivered by Duryea and company with gusto. Also of note is the cinematography by the great Stanley Cortez (THE MAGNIFICENT AMBERSONS, NIGHT OF THE HUNTER), whose keen eye adds immensely to the film despite its obvious low budget.

The Familiar Face Brigade is well represented by stalwarts like Phil Arnold, Art Baker , Melville Cooper, Ned Glass, Alan Hale Jr, Frieda Inescort, Donald “Devil Bat” Kerr (once again a photographer!), Edward Van Sloan (yes, of Universal Horror fame!), and ‘The Last Charlie Chan’, Roland Winters. But it’s Dan Duryea who runs away with the acting honors, making the most of his starring opportunity. Plus he gets to clinch Gale Storm in the end. Lucky bastard!

One in Eight Million: NAKED CITY (Universal-International 1948)

Producer Mark Hellinger, who brought you the film noir classics THE KILLERS and BRUTE FORCE , traveled to the mean streets of New York City to shoot  NAKED CITY, along with director Jules Dassin and a solid cast led by Barry Fitzgerald. The movie, though fiction, is shot in docu-drama style, with Hellinger himself providing narration throughout. It was an attempt to do something boldly different with the genre, and it succeeds thanks to the talents in front and behind the cameras.

Beautiful young model Jean Dexter is found by her housekeeper brutally murdered in the bathtub. The homicide squad, with veteran Lt. Dan Muldoon and rookie detective Jimmy Halloran, gets to work investigating the case. They discover Jean had been seeing a mysterious man from Baltimore named Henderson. The team then begins the slow, methodical process of catching a killer, pulling on the loose strings of Dexter’s life. Their number one suspect becomes lying young wastrel Frank Niles, engaged to Dexter’s model friend Ruth Morrison. Through dogged determination and old-fashioned footwork, they’re led to a harmonica-playing ex-wrestler named Willie Garzah, who leads them on a chase through the gritty streets of New York, winding up on top of the Williamsburg Bridge, where the real murderer is finally shot down and killed.

Barry Fitzgerald excels as the no-nonsense veteran cop. Lt. Dan Muldoon is a far cry from his Father Fitzgibbon in GOING MY WAY or Michaleen Oge Flynn in THE QUIET MAN , but Fitzgerald still displays that old Irish charm. His partner Halloran is played by Don Taylor, whose star would soon be on the rise in films like FATHER OF THE BRIDE and STALAG 17. It fell just as quickly, and Taylor turned to directing, helming ESCAPE FROM THE PLANET OF THE APES, THE GREAT SCOUT & CATHOUSE THURSDAY, and ISLAND OF DR. MOREAU among others. Howard Duff’s star was also on the rise as the cad Niles; Duff would later star in his own police procedural TV series THE FELONY SQUAD.

Ted de Corsia  makes a most memorable villain as the brutish Willie Garzah. Though Garzah is spotted throughout the film, our first real encounter finds Halloran tracking the thug to his sparse apartment, where he’s stripped to the waste and incessantly working out. After rabbit-punching Halloran into unconsciousness, Garzah takes it on the lam. He’s so mean he even kills a seeing-eye dog along the way before going down in a blaze of inglory atop the Williamsburg Bridge. De Corsia (who also appeared in the noirs LADY FROM SHANGHAI, THE ENFORCER, THE BIG COMBO, THE KILLING, and several Westerns) makes Willie Garzah one of the vilest villains in film noir history, and that’s saying a lot!

Adelaide Klein & Grover Burgess as the grieving parents

“There are eight million stories in the Naked City”, and it seems there are also as many Familiar Faces roaming its streets, many of whom make their Silver Screen debuts. Among the throng of humanity you’ll spot cast members Dorothy Hart, Frank Conroy, and House Jameson, and in smaller bits Jean Adair, Walter Burke Paul Ford Kathleen Freeman , Bruce Gordon, James Gregory , Robert H. Harris, Enid Markey (who was Tarzan’s first Jane opposite Elmo Lincoln back in 1918!), John Marley, Arthur O’Connell, David Opatoshu, Nehemiah Persoff, Molly Picon, and John Randolph. A special Cracked Rear Viewer round of applause goes to actors Adelaide Klein and Grover Burgess as the victim’s parents; their few scenes are brief but packed with such raw emotion I felt I just had to give them a shout-out!

circa 1944: Polish-born American photographer Arthur Fellig (1899 – 1969) with his Speed Graphic camera. He was known by the police as ‘Weegee’ for his ouija-like prescience of crime scenes and disasters. In fact he kept a radio in his car tuned to the police frequency, and was often able to reach the scene before the police themselves. (Photo by Weegee(Arthur Fellig)/International Center of Photography/Getty Images)

The screenplay by Albert Maltz and Marvin Wald was inspired by a book of photographs titled NAKED CITY by famed photojournalist Weegee , noted for his uncompromising pictures of life in the urban jungle. The film earned two Academy Awards, for William Daniels’  stark cinematography and Paul Wetherwax’s precise editing, and spawned a later television show in the late 50’s/early 60’s. The score is credited to both Miklos Rozsa and Frank Skinner, but who is responsible for what I just don’t know. NAKED CITY was Mark Hellinger’s last film; he died of a heart attack while watching the final cut three months before it’s release. He certainly went out on a high note, as the film has become one of the most influential of its ilk. The New York locations make this a must for history buffs and film buffs alike, giving us an up-close-and-personal look at a bygone era as well as one of the greatest films noir of all time.

The real star of “The Naked City” – The big Apple circa 1947

 

Musclebound Mess: HERCULES IN NEW YORK (RAF Industries 1969)

Well, I can finally cross HERCULES IN NEW YORK off my bucket list. This fantasy-comedy starred the team of bespectacled, scrawny comic actor Arnold Stang and musclebound ‘Mr. Universe’ Arnold Strong. Who? Why, none other than the Governator himself, Arnold Schwarzenegger, making his film debut as the Greek Demi-God paying a visit to modern-day Earth. Hercules is all-powerful, and can only be defeated by one thing… a lousy script!

The plot, if you can call it that, has half-human Herc pining to go to Earth against father Zeus’s wishes. Zeus finally relents and transports the headstrong Herc to Terra Firma, where he befriends Stang playing Pretzie, so named because he sells pretzels. Brilliant! The two then have a series of adventures. Herc battles an anemic looking grizzly bear in Central Park! Herc becomes a pro wrestler! Herc falls in love with a mortal! Meanwhile, on Mount Olympus, Juno conspires with Pluto to get rid of Herc once and for all. This all culminates in a “wacky” chase involving some shady gangsters, and a happy ending is had by all.

Arnold isn’t very good in this. His accent is so thick you’d have to cut it with a chainsaw to understand him half the time. The original version (released in New York in 1969, nationwide in ’70) dubbed his lines, only restoring it when Arnold soared to fame in the 80’s. Arnold Stang’s Brooklynese accent is just as thick, but then again that was his trademark. Stang was a voice actor in radio and cartoons (TOP CAT) who made a few films (THE MAN WITH THE THE GOLDEN ARM, IT’S A MAD MAD MAD MAD WORLD ); he’s certainly an acquired taste, you either like him or you don’t. I do, though I’ll admit this isn’t his finest hour.

Producer/screenwriter Aubrey Wisberg is mainly responsible for the film’s failure. Wisberg had his good days ( MAN FROM PLANET X ) and bad (THE NEANDERTHAL MAN ). HERCULES IN NEW YORK definitely falls into the latter category. The script’s lack of quality, combined with the extremely low budget and non-existant direction by Arthur A. Seidleman, ruin what was a not-bad idea. The supporting cast consists of mostly unknown New York actors, familiar only to fans of 60’s-70’s TV soap operas, except former MGM demi-starlet Tania Elg (LES GIRLS). I will give props to Michael Lipton as Pluto, giving a hammy performance worthy of Price or Carradine!

HERCULES IN NEW YORK is a curiosity for sure, being Arnold’s screen debut and all, but is it worth watching? I’ll be honest, it’s not very good, but I’ve seen worse drive-in flicks. The NYC location filming has some historic value, including a chariot ride through Times Square showing what things looked like during the era (EASY RIDER is playing at one theater). It’s in the “so-bad-it’s-good” category of movies, and if you’re into that, give it a shot. Otherwise, stay away.