Cleaning Out the DVR #18: Remember Those Fabulous Sixties?

There’s a lot of good stuff being broadcast this month, so it’s time once again to make some room on the ol’ DVR. Here’s a quartet of capsule reviews of films made in that mad, mad decade, the 1960’s:

THE FASTEST GUITAR ALIVE (MGM 1967; D: Michael D. Moore) –  MGM tried to make another Elvis out of rock legend Roy Orbison in this Sam Katzman-produced comedy-western. It didn’t work; though Roy possessed one of the greatest voices in rock’n’roll, he couldn’t act worth a lick. Roy (without his trademark shades!) and partner Sammy Jackson (TV’s NO TIME FOR SERGEANTS) peddle ‘Dr. Ludwig Long’s Magic Elixir’ in a travelling medicine show, but are really Confederate spies out to steal gold from the San Francisco mint to fund “the cause” in the waning days of the Civil War. The film’s full of anachronisms and the ‘comical Indians’ aren’t all that funny, but at least Roy gets seven decent tunes to sing. Familiar Faces Lyle Bettger, Iron Eyes Cody, John Doucette , Joan Freeman, and Douglas Kennedy try to help, but the story kind of just limps along. Worthwhile if you’re an Orbison fan, otherwise a waste of time. Fun Fact: Roy’s MGM Records label mate Sam the Sham (of “Wooly Bully” fame) has a small part as a guard at the mint.


KILL A DRAGON (United Artists 1967; D: Michael D. Moore) – Minor action yarn with ruthless Fernando Lamas out to hijack a load of nitroglycerine washed upon a small Japanese island, and the villagers hiring soldier-of-fortune Jack Palance to protect them and their bounty. Palance gives an engaging, tongue-in-cheek performance, Lamas makes an evil adversary, and Aldo Ray is among Jack’s mercenary crew… seeing Aldo in drag is something you won’t wanna miss!! Nothing special, but an adequate time filler for action fans. Fun Fact: Director Moore (who also helmed FASTEST GUITAR) was a former silent film child star (his first film was 1919’s THE UNPAINTED WOMAN, directed by Tod Browning ) who began working behind the scenes in the 1940’s. He became one of Hollywood’s highest regarded Assistant and Second Unit directors, and worked on films ranging from THE TEN COMMANDMENTS to GUNFIGHT AT THE O.K. CORRAL, KING CREOLE, BUTCH CASSIDY & THE SUNDANCE KID, PATTON, EMPEROR OF THE NORTH, THE MAN WHO WOULD BE KING, RAIDERS OF THE LOST ARK (and it’s two subsequent sequels), and NEVER SAY NEVER AGAIN. His last was 2000’s 102 DALMATIONS before retirement; Moore passed away at age 98 in 2013. His contributions to Hollywood movies may be unsung, but for people like Cecil B. DeMille and Steven Spielberg, Michael “Mickey” Moore was the go-to guy for action scenes. Job well done, Mr. Moore!

PSYCH-OUT (AIP 1968; D: Richard Rush) – A Hippiesploitation classic! Susan Strasberg stars as a runaway deaf girl looking for her brother Bruce Dern in San Francisco’s Haight-Ashbury during the Summer of Love. She hooks up with pony-tailed rock musician Jack Nicholson and his bandmates (Adam Roarke, Max Julien) in a drug-soaked film full of far-out thrift store fashion, plenty of hippie-dippie jargon (“Peace and love, baby!”), LSD and STP induced nightmares, and classic rock from bands Strawberry Alarm Clock and The Seeds (featuring their immortal lead vocalist Sky Saxon!). A group called Boenzee Cryque (with future Poco members Rusty Young and George Grantham) plays a sideways instrumental version of “Purple Haze” called “Ashbury Wednesday” during Henry Jaglom’s trip scene, and the cast includes Dean Stockwell as a philosophical, groovy satyr, future producer/director Garry Marshall as a cop, and low-budget stalwarts John ‘Bud’ Cardos, Gary Kent, and Bob Kelljan in support. Director Richard Rush went on to films like THE STUNT MAN and COLOR OF NIGHT, and the cinematographer is none other than Laslo Kovacs (EASY RIDER, FIVE EASY PIECES, PAPER MOON). It’s a psychedelic artifact of its time, and a treat for exploitation fans. As Stockwell says, “Reality’s a deadly place”! Fun Fact: One of a handful of late 60’s youth films produced by the legendary Dick Clark, of TV’s AMERICAN BANDSTAND and NEW YEAR’S ROCKIN’ EVE fame.

THE BIG CUBE (Warner Brothers 1969; D: Tito Davison) – Glamorous Lana Turner plays a glamorous stage actress who marries rich Dan O’Herlihy against the wishes of his daughter Karin Mossberg. Dad drowns in a yachting accident, and daughter conspires with LSD-making gigolo George Chakiris to drive Lana mad by slipping acid in her sleeping pills! This awful attempt at mixing Lana’s Ross Hunter-era soap operas with 60’s “youth culture” features bad acting, a putrid script, heavy-handed direction, and is a total mess all around. Even the presence of Lana, O’Herlihy, Chakiris, and Richard Egan couldn’t stop this movie from stinking up my living room! No redeeming qualities whatsoever (except the fact that the wooden Miss Mossberg was never heard from again!) Fun Fact: As I sat watching this bomb, slack-jawed and shaking my head, I kept muttering to myself, “This is bad. Just… bad”. The film’s worse than a bad acid trip, but I stuck with it for this review. You have other options. Don’t say I didn’t warn you!!

I hate to leave you on such a sour note, so here’s Roy Orbison doing “Pistolero” from Mickey Moore’s FASTEST GUITAR ALIVE! Take it away, Roy:


Cleaning Out the DVR #14: SEX & VIOLENCE, 70’S STYLE!

Groundbreaking 60’s films like BONNIE & CLYDE, THE GRADUATE, THE WILD BUNCH, and MIDNIGHT COWBOY led to the complete obliteration of the Production Code, and by the sizzling 70’s it was anything goes! Low budget exploitation filmmakers benefitted most by this loosening of standards as the following quintet of movies illustrates, filled with bouncing boobs, bloody action, pot smoking, beer drinking, and hell raising:

THE MUTHERS (Dimension 1976; D; Cirio H. Santiago) – A Filipino-made “Women in Prison” Blaxploitation actioner? Yes, please! Former Playboy Playmates Jeanne Bell and Rosanne Katon, future NFL TODAY commentator Jayne Kennedy, and ex-Bond girl Trina Parks are all trapped on a coffee plantation run by the sadistic Monteiro with no chance of escape… until there is! Loaded with gore, torture, kung-fu fighting, bare breasts, a funky score, pirates (that’s right, pirates!), and a slam-bang run through the jungle – what more could you ask for? Forget about some of the gaps in logic, just sit back and enjoy the ride. Fun Fact: The prolific Santiago produced and/or directed such Grindhouse classics as WOMEN IN CAGES, THE BIG BIRD CAGE, TNT JACKSON, EBONY IVORY & JADE, and VAMPIRE HOOKERS, among many others.

THE POM POM GIRLS (Crown International 1976; D: Joseph Ruben)- One of the better Crown International “teensploitation” flicks is a practically plotless but immensely fun outing dealing with the high school shenanigans of football players’n’cheerleaders, featuring a pre-REVENGE OF THE NERDS Robert Carradine as the school’s “class stud” and the ever-delightful Rainbeaux Smith as (what else?) a swingin’ cheerleader. Writer/director Ruben throws in every teen flick trope in the book: food fights, dirt bikes, a groovy “love van”, a football brawl, and a “suicide chicken” race straight outta REBEL WITHOUT A CAUSE! There’s plenty of gratuitous nudity and hormones running wild on display, so if drive-in movies are your thing, you can’t do much better than this one. Fun Fact: Ruben went on to helm the mainstream films SLEEPING WITH THE ENEMY and MONEY TRAIN.

VIGILANTE FORCE (United Artists 1976; D: George Armitage) – Crack open a frosty PBR and enjoy this slice of 70’s exploitation insanity. The small California town of Elk Hills is being torn up by rowdy oil field workers, so Jan-Michael Vincent recruits his Vietnam vet brother Kris Kristofferson and his crew to clean things up. But Kris has other ideas, and soon he and his boys take over the town, beginning a reign of terror that leads to a violent, explosive climax with Kris’s vigilantes pitted against Jan-Michael’s Green Mountain Boys. Kris is one crazy, mean sumbitch in this wild actioner! Bernadette Peters shines as his sexy off-key saloon singer girl, and Victoria Principal plays Jan-Michael’s more sedate sweetie (who takes a bullet in the back courtesy of Kris… I told you he was mean!). The better-than-average supporting cast is filled with Familiar Faces: Loni Anderson (as ‘Peaches’!), Antony Carbone, Peter Coe , Brad Dexter , David Doyle (Bosley on CHARLIE’S ANGELS), Paul Gleason, James Lydon, Shelley Novack, Andrew Stevens, and a cameo by the one-and-only Dick Miller ! Hang on to your hardhats and get ready for non-stop action. Fun Fact: The producer is exploitation king Roger Corman’s brother Gene, which explains Miller’s cameo and the casting of Carbone (THE LAST WOMAN ON EARTH, CREATURE FROM THE HAUNTED SEA).

THE VAN (Crown International 1977; D: Sam Grossman) – Recent high school grad Bobby (Stuart Getz) buys the “love van” of his dreams in order to score with chicks in this quintessential 70’s teen sex comedy. Hollywood car customizer George Barris created Bobby’s dream machine, complete with 70’s staples like a waterbed, 8-track player, shag carpeting, and mag wheels. It’s a genuinely funny lowbrow drive-in flick featuring a pre-TAXI Danny DeVito as Bobby’s boss at the car wash, who doubles as a bookie. And remember: “Nobody calls Doogie a turd! Nobody!”. Fun Fact: The soundtrack by Sammy Johns includes his big hit “Chevy Van” as the movie’s theme song – even though Bobby’s van is actually a Dodge!

CORVETTE SUMMER (MGM 1978; D: Matthew Robbins) – High school student Mark Hamill restores a ’73 Corvette Stingray to it’s former glory only to have it stolen, so he hitches a ride to Las Vegas with wanna-be hooker Annie Potts to retrieve his baby in this uneven but harmless ‘B’ comedy. The film shifts into high action towards the end, and the finale doesn’t really satisfy, but Potts (in her film debut) delivers a wonderfully deft comic performance as the ditzy chick in yet another 70’s-style “love van” (they were everywhere!!). The supporting cast includes Danny Bonaduce, Philip Bruns, Eugene Roche, Kim Milford, and the ubiquitous Dick Miller! The glittery lights of late 70’s Vegas (set to a glittery disco soundtrack) make it almost worth your time. Fun Fact: This was Hamill’s follow-up to 1977’s STAR WARS , attempting to break free of his Luke Skywalker image. It didn’t work.

More “Cleaning Out the DVR”:



Major League Baseball’s All-Star Game is tomorrow night, and in honor of that All-American pastime I’ve corralled an All-Star lineup of (mostly) All-American Westerns filled of blazing six-guns, galloping horses, barroom brawls, sexy saloon gals, and wide-open spaces. Hot damn, that DVR sure enough gets filled up mighty fast! Saddle up and enjoy these capsule looks at one of my favorite genres, the Western:

THE CARIBOO TRAIL (20th Century-Fox, 1950; D: Edwin L. Marin) – Randolph Scott   rides tall in the saddle driving his cattle to Vancouver gold rush country in this exciting oater filled with stampedes, Indian attacks, bad hombres, shoot outs, and fisticuffs. There’s a pretty saloon keeper (Karin Booth), a mean town boss (Victor Jory), and Scott’s bitter ex-pardner (Bill Williams), who had to have his arm amputated along the trail. Scenic Colorado stands in for Canada’s Great Northwest, shot in gorgeous Cinecolor by DP Fred Jackman Jr. Look for young Jim Davis and Dale Robertson in supporting parts. The movie doesn’t break any new ground, but for genre fans it’s a real treat! Fun Fact: The always delightful Gabby Hayes plays loveable old windbag Grizzly in his final feature film appearance.

FACE OF A FUGITIVE (Columbia 1959; D: Paul Wendkos) – Escaped outlaw on the run Fred MacMurray settles in the town of Tangle Blue, where he gets tangled up with pretty shopkeeper Dorothy Green, her sheriff brother Lin McCarthy, and evil landowner Alan Baxter. Routine ‘B’ Western elevated somewhat by MacMurray’s low-key performance, Wendkos’ taut direction, and Wilfred M. Cline’s moody cinematography. Fred is always watchable. Fun Fact: Young James Coburn   makes his second film appearance as one of Baxter’s hired hands.

ARIZONA RAIDERS (Columbia 1965; D: William Whitney) – Above-average Audie Murphy   ‘B’ outing, with the star and his pal Ben Cooper a pair of ex-Quantrill Raiders sprung from prison by the newly appointed head of the Arizona Rangers to hunt down some remaining guerillas terrorizing the territory. Some well-staged action by director Whitney, a veteran of Republic Pictures serials and sagebrush sagas. It’s fun to see another serial & sagebrush vet, the great Buster Crabbe as Ranger Captain Andrews, and the supporting cast features slimy baddies Michael Dante and George Keymas, Gloria Talbott as an Indian maiden, and Ray Stricklyn as Audie’s kid bro. I could’ve done without the opening exposition by Booth Colman as a newspaper editor talking directly to the camera; otherwise this is highly recommended! Fun Fact #1: Unintentionally funny line – Stricklyn (while lying mortally wounded): “Clint, it’s… it’s getting kinda dark” Murphy: “Well, it’s a little cloudy, Danny”! Fun Fact #2: Miss Talbott is well-known to horror genre buffs for her roles in DAUGHTER OF DR. JEKYLL, THE CYCLOPS, and I MARRIED A MONSTER FROM OUTER SPACE!

RIDE BEYOND VENGEANCE (Columbia 1966; D; Bernard McEveety) – An interesting if flawed attempt at a psychological Western, aided by a solid supporting cast. A modern-day bartender in Cold Iron, Texas (Arthur O’Connell) relates to a census taker (James MacArthur) the legend of “The Day of the Reprisals”, a fateful night in town history. Flashbacks take us to 1884, when buffalo hunter Jonas Trapp (Chuck Connors), returning home to his wife (Kathryn Hays) after 11 years, gets bushwhackers by a trio of nasties (Michael Rennie, Claude Akins, Bill Bixby), who brand him with a red-hot iron and steal his $17,000 savings. Now Jonas goes out for revenge to reclaim both his money and his wife. The mainly backlot sets and a sometimes weak script keep this strictly ‘B’ level, but a game attempt nonetheless. The impressive cast features Buddy Baer, Joan Blondell , Jamie Farr, Paul Fix (Chuck’s RIFLEMAN costar), Frank Gorshin, Gloria Grahame , Robert Q. Lewis, Gary Merrill, and Ruth Warrick. Folk singer Glenn Yarbrough (“Baby, the Rain Must Fall”) sings the title tune. Not a classic, but definitely worth a look. Fun Fact: Production company Goodson/Todman were better known for their myriad TV game shows – BEAT THE CLOCK, FAMILY FEUD, MATCH GAME, PRICE IS RIGHT, WHAT’S MY LINE, et al.

CHISUM (Warner Bros 1970; D: Andrew V. McLaglen) – Cattle baron John Wayne takes on rival town boss Forrest Tucker during the famous Lincoln County Cattle War, with William Bonney, aka Billy the Kid (Geoffey Deuel) thrown in for good measure. This will seem like a rehash to fans of Duke’s older, better movies, with so many Familiar Faces from previous vehicles ( John Agar , Christopher George, Richard Jaeckel Hank Worden , etc etc) the set must’ve seemed like old home week. Ben Johnson adds some spice as Wayne’s mumbling, grumbling sidekick Pepper, William Clothier’s shots of scenic Durango, Mexico are breathtaking, and the finale (featuring a cattle stampede through town and a knock-down, drag-out brawl between Wayne and Tucker) is fairly exciting. Not one of his best outings, but hey… it’s a John Wayne Movie! That alone makes it worth watching! Fun Fact: Country star Merle Haggard   sings the tune “Turn Me Around”, and actor William Conrad does a hip-hop rap over the title credits. Just kidding about that last tidbit, I wanted to make sure you were still paying attention!


ADIOS, SABATA (United Artists 1971; D: Gianfranco Parolini) –  Lesser but highly enjoyable entry in the Spaghetti Western canon. This is the second of Parolini’s Sabata Trilogy, with black-clad Yul Brynner taking over for Lee Van Cleef in the title role (Van Cleef returned for the final film). “Soldier of Fortune” Sabata teams with frenemy Ballantine and a colorful band of Mexican revolutionaries to steal Emperor Maximilian’s gold and defeat the sadistic Colonel Skimmel. The bare-bones plot is just an excuse for Parolini (billed in the U.S. print as “Frank Kramer”) to assault our senses with an almost non-stop barrage of violent set pieces, well shot by DP Sandro Mancori. Yul gets off some snappy one-liners, and his sawed-off repeating rifle is way cool, as is Bruno Nicolai’s ersatz Ennio Morricone score. Kick back, pop open an adult beverage, and enjoy the action! Fun Fact: Minor late 50s/early 60s teen idol Dean Reed, who embraced leftist politics and became more successful as an ex-pat entertainer, plays the part of Ballantine.      

Ride along with other “Cleaning Out the DVR” posts:

Cleaning Out the DVR Pt 12: Too Much Crime On My Hands

And too many crime films in my DVR, so it’s time for another housecleaning! This edition of “Cleaning Out the DVR” features bank robbers, thieves, murderers, and other assorted no-goodniks in films from the 30’s to the 70’s. Here we go:

PRIVATE DETECTIVE (Warner Bros 1939; D: Noel Smith) Girl gumshoe Jane Wyman (named “Jinx”!) solves the murder of a divorced socialite embroiled in a child custody case, to the consternation of her cop fiancé Dick Foran. Maxie Rosenbloom plays his usual good-natured lug role as Foran’s partner. The kind of movie for which the term “programmer” was coined, furiously paced and clocking in at a swift 55 minutes. No wonder they talk so fast! Fun Fact: The Warner Brothers Stock Company is well represented with Familiar Faces Willie Best, Morgan Conway, Joseph Crehan, Gloria Dickson, John Eldredge, Leo Gorcey , John Ridgley, and Maris Wrixon all packed into it. What, no Bess Flowers?

HOLLOW TRIUMPH (Eagle-Lion 1948; D:Steve Sekely) This one used to be shown frequently on my local cable access channel from a murky public domain print; TCM aired a nice, crisp copy back in January. Thanks, TCM! Star Paul Henreid (who also produced) plays an unrepentant ex-con who, upon release from stir, holds up a mob-connected gambling joint. Now hunted by the gangsters, he takes it on the lam, murdering a lookalike psychologist and stealing his identity. In true noir fashion, things go steadily downhill from there. Noir Queen Joan Bennett  plays the shrink’s secretary/mistress, who falls for the crook. Heel Henreid is certainly no Victor Laszlo in this one! Director Sekely is on point (check out his REVENGE OF THE ZOMBIES sometime!), and DP John Alton’s shadowy shots make this an effective B thriller. A personal favorite! Fun Fact: Look quick for young Jack Webb as one of the hoods.

DIAL 1119 (MGM 1950; D:Gerald Mayer) Escapee from State Mental Hospital for the Criminally Insane holds the patrons of the dingy Oasis Bar at gunpoint, demanding to see the police shrink who got him convicted. Marshall Thompson makes a convincing psych-killer, and he’s ably supported by a strong cast (Sam Levene, Virginia Field, Leon Ames, Andrea King, Keefe Brasselle). William Conrad is killed off early as the dour bartender “Chuckles”. Worth a look for the cast and some adult-themed subject matter. Fun Fact: This was director Mayer’s first feature, which probably made his uncle, studio boss Louis B. Mayer, proud.

THEY CAME TO ROB LAS VEGAS (Warner Bros 1969; D: Antonio Isasi) This US-Spanish coproduced crime caper is totally underrated and totally fun, with a cool 60’s vibe to it. Gary Lockwood (2001: A SPACE ODDYSEY) stars as a Vegas blackjack dealer who plots to steal one of security expert Lee J. Cobb’s hi-tech armored cars, with inside help from sexy Elke Sommer, as revenge for his brother’s death. Jack Palance is also on hand as a Treasury agent investigating Cobb’s shady connections. There’s some nifty twists and turns along the way, and great location footage of the Vegas strip in it’s heyday. It’s as if Sergio Leone decided to make a caper movie, and is highly recommended! Fun Fact: Jean Servais, who starred in the classic French caper film RIFIFI, has the small but pivotal role of Lockwood’s brother.

BUNNY O’HARE (AIP 1971; D: Gerd Osawld) Bette Davis, left homeless when the bank forecloses on her house, teams up with dimwit fugitive Ernest Borgnine to rob banks disguised as hippies, making their escape on a motorcycle. It’s as silly as it sounds, with the two stars trapped by a lame script that seemed outdated when it was made, and non-existent direction by Oswald (who also helmed the dire AGENT FOR H.A.R.M.). Ernie mugs shamelessly throughout, while Miss Davis sued the studio after it was released, claiming the re-edit wasn’t what she signed up for, and hazardous to her career. When you hear her spout the line “I’ll open ya up like a can a’tomata soup”, you’ll probably agree! Some good character actors pop up (Jack Cassidy, John Astin, Jay Robinson, Bruno VeSota), but this mess is for Davis completists only. Fun Fact: Bette and Ernie did much better with their first film together, 1956’s THE  CATERED AFFAIR, written by Gore Vidal and directed by Richard Brooks, adapted from a TV play by Paddy Chayefsky.

Enjoy the “Cleaning Out the DVR” series:

  1. Five Films From Five Decades
  2. Five Films From Five Decades 2
  3. Those Swingin’ Sixties
  4. B-Movie Roundup
  5. Fabulous 40’s Sleuths
  6. All-Star Horror Edition!
  7. Film Noir Festival
  8. All-Star Comedy Break
  9. Film Noir Festival Redux
  10. Halloween Leftovers
  11. Five from the Fifties

Cleaning Out the DVR Pt 11: Five from the Fifties


The 1950’s were a time of change in movies. Television was providing stiff competition, and studios were willing to do anything to fend it off. The bigger budgeted movies tried 3D, Cinerama, wide-screen, and other optical tricks, while smaller films chose to cover unusual subject matter. The following five films represent a cross-section of nifty 50’s cinema:


BORDERLINE (Universal-International 1950; D: William A. Seiter)

BORDERLINE is a strange film, straddling the borderline (sorry) between romantic comedy and crime drama, resulting in a rather mediocre movie. Claire Trevor plays an LAPD cop assigned to Customs who’s sent to Mexico to get the goods on drug smuggler Pete Ritchey (Raymond Burr , being his usual malevolent self). She’s tripped up by Ritchey’s rival Johnny Macklin (Fred MacMurray , channeling his inner Walter Neff), and taken along as he tries to get the dope over the border. What she doesn’t know is he’s also an agent, and thinks she’s a smuggler! The movie usually gets shoehorned into the noir category, but besides the drug smuggling angle, it’s just an average ‘B’ flick. Fun Fact: Claire’s husband Milton Bren was the film’s producer.


THE NARROW MARGIN (RKO 1952; D: Richard Fleischer)

Highly influential ‘B’ noir about a tough cop escorting a mobster’s widow from Chicago to Los Angeles via train to testify on corruption, with hired killers onboard out to stop her by any means possible. Gruff-voiced Charles McGraw and sexpot Marie Windsor deliver Earl Fenton’s hard-boiled dialog with gusto; the film was Oscar-nominated for Best Story, but lost to THE GREATEST SHOW ON EARTH (they were robbed!). Director Richard Fleischer and DP George Diskant create a textbook example on how to make a tense, exciting movie for under $250,000, with a big plot twist I won’t spoil for those of you who haven’t seen this gem. The ambient sounds of the train travelling take the place of the usual music score, making the violence even more ultra-realistic. A must-see! Fun Fact: Marie Windsor was once a gag writer for Jack Benny. When the comedian finally met her in the flesh, he was stunned by her good looks and helped her secure a Hollywood contract.


THE BIGAMIST (The Filmakers 1953; D: Ida Lupino)

San Francisco couple Edmond O’Brien and Joan Fontaine want to adopt a child, but when the child welfare investigator (Edmund Gwenn) looks into the case, he discovers O’Brien has another wife (Ida Lupino) in LA. O’Brien gives a sympathetic performance as the man leading a double life, and Lupino handles the sensational material with depth and sincerity. Watch for the scene where O’Brien meets Lupino on a Hollywood tour bus for glimpses of the homes of stars Barbara Stanwyck, James Stewart, Jack Benny, and Gwenn himself! A quiet but powerful film that’s worth your time. Fun Fact: Producer/screenwriter Collier Young was married to Fontaine at the time; before that, he had been the husband of director/star Lupino! Ah, Hollywood!


THE WILD ONE (Columbia 1953; D: Laszlo Benedict)

The granddaddy of all biker flicks! Marlon Brando is leather clad Johnny, leader of the Black Rebels MC, who terrorize a small California town. Brando’s existential, iconic performance dominates the film, but Mary Murphy is equally good as Kathie, the girl who falls for him. Lee Marvin also deserves a shout-out as Chino, leader of rival gang The Beetles. The scene where Murphy is chased down by the bikers, saved by Johnny, still retains its power. Jerry Paris, Alvy Moore , and that great oddball actor Timothy Carey are among the cyclists; Jay C. Flippen, Ray Teal, and Will Wright represent some of the “straight’ citizens. A bona fide cinema classic, not to be missed! Fun Fact: Brando’s Johnny was the basis for Harvey Lembeck’s goofball Eric Von Zipper character in all those “Beach Party ” movies.


ROCK ROCK ROCK (DCA 1956; D: Will Price)

13 year old Tuesday Weld makes her film debut as a teenybopper trying to raise money to buy a strapless evening dress for the prom, but you can forget about the dumb plot and enjoy a veritable Rock’n’Roll/Doo Wop Hall of Fame lineup: LaVerne Baker, Chuck Berry (“You Can’t Catch Me”), Johnny Burnett Trio, The Flamingos, Frankie Lymon & The Teenagers (“I’m Not a Juvenile Delinquent”), The Moonglows, Big Al Sears, and others, hosted by pioneering rock DJ Alan Freed. Tuesday’s vocals are dubbed by Connie Francis, and co-star Teddy Randazzo was a minor singing star who later wrote the hits “Goin’ Out of My Head” and “Hurts So Bad”. Lots of energetic teenage dancing; just sit back and have a foot-wiggling good time! Fun Fact: This was the first film for the production team Max Rosenberg and Milton Subotsky, better known for their Amicus horror anthologies.

Cleaning Out the DVR Pt 10: Halloween Leftovers


Halloween has come and gone, though most people have plenty of leftovers on hand, including your Cracked Rear Viewer. Here are some treats (and a few tricks) that didn’t quite make the cut this year:


ISLE OF THE DEAD (RKO 1945, D: Mark Robson)

Typically atmospheric Val Lewton production stars Boris Karloff as a Greek general trapped on a plague-ridden island along with a young girl (Ellen Drew) who may or may not be a vorvolaka (vampire-like spirit). This film features one of Lewton’s patented tropes, as Drew wanders through the woods alone, with the howling wind and ominous sounds of the creatures of the night. Very creepy, with another excellent Karloff performance and strong support from Lewton regulars Alan Napier, Jason Robards Sr, and Skelton Knaggs. Fun Fact: Like BEDLAM , this was inspired by a painting, Arnold Bocklin’s “Isle of the Dead”.


THE BOWERY BOYS MEET THE MONSTERS (Allied Artists 1954, D: Edward Bernds)

Leo Gorcey, Huntz Hall, and the gang  get mixed up with the creepy Gravesend family in a spooky old mansion, complete with mad scientists, vampires, a man-eating tree, a robot, and of course a killer gorilla in this above-average series entry. Sure it’s low budget and derivative as hell, but it’s also a lot of fun, with a better than usual supporting cast that includes John Dehner, Lloyd Corrigan, and Ellen Corby. Director Bernds and his co-screenwriter Ellwood Ullman put their Three Stooges experience to good use, and the result is a silly scare farce that even non-Bowery Boys fans will probably enjoy. Fun Fact: Ex-bartender Steve Calvert bought Ray “Crash” Corrigan’s old gorilla suit and appeared in JUNGLE JIM, THE BRIDE AND THE BEAST (written by Ed Wood), and the awful BELA LUGOSI MEETS A BROOKLYN GORILLA .


THE OBLONG BOX (AIP 1969, D:Gordon Hessler)

AIP tried to continue their successful Edgar Allan Poe series with this film. Roger Corman was long gone, so Gordon Hessler took over the director’s chair. Vincent Price is still around though, as the brother of a voodoo victim who was prematurely buried, then dug up by graverobbers to seek revenge. Christopher Lee has “Special Guest Star” status, but isn’t given much to do as a Knox-like doctor using bodies in the name of science. The movie seemed a lot scarier when I saw it as a youth; unfortunately, it doesn’t hold up very well. The 24 year old Hillary Dwyer is much too young to play 58 year old Price’s fiancé. Fun Fact: Michael Reeves (THE SORCERERS , WITCHFINDER GENERAL) was scheduled to direct before his untimely death; this probably would’ve been a better film with him at the helm.


HANDS OF THE RIPPER (Hammer 1971, D: Peter Sasdy)

Minor but effective Hammer chiller about the daughter of Jack the Ripper (Angharad Rees) who’s possessed by daddy’s evil spirit, and the psychologist (Eric Porter) who tries to help her by using the then-new Freudian therapy techniques. It’s science vs the supernatural, with some good moments of gore, but the slow pace makes it definitely lesser Hammer. I must admit I loved the ending, though. Fun Fact: Director Sasdy filmed several Hammer horrors in the early 70’s, including TASTE THE BLOOD OF DRACULA and COUNTESS DRACULA. He also was responsible for the Pia Zadora vehicle THE LONELY LADY, winning himself the prestigious Razzie Award in 1983!


BURNT OFFERINGS (United Artists 1976, D: Dan Curtis)

A family rents an eerie old country home for the summer, and are soon pitted against an evil force. With all that talent in front of (Bette Davis , Karen Black, Oliver Reed, Burgess Meredith, Eileen Heckert) and behind (producer/director/writer Curtis , co-writer William F. Nolan, DP Jacques Marquette) the camera, I expected a much better film. Even the great Miss Davis can’t help this obvious haunted house story to rise above the level of a made-for-TV potboiler. Disappointing to say the least. Fun Fact: Production designer Eugene Lourie directed the sci-fi flicks THE BEAST FROM 20,000 FATHOMS, THE GIANT BEHEMOTH , and GORGO.     

Cleaning Out the DVR Pt 9: Film Noir Festival Redux


Welcome back to the decadently dark world of film noir, where crime, corruption, lust, and murder await. Let’s step out of the light and deep into the shadows with these five fateful tales:


PITFALL (United Artists 1948, D: Andre DeToth) Dick Powell is an insurance man who feels he’s stuck in a rut, living in safe suburbia with his wife and kid (Jane Wyatt, Jimmy Hunt). Then he meets hot model Lizabeth Scott on a case and falls into a web of lies, deceit, and ultimately murder. Raymond Burr  costars as a creepy PI who has designs on Scott himself. A good cast in a good (not great) drama with a disappointing ending. Fun Fact: The part of Scott’s embezzler boyfriend is played by one Byron Barr, who is not the Byron Barr that later changed his name to Gig Young.  


THE BRIBE (MGM 1949, D:Robert Z. Leonard) Despite an A-list cast, this tale of a G-man (boring Robert Taylor ) assigned to break up a war surplus smuggling racket is as tedious as Taylor’s monotone voice overs. Agent Rigby is sent to the island town of Carlotta, off the coast of Central America, to crack the ring responsible for illegally selling airplane engines. He falls in love with married nightclub singer Ava Gardner (who can blame him?), whose booze soaked hubby (John Hodiak) is a major suspect. The oppressive heat in Carlotta seems to make the film’s players sluggish, like the movie itself. Obvious bad guys Charles Laughton and Vincent Price engage in a ham-slicing contest, with a slight edge going to Laughton here. Fun Fact: I couldn’t watch this without being reminded of the superb noir send-up DEAD MEN DON’T WEAR PLAID, which borrows some of this movie’s names (Rigby, Carlotta) and many of it’s scenes. Watch that instead of  THE BRIBE, it’s a lot more fun!


THE WINDOW (RKO 1949, D: Ted Tetzlaff) This taut little thriller became a major hit for RKO, and child star Bobby Driscoll won a special Oscar for his performance as a 9 year old who likes to tell tall tales witnessing a murder. No one believes him, not his parents (Arthur Kennedy , Barbara Hale) or the cops, and he’s punished by Mom and Dad. Dad works nights and Mom’s called away to visit her sick sister, so little Tommy gets locked in his room overnight, and the killers who live upstairs (Paul Stewart, Ruth Roman) come to get him. The chase through an abandoned building is gripping, and former DP Tetzlaff (MY MAN GODFREY, NOTORIOUS) ratchets up the suspense. Filmed on location in NYC (a novelty in those days) and based on a Cornell Woolrich short story, THE WINDOW is unique, entertaining, and well worth watching. NOT SO FUN FACT: Disney star Bobby Driscoll (SONG OF THE SOUTH, TREASURE ISLAND, voice of PETER PAN), unable to shake the child star label, became a hopeless drug addict, drifting through a life of arrests and addiction. In the mid-60’s, he was briefly associated with Andy Warhol’s Factory group of underground filmmakers. Sometime early in 1968, he died alone in an abandoned New York tenement house. The body wasn’t identified, and Driscoll was buried in a pauper’s grave. His mother, seeking Bobby in 1969, asked the police for help, and through fingerprints he was finally ID’d. Bobby Driscoll was 31 years old.


THE HITCH-HIKER (RK0 1953, D: Ida Lupino) Fear is the theme of this dark, disturbing psychological tale based on the true story of serial killer Billy Cook. Director Lupino cowrote the script with producer hubby Collier Young, about two pals on a fishing trip (Frank Lovejoy, Edmond O’Brien) who pick up a hitchhiking killer (William Tallman), and are taken hostage and forced to do his bidding. Extremely tense drama enhanced by Nicholas Musuraca’s camerawork, and a chilling performance from Tallman as Emmett Myers, as cold-blooded a killer as there is in noir. His deformed, unblinking dead eye will give you nightmares! O’Brien is also outstanding here, as usual. Fun Fact: Tallman is of course best known to audiences as perennially losing DA Hamilton Burger on TV’s long-running PERRY MASON, where he was outwitted every week by noir icon Raymond Burr.


THE PHENIX CITY STORY (Allied Artists 1955, D: Phil Karlson) Another true story, this one of corruption in a small Alabama town ruled by gambling, prostitution, dope peddling, and murder. The unique prologue features real-life newsman Clete Roberts interviewing some of the locals, including the widow of slain Attorney General candidate Albert Patterson. Then the story unfolds, as Patterson (John McIntyre) refuses to get involved in the efforts to clean up the town. When son John (Richard Kiley) returns home, he does, and finally the older man relents, after the violence escalates to include the murder of a child, and a family friend. That violence is shockingly brutal for the era, and realistically handled onscreen by director Phil Karlson, who’d later helm another Southern crime tale, WALKING TALL. Screenwriters Crane Wilbur (HOUSE OF WAX) and Daniel Mainwaring (OUT OF THE PAST, INVASION OF THE BODY SNATCHERS) pull no punches, and supporting actors Edward Andrews, Kathryn Grant (the future Mrs. Bing Crosby), James Edwards , Jean Carson (one of the “Fun Girls” from THE ANDY GRIFFITH SHOW) and John Larch are all top-notch. Don’t miss this one! Fun Fact: This is one of Martin Scorsese’s favorite movies, and there are plenty of examples of it’s influence on his films to keep an eye out for here!