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:

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Halloween Havoc!: THE RAVEN (AIP 1963)

Let’s kick off the third annual “Halloween Havoc” with Vincent Price, Peter Lorre, Boris Karloff, Hazel Court, young Jack Nicholson , director Roger Corman , screenwriter Richard Matheson , and an “idea” by Edgar Allan Poe. How’s that for an all-star horror crew? The film is THE RAVEN, Corman’s spoof of all those Price/Poe movies he was famous for, a go-for-the-throat comedy guaranteed to make you spill your guts with laughter!

Sorcerer Erasmus Craven (Price ), still pining for his late, lost Lenore, hears someone gently rapping on his chamber door… er, window. It’s a raven, a talking raven, in reality Adolpho Bedlo (Lorre ), who’s been put under a spell by the Grand Master of magicians, Dr. Scarabus (Karloff ), who like Craven is adept at “magic by gesture”. After Craven mixes up a potion to reverse the spell, Bedlo tells him he’s seen Lenore alive at Scarabus’s castle.

The two wizards decided to make the trek to Castle Scarabus so Craven can learn the truth. Daughter Estelle Craven (Olive Sturgess) insists on accompanying them, as does Bedlo’s inept son Rexford (Nicholson). The Grand Master, a former rival of Craven’s father, greets them warmly at the door, a seemingly kindly old gent who clears up the matter by introducing his servant, who’s pretty but not Lenore. Scarabus invites the entourage to a convivial dinner, where Bedlo drunkenly challenges him to a duel of magic. The soused mage’s magic backfires, and he’s turned into a pool of raspberry jam!

A storm is brewing outside (because of course it is!), and Scarabus invites them to spend the night. Rexford suspects foul play, telling Estelle he saw Scarabus use his hand gestures during the duel to put the kibosh on his dad. During the storm, Craven sees what he thinks is Lenore looking in his window. He’s right… Lenore (Court )is alive and well, deviously plotting with Scarabus to learn the secrets of Craven’s powerful magic! Soon we discover Bedlo’s alive too; the treacherous wizard has been in on it all along!

All four (including the duplicitous Bedlo) are captured by the evil Scarabus, and Bedllo, begging to be freed for his loyalty, is turned back into a raven. Grand Master Scarabus threatens Estelle, forcing Craven to engage in a magical “duel to the death”, a comical, special effects-gimmicked battle of prestidigitation. The younger sorcerer is ultimately victorious, and they escape as Castle Scarabus is consumed by flames.

Price gets to show off his slapstick skills, continually walking headlong into his large telescope, and his acting opposite the bird is, well, Priceless! Lorre is just naturally funny, whether taking a pratfall, going off-script with some ad-libbing, or exclaiming as the raven in his accented voice, “Ooo, these feathers itch!” Karloff, as the villain of the piece, doesn’t get much in the comedy department, but manages to get off some good one-liners, calling Lenore “my little viper”, for example. Young Jack isn’t as bad here as some critics have pointed out, and he and Lorre are a funny father/son act. Les Baxter’s score, complete with whimsical music cues, adds to the fun, as does Pat Dinga’s special effects bag of tricks.

There are plenty of film references and in-jokes crammed in by Corman and Matheson. The name on Craven’s dad’s coffin is Roderick, Price’s character name in FALL OF THE HOUSE OF USHER . That film’s ending is also referenced in the final destruction of Castle Scarabus. And when Craven defeats Scarabus, it’s the symbolic passing of the terror torch from Grand Master Karloff to the new King Price. The raven itself was trained by Mo Disesso, who later provided the trained rats for both WILLARD and BEN. THE RAVEN is more fun than a barrel of spiders, a creepy and kooky Gothic send-up with the Three Titans of Terror in rare form, and will delight genre fans of all ages. Except for maybe poor Poe, who’s probably still spinning in his grave!!

Roger Corman’s Electric Kool-Aid Tangerine Dream: THE TRIP (AIP 1967)

“You are about to be involved in a most unusual motion picture experience. It deals fictionally with the hallucinogenic drug LSD. Today, the extensive use in black market production of this and other so-called ‘mind bending’ chemicals are of great concern to medical and civil authorities…. This picture represents a shocking commentary on a prevalent trend of our time and one that must be of great concern to us all.” – Disclaimer at the beginning of 1967’s THE TRIP

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“Tune in, turn on, drop out”, exhorted 60’s acid guru Timothy Leary. The hippie generation’s fascination with having a psychedelic experience was a craze ripe for exploitation picking, and leave it to Roger Corman to create the first drug movie, THE TRIP. Released during the peak of the Summer of Love, THE TRIP was a box office success. Most critics of the era had no clue what to make of it, but the youth of suburban America flocked to their theaters and drive-ins in droves to find out what all the LSD hubbub was about.

Corman also wanted to know, so he and some friends dropped acid one balmy night and headed to Big Sur to trip. Having had a good experience, Corman sought to translate it into film (and make a buck in the process, no doubt). He solicited his pal Jack Nicholson , who’d experimented with LSD himself, to concoct a screenplay depicting what it was like to do acid. Nicholson came up with an acceptable script, and Roger went to work translating it for the big screen.

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It begins as TV commercial director Peter Fonda, in the midst of a divorce from wife Susan Strasberg , decides he want to try acid to “find out something about myself”. Pal Bruce Dern brings him to drug dealer Dennis Hopper’s pad, they cop and return to Fonda’s place, where he takes a 250 microgram dose, Dern staying straight to act as his guide.

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Dern advises Fonda to “turn off your mind, relax, and just float down the stream” (paraphrasing The Beatles), and soon he’s off on a journey to the center of his mind. THE TRIP then turns into a visual and aural assault on the senses filled with kaleidoscopic imagery, stunning light-show effects, and hallucinogenic nightmare sequences as Fonda gets deeper and deeper into his trip. The plotless structure now becomes pure film, with quotes from Fellini, Bergman, and Corman’s own Poe films. The “Psychedelic Special Effects” credited to Charlatan Productions, bold cinematography by Arch Dalzell (in ‘Psychedelic Color’), rapid-fire editing by Ronald Sinclair, and Corman’s knowing way behind the camera, combine to dazzle the viewer and, if it doesn’t quite truly capture what it’s like to trip, comes pretty damn close.

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The music soundtrack is provided by The Electric Flag, a 60’s San Francisco-via-Chicago band featuring Mike Bloomfield, Buddy Miles, Barry Goldberg, and Nick Gravenites. Their trippy raga-rock sound serves as the perfect backdrop for Corman’s visual feast. They are not the group shown at the club, though; that’s Gram Parson’s International Submarine Band, whose music Corman didn’t feel was  “far-out” enough. Corman regulars Dick Miller (as a bartender), Barboura Morris (hilarious as a woman Fonda meets at a laundromat), Salli Sachse, Luana Anders, and Beach Dickerson all appear, as do (briefly) Angelo Rossitto , Michael Blodgett (BEYOND THE VALLEY OF THE DOLLS ), and Tom Signorelli. Look fast for Peter Bogdanovich, Brandon DeWilde, and rock scenemaker Rodney Bingenheimer.

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Fifty years later, THE TRIP remains a film lover’s delight, something that has to be seen to be truly appreciated. AIP honchos Sam Arkoff and James Nicholson tacked on that opening disclaimer, as well as superimposing a “cracked glass” effect over Fonda’s face in the film’s final shot, implying he’d been permanently damaged by the experience. This pissed Corman off, and after they later butchered his 1969 satire GAS-S-S-S!, he struck out on his own and formed New World Pictures, where he and others could enjoy artistic freedom (on a low-budget, of course). Whether you’ve ever tripped or not, this film is worth seeing for its technical mastery and daring concept. Also, it’s downright groovy, man!

   

CLEANING OUT THE DVR Pt1: Five Films from Five Decades

I record a LOT of movies. Probably around ten per week, more or less. And since I also have to do little things like work, exercise, cook, clean, breathe,  etc etc, I don’t always have time to watch  them all (never mind write full reviews), so I’ve decided to begin a series of short, capsule reviews for the decades covered here at Cracked Rear Viewer. This will be whenever I find my DVR getting cluttered, which is frequent! I’ll try to make CLEANING OUT THE DVR a bi-weekly series, but there are no guarantees. Monthly is more realistic. Anyway, here are five films from the 1930s to the 1970s for your reading pleasure.

Continue reading “CLEANING OUT THE DVR Pt1: Five Films from Five Decades”