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DEJA RE-VU
"MURPHY'S WAR" Murphy seethes with an obsessive craving for revenge. As the trailer declares, World War II is ending, but Murphy's War has just begun!" The compelling 1971 film artfully exposes the absurdity of war. It's a film that's definitely worthy of rediscovery and its impact is heightened in the newly released Blu-ray edition from Arrow Video. As Murphy, the wrathful Irishman, cigarette clenched in his teeth, unshaven, fixated, O'Toole turns in a riveting performance. He pours what's left of his soul into repairing a battered seaplane, planning to make it the instrument of his vengeance. Though he reportedly was not one of the filmmakers top choices for the role, O'Toole does a wonderful job of suggesting the complexities beneath the character's surface. And the actor's inherent charm does peek through. O'Toole's real-life wife Siân Phillips is also quite effectively sympathetic as a Quaker nurse who helps Murphy to heal physically, though his emotional wounds remain raw. The cast also features Philippe Noiret ("Cinema Paradiso," "La Grande Bouffe") as the administrator of the remote island where Murphy recovers, as well as Horst Janson ("Shout at the Devil," "Captain Kronos -- Vampire Hunter") as a heinous Nazi lieutenant. The film was ably directed by Peter Yates, who helmed a diverse collection of highly entertaining films, including "Bullitt," "Breaking Away," "The Friends of Eddie Coyle" and "The Hot Rock." He also directed episodes of enduringly popular TV series -- the Roger Moore vehicle "The Saint," as well as "Danger Man" (AKA "Secret Agent" with Patrick McGoohan). Yates gave up a chance to be involved in the production of "The Godfather," so he could make "Murphy's War." He believed in the project that much. He captures the nightmarish chaos of battle scenes and exciting action sequences with the plane, but also, in quieter moments, helps to shape the convincing, unusual characters. Yates benefits from the striking cinematography by Douglas Slocombe, who also shot the first three Indiana Jones pictures. Originally shot in Eastmancolor, the film looks great in the new Arrow presentation. Making "Murphy's War" even more involving is the stirring score by John Barry. The intriguing screenplay by Stirling Silliphant proves thought-provoking. His many successful scripts include "In The Heat of the Night," "The Poseidon Adventure" and the Dirty Harry entry, "The Enforcer." He created the TV series "Perry Mason," "Route 66," "Longstreet" and "Naked City." He adapted "Murphy's War" from a novel by English novelist/playwright Max Catto, changing several elements, including aspects of the protagonist, as well as the ending. There are many interesting extras in this edition. The not-to-be-missed one is an informative interview with co-editor and second unit director John Glen, who later directed Bond films. "Murphy's War" will keep you engrossed, as it gives you much to think about.
"THE TERROR"/"LITTLE SHOP OF HORRORS" After being rescued, a young man who describes himself as "a weary, disillusioned solider" uncovers secrets involving a Baron, a ghost, a witch and a strange bird. As a lost officer from Napoleon's army, with most of this period piece set in a castle, Nicholson still seems very much Jack. Portraying the mysterious Baron, Boris Karloff (who shot his part in just two days) contributes greatly to the eerie mood. Mesmerizing, even at this late stage in his career, he adds gravitas to the movie. Sandra Knight ("Frankenstein's Daughter," "Tower of London," "Thunder Road") is compelling as a shape-shifting demon that captivates the soldier. She and Nicholson were married from 1962 to 1968. "Little Shop of Horrors" lead Jonathan Haze plays a mentally deficient villager who does the witch's bidding. Corman (and Joe Dante) favorite Dick Miller (billed here as Richard Miller) essays the Baron's servant. Veteran actress Dorothea Neumann plays a witch. As production dragged on, due to unforeseen challenges, Corman tapped various young directors to shoot some of the footage, among them were Francis Ford Coppola, Monte Hellman and Nicholson himself. Somehow, despite all of the complications and a minuscule budget, producer/director Corman succeeds in making this an effective little horror film. One of the quirkiest horror movies of all time is the second half of the double bill here. "Little Shop of Horrors" is merrily macabre, much like the hit musical it spawned decades later. Originally released in 1960 with a screenplay by Charles B. Griffith, it's set in a seedy flower shop operated by Gravis Mushnick (Mel Welles) and his employees, Audrey (Jackie Joseph) and Seymour (Jonathan Haze). About to be fired, Seymour intrigues Mushnick by showing him a strange plant he just received and has named Audrey Jr. Unfortunately, the plant is wilting... until Seymour cuts his finger and a drop of his blood drips onto the plant, which suddenly perks up. The freakish plant becomes a local attraction at the formerly failing shop. To keep it alive, Seymour must give in to its plea of, "Feed me!" He doesn't have enough plasma to please the plant, so darker solutions must be found. Haze and Joseph are appealingly pitiful and Jack Nicholson has a memorable bit as a masochistic dental patient. This is a B-movie cult classic. The Film Masters release gives us the best possible quality on these films, 1080p high-def Blu-ray derived from 35mm prints. They both have terrific detail and sharp contrast. "The Terror" boasts color more vivid than has been seen in previous releases. And the extras are definitely worthwhile. There are informative audio commentary tracks. The one for "Little Shop" includes Haze. Also among the bonuses is a valuable featurette analyzing Corman's colossal career.
"CONAN THE BARBARIAN"/"CONAN THE DESTROYER" These are eye-catching upgrades, 4K UHD restorations from the original negatives. The colors really pop and the images are pristine. In the 1982 first film, Conan, after witnessing his parents being slaughtered, is enslaved, forced to survive in the fighting pits. When the opportunity arises, the warrior seeks vengeance against a shape-shifting sorcerer (James Earl Jones) and his snake cult. He is joined by fellow fighters Valeria (Sandahl Bergman) and Subotai (Gerry Lopez), as well as a wizard (Mako). The brawny Schwarzenegger certainly has a presence. Sandahl Bergman, previously a standout in musical theater, displays movements exuding grace and sexuality, juxtaposed with savagery. She was perhaps ahead of her time. The charismatic Bergman should have become one of the first female action stars. In the extras, James Earl Jones describes his villainous character as "the prehistoric Darth Vader." John Milius ("Red Dawn") directed and shared screenwriting credit with Oliver Stone. These two manly men give Conan -- and the film -- an impressive robustness. 1984 brought "Conan The Destroyer" to the screen. Directed by Richard Fleischer ("20,000 Leagues Under the Sea," "Fantastic Voyage"), this sequel went for a much lighter, fantasy approach. Not as intense or violent as the Milius film, it is quite entertaining, however. But gore and nudity aren't going to fly in a PG movie. "Barbarian" flaunted its R-rating. In "Destroyer," Conan is enlisted by Queen Taramis of Shadizar (Sarah Douglas of "Superman 2 " fame) to help her niece (Olivia d'Abo of "The Wonder Years") on a vital quest. The strong supporting cast also includes Mako again, as well as Grace Jones, Wilt Chamberlain, Tracey Walter, Jeff Corey and André the Giant. Bountiful bonus features for both movies give you everything you always wanted to know about Conan, but were afraid to ask. Especially informative is a newly filmed interview with John Walsh, who wrote the book "Conan the Barbarian: The Official History of the Film." You'll learn about the potential involvement, at various points, of Ray Harryhausen, Oliver Stone, Ralph Bakshi and Ridley Scott. You'll discover the tragic tale of Conan creator Robert E. Howard. You'll hear about Dino de Laurentiis looking to start a film franchise and settling on Conan, then relying on daughter Raffaella to bring all the elements together. Frank Frazetta's artwork set the tone for the productions. It wasn't an easy transition from pulps to comics to big screen glory. The most amusing and bizarre bonus is "Conan The Barbarian: The Musical," which gives us a wry idea of what the production might sound like on Broadway or the West End, with Schwarzenegger (or rather a Schwarzenegger imitator) singing the character's story. The comedically delivered lines are sung to the music of Basil Poledouris. Several extras honor composer Poledouris, whose powerful scores greatly enhance the two films. It's a treat to watch him conduct a symphony orchestra that's bringing his compositions to life. Another of the best bonuses is "Conan: The Making of a Comic Book Legend," part of the "Destroyer" release. It goes into the character's history at Marvel comics. There are many archival interviews including Milius, Bergman and Schwarzenegger, as well as many other key figures. You'll hear Schwarzenegger declare that Milius realized that the bodybuilder was the only person in the world who had the look and skills to portray Conan. Arnie also talks about his boundless ambition, planning to become the next Clint Eastwood or Robert Redford. The Conan movies did make him an international attraction. The films also offer audio commentaries, trailers and much, much more in the way of enticing extras. The commentary for the first film, teaming Milius and Schwarzenegger, equals the macho quotient of the movie itself. And that's saying a lot. "Destroyer" presents audio commentaries featuring Fleischer, d'Abo and Sarah Douglas among others. With Arrow's outstanding visuals and audio, Conan fans will want to have both of these new releases in their film libraries.
"BLOOD FEAST" The 2016 remake of "Blood Fest," a modernized gore fest, was also not for the squeamish. It's especially spine-chilling in the new, uncut, 4K UHD, Dolby Vision-friendly edition from Synapse Film. It's not easy being a restaurateur... particularly when you're transitioning from serving burgers and chips to whipping up an order of blood-drenched intestines. The film's plot revolves around Fuad Ramses, who has moved with his family from the U.S. to France They operate an American-style diner, but business dwindles. So Fuad moonlights at a museum housing ancient Egyptian artifacts He is enticed by a statue of the goddess Ishtar. The goddess has a bloodlust. And she leads Fuad down a shocking path of madness, murder and cannibalism. Even his family may not be safe. The updated movie has many changes from Lewis' original. But, like the original, the newer "Blood Feast" doesn't let its small budget keep it from delivering big-time gruesomeness. Directed by Marcel Walz, it features a cast led by Robert Rusler ("A Nightmare on Elm Street 2"), Caroline Williams ("Renfield," "Texas Chainsaw Massacre 2"), Sophie Monk ("The Hills Run Red") and, as the goddess, Sadie Katz ("Megan," "The Amityville Harvest"). The uncut version of the film had not been previously available in the U.S. Extras include a "making of" featurette and footage from the 2018 red carpet.
"FEAR IS THE KEY" "Fear is The Key" is based on a novel by Alistair MacLean, famed for such works as "The Guns of Navarone," "Ice Station Zebra" and "Where Eagles Dare." Though "Fear" may not be as high profile as those adaptations, it's an equally edge-of-your-seat entertainment. You can revel in every exhilarating moment, thanks to Arrow Video's new Blu-ray release of the movie. In "Fear," John Talbot, who's wanted for bank robbery and murder, drifts into a Louisiana town and gets arrested. In court, he kidnaps a young woman (Suzy Kendall) and escapes. They're joined by a man named Jablonski (Dolph Sweet), who's apparently playing all the angles. They wind up at the estate of the hostage's oil magnate father. But they learn that the diabolical Vyland (John Vernon) is really in charge. Much is not what it seems, however. One of the highlights of the film is a tremendous, rip-roaring, lengthy car chase, which holds its own with classics of the era, like "Bullitt" and "The French Connection." "Fear" also boasts some grabbing undersea sequences. When credibility is strained, a close-up of the ever earnest Newman keeps us thoroughly engaged. Suzy Kendall ("To Sir, with Love," The Bird with the Crystal Plumage" "Torso") provides a classy sex appeal, which adds greatly to the movie's allure. John Vernon ( "Animal House," "The Outlaw Josey Wales) makes a marvelously menacing villain. And in his film debut, Ben Kingsley (with a full (-ish) head of dark hair) is his hissable henchman. Director Michael Tuchner (who had numerous TV credits, including "Hart to Hart") keeps the tension going from start to finish. Composer Roy Budd (1971's "Get Carter") turns in a forceful score that veers from coolly modern jazz to Bond-like majesty. Among the Arrow bonus features are an audio commentary with critic/filmmaker Howard S. Berger, and interesting featurettes, such as one examining the work of composer Budd; another sharing the recollections of the movie's associate producer Gavrik Losey, son of director Joseph Losey; "Bayou to Bray," which shows the movie shooting both on Louisiana locations and in the studio; plus one titled "A Different Kind of Spy Game," placing "Fear" in the context of other big screen adaptations of MacLean's works.
"THE SWISS CONSPIRACY" The cast, led by David Janssen, Senta Berger, John Ireland and John Saxon, makes the movie worth catching. Film Masters has just completed a 4K restoration and released the movie on Blu-ray. In "The Swiss Conspiracy," a bank is mired in a blackmail plot. If five key clients want their secret accounts to remain secret, they must pay up. One who refuses is assassinated in a restaurant. Four blackmailed clients remain -- a Zurich socialite (Berger), a Chicago mobster (Saxon), a Texas businessman (Ireland) and a Dutchman (Arthur Brauss), The head of the bank (Ray Milland) brings in a former U.S. Treasury agent (Janssen), now living in Geneva, to uncover the perpetrators. He ends up delivering a ransom of uncut diamonds in a remote, snowy Alps location. Complications ensue. Janssen's low-key, world-weary intensity always makes him a riveting screen presence, as fans of his hit TV series -- "Richard Diamond," "The Fugitive," "O'Hara, U.S Treasury") -- will attest. Saxon, Ireland and Berger also help to make the straightforward plot convincing. The movie benefits from "special guest appearances" by Elke Sommer and Milland. The movie was directed in workmanlike fashion by Jack Arnold ("It Came from Outer Space," "Creature from the Black Lagoon," "The Incredible Shrinking Man.") The score was composed by German jazz musician Klaus Doldinger ("The NeverEnding Story," "Das Boot," also frontman of the band Passport). Shot in and around Zurich, the movie's scenery is another attraction.
Film Masters' remastered edition of the movie offers excellent sight and sound. Extras include an audio commentary track, plus two fascinating featurettes on director Jack Arnold.
TOM RUSH - "GARDENS OLD, FLOWERS NEW" Rush began performing in the early 60s. His song "No Regrets" was covered by numerous artists, including Emmylou Harris, The Walker Brothers and Midge Ure. He helped introduce the world to material penned by up-and-coming talents of the singer-songwriter era, such as Joni Mitchell, James Taylor and Jackson Browne. Later, a video of Rush's rendition of Steven Walters' "The Remember Song" gained popularity. His latest album, titled after a lyric line that appears in two of the compositions, opens with the wonderfully wistful love song, "Sailing." He sings eagerly of going home on the country pleaser "Glory Road." You'll be tapping your toes to the rollicking blues of "Gimme Some of It," which is based on the traditional tune "Custard Pie." Well-chosen instrumentation enhances the propulsive "Nothin' But a Man." Rush's finger-picking guitar work is showcased on the pretty instrumental "Lullaby in E." The lively "It All Comes Down to Love" is a catchy tune, on which Rush sings, "Don't matter who you are. Don't matter where you go. Don't matter how much stuff you got, it all comes down to love." "Siera's Song" celebrates the warm feeling of observing a baby's unbridled joy at discovering the simplest pleasures in life. In "The Harbor," Rush takes on the mindset of a man whose memories are slipping away, but has a vivid recollection of the place where the waters run free -- he longs to recapture the moments spent there. Other numbers that enchant include "Toy Boat Song, " "One More Time Around the Sun" and "Won't Be Back at All." Appropriately Rush closes with "I Quit." Fortunately, he's far rmsfrom quitting. There's lots of great music left in him. Rush's melodies charm. His lyrics display wit, wonder, warmth, insight and poignancy. He finds a freshness in familiar experiences. His voice delights with its unwavering honesty. Rush can be a master communicator using just his vocals and guitar. But the album makes excellent use of an array of complementary instruments, including dobro, keyboards, slide trombone, sax, drums, percussion, pennywhistle, electric and stand-up bass, mouth harp, fiddle, hurdy-gurdy, cello and accordion.
At 83, Rush continues to create captivating songs which have universal resonance. "Gardens Old, Flowers New" proves that his musical magic continues to bloom. When thinking of impactful folksingers, Tom Rush's name should be one of the first to come to mind.
ICONS OF ROCK: IN THEIR OWN WORDS For the book she interviewed such legends as Ringo Starr, Mick Fleetwood, Lindsay Buckingham, Stevie Nicks, Peter Gabriel, Teddy Pendergrass, John Lee Hooker, Eric Clapton, Buddy Guy, Paul Kantner, Rosanne Cash, Ronnie Wood, Steve Winwood, Stephen Stills, George Harrison, David Crosby, Bonnie Raitt, Graham Nash, John Mayall, Phil Collins, Joni Mitchell, Randy Newman, Peter Frampton, Huey Lewis, Ravi Shankar, Jeff Lynne and B.B. King. Some of the gifted participants have passed -- Sinead O'Connor, Peter Green and Boyd's dear confidante, Christine McVie. So it's a blessing that she was able to document their ideas on this important topic. A top model in the 60s, Boyd is the younger sister of Pattie Boyd, making her the sister-in-law of both George Harrison and Eric Clapton. She was twice married to Mick Fleetwood and co-wrote two songs for Fleetwood Mac. Donovan wrote "Jennifer Juniper" with Jenny Boyd on his mind. As Boyd evolved, she earned a PhD in psychology and managed an addiction treatment clinic. In "Icons of Rock," she asks whether drugs and alcohol spur the imagination or bog it down. She gets thoughtful responses to questions about what led the songwriters into musical careers, about connecting to audiences, getting into the zone, the mystery and magic of snatching a song from the ether. Many artists describe how their creations came to them from some unknown source. Graham Nash says, "I do believe that there is an energy that one can tap and call upon." Because of her closeness to the interviewees, Boyd gets far more than the standard answers found in the typical celebrity interview. You'll see deeper into performers like Ringo, who allows himself to be reflective, rather than relying on clever quips. One of the most poignant chapters is an unvarnished, painful interview with Sinead O'Connor, who explains how music was her salvation. Sharing exquisite and sometimes anguished songs wasn't enough, however, to save her from a tragically early demise. Boyd first published her interview collection in 1992. This newly updated edition puts them into a contemporary context, adding some newer artists, including Jacob Collier, Atticus Ross, Sarah Warwick and Eg White. White explains how songwriters and performers have had to adjust their approach in the age of Spotify, as today's listeners need to be hooked on a recording within the first 10 seconds. Boyd's work remains valuable, timely and insightful. It's a treasure for musicians and music fans alike. Email Paul Freeman at paul@popcultureclassics.com |
