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DEJA RE-VU
"THE LINGUINI INCIDENT" DIRECTOR'S CUT (COLLECTOR'S EDITION) The movie combines comedy, romance and a caper. Set in a garish restaurant, it involves Monte, a bartender (Bowie), who seeks to marry one of the waitresses, so he can get a green card. There's a bit of an air of mystery about him. Lucy (Arquette) is the waitress on whom he has set his sights. She idolizes Harry Houdini and dreams of becoming an escape artist. Her pal Vivian (yes, Lucy and Viv) is trying to gain notice as a designer of the kind of lingerie that might suit Madonna. The threesome, in need of funds, plots to rob the rich, offensive owners of the eatery (Buck Henry and Andre Gregory). Director Richard Shepard, who co-wrote with Tamar Brott, gives the film an appealingly eccentric vibe, with surrealistic swirls. But the main driving force here is Arquette, who's adorable, bubbling with an irresistible energy. Bowie displays a unique and slightly strange charm, as well as a surprising comedic touch. As Vivian, Eszter Balint ("Stranger Than Paradise") is funny and zestful, a genuine delight. Henry and Gregory seem to be having a grand old time, as they sail over the top. If you're sharp-eyed, you'll spot Maura Tierney, Kathy Kinney, Hunt Sales (drummer in Bowie's Tin Machine), and Julian Lennon. But blink and you'll miss them. Supermodel Iman also pops up. She would soon become Mrs. David Bowie. The new 4K scan makes the Blu-ray colors really pop. The LPCM 2.0 sound complements the lively soundtrack. And don't miss the making-of featurette in the extras. The new interviews with Shepherd, Arquette, Balint and Brott offer a wealth a juicy anecdotes. The story of why Shelley Winters isn't seen in the movie is succulent gossip. In this MVD release, "The Linguini Incident" is thoroughly delicious.
"COMMON LAW WIFE" & "JENNIE, WIFE/CHILD" These are 1960s examples of regional exploitation pictures, the movie posters promising more salaciousness than the product delivers. However, there's plenty of boozing, lusting and betrayal. After all, things get boring in small towns. "Common Law Wife," which was created by piecing together two movies with two different directors, tells a lurid tale. The original trailer, included in the bonus features, intimates that the movie is so shocking, actual scenes can't be shown. Today, it would barely (pun intended) merit even a PG-13. Two enticingly unsavory stories intersect. Shot and set in Texas, the movie introduces us to the wealthy Shug Rainey, a grumpy old boozer who is bored with his now middle-aged mistress, Linda. He wants to discard her in favor of Jonelle, a stripper whom he affectionately calls "Baby Doll." The fact that she's his niece doesn't diminish his creepy desire for her. But Linda sees an attorney who tells him that, due to her years of servicing Shug, she has rights. She's his common law wife. Jonelle might have to wait for the old man to croak before she can get her greedy hands on his money. The two women are not going to peacefully co-exist. Meanwhile, Jonelle's brother-in-law (the local sheriff), and a brawny moonshiner lust after her. All the intersecting conflicts are bound to spark violence. Annabelle Weenick, billed as Anne MacAdams, ("Don't Look in the Basement") gives an affecting performance as the ill-treated Linda. Lacey Kelly steams up the screen as Baby Doll, the seductress. This alluringly trashy melodrama, which has some surprising twists, will definitely hold your interest. "Jennie, Wife/Child" offers campy fun in its overwrought tale. It tries to follow in the barefoot footsteps of the tawdry Carroll Baker-starring hit "Baby Doll," but isn't in that league. Stolid farmer Albert Peckingpaw enjoys pecking and pawing at his wife, Jennie. She's way too young for him, but, at 20, not exactly a child. She has eyes for the beefcake in the barn, hired hand Mario. There's going to be trouble. Beverly Lunsford does a good job as Jennie. But the real star is the soundtrack. It features Davie Allan and the Arrows. They're even seen performing country-rock at the juke joint. You might remember the band's music from Roger Corman movies, most notably the Peter Fonda motorcycle vehicle, "Wild Angels," which spawned their instrumental hit, "Blue's Theme." You'll also be singing along with Lydia Marcelle on the catchy little ditty, "My Birthday Suit," which appropriately accompanies Jennie's skinny-dipping scene. If the cinematography of "Jennie" looks surprisingly impressive, that's because it was done by "William" Zsigmond, better known as Vilmos Zsigmond. He later won an Oscar for "Close Encounters of the Third Kind." Both films, boasting new 1080p masters, look sharp. Extras include audio commentaries, two for "Common Law Wife," one archival, one new. Also, don't miss the "That's Hicksploitation" featurette, which presents an intriguing history of movies relating to the rural south over the decades.
"THE MAN FROM U.N.C.L.E." Often the revivals end up being either mediocre, like Nicole Kidman's "Bewitched," or downright disastrous, as in "The Avengers" with Ralph Fiennes, Uma Thurman and Sean Connery, or "Wild Wild West" with Will Smith. I mean, really, what were they thinking? But there are exceptions. A vintage series resurrection can't get much better than Guy Ritchie's 2015 "The Man from U.N.C.L.E." It's available now on Blu-ray and 4K UHD from Arrow Video. The spy movie is set in 1963, which allows for eye-catching Carnaby Street-style, mod fashions. The yarn revolves around Napoleon Solo, working for the CIA, extracting Gaby Teller (Alicia Vikander) from East Germany, so she can help him find her estranged father, a nuclear scientist. He has been kidnapped by neo-Nazis, who know this genius holds the secret to easy-to-make nuclear bombs. There's no sign of THRUSH, U.N.C.L.E.'s nemesis in the TV series. But you can't top Nazis as villains. KGB agent Ilya Kuryakin barges onto the scene, determined to snatch Gaby. The bomb formula would alter the Cold War balance. Will the U.S. or the Soviet Union gain the upper hand by enlisting Dr. Teller? The CIA and KGB decide to pool resources, so they can at least keep it out of Nazi hands. But can the super powers trust each other? Henry Cavill and Armie Hammer (and, rest assured, no cast members were eaten during the making of the film) play Solo and Kuryakin, respectively. This Solo and Kuryakin are opposites who spark friction every time they meet. Cavill's Solo is cool to the point of frostiness. Hammer's Kuryakin is hot-tempered and behaves like a lit stick of dynamite. But eventually, their relationship blossoms into a full-fledged bromance. Hammer and Cavill, who has a 007-like presence, show off ripped physiques and chiseled features. They don't possess the distinctive charms of Robert Vaughn and David McCallum, who starred in the original series. But they'll win you over. Vikander beguiles as the plucky Gaby, making her formidable as an ally or an opponent. Hugh Grant gives MI6 officer Alexander Waverly an urbane appeal. Elizabeth Debicki perfectly portrays Victoria, a gorgeous, but icy villainess. She has the sexy sleekness of 60s international star Camilla Sparv. The Arrow release serves up top-notch images, which heighten the film's sensational color. The immersive audio ramps up the action and brings out the best in Daniel Pemberton's strong score. The soundtrack, utilizing era-appropriate jazz, pop and soul, includes vintage tracks by Nina Simone, Louis Prima, Solomon Burke and Roberta Flack. Unfortunately, there's not even a snippet of Jerry Goldsmith's iconic theme music from the series. Nor is there a cameo from Vaughn or McCallum. Nostalgia was not a motivating force for Ritchie. But he does deliver rip-roaring action sequences that will keep you on the edge of your seat. With the main characters' backstories explained and an ending that sets up the creation of U.N.C.L.E. (UnitedNetwork Command for Law and Enforcement) it seems like Ritchie was laying the groundwork for a sequel. Unfortunately, that hasn't happened yet. Somebody should tell him this concept is well worth revisiting... again. Arrow's abundant extras, many of which are brand new, provide viewers with tons of behind-the-scenes insights.
"THE NICO MASTORAKIS COLLECTION" [LIMITED EDITION] The Greek filmmaker began in television. He had a rather impressive early credit -- he co-wrote and co-produced a 1978 A-picture, "The Greek Tycoon," starring Jacqueline Bisset and Anthony Quinn, as Jackie Kennedy and Aristotle Onassis. But lavish pictures were not where Mastorakis was to make his mark. He found his niche in exploitation, making several horror flicks, including "Island of Death" and "Bloodtide." Proving himself adept at squeezing remarkable production values out of minuscule budgets, he also filmed a bunch of action-comedies. You'll discover several of these efforts, mostly from the 80s, in Arrow's new limited edition box set, "The Nico Mastorakis Collection." Expect little plot, less logic, but a breezy escape from reality. Watching the bottom line, Mastorakis uses good-looking, inexperienced young actors for his leads. He balances that out by casting old pros like John Vernon, M Emmett Walsh Dick Gauthier, Herb Edelman Zsa Zsa Gabor and Ted Lange for quick appearances over the course of these first five films. He doesn't need star power for his international audience. Action, silly humor, capers, scenic vistas and scantily clad (or unclad) women -- that's the Mastorakis formula for success. In "Terminal Exposure," two guys roam Southern California's Venice Beach grab photos of buxom lovelies. Realizing they might have accidentally snapped a shot of a murder, they pursue their only clue -- a girl with a rose tattoo on her derriere. Political incorrectness abounds. But a food fight and a Nazi dominatrix might help hold your interest. Also of note is this movie's score. Mastorakis handed the reins to a gifted newcomer, a friend named Hans Zimmer, little knowing that the young composer would go on to an Oscar-laden career. Mastorakis returned to his homeland for "Sky High." Three American college friends, vacationing in Athens, are given a cassette by a man who is then slain. They try to unravel the secret of the tape and wind up with murderous foreign agents hot on their heels. In a psychedelic sequence, they defy warnings and play the cassette, which puts them in a hallucinatory trance. The soundtrack includes Chris de Burgh tunes, as well as a terrific pop song written and sung by Jackie De Shannon. In "Glitch!" the protagonists, two inept burglars, break into a mansion. The stereotypical depiction of two other thieves, one Asian, the other Hispanic, was probably cringe-inducing, even back in the 80s. Our heroes (?) are mistaken for movie producers. I think you can guess what their audition process entails. The forced humor falls particularly flat in this one. There's loads of martial arts footage in "Ninja Academy." Two rival schools, run by instructors whose animosity goes back a long time, to a competition in Japan, are headed for a showdown. Misfits come to the nobler one's school for kung fu-type empowerment and to dig themselves out of their ruts. Clichéd characters include the nerd, the James Bond clone, the poor little rich boy, a Rambo type and, believe it or not, a mime. Of course, there are gorgeous women on board, including the teacher overseeing the training. The movie aims to be another "Police Academy," but flunks out. Both plot and laughs are in short supply. 1992's "The Naked Truth" bears nary a truthful moment. In it, two young men, both named Frank (hilarious already, right?) end up on the run after being handed a notebook filled with evidence against a drug-dealing mobster. Naturally, they decide to dress up as women and get mixed up with beauty pageant contestants. It'll bring to mind what "Some Like It Hot" might have been, if Billy Wilder had been lobotomized before writing and directing. It's a drag. Still, with all of these movies, you've got to admire how much Mastorakis gets out of so little, money-wise. He does manage to instill a sense of fun into the proceedings. You get the sense that he and the cast and crew had a great time on these projects. He handles the action scenes well. There are innumerable chases, using everything from cars to bikes to skateboards to jet skis. And he always finds stunning locations. But there is one film in the set that is well worth viewing. And not just for the absolutely spectacular scenery. That's 1984's "The Time Traveller." In this one, Mastorakis eschews his usual recipe. There are no insipid jokes, no gratuitous nudity. It's a thoughtful drama, weaving together science-fiction, romance and religious themes. It's very similar to John Carpenter's "Starman," starring Jeff Bridges and Karen Allen. Of course, this is a much more modest production, but its sincerity makes it quite compelling. On a Greek island, Andrea (Adrienne Barbeau), an astronaut's widow with a young son (Jeremy Licht), finds a nude, unconscious stranger (Keir Dullea) on the beach. He's disoriented, so she gives him shelter. He doesn't know his name, so they call him Glenn. He seems completely unfamiliar with the ways of our world. Is he the escaped convict the police are hunting? Might he be an alien? Robot? The movie's title gives away his origin. Andrea introduces him to many things, including such pleasures as Mexican pot and lovemaking. She takes him to a magnificent church, where he is transfixed by images of Christ and the crucifixion. Glenn becomes ever closer to Andrea and bonds with her son. He savors every moment. There's a tragedy. Then a miracle. But soon he's confronted by the darker sider of humanity. Ultimately Mastorakis presents a hopeful tone. For once, the director is working with a cast that maximizes his movie's potential. Dullea makes the mystery man endearing, imbuing him with ingenuousness, openness and a sense of wonder. Barbeau gives Andrea compassion and a nurturing quality. Licht is precociously effective as her little boy. In support, veteran character actor Peter Hobbs excels as a drunken, disillusioned doctor. Their performances resonate in what must be Mastorakis' best work. In all of his films, Mastorakis features luscious locales and beautiful young women. The three-disc Blu-ray set (two features per disc) brings out the best in the look and sound. In the extras, the Arrow box gives viewers plenty of information via the director's "self-interviews" about each movie.
JOHN LEE HOOKER - "THE BEST OF FRIENDS" Hooker was the real deal and that's clear in his classic 1998 album, "The Best of Friends." Now, thanks to BMG, it's in print again on CD and is available, for the first time ever, on vinyl. The record brims with his urgent vocals and scintillating guitar riffs. As the title indicates, this collection brings together some of Hooker's most high-profile collaborations. Hooker's songwriting is just as impressive as his vocal and guitar work. The album includes such potent numbers as "Boom Boom," which is red hot here, as Hooker teams with Jimmie Vaughan. Another highlight is "I'm In The Mood" with Bonnie Raitt trading the licks. Hooker and Ike Turner get nasty on "Big Legs, Tight Skirt." Hooker can deliver the goods on a slow, moody blues like "Don't Look Back" or "I Cover The Waterfront." Hooker welcomes Van Morrison and Booker T. Jones on that latter number. "Burnin' Hell," with Ben Harper and Charlie Musselwhite, creates a fiery freneticism. Other artists making their presence known are Ry Cooder, Robert Cray, Los Lobos, Carlos Santana, Eric Clapton and Charles Brown. As terrific as the guest shots are, they will hopefully lead listeners to Hooker's solo records, which have a different sort of power. You get a hint of that here with the intimacy of "Tupelo" and the throbbing "Baby Lee." "Up and Down," a bonus track previously heard only on the Japanese release of the album, is the essence of the blues. It will grab you and never let you go. It was produced by Roy Rogers of Hooker's band and features Chuck Berry's influential, original piano player Johnnie Johnson. The sound is excellent on this new edition. If you choose the two-LP vinyl, you'll experience the full heat and emotion of Hooker's performances. These songs really come alive.
BILL WYMAN - "DRIVE MY CAR" Stylistically, Wyman recalls JJ Cale. In his liner notes, he mentions Cale as an inspiration. Wyman's voice, an urgent, hoarse whisper, is ideally suited to these well chosen tunes. He wrote or co-wrote several of them. The title track and "Rough Cut Diamond" are two especially pleasing numbers. He also winningly covers Bob Dylan's "Thunder on the Mountain," Taj Mahal's "Light Rain" and "Ain't Hurtin' Nobody," which was penned by the late John Prine, a good friend of Wyman's. He also cruises through the clever "Two Tone Car," written by Chuck E. Weiss, whose reume includes collaborating with Tom Waits and inspiring the Rickie Lee Jones hit "Chuck E's in Love." Wyman gets strong support from guitarist Terry Taylor, who's terrific, and drummer Paul Beavis. And, of course his own bass playing is tasty and rock solid. If you opt for the CD or digital formats, you'll get two bonus tunes. At 87, Wyman is still getting plenty of satisfaction from delivering the blues. And this ninth solo record will prove rewarding to fans, as well.
ALISON BROWN - "SIMPLE PLEASURES" Coming out of the Earl Scruggs, five-string tradition, the genre-bending Brown took the music into her own fresh and exciting directions. The album contains jaunty tunes like "Weetabix" and "Reddy Rooster." "Leaving Cottondale" is real barnburner. The rousing "Wolf Moon" is another high point, as is the radiant "Sundaze." She enchants on "Fantasy," intersecting with Matt Eakle's feathery flute, and weaves a warm, wonderful spell with "From the Coast." "Waltzing with Tula" will twirl you into another world. Brown's compelling banjo work is complemented by bluegrass legends, including Alison Krauss (fiddle), David Grisman (mandolin) and Mike Marshall (guitar, mandolin, fiddle). Grisman, who often teamed with Jerry Garcia and who pioneered the use of rock and jazz flavors in bluegrass, produced the Brown album. Like Brown, he is a daring musical explorer. The reissue includes three bonus tracks, previously unreleased demos. It's a treat to hear these earlier incarnations. They were impressive even at that stage. Brown has earned raves for her dozen solo albums, including the Grammy-winning "Fair Weather." Recently she has collaborated with Steve Martin on a couple of hit singles. But it's rewarding to look back at where she started, her dazzling debut with "Simple Pleasures." Listening to Brown's compositions, brilliantly played, is pure pleasure. And this album is a joy that has stood the test of time.
CONFESSIONS OF A ROCK 'N' ROLL NAME-DROPPER: She was there, at the Dakota Apartments, on Manhattan's upper west side, December 8, 1980. This would be Lennon's final interview. Who could have suspected what horror was waiting? Kaye goes into detail about the interview and the aftermath. The book has poignancy, but also joy and excitement. It details her life and her fulfillment of a dream that countless rock fans share -- hanging out with music legends, having an opportunity to pick their brains. This is a warm and fascinating recollection, featuring memories of so many icons. In childhood, Kaye had to deal with nightmares like anti-semitism and an abusive mother and stepfather, but music provided a great escape. She grew up enthralled by the vibrant hits she heard on her transistor radio. As a youngster, she listened to everything from Hayley Mills to Elvis. Later, she waited in line for hours to catch the first showing of "A Hard Day's Night." She went on to experience live concerts by acts like The Faces, Jethro Tull and Elton John. She saw Linda Ronstadt opening for Neil Young. Of course, Kaye didn't ignore other wonders of youth in that era, such as visiting Disneyland after dropping acid. But music always remained a focal point. Crystalizing her calling after leaving university, she sought a career in journalism. Working her way up from newsroom intern at famed San Francisco Top 40 radio station, KFRC, she co-produced an epic Beatles documentary. Eventually working on-air, she was able to interact with many of her idols. Her interview subjects included David Bowie, Mick Jagger, Lou Reed, Paul and Linda McCartney, George Harrison, The Ramones, Talking Heads, Heart and Neil Diamond. In the book, Kaye offers snippets of many of her memorable conversations. Little Richard talked about the impact he had on rock 'n' roll (and no, false modesty didn't get in his way). McCartney and Harrison, individually, talked about Elvis. They also reminisced about their humble beginnings and dealing with a sort of success that was unimaginable. Throughout, Kaye demonstrates a gift for eliciting answers that are far beyond the superstars' rote responses. The author relates numerous surreal moments, as when Paul and Linda McCartney serenaded her with bits of oldies that had her name in the titles. That must have been heaven for Kaye, who had been among the 46,000 screaming fans attending the 1966 Beatles concert at Dodger Stadium. It was a long way from the top row there to cozying up with the golden couple, at Paul's office, for a Wings interview. Even more mind-blowing for a Beatlemaniac was having Paul hand her a lit joint that Linda had rolled. We're gonna get hi, hi, hi! Kaye's colossal career as an interviewer culminated in the Lennon interview. It was all the more special, because he had dropped from public view for five years prior to that, taking time to be a "househusband," as he had once termed it, raising his son Sean. The author paints a vivid picture of her visit with John and Yoko. John covered a lot of territory, from first partnering up with McCartney to the long-awaited new Lennon/Ono album, "Double Fantasy." He explained to Kaye that with this album he was trying to tell his generation, "Wasn’t the seventies a drag? Well, let’s try and make the eighties good. We’re going into an unknown future, but we’re still all here. While there’s life, there’s hope!” Kaye bonded with John and Yoko. They made plans to meet up again. Soon the journalist would be rocked by the wrenching news of Lennon's assassination. It had occurred just hours after she left him. She thought back on her two brief, unpleasant run-ins with a pushy, weird guy outside the Dakota, before and after the interview. That man turned out to be Mark David Chapman (a name she never writes or speaks). Guilt washed over Kaye. She tormented herself with the notion that maybe she should have warned a security person about this strange man lurking outside the building. Interviewed on a "Today" show panel, Kaye told the hosts that Lennon was looking forward to many years of creativity ahead. But she revealed that he also said he hoped to die before Yoko, that he couldn't survive without her. Shaken by the tragedy, Kaye gradually bounced back, writing extensively for Dick Clark. She has also expanded her career, working as a writer, producer and casting director for film and television. Countless big names pop up in these pages, but the book goes far beyond simply name-dropping. It's a very personal, very moving, often amusing, account of Kaye's adventures. She's had a wild ride. And it's still hurtling forward. Email Paul Freeman at paul@popcultureclassics.com |
