From Eureka! Entertainment comes director Robert Aldrich’s brooding murder mystery, Hush…Hush, Sweet Charlotte, starring Bette Davis, on Blu-ray for the first time in the UK.
Don’t Tell Anyone What Happened In The Summer House!
Tended by her loyal servant Velma (Agnes Moorehead), Charlotte Hollis (Bette Davis) has been closeted in her family’s plantation mansion ever since the brutal murder of her married lover, John Mayhew (Bruce Dern) 37 years earlier. When the local county plans to tear down the house to build a highway, the spinster seeks the help of her New York-based cousin Miriam (Olivia de Havilland), but Charlotte’s mind soon becomes unhinged when she sees visions of John’s decapitated hand and hearing the song he composed for her wafting through the mansion late at night. Has his ghost really come back to haunt her or is someone trying to drive Charlotte insane?
Regarded as Aldrich’s informal follow-up to What Ever Happened to Baby Jane?, this splendidly macabre psychological thriller deservedly stands on its own merits, especially considering its seven Academy Award nominations, including a Best Supporting Actress gong for Agnes Moorehead. She is simply splendid as the dishevelled Velma, who is quick to alert the authorities and an insurance investigator (a twinkly Cecil Kellaway) about her suspicions. Moorehead’s old Mercury Theatre pal, Joseph Cotton, meanwhile, chews the scenery big time as the bourbon-soaked Dr Drew Bayliss, who jilted Miriam after the murder.
In her last film role is The Maltese Falcon‘s Mary Astor. ‘Turn her loose, Robert, you might learn something!’ was Davis’ famous on-set comment about the veteran actress whose scenes as John’s seriously-ill widow Jewel are the antithesis of Davis’ full-blown hysterics. Nevertheless, Davis brings much pathos to Charlotte (especially in the last half of the film), while Olivia de Havilland (who sensationally replaced Joan Crawford) gives sterling support as the butter-wouldn’t-melt Miriam, who is hiding a few dark secrets of her own.
With its atmospheric black and white cinematography (from Aldrich regular Joseph Biroc), meticulous art direction (from William Glasgow and Raphael Bretton), cracking script (from Baby Jane novelist Henry Farrell), ghoulish special effects and nightmarish set pieces, not to mention the memorably haunting theme tune (from Frank De Vol and Mack David), this is a classic murder mystery of the highest order and one that can be revisited over and over..
Watch out for George Kennedy as the demolition foreman, Ellen Corby as one of the town’s gossips, and a couple of faces from Baby Jane, including Victor Buono as Charlotte’s domineering father whom she believed killed John.
Favourite line: ‘Don’t turn on the light. It’s not real when it’s light. It’s only real when it’s dark… dark and still!’
Eureka! Entertainment presents Hush…Hush, Sweet Charlotte as part of their Masters of Cinema Series for the first time on Blu-ray in the UK with the following extras…
• 1080p presentation
• LPCM 2.0 Audio
• Optional English SDH subtitles
• Audio commentary by critic Kat Ellinger
• Audio commentary by film historian Glenn Erickson
• Hush…Hush, Sweet Joan: The Making of Charlotte [22 mins]
• Bruce Dern Remembers [13 mins]
• Wizard Work [5 mins] – archival behind-the-scenes look at the film, narrated by Joseph Cotton
• Stills Gallery
• Trailer & TV spots
• Collector’s booklet featuring a new essay by Lee Gambin, illustrated with archival imagery
Available to order from Zavvi at http://po.st/vIhZja
DID YOU KNOW?
Hush…Hush, Sweet Charlotte, which was shot on location at the historic Houmas plantation in Burnside, Louisiana, was originally going to be called What Ever Happened to Cousin Charlotte? However, Bette Davis disliked the title as it indicated a sequel to Baby Jane, so it was she who suggested using Frank De Vol/Mack David’s song title instead. Crooner Al Martino (who sings the tune over the closing credits) released it as a B-side of his January 1965 single release My Heart Would Know, which reached No.52 on the Billboard Hot 100. Bette Davis, Patti Page, Richard Chamberlain and even the UK’s very own Bruce Forsyth all released their own versions of the melody.
In 1972, Italian director Michelangelo Antonioni was given the rare opportunity to film in China. It was an era of change for the isolated country, which was in the grip of Mao Zedong‘s Cultural Revolution, and Antonioni aimed to capture that. But his documentary, Chung Kuo, China, ended up being condemned by the Chinese authorities, and was banned in China, along with all of Antonioni’s films, until 2004.
Long regarded as something of a ‘holy grail’ of world cinema, Antonioni’s film is one of the few first-hand accounts of life behind the bamboo curtain in the 1970s. Apart from a screening at the BFI back in 2005, it’s rarely been seen in the UK, until Mr Bongo Films released it onto DVD in 2012. Now its being included in the BFI Southbank’s major retrospective of the celebrated film-maker’s work (Sunday 3 & 9 February 2019).
Using his trademark style (ie: lots of long takes), Antonioni and his small crew travelled the vast country, visiting Beijing, Nanjing, Suzhou, Shanghai and Henan along the way, to film everyday life as it happened. The result is a three and a half-hour long visual meditation on Chinese culture in which images of progress and development interact with those of peaceful Hutongs (many of which do not exist today) where children play and old men practice their T’ai Chi.
With sparing use of voice-over (Antonioni’s own) and no scored soundtrack, Antonioni allows his camera to do all the work. This is most apparent in the Beijing section. Now, anyone who has visited the city will be familiar with the over-crowded streets and excessive air pollution caused by industry and car fumes. Back in 1972, however, Beijing was a different place altogether. While the Forbidden City and Tiananmen Square still loomed, the streets surrounding them were much quieter with just the sound of bike bells ringing in the distance.
With so much change that has gone on since Mao’s Cultural Revolution, Antonioni’s documentary must be one of the most important visual documents of a defining period in modern China. It might take a few sittings to get through, but it will certainly leave you thinking, ‘What those people have seen’.
La signora senza camelie (1953) and Le amiche (1955) | Michelangelo Antonioni’s early dramas shine a light on Fifties Italian womenhood
Michelangelo Antonioni, who is getting a major retrospective at the BFI Southbank in January and February 2019, belonged to that elite group of Italian film-makers who made a huge impact on world cinema following the Second World War.
Best known for maverick fare like L’avventura, Blow Up and Zabriskie Point in the liberated 1960s and 1970s, Antonioni actually honed his unique vision in a series of wry character studies of Italian mores in the conservative 1950s.
Back in 2011, Eureka! Entertainment released newly-restored versions of two significant features from the celebrated film-maker as part of their Masters of Cinema series in which the director moved away from neo-realism – the dominate style of 1940s Italian cinema – to try his hand at new techniques of story-telling.
1953’s La signora senza camelie (The Lady Without Camelias) – one of the most insightful films about cinema ever made – tells the story of a former shop assistant called Clara Manni (Lucia Bosé) who finds herself thrust into movie stardom.
Clara has incredible beauty, but little talent or assertiveness to survive in the male-dominated film-making world that Antonioni portrays as fickle, frivolous and lacking in soul. But despite the disappointments and humiliations Clara encounters in both her career as an actress and in her loveless marriage to the wealthy, jealous Gianni, she is a woman whose inner resilience shines through.
La signora senza camelie – a play on Alexander Dumas’s famous romantic work, The Lady of the Camellias – is a carefully-crafted character study about a woman out of sorts with her environment (a theme that would recur in Antonioni’s subsequent works). It’s also an opportunity for the director to poke a stick at the film-making process – in particular, Rome’s Cinecittà – making this a great companion piece to Minnelli’s Hollywood melodrama The Bad and the Beautiful (made the previous year) and Godard’s introspective art piece Le Mépris (made a decade later).
1955’s Le amiche (The Girlfriends) looks like a rehearsal for Antonioni’s masterworks. Adapted from Cesare Pavese‘s novella, Le amiche charts the story of Clelia (Eleonora Rossi-Drago), a successful dressmaker who returns to her native city of Torino (Turin) where she becomes involved with a group of wealthy women. But she soon finds herself torn between the conservative world of her working-class origins and the glamorous environment in which she now resides. It is only when one of her new friends commits suicide that she realises she belongs in neither.
In this character-driven snapshot of the lives of five women, Antonioni experimented with a radical new style which would become his trademark: instead of the normal narrative structure, he presented a series of seemingly disconnected events – often using long, carefully framed, takes. This gives him the chance to explore each character and their own personal journey. It’s a tad stagy and experimental (his ideas would finally pay off in 1960’s L’avventura), but remains absorbing.
Both La signora senza camelie and le amiche address the role of women in modern Italian society. Over half a century later, they still have something to say and are now a window on an Italian landscape (both human and otherwise) that has changed so dramatically over time. For cineastes familiar with Antonioni’s better-known works, this pairing is the epitome of the director’s 1950’s period.
The Lady Without Camelias screens Saturday 12 January at the BFI Southbank, while Le amiche has four separate screenings, with the first on Wednesday 9 January. To book and for more information, check out the full season HERE
Throughout January and February 2019, the BFI Southbank in London will honour Italian filmmaker, Michelangelo Antonioni, who profoundly influenced cinematic style, mood and outlook, with screenings of some his most iconic works – from his striking 1960’s works like La notte (read my Blu-ray review here) and L’avventura to his extraordinary expressionistic international endeavours like Blow Up, Zabriskie Point and The Passenger, which gets a cinema re-release from today (Friday 8 January 2019).
Plus, there will be a series of illuminating talks surveying his artistic vision, a study day devoted to the use of landscape and architecture in his canon, and a six-session evening course on all things Antonioni.
Director Otto Preminger’s Laura is one of the greatest and most essential film noirs of all time, and now the deliciously well-crafted murder mystery is heading to Blu-ray as part of Eureka Entertainment’s The Masters of Cinema Series from 14 January 2019.
Police detective Mark McPherson (Dana Andrews) is drawn into Manhattan high society as he investigates the death of career girl Laura Hunt (Gene Tierney), apparently gunned down in her own apartment. The suspects are numerous, led by effete, snobbish columnist Waldo Lydecker (Clifton Webb), and Laura’s philandering fiancé Shelby (Vincent Price), who’s also been cavorting with Laura’s wealthy aunt (Judith Anderson). McPherson begins to fall in love with Laura through a portrait in her home and the memories relayed by those who knew her… just as it becomes apparent that even the basic facts of the case might not be what they seemed.
This 1944 murder mystery classic from director Otto Preminger (replacing Rouben Mamoulian) has grown in stature over the years, with its hypnotic mixture of doomed romantic obsession, dizzying intrigue, and fatalistic cynicism marking it as essential noir.
Peppered with eternally quotable dialogue (“I should be sincerely sorry to see my neighbours’ children devoured by wolves.”), sumptuous, Oscar-winning cinematography by Joseph LaShelle and David Raksin’s haunting theme music, Laura is an undeniable American masterpiece.
- 1080p presentation on Blu-ray of both the extended and original theatrical versions of the film
- LPCM mono Audio
- Optional English SDH subtitles
- Audio commentary by composer David Raksin and film professor Jeanine Basinger
- Audio commentary by film historian Rudy Behlmer
- Laura: The Lux Radio Theater broadcasts Two radio adaptations of Laura from 1945 [59 mins] and 1954 [57 mins], starring Dana Andrews, Gene Tierney and Vincent Price in the 1945 version, and Gene Tierney and Victor Mature in the 1954 version
- Laura: The Screen Guild Theater broadcast Adaptation of Laura from radio anthology series, The Screen Guild Theater, originally aired in 1945 [30 mins], starring Dana Andrews, Gene Tierney and Clifton Webb
- Laura: The Ford Theater broadcast A further radio adaptation of Laura from 1948, starring Virginia Gilmore and John Larkin
- A Tune for Laura: David Raksin Remembers an archival interview with the renowned composer
- The Obsession an archival featurette on Laura
- Deleted Scene
- PLUS: A collector s booklet featuring a new essay by Phil Hoad, alongside a selection of rare archival imagery
Opera (1987) | CultFilms unleashes Dario Argento’s Grand Guignol horror in a new director-guided 2k restoration
Italy’s master of horror Dario Argento ushers in 2019 with this new restoration of his violent 1987 horror Opera, courtesy of CultFilms – the folks who brought us the stunning 4k restoration release of Suspiria.
When young understudy Betty (Cristina Marsillach) takes the lead role in a new operatic production of Verdi’s Macbeth, she soon attracts the attention of a knife-wielding psycho who forces her to watch – with eyes pinned open – as he brutally despatches her friends and colleagues with sadistic delight. Can Betty free herself from this unending nightmare or does a more terrifying fate await?
Co-starring Ian Charleson (Chariots of Fire) and Daria Nicolodi (Deep Red), Opera is a ravishing return to the giallo style Argento made his name with, awash with lavish bloodletting, black-gloved killers, soaring cinematography, and the director’s expressionistic Grand Guignol excess. Plus, an unforgettable score from Brian Eno, Bill Wyman, Claudio Simonetti and even opera legend Maria Callas herself.
CultFilms is proud to present Argento’s gore-soaked terror in a stunning 2K restoration, with colour regrading carried out under instruction from the maestro himself and in reference to his own, preferred, original cinema print. Opera is out now in a Region B/2 Dual Format edition (Blu-ray & DVD) with numbered vinyl case and on VOD from CultFilms.
• Aria of Fear: a brand new candid interview with director Dario Argento, revisiting his work from a fresh viewpoint
• Opera Backstage: a unique behind the scenes documentary about Dario Argento directing Opera
• Restoration featurette: from raw scan to the regraded, restored and reframed final vision
Order direct from CultFilms: bit.ly/2Aj8v2J
If you’re a classic Doctor Who fan, then Koch Media’s series of Myth Makers compilations are a must-see, offering candid memories from the actors and crew members who worked on the cult BBC sci-fi series. The latest release, The Doctors: Villains!, is a two-disc DVD collection of interviews with five fan-favourite actors whose screen villain performances have become as iconic as the show itself, plus there’s poignant tribute to one of my childhood heroes, Roger Delgado.
Recorded between 2006 and 2018, these interviews are vital historical record about what went on behind-the-scenes, and feature personal testimonies and life stories that will be of huge interest to fans of the show.
Following a new from Nicholas Briggs and Keith Barnfather, the first feature on the disc one is a 1997 tribute to Roger Delgado (1 March 1918-18 June 1973), who was the original Master (and, in my view, the definitive one). Between 1971 and 1973, the East London-born character actor featured as the primary nemesis to Jon Pertwee’s third Doctor, a fellow renegade Time Lord whose nefarious schemes spanned eight adventures and 37 episodes.
However, his untimely death – in a terrible car accident in Turkey, while filming the fourth episode of a Franco/German TV series (La Cloche tibétaine) – meant his character’s final story (which was planned to end with a big bang) had to be scrapped and resulted in Jon Pertwee’s decision to bow out of the series.
This affectionate feature includes archive interviews from fellow actors Nicholas Courtney (aka Brigadier Lethbridge-Stewart), John Levene (aka Sgt John Benton) and Richard Franklin (Captain Mike Yates), producer Barry Letts, director Paul Bernard, head of serials Shaun Sutton, and writer Terrance Dicks, and well as two interviews with Pertwee. There’s also some behind-the-scenes footage from the location shoot in Aldbourne, Wiltshire from The Daemons which I’ve never seen before (very exciting).
Next up is with Ian Collier (25 January 1943-1 October 2008), who played Omega (MK2) in the 1983 Peter Davison serial Arc of Infinity, and later in the Big Finish Productions audio drama Omega. Recorded in 2006, Collier, who also appeared in the 1972 Jon Pertwee adventure The Time Monster, looks back over his life and career and talks candidly about his HIV diagnosis and its negative effect on his career (and thanks Big Finish for saving it). Collier, who ends the interview with a lovely message: ‘being content and at peace with who you are is close to the secret of happiness’, passed away two years after this interview was recorded, aged 65.
Disc one concludes with an interview – recorded at an Ipswich Who convention in 2006 – with Bernard Archard (20 August 1916-1 May 2008), who had two notable roles in Doctor Who: the now missing Patrick Troughton serial The Power of the Daleks, and (one of my all-time fave episodes) as the possessed Marcus Scarman in the Tom Baker story Pyramids of Mars. This wonderful character actor, who appeared in lots of other classic British TV series and features (like 1961’s Village of the Damned), died in 2008 at the ripe age of 91.
Disc two’s first feature is on David Gooderson (b. 24 February 1941), who was the second actor to play Davros in the 1979 Tom Baker adventure Destiny of the Daleks. Beginning with a quick visit to Winspit Quarry (one of the locations used in Destiny of the Daleks, Gooderson who chats with interviewer Richard Dick about growing up in India, his memories of becoming an actor and writer (and working with the future Monty Python team), and his time on Doctor Who. Check out David’s website here: http://david-gooderson.co.uk/
Up next is an interview from 2005 with actor Peter Miles (29 August 1928-26 February 2018), who appeared in three serials, The Silurians (1970), Invasion of the Dinosaurs (1974) and Genesis of the Daleks (1975), in which he famlusly played Davros’ henchman, Nyder. He has a neat story about working with Brian Blessed, but did you know he was also an accomplished jazz and soul singer, and a childhood friend of Dusty Springfield?
Finally we have the esteemed Julian Glover (b 27 March 1935), who played Richard the Lionheart in the 1965 William Hartnell serial The Crusade and ended up in the City of Death in the 1979 Tom Baker adventure. He’s been in everything from The Avengers to Game of Thrones, and a luminary of the Star Wars, Indiana Jones, James Bond and Harry Potter franchises.
If, like me, you enjoy listening to the personal memories of actors who have given us so such enjoyment playing some our favourite villainous roles, then this latest release from Koch Media is a must-have.
There’s a storm brewing in the city, and also between materialistic married couple, Peter (John Hargreaves) and Marcia (Briony Behets), following Marcia’s affair with one of their friends. With a Bank Holiday weekend in sight, Peter engineers a camping trip to an isolated beach, telling Marcia that it will be a chance for them to sort things out. In reality, however, Peter just wants to surf, shoot and drink beer with his faithful dog Cricket by his side, while Marcia would rather prefer a plush hotel than a hot tent in the middle of bloody nowhere.
With total disregard for the environment, the couple set up camp and leave a wake of destruction as they start their bickering. Local wildlife gets run over, shot, splattered and poisoned; petrol cans, plastic and rifle shells litter the beach; and cigarette butts are carelessly tossed away. But when Peter shoots a harmless dugong after mistaking it for a shark, Mother Nature begins to exact her subtle revenge on the unlikeable pair…
This tense and unsettling minimalist horror, helmed by Australian TV director Colin Eggleston, is exceptionally well-made, and has out-lived more worthy period features that dominated the Australian cinema landscape in the late-1970s (like My Brilliant Career and The Chant of Jimmie Blacksmith) to achieve true cult status.
Alongside the same year’s Patrick, this was also the first successful attempt at genre film-making in Australia, and its all down to the performances of the two leads and the atmospheric imagery that director Eggleston and his tight crew conjure up to reinforce the sense of dread that permeates the film’s changing landscape – culminating in a sweat-inducing final 20 minutes that’s devoid of dialogue as nature closes in. Amongst the scenes that still manage to creep me out are the Barbie doll covered in seaweed, an abandoned combi van half-submerged in the surf and the scary night-time drive into a dense forest of trees (very Grimms’ Fairy Tale).
The film also casts a dark, satirical shadow over Australian identity and middle class mores thanks to an insightful screenplay from Everett De Roche, who is best known for penning a flurry of Ozploitation hits including Patrick (1978), Road Games (1981) and Razorback (1984). He also imbues his screenplay with a mythic quality that hints at the supernatural – something that Peter Weir also aimed at with 1977’s The Last Wave (aka Black Rain in the US), in which freak rainstorms in Sydney have a apocalyptic connection with the Aboriginal Dreamtime. But its this element that makes you want to return again and again to the film as there’s so much going on under the surface than you first expect.
Alongside 1983’s Careful, He Might Hear You and 1986’s Malcolm, this is Hargreaves’ finest hour, and his honest and authentic performance earned him a Best Actor award at the Sitges Fantasy Film Festival where he beat off Lawrence Olivier, Klaus Kinski and Donald Pleasence (now that’s a coup). Sadly, Hargreaves died of AIDS aged just 50 in 1996. But he thought so much of his award that he had it buried with him. Director Eggleston, who died in 2002, never really matched the success of this film with his subsequent features, but Long Weekend remains his enduring legacy.
Long Weekend is out on Blu-ray for the first time in the UK courtesy of Second Sight, with the following special features…
• Audio commentary with executive producer Richard Brennan (Mad Dog Morgan, Spotswood) and cinematographer Vincent Monton (Thirst, Road Games): Recorded in 2006, this commentary reveals lots about the technical aspects of the film, from using a precursor to the steadicam to manipulating the beach location (by spray-painting brought in trees to change the colour palette from green to grey to represent the decay setting in); and also explores the reasons why the film was a bigger success in Europe and Asia than in Australia.
• Nature Found Them Guilty: Examining Long Weekend – Panel discussion with film historians Lee Gambin, Alexandra Heller-Nicholas, Emma Westwood and Sally Christie: The gang go deeper into the film’s themes and ‘grotty symbolism’ to quote Briony’s character, including how the film is an indigenous comment without having an indigenous person in the cast.
• Uncut ‘Not Quite Hollywood’ interviews with Everett De Roche, Briony Behets and Vincent Monton: These are very interesting, especially from Briony, who at the time of filming was married to the film’s executive producer, Richard Brennan.
• August 1995 audio interview with the John Hargreaves who talks about acting and his mentor, John Meillon, whom he affectionately called Maude, while the Crocodile Dundee star called him Hilary. This piece also includes a great behind-the-scene picture gallery which might be a bit spoilery if you haven’t seen the film first.
• Extensive Stills Gallery
• Original Theatrical Trailer
• SDH English subtitles for the hearing impaired
When the sorority sisters of Alpha Upsilon and their hunky tech help decide to go ‘green’ and use an old well as their water source at their new rented desert property, Townie Ozzie (Mark Holton) unwittingly awakens the leprechaun who, 25 years before, was seeking out a pot of gold. Now, the pint-sized wise-cracker (Channel Zero’s Linden Porco) embarks on a killing spree in order to achieve his treasure…
This is the eighth entry in the horror franchise, that started back in 1993 (with Warwick Davis playing the lead role over six films). It also serves as a direct sequel to the original with Mark Holton reprising his role as dim-witted Ozzie.
Directed by Steven Kostanski (part of the Canadian Astron-6 team, who were behind Manborg, Father’s Day and The Void), this is a horror tickbox cackle-fest, boasting some quotable one-liners and some inventive death scenes – watch out for the solar slicer, the sprinkler silencer and drone decapitator.
Leprechaun Returns is released by Lionsgate on all digital platforms from 11 December, including:
- Sky Store
- Google Play
- Virgin Movies (TVOD Only)
- Talk Talk
- Sony PlayStation
- Rakuten TV
- Chili TV
iTunes Exclusive Special Features:
• Going Green with director Steven Kostanski Behind the Scenes
• Still Gallery
Having just quit her job as a Los Angeles TV horror hostess, Elvira receives the unexpected news that she’s set to inherit part of her great-aunt Morgana Talbot’s estate. Arriving in the small New England town of Fallwell, Massachusetts to claim her inheritance (which include a mansion, a recipe book and a poodle called Algonquin), Elvira receives a less than enthusiastic reception from the conservative locals – amongst them, her sinister great uncle (W. Morgan Sheppard), who unbeknownst to Elvira, is a warlock who secretly schemes to lay his hands on the old family spell book for his own nefarious ends…
Campy, quirky and stuffed to the brim with double entendres, 1988’s Elvira: Mistress of the Dark helped solidify the horror hostess (Cassandra Peterson) as a major pop culture icon, and she owns every inch of the screen here with her quick wit, sass, and of course, cleavage-enhancing gown!
Arrow Video’s Special Edition (out on 10 December 2018) features a brand-new restoration from a 4K scan of the original interpositive, high definition Blu-ray (1080p) presentation and original uncompressed Stereo 2.0 audio, with optional English subtitles and the following special extras…
• Introduction to the film by director James Signorelli
• 2017 audio commentary with director James Signorelli and Fangoria Editor Emeritus Tony Timpone
• 2017 audio commentary with Patterson Lundquist
• Archival audio commentary with actors Cassandra Peterson, Edie McClurg and writer John Paragon
• Too Macabre – The Making of Elvira: Mistress of the Dark – newly-revised 2018 version of the making-of documentary including never-before-seen archival material
• Recipe for Terror: The Creation of the Pot Monster – newly-revised 2018 version of this featurette on the concept and design of the pot monster, as well as the other SFX of the movie
• Original Storyboards
• Original US Theatrical and Teaser Trailers
• Newly commissioned artwork by Sara Deck
• Collector’s booklet featuring new writing on the film by Patterson Lundquist and a short note on the 2012 audio commentary by Sam Irvin
Here’s the unrestored teaser trailer…