In 1864, 18-year-old Ludwig II (Helmut Berger) ascends the throne of Bavaria. Following a scandal involving Richard Wagner (Trevor Howard) and his mistress Cosima von Bulow (Silvana Mangano), Ludwig is forced to expel them from Munich. Under pressure to marry, the latently homosexual king, who is having an intense relationship with Hungarian actor Josef Kainz (Folker Bohnet, agrees to an arranged wedding with his cousin Sophie (Sonia Petrovna). But the strain of this relationship, the war with Prussia, and fears of a conspiracy brewing his court play havoc on his mental state…
With a string of masterpieces behind him – including Ossessione, Senso, The Leopard and Death in Venice – director Luchino Visconti turned his attentions to King Ludwig II of Bavaria with this lavish 1972 historical drama that traces his bizarre 22-year reign, ending with his mysterious death in June 1886.
Sporting a sickly countenance and redden eyelids, Helmut Berger’s Ludwig cuts a miserable figure, who sinks further into despair and madness as he moves from one overly ornate palace and castle to another, which soon become gilded prisons, made all the more claustrophobic by the incessant rain and snow showers.
Featuring Armando Nannuzzi’s sumptuous cinematography and Piero Tosi’s Oscar-nominated costume design, Visconti mounts his epic of 19th century decadence on such an opulent scale – and in the very locations that the real king lived (*) – that it needs to be seen in its entirety to admire its dazzling operatic stature. And this new Arrow Academy release presents the film in its completed form in accordance with the director’s wishes, and – for the first time on home video – includes the English-language soundtrack.
Berger dominates every scene, but he does get some excellent support from the ever-reliable Trevor Howard, who is the spitting image of Wagner, and The House That Screamed’s John Moulder-Brown, as his mentally-unstable brother, Prince Otto, while Romy Schneider reprises her Elisabeth of Austria characterisation from the classic Sissi trilogy. The music includes Richard Wagner’s last original composition for piano, as well as works by Offenbach and Shuman. A melancholy masterpiece deserving of a revisit.
ARROW ACADEMY RELEASE
• 4K restoration from the original film negative
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Two viewing options: the full-length theatrical cut (1hr:15min) or as five individual parts (with the full pisodes 1-3 are on disc 2)
• Original Italian soundtrack with optional English subtitles
• Original English soundtrack available with optional English subtitles (This version also includes the Italian soundtrack where no English track was recorded… which makes for any interesting experience. But if you are familiar with Italian, then it works quite smoothly)
• Interview with actor Helmut Berger (OMG! Be afraid! Be very afraid! Helmut is very candid and very eccentric)
• Interview with producer Dieter Geissler (who also did Short Night of the Glass Dolls, Without Warning and The Neverending Story)
• Luchino Visconti: an hour-long documentary portrait of the director by Carlo Lizzani (Requiescant) containing interviews with Burt Lancaster, Vittorio Gassman, Francesco Rosi, Claudia Cardinale and others
• Speaking with Suso Cecchi d’Amico: an interview with the screenwriter
• Silvana Mangano – The Scent Of A Primrose: a portrait of the actress (30min)
• Theatrical trailer
• Collector’s booklet containing new writing by Peter Cowie (first pressing only)
DID YOU KNOW?
(*) The film was shot on location in Munich and Bavaria, including Roseninsel, Berg Castle, Lake Starnberg, Castle Herrenchiemsee, Castle Hohenschwangau, Linderhof Palace, Cuvilliés Theatre, Nymphenburg Palace, Ettal, Kaiservilla and Neuschwanstein Castle.
This is not a sequel. There has never been anything like it!
Cult film history was made when maverick sexploitation filmmaker Russ Meyer joined forces with fellow boob lover Roger Ebert for their 1970 Hollywood satire, Beyond the Valley of the Dolls. A fusion of rock, horror, exploitation and musical, it was a project made entirely by accident by two outsiders whom 20th Century Fox bravely gave free reign to in a bid to reverse their dwindling box-office receipts. The result was a freakish creation indeed!
This time… they’ve really gone
This wild ride follows band mates Kelly (Dolly Read), Casey (Cynthia Myers) and Petronella (Marcia McBroom), and their naïve manager Harris (David Gurian), as they are taken under the wing of a egocentric LA music mogul, Ronnie ‘Z-Man’ Barzell (John LaZar). But temptation leads our Scooby gang astray (well they do ride around in a combi-van) and their individual fates are all linked to the colourful characters they encounter, including heiress Susan (Phyllis Davis), pretty boy gigolo Lance (Michael Blodgett), sapphic fashion designer Roxanne (Erica Gavin), porn star Ashley (Edy Williams), heavyweight champ Randy (James Iglehart), and dedicated law student Emerson (Harrison Page).
Painted with a gaudy psychedelic palette, this demented parody of Fox’s pill-popping 1967 melodrama Valley of the Dolls cranks up the soap opera elements to camp excess, while Ebert’s tongue-in-cheek moralising script shines a cynical spotlight on the Hollywood dream factory and the hippy movement – which was dealt a final death blow in the wake of the Manson family murders, and which inspired the film’s OTT drug-fuelled climax.
The first of the shock rock!
Ebert, of course, not only gave the film its satirical edge and comic tone, but also its immensely quotable dialogue. And he should have got a special award for coming up with lines like: ‘You’re a groovy boy, I want to strap you on sometime’ and ‘You will drink the black sperm of my vengeance’? It’s bonkers, brilliant, and the stuff of legend, as is the incredibly catchy hippy folk rock score.
With help from stoner band The Strawberry Alarm Clock and The Sandpipers, Stu Phillips (who gave us the Battlestar Galactica theme and also worked with The Monkees) and soul singer Lynn Carey (whose full throttled voice is the one behind Dolly Read’s lip-synching) produced one of the greatest film musical soundtracks of all time. Its so deserving of a Rocky Horror-styled sing-along screening.
And what do critics know anyhow! When BVD was released it was labelled ‘garbage’, ‘sick’, and ‘a totally degenerate enterprise’. But it’s now the ultimate cult movie and – if you look closely – you can see its progeny today in shows like Desperate Housewives and Scream Queens.
Arrow Video’s Blu-ray release features a gorgeous transfer and is packed with extras. Most of these were made back in 2006 for the DVD premiere, but they are a welcome addition (especially as Ebert and two of the cast members have since died), as is the DVD extras of The Seven Minutes (see my separate review). This one’s going straight into my Top 10 releases of 2016.
The Special Extras in full:
• Intro from John LaZar in which he screams, ‘BVD is finally here on DVD. You know it’s your happening and it freaks you out’.
• Above, Beneath and Beyond the Valley: Meyer’s biographer and various journos discuss his wayward career (which rode the thin line between genius and crazy).
• Look On Up at the Bottom: The Music of the Dolls: My favourite extra explores how Stu Phillips’ score paved the way for women in rock like The Runaways.
• The Best of Beyond: The cast and crew on their favourite lines, breasts and scenes.
• Sex, Drugs, Music & Murder: Signs of the Time, Baby! This short doco looks at the 1960s counter-culture’s dark side.
• Casey & Roxanne – The Love Scene: Erica Gavin and Cynthia Myers on their controversial lesbian scenes.
• Screen Tests: Harrison Page and Marcia McBroom and Michael Blodgett (d 2007) and Cynthia Myers (d 2011) perform the same scene.
• Galleries: Behind the Scenes, Cast Portraits, Film Stills, Marketing Materials.
• Roger Ebert commentary (this is hugely entertaining and quite poignant considering Ebert was in grips of papillary thyroid cancer at the time, and had his lower right jaw removed in June 2006, which cost him his voice. Ebert died in 2013).
• Cast commentary with Erica Gavin, John LaZar, Cynthia Myers, Harrison Page and Dolly Read.
Bad Timing (1980) | Nicolas Roeg hits a raw nerve with his masterful, yet much maligned psycho-sexual thriller
A possessive man . . . An independent lady . . . and a love that turns to tragedy
Parting amicably from her Czech army pilot husband (Denholm Elliott), troubled Milena (Theresa Russell) starts an on-off affair in post-Cold War Vienna with American psychoanalyst-in-residence, Dr Alex Linden (Art Garkunkel).
At first, Alex accepts Milena seeing other men, but gradually he becomes tormented by jealousy, while Milena resents that his interest in her is purely sexual. When Milena has an apparent drug overdose, a police inspector (Harvey Keitel) questions Dr Linden in a bid to start piecing together the sordid details of their all-consuming passion.
A Terrifying Love Story
Nicolas Roeg‘s beautifully-executed, yet deeply disturbing 1980 film set in the city of Klimt and Schiele is a strange brew indeed – an arty, unflinching depiction of a destructive relationship, in which both Art Garfunkel and Theresa Russell bring incredibly intensity to their roles as the bird-like Dr Alex Linden (who masks a fearsome control freak under his massive ginger afro) and the volatile Milena (who just wants to be loved, but ultimately is never satisfied).
Much maligned, Bad Timing remains one of Roeg’s most divisive films (he also described it as an apt summation of his career, believing himself to have often been ahead of time, instead of simply being of it). But it’s certainly worth checking out again. Bleak, brutal and beautiful – at times you think Roeg is breathing masterful life into one of Egon Schiele’s erotic, macabre masterpieces that hang in Vienna’s famed Leopold Museum (which also features in the film).
THE UK BLU-RAY RELEASE
Released on Blu-ray as part of Network’s The British Film collection, Bad Timing is presented in a new High Definition transfer from original film elements in its as-exhibited theatrical aspect ratio. The special features include an interview with producer Jeremy Thomas, theatrical and teaser trailers, deleted scenes, gallery and promotional material in pdf format.
Victim (1961) | This landmark British classic remains a compelling drama about the love that dare not speak its name
With the ground-breaking 1961 British drama screening on Film4 today at 1.10pm, here’s a look at the film and the 2014 UK Blu-ray release from Network
Ssh! Don’t mention the ‘H’ word…
When youngster Jack Barrett (Peter McEnery) commits suicide in his prison cell after stealing money from his employers, respected barrister Melville Farr (Dirk Bogarde), who is secretly gay and once had a dalliance with Barrett, risks his reputation, career and marriage to his loving wife Laura (Sylvia Sims) to track down a group of blackmailers preying on homosexual men…
A Daring Picture About the World’s Most Un-talked About Subject
This brave, banned and ballsy 1961 British drama could have ended Dirk Bogarde’s career – but it didn’t. In fact, it gave the matinee idol the kudos and respect that he so longed for, and made him one of the most admired actors of his generation.
Directed by Basil Dearden (who also did The Blue Lamp with Bogarde), Victim not only gave the 39-year-old actor his career-best performance, it also shone a very public light on the law of the time which made homosexuality illegal in the UK, and also on the ‘blackmailer’s charter’ that was destroying so many lives in its wake. Banned in the US on its release (the term ‘homosexual’ was outlawed at the time), Victim became a cause célèbre in Britain about attitudes towards homosexuality and a plea for reform (which eventually happened in 1967).
Today, this landmark film still packs a mighty blow as a tense and compelling drama, and has become a true British cinematic classic thanks to Basil Dearden’s assured direction, Janet Green and John McCormick’s powerful screenplay, and Otto Heller’s noir-esque monochrome cinematography. Supporting Bogarde there’s impressive roster of rich talent, including Sylvia Syms and Dennis Price.
THE UK BLU-RAY RELEASE
The Network Distributing Blu-ray release features the film in a high definition transfer made from original film elements in its as-exhibited theatrical aspect ratio.
• Dirk Bogarde in Conversation – an extensive interview with Bogarde where he talks frankly about his career
• Original theatrical trailer
• Four image galleries, including extensive promotional and behind-the-scenes shots
• promotional material PDFs
Lock the doors, roll-up the windows, and buckle up for the ride of your life!
One sweltering Friday morning, the Ajaccio street gang make off with the wages of a pharmaceutical company after a violent raid. When their driver is shot dead and their getaway car runs out of petrol, they take hostage a man on his way to hospital with his sick son in the back seat and a woman out shopping. The gang then head out of the city…
Mario Bava is one of those film directors who really can turn his unique talents to any genre: horror, sci-fi, psychological thriller, fantasy. And his 1974 crime thriller Rabid Dogs (aka Cani Arrabbiati), is one that I have always wanted to see, but never got around to, mainly because Bava never got to finish it (the producer went bankrupt and the footage impounded), and the releases that came out after his death in 1980 were never his intended vision. Now, Bava’s psycho-drama has been given the Arrow makeover, and they should be commended for undertaking this once lost cinematic gem. It’s the best thing they have done, to date.
Bava was really hurt by the failure of his dream project Lisa and the Devil (read my review of the Arrow release here), so he decided to try his hand at a crime thriller, which had become popular in Italy in the mid-1970s following the success of the Dirty Harry and Death Wish films. The veteran director drew his inspiration from a 1971 mystery magazine short story (which is reprinted in the collector’s booklet), then put his own spin on the story (adapted by Alessandro Parenzo) by setting it in real time, using real locations (mainly concrete highways, petrol stations and an underground car park), and giving it a docu-Hitchcockian vibe.
It was a departure for a filmmaker best known for artfully-conceived, studio-bound Gothic chillers and psycho thrillers drenched in vivid purple and green lighting effects. But for this sun-scorched thriller, he dispensed with artifice to get up close and personal with the sweating cast crammed inside a stifling hot car (you can almost smell the fear – and the BO), while we, the audience, watch as the power play between the criminals and their hostages builds to a blistering climax (and very clever twist ending).
It’s this claustrophic technique that makes Rabid Dogs rise the countless other ‘poliziottesco’ films of the era, and why it has its champions in the likes of Bava’s biographer Tim Lucas (who supplies the audio commentary on the Arrow release and also helped rescue it from obscurity in the 1990s) and genre specialist Stephen Thrower, who best sums up the film as ‘a taut, energised, antagonistic film suffused with an amphetamine intensity that leaves the viewer knotted with anxiety and frustration’.(*)
What also grabbed me was the mesmerising performances; particularly Lea Lander (who reminded me of Karen Black), whose unfortunate hostage gets pawed at, slobbered over and humiliated by two of the thugs, Thirty-Two (played by Luigi Montefiori, aka Western star George Eastman) and Blade (Don Backy). These guys are so maniac with their facial expressions its quite unnerving to watch. Brilliant though!
Interestingly, it was Lander who helped revive the film from obscurity in the first place by putting together the film’s original DVD release in 1998. The film was then re-edited and re-scored by Lamberto Bava (Mario’s son) and released under the title Kidnapped (a re-mastered HD version is included in Arrow’s release).
Arrow’s restoration, however, is a re-master of Bava’s intended version of the film and uses composer Stelvio Cipriani‘s original retro score (completed for Bava’s first cut), which is way better than the tinny synth track he created for Kidnapped. I could go on – but really just do yourself a favour and add this one to your cult collection. It’s a winner!
Arrow’s special features include both the Blu-ray and DVD presentation of Rabid Dogs and Kidnapped with new English subtitles. Also included is the 2007 documentary, End of the Road: Making Rabid Dogs and Kidnapped, an interview with Umberto Lenzi, and the alternate Semaforo Rosso title sequence.
(*) Quote from Stephen Thrower’s Fear by Noonlight [great title btw] article in the collector’s booklet
Vincent Price in Six Gothic Tales | Everything you want to know about Arrow’s Special Edition Contents
Arrow’s limited edition box-set, Vincent Price in Six Gothic Tales, not only contains HD Blu-ray presentations of all six features directed by King of the B’s Roger Corman, but also a wealth of new and archives commentaries, interviews and featurettes for each film. Plus, some of the best newly commissioned illustrations I have ever seen. Here’s a break down of what’s inside the box-set, with my comments attached.
THE FALL OF THE HOUSE OF USHER
(these supplements are a re-issue, click here for my original review)
• Audio commentary with Roger Corman. This is the same one that you get on the 2001 MGM Midnight Movies DVD release and was also included on Scream Factory’s Vincent Price Collection I Blu-ray.
• Legend to Legend (27min): Joe Dante talks low-budget movie making and provides some neat anecdotes.
• The House is the Monster (30min): Gothic Horror author Jonathan Rigby re-examines the film. This featurette comes with a spoiler warning.
• Vincent Price – Malibu – Julliet 86 (12min): Interview subtitled in French by Claude Ventura, which was broadcast on French TV on 18 November 1986. This is well known amongst Price fans and was done while Price was doing Basil, The Great Mouse Detective.
• Fragments of the House of Usher (11min): Critic and filmmaker David Cairns examines Corman’s film in relation to Poe’s story.
• US trailer (unrestored)
• Artwork by Graham Humphreys
KK: The Scream Factory Vol 1 Blu-ray have the added bonus of Price’s intros, but this is a must-have. It also boasts a superior transfer.
THE PIT AND THE PENDULUM
(This is also a re-issue, click here for my original release)
• Audio commentary with the always charismatic Roger Corman. This was first included on the 2001 MGM DVD release, and is also on the Scream Factory Vol 1 Blu-ray.
• Audio commentary courtesy of the always informative Tim Lucas.
• The Story Behind the Swinging Blade (43min): Documentary on the making of the film.
• An Evening of Edgar Allan Poe (1970, 52min): Four classic Poe tales dramatised by Vincent Price unplugged, including The Tell-Tale Heart, The Sphinx, The Cask of Amontillado and The Pit and the Pendulum. (Unfortunately the 1080p transfer doesn’t improve on the original video source).
• Added TV Sequence (5min): Shot in 1968 to pad out the film for the longer TV time slot, this scene features star Luana Anders.
• US trailer (unrestored and pan and scan)
• Artwork by Gilles Vranckx
KK: This is also a must-have, with Tim Lucas’ audio commentary and the inclusion of the Poe TV dramatisation being the highlights.
TALES OF TERROR
• The Directors – Roger Corman (90min): This 1990 documentary explores Corman’s career.
• NEW Kim Newman on Edgar Allan Poe (30min): the novelist and critic, who’d make a darn fine lecturer in film studies, looks back at Poe’s influence on the big screen.
• NEW Cats in Horror Films (10min): Anne Billson, a novelist, critic, photographer and blogger (catsonfilm.net), discusses the contributions of our feline friends to genre cinema.
• NEW The Black Cat (1993, 18min): Short film directed by Rob Green. Though it abridges Poe’s original verse, the visuals are very Cormanesque.
• US theatrical Trailer (unrestored, but in the correct ratio)
• Artwork by Dan Mumford
KK: This is a coup for Arrow as it is not on either of Scream Factory’s Blu-ray box sets.
• NEW Peter Lorre: The Double Face (1984, 60min): Documentary about the German actor, from his early days in the theatre with Bertolt Brecht to his death in 1964. Subtitled. (unrestored).
• Richard Matheson: Storyteller (1993, 62min): This interview with the novelist and screenwriter also appeared on the 2001 MGM DVD release and on the Scream Factory Vincent Price Collection II Blu-ray.
• Corman’s Comedy of Poe (2003, 8min): Roger Corman (in cool, calm and collected mode) on the making of the spoof comedy. This is also included on the Scream Factory Vol 2 Blu-ray.
• NEW The Trick (1997, 12min): Director Rob Green’s short film about rival magicians. This has shades of The League of Gentlemen meets Buston Keaton.
• Gallery: Fantastic stuff. Can we have a pdf please Arrow? BTW: Check out Lorre smoking what looks like joint.
• NEW Promotional Record (6min): OMG! Paul Frees introduces Peter Lorre reciting Poe’s poem with Boris Karloff telling us its ‘the most blood curling thing you’ll ever see’! Also included on the Scream Factory Vol 2 Blu-ray.
• US trailer (unrestored)
• Artwork by Vladimir Zimakov
KK: The promo record is a real bonus here.
THE HAUNTED PALACE
• NEW Audio commentary by David Del Valle and Derek Botelho (author of The Argento Syndrome). Dedicated to the late Cathie Merchant, who appears as Hester Tillinghast in the horror, this commentary is fascinating stuff from David Del Valle, who shares my love for this underrated film. He has some great anecdotes (like Price becoming a millionaire after taking a profit percentage instead of a salary for House on Haunted Hill), while Derek makes a great sidekick – when he finally gets a word in. Best bit of trivia: the Aztec symbol painted on the dungeon wall also appears in Die, Monster, Die and The Dunwich Horror (which were also designed by Daniel Haller).
• NEW Kim Newman on HP Lovecraft (30min): The novelist looks at the challenges of adapting Lovecraft’s stories to the screen. You can tell this was filmed on the same day as his Tales of Terror segment by the bits of dust (or are they crumbs of food) on his jacket.
• A Change of Poe (2003, 10min): Roger Corman looks at the making of the film. This was also on the 2001 MGM DVD release and is included in the Scream Factory Vol 1 Blu-ray.
• Gallery (silent, with a couple of newbies)
• US trailer (unrestored)
• Artwork by Matthew Griffin
KK: The audio commentary is the highlight here.
THE TOMB OF LIGEIA
• Audio commentaries by Roger Corman and Elizabeth Shepherd. These originally appeared on the 2001 MGM DVD release, and are also on the Scream Factory Vol 2 Blu-ray. (The Shepherd one also has poor sound).
• NEW Interview with Paul Mayersberg, who worked as Corman’s everyman assistant, doing everything from finding the location and hiring the cats (they kept running away), script rewrites and filming the holiday sequence at Stonehenge. Recorded 30 September 2014. (25min).
• NEW Interview with 1st AD David Tringham, who talks about working with the fast-working Corman and his fears of the studio set catching fire. Recorded 26 September 2014 (8min).
• NEW Interview with clapper loader Bob Jordan about shooting in widescreen on a low budget and of filming on location. Recorded 7 October 2014 (8min).
• NEW Interview with composer Kenneth V Jones, who talks about the challenges of creating a score without Corman’s input. Recorded 11 March 2014. (6min). Now this is one soundtrack that so needs an official release. Anyone?
• US trailer (unrestored)
• Artwork by the Twins of Evil (aka Luke Insect and Kenn Goodall)
KK: Those interviews are priceless. Thank you Arrow.
Each feature is presented in the original 2.35:1 aspect ratio and offer uncompressed linear PCM 2.0 mono tracks. I found them all to be a richly colourful, pristine-looking upgrade on my MGM DVD releases. And while I already have the Usher and Pit SteelBooks, this Blu-ray box-set makes for a great companion piece. Now, what do I do with those DVDs?
Vincent Price in Six Gothic Tales is available on Blu-ray from Arrow from Monday 8 December 2014
Metropolis is without doubt the most iconic of all German films and marks the birth of science fiction on the silver screen. Much discussed, analysed and a major influence on nearly every sci-fi since it first dazzled audiences back in 1927, it was also director Fritz Lang’s masterwork.
‘There can be no understanding between the hands and the brain unless the heart acts as mediator’
Set in a dystopian future in which society is divided into two classes: workers who live in vast catacombs and managers who live in huge skyscrapers, the film centres on Freder (Gustav Fröhlich), the son of the ruler of Metropolis (Alfred Abel), who swaps lives with a worker after witnessing a terrible accident in the workers’ city. While toiling away underground, he falls for the beautiful Maria (Brigitte Helm) who seems to have a powerful influence over the workers. When plans of a rebellion are discovered, Freder’s father enlists the services of an inventor called Rotwang (Rudolf Klein-Rogge) to build a Maria-replica robot to incite the workers into a self-destructive riot. But when disaster strikes and the underground city becomes flooded, it’s a race against time for Freder to rescue Maria and the city’s children.
Last seen at cinemas in a colourised version with a rock score by Giorgio Moroder back in 1984, Metropolis was given a theatrical re-release in 2010 following its restoration in which some extra 25 minutes of footage, previously thought lost, were added back to the film. Finally audiences could see Lang’s film the way the director had always intended. A new symphony recording of the original score was also arranged, breathing new life into the all-time classic.
Seeing it on the big screen, you cannot help but gasp at Lang’s futuristic cityscape. It still impresses, as do the action sequences – which are surprisingly modern for the time, especially the scenes in which Maria is chased through the catacombs, the children try to escape their watery grave, and the robotic Maria is burned at the stake. Iconic stuff indeed!
The acting may not be naturalistic, but it’s very emotive, and Brigitte Helm’s blinking really does pierce your soul. The once missing bits are very damaged, but show exactly how much of Lang’s original vision was cut on its original release, including Freder’s surreal nightmare on seeing Maria with his father, and a much enlarged story involving the characters Georgy 11811 and Joh’s henchman, the Thin Man.
Surrealist film-maker Luis Buñuel certainly hit the nail on the head when he called Metropolis ‘a captivating symphony of movement’ as its a masterclass in story, editing and design, and still manages to knock the socks off today’s CGI blockbusters (excluding Gravity and Interstellar of course).
THE UK HOME CINEMA RELEASES
Following it’s theatrical screening in 2010, the reconstructed Metropolis was given a dual format (Blu-ray/DVD) release in the UK by Eureka! Entertainment, as part of their Masters of Cinema Series. Now, Lang’s masterpiece will be re-released in a two-disc limited edition (4000 copies only) Steelbook Blu-ray set (out on 19 January 2015), which will include Giorgio Moroder’s 1984 version and a 45-min documentary exploring the film’s rediscovery. If, like me, you already own the dual format, the cover alone and the inclusion of the Moroder film is double dip tempting.
• Available to pre-order from Amazon now http://amzn.to/1zzbc6K
Christmas has come early for Vincent Price fans (like myself) and aficionados of Roger Corman’s 1960s-lensed films inspired by the feverish imaginings of Edgar Allan Poe, as Arrow Films unwrap their Six Gothic Tales Blu-ray box-set (due out on 8 December).
Included in the box-set is 1960’s The Fall of the House of Usher and 1961’s The Pit and the Pendulum (both released separately earlier this year); 1962’s Tales of Terror (which adapts Poe’s Morella, The Black Cat and The Facts in the Case of Mr Valdemar); 1963’s The Raven (a comic take on Poe’s poem co-starring Boris Karloff and Peter Lorre); 1964’s The Haunted Palace (the first screen adaptation of a HP Lovecraft story); and the necromantic masterpiece The Tomb of Ligeia, which ended the Poe/Price/Corman cycle in 1965.
This limited edition run of just 2000 copies features all six features in high definition Blu-ray (based on the MGM HD masters, with additional restoration overseen by Arrow), with original uncompressed mono PCM audio and optional English subtitles. The special features are pretty impressive (click here for the full list) and there’s a hardback collector’s book which features full repros of three comic tie-ins as well as some insightful essays on the films.
While there are no plans for any Steelbook releases for these titles, unlike The House of Usher and The Pit & the Pendulum, Arrow will be releasing The Haunted Palace and The Tomb of Ligeia as standalone Blu-ray releases on 23 February 2015, featuring some wicked cover designs; while Jacques Tourneur’s 1963 spoof The Comedy of Terrors (one of my favourites) will be out on 16 February. The Raven will also be released in 2015, but no date has been set, and the same goes for Tales of the Terror.
And if you are wondering why Masque of the Red Death isn’t included in this box-set – ask StudioCanal. They own the print and denied Arrow’s request to sublicence it for this release. Silly them! Don’t they know there are some serious completists out there (me included).
I’ll be posting reviews of the box-set and its contents shortly, so watch this space!
The Day the Earth Caught Fire (1961) | Val Guest’s British doomsday drama more explosive than ever in HD
Newly re-mastered by the BFI National Archive, the definitive version of the classic 1961 British science fiction thriller The Day the Earth Caught Fire is released this week in the UK by the BFI on both DVD and Blu-ray, and contains a host of worthy extras, including a commentary with director Val Guest, a newly-created documentary, a selection of bomb-related archive films and much more. See below for the full list.
ABOUT THE FILM
It’s quite scary how many of the themes explored in director Val Guest‘s riveting end of the world drama, The Day the Earth Caught Fire, are still relevant today, especially with regards to global warming, domestic unrest (as witnessed in the 2011 London riots), the fear of another Cold War with Russia, and our love/hate relationship with the media.
Set almost entirely in the frantic Fleet Street newsroom of the Daily Express during an unseasonal heatwave, this restrained British disaster movies follows a group of journos as they investigate increasingly bizarre weather conditions, only to discover that atomic testing by the US and the USSR has knocked the Earth off its axis causing it to hurtle towards the Sun. As the world waits for its likely end, the city’s teenagers enjoy jazz-fuelled riots in the streets (and in bathtubs) and when more bombs are exploded to try to reverse the damage, two newspaper headlines are prepared: World Saved and World Doomed…
There’s more talk than action in this 1961 British sci-fi, but Val Guest’s brittle script and documentary-styled direction is intelligent and sincere, providing a vivid depiction of British newspaper journalism (before it went to the dogs) as well as important social commentary (especially about those ‘in charge’), while the excellent cast breathes authentic life into their well-rounded characters. TV’s Rumpole of the Bailey Leo McKern is just super playing a gruff science editor, Edward Judd (Island of Terror) is the fed-up alcoholic reporter who discovers his inner-hero as the crisis unfolds, and Janet Munro (The Trollenburg Terror) is the no-nonsense secretary who spills the beans on the testing.
Guest, who also co-wrote and produced the film, also makes brilliant use of the London locations, including Fleet Street, the Daily Express building and nearby St Bride’s Avenue, which only serves to give his sci-fi an unnerving reality. Alongside When Worlds Collide, Crack in the World and Dr Strangelove, this is a sci-fi classic of note that’s worth revisiting time and again.
BFI SPECIAL FEATURES
• New 4K transfer
• Hot Off the Press: Revisiting the Day the Earth Caught Fire (2014, 34min) An illuminating documentary about the film and its legacy.
• Audio commentary with Val Guest and Ted Newsom. I haven’t heard this all the way through yet, as I wanted to see the Blu-ray restoration first. Which is just fantastic!
• Interview with Leo McKern (2001) The sound quality might be poor, but McKern is fab and its set in a pub near St Bride’s Lane.
• Audio Appreciation by Graeme Hobbs (2014, 9min) Budding film reviews take note, Hobbs has a way with words here.
• Original trailer, TV spots and radio spots
• Stills and Collections Gallery
• Three nuclear films from the BFI National Archive: Operation Hurricane (Ronald Stark, 1952, 33min); The H-bomb (David Villiers, 1956, 22min); The Hole in the Ground (David Cobham, 1962, 30min). The inclusion of these illustrates why the BFI Archives are so important in maintaining the legacy of British film and TV history.
• Think Bike (1978, 1min) This road safety film with actor Edward Judd is a real gem
• Illustrated booklet with credits and essays
• Blu-ray exclusive. The Guardian Lecture: Val Guest and his wife, actress Yolande Dolan interviewed by David Meeker at the National Film Theatre (1998, 63min)
The Day the Earth Caught Fire is out now from BFI on dual format Blu-ray and DVD. Click here to order.
Attention all Space: 1999 fans! Network Distributing have announced the long-awaited release of the second series, digitally restored in High Definition, on Blu-ray and DVD for Autumn 2015.
As the countdown begins, a special edition Blu-ray release of Space: 1999 – The Bringers Of Wonder, which features two key episodes from the second series, will be available exclusively through networkonair.com on 8 December 2014 (you can pre-buy available now), limited to just 1,999 copies.
Networkonair.com is also holding a competition for anyone who orders Space: 1999 – The Bringers Of Wonder before 8 December, where they will be entered into a draw to win one of three copies of Space: 1999 – The Complete Second Series. Click on the links for more information.