The
Beast Must Die
(1952*/**)/Bitter
Stems
(1956/*both Blu-ray/DVD Sets**)/Franco
Noir: Death Whistles The Blues
(1962) + Rififi
In The City
(1963/MVD/Severin Blu-ray)/In
The Shadow Of Hollywood - Highlights From Poverty Row: Midnight (Call
It Murder)
(1954) / Back
Page
(1934) / Woman
In The Dark
(1934) & The
Crime Of Dr. Crespi
(1935/Blu-ray Set/**all Flicker Alley)/The
Last Of Sheila (1972/Warner
Archive Blu-ray)
Picture:
B & C+/B & C+/B/B/B Sound: B- & C/B & C+/C+ &
B-/C+/B- Extras: B/B+/C/B/B- Films: B-/B/C+ & B-/B-/B+
PLEASE
NOTE:
The
Last Of Sheila
Blu-ray is now only available from Warner Bros. through their Warner
Archive series and can be ordered from the link below.
Up
next are some Film Noirs, including imports, nearly lost films,
Neo-Noirs and a few other low budget films for good measure...
We
start with Roman
Vinoly Barreto sometimes creepy mystery Noir based on a book by
'Nicholas Blake (aka Cecil Day Lewis, Daniel Day Lewis' highly
successful writer/father) from Argentina, The
Beast Must Die
(1952, not to be confused with the British monster classic) has a
mystery writer
(Narciso Ibanez Menta) whose nine-year-old son is killed in a hit and
run incident. This follows a poisoning death that the son might have
known something about. Even forgoing the local authorities, he
decides to do what he has to do to find out the truth and this leads
to some unexpected inroads.
Though
some parts of the film did not work for me, the general arc is pretty
decent and when you add the look of the film, the cast, its darkness
and how well it is directed, it turns out to be a pleasant enough
surprise to check out and a saved gem from the Argentine Cinema, many
films of which have disappeared due to neglect, no preservation
program and the like. The first of two such saved films here, it is
worth a strong look and is often well done.
Extras
include yet another
high quality booklet on the films by Flicker Alley featuring rare
original photographs, posters, lobby cards, and advertisements, along
with an essay by Guido Segal, while the discs add an introduction by
author, historian, and "noirchaeologist" Eddie Muller,
newly recorded conversation on camera between Argentine film
archivist and historian Fernando Martin Pena and Daniel Vinnoly, son
of visionary director Roman Vinoly Barreto, Profile of Actor Narciso
Ibanez Menta by film historian Fernando Martin Pena and a solid
feature length audio Commentary Track by author and film historian
Guido Segal.
Fernando
Ayala's The
Bitter Stems
(1956) is an even more advanced, creepier Noir also out of Argentina
that is rightly considered one of the best-lensed films of all time
and if you disagree with that somehow, the visual ambition is
undeniable. However, I like it approach and as hard as it is to
believe, this was a lost film for a very long time despite its big
reputation. The resulting restoration is stunning and it is a must
see for serious film fans.
A
refugee (Vassili Lambrinos) and a journalist (Carlos Cores) sick and
tired of the state of journalism team up to set up a fake school for
future journalists to exploit them and much more, but this starts to
backfire when a woman the refugees past turns up unexpectedly and at
the worst time, causing unexpected friction between the new partners
and the situation will only get more twisted as the scheme goes on
and there is no turning back.
Even
more complex than Beast,
it has an amazing score, multi-layered plot, another great cast, a
great look that makes it a real Noir and lands up being as special
and important as we have heard. Like the belatedly released I
Am Cuba
(1963, reviewed elsewhere on this site,) I expect fans and filmmakers
to catch up to this one belatedly and it to land up being influential
as I am sure it was back in the day for the early years it could
actually be seen. Very impressive and another reason to hope more
film from Argentina get found and saved.
Extras
include yet another
high quality booklet on the films by Flicker Alley featuring rare
original photographs, posters, lobby cards, and advertisements, along
with an essay by film historian and lecturer Maria Elena de las
Carreras, while the discs add an introduction by author, historian,
and "noirchaeologist" Eddie Muller, Newly Recorded
Conversation with Argentine film archivist and historian Fernando
Martin Pena, an excellent feature-length audio commentary track by
author and film historian Imogen Sara Smith and a Profile of
Legendary Composer Astor Piazolla by film historian Steven Smith.
Franco
Noir: Death Whistles The Blues
(1962) and Rififi
In The City
(1963) are two early post-Noir mysteries by Jesus Franco that offer a
more mature and less genre-reliant view of the director's talents,
albeit earlier in his career. Franco actually did the score for
Blues,
with its basic revenge tale that may not always be great, but has
more than enough moments to give it a look, but City
(which includes actual original Rififi
actor Jean Sevaris) ups the form, the complexity of the script, pace,
editing, energy and may be Franco's best film ever.
Being
a Post-Noir, more elements that are more like a Horror film (giallo
included) are added to City
and its rawness and suspense will remind you of the first two James
Bond films (Dr.
No
(1962) and From
Russia with Love
(1963)) as well as Hitchcock's Psycho
and Michael Powell's Peeping
Tom
(both 1960) in the palpable feel of danger and that anything bad is
possible. This is exciting filmmaking in both cases, but City
is the reason to get this set and you'll see why even Orson Welles
was impressed.
A
67-minutes-long featurette entitled Franco
Noir
is the only extra.
In
The Shadow Of Hollywood: Highlights From Poverty Row
continues Flicker Alley's stunning rollout of important, great and
interesting films that were almost lost and now have been saved and
given thorough, deluxe restorations and scholarly treatments. This
time, we get four gems that should have never been lost and have been
remarkably saved.
Chester
Erskein's Midnight
(Call It Murder)
(1934, originally distributed by Universal) is a tale about a strict
jury foreman (O.P. Heggie) who believes in the law, but goes into
shock when his morality is challenged as his daughter (Sidney Fox)
admits to being a murderer! This is not bad on its own, but it is
also a big curio since it is an early supporting role for the
legendary Humphrey Bogart, which makes sense as he would soon become
an icon in mostly crime and (starting in 1941) Noir films. A solid
indie production everyone should see.
Anton
Lorenze's Back
Page
(1934) might be my favorite film of the four as a young woman (Peggy
Shannon) wants to be a big reporter in the big city, but lands up
getting fired for going too far and lands up in a small town as a new
editor, especially at a time when women were not thought of as being
able to handle such things. However, it will not be a smooth, easy
job as she discovers a set of scandals locally which also involves a
plot to get d=rid of the newspaper itself!
I
love the cast (including the great Sterling Holloway in another
scene-stealing roll) but you can see Shannon was the climbing star
here and it is sad she did not make it all the way due to personal
issues. However, this film is absolute proof of her amazing talent,
star power, energy and appeal and she alone would be reason enough to
recommend this. Fortunately, the script, directing and rest of the
cast is up to her high level and it is a great reason to see this
one.
Legendary
journeyman Director Phil Rosen's Woman
In The Dark
(1934) proves how talented he was off the bat, has Ralph Bellamy as
an ex-con with a new murder accusation and a new woman in his life,
who happens to be played by no less than Fay Wray. This is at the
point that she was one of the most critically and commercially
successful actresses, stars and female stars in the world thank to
The
Most Dangerous Game,
Doctor
X,
Mystery
At The Wax Museum
and of course, the original King
Kong.
All Bellamy in his early prime and still a fan favorite with hit
films into the 1980s and this is another strong curio definitely
worth your time and another amazing film saved. Based on the
Dashiell Hammett book, RKO originally distributed the film, but it
became a lost, orphan film just the same until now.
Rounding
out the fine films here is John H. Auer's The
Crime Of Dr. Crespi
(1935) has legendary director Erich Von Stroheim in another one of
his solid acting turns, as the title surgeon who abuses his talents
to put a rival in a catatonic state via a love triangle, so this is
possibly his most explicit work in the Horror genre and is based on
Poe's The
Premature Burial.
It is also part of a cycle of 'lone madmen on the kill' films that
started in the silent era and continued well into the 1940s. Hard to
believe this is another important film that could have been lost.
Melvyn Douglas also stars!
Of
course, that all four turned out so incredibly well with such low
budgets is as miraculous and the freedom the makers had (especially
before the infamous Hollywood Code kicked in) is a master class (that
more than ever) new filmmakers (and a few older ones) ought to take
note about. This is a great set and I hope we get several sequel
sets, because these are not the only Poverty Row and indie films that
deserve this attention.
Extras
include yet another high quality booklet on the films by Flicker
Alley with an essay By Jan-Christopher Horak and tech information
with illustrations, while the discs add four Feature-Length Audio
Commentaries: Midnight
(aka Call
It Murder,
by author and film scholar Leah Aldridge,) Back
Page
(by author, professor, and expert on women in the Hollywood studio
system, Emily Carman,) Woman
in the Dark
(by crime author and film studies instructor Jake Hinkson) and The
Crime of Dr. Crespi
(by film historian and scholar Jan-Christopher Horak.)
Last
but not least is Herbert Ross' all-time great mystery film
The
Last Of Sheila (1972)
with what we could term at least some Neo-Noir elements, but much
more, written by Stephen Sondheim and Anthony Perkins, we first
looked at this underrated-but-beloved gem on DVD at this link:
http://www.fulvuedrive-in.com/review/14899/Fifty+Shades+Darker+(2017/Universal+4K+Ultra
The
film has only become better with age and continues to hold up as one
of the most complex of all mystery films, yet its clues are very well
laid-out and the film is one fo the best journeyman Ross ever made.
The cast is incredibly good, one of the best ensemble films of its
time, it was a big deal when it came out (including the irony of
Bette Midler's song ''Friends'')
and it deserves to be rediscovered all over again. Even today, many
films think they are smart and clever, but this one actually
delivers!
Extras
repeat from the DVD and include an Original Theatrical Trailer and
feature-length audio commentary track by Richard Benjamin, Dyan
Cannon and Rachel Welch.
Now
for playback performance. All the Blu-rays look great and the often
extensive restoration work to save and preserve each film has paid
off incredibly well. The 1080p 1.33 X 1 black & white digital
High Definition image transfer can sometimes show the age of the
materials used on all six films released by Flicker Alley, but they
look great and the PCM 2.0 Mono sound on each is as good as these
films will ever sound.
The
1.33 X 1 DVD versions of the films offer lossy Dolby Digital 2.0 Mono
and they are good for the older format, but play about as well as
they can for the older format.
The
same high marks go for the 1080p Blu-rays (1.85 X 1 black & white
digital High Definition image transfer on Death
and 1.78 X 1 digital High Definition image on City)
also can show their age, but have been scanned and cleaned up very
well with solid grey scale and video black. Both also feature
Spanish DTS-HD MA (Master Audio) 2.0 Mono lossless mixes that sound
as good as they ever will with some especially hard restoration work
involved.
That
leaves the 1080p
1.85 X 1 digital High Definition image transfer on Sheila,
a fine upgrade from the now dated DVD and it is the best I have seen
anything from this film since its original release and all the best
articles on it. Issued at the time in 35mm dye-transfer,
three-strip Technicolor copies, the film has consistent color and the
original monophonic sound upgraded here to a DTS-HD MA (Master Audio)
2.0 Mono lossless mix makes hearing the dialogue (and potential
clues) easier than ever. The result is a very welcome upgrade.
To
order The
Last Of Sheila
Warner Archive Blu-ray, go to this link for them and many more great
web-exclusive
releases at:
https://www.amazon.com/stores/page/ED270804-095F-449B-9B69-6CEE46A0B2BF?ingress=0&visitId=6171710b-08c8-4829-803d-d8b922581c55&tag=blurayforum-20
-
Nicholas Sheffo