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Monday, February 17, 2020

New Release Roundup for the week of February 18th, 2020

TEX AVERY: SCREWBALL CLASSICS VOL. 1 on Blu-ray (Warner Archive)
https://amzn.to/2UQF5n3
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THE POINT on Blu-ray (MVD)
https://amzn.to/2tXU9nT
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THE DAY OF THE DOLPHIN on Blu-ray (Kino Lorber)
https://amzn.to/2UQFA0p
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X THE UNKNOWN on Blu-ray (Scream Factory)
https://amzn.to/31UYMeZ
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RASPUTIN: THE MAD MONK on Blu-ray (Scream Factory)
https://amzn.to/38vHyrg
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TEORAMA on Blu-ray (Criterion)
https://amzn.to/2SsLPWQ
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ACCIDENT on Blu-ray (Kino Lorber)
https://amzn.to/39EtJXD
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THE LIGHT AT THE EDGE OF THE WORLD on Blu-ray (Kino Lorber)
https://amzn.to/2SQL9JU
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GERRY on Blu-ray (Shout Factory)
https://amzn.to/31VDkGX
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DEADLY MANOR on Blu-ray (Arrow)
https://amzn.to/37pl0Xx
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MIND GAMES on Blu-ray (MVD)
https://amzn.to/31SytWI
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BEYOND THERAPY on Blu-ray (Scorpion Releasing)
https://amzn.to/2HkLS0m
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HIGH SCHOOL HIGH on Blu-ray (Sony)
https://amzn.to/38sEI61
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Friday, February 14, 2020

Film Discoveries of 2019 - Evan Purchell

Evan lives in Austin and can be found on Twitter, Letterboxd, and Instagram. He’s currently in the middle of conducting research for an upcoming book on the early days of the gay adult film industry, and his feature-length mashup film, ASK ANY BUDDY, is now available for theatrical bookings from the American Genre Film Archive

BACCHANALE (1970, dir. John and Lem Amero)
Much like Phil Marshak’s THE SAVAGES (further down on my list), this early feature from the Amero brothers is a testament to just how much the raincoat crowd was willing to put up with just to get to see ‘the goods’ during the early days of theatrical hardcore. Though the Ameros are probably best remembered individually for John’s all-male melodramas and Lem’s outrageous hetero sex comedies, BACCHANALE is something else entirely — as arrestingly kitschy and homoerotic as it is inscrutably artsy and intentionally bullshitty. Better than a lot of the canonized NYC underground movies from the period.
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CATCHING UP (1975, dir. Tom DeSimone)
Genre fans probably only know Tom DeSimone from mainstream features like HELL NIGHT and REFORM SCHOOL GIRLS, but his career goes so much deeper than that, with dozens of credits in the all-male film industry stretching all the way back to its very beginnings. From early genre exercises like the hippie rock musical CONFESSIONS OF A MALE GROUPIE to his later slicker, glossier romantic dramas like THE IDOL and SKIN DEEP, DeSimone is and was one of the most prolific and talented gay filmmakers of his time. CATCHING UP is one of the very few of these films to bear his real name, and it’s also one of his best — a comedy about a younger man who finds himself struggling to, well, catch up, after his older, more experienced lover asks to open up their relationship. Not only is it timelessly relatable, but it’s also genuinely funny — especially the lengthy sequence shot inside L.A.’s long-since-cleaned-up Vista Theatre.

DRIFTER (1975, dir. Pat Rocco)
Pioneering gay filmmaker Pat Rocco’s best film was also his biggest failure: a self-financed bisexual hustler drama shot in 1969 to capitalize on the MIDNIGHT COWBOY craze that wound up sitting unfinished until 1975, when it played a single theater for about a week and promptly disappeared. It's a shame, because his starry-eyed romanticism lends itself well to the material, soaking the gritty character study with a sweeping, Disney-esque melodrama that sets it apart from the Schlesinger film or similar titles like FLESH or THE MEATRACK. Let’s hope it — and the rest of the Rocco catalog — becomes more readily available in the near future.

MADAME WANG’S (1981, dir. Paul Morrissey)
Much like his earlier Warhol films, Paul Morrissey is clearly trying to make fun of his cast of middle-aged new age Buddhist ex-drag-queens, septuagenarian punk club owners, and (literal) knob polishers here, but the personalities on display are so strong and so pure that it’s hard to not fall in love with each and every one of them. Features cameos and performances by both Phranc and the Mentors?

A NIGHT IN HEAVEN (1983, dir. John G. Avildsen)
NASHVILLE writer Joan Tewkesbury visited male strip clubs in four states to conduct research for this, which somehow manages to combine male strippers, recumbent bikes, NASA, and Bryan Adams to create a wonderful mess of a movie that might also be the most accurate depiction of Florida that I’ve ever seen on screen. Emphasis on wonderful. The club scene between Christopher Atkins, Lesley Ann Warren, and the original version of ‘Obsession’ was the single most transcendent moment I had in a movie theater all year.
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NO NO-NOOKY T.V. (1987, dir. Barbara Hammer)
I finally had the chance to work my way through much of Barbara Hammer’s filmography in the wake of her passing this past March, and this short might just be my personal favorite of her shorts — endlessly creative, super funny, gorgeously colorful, and also so prescient in regards to all of the recent headlines and conversations about censorship of queer content and bodies on social media.

NUDES: A SKETCHBOOK (1974, dir. Curt McDowell)
This is Curt McDowell's sweetest film and perhaps the cipher to his entire body of work: a series of portraits of friends, family members, and onetime lovers that never feel anything but innocent and loving, even as they occasionally veer into outright raunch. NUDES is something of a transitional work, the connecting thread between McDowell’s earlier comedies and musicals and the more sincere, personal work that was to follow with films like THUNDERCRACK!, SPARKLES TAVERN, and LOADS.

THE SAVAGES (1970, dir. Phillip Marshak)
This long-lost early feature from future DRACULA SUCKS director Marshak is easily one of the strangest things I watched all year — a ramshackle costume Western that feels closer in gleefully anarchic spirit to LONESOME COWBOYS than it does SONG OF THE LOON or any of the era’s other gay frontier epics (and there were a few). Totally bizarre and legitimately transgressive for the period, this would be a weirdo cult classic in a better world. 

SUDZALL DOES IT ALL! (1979, dir. John Dorr)
Shot in two days on a borrowed black-and-white bank security camera, the first video from EZTV founder John Dorr is also one of the first SOV narrative features — hastily performed with the sort of manic, arch energy of a stage revue, the kitschy hyperreality rendered real through the grainy, flat picture of the betamax tape. Acidically funny in a way that recalls EZTV's later production BLONDE DEATH, but with an experimental bent that's more in line with the much more well-known cycle of soap opera-inspired video works that Bruce and Norman Yonemoto began that same year with their BASED ON ROMANCE. Streaming for free thanks to the EZTV Museum here: https://vimeo.com/340065496.


Nine more picks:
THE BOYS NEXT DOOR (1985, dir. Penelope Spheeris)
DELIVERY BOYS (1985, dir. Ken Handler)
LIANNA (1983, dir. John Sayles)
MYSTIQUE (1980, dir. Roberta Findlay)
THE LEGEND OF THE STARDUST BROTHERS (1985, dir. Makoto Tezuka)
THE PASSING (1985, dir. John Huckert)
ROOMMATES (1982, dir. Chuck Vincent)
THE SHIP OF MONSTERS (1960, dir. Rogelio A. González)
SON OF SAM AND DELILAH (1991, dir. Charles Atlas)

Wednesday, February 12, 2020

Film Discoveries of 2019 - Mike Gebert

Michael Gebert is a Chicago food writer and the proprietor of NitrateVille.com, a discussion site devoted to silent and classic film, and the podcast NitrateVille Radio, which talks to archivists, collectors, authors and others in the world of classic film.
On Twitter @Nitrateville.
His 2018 Discoveries list can be seen here:
http://www.rupertpupkinspeaks.com/2019/02/film-discoveries-of-2018-mike-gebert.html


This column is about film discoveries, but how can you make discoveries in a world where everything seems to be available, and you can just watch Zoolander over and over and never have to see anything new? So this year I’m not only calling out my discoveries, but how I discovered them—some curated by smart programmers, others just stumbled upon in the infinite space of streaming.

HIS NIBS (1921)
Here’s a real oddball of a silent film that the Chicago Film Society turned up and showed at Chicago’s Music Box Theater. Chic Sale was a famous vaudeville monologist—that is, he would do a whole comedy speech in a rural character’s voice, and he was quite successful with one about a “specialist” in building outhouses. So a company made a silent melodrama called The Smart Aleck, with him as the small town rube who defeats the city slickers and wins the girl. (Did I mention he was famous for talking?)

Then… they decided it was lousy, and it fell to a cartoonist named Gregory LaCava, who would go on to do things like My Man Godfrey, to salvage it. His answer was basically Mystery Science Theater 1921—to use The Smart Aleck as the film within a film about a small town theater owner (Sale) putting on the big Saturday show, with all the local types (the local gossips, the disapproving preacher, etc.), most of them played by Sale, too, poking fun at it along the way. The picture of what going to the movies in the sticks was like back then is a lot of fun—and The Smart Aleck, cut down to highlights, isn’t that bad.

THE SIGNAL TOWER (1924)
Unlike His Nibs, here was a silent that I knew about—its restoration was shown at the San Francisco Silent Film Festival this year, though I caught it, again, at the Music Box. In silent days train movies were as much a genre as westerns, offering the same benefit to producers (the outdoors is a free set), and similar conventions—the good guy who works a remote station, his sweetheart, the bad guy (always mustached) who lusts for the girl and is in cahoots with robbers, etc. This early film from Clarence Brown, who would go on to direct Garbo and National Velvet and things like that, has all the conventions—but they play wonderfully fresh here. Wallace Beery is the baddie sent to the remote station, who immediately takes an eye to Virginia Valli, which good guy/husband Rockcliffe Fellowes refuses to see. Brown ratchets the situation up until one stormy night, Fellowes finds himself torn between preventing a train wreck—and preventing Beery having his brutish way with his wife. Beautifully shot in northern California, this is the kind of steam-heated silent thriller that talk could only slow down.
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INTERNES CAN’T TAKE MONEY (1938)
Dr. Kildare was one of those TV series that I never saw as a kid, but knew about because Mad magazine kept all of pop culture in a constant state of Mixmastering. Anyway, on TV (Richard Chamberlain) and in old movies (Lew Ayres), it was apparently soothing doctor-romance for the ladies.

So it was quite a surprise to see the original Dr. Kildare movie at Capitolfest—which turns out to be completely bonkers. Joel McCrea’s Kildare meets patient Barbara Stanwyck, whose son vanished with her dead gangster husband; Kildare saves the life of mobster Lloyd Nolan (operating on him in his own bar), so then he tries to help Stanwyck too… but there’s another bad guy who’s blackmailing her for sex… hey, wasn’t this supposed to have something to do with medicine? Stanwyck and McCrea are hot, the hospital set looks like it came from Things to Come, and Kildare, who I remind you is not a full-fledged doctor yet, will wind up doing another emergency barroom gangster surgery before it’s all over.
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THE SCAPEGOAT (1959)
One way to discover things on Criterion Channel is to check the list of movies leaving at the end of the month. Which is how I saw this Alec Guinness movie which puts him in a dual role under director Robert Hamer (who directed eight Guinnesses in Kind Hearts and Coronets). He’s an English teacher who feels ignored by the world, and heads off to France. There he finds he has an exact double in a Frenchman—and after a lot of drinking together, he wakes up in the Frenchman’s life, while the French version of Guinness has vanished. For a while he has fun toying with the lives of the Frenchman’s mostly unhappy family and mistress, and generally being an improvement on the original—but French Guinness must be out there somewhere, plotting something.… Based on a novel by Daphne duMaurier and co-written by Gore Vidal, this is a droll comedy with a dark edge, not as good as Kind Hearts and Coronets, but smartly grownup all the same.
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DRIVE A CROOKED ROAD (1954)
Mickey Rooney, only one third of the way through his very long career and already scrambling for a way to continue being a star, found a 1950s niche in noir tales of little guys with hard luck lives. Here he’s an auto mechanic with a disfigured face who dreams of being a race car driver. He meets a girl, she introduces him to her friends, they all think he’s swell. Hmm, what would attract some fast-living, shady types to a guy who can drive a car really fast?

Criterion Channel ran a whole series of Columbia noirs and among the ones I hadn’t seen, this was my favorite, written with pointed psychological perception by Blake Edwards, and with Rooney really outstanding as the pathetic, unloved protagonist. Another thing I liked about all of the Columbias was the extensive use of real 1950s locations—driven by cheapness, no doubt, but offering a vivid picture of ordinary life in that decade. The gleaming body shop here, the department store fashion show in Nightfall, San Francisco’s Sutro Baths in The Lineup, a vintage amusement park in The Burglar—all among the minor but real pleasures of watching movies this year.
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HOLD BACK THE DAWN (1941)
An old movie title I knew but didn’t really know what it was about—I confused it with Another Dawn, with Errol Flynn. But Arrow put out a blu-ray so I bought it, figuring how bad can a movie written by Billy Wilder and Charles Brackett the year before Double Indemnity be? Charles Boyer is a Romanian dancer-gigolo who wants to get into America, and gets as far as the Mexican border; there he runs into old dance partner Paulette Goddard, who tells him the easiest way to scam your way in is to find an American tourist and con them into marrying you.

So, a tale of a very timely border in 2019. Boyer sweeps naive teacher Olivia deHavilland off her feet, all according to plan. But deHavilland’s guileless goodness starts to have its effect on Boyer, and you realize that this is Wilder’s semi-autobiographical parable of what getting to America a few steps ahead of the Nazis meant—Europeans must cast off their cynicism and corruption, and be worthy of passing through the gates of their last hope to be reborn as good, honest Americans. How you want to read that in 2019 is up to you, but by 1943’s lights, it’s very moving—and yet, bizarrely, the whole thing is framed as a story that Boyer tells to a Hollywood director (played by the movie’s actual director, Mitchell Leisen), which seems a cynical way to present a tale of sincerity triumphing over cynicism. America didn’t know what it was getting in Billy Wilder.
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