CineSavant & Trailers From Hell: Comfort and Joy For Film Fans and Movie Buffs

If you’re a passionate film fan like me, you probably don’t just watch movies, you very likely purchase your favorite films on physical media. These days multiple versions of new and classic movies are regularly being issued and re-issued, often as special editions, imports and in limited runs by “boutique” labels such as Arrow Video and Powerhouse Indicator. It’s hard to keep them all straight, much less make an informed choice about which version you should add to your library. One of the best places to get in-depth information about films and their disc releases is the ongoing column by the one and only CineSavant, aka DVD Savant. That’s the non de plume of Glenn Erickson, a film industry veteran who’s been writing about movies for many years now. His current home is that essential website for discerning cinephiles, Trailers From Hell.

Glenn always provides absorbing and entertaining analyses of the films he reviews in his twice-weekly column, which runs on Tuesdays and Saturdays.  He supplies comprehensive coverage of the latest and greatest Blu-ray and DVD releases. It’s always a pleasure to read his illuminating, fascinating and informative work. He writes about movies in a variety of genres, and often includes a fact or detail that even die hard film fans like myself may not have known. From the James Bond movies to 1950s science-fiction flicks, to foreign films, little known independent features, film noir, and back through to Hammer horror and Toho’s Godzilla series, CineSavant provides thoughtful and accurate reviews. If there have been multiple disc releases of a film, Glenn will let you know the pluses (and occasional minuses) of each version, and how they differ, from picture quality to special features. The CineSavant page also features excellent guest writers like Charlie Largent, who maintain the site's high quality when writing about their genre of specialty.

In a field where many writers and bloggers claim to be experts, CineSavant is the real deal. Glenn has also released two excellent books compiling his work, DVD Savant and Sci-Fi Savant. Both are worth seeking out. I’m happy to say that I own a copy of Sci-Fi Savant, and this spectacular collection of science-fiction film reviews spanning the cinematic decades of the genre is one of my go to references on the subject. Sitting down to read Glenn’s indispensible writing is always one of the highlights of my week, and I’m very glad that he has found a home at Trailers From Hell, the website of choice for cool and in the know film buffs. Not only is Glenn’s work hosted at the site, you can check out other talented writers like Dennis Cozzalio and Randy Fuller. 

At Trailers From Hell, you can view trailers for a wide variety of films featuring commentaries by filmmakers like Allan Arkush, Mick Garris and John Landis. While you're there, you also can find links to episodes of the fantastic (and absolutely addictive) podcast The Movies That Made Me, hosted by screenwriter Josh Olson and director Joe Dante. In each episode, the dynamic cinematic duo talk with a variety of actors, directors and writers about the moves that inspired them. I’ve written about both Trailers From Hell and Cinesavant in the past, but in these unprecedented times we live in, it’s nice to celebrate positive things that bring you joy, and Cinesavant and Trailers From Hell never fail to brighten my day, week, month or year.  I strongly encourage you head on over to https://cinesavant.com and https://trailersfromhell.com, and dive into a world of cinematic wonders that will delight and enthrall you.

"The Turning": In Search of an Ending

Henry James' classic novella The Turn of the Screw has been adapted for both the big and small screen multiple times. The most famous cinematic version of the story is probably The Innocents, the chilling 1961 film starring Deborah Kerr. This year, two adaptations of the story were released. One was the Netflix series The Haunting of Bly Manor, from writer-director Mike Flanagan, which was very well received by critics and viewers. The second version of the story that came out in 2020 was The Turning, a big-screen adaptation of the story starring Mackenzie Davis. The project was originally conceived in 2016 as a horror film based on The Turn of the Screw entitled Haunted, to be produced by Steven Spielberg's Amblin Entertainment. The script was by Chad Hayes and Gary W. Hayes, and Alfre Woodard was set to star in the film.

Shortly before filming was set to begin, the project was cancelled. Spielberg was reportedly unhappy with a rewrite that had been done by Scott Z. Burns, which significantly changed the original concept. Director Juan Carlos Fresnadillo and Burns were let go, and the film was restarted with Floria Sigismondi behind the camera, and a new script by Jade Bartlett, based on the the original draft by the Hayes brothers. Mackenzie Davis of Halt & Catch Fire, Finn Wolfhard of Stranger Things, Brooklynn Prince and Joely Richardson were cast in the movie, now entitled The Turning. The film was released to theaters in January of this year. The movie was not a success at the box office, and got terrible reviews, many of them pointing out the film's confusing ending.

The Turning is set in 1994, and tells the story of Kate Mandell, a young woman who becomes the governess to Flora and Miles Fairchild, a pair of orphaned children living at a large estate with the house's caretaker, Mrs. Grose. The previous governess, Miss Jessel, left suddenly, and Flora is worried that Kate will leave her as well. Kate assures her that she won't do that. Right from the start, odd things are happening, and both children act strangely. Miles continually challenges Kate's authority, and Mrs. Grose tells her he had been under the negative influence of Quint, the estate's riding instructor, who recently died. Kate begins to see strange apparitions, and experiences nightmarish moments. Are the ghosts real, or is it all in her mind? Kate's mother is in an asylum, and the prickly Mrs. Grose suggests that maybe Kate is going mad as well. When she learns the truth about what happened to Quint and Ms. Jessel, Kate has to decide if she can save both the children and herself from the house's evil influence.

The movie is stylishly filmed and features some fine cinematography by David Ungaro, who shot the film on location in Ireland. The choice of songs used on the soundtrack is excellent, and the score by Nathan Barr is appropriately eerie. The cast is strong, with Brooklyn Prince and Finn Wolfhard giving standout performances as Flora and Miles, and Mackenzie Davis doing an effective job portraying Kate's downward spiral. The problem with The Turning is that the script feels muddled, and the direction and characterizations are inconsistent, throwing off the tone of the film, despite the fine work of the cast.

Where the movie really falls apart is the ending. In order to avoid spoilers, I'll just say that we're given one climax to the story, and then there's a sudden reversal which turns that ending on it's head, and goes in a direction that makes the story feel incomplete. I'm all for endings that defy audience expectations and provide a cool twist. But even an ambiguous ending has to make some sense, and the one we're provided with in The Turning isn't really a conclusion at all. The odd end credits sequence doesn't offer us any help, either. It's a shame, because the film had potential, and could have been a cool modern version of a classic story. If you're looking for a really good adaptation of The Turn of the Screw, I'd stick with The Innocents, or take a deep dive into Mike Flanagan's The Haunting of Bly Manor on Netflix. For more on that series, you can check out my review of that excellent show here: http://jveclectic.blogspot.com/2020/10/bly-manor-ghost-story-love-story.html. Here's a link to the trailer for The Turning: https://www.youtube.com/watch?v=4fw2h8P8MGg. 

Celebrate the Holidays with New Music from Nick Piunti and Grey DeLisle

As we wind our way through another holiday season, it's nice to have some new music to help us celebrate. JEM Records recently released "Christmas Morning," a fantastic new single by Nick Piunti and The Complicated Men. This past May, the group released their album, Downtime, a terrific collection of power pop infused rock and roll, featuring such excellent songs as "Upper Hand" and "Bright Light." Piunti is a long-time staple of the Detroit music scene, and the hook-filled tunes and the band's outstanding musicianship combined to make Downtime one of the best power pop releases of the past year. 

Featuring terrific vocals, jangling guitars, groovy bass and even a glockenspiel, "Christmas Morning" is a rocking holiday tune in the classic tradition of Bruce Springsteen, Tom Petty and Darlene Love. Just try not to smile and sing along as Piunti and The Complicated Men celebrate the real joy, and of Christmas: spending time with the people you love. Piunti had the first verse and chorus of the song finished for some time, but recently got together with the band to finish it and record the tune, which has been issued as this year's JEM Records holiday single. It's a marvelous tune that gets better every time you hear it, and if there's any justice in the world, it'll become a Yuletide rock and roll staple with a prime spot on your holiday playlist. You can find "Christmas Morning" wherever you download or listen to digital music, including Amazon and Apple Music.

Another fine release this holiday season is Grey DeLisle's cover of the holiday classic "O Holy Night," recently issued by Regional Records. DeLisle is a Grammy winning performer who has released several acclaimed albums. She's also a veteran voice-over artist whose work has been featured in series such as The Fairly Odd Parents, and as Daphne in the Scooby Doo franchise. Regional Records will be releasing her new album in 2021.

DeLisle's stunning take on "O Holy Night" is one of the best ever versions of this timeless song celebrating the birth of Jesus, which was composed way back in 1847 by Adolphe Adam. "O Holy Night" has been recorded by artists like Mariah Carey, Josh Groban and Celine Dion, but DeLisle's low-key, heartfelt rendition, arranged by the artist and Marvin Etzoni (formerly of Lone Justice) is extraordinary. To check out the wonderful video for this unforgettable version of a holiday classic, follow this link: https://www.youtube.com/watch?v=Cmy1EU09R30&feature=emb_title.

Hunky Dory: David Bowie In Transition

David Bowie was one of the most talented and eclectic musicians ever to perform onstage stage, or grace a recording studio. His chamelionic qualities and innate gifts as a songwriter allowed him to create music in a variety of styles, and to inhabit several characters including the iconic Ziggy Stardust. Just before he introduced the world to his Ziggy persona, he recorded his fourth album, Hunky Dory, in 1971. The record includes such now-classic tracks as "Changes"and "Life On Mars?" At the time, Bowie had not yet achieved superstar status. While his previous releases had garnered some critical acclaim, the albums had not sold well, and he was essentially best known for his hit single, "Space Oddity." For the Hunky Dory sessions, Bowie gathered a stellar group of musicians,  including Mick Ronson, Woody Woodmansey and Rick Wakeman. The album would act as a transitional record and a turning point for Bowie. Hunky Dory would kick off one of the most fruitful and creative periods in Bowie's long and successful recording history, and helped cement his status as a rock legend.

Ken Sharp has recently re- released his excellent book Kooks, Queen Bitches and Andy Warhol: The Making of David Bowie's Hunky Dory. It's a comprehensive oral history covering the sessions for the landmark album. The book features interviews with producer Ken Scott, Mick Ronson, Rick Wakeman, Woody Woodmansey and the Thin White Duke himself. Hunky Dory is the record where you start to see the “modern” Bowie begin, leading to future classics such as The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Aladdin Sane and Pin Ups. This is the period where Bowie really began his series of personal and professional metamorphoses. Sharp's detailed coverage of the album's production gives you real insight into Bowie's creative process, and the ways in which he involved the band in the recording of the songs.

This compelling look at Hunky Dory features some marvelous and entertaining inside stories about the making of this now classic record. If you’re a Bowie fanatic, the book is a must read. Even if you're a casual fan, you’ll find this marvelous work endlessly fascinating. The in-depth portraits of the album sessions, as well as Bowie and his band members is lovingly crafted by author Sharp, whose passion for his subject matter is clearly evident in this perceptive, exhaustively researched, well-written work.

Kooks, Queen Bitches and Andy Warhol: The Making of David Bowie's Hunky Dory can be purchased wherever ebooks are sold, and you can get more information about Ken's many other fine books about artists such as Cheap Trick, Elvis Presley, KISS and The Raspberries by heading over to www.kensharp.com. While you're at it, you can also check out some of his fantastic power pop music at www.bandcamp.com as well. As both an artist and a writer, Ken's work is indispensable and highly recommended.

The History of James Bond at the Movies

The words are instantly recognizable: "the name is Bond...James Bond." The character created by author Ian Fleming has been appearing on the big screen since 1962's Dr. No, and has been played by Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, and Pierce Brosnan in the official movie series from Eon Productions. Current Bond Daniel Craig will return to the role for the fifth (and final?) time in No Time To Die, which is currently set for release in 2021. There have been a number of books written about the 007 films, including Bruce Scivally and John Cork's James Bond: The Legacy, and Stephen Jay Rubin's The James Bond Films. One of the more recent attempts to outline the ongoing saga of the Bond series is Some Kind Of Hero: The Remarkable Story of the James Bond Films, by Ajay Chowdhury and Matthew Field. Originally published in 2015, and later updated in 2018, the book covers the 007 series from its inception to Craig's last Bond film, Spectre, released in 2015.

The book is an exhaustive history of the films, and feature interviews with many of the actors, directors and writers who worked on the iconic series. It all starts with a brief look at Ian Fleming and the creation of the literary Bond, and the initial attempts to bring the Bond character to the big screen. Every film gets its own chapter, which covers the making of each entry in the series from pre-production planning to its eventual release. There's even coverage of Never Say Never Again (1983), the non-Eon Productions remake of Thunderball, which marked Sean Connery's return to the role. There's an in-depth look at the legal battles which allowed that film to be produced, which date back to Ian Fleming's original novel, and the complicated rights surrounding that book, which was originally filmed in 1965 as part of the official series.

The book contains a wealth of information about the production of each film, including details about the creation of the many iconic moments and spectacular stunts featured in the series, and coverage of scenes that were either cut from the final versions of the movies, or never filmed. The interviews with the many actors, writers, directors, musicians and technicians that worked on the Bond films are compelling and fascinating. There are some interesting comparisons between the plots of the original Bond novels and short stories, and what portions of those literary Bond adventures made it into the movies. This isn't a critical history of the 007 series, but rather an exhaustive and detailed look at the making of each film. Ajay Chowdhury and Matthew Field have done an outstanding job of looking at the entire history of the series in this compulsively readable work.

There are a ton of books out there about the James Bond films, but if you're a fan, this lovingly detailed work is well worth reading. Some Kind Of Hero: The Remarkable Story of the James Bond Films is an entertaining, enjoyable look at the long running 007 franchise. The authors are clearly fans of the films, and you may find yourself re-reading some of the chapters to digest a nugget of information you missed, or to go back over the interviews regarding your favorite film in the series. The book is now available in paperback or as an e-book. The only minor issue here is that some of the information on No Time To Die is out of date, as there were changes to the production after the book was released. So if you want to immerse yourself in James Bond movie lore, check out this marvelous look at the history of the cinematic 007. 

Etzioni’s Exceptional “What’s The Mood”

Rock and roll music can accomplish many things. At its best, it can thrill us, move us, teach us, uplift us, and allow us to be carried away by its rhythms. When an artist can accomplish all of those things on one record, it's a very special occurrence. Marvin Etzioni, a founding member of Lone Justice, does just that on his latest solo release, What's The Mood Of The Country Now?, an exceptional record that defies categorization. The album is a masterful musical melting pot of rock, soul, folk, poetry and roots music, which shines a light on important social issues, and manages to both entertain and inspire us as listeners.

The album opens with Etzioni chanting the words "Every breathing soul needs to live in peace" which sets the tone for a terrific collection of songs that include the one-two punch of "God Bless The Homeless" and the stark title track. On the folk-tinged "Here Comes America" Etzioni and singer-songwriter Sy Smith sing that the "future of freedom is in your hands." These powerful songs examine and illuminate the state of the world we live in right now. Throughout this remarkable record, Etzioni provides us with a musical call to action, asking us to be more empathetic to the problems of our fellow human beings, and take a closer look at ourselves. There's never been a better time for self examination than right now, in these insane and unprecedented times.

One of the highlights of the album is the innovative "Abide In My Love" which features an innovative spoken word duet between Etzioni and the recorded voice of Anais Nin, effectively combining the innate talents of both artists. "Cover Your Bamboo" and "The Last Weapon Left Is The Heart" are offbeat (and lyrically unique) love songs which also feature vocals by Sy Smith, whose extraordinary work complements Etzioni’s throughout the record. There are also top notch contributions from Etzioni on guitar and mandolin, David Leach on percussion, Zach Baird on Moog bass and synthesizer and Gustavo Santaolalla, who provides marvelous backing on the ronroco (a 10-stringed mandolin) for the stirring and powerful "We Belong In America."

While some of the songs on the album focus on the darker side of the world as we know it, the record also manages to strike a hopeful note, and point us in a more positive direction with the hard-driving, soulful "Wheels of Freedom" and the joyous, celebratory "(There's Gonna Be A) Jubilation." Marvin Etzioni, who also produced the album and wrote or co-wrote most of the songs, has worked with artists like Peter Case, Toad The Wet Sprocket and Counting Crows. With What's The Mood Of The Country Now? he provides us with some of his finest work to date. This superb album is just the kind of music you need to be listening to right now. It's one of the best records of the past year. You can get more information on the album, and some other recent releases, at Marvin's label, Regional Records, at https://regionalrecords.net.

Film Noir Flashback: 99 River Street

Evelyn Keyes and John Payne

Ernie Driscoll (John Payne) is a former prizefighter who was forced to quit the ring after a permanent injury to his eye. He’s eking out a living as a cab driver in New York City. Ernie’s wife Pauline is not thrilled with their bottom dwelling lifestyle. He may think he’s got it rough right now, but Ernie doesn’t know just how bad things are going to get in 99 River Street, a tough as nails thriller directed by genre veteran Phil Karlson. This hard-hitting film takes place over the span of one fateful night, as Ernie learns just how far his spouse will go to escape her low-rent existence.

Pauline has hooked up with a criminal named Victor Rawlins, who’s just pulled off a diamond heist. She plans to skip town with him, and find herself a better life. That decision will have deadly consequences. When Victor goes to see Christopher, his fence (with Pauline in tow) the man isn’t too happy that a woman is involved, or that Rawlins killed the owner of the diamonds. The fence tells the thief to scram. Victor later kills Pauline and frames Ernie for his wife’s murder. Meanwhile, Ernie’s gotten mixed up with the good-hearted but ambitious Linda James, an aspiring stage actress who tells him she’s killed a man and needs his help. But there’s more to Linda's story than meets the eye, and it doesn’t bode well for Ernie.

Things go from bad to worse as the police hunt for Ernie in connection with Pauline’s murder, as well as a scuffle that he got into with the producers of Linda’s show. Both Ernie’s pal Stan, who runs the cab company and Linda try to help him evade the cops until he can find out the truth about his wife’s murder. Meanwhile, Victor Rawlins has forced Christopher (at gunpoint) to give him cash for the diamonds, and is now planning to flee the country by boat. But the fence doesn’t plan to let Rawlins get away that easily. Everyone comes together at the title address, located at the docks, as their fates intertwine one last time. Who will survive the climactic meeting at 99 River Street?

John Payne turns in a good performance as Ernie, who just wants a chance at a better life, and is thwarted by circumstances beyond his control. There are some familiar faces in the strong supporting cast, including Brad Dexter as Victor Rawlins, Frank Faylen as Stan and Jay Adler as Christopher. But this film really belongs to the ladies. Peggie Castle as Pauline and Evelyn Keyes as Linda manage to steal the movie right out from under their male co-stars. Castle is perfect as Pauline and brings some real nuance to the standard role of the scheming wife. Keyes is equally good as Linda, whose heart is in the right place, even when she makes some bad choices. She gets a great scene late in the story when she has to charm the slimy Rawlins at a dive bar.

This swiftly paced noir is well directed by Phil Karlson, who also worked with star Payne on Kansas City Confidential and Hell’s Island. The excellent cinematography is by Franz Planer, who imbues the film’s night-time NYC settings with a real sense of menace. The screenplay by Robert Smith manages to sneak a couple of decent twists into a relatively by the book crime thriller. While 99 River Street isn’t an iconic or ground-breaking noir like Double Indemnity, The Killers or Out of the Past, it’s an enjoyable 83 minute ride for fans of the genre. The film is currently available on Blu-ray from Kino Lorber home video, featuring an audio commentary from Eddie Muller, the host of Noir Alley on Turner Classic Movies. You can take a look at the film's trailer at the following link: https://www.youtube.com/watch?v=FYY48zTTsDk.

An In-Depth Look At "Starting Over"

There have been a plethora of books written about the life of John Lennon, covering his years as a member of The Beatles, as well as his work as a solo artist. Many of these works focus on the big picture, and attempt to paint an overall history of Lennon's life and music, while also celebrating his influence on new generations of musicians. One of the best books about John is actually much more intimate in scope. Starting Over: The Making of John Lennon & Yoko Ono's Double Fantasy, is a compelling look at John's return to the studio after a five year hiatus. Ken Sharp, who has also written books about David Bowie, Cheap Trick, The Raspberries, KISS and Elvis Presley, put together this comprehensive oral history of the making of Double Fantasy, the last album to be released before John's death. The classic disc includes songs such as "Woman" and the title track.

Starting Over: The Making of John Lennon & Yoko Ono's Double Fantasy features insightful interviews with Yoko Ono, producer Jack Douglas, guitarists Earl Slick and Hugh McCracken, bassist Tony Levin and drummer Andy Newmark, who played on the album, and worked in the studio with John and Yoko. There are comments from John himself (culled from archival interviews), as well as observations from many of the other behind the scenes personnel who contributed to the record, as well as photographers, writers and radio and television personalities who interacted with John and Yoko during the production of Double Fantasy. The book offers an in-depth perspective on the creative process, and gives you a real insider's sense of what it's like to be in the studio while working on an album.

What also emerges from this fascinating oral history is an insightful look at John Lennon as a musician, husband, father and friend. John was thrilled about returning to the studio after being away from the spotlight while helping to raise his son Sean. Many of the comments focus on how much fun he was having making music again, and how excited he was to work with Yoko on the album. Double Fantasy alternates between John's songs and Yoko's, forming sort of a dialogue between them, and he clearly hoped this record would help people appreciate Yoko's songs as much as his own compositions for the album.

You get a real sense from the interviews and comments that John was much more at peace with himself than he'd been in a long time. It's clear that John's time as a family man helped him come to terms with some of the demons of his past. The studio musicians all talk about how he would clown around between takes, playing old rock and roll songs and talking about his days as a Beatle. He was already talking about the followup to Double Fantasy, and had even mentioned going out on the road and performing live again. It's truly sad that we never got to see John take the stage again, or release more music. This incisive book will truly make you appreciate him as a musician and as a man.

Ken Sharp is a prolific author and talented musician, who truly understands what made John and his music so unique and unforgettable. This thoughtful, poignant portrait of John as painted by Ken through his absorbing history of the Double Fantasy sessions will make you appreciate the music all over again, and feel John's tragic loss that much more deeply. Starting Over: The Making of John Lennon & Yoko Ono's Double Fantasy was originally published in 2010, and has recently been made available as an e-book. It's available at sites such as Amazon. For more information on Ken and his work, head over to http://ken-sharp.com.

Bly Manor: A Ghost Story & A Love Story

Mike Flanagan has established himself as one of the top writer-directors currently working in the horror genre, thanks to such well-received films as Before I Wake, Oculus, and a pair of Stephen King adaptations, Gerald's Game and Doctor Sleep. He's perhaps best known to fright fans for his 2018 Netflix series, The Haunting of Hill House, a brilliant re-interpretation of Shirley Jackson's novel, which took that classic ghost story into some new and surprising directions, while remaining true to the spirit of the original. His newest project, The Haunting of Bly Manor, is an update of the Henry James novella The Turn of the Screw, which has been adapted for the big and small screen many times before, most notably as the 1961 thriller The Innocents, starring Deborah Kerr and Peter Wyngarde. It was also featured on the big screen earlier this year in a version called The Turning, directed by Floria Sigismondi, which starred Mackenzie Davis.  

Flanagan's version takes place primarily in 1987, when Dani Clayton, an American living in London, is hired as the new governess for two orphaned children, Miles and Flora Wingrave, who live at a house called Bly Manor. It turns out there are eerie things happening at the manor, and the children seem to know more about what's going on than the adults. Dani brings the ghosts of her own past with her to the house, and the rest of the staff, including Mrs. Gose, the housekeeper, and the Owen, the cook, have their own secrets to contend with as well. But the most intense and powerful supernatural entities at the manor seem focused on the children. What is the secret of Bly Manor? Why are the children so intensely involved with what's going on? One thing is certain; Dani will have to face her own demons before she can help the children with theirs.

The Haunting of Bly Manor is a terrific thriller, and expands on its source material much in the same unique ways as Flanagan's earlier series. The story takes some twists and turns you may not expect, and while there aren't quite as many out and out terrifying "jump out of your seat" moments as there were in The Haunting of Hill House, this series slowly builds up the tension to some truly unsettling moments of dread. The show takes the time to slowly unfold its story, and there are a couple of episodes (especially the excellent one focusing on Mrs. Gose) that on the surface may seem to be diverting attention from the main story, but actually fit seamlessly into the narrative. There are, as usual with Flanagan's work, small details and visual cues tucked into scenes through the series that give the viewer clues as to what may be really be going on at Bly Manor. Dani's last name, Clayton, is actually a nod to Jack Clayton, director of The Innocents.

The cast is superb, with several veterans of Flanagan's previous series and films appearing in the show, including Victoria Pedretti, Henry Thomas, Carla Gugino and Kate Siegel. T'Nia Miller as Mrs. Gose, and Rahul Koli as Owen are excellent in their roles, especially in the amazing fifth episode of the series; no spoilers here, but the Hannah Gose centered story may be the series' best entry, and that's saying a lot as the show is consistently well-acted, well-written and well-directed. The Haunting of Bly Manor is a deeply emotional, powerful tale that is as heart-rending as it is chilling. The hauntings in this story are as internal as they are external. One character remarks that this isn't a "ghost story, it's a love story." I disagree, this fantastic series is a ghost story and a love story, and it succeeds admirably on both counts. If you're a fan of supernatural tales with a healthy does of heart and emotion, head over to Netflix and seek out The Haunting of Bly Manor. Highly recommended for viewing during Halloween season, or any season of the year. Here's a link to the trailer for the series : https://www.youtube.com/watch?v=i2y0qSYf578.                         

Retro Movie : The Parallax View

The 1970s were the decade in which the conspiracy thriller movie came into its own. In the wake of the assassinations of John F. Kennedy, Robert Kennedy and Martin Luther King, Jr., the optimism of the 1960s gave way to feelings of distrust and paranoid thoughts. Theses negative thoughts escalated further when the United States was propelled into the aftermath of events such as the Manson murders and the Watergate scandal. Films like Executive Action, The Conversation, Night Moves, Three Days of the Condor, All The President's Men, Winter Kills and Capricorn One focused on conspiracies, real or imagined, that exposed the dark underside of the American dream. No movie illustrates these ideas and concepts in a more chilling and effective manner than The Parallax View, director Alan J. Pakula's 1974 classic starring Warren Beatty.

Beatty plays Joe Frady, a somewhat down on his luck (albeit talented and resourceful) reporter who, as the film opens, is nearby when a popular presidential candidate is assassinated. An investigative committee formed by the government finds that the murder was the act of a disturbed individual who acted alone. Lee Carter, a newswoman who witnessed the murder firsthand, visits Frady several years after the killing. She tells him that she believes something odd is going on, as a number of witnesses to the shooting have died, seemingly under normal or accidental circumstances. Carter, a former flame of Frady's, is herself found dead of a drug overdose shortly after her visit to his home, and Frady decides to investigate.

What he discovers is that a mysterious organization called The Parallax Corporation is recruiting people who are on the fringe of society, and don't fit the accepted behavioral norm. These antisocial outsiders are given training, and new jobs, but are ultimately used as assassins, taking out politicians that don't fit the shadowy group's world view. The oddball loners are then framed for the crimes, and take the fall for the killings as a "lone gunman." Frady convinces his editor that he should go undercover in the organization, allow them to recruit him, and expose their activities to the world. It's a choice that could ultimately prove to be Frady's undoing. The power of the Parallax organization, and their connections, run far deeper than he ever imagined.

In The Parallax View, nothing is quite what it seems. There are multiple layers of secrets, lies and misdirection at the center of this shadowy organization. As he digs deeper, Frady becomes caught in the middle of a deadly conspiracy. Just how far do the tendrils of Parallax reach? The sense of unease and impending doom is palpable in this dark and cynical thriller. The moody cinematography by Gordon Willis is superb, as is Pakula's tense direction. There's always something happening just outside the frame, and you're often unsure of exactly what's going on right before your eyes. The X-Files may have popularized the term "Trust No One" but in The Parallax View, there's a deep feeling of dread throughout the story. You really can't trust anyone.

The cast is superb. Beatty delivers a solid, low key performance as Frady. The fine supporting cast includes Paula Prentiss, Hume Cronyn, William Daniels, Kenneth Mars, Walter McGinn and Anthony Zerbe. The intelligent, layered script was written by David Giler and Lorenzo Semple, Jr. (with an uncredited assist by Robert Towne) and is based on the book by Loren Singer. Michael Small provides an excellent score, which helps add to the sense of unease throughout the film. Along with Klute and All The President's Men, which were also directed by Alan J. Pakula, this film is often referred to as part of his unofficial "paranoia" trilogy. The Parallax View seems even more relevant in our current environment, and is definitely worth a look. Here's a link to the trailer for the film, https://www.youtube.com/watch?v=TzQRp0Fjpjg, which is now streaming on Amazon.

Retro Movie: Mr. Holland's "Fright Night"

When people talk about their favorite vampire films of the 1980s, The Lost Boys tends to be the first one that pops up in a lot of discussions. I really enjoy director Joel Schumacher’s MTV-styled horror opus, but for my money, the best vampire tale of the 1980s is Fright Night. The film tells the story of Charlie Brewster, a teenager whose favorite TV show is the horror movie showcase, Fright Night, hosted by actor Peter Vincent. When Charlie discovers that his new next-door neighbor is a bona fide vampire, no one believes him, and he turns to Peter for help. Peter is initially reluctant to help Charlie, and thinks he’s crazy. The actor eventually realizes Charlie is telling the truth, and helps him battle the evil nosferatu, who has kidnapped Charlie’s girlfriend Amy, and plans to turn her into his vampire companion. Can our heroes defeat this powerful creature of the night and save Amy?

Roddy McDowall and William Ragsdale

Writer-director Tom Holland initially came up with the idea for the movie while working on the screenplay for 1984’s Cloak & Dagger. He conceived it as a variation on the “boy who cried wolf” concept, but couldn’t figure out how to make the central idea work, until he came up with the Peter Vincent character, someone a teenaged horror fan would logically go to with his wild tale of the vampire next door. Holland lobbied to direct the project, and thanks to his success as a screenwriter on films like Class of 1984 and Psycho II, the studio gave him the chance to take the reins for the movie. Fright Night is an enjoyable combination of thrills, chills and humor, thanks to Holland’s excellent direction, marvelous special effects work, and a terrific cast.

William Ragsdale (who later starred in the TV series Herman’s Head) is quite good as Charlie, the  young horror film fan thrown into a world where the terrifying things he watches on screen are very real. Amanda Bearse (soon to be featured on Married…With Children as Marcy, the Bundys' neighbor) is equally effective as Amy, and Stephen Geoffreys is a standout as “Evil” Ed, a nerdy kid who gets more than he bargained for when he comes up against the supernatural. There’s also solid work from Jonathan Stark, Art J. Evans and Dorothy Fielding in supporting roles. But Fright Night truly belongs to Roddy McDowall as washed up actor Peter Vincent (a character named in honor of Peter Cushing and Vincent Price) and Chris Sarandon as the coolly evil Jerry Dandrige. McDowall’s wonderful performance, and his natural chemistry with Ragsdale and the other young actors in the cast, is a standout, as is Sarandon’s top-notch work as the handsome, seductive, yet never less than frightening vampire.

Fright Night is a masterful blend of horror and comedy. Holland’s script neatly balances the horror and humor aspects of the story. The story sticks with some of the conventions of previous vampire tales, while giving others a new spin. The movie is never quite a full-on comedy, though there are some funny moments along the way. The vampire elements of Fright Night are treated with deadly seriousness, and the film succeeds at being an outstanding straight ahead horror tale. The first-rate special effects are by Richard Edlund, who also worked on the original Ghostbusters. There’s also some superlative cinematography by Jan Kiesser. The only thing that dates the movie a bit are the clothes and some decidedly 1980s style tunes on the soundtrack. 

Fright Night was followed by a sequel, Fright Night, Part 2, though only William Ragsdale and Roddy McDowall returned for the follow-up. Holland and Sarandon were working on the original Child’s Play (1988), at the time and Bearse and Geoffreys were also busy with other projects. The movie was directed by Tommy Lee Wallace, and featured Julie Carmen as Jerry Dandrige’s sister, who seeks revenge on Charlie for her brother’s demise. A remake of Fright Night, starring Anton Yelchin, David Tennant and Colin Farrell as the vampire, was produced in 2011, and featured a cameo by Chris Sarandon. That film spawned a direct to video sequel, 2013’s Fright Night 2: New Blood. A planned third film in the original series has been rumored over the years by Holland, but has never materialized. If you’re looking for a solid vampire flick for your creature feature movie night, the original Fright Night is an excellent choice. Here’s a link to a trailer for a video release of the film: https://www.youtube.com/watch?v=yfuIcuezkUw.

Calling The World: Powerful Poetic Voices

Few literary genres can touch the heart, energize the soul and challenge the mind like poetry. If you’re looking to hear some truly moving and inspiring words from some talented writers, there’s an extraordinary new way to discover the work of nine celebrated poets. Calling The World is a collaboration between The Poetry Society of America and Saint Flashlight, two wonderful organizations dedicated to sharing the words and experiences of poets in new and exciting ways. This exhilarating project is an audio anthology of poems that includes works by Pablo Neruda, Mónica de la Torre and Kwame Dawes, among others. The poems are read by a wonderful group of performers, including Jane Hirshfield and Billy Collins. 

Calling The World: Illustration by Monica Ramos

Calling The World was initiated in part as a response to the feelings of loneliness and isolation caused by the coronavirus outbreak. The experiences and emotions people have felt as a response to the pandemic are wide-ranging and unprecedented. Now, more than ever, people need to feel a sense of community and togetherness. The array of voices and life experiences heard in this moving anthology feature a wide range of perspectives from all around the world, including locations such as Europe, Latin America and the Middle East. 

The unique visions of these gifted poets help us realize that we all have things in common, and that our cultural differences shouldn’t separate us, but bring us closer together. Poetry Society of America Executive Director Matt Brogan, and Molly Gross and Drew Pisarra of Saint Flashlight are the guiding lights behind Calling The World. They’re dedicated to making poetry more accessible to all, allowing readers and listeners to experience poetry in new and exciting formats. Both organizations have been involved with previous projects that bring art and poetry to everyday spaces, including the Poetry Society of America's Poetry in Motion program, presented with MTA Arts & Design, which placed poems on New York City public transportation vehicles, and Saint Flashlight’s Movie Marquee Poems project, which repurposed unused cinema marquees in Brooklyn's Park Slope area by adding original haiku by contemporary poets to them.

I encourage you to listen to the work of the gifted poets featured in the Calling The World audio anthology by calling (212) 202-5606. You might have heard of the band They Might Be Giants and their "Dial-A-Song" line that was popular in the 1990s, but in this case you can "Dial-A-Poem." Your day, and your spirit, will definitely benefit from hearing the passionate voices of these amazing artists. It's a unique and powerful experience. For more information on the Poetry Society of America, please visit https://poetrysociety.org/, and to check out Saint Flashlight, go to http://saintflashlight.com/.

Batman's Alfred "Pennyworth" Begins

One of the longest running characters in the Batman mythos is Alfred Pennyworth, Bruce Wayne's loyal and resourceful butler. Debuting in Batman #16 in 1943, the character was actually killed off by DC Comics in Detective Comics #328 in 1964. He was later resurrected and has been re-imagined several times since the “Dark Knight” comics era of the 1970s and 80s. Alfred has been played by Alan Napier (on the classic 1960s TV series) and by Michael Gough, Michael Caine and Jeremy Irons in various big screen films. Now, Bruno Heller tells the story of Alfred’s younger years and early adventures in Pennyworth, an EPIX network series. Executive Producers Heller and Danny Cannon also worked on Gotham, a Fox television series that served as an origin story for James Gordon. That show also featured a young Bruce Wayne, as well as some unique interpretations of several classic Batman villains. On that series, Alfred was played by actor Sean Pertwee.

Jack Bannon & Ben Aldridge

Pennyworth is set in an alternate history version of Britain in the 1960s, where zeppelins take to the skies, and televised executions are the norm. While the Queen still rules, there are two factions vying for control of the government, the fascist-leaning Raven Society, and the mysterious No Name League. Alfred Pennyworth is an SAS veteran haunted by his wartime experiences. He and his friends (and fellow veterans) Deon and Wallace plan to start a private security company. Alfred crosses paths with Thomas Wayne, an American agent, and Martha Kane, a photographer. Thomas and Martha are working for the No Name League, and trying to prevent a coup by the Raven Society. Alfred is caught in the middle as these groups battle with each other, and ends up suffering some personal losses as a result. He'll need to use all of his wits and strength in order to survive.

The series is stylishly filmed, and the show is a fast-moving combination of 1960s spy films and old-fashioned conspiracy thrillers, with a bit of the Batman mythology and real life figures such as Aleister Crowley thrown into the mix. The cast is first-rate. with marvelous performances from Jack Bannon as Alfred, Ben Aldridge as Thomas Wayne, Jason Flemyng as Lord Harwood, the leader of the Raven Society, and Emma Paetz as Martha Kane. Singer Paloma Faith is impressive as the villainous Bet Sykes, and Danny Webb makes a strong impression in a supporting role as a local crime lord. Most of the series' ten episodes are written by the show's creator Heller, who in addition to Gotham, also brought The Mentalist to television.

The great thing about the series is that while it involves a character that's central to Batman's story, it’s not really beholden to the larger Dark Knight mythos, and charts its own course. In a way, it's sort of an "Alfred Begins." Pennyworth is a colorful, entertaining and enjoyable series. How can you not love a show that names its episodes after famous British actresses and singers like Marianne Faithfull and Shirley Bassey? If you're a Batman fan, you'll enjoy this look at Alfred's early years. If you're not a Dark Knight devotee, don't let the Batman tag steer you away from this enjoyable and action-filled series that’s pays homage to Bond flicks, Hammer films, and military thrillers in equal measure. The first season of Pennyworth is now available on demand and a second season is due in 2021. Here's a link to the trailer for the series: https://www.youtube.com/watch?v=EYc3LXqEyhg.

Exploring Nimue's Arthurian Origins

Katherine Langford in Cursed

There have been myriad retellings of the story of King Arthur throughout the years, on the big and small screen, as well as the printed page. From the visually stunning, brilliantly over the top theatrics of John Boorman’s 1981 film Excalibur (a personal favorite of mine) to gritty tales like Antoine Fuqua’s King Arthur (2004) and more light-hearted television series such as the BBC produced Merlin, fans never tire of seeing adventures that are set in Arthurian times. There’s even been a graphic novel entitled Camelot 3000, which merged the legend of Arthur with a futuristic science-fiction tale. One of the more recent re-imaginings of  the story is the 2019 novel Cursed, written by Thomas Wheeler, with illustrations by comics legend Frank Miller. The story focuses on Nimue (known as the Lady of the Lake in many versions of the tale) and her quest to free her race, the Fey (fairy folk) from persecution by the Church, while discovering the secret behind the mystical powers she possesses, which seem tied to the mystical Sword of Power, aka Excalibur. The book is a female-empowered tale very much in the vein of The Hunger Games and the Divergent series. Thanks to its success with readers, it was inevitable the novel would be turned into a film or television show, and Netflix recently premiered a series based on the book.

The show is an enjoyable riff on the oft-told tale. Cursed takes the familiar trappings of the legend and re-configures the story into the origin of Nimue, who interacts with many of the familiar faces from Arthurian lore, including Arthur, Merlin, Morgana, Percival and Uther Pendragon. Many of these characters are portrayed quite differently than the ones we’re used to from previous iterations of the tale. For example, Arthur is a young mercenary, Gawain is one of the Fey, and Uther (who’s not Arthur’s father in this series) is a petty, self-important, power-hungry monarch. Even Merlin is not quite the powerful sorcerer we’re used to seeing in previous versions of the story. He’s an anguished, haunted soul, who’s wracked with guilt over his past actions, but still trying to manipulate events to influence the future of mankind.

Part of that future involves Nimue, who will learn that she has a greater destiny than she ever imagined. When her village is attacked by the Red Paladins, military-style forces sent out by the Church to purge the land of the Fey and other magical beings, Nimue leads the survivors on a journey to find sanctuary. She will learn (some of) the secrets of her past, and find that her destiny, and that of the Sword of Power, are inexorably linked. She’ll also discover that Merlin, Uther, The Church, Uther, and other interested parties (including a warrior named Cumber the Ice King) are all vying to possess the sword for their own reasons. There are political and religious manipulations, fierce battles and magical confrontations throughout the series, which is well-directed and visually striking. As for the cast, Katherine Langford (of 13 Reasons Why) is very good as Nimue, Gistaf Skarsgard is impressive as Merlin, and Peter Mullan (who played Jacob Snell on Ozark) is excellent as Father Carden, the leader of the Church’s vicious Red Paladin forces. There are also solid performances from Daniel Sharman and Bella Dayne in supporting roles that may figure prominently in future seasons.

Cursed is an effective, female-centric version of the legend of King Arthur. The series may evoke memories of Marion Zimmer Bradley’s iconic novel The Mists of Avalon, which was itself adapted for television as a miniseries in 2001. But Cursed stands on its own as a diverting, entertaining, and clever re-invention and re-interpretation of a classic tale. There are more entries in the book series planned, so it’s a fairly safe bet that Netflix will continue the television show as well. If you’re a fan of Arthurian tales, the show is worth a look. Here’s a link to the trailer for the series: https://www.youtube.com/watch?v=xLTdy6PfotA.

Pollack & Mitchum Meet "The Yakuza"

Can you imagine a story about the Japanese mob directed by Sydney Pollack, who helmed such classic films as The Way We Were, Jeremiah Johnson, Tootsie, Absence of Malice and Out of Africa? It happened in 1975, when Warner Brothers released Pollack's The Yakuza. This intriguing, moody thriller stars Robert Mitchum, Brian Keith and Ken Takakura. Mitchum plays Harry Kilmer, who had been stationed in Tokyo during the occupation following WWII. An old friend of his, George Tanner (played by Keith) asks Kilmer to help him rescue his daughter from Tono, a yakuza boss who has kidnapped her. It turns out that Tanner has been selling guns to Tono, and something has gone wrong. Kilmer heads to Japan to meet with the yakuza boss. Once there, he reunites with an old flame, Eiko, and her brother Ken. Since the post war days, Ken has resented Kilmer, although he doesn’t know why. Kilmer will eventually discover the truth behind Ken's hatred.

Ken Takakura & Robert Mitchum

Kilmer needs Ken’s help in contacting and dealing with the yakuza, as Ken used to work for them. But everything is not what it seems. Tanner is keeping secrets from Kilmer about his true dealings with Tono. Ken’s brother, a yakuza advisor, tries to help our heroes, but things escalate even further. Tanner's daughter is rescued, but that's not the end of the story. As Kilmer and Ken get closer to the truth, a chain of events put in motion by Tanner’s actions affects all of their fates. Kilmer finally finds out why Ken has always disliked him, a secret which dates back to when Kilmer had helped Eiko survive in the days after WWII. Mitchum is very good in the lead role, and the fine supporting cast features familiar character actors Richard Jordan, James Shigeta and Herb Edelman. Brian Keith is quite effective as Tanner, an atypical role for him.

The Yakuza is a stylish, well made film that feels somewhat leisurely paced by today’s action film standards, but is well worth a look. The story is a meditation on honor, keeping the promises you make, and dealing with the fallout from the secrets you keep. It’s much more than a shoot ‘em up movie, though there is quite a bit of gun and swordplay in the film. The screenplay is by Paul Schrader and Robert Towne, from a story by Leonard Schrader (Paul’s brother). The wonderful score is by jazz great Dave Grusin. It's one of director Pollack’s more unusual films, but I think it’s one of his best. Interestingly enough, he made this movie right around the same time he helmed the classic espionage thriller Three Days of The Condor, with Robert Redford and Faye Dunaway. The Yakuza is available on disc and for online viewing on some sites, such as Amazon.

The Yums Yums Brightly Colored "Pop!"

Cover Image Courtesy Rum Bar Records

If you're in need of some positive vibes and cool music this summer, look no further than For Those About To Pop!, the latest release from The Yum Yums. If you could bottle up the unbridled energy and sheer enthusiasm the band shows on this record, you could use it to light up the world! The Norway based band’s phenomenal new record features a delightful mix of pop, rock, glam and bubblegum meshed together to create a sparkling collection of tunes that you'll be happy to have stuck in your head. The album kicks off with the pulsating title tune, which is nothing less than the band's mission statement, celebrating the delights of the "three-chord pop song," and a dedication to those fans who understand the sheer joys of listening to rockin' pop music.

For the next thirteen songs, the band snap, crackle and pops their way through a delicious collection of candy-coated confections. Songs such as "Baby Baby" and "Can I Come Over" neatly balance pop, punk and rock. The dazzling "Can't Get Enough of Your Lovin' and "She's Got Everything" may even make you double-check to see if your music device has morphed back into a transistor radio! The Yum Yums breezily genre-hop between power pop, rock and punk. There are touches of 1960s and 1970s pop and bubblegum, a hint of 1990s era pop-punk bands like Blink 182 and Jimmy Eat World, and a definite homage to the three-minute rave-ups of The Ramones, who were themselves self-professed bubblegum fans. Just listen to the introduction to "Let's Go Crazy" to see what I mean.

This is a truly enjoyable, smile-inducing record that celebrates the joys of listening to music on the radio in "Summertime Pop" and the singer's day-glo colored love for his best girl on "Bubblegum Baby." Sunshine-dappled tunes like "Lie To Me" and "Crush On You" just beg for you to sing along, while you're also digging the scintillating guitars, thrilling drum beats and incandescent vocals. The uber-talented line-up of The Yum Yums includes lead guitarist and vocalist Morten Henriksen, guitarist-vocalist Gunnar Vrontveit , and drummer Ulf Ramone Bendicksen, along with several of their talented friends, including Christian Jacobsen on keyboards and Havard Eldsaunet and Stine Bendiksen on bass. These guys are so good, they could make the members of classic power pop groups like the Rubinoos, Shoes and the Raspberries green with envy!

For Those About To Pop! is a phenomenal album and a marvelous, loving valentine for power pop fans everywhere. Once you hear it, I guarantee you'll be longing to seek out the band's other releases, which are equally as enjoyable as this one. For more information on For Those About To Pop! and the terrific music of The Yum Yums, head over to the site for Rum Bar Records by following this link: https://rumbarrecords.bandcamp.com/album/for-those-about-to-pop. To hear a couple of the fantastic songs from the album, follow these links to check out the bouncy "Can I Come Over" https://www.youtube.com/watch?v=s0IDbhO-QFo, and the sugary "Summertime Pop": https://www.youtube.com/watch?v=HkOCgxtvQMA. Remember, "the pop will never stop!"

"War of the Worlds" Through The Years

A Martian craft from the 1953 film

H.G. Well’s 1898 novel War of the Worlds has enthralled and fascinated readers ever since it was first published. The thrilling story of an invasion from Mars set the standard for the many tales of alien contact (and conflict) which followed in the science-fiction genre. The book has been adapted several times over the years, including the famous 1938 radio broadcast by Orson Welles and his Mercury Theatre, which panicked some listeners who thought it was an actual account of an invasion from Mars. There’s also the classic 1953 film version produced by George Pal, a 1988-90 TV series which starred Jared Martin, and Steven Spielberg’s 2005 remake featuring Tom Cruise, which was produced in the aftermath of 9/11, and whose stark tone was influenced by those horrible events. The 1978 album Jeff Wayne’s War of the Worlds, featuring Richard Burton, David Essex and Justin Hayward of the Moody Blues, is a cool rock opera retelling of the story. Recently, there have been two newer adaptations of the tale, a BBC produced mini-series set in the nineteenth-century time period of the novel, and a modern-day re-imagining featuring Gabriel Byrne and Elizabeth McGovern, which aired recently on the EPIX cable network.

Most fans consider the 1953 film version of the novel to be the definitive re-telling of this classic story. The rights to War of the Worlds had been held by Paramount for years, and at one point, Cecil B. DeMille had plans to work on a cinematic adaptation of the book. Eventually, George Pal, who had produced the successful science-fiction films Destination Moon and When Worlds Collide, took on the project. Former cinematographer Byron Haskin was brought on board to direct the film, and relative newcomers Gene Barry and Ann Robinson were selected to star in the movie. Barry plays Dr. Clayton Forrester, a nuclear physicist, and Robinson co-stars as Sylvia Van Buren, whom Forrester meets while investigating what is at first thought to be a meteor which has crashed to Earth. The duo are catapulted headlong into a strange and harrowing situation when several more of these objects arrive. The “meteors” turn out to be alien ships from Mars, and similar objects have landed all over the world. It’s the beginning of an invasion, and the Martian ships weave a path of death and destruction across the Earth. No weapon or force seems to be able to stop them. The fate of the world hangs in the balance. Is this the end of humanity?

The film is exciting and suspenseful. Haskin’s direction is solid, and he keeps the action moving at a crisp pace. The script by Barre Lyndon updates the action of the novel to the present day, and the change works beautifully. We’re able to relate to Clayton and Sylvia’s experiences, and we see the terrifying events of the alien invasion through their eyes. The cast, aside from Barry and Robinson, is full of character actors and familiar faces, including Les Tremayne, Jack Kruschen, and Robert Cornwaithe, who appeared in the 1951 classic The Thing. Ann Robinson later reprised the character of Sylvia Van Buren in the 1988-90 TV series, which was set after the events of this film. The special-effects (which won on Oscar) are first-rate, and are still quite impressive. The cool, sleek design of the Martian craft and their powerful death rays, the marvelous sound effects, and the excellent matte work all combine to create a stunning vision of the indestructible Martians and their devastating power. Like a pair of other well-regarded films that followed, Forbidden Planet and This Island Earth, it’s obvious that War of the Worlds was produced on an “A” budget, unlike the many sci-fi movies that followed in the later years of the decade. The movie also clearly influenced many modern day big budget sci-fi thrillers, including the 1996 epic, Independence Day.

Cover for The Criterion Collection release

War of the Worlds was produced with great care and attention to detail by George Pal, and it shows. The movie holds up remarkably well, and is still an engrossing and exciting tale. It’s one of Pal’s best films, along with his other Wells adaptation, 1960’s The Time Machine. The movie has recently been issued on Blu-ray by The Criterion Collection. The film has been re-mastered in high-definition using an original Technicolor print as a reference, and this release also features a new 5.1 mix of the soundtrack. The excellent array of extras includes an informative commentary by director Joe Dante, movie historian/collector Bob Burns and the late Bill Warren, who wrote the definitive study of 1950’s science-fiction films, Keep Watching The Skies, as well as a vintage audio interview with George Pal, an audio recording of Orson Welles’ radio broadcast, and a brief interview Welles conducted with author H.G. Wells. There are also some wonderful featurettes, which include interviews with members of the cast, as well as the talented team who worked on the film’s restoration, including Ben Burtt and Craig Barron. If you’re looking to own a copy of the film, this disc is a must-have. For more info on this excellent disc from The Criterion Collection, follow this link: https://www.criterion.com/films/29942-the-war-of-the-worlds.

War of the Worlds has been re-interpreted and re-invented by several generations of artists since H.G. Wells first released the novel in 1898. But for kids of a certain age, the 1953 film will always hold a special place in our hearts. Here’s the original trailer for the 1953 version of War of the Worlds: https://www.youtube.com/watch?v=m_DUxdhdSyk. For more on Jeff Wayne’s War of the Worlds, the rock and roll version of the novel, head over to CultureSonar, and check out my story on the album by following this link: https://www.culturesonar.com/war-of-the-worlds/.