Rock Hudson Gets a "Seconds" Chance

Our culture has always been obsessed with youth. You only have to take a brief look at much of the music, film and television being produced these days to see that fixation play out in real time. What if you could have a chance to reset your life and start over again at an earlier age? That's the premise of director John Frankenheimer's Seconds (1966), a remarkable film featuring Rock Hudson and Salome Jens. The story concerns a well-off middle-aged man named Arthur Hamilton (initially played by character actor John Randolph, recognizable from his many film and television roles in the 1960s and 70s) who feels he's lost the passion in his life. Arthur finds no fulfillment in his work, or from his wife, family and friends. He wonders what he would do with a if he could start over again. A brief encounter with a friend who he thought had died gives him the chance for a new start.

Rock Hudson in Seconds

Arthur learns about an organization called the "Company" which offers people like himself a rebirth. They create a new identity for you and remake you as a younger person through a process that involves extensive surgery. The only catch is that you have to permanently leave your old life behind. The death of your old self is arranged (faked) by the organization so that no one comes looking for you. Arthur agrees to the procedure and becomes an artist named Antiochus "Tony" Wilson. He is placed into a Malibu-based community of other "reborn" people like himself who socialize together and live out their new lives in luxury. He begins a romance with a woman named Nora, who's something of a lost soul. Despite their attraction, Nora's having some difficulty adjusting to her new existence. And Tony is as well.

Even though he's been given everything he ever wanted, Tony begins to feel dissatisfied. He visits his wife, and an old friend (which is against the rules of the Company) and of course, neither of them recognize him. Tony starts to have second thoughts about his decision. He begins to discover some disturbing truths about the organization that helped him start a new life. It appears the Company (and its methods) may be somewhat less benevolent than Tony originally thought. What will happen when he confronts them with his misgivings? Will he be able to free himself from the confines of their restrictive system of rebirth and transformation? There is a darker truth about the Company, and the price for second chances may be quite a lot higher than Tony originally thought.

Seconds is an intriguing, thoughtful combination of art film, science-fiction tale and thriller. Rock Hudson is excellent (it's absolutely one of his best performances) and Salome Jens is genuinely affecting as the troubled Nora. The top notch supporting cast includes familiar faces such as Jeff Corey, Will Geer, Richard Anderson and Murray Hamilton. The screenplay (based on David Ely's novel) is by Lewis John Carlino, who also wrote The Mechanic (1972) and Resurrection (1980). The film is masterfully directed by John Frankenheimer, who also helmed Seven Days in May, The Manchurian Candidate and Grand Prix. The exquisite black and white cinematography by Oscar winner James Wong Howe manages to bring a chilling look and incredible depth and texture to the movie. The haunting music is by Jerry Goldsmith, one of the true maestros of film scores.

The movie is a powerful examination of the the loss of identity, the perils of materialism, and the kind of suburban ennui that develops in some people in middle age. You can almost see a character like Mad Men's Don Draper showing up at the Company to avail himself of its services. While the movie was not a success upon its original release, it's gained a cult following and has grown in reputation over the years. The film looks and feels more timely now than ever before. I think it's one of John Frankenheimer's best films, and I highly recommend checking it out. Seconds has been released on DVD and Blu-ray from The Criterion Collection, and is available on some streaming services. Here's a link to the film's trailer: https://www.youtube.com/watch?v=u-vmD-vhh4I. 

Mandy: Unique, Intense and Frightening

There are the movies that you watch and enjoy, and then there are the movies that you experience. For me, one of those visceral moments was The Shining, which I first saw as a teenager (in a nearly empty theater, which only added to its eeriness) during its original release in 1980. Whatever you think of its fidelity to the source novel by Stephen King, there's no doubt that Stanley Kubrick's film engenders a powerful reaction from viewers. In this world of big budget action flicks, superhero franchises and endless gross out comedies, there aren't many movies that grab you by the shoulders, pull you into their world, and don't let go. Director Panos Cosmatos' thriller Mandy (2018) is definitely one of those films. The movie has a unique style and a singular depth of vision.

This mind-bending horror tale stars Nicolas Cage and Andrea Riseborough as a couple living in California in the 1980s. Cage's Red Miller is a logger and Riseborough's title character works in a convenience store. She's also a talented illustrator who creates richly detailed fantasy art. They live a somewhat isolated existence, and it's clear that they're deeply in love with (and draw strength from) one another. They cross paths with the Children of the New Dawn, a strange cult headed by a self-appointed messiah named Jeremiah Sand. He catches sight of Mandy, and decides he wants her for himself. Sand orders his followers to kidnap her, and with the help of a demonic group of bikers (yes, you read that correctly) Mandy and Red are taken prisoner. 

Andrea Riseborough as Mandy

The narcissistic Sand drugs Mandy and attempts to seduce her, expounding about his god-like state of being and telling her she'll be his consort. Needless to say, things do not go according to plan, and she rejects him. Since he can't have her, the psychotic cult leader has her killed, right in front of Red's eyes. The group essentially leaves him for dead, and departs the scene. A broken, devastated Red survives the ordeal. What follows is a violent, disturbing sequence of events as Red goes on a very personal quest for vengeance. His rage not only empowers him, it seems to define him. Without Mandy, he's like a ship without a rudder. He's completely focused on his goal; he's going to put the hurt on those who deprived him of the love of his life, even if it consumes his soul. Red will use crossbows, chainsaws, battle axes and whatever weapons necessary to get his revenge.

  

As an actor, Nicolas Cage has become something of an acquired taste for film fans. He’s been remarkably prolific in recent years, appearing in a large number of movies, and his tendency to go over the top (and beyond) is often lampooned on shows like Saturday Night Live. His performance as Red is wildly expressive, but it fits the tone of the film perfectly. He's quiet and almost introverted until the death of Mandy breaks something inside him, and then he lets loose with a rage that keenly illustrates the character's deep sense of loss. Andrea Riseborough is excellent as Mandy. She exudes an ethereal beauty, and is able to convey the character's almost otherworldly qualities even in scenes where she has no dialogue. It's a wonderful performance. Linus Roache is chilling as the self-important cult leader, who's able to manipulate his followers by telling them what they want to hear, tailoring his "philosophy" to their needs. 

Mandy is intense, disturbing and frightening. The film's stunning imagery has an almost hallucinatory, dream-like quality. There are scenes of incredible beauty and also darker hued scenes of violence. Director Cosmatos and cinematographer Benjamin Loeb do a fantastic job creating a striking look and color scheme for the movie. The evocative score is by the late Jóhann Jóhannsson. The movie is atmospheric, quirky, haunting, and powerfully affecting. It's not quite a love story, a thriller, a horror film, or a blood-drenched tale of vigilante revenge, and yet it embraces all of those genres. Now at this point, you might be saying to yourself: Cult leaders? Demonic bikers? Chainsaws? Mandy might not be your usual cup of tea, but this offbeat film will definitely inspire conversation after you watch it, and you might find yourself swept up into this unique world.

This is writer-director Cosmatos' second film, following the equally genre-defying Beyond The Black Rainbow (2010). I can't wait to see what he does next. Mandy is available on DVD and at various online streaming sites, such as Amazon. Here's a link to the trailer for this brilliant, unusual, and imaginative film: https://www.youtube.com/watch?v=rI054ow6KJk. I've written about the excellent movie website Trailers From Hell for this blog, the home of the absolutely essential podcast The Movies That Made Me, co-hosted by screenwriter Josh Olson and director Joe Dante. Josh is a huge fan of Mandy, and synched up the trailer for the film with the (otherwise unrelated) Barry Manilow tune. Oddly enough, the union of the two kind of works. Here's a link to that clever mashup: https://www.youtube.com/watch?v=1NwBh2UTivs. By the way, Panos Cosmatos was also a guest on The Movies That Made Me podcast. This is a link to the episode on which he chatted with Olson and Dante: https://trailersfromhell.com/podcast/panos-cosmatos/.

Watch Out for the Mysterious "Thriller!"

Back in the days when original stories of suspense and the macabre were a regular feature of television programming, there was a British show called Thriller, an anthology series that ran from 1973-1976. The series was the brainchild of Brian Clemens, who’s probably best known for his work on the classic spy series The Avengers. Thriller (not to be confused with the 1960-62 Boris Karloff hosted series with the same title) featured tales of murder, mystery and the supernatural. One of the main selling points of the show was that it featured well-known British actors, usually paired with an American star in a lead or co-starring role. This was done so the series could more easily be marketed to the US and other territories. Outside of the UK, the episodes of the show were often syndicated as standalone features, with title changes, and in some cases, additional footage was added to pad out the running time. In its original form, the series is a lot of fun to watch, with well-crafted stories (most of them scripted by Clemens) featuring offbeat plotlines and twist endings. Let’s take a brief look at a few memorable entries from the show.

Donna Mills & Alethea Charleton

“Someone at the Top of the Stairs” is an eerie episode from the series’ initial season. The story stars Donna Mills and Judy Carne as college students who rent a room in a Victorian style house with an assortment of other tenants. Everyone who lives there seems a little odd, including the overly friendly landlady, Mrs. Oxhey, played by Alethea Charleton. At first, it seems like the other residents of the house are just a bit eccentric, but things start to get very, very weird. Everyone keeps referring to a mysterious, unseen “Mr. C” who lives upstairs, who will “love” the new additions to the household. It all leads to a terrifying climax as the true nature of the house and its residents is revealed. Mills (pre-Knots Landing) and Carne (of Laugh- In fame) are quite good as the damsels in distress, and there’s a great supporting cast of British character actors playing the eccentric members of the household. Donna Mills actually appeared in several episodes of the series throughout its run.

“A Killer In Every Corner” from the third season of the series, concerns Professor Carnaby, a well-respected psychologist who invites three students to his home to discuss his theories, and to demonstrate a new technique he believes will cure homicidal tendencies in people who are predisposed to be murderers. Like all researchers in this type of story, it turns out the good doctor’s theories may have just a few tiny holes in them. And there just may be a violent killer loose in their midst right now! The professor is played by British film veteran Patrick Magee, and one of the students is portrayed by Joanna Pettet, who appeared in many TV movies and series in the 1970s, including Mannix, Night Gallery and The Love Boat. The supporting cast, including Max Wall and Eric Flynn, is quite good. There are a couple of neat twists in the story, though seasoned mystery buffs may spot them ahead of time. This episode is a more of a straightforward thriller, and the buildup to the suspenseful climax is well-handled by director Malcolm Taylor.

Cec Linder & Andrea Marcovicci

Also from the third season, “Nurse Will Make It Better” is a chilling foray into the supernatural. A new caregiver insinuates herself into the family of a diplomat whose daughter has been crippled in a horse riding accident. Suddenly, the daughter can walk again, though her personality has changed drastically, and terrible things begin happening to the family. The youngest child also falls under the nurse’s spell. What is going on, and what are Nurse Bessy’s true intentions, and just who is she? Ruth, the family’s middle daughter, tries to find out the truth, but will she be too late? Diana Dors, who usually played more glamorous roles, is terrific as the dowdy, seemingly benevolent Nurse Bessy. The supporting cast features Ed Bishop (UFO), Cec Linder (Felix Leiter in Goldfinger), Andrea Marcovicci (Hill Street Blues) and Patrick Troughton (Dr. Who, The Omen). This is one of the series’ darkest episodes; if you like Hammer films, Dark Shadows, or movies like Rosemary’s Baby, you’ll appreciate this frightening tale.

Helen Mirren and Michael Jayston

Other standout stories include “A Coffin for the Bride” featuring Michael Jayston as a fortune-hunting killer who falls in love with a young woman played by future Oscar winner Helen Mirren. There’s a neat twist at the end of this episode, and it’s great to see Mirren in an early role. Fans of Stephen King’s Christine might like “One Deadly Owner” in which Donna Mills returns as a woman who buys a used Rolls Royce that just may be haunted. The ghostly car could be the key to solving a mysterious disappearance. Her boyfriend in the episode is played by Jeremy Brett, who went on to portray Sherlock Holmes on British TV in the 1980s and 90s. “Only a Scream Away” showcases Gary Collins (who also appeared in multiple episodes of the series) playing a mysterious man who befriends a new bride played by Hayley Mills. And in “Kiss Me and Die” a man searching for his missing brother gets involved with a young woman (Jenny Agutter of Logan’s Run and An American Werewolf in London) whose possessive guardian is obsessed with Edgar Allan Poe. Obviously, things aren’t going to go well for that budding relationship.

The series should really be enjoyable for fans of stylish, old-school tales of mystery and suspense, and it’s a great pleasure to see so many well-known British and American stars in the series. Aside from those already mentioned, you can check out US actors like Barbara Feldon, Patrick O’Neal, Lynda Day George, Bradford Dillman and Carol Lynley, as well as British thespians such as Brian Blessed, Bob Hoskins, Pamela Franklin and Linda Thorson. The show was shot on videotape, so it does have a rather stage-bound, old-fashioned feel to it, but in a way that adds to its charm. The wrap-ups are occasionally a bit rushed, and some of the stories might feel a bit clichéd to modern viewers, but Brian Clemens knows how to spin a good yarn, and I think you’ll have a lot of fun watching Thriller. I remember seeing a few of these stories in syndication in my younger days, and I was delighted to rediscover the show recently. The entire series is available on Amazon Prime, and has also been released on video in the UK. Here’s a link to the title sequence and a brief clip from “Someone at the Top of the Stairs.” https://www.youtube.com/watch?v=HCIDwPs34Ns 

Lee Hazlewood is "400 Miles From L.A."

Lee Hazlewood was one of the most creative artists to ever grace a recording studio or soundstage. The eclectic singer rose to fame through his work as a producer and songwriter for artists like Duane Eddy, Dean Martin and Frank Sinatra. He’s perhaps best known for his work with Nancy Sinatra, for whom he wrote and produced the iconic song “These Boots Are Made For Walkin.” Hazlewood originally planned to record it himself, but Nancy convinced him to allow her to sing it, and the rest is history. The duo also recorded a trio of albums together, and the first, Nancy and Lee, is a bona fide classic, featuring such atmospheric tunes as the darkly sensual “Some Velvet Morning” and “Summer Wine” as well as an almost eerie cover of “You’ve Lost That Lovin’ Feeling.” The pairing of Hazlewood’s rich baritone and Nancy’s tough yet tender vocals is perfectly in sync.

Hazlewood had a style all his own, a hard to categorize amalgam of country, folk, rock, pop and psychedelia. He made it all look and sound effortless, and radiated cool without even trying. Hazlewood’s introspective, wry lyrics displayed his off-kilter and ironic sense of humor. His distinctive vocals grabbed your attention from the moment the needle hit the record. Never content to stick to one genre, he recorded and produced music that was always unique. Hazlewood even did a wild, over the top album of pop, folk and soul songs with Ann Margaret, The Cowboy and The Lady. He continued to record and release eclectic, inventive records throughout his life, until his passing in 2007. He’s gained a loyal following and a dedicated cadre of fans over the years, with artists like Beck, The Pixies and Pete Yorn covering his songs, and citing him as an influence.

Cover Image Courtesy Light In The Attic Records

Light In The Attic Records, a label that has been re-issuing wonderful new editions of Hazlewood’s amazing catalog, is now celebrating what would have been his 90th birthday with the release of 400 Miles From L.A. 1955-56, a collection of his early recordings. The disc features demos and rough takes, many of which were subsequently featured on Hazlewood’s classic debut, 1963’s countrified concept album Trouble Is A Lonesome Town, as well as some of his later records. It’s a captivating look at the creative process, as you can really hear the beginnings of wonderful songs like “The Railroad Song” and “Cross Country Bus” in these embryonic takes. The flawed characters who inhabit striking tunes such as “Long Black Train” and “Peculiar Guy” are memorably etched by Hazlewood; he's a master storyteller. You’ll feel like you know these people and their hopes, dreams, sadness, and disappointments.

400 Miles From L.A. 1955-56 is a terrific compilation of songs by the “psychedelic cowboy” that were recorded during a time he was living in Phoenix, Arizona and shuttling back and forth to L.A. to try and break into the music business. These recently discovered recordings paint a clear picture of the innovative, fascinating work that we’d hear from Hazlewood in the years to come. The album will be released on September 13th, and I highly recommend it to fans and newcomers to the music of Lee Hazlewood. You could almost subtitle it “Lee Hazlewood Unplugged.” 400 Miles From L.A. 1955-56 also features extensive liner notes by Hazlewood expert Hunter Lea, and an interview with music historian John Dixon. I’ve only scratched the surface of the fantastic work and intriguing story of Lee Hazlewood in this post, so I encourage you to seek out his music, and learn more about him. You can check out the release by following this link: https://lightintheattic.net/releases/4957-400-miles-from-l-a-1955-56, and you can also view an animated trailer for the release by going here: https://www.youtube.com/watch?v=tnAlNilp48E&feature=youtu.be. 

Blinded By The Light: The Power of Bruce

I’d always enjoyed the music of Bruce Springsteen, but when I was first dating my late wife Gloria, she helped deepen my appreciation for The Boss. She was a huge rock and roll fan, but for her, there was something about Bruce’s lyrics that truly moved and inspired her. Gloria connected with his lyrics on a far deeper level than any of the other artists that she listened to. Bruce’s music helped her deal with a lifelong illness, and brought her a great deal of joy. We talked a lot about her love for Bruce and his music. I’ll never forget the look of pure happiness on her face the first time we saw a live Springsteen show together. Seeing Bruce through her eyes helped me connect to him in a whole new way, and it also helped me to share in her passion for his music.

Viviek Kalra as Javed

What brought up these memories for me was seeing the terrific new film Blinded By The Light. The movie, which is set in 1987, tells the story of a Pakistani immigrant named Javed Khan, who lives in Luton, England. Despite the disapproval of his very traditional father, Javed likes listening to pop music and writing poetry. While his family deals with the difficult economic realities of the Thatcher era, and the racism of fascist groups like the National Front, Javed dreams of becoming a writer. One day, his friend Roops (the only other South Asian student at his school) gives Javed cassette tapes of a couple of albums by Bruce Springsteen, telling him that Bruce really understands the truth about what’s going on in the world.

Javed listens to the albums, and is transformed by hearing Springsteen for the first time. He feels that Springsteen is a kindred spirit, and that all of the frustrations and hopelessness he feels about his own life are mirrored in Bruce’s lyrics. Inspired by Springsteen’s music and a kind English teacher, he starts writing about his real-life experiences. Javed also begins a tentative romance with Eliza, a fellow student who’s a political activist. But rising tensions within his family (his father is laid off from his job, and they’re struggling financially) threaten his plans to attend college and become a writer. Javed and his father constantly clash, and following an incident on the day of his sister’s wedding, he forbids Javed to pursue his ambitions. Will Javed find the courage to follow his dreams?

The movie masterfully expresses the yearning to find your own voice and place in the world, despite the pressures of family and society to steer you in a traditional direction. You don’t need to be Pakistani to understand the issues that Javed deals with in the film. If you’re a son, a daughter, a father or a mother, you can empathize with the struggles these characters are going through. And while it helps to be familiar with Bruce’s music, you don’t have to be a huge fan to understand Javed’s love for Springsteen's music. Just think of that album, movie, book or piece of art that you were knocked out by (and others may not have appreciated) and you’ll be able to understand his feelings. We can all relate to that rush of discovery when we find the thing we're passionate about.

Blinded By The Light is lovingly directed by Gurinder Chada, who also helmed Bend It Like Beckham and Bride and Prejudice. The screenplay for the film was co-written by Chada, Paul Mayeda Berges and Sarfraaz Manzoor, based on Sarfarz’s memoir, Greetings from Bury Park: Race, Religion and Rock N’ Roll. The film is visually striking; Bruce lyrics literally float around Javed’s body, and pop up on walls and other surfaces. It’s a magnificent representation of how a song can literally get into your head. There are some marvelous musical sequences (kudos to cinematographer Ben Smithard) set to Springsteen songs. This isn’t a musical, but the movie shares some of the unbridled joy of that genre in those moments. Bruce’s music is deeply integrated into the film; it’s the heartbeat of the story.

The cast is excellent; Viveik Kalra is fantastic as Javed, and Kulvinder Ghir is very good as Javed’s father, bringing real depth to a role that could have been one-dimensional. There’s also fine support from Nell Williams, Aaron Phagura and Hayley Atwell. Blinded By The Light is one of the best films I’ve seen this year. It’s a marvelous expression of the universality of music, and how your spirit can be lifted (and healed) by the power of song. Javed's story illustrates that we all share the same hopes, dreams, joys and frustrations in this world. If you’ve ever been moved, transported, inspired or changed by the work of an artist, I definitely encourage you to see this wonderful film. I loved it, and it brought back a lot of memories for me. I know that Gloria would have loved it as well. Here’s a link to the trailer for the movie: https://www.youtube.com/watch?v=f1YFA_J5JBU.

Hauer vs. Stallone in "Nighthawks"

Rutger Hauer & Sylvester Stallone

Rutger Hauer is best known for his portrayal of the replicant Roy Batty in the classic science-fiction film Blade Runner. He actually helped write part of the character’s memorable and oft-quoted “tears in the rain” speech, which was featured in the film’s climax. Hauer, who passed away in July, was a versatile actor, adept at playing both heroes and villains. He was featured in a variety of films, such as Ladyhawke, The Hitcher, Blind Fury, Confessions of A Dangerous Mind, and Batman Begins. Hauer also appeared in quite a few made for television movies and series, including Escape From Sobibor, Fatherland, Smallville, True Blood, and Galavant. He was born in the Netherlands, and began his career acting in Dutch films, most notably Turkish Delight, Soldier of Orange and Spetters, often working with director Paul Verhoeven, who later cast him as a mercenary in the medieval adventure Flesh & Blood. Hauer made his American film debut in the 1981 thriller Nighthawks. The movie is about a pair of New York City cops (played by Sylvester Stallone and Billy Dee Williams) who match wits with a wily terrorist named Wulfgar, portrayed by Hauer.

NYPD detectives Deke DaSilva (Stallone) and Matthew Fox (Williams) are re-assigned to a newly created task force when international terrorist Heymar Reinhardt (aka Wulfgar) goes rogue and is reported to be in New York. DaSilva and Fox are tasked to work with Scotland Yard Inspector Hartman, who has been tracking Wulfgar for years. The driven, obsessed Hartman tries to impress upon the detectives that Wulfgar is an amoral, cold-blooded and violent killer, and they’ll have be just as ruthless as he is in order to stop him. As Wulfgar cuts a violent path across the city, DaSilva, Fox and Hartman hunt him and his partner, Shakka. The cops and the Scotland Yard inspector tangle with them at various locations, including a disco, the Metropolitan Museum of Art and in an exciting sequence, the Roosevelt Island tram system. But Wulfgar continues to evade capture, taunting our heroes and escaping them at every turn. It all culminates in a climactic showdown between DaSilva and Wulfgar when the villain threatens the detective’s estranged wife, Irene.

Nighthawks had a troubled history. The film’s initial director was Gary Nelson, who helmed the original Freaky Friday and The Black Hole for Disney. Nelson was fired from the project early on, and replaced by Bruce Malmuth. According to some sources, Stallone also directed a number of scenes during production. The movie was also re-edited before release to focus more on Stallone’s character, and to tone down some of the more graphic violence. On the plus side, film was made before the digital age, so what you’re seeing on screen is real, not CGI. Stallone actually did most of his own stunts. The movie also benefits greatly from Hauer’s intense, chilling performance as Wulfgar. He and Stallone make great adversaries, and you can feel the sparks fly between them onscreen. The rest of the cast is also very effective, including Nigel Davenport as Inspector Hartman, Lindsay Wagner as Irene and Persis Khambatta (Lt. Ilia in Star Trek: The Motion Picture) as Shakka. Character actor Joe Spinell (who often played mobsters and villains) appears as the detectives NYPD boss, Lieutenant Munafo, and Catherine Mary Stewart (Night of the Comet) has a small role as a salesgirl in a sequence set in London early in the film.

Nighthawks is a riveting, fast-paced thriller. The location filming, strong performances and the exciting action sequences add to the film’s gritty, realistic tone. The pulsating score was composed by Keith Emerson of Emerson, Lake and Palmer fame. The movie was modestly successful on its original run, but gained more fans when it was shown regularly on cable and broadcast television during the 1980s. Hauer’s career in the United States took off after his roles in Nighthawks and Blade Runner, and he worked steadily in film and television until his recent passing. He also founded an AIDS awareness organization, The Starfish Association, and supported several environmental groups, including the Sea Shepherd Conservation Society. Nighthawks has been released on DVD and Blu-ray. Here’s a link to the film’s trailer: https://www.youtube.com/watch?v=cnvbtAoucPU.

Remembering David Hedison in "The Fly"

David Hedison, who passed away in July, is well known to genre fans for his role as Captain Lee Crane on the TV series Voyage to the Bottom of the Sea. The show, created by producer Irwin Allen, originally ran from 1964-68, and was very popular in syndication during the 1970s and 80s. In addition to his role on Voyage, Hedison played James Bond’s friend and ally, CIA agent Felix Leiter, in two 007 adventures, Live and Let Die and Licence to Kill; he was the first actor to portray the character more than once. He also starred in the eerie 1973 television film, The Cat Creature, written by Robert Bloch, the author of Psycho, and appeared opposite his Live and Let Die co-star Roger Moore in the high seas action adventure film, ffolkes, also known as North Sea Hijack. Hedison guest starred on a plethora of TV series in the 70s and 80s, including Charlie’s Angels, Hart to Hart, Simon and Simon and The A-Team.

Patricia Owens & David Hedison

One of his most fondly remembered roles is as the star of the 1958 sci-fi thriller, The Fly. The actor, then billed as Al Hedison, stars as scientist Andre Delambre. He has a loving wife, Helene, and a young son named Philippe. Andre is working on an invention that can teleport matter from one place to another, much like the transporter device later seen in Star Trek. The problem is the machine has some kinks in it. During test runs, it reverses the logo on a plate, and seemingly sends the family cat to another dimension. Delambre presses on with his research, and eventually tries the device on himself. That turns out to be a very ill-advised decision, as a fly gets into the transport chamber with him, and Delambre and the fly swap body parts. Now Andre has the head and arm of a fly, and vice versa. Andre eventually reveals his condition to Helene, and asks for her help. The race is on to locate the half-human fly so the process can (hopefully) be reversed. 

The film is structured like a mystery and begins in the aftermath of Andre’s death. The story is told in flashback, as Helene tells the fantastic tale of Andre’s scientific mishap. As she relates the events leading up to her husband’s death to police Inspector Charas and Andre’s brother Francois, the men feel certain that she’s gone mad. Then the terrible truth is revealed in the movie’s terrifying conclusion. Hedison is quite good as Andre, and he and Patricia Owens (who plays Helene) have a nice chemistry portraying the couple, who clearly have great affection for one another. The character of Andre is less stuffy than the typical movie scientist, though he’s still quite obsessed with his research. By the way, that's Hedison, not a stand-in, in the fly makeup throughout the film. The moment where Andre's "fly" head is revealed is one of the more iconic moments in 1950s sci-fi,  along with the terrifying finale. Anyone who saw the film in their younger days, either in theaters or on TV, remembers the chilling words “Help Meeeee!” 

The Fly is based on a short story by George Langelaan, which was adapted by James Clavell. Yes, the same James Clavell who later wrote Shogun. He was a busy screenwriter during the late 1950s and early to mid 1960s, working on films such as The Great Escape, The Satan Bug, and To Sir, With Love. The literate script, solid production values, and excellent cast, which also includes Vincent Price as Francois and Herbert Marshall as Charas, help elevate the film's quality. It's also in color, like the similarly A-level productions Forbidden Planet and This Island Earth, a rarity for 1950s sci-fi and horror films. The film was directed by Kurt Neumann, who also helmed Rocketship X-M and a trio of Tarzan films starring Johnny Weismuller. Originally, Michael Rennie (Klaatu in The Day The Earth Stood Still) was offered the the part of Andre, but declined to take on the role.

The movie spawned two sequels, Return of the Fly (without Hedison, but with Vincent Price reprising his role) and Curse of the Fly. The film was remade (or perhaps, it's better to say re-imagined) by director David Cronenberg in 1986. That creepier, more graphic version starred Jeff Goldblum and Geena Davis. Also titled The Fly, the success of the new version also begat a sequel, The Fly II, featuring Eric Stolz in the title role. But for a whole generation of baby boomer and Gen X kids brought up on Saturday afternoon and late-night showings of the original on TV, David (Al) Hedison will always be The Fly. By the way Hedison and co-star Vincent Price later appeared together on an episode of Voyage to the Bottom of the Sea entitled "The Deadly Dolls," featuring Price as a (what else?) villainous puppeteer. The film is available on DVD and Blu-ray. Here's a link to the trailer for The Fly: https://www.youtube.com/watch?v=Hdv4QA-O1bg.