Category Archives: 1966

RIP, Ennio Morricone.

Ennio Morricone
(November 10. 1928 – July 6, 2020)

The great composer Ennio Morricone has passed away at 91. Among his many terrific scores was the one for Sergio Leone’s The Good, The Bad And The Ugly (1966).

Without his music, would spaghetti Westerns have been as impactful as they were?

His work that comes to mind with this news is Mario Bava’s Danger: Diabolik (1967).

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Filed under 1966, Clint Eastwood, Ennio Morricone, John Phillip Law, Lee Van Cleef, Mario Bava, Sergio Leone, Spaghetti Westerns

Blu-Ray News #300: Lightning Bolt (1966).

Directed by Antonio Margheriti
Starring Anthony Eisley, Wandisa Guida, Diana Lorys, Ursula Parker, Folco Lulli

This one’s already out. Code Red has released Antonio Margheriti’s Lightning Bolt (1966, also known as Operazione Goldman) on Blu-Ray, with The Resurrection Of Zachary Wheeler (1971) as an extra. That’s got Leslie Neilson and Angie Dickinson in it.

Lightning Bolt is one of those European James Bond ripoffs from the mid-60s. This one proved (to me, at least) that the ripoffs could be every bit as enjoyable as what they were ripping off, sometimes more. It’s a lot of fun, if you don’t ask it to make a lot of sense. Margheriti was really on a roll during this period, with Barbara Steele pictures (Castle Of Blood, The Long Hair Of Death) coming before this one — and the Gamma 1 series (Wild, Wild Planet, etc.) following it.

Picked up by Woolner Bros. in the States, Lightning Bolt played with Red Dragon (1966) during its original run. It’s not near as good. Judging from screen grabs from the Blu-Ray, the picture may not be of demonstration quality, but it’s miles ahead of what I saw on TV and had on VHS once upon a time. Can’t wait to see its full Techniscope framing!

If you’re a fan of this stuff, this one comes highly recommended. I’ll get around to a longer piece once I see the Blu-Ray.

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Filed under 1966, Angie Dickinson, Antonio Margheriti, Code Red, DVD/Blu-ray News, Woolner Brothers

Blu-Ray News #293: Dr. Who And The Daleks (1965) & Daleks’ Invasion Earth 2150 AD (1966).

I’ve never been a Dr. Who fan. But I absolutely adore Peter Cushing.

So I was really stoked to learn that Kino Lorber is bringing both of the Cushing Dr. Who theatrical films — Dr. Who And The Daleks (1965) and Daleks’ Invasion Earth 2150 A.D. (1966) — to Blu-Ray in July.

These used to turn up on TV a lot in the 70s, where their Techniscope photography suffered quite a bit. It’ll be cool to see them in high definition — the Technicolor was gorgeous.

One more thing: wouldn’t that have been a fun night at Austin’s Longhorn Drive-In?

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Filed under 1966, 1967, DVD/Blu-ray News, Kino Lorber, Peter Cushing

Blu-Ray News #280: Munster, Go Home! (1966).

Directed by Earl Bellamy
Starring Fred Gwynne, Yvonne De Carlo, Al Lewis, Butch Patrick, Debbie Watson, Terry-Thomas, John Carradine

Shout Factory is bringing Munster, Go Home! (1966) to Blu-Ray in March.

The picture gave us a chance to see TV’s Munster family on the big screen in eye-popping Technicolor. It played one of those summer matinee series when I was a kid, and I can still remember the incredible color of that battered 35mm print. And though the DVD of the picture is quite nice, it’ll be great to have it in high-definition.

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Filed under 1966, DVD/Blu-ray News, Shout/Scream Factory, Universal (-International)

Blu-Ray News #264: Rasputin – The Mad Monk (1966).

Directed by Don Sharp
Starring Christopher Lee, Barbara Shelley, Richard Pasco

Just last night, I checked out Scream Factory’s new Blu-Ray of The Devil Rides Out (1968). It’s one of the best-looking Hammer pictures I’ve seen in high definition. Really something else. (A review is in the works.)

So, with that fresh in my mind, I was really stoked to see today’s announcement of Hammer’s Rasputin – The Mad Monk (1966) and X: The Unknown (1956). Scream Factory’s Hammer series shows just how nice these old horror movies can be on video. They’re all stellar.

Rasputin stars Christopher Lee and Barbara Shelley and is one of the few Hammer films in ‘Scope, actual CinemaScope this time. X: The Unkn0wn was to be Hammer’s second Quatermass film, but Nigel Kneale wouldn’t give them the rights to the character. It plays like a Quatermass movie (Joseph Losey directed some of it before he was replaced by Leslie Norman) and is very good.

These movies, and what I’m sure Scream Factory will do with the Blu-Rays, come highly recommended.

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Filed under 1966, 20th Century-Fox, Barbara Shelley, Christopher Lee, Don Sharp, DVD/Blu-ray News, Hammer Films, Joseph Losey, Shout/Scream Factory

Blu-Ray Review: Ultra Q (1966).

Until this Mill Creek set turned up in my mailbox, I hadn’t seen an episode of Ultra Q (1966) in its entirety. Now, about halfway through the show’s 28 episodes, I’m having a blast.

If I had seen Ultra Q when I was 10 (and could understand Japanese), it might’ve been my favorite TV show.

It goes like this. Eiji Tsuburaya, the special effects maestro behind Toho’s Godzilla movies, started his own production company and kicked things off with Ultra Q. It’s about a team of investigators who look into different mysterious goings from episode to episode — similar to the setup of, say, The Night Stalker or The X Files. But this being Japan in the mid-60s, that premise (inspired by The Outer Limits) becomes a showcase for a giant monster every week. Toho was an investor in Tsuburaya’s new production company and gave the show access to their prop warehouse, filled with monster suits waiting to be unleashed on another miniature Tokyo. Part of the fun is spotting disguised monsters from the Kaiju movies, such as Godzilla dressed up to play Gomess in the first episode.

It’s a pretty whacked-out affair. All sorts of things come from space or out of the ground, and our intrepid team — a scientist, a young reporter and a pilot — take them on as the Japanese countryside and infrastructure get stomped. That’s pretty much it. The half-hour format really works in its favor, as time is never wasted — they get right to the monster.

Ultra Q only lasted one season. Tsuburaya Productions moved on to the first Ultraman series (in color) in 1967, and that franchise is still going.

Mill Creek has done a terrific job on this set, available in regular or steelbook packaging, and on their first Ultraman set (released the same day).

Ultra Q‘s gorgeous black and white is perfectly presented on Blu-Ray, with the contrast masterfully dialed in. Everything’s sharp as a tack, allowing for some grainy stock footage from time to time. The sound is clear as a bell (it’s got a great Surf-y theme song), and the English subtitles (it’s in Japanese only) are nicely done. (There was evidently an English version prepared that never aired. It’d be cool to see some of those.)

Ultra Q was quite a discovery for me, and I’m sure fans of the show will be overjoyed by this set. If only every TV show got this kind of attention.

Mill Creek is to be commended for this one. Highly recommended for fans of this sort of thing.

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Filed under 1966, DVD/Blu-ray Reviews, Eiji Tsuburaya, Kaiju Movies, Mill Creek, Toho

Blu-Ray Review: The Shooting And Ride In The Whirlwind (Both 1966).

This was a post I really wanted to get right. There were two previous attempts, which I hated and discarded (to say too much about these movies, in a way, takes away from them). Hope the third time’s the charm.

The backstory. Monte Hellman and Jack Nicholson did a couple of pictures in the Philippines for Roger Corman (Back Door To Hell and Flight To Fury, both 1964). When there was talk of doing something else, Corman asked them to make a Western. That became two Westerns to be shot back-to-back — similar to their Filipino arrangement. The budgets were $75,000 apiece, with  three weeks scheduled for each.

Nicholson wrote Ride In The Whirlwind and The Shooting came from Carole Eastman (as Adrian Joyce). Both films were shot in Utah by Gregory Sandor, with Nicholson serving as producer. They share the same tiny crew and Nicholson and Millie Perkins in the casts. The Shooting was done first, with a period of about a week before Ride In The Whirlwind started. The finished films played a few festivals (Montreal, Cannes) and some foreign bookings, but were sold straight to TV in the States (though Variety reviewed Ride In The Whirlwind back in ’66).

There were plenty of ugly VHS releases before VCI brought them to DVD. That was a great day indeed, and these terrific little Westerns started to find an audience. They’ve been given the red-carpet treatment by The Criterion Collection, with an incredible batch of extras. It took quite a while, but they’re finally getting their due.

The Shooting
Directed by Monte Hellman
Written by Adrian Joyce (Carole Eastman)
Director Of Photography: Gregory Sandor

Cast: Warren Oates (Willett Gashade), Will Hutchins (Coley), Millie Perkins (The Woman), Jack Nicholson (Billy Spear)

The Shooting was shot first (and I saw it first), so we’ll begin with it. Warren Oates returns to his mining camp to learn that his brother killed a boy in town and fled. Then a mysterious woman (Millie Perkins) appears and pays Oates to lead her to the town of Kingsley, for reasons she won’t share. They begin their trip through the desert, trailed by a lone gunman dressed in black (Nicholson).

Ride In The Whirlwind
Directed by Monte Hellman
Written by Jack Nicholson
Director Of Photography: Gregory Sandor

Cast: Cameron Mitchell (Vern), Millie Perkins (Abigail), Jack Nicholson (Wes), Harry Dean Stanton (Blind Dick), Katherine Squire (Catherine), George Mitchell (Evan), Rupert Crosse (Indian Joe), Tom Filer (Otis)

A group of cowboys (Cameron Mitchell, Jack Nicholson and Tom Filer) stumble upon a cabin where Blind Dick (Harry Dean Stanton) and his gang invite them in. The next morning, the cabin’s surrounded by a posse — and the three innocents are instantly wanted men.

The idea in The Shooting of the gunman after someone, we don’t know who, is the backbone of Jack Arnold’s No Name On The Bullet (1959) with Audie Murphy. When it comes to Ride In The Whirlwind, there are plenty of innocent men on the run movies. There’s a fatalist, noir-ish feel to some of both films’ dialogue, but that comparison falls apart, too. These were unlike any Western that came before them — or after them, for that matter.

While most of Roger Corman’s young directors showed promise under his leadership, then went on to do great things, Monte Hellman managed to make two great films while still in the Corman camp. These seem to share the same basic approach as his Two-Lane Blacktop (1971) — a deceptively simple, and purposefully vague, situation is established, and for the rest of the picture, we watch the characters react to that situation. In The Shooting, like Oates, we don’t know what the hell is going on, but we’re pretty sure it’s not going to be good. Ride In The Whirlwind lets us share the desperation of Mitchell and Nicholson. And we don’t get to know the characters of Two-Lane Blacktop because there really isn’t anything to know — they just keep going.

There have been complaints over the years that some of the performances in these Westerns are wooden. The leads seem pitch-perfect to me. Millie Perkins and Jack Nicholson are fine in both. Cameron Mitchell was always dependable, no matter what kind of junk he was in. Will Hutchins is terrific. And Warren Oates was simply one of the best film actors ever, incapable of being less than stellar (and Hellman seemed to draw his best work out of him).

The camerawork from Gregory Sandor is stunning. There was no time or money or crew for lights, so everything was done with natural light. The frame of Oates with the coffee cup, above, from a long take in the first few minutes of The Shooting, sums up these movies for me. The lighting seems real, not Hollywood, and the oddball composition is perfectly imperfect. For some reason, that image has stuck with me for over 20 years.

The new 4K masters done for the Criterion release are some of the best I’ve ever seen, for any movie. Both The Shooting and Ride In The Whirlwind really look like film here, and the color seems rich even though everything is brown and dusty. Just as there was no time or money for lights, there wasn’t much for makeup, either. Millie Perkins didn’t feel she was presented very well in either film, though I disagree. She looks exactly how she ought to look.

While the merits of every film on video should hinge on the film itself, Criterion put together a series of extras that really add to your appreciation of these gems. The commentaries by Monte Hellman, Blake Lucas and Bill Krohn are some of the best I’ve ever heard. They cover everything you’d ever want to know about how these pictures came to be. Even if the films were terrible, their combined production history would be fascinating stuff. The fact that they’re absolutely brilliant makes it all the more special. Adding the package are interviews and short documentaries.

Back when these Westerns looked awful on VHS, they were something to be tracked down and studied, especially for those with a thing for Monte Hellman. This Criterion set, presenting both in stunning quality and with a serious stack of extras, is nothing short of essential. My highest recommendation.

A big thanks to Blake Lucas.

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Filed under 1966, Criterion Collection, DVD/Blu-ray Reviews, Harry Dean Stanton, Jack Nicholson, Monte Hellman, Morris Ankrum, Roger Corman, Warren Oates

Blu-Ray News #248: Godzilla – The Showa-Era Films (1954-1975).

If I had a nickel for every minute I stared at this FM cover as kid…

For their 1000th release (or spine number), The Criterion Collection has gone very big with a great big giant box of Godzilla movies. Not those new things — no thank you — but the real ones.

Of course, this being a Criterion release, you can count on each of these the films — all 15 Godzilla movies released from 1954 to 1975 — shining like a jewel. And naturally, there will be tons of extras, from alternate versions to commentaries to documentaries and trailers and so on. Does my heart good to know the work of Mr. Honda and Mr. Tsuburaya will get the level of respect these folks will give it.

The films are:
Godzilla (1954)
Godzilla Raids Again (1955)
King Kong Vs. Godzilla (1963, 2.35 AR)
Mothra Vs. Godzilla (1964, 2.35 AR)
Ghidorah, The Three-Headed Monster (1964 2.35 AR)
Invasion Of Astro-Monster (1965, 2.35 AR)
Son Of Godzilla (1967, 2.35 AR)

Destroy All Monsters (1968, 2.35 AR)
All Monsters Attack (1969, 2.35 AR)
Godzilla Ss. Hedorah (1971, AKA Godzilla Vs. The Smog Monster, 2.35 AR)

Godzilla Vs. Gigan (1972, 2.35 AR)
Godzilla Vs. Megalon (1973, 2.35 AR)
Godzilla Vs. Mechagodzilla (1974, 2.35 AR)
Terror Of Mechagodzilla (1975, 2.35 AR)

I absolutely love some of these movies. One of them I hate with a passion. Son Of Godzilla is criminally lame, and at 10, I considered it the worst movie I’d ever seen (that was before The Witches Of Eastwick). The very thought of making my way through this thing (yes, even Son Of Godzilla)  makes me happy.

Stomping its way to TVs everywhere in October. Make sure yours is one of them.

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Filed under 1954, 1955, 1963, 1964, 1965, 1966, 1967, 1968, 1969, 1971, 1972, 1973, 1974, 1975, AIP, Criterion Collection, DVD/Blu-ray News, Eiji Tsuburaya, Famous Monsters Of Filmland, Ishirō Honda, Kaiju Movies, Toho

Blu-Ray News #243: Ultra Q And Ultraman.

Mill Creek Entertainment will release on Blu-ray Ultra Q: The Complete Series  and Ultraman: The Complete Series (both 1966-67). These are the first two entries in Japan’s Ultra Series, and they’ll be out in October in regular packaging and some of those steelbook things (like their Mothra comes in).

Eiji Tsuburaya, the genius behind all the Toho monster effects, developed Ultra Q as an Outer Limits/X Files sort of thing — each week, a team of investigators would tackle a different mysterious phenomenon. Well, when the realized how nuts kids were about giant monsters like Godzilla and Gamera, the weekly stories were jam-packed with monsters, sometimes using suits from the Toho movies (even Godzilla did double duty in an episode).

Ultra Q paved the way for the next series, Ultraman. You see, the Science Patrol keeps the world safe from giant monsters and aliens. When they’re out of their league, which seems to happen quite often, one of their members, Hayata, secretly transforms into the 150-foot-tall Ultraman to duke it out with whatever it is that’s threatening the earth that week. This time, they went with color (Ultra Q is in glorious black and white.)

The Ultra series ran through the 80s and remains incredibly popular to this day, raking in millions in toy sales. To see these things on Blu-Ray, in their original Japanese versions, will be quite a treat. I’m ultra-stoked about these things.

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Filed under 1966, 1967, DVD/Blu-ray News, Eiji Tsuburaya, Kaiju Movies, Mill Creek, Television, Toho

Blu-Ray Review: The Plague Of The Zombies (1966).

Directed by John Gilling
Produced by Anthony Nelson Keys
Screenplay: Peter Bryan
Cinematography: Arthur Grant
Film Editor: Chris Barnes
Music by James Bernard

Cast: André Morell (Sir James Forbes), Diane Clare (Sylvia Forbes), Brook Williams (Dr. Peter Tompson), Jacqueline Pearce (Alice Tompson), John Carson (Squire Clive Hamilton), Alexander Davion (Denver), Michael Ripper (Sgt. Jack Swift)

__________

Every kid who grew up watching horror movies (old or new) has a scene or two they remember fondly (or dreadfully) for how badly it scared them as a kid. Psycho‘s shower scene. Ben Gardner’s head in Jaws. The list goes on and on. Well, one of mine’s in Hammer’s The Plague Of The Zombies (1966).

Shooting the foggy nightmare sequence on a beautiful day.

There’s a nightmare sequence about halfway through the film with plenty of fog, odd camera angles, crazy colors and lots of dead bodies either coming out of the ground or wandering around a graveyard. It totally wigged me out as a kid (much like the zombie in the back of a hearse in a certain episode of The Night Stalker).

So I dropped the new Blu-Ray into my player with a mammoth pile of fondness (and gratitude to our friends at Scream Factory). And boy, this thing really knocked me out. The color is terrific, the sound has real punch to it, and the movie’s even better than I remember.

The Plague Of The Zombies features the old voodoo/Haiti kind of zombies (as seen in 1932’s White Zombie), as opposed to George Romero’s flesh-munching variety. They’re being used by Squire Hamilton (John Carson) as workers in an old tin mine. In the late 19th century, Cornwall evidently had a pretty severe labor shortage.

Brook Williams, Diane Clare and André Morell

When a rash of people in his village start dying, a young doctor (Brook Williams) turns to his old friend Sir James Forbes (André Morell) to help get to the bottom of things. Morell is terrific as the old doctor, but the prize goes to Jacqueline Pearce who pretty much walks away with the movie as one of the walking dead. By the way, Brook Williams gets killed off in the first 10 minutes of my all-time favorite movie, Where Eagles Dare (1969).

John Gilling wasn’t one of Hammer’s major directors — he came and went over the course of the studio’s heyday. But he made some of their better films, with this being one of them. His The Pirates Of Blood River (1962) and The Reptile (1966, made back to back with The Plague Of The Zombies) are well worth seeking out. His 1960, non-Hammer The Flesh And The Fiends, which puts Peter Cushing in the tried-and-true Burke and Hare grave robbing/murder story, is terrific — and way up near the top of my Blu-Ray Wish List.

But back to The Plague Of The Zombies. The geniuses at Hammer offered this one up in a twin-bill with Dracula – Prince Of Darkness (1966), the second of the Christopher Lee Dracula pictures. What a night that must’ve been for monster-loving kids circa 1966.

With both pictures available from Scream Factory, you can recreate that evening in the privacy of your own home. And I bet they’ll look better in your living room than they did at your local drive-in back in ’66. Arthur Grant created some great color lighting effects for The Plague Of The Zombies, similar to what Jack Asher had before him at Hammer. The improved color makes all the Hammer Blu-Rays essential stuff for fans of these things — remember, color was the main selling point with these pictures. Shout Factory gives us a slew of tasty extras, with my favorite being a short documentary on the making of the picture. Time has been kind to these movies. They seem better than ever. Shout Factory’s been kind to them, too. They look better than ever. Highly, highly recommended.

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Filed under 1966, Christopher Lee, DVD/Blu-ray Reviews, Hammer Films, John Gilling, Michael Ripper, Peter Cushing, Shout/Scream Factory