February 17 - 23, 2024

 

To answer these trivia questions, please email me at scinema@earthlink.net.

Brain Teasers:

Which Italian director did Dino De Laurentiis blame for his estrangement with his wife Silvana Mangano?

No one has answered this question yet.

During the making of what film was Steve Reeves informed that he had an ulcer?

Bertrand van Wonterghem and George Grimes knew that it was VIVO PER LA TUA MORTE, aka A LONG RIDE FROM HELL, the only film for which Reeves worked as a producer.

In how many films did Steve Reeves fight Nello Pazzafini?

No one has answered this question yet.

How many films did Nello Pazzafini make with Giuliano Gemma?

No one has answered this question yet.

And now for some new brain teasers:

Which German actor, born in 1929, made seven Westerns for Italian directors and four Westerns for German directors?

By what name is Antonio Cantafora better known?

Which actor, born in 1936 Massachusetts, became an Israeli citizen in 2006 and appeared in two Italian Westerns?

Name the movies from which these images came.

George Grimes. Rick Garibaldi, Angel Rivera and Bertrand van Wonterghem identified last week's frame grab of Nello Pazzafini and Steve Reeves in VIVO PER LA TUA MORTE, aka A LONG RIDE FROM HELL.

Above is a new photo.

Can you identify from what movie it came?

No one correctly identified the above frame grab.

Can you name from what movie it came?

George Grimes identified last week's photo of Rosanna Schiaffino in DAS GEHEIMNIS DER DREI DSCHUNKEN, aka RED DRAGON, aka CODE NAME ALPHA.

Above is a new photo.

Can you name from what movie it came?

No one identified the above photo.

Can you name from what movie it came?

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I am interested in knowing what movies you have watched and what you enjoyed or not. So please send me an email at scinema@earthlink.net if you'd like to share. Here's what I watched last week:

Highly enjoyed:

PRINCESS CARABOO (1994) - As a writer, Michael Austin was known for penning THE SHOUT - co-written with director Jerzy Skolimowski from a story by Robert Graves, FIVE DAYS ONE SUMMER - from the short story "Maiden, Maiden" by Kay Boyle, and GREYSTOKE: THE LEGEND OF TARZAN, LORD OF THE APES - from a screenplay originally written by Robert Towne based on the novel by Edgar Rice Burroughs. With KILLING DAD OR  HOW TO LOVE YOUR MOTHER, Austin wrote the screenplay based on the novel by Ann Quin and ended up getting his first credit as a director. PRINCESS CARABOO was his second, and last, effort as a director and getting co-writing credit with noted satirist and actor John Wells. What Austin did after this movie is unknown. At a time when vagrancy and begging were often punished by hanging in England, a young woman is found in the countryside, dressed in strange garb and speaking a strange language. The wife of banker Jim Broadbent, Wendy Hughes, thinks the mystery woman may be a foreigner in need of help and so takes her into her household. Speculation about the woman leads to examination by Professor John Lithgow, Reverend John Wells (the writer also working as an actor), and Magistrate Roger Lloyd Pack. Eventually, they come to believe that she, Phoebe Cates, is a Princess from an undiscovered South Pacific island. Meanwhile, journalist Stephen Rea investigates Cates' real background. Following the basic true story, the filmmakers have fashioned a charming and moving romance that may not be historically accurate, but is compelling and convincing with easily the best showcase of Cates as an actress. After this film, she retired from acting to raise her two children with husband Kevin Kline, who is very enjoyable in CARABOO as a suspicious butler in Broadbent's household. Cates would appear on screen again with her husband in 2001's THE ANNIVERSARY PARTY. It is hard to imagine now that in 1994 Jim Broadbent got star billing over Cates, but the evidence is on the screen, though the real leading man is Rea. Also in the film is THE REPTILE's Jacqueline Pearce and the future wife of Rupert Murdoch - Jerry Hall. The lovely photography is the work of cinematographer Freddie Francis.

Mildly enjoyed:

UN HOMME ET UNE FEMME: VINGT ANS DEJA, aka A MAN AND A WOMAN TWENTY YEARS LATER (1986) - French film director Claude LeLouch had the biggest hit of his career in 1966 with UN HOMME ET UNE FEMME. Was it an attempt to recapture past glory or perhaps an attempt to answer the critics who dismissed him as a shallow entertainer that LeLouch decided to make this rather complicated sequel? Along with writers Pierre Uytterhoeven, Monique Lange and Jerome Tonnerre, Lelouch imagines new lives for Anouk Aimee and Jean-Louis Trintignant and decides to answer the question of whether the couple stayed together at the end of the first film. They didn't. Trintignant has retired from racing, but still works helping to coordinate races. Aimee has become a movie producer whose newest movie is a flop. Feeling nostalgic after the break-up of her relationship with a TV news man, Aimee reaches out to see Trintignant again. Meanwhile, Trintignant meets the younger sister of his son's new bride who wants to go with Trintignant on his trip to the desert. Without telling his new girlfriend, Trintignant goes to meet Aimee and she asks permission to make a movie musical based on their relationship - which we saw in A MAN AND A WOMAN and we see bits again in flashbacks. At first, Trintignant says no, but enjoying seeing Aimee again, he finally agrees. Meanwhile, psychiatrist Philippe Leroy tells the public that his serial killer patient who had escaped from the hospital isn't dangerous. The patient is later found dead in the psychiatrist's apartment along with the psychiatrist's murdered wife. It soon becomes news that the patient's wife and daughter have also been murdered. After the production of Aimee's movie musical is finished, Trintignant leaves for his desert journey. Aimee's news man ex calls her saying that he has new information on Leroy's murder case. When it looks like her movie musical is certain to be another box office flop, she decides to switch gears and make a thriller with Robert Hossein playing Leroy. Meanwhile, in the desert, Trintignant informs his young girlfriend that he wants to break up with her, so she hatches a plan stranding them in the desert with a disabled vehicle, a busted radio and no water - wanting them both to die. Will Trintignant be rescued? What is the new information about the Leroy murder case? How much did Lelouch have to pay to have DIAL "M" FOR MURDER playing on the TV set? Also in the cast are Richard Berry and Tanya Lopert playing themselves, as well as the director's daughters Salome and Sarah Lelouch. Jean-Claude Brialy, Michele Morgan and Gerard Oury can be seen briefly in shots of the audience watching Aimee's flop movie. Francis Lai reuses him music from A MAN AND A WOMAN with new arrangements. Lelouch and his editor Hugues Darmois have a lot of infectious fun cutting back and forth from the various storylines, and showing the behind the scenes work on the various movies being made within the movie.

 

Did not enjoy:

 BAD GIRLS (1994) - Recently on her TV show, Drew Barrymore had an heart felt reunion with the co-stars of this movie - Madeleine Stowe, Mary Stuart Masterson, Andie MacDowell and Dermot Mulroney. I am happy that they all had such great memories of having worked together about thirty years ago, but boy the movie is awful. I probably would have enjoyed the reunion more if they had invited Neil Summers to join them. In any case, the screenplay blamed on producer Albert S. Ruddy, Charles Finch, Gray Frederickson, Ken Friedman and Yolanda Finch (aka Yolande Turner), only gives the talented cast the dullest of cliches to work with, though, at the time, some thought that having four female Western heroes was novel. Did anyone else notice that our heroines' attempt to trade a gatling gun for an hostage was right out of THE WILD BUNCH? Not surprisingly, for all of director Jonathan Kaplan's use of slow motion, the finale had none of the fury or excitement that director Sam Peckinpah brought to his movie.

DEADLY SINS (1995) - In most movies, the inhabitants of women's prisons and Catholic convent schools are all young and beautiful, and so it is in this made in Canada "erotic" thriller. While co-star Alyssa Milano had already proven that she was no longer a child actress with EMBRACE OF THE VAMPIRE and so didn't do nudity in DEADLY SINS, it fell on the beautiful Corrie Clark to prove that she was no longer a child actress for this film. Deputy David Keith arrives on a remote island near Seattle to find that there have been a series of mysterious disappearances at the local convent school. One young woman is suspected of hanging herself with the rope for the church's bell. Milano is the school's secretary and she's eager to help Keith in his investigation. Luckily, she reveals that she's not a nun but a private investigator before going to bed with Keith. John Langley and Malcolm Barbour get the blame for the script, while Michael Robison gets the blame for the directing. Composer Barron Abramovitch seems to have been inspired by Jerry Goldsmith's Oscar winning score for THE OMEN.

DISCLOSURE (1994) - Michael Crichton's novel was adapted to the screen by Paul Attanasia for producers Barry Levinson and Michael Crichton and turns the issue of sexual harassment into a thriller about office politics. Selling the film as "erotic" sold tickets and the film was a box office success while the reversal of having a man suing his female boss for harassment generated a lot of public discussion. Directed by Barry Levinson ensured that the film was slick and professional with ILM providing CGI to simulate virtual reality programming. The film was a little fuzzy whether Demi Moore's sexual play for Michael Douglas was a mistake on her part, or was it part of Donald Sutherland's scheme to get rid of Douglas? Why did the bosses decide to screw up the standards at the manufacturing plant in the first place? Coming after FATAL ATTRACTION and BASIC INSTINCT, it seemed that Douglas was going after parts in which he was a man being victimized by a woman. Thankfully, he soon made THE AMERICAN PRESIDENT. Demi Moore, Caroline Goodall, Roma Maffia, Jacqueline Kim and Rosemary Forsyth all looked great. The effective music was by Ennio Morricone.

GEORGE BALANCHINE'S THE NUTCRACKER (1993) - Inspired by E.T.A.Hoffmann's 1816 short story The Nutcracker and the Mouse King, composer Pyotr Ilyich Tchaikosvky and choreographer Marius Petipa premiered the 2 act classical ballet The Nutcracker in 1892. Choreographer George Balanchine premiered his version with the New York City Ballet in 1954, and that version has been performed every year since during the Christmas Season. In 1989, Time Warner Entertainment Chairman Steve Ross and Elektra Records executive Bob Krasnow approached Peter Martins, the Master-in-Chief of the New York City Ballet, with the idea of doing a film version. The George Balanchine Trust hired Emile Ardolino to direct the film, with a narration written by Susan Cooper and read by Kevin Kline. In order to give the film a star, the choice was made to hire Macaulay Culkin, who had performed in a small role for the School of American Ballet. Culkin's participation led to problems with Culkin's father and manager, Kit Culkin, who tried to gain control over the production by threatening to pull his son out if his demands weren't met. Reportedly, his demands were ignored and the film was released. Unfortunately, the film was a box office failure and Macaulay Culkin's performance was widely criticized. In a large cast of professional ballet dancers, many of whom were children, Culkin sticks out like a sore and stiff thumb. As Drosselmeier's Nephew, who becomes The Nutcracker and then a boy, Culkin is pretty, but very awkward, especially when he's supposed to generate some romantic chemistry with the lovely and graceful Jessica Lynn Cohen. I'm not very knowledgable about ballet, but I love Tschaikosvky's Nutcracker Suite, so I figure that seeing professional dancers turn it into live movement should be fun. But the way Ardolino captures it on film is akin to a PBS TV broadcast, with the camera safely on the outside of the proscenium. Perhaps I've been spoiled growing up with movies directed by Bob Fosse, but when the music gets dramatic, I longed to see the camerawork get dramatic, too. Instead, I frequently dozed off. With my eyes closed, I could still enjoy the music.

KILLING ZOE (1993) - I'm happy to report that the title of this film is a bit of a fake-out. As Zoe, played by Julie Delpy, is the only sympathetic character here, the only suspense generated in this movie is caused by the threat that she won't make it out alive. After co-writing RESERVOIR DOGS with Quentin Tarantino, Roger Avary got the chance to debut as a director with this low budget heist film, that doesn't reveal it's a heist film until it is half way over. Eric Stoltz gets into a taxi driven by French speaking Martin Raymond. The dialogue informs us that we are in Paris and that Stoltz says he's here on business. Raymond gives Stoltz a phone number for a prostitute who is a "nice girl". The "nice girl" shows up at Stoltz's hotel room and it is Delpy. After a pleasant session in bed - while the silent film NOSFERATU plays on the TV, Stoltz and Delpy are interrupted by the arrival of Jean-Hughes Anglade, who throws Delpy out of the room and drags Stoltz to the place where the gang has gathered. Now we are informed that Stoltz is a safe cracker requested by Anglade to come to Paris for a bank job. The job is to take place tomorrow, and Stoltz wants to prepare, but Anglade insists that he join the guys in doing a lot of drugs and hanging out at a dixieland jazz bar. When Stoltz comes to in the morning, Anglade drags him into a van to do the job. Not surprising, as everyone is a fucked-up sometime terrorist, the job goes badly and make-up artists Tom and Toni Savini are given plenty of opportunities to show off their skills. The shock comes when it turns out that Delpy works at the bank and is among the hostages being threatened with death by Anglade. Similarly to how Tarantino writes, Avary fills his film with dialogue that seems pointless. However, here, it doesn't illuminate anything. It just gives the film a listless tone. In the gang's hideout hangs a poster for LA REINA DES VIKINGS, but we don't get a clear enough look at it for me to tell if it is for the British THE VIKING QUEEN or for some Italian film. Later on, someone comments about one guy loving movies about Vikings, but the conversation goes no where because everyone is getting high. Gregory Peck's daughter, Cecilia Peck, has a small role as a woman in the club telling Stoltz that she likes to be treated like a dog. She is best known for producing documentaries like Seduced: Inside the NXIVM Cult and Brave Miss World. Reportedly one of the guys killed in the bank scene is played by Ron Jeremy. Reportedly, Avary said that he wanted to make a film about how nihilistic he felt his generation was. Surprisingly, it isn't all that different from the nihilism found in other generations.

POISON IVY II: LILY (1996) - The only thing that the first and second POISON IVY movies had in common was that it starred a former child actress looking to show that she was all grown up and sexy. While Drew Barrymore had a double her for the nude shots (though not Jaime Pressly as was rumored), it seemed that Alyssa Milano did her own nudity, though only briefly and director Anne Goursaud chose to capture it shooting through various elements with dim lighting. The previous year, Milano made EMBRACE OF THE VAMPIRE in which her nudity was captured in brightly lit situations. In LILY, there was a scene in which Art Professor Xander Berkeley posed a semi-nude Milano for a painting he was doing that echos a scene in VAMPIRE in which a lesbian photographer posed Milano while undressing her. If you wonder which film influenced the other, that fact that both were directed by Goursaud would seem to answer the question. LILLY began with Berkeley finishing having sex with a topless woman, and then telling her that their relationship wasn't working and that it was over. This woman didn't reappear in the film, but I guess when Berkeley's wife, Belinda Bauer, said that she didn't want to lose him again, perhaps it was a reference to this affair. In any case, the main story was about Milano as a new art student moving into off-campus housing with a number of suspicious tenants. She soon began a relationship with sculptor Johnathon Schaech, while the creepy Asian chello player seemed to keep watch. Milano found a box in her closet which belonged to the previous tenant, Ivy. In the box were a number of nude self portraits along with a diary in which she wrote about her desire to find freedom in her sensuality. Inspired by the diary, Milano began to loosen up, and even allowed her Art teacher Berkeley to become inspired to paint her nude. It would seem that what happened to Ivy would be a mystery to be solved, but the movie didn't address that. Instead, the suspense was regarding who would turn out to be a danger to our heroine, especially after she took the job of babysitting Berkely's daughter, Camilla Belle. Not too surprising, it turned out to be Berkeley. Chloe King got the blame for the screenplay which didn't quite deliver the thrills for this "erotic thriller". 

RAGE AND HONOR II HOSTILE TAKEOVER (1993) - Having met while working on director Sammo Hung's MILLIONAIRES EXPRESS. Richard Norton and Cynthia Rothrock turned to producing on RAGE AND HONOR and HONOR AND GLORY. For IRS Media, North and Rothrock joined together for a sequel to RAGE AND HONOR, in which they play the same characters from the previous film. Now Rothrock is working for the U.S. Government, and she is sent to Jakarta to work at a bank in order to find evidence that bank president John J. Soucy is laundering money for criminal Frans Tumbuan. Meanwhile, Norton works as a bartender for Alex Tumundo, so Norton is there to protect his boss when Tumbuan's henchman Ron Vreeken tries to force Tumundo to pay for protection. Soucy's son, Patrick Muldoon (4 years before he did STARSHIP TROOPERS), sees Norton's prowess and asks to become his student. At the bank, Muldoon asks Rothrock to join him at a party his father is hosting, where he thinks he's introducing Rothrock to Norton. Commenting that people using phony names are either criminals, or someone trying to catch criminals, Norton figures out that Rothrock is up to something. Soon follows more punchng, kicking, shooting and car chases that a low budget film made entirely in Indonesia can afford. Unfortunately, all of the action is as unimpressive as the screenplay blamed on Louis Sun and Steven Reich. This is the directorial debut for stunt coordinator Guy Norris, who amassed 6 more directing credits while still working on stunts for such films as BULLETPROOF MONK and MAD MAX FURY ROAD.

THE OTHER WOMAN (1992) - One might expect that an "erotic thriller" produced by Gregory Hippolyte, aka hardcore porn director Gregory Dark, would generate some sensual heat, but not as directed by Jag Mundhra, who previously delivered NIGHT EYES with Andrew Stevens and Tanya Roberts. I guess it might work for some people, but Lee Ann Bearman taking a shower while crying, or laying naked on the floor with (introducing) Jenna Persaud, aka Juliet Reagh did nothing for me. The screenplay blamed on Georges des Esseintes did even less. Bearman is an ambitious newspaper reporter who is so interested in the story of how Sam Jones' wife died that she turns down an offer to have sex with husband Adrian Zmed in order to get back on the job. Zmed goes out of town, but when his laundry is delivered to their house, Bearman finds photographs of Reagh in his coat pocket. She stakes out "the other woman" and discovers that she does nude modeling. Pretending to do a story of women working in the sex industry, Bearman befriends Reagh. Of course she finds herself attracted to Reagh's promiscuity and ends up having sex with her. Naturally, an hidden camera captures their liason, which discredits Bearman with her boss. It turns out that the whole "other woman" scheme was a ruse by Jones to stop Bearman's investigation and set her up for a phony "suicide". Luckily, Reagh figures out that she's been used and shows up with a male stripper dressed as a cop to save our heroine. In the end, Bearman has learned her lesson, and while getting it on with her returned husband, she doesn't answer the phone call from work. I supposer the fact that the photography is in focus is a plus.

ZORRO THE GAY BLADE (1981) - When I was a kid I loved slapstick movies directed by Blake Edwards. As I grew older, I began to loath them. The makers of ZORRO THE GAY BLADE may have hired Peter Medak, best known for the cult film THE RULING CLASS, as director, but the film's style is very much Edwards' - with George Hamilton mangling the English language with a Spanish accent just like Peter Sellers did with a French accent in the Pink Panther movies. It is 50 A.Z. That is 50 years after Zorro. George Hamilton lives in Spain acting more like Don Juan rather than Don Diego when he gets a letter from his father ordering him back to Los Angeles, California. When he arrives, he is told that his father is dead and that his childhood friend, Rob Leibman, is now the Captain of the Guard and the man soon to be elected to be the new Alcalde. Hamilton also receives a coffin in which he finds his father's legacy - the costume of Zorro. Putting on the costume to attend Leibman's ball, Hamilton takes back the money taken by tax collector James Booth on his way to the party. Soon, Hamilton is swashbuckling against Leibman's soldiers but hurts his ankle while making a getaway. Leibman orders a "reign of terror" which Hamilton can not answer as he heals. Luckily, Hamilton's twin brother, George Hamilton, arrives having just gotten his father's letter. Having been brought up in England, the second Hamilton is "a sissy boy", who agrees to act as Zorro but not in that drab black costume. The new Zorro also favors a whip rather than a sword in combat with which he can still leave "Zs' all about. Meanwhile, well-meaning Lauren Hutton cheers on our hero in his cause to help the "peepble". Eventually, Leibman orders Hutton to be executed by firing squad, causing his wife, Brenda Vaccaro, to be-little him as a "lady killer". Of course, Hamilton shows up and offers his life in exchange for Hutton's. Also, of course, everyone is saved by the arrival of the 2nd Hamilton which causes both the land owners and the soldiers to turn against Leibman - who still continues to shout orders in defeat. The film starts with a dedication to Rouben Mamoulian, who directed by 1940 flick THE MARK OF ZORRO. And while Ian Fraser is credited as the music composer, there is also the credit "music adapted from ADVENTURES OF DON JUAN (1948) by Max Steiner and DANZES FANTASTICA by Joaquin Turina". I did not recognize Clive Revill in this film, nor did I recognize Carolyn Seymour, who was married to the director at the time. As with Hamilton's previous film, LOVE AT FIRST BITE (1979), this is a Melvin Simon Production. 

 

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David Deal enjoyed:

DEATH TRIP (67) - See The Eurospy Guide for a complete review of this Kommissar X entry.

WOMAN IN HIDING (50) - On the day Ida Lupino marries Stephen McNally, she discovers he's really after her money. When she bolts, she realizes he's cut the brakes and she crashes over a bridge into the drink. She escapes but must go on the run, where she meets easygoing Howard Duff. Fun lady-in-peril flick with outstanding photography.

RUSTY KNIFE (58) - Yujiro Ishihara (I Am Waiting) just wants a normal life after doing five years in the slammer for stabbing the guy he thought raped his girlfriend. The cops know that Yujiro and his friend Akira Kobayashi (Black Tight Killers) witnessed a murder but the two are reluctant to squeal on the mob bosses who committed the crime. These two plot lines merge in this seminal Nikkatsu noir that would catapult the two stars and director Toshio Masuda to stardom. Well worth a watch.

CONVOY BUSTERS (78)

THE WHITE SPIDER (63)

Mildly Enjoyed

THE GREAT VAN ROBBERY (58) - Our man from Scotland Yard, Denis Shaw, is on the trail of stolen money. The case takes him to stock footage of Rio, of Rome, and of Paris before returning to London to solve the case in his own backyard. This small Brit B feature moves fast; it only has an hour to tell the globetrotting tale, so efficiency is key. Character actor Shaw makes for a no-nonsense, brawling detective. Not unentertaining.

THE HIDDEN EYE (45) - Blind ex-cop-turned-private eye Edward Arnold uses his wits and his dog Friday to unravel mysterious killings within a family. Fast moving mystery that gives up the mystery part about halfway thru, and becomes a cat and mouse game between Arnold and the killer. No lost classic but not bad.

HERO OF BABYLON (63) - Gordon Scott is the true heir to the throne of Babylon, but first he must defeat the sadistic despot Piero Lulli and his treacherous woman Moira Orfei. Looks good, plenty of action, but this peplum has more than its fair share of violence toward women.

VIVARIUM (19) - Imogen Poots and Jesse Eisenberg, looking for a house to buy, find themselves trapped in a mind-numbing suburban environment that stretches ominously as far as the eye can see, an unchanging landscape. Attempts to leave are fruitless, when suddenly, the two are given a chance to be released. A lot can be read into director Lorcan Finnegan's work here (he co-wrote). obviously. There are fears and frustrations aplenty to deal with, and very little in the way of redemption. Still, I didn't not like it.

EMANUELLE IN BANGKOK (76)

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Bertrand van Wonterghem Enjoyed:

Sarinjaui syopingmol / A shop for killers – season 1 (2023) – episodes 1 to 7

Gui ma zhi duo xing / All the wrong clues for the right solution (1981 Hark Tsui)

Mildly enjoyed:

Colpo maestro al servizio di sua maesta britannica (1967, Michele Lupo)

Flash Gordon's trip to Mars (serials – 15 episodes) (1938, Ford L. Beebe & Robert F. Hill)

The fall of the house of Usher – season 1 (2023) – episode 1

Did not enjoy:

Night of fear (1973, Terry Bourke)

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Angel Rivera Enjoyed:

'THE BORN LOSERS" (1967) - Forget Spaghetti Westerns. These are the films I grew up watching in theaters. I saw this film when it was first released and while I vaguely recall the Billy Jack character, I do remember more the "chicks." Especially the one who did the striptease. (Of course I was only 11 or 12 when I first saw the film, so a semi-naked female would be of interest.) The story is simple. Billy Jack rescues and defends a coed who is a rape victim from the nasty rapist motorcycle gang which attacked her. Almost a western on wheels. Of course Billy Jack gets an even bigger workout in the eponymous named sequel. Still find it entertaining even after all these years.

Mildly enjoy:

"THE HOLDOVERS" (2024) - Paul Giamatti is a curmudgeonly teacher of an upper class boarding school who has to take care of a student left behind for Christmas break at the school. Recreates the the late sixties, early seventies very well. The relationship of teacher to student evolves during the break. There is also the story of the African American cafeteria manager, who she has just lost her son to the Vietnam War. He had graduated from the school that he was able to attend thru scholarship. But he joined the army in order to return to school on the GI Bill. She had obtained the job at the school so she could be close to him in the hopes of watching him become successful. The film is true to its time period.

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Charles Gilbert watched: 

MONSTER THAT CHALLENGED THE WORLD (1957) B&W. A year before the inception of The Rifleman, the Levy Gardner Laven team presented this sci fi flick starring Tim Holt, Hans Conried, and Audry Dalton. Several regulars from the show: Harlan Warde, Ralph Moody, and  Charles Tannen. Laven's wife Amanda Ames (her birth name was Wallace Earl) plays the switch board operator.

SMOKEY AND THE BANDIT (1977) Jackie Gleason grabbed the spotlight as Sheriff Buford T. Justice chasing the Bandit (Burt Reynolds) from Texarkana to Atlanta. Along the way, while running decoy in his TransAm for a truckload of Coors beer, driven by Jerry Reed, the southern egomaniac picks up a reluctant bride-to-be (Sally Fields) for the rural adventure. Garnering second place behind STAR WARS in 1977 for box office draw, the film was alledgedly a favorite of Alfred Hitchcock.

SMOKEY AND THE BANDIT II (1980) Many of Gleason's humorous contributions have now become cliched. The Kenworth W900 truck has been traded in for a GMC General, this time hauling a pregnant elephant from Florida to Texas to be presented as a mascot for a Republican rally.

SMOKEY AND THE BANDIT III (1983) Reynolds, Fields, and the truck are absent. Now it's just Gleason and Mike Henry chasing Jerry Reed and Colleen Camp in a newer Trans Am hauling a model shark. Pat McCormick and Paul Williams are given more to do in the plot.

ST. VALENTINE'S DAY MASSACRE (1967) Roger Corman produced and directed this rendition of the 1929 gangland killing in Chicago. A couple of his stock players (Dick Miller and Barboura Morris) have bit parts alongside many actors that appeared on Desilu's The Untouchables. I didn't like Robard's portrayal of Capone, nor Meeker's role of Bugs Moran.

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