BUSTER AND BILLIE: LONG LOST FILM RELEASED

 

 

In 1974 I saw a film that left a big impression on me at the local drive in. For years I remembered this film and was surprised when video came along that I couldn’t find it anywhere though apparently it was released. When disc came around the same thing happened. And it never played on TV. How could this movie I had such great memories of disappear from everywhere?

For 45 years it was thought that the movie had disappeared with the exception of those VHS tapes and bootleg copies. In 2019 Sony finally found that they had the original elements of the film in their vaults. Now Zephina Media has done a complete restoration of those film elements and digitally scanned them to bring this film to life again. It’s been released on blu-ray now. The movie is BUSTER AND BILLIE. 

Taking place in Georgia in 1948, Jan-Michael Vincent starts a Buster, the popular boy in high school who has his own small group of friends and gets into mischievous trouble but nothing serious. Buster is going steady with Margie (Pamela Sue Martin) the popular girl in school. It seems like a match made in Heaven. But all is not as it seems. 

Buster’s friends, including the always picked on Whitey (Robert Englund in his first feature film), hang around the local pool hall drinking beer. They also have another favorite thing to do. Go out and pick up Billie (Joan Goodfellow) the local girl from the wrong side of the tracks and take her to the woods to have their way with her. When asked why he doesn’t go with them Buster replies to Jake (Clifton James) the pool hall owner that there are some things that should remain private and who he sleeps with should be one of those. 

While Buster and Margie have plans to marry after graduation she still rebuffs him when he tries to become intimate with her. It isn’t long before he too visits Billie’s house and takes her out. But something begins to happen. He begins to see Billie as a human being. A sad young girl who has no hope of escaping the life her dirt poor parents have left her with. 

As they begin to grow closer Buster and Billie spend more time together. His friends don’t know who she’s spending time with but what they consider their plaything is no longer there and it frustrates them. Tensions reach a fever pitch when Buster breaks up with Margie and escorts Billie with him to church. At some point things are bound to explode. What happens will shock the viewer and touch your heart. 

The movie might sound much grittier than it is. Certainly some of the topics involved are those most would likely not want to discuss. But it is the bittersweet romance, the affection between these two characters that is most remembered here. I was always a fan of Vincent but he shows more depth to this character than most other films I have seen him in. Goodfellow should have gone on to so much more. Her ability to convey emotions and feelings with little more than a look on her face is amazing. The two characters, while involved in a physical relationship that turns emotional, are two people who find a deep bond of love rather than simply sex. 

The supporting cast does an equally great job with perhaps only Martin leaving much to be desired. Her character comes off shallow in comparison to Goodfellow. Perhaps that was what was being conveyed but there is no nuance to her performance and it feels the most cliché of the film. Englund does a great job as Buster’s sidekick, the young boy who looks up to Buster as his hero. There is no evidence of his later years in horror here.

What happens in the last third of the film is not only tragic but brutal. It’s the kind of thing that will turn the stomach and make you look away. But it fits into what has happened and is an integral part of the story. The follow up in the last minutes of the film will stay with you for a long time after. They stuck with me 45 years later after seeing the film just one time. 

Zephina Media deserves to be congratulated for bringing this film back to life. At the time the critics loved or hated it. Odds are those feelings won’t change. As for me I’m glad to have this here now to watch and re-watch. To me it was the perfect drive in film without the exploitation tag involved. I’ll remember it that way and suggest other find this one and give it a view.

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A QUIET PLACE PART 2: SUPERIOR SEQUEL

 

 

At one time horror films were the last item on the list of genres for people to praise. Slowly but surely over the last few decades though horror films have risen in stature. SILENCE OF THE LAMBS garnered an Oscar win for best picture. Special effects makeup finally got noticed. CGI has made once impossible creations possible. And actual stars are making movies in the genre. 

In 2018 a small horror film was released with two major stars involved. John Krasinski both starred in and directed the film which also featured his wife Emily Blunt. The movie was tense and near silent. It lived up to its name A QUIET PLACE. Now two years later they both return for a second feature that gives us more to go by. It’s a thrill ride that will grab you out of your seat, even at home. 

A QUIET PLACE PART 2 opens with day 1 of what happened, giving us more than we got in the first film. Small town USA and families are all at the baseball field watching their kids play ball. This includes the Abbott family: mother Evelyn, dad Lee and kids hearing impaired Regan (Millicent Simmonds) and Marcus (Noah Jupe) and the baby. As the game moves on there is a sudden loud explosive noise and a dark shadow crosses the sky. Everyone runs for their cars and as they begin to try and get out of town the creatures begin descending on them. 

Move on to day 474. This is the point where the last film left off. With Lee now dead the rest of them must regroup and figure out what to do next. Their home is in flames and they have nowhere to turn. Evelyn gathers up her family and they set out to find out if there were any other survivors. Gathering up what supplies they can as well as a makeshift amplifier that Regan uses with her hearing aid to send out a squelch that hurts the creatures, they set off into a land unknown. 

The group travels along fine at first but upon squeezing through a fence Evelyn accidentally sets off an alarm, a group of hanging bottles on the fence. She tells the family to run for the nearby building. On the way Marcus steps on a bear trap and the pain is so intense he can’t help but scream. Someone is watching them but we don’t know who. Regan sets off her loudspeaker and Evelyn shoots the creature closest to them. 

They continue into the building and the mysterious person grabs them and leads them to a location inside that is safe. It is then that Evelyn recognizes their benefactor, Emmett (Cillian Murphy), Lee’s best friend. Emmett tells them they can stay the night but no longer. 

That night though Marcus and Regan pick up a radio station transmitting. Their home was too far away to pick up the reception. This gives them hope that there are others alive still. Regan comes up with the idea that if she can reach this radio station they could broadcast the feedback she gets from her earpiece and weaponized it against the creatures. She tells this to Marcus and the next day sets out on her own to reach the station. 

From here the film splits the survivors into two groups. One is Regan and Emmett who tracks her down to help her and the other has Evelyn leaving Marcus with the baby to search for medical supplies. One of the most amazing sequences takes place when both come across danger in their paths and the suspense of one group’s predicament is compounded by the same thing happening at the same time to the other. It’s a fantastic plot device. 

This move does a far better job of creating a natural feeling of terror in the story being told. It’s great that we get at least a little of the backstory. The acting here is amazing especially from Simmonds who does a superb job. Krasinski shows that he can handle himself in the director’s chair as well as he can in front of the camera. Everyone turns in a great performance here.

The movie can be found everywhere right now from your local Redbox to rental on your cable stations or even free on Paramount +. I can’t recommend this one highly enough. It is a thrill ride that will have wondering when the silence will be broken next and what dangers that will result in. And if that weren’t enough it has a nice twist at the end. This one is worth going out of your way to watch.

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HYDRA: GUARDIAN ANGEL

 

 

Well Go continues to release some of the best action films out there. While martial arts movies have been made in the US nothing can compare to the speed, action and quality of fight sequences to come from Asian films. HYRDA is yet another in that list of films that all action fans should seek out. 

Hydra is a small bar in Tokyo owned and operated by Rina Kishida (Miu). Rina only has two people working for her, most notably Takashi Sato, a quiet unassuming man who is an expert culinary chef. Takashi keeps to himself and says little, just arriving to work and going home each night. 

All of this changes when a regular customer to the bar slips a drug into Rina’s drink. Hasegawa has been doing this to other patients in the past and Takashi has caught him. Now Takashi’s past catches up with the present and he tracks down Hasegawa, retrieving Rina and letting him know that she is off limits. When Hasegawa turns up dead the next day, Takashi is called in to meet his former employer. 

It seems that Takashi once worked as an assassin for a vigilante group that took out corrupt police and politicians. Hasegawa was their next target but someone else took him out first. Now they’re concerned that a new group is on the scene coming after them as well as those corrupt officers. They ask Takashi to help find them. 

Throughout all of this we get a look into Takashi’s background as well. Orphaned and picked up by this group he was trained to be the skilled killer that he is now. But one fateful day that all changed with an assignment he was given. He walked away from the group and walked into the life of the tiny bay Hydra. This was not a choice made in haste but a purposeful destination. 

HYDRA is strange in that there is a depth of story involved here that’s being told but not so deep as to need a ton of explanation. Most likely you will figure out much of it within the early minutes of the film. And yet there are still enough twists and turns to hold your interest from start to finish.

In addition to that are the fighting sequences which are some of the fastest moving scenes I’ve seen in years. I’ve seen a ton of movies in this genre and this one ranks among some of the best fight scenes I’ve witnessed. The fluidity and speed with which each strike, each parry and each launched attack takes place is mindboggling.

Odds are this movie isn’t going to be at the top of the que wherever it appears and that’s sad. In a world filled with half-baked concepts and scripts this one ranks above those. So make a point of seeking this one out. My guess is that once you do you’ll be looking to see what else Well Go is releasing.

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JAKOB’S WIFE: MID LIFE CRISIS

 

 

I’ve been a longtime fan of both Barbara Crampton and Larry Fessenden. Her works as far back as RE-ANIMATOR has shown she’s not just another pretty face but has the acting ability to back her up as well. And he’s come up with some of the most creative films in the horror genre in years. Putting them together in a project just seems like a natural fit. 

Fessenden plays Jakob Fedder, a minister who talks a good game about husbands and wives supporting one another but who seems to be lacking in that area. At least that’s the way his wife Anne sees it. For her each day is just another in a long line of days with nothing new, nothing exciting happening in her life. 

One day her old boyfriend Tom (Robert Russler) is coming back to town on business. His company has been chosen to revitalize an old factory in town. Anne let’s Jakob know this and that she’s going to meet him to talk about the project. Jakob might be a little jealous but he doesn’t display it. All the more reason for Anne to go. 

The pair meet and talk about old times. Eventually they go to the factory to take a look at just how much work needs to be done. But for Tom this isn’t about the factory. This is about rekindling the relationship they had long ago. At first Anne seems ready to take the plunge but then she catches herself. At the same time the crate they were sitting on moves. When Tom opens it there is a rat, when he opens the second one it is flooded with them and they attack him. As Anne screams and turns to run she’s stopped by a claw like hand. 

Waking at home Anne checks her neck. There are two puncture wounds there and she feels different. Yes, she’s been bitten by a vampire now taking up residence in town. She has a craving for blood and tries to handle it with a pouch of cow’s blood bought at the store. Big mistake. 

Jakob beings to notice a change of behavior in his wife. Eventually all comes out when he finds her chowing down on a body in the kitchen. Can he save Anne from being a full-fledged vampire? More importantly does she want to be saved? And can this marriage be saved? 

Well made, well acted and having a new take on an old theme this movie should be great. The problem is it is only passable. The script has good and bad moments and the timing felt off throughout. In spite of that both Fessenden and Crampton commit to their roles and put in great performances. But even that can’t save the film from feeling mediocre.

Still, in a world of incredibly terrible horror films, it comes off better than most. It presents an entertaining movie that uses the vampire legend to discuss a more pressing matter which is a marriage under duress. Whether or not the couple in question can not just survive but thrive in spite of all that makes for an interesting film.

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NOBODY: MILD MANNERED KILLER

 

 

                                                     (R rated red band trailer)

While they really never quite left the action film genre has had a boost in recent years. That was mainly due to the three JOHN WICK films. These movie were not ashamed of what they were, pedal to the metal action pictures more fueled by the action than the story. That’s not to say there wasn’t a story but the action was front and center. So where do you take things from there? You give those skills to NOBODY. 

Bob Odenkirk stars as Hutch Mansell, an average ordinary guy. The introduction of Hutch to the viewer shows this. He wakes, jogs, makes breakfast, goes to work, clocks in, drinks coffee, goes home, eats dinner and sleeps with his wife with them divided by a couple of pillows. This is repeated for us over a few weeks’ time to get the idea in our heads. 

Then one night things change. A couple of burglars break into the house. Hutch has a chance to take them down after his son tackles one but he doesn’t do so. This leaves his son thinking him a coward. Nothing is missing but a few dollars and his watch. But when his little girl notices her kitty cat bracelet is missing Hutch changes. He suddenly has the skills to track down the burglars and follows them to their home where he takes back his watch. No bracelet though is on hand. 

With his rage unspent he takes a bus home only to have it boarded by a group of young Russian speaking punks after they crash their car. When they threaten a young girl on the bus he finds a way of releasing that pent up aggression. Suddenly this mild mannered accountant takes out 6 young guys at one time. Sure he gets hurt but the damage he imposes on them is far worse. The bad news though is one of them is the brother of a Russian gangster named Yulian (Aleksei Serebryakov). 

A message from an old friend named Harry (Rza) informs him of who he was dealing with and suggest he contact “the Barber”. It turns out Hutch was a paid killer for hire who worked for those agencies that usually have 3 letters. The “Barber” gives him the information on the Russian gangster. It turns out he launders all the money for the Russian mob. And odds are he’s coming for vengeance be that Hutch’s family at home or his father (Christopher Lloyd) in a nursing home. 

They do indeed show up at his home but Hutch is prepared and hides his family in a safe location. After taking out most of the crew he is tazed and tossed in a trunk. But his skills get him out of there as well. He returns home, sends his family away to a safe location and prepares for a confrontation with Yulian and his men. Only one will walk away from this confrontation. 

Like the WICK films what we have here is an explosive action film that takes no prisoners. The pace of the action here is furious and done at such a speed as to make it more plausible than fight sequences of the past. Hutch may look like the average guy on the street but his skill set is far from what you would expect from your standard accountant. The film provides more action than most films and all of it is between character rather than lengthy car chases (though there is a short one here). 

One of the things that makes this film work remarkably well is the casting of Odenkirk in the lead role. Know mostly as a comedy writer before his career took off starring as corrupt lawyer Saul Goodman on the series BREAKING BAD, he looks just like an ordinary average guy. No slam on Odenkirk, I mean he’s a good looking guy but is he Keanu Reeves? Sean Connery? No. So he has that going for him here, not looking like the typical tough guy we’ve come to expect in films. And yet he does a fantastic job in that role making both sides of the character seem plausible. 

Here’s something that should come as no surprise once you see the film. It was directed and written by Derek Kolstad. I know the name is not familiar to most people. But his screenwriting is. You see Kolstad wrote all three JOHN WICK films. It makes sense once you watch this movie. And yet at the same time there is a difference between Hutch and Wick. 

I thoroughly enjoyed this movie, enough that it must become a part of my collection. And while watching it and enjoying not just the action but the tiny bits of comedy thrown into the mix I kept thinking will they make another? I for one could see it happening and would enjoy it if they did. Who knows, maybe one day Hutch and Wick will meet up. Until then we can watch their exploits over and over again on disc. 

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MASTER OF THE WORLD: GOOD INTENTIONS

 

 

I grew up a fan of all things surrounding Jules Verne. The author was brought to my attention by two films based on his novels, 20,000 LEAGUES UNDER THE SEA and it’s follow up MYSTERIOUS ISLAND. The second film grabbed my attention with the special effects work of Ray Harryhausen. I think the first time I saw it was on a Thanksgiving night as my family was altogether at my grandparent’s house. Unfortunately we had to leave before it was over so I didn’t see the whole thing until years later.

But these two movies make me want to know more about Verne. He was a visionary who predicted the invention of so many things including flying to the moon. When I learned about the movie MASTER OF THE WORLD I knew it would be a movie I had to see. Sadly this was before video existed and it never played where I had a chance until years later. I’d seen bits and pieces but now I had the chance to watch it in its entirety since Kino Lorber has just released it on blu-ray. 

At the turn of the century a small town in Pennsylvania is stunned when a nearby mountain appears to erupt, shaking the earth. This is followed by a booming voice quoting scripture. Frightened of what might happen the citizens call upon the government to investigate. 

Government agent John Strock (Charles Bronson) is sent to a congregation of balloon enthusiast to see if he can use their newest airship to investigate the cause of the issue. Along with the balloon’s owner/creator and arms builder and dealer Mr. Prudent (Henry Hull), his daughter Dorothy (Mary Webster) and her fiancé Phillip Evans (David Frankham) they fly near the apparent volcano only to be shot down. Landing inside the dormant volcano they are taken prisoner. 

When they awake the find themselves captive aboard the airship Albatross commanded by Captain Robur (Vincent Price). It was the airship that caused the stir in the small town below, an unintentional moment as the ship was going through repairs. Robur informs the group that they are his guests until such time as he decides to release them. He escorts them through the airship showing off the comfort and capabilities it possesses. 

Robur is an idealist as are his men. His goal is to end war in all of its forms around the world. To do so he has invented this ship, a mechanical marvel filled with massive munitions that will be used to force countries to abandon their own machines of destruction. To do so he informs the various countries he flies over to dismantle their weapons or face the consequences. Of course none of them take him seriously and then suffer. 

The prisoners find themselves in a position to stop Robur. But they face other issues as well. Evans feels that Strock is a coward, unwilling to go up against Robur. He also has a strong case of jealousy against him. Strock is playing it safe, looking for the right moment to strike. Prudent is the arrogant upper crust who expects his words alone to carry power even when Robur ignores them. And Mary is caught in the middle unsure of how they should handle the situation. If they are going to stop Robur they must unite. The question is will they. 

Made in 1961 for AIP (American International Pictures) this had to have been one of their more expensive productions but that’s not saying much. The effects sequences of the Albatross flying are slightly out of focus and slightly weak by today’s standards but my guess is in 1961 they were amazing to see. The design of the ship is fun to see and looks like it would definitely have fit well into the Jules Verne stable of vehicles. 

The story might seem simplistic but at the same time you have to find it surprising to find a movie of anti-war sentiment at a time before it was in vogue to protest the then beginning war in Vietnam. I don’t think it was intending to do such but more looking at Verne’s take on previous wars around the world. 

The performances here are well done by all involved. Bronson had yet to portray the hero that often and this film shows he was quite capable of doing so. Price is as eloquent in his speech as he ever was, a commanding presence among his staff as well as his prisoners, an idealist who is so filled with his goal that he will not allow anything to stop him. Perhaps the weakest of the performances here comes from Frankham but that could be because his character is so one trick only. 

The end result here is a wonderful film that can be enjoyed by the entire family. Those seem to be rare these days. It might seem a tad slow for a generation raised on videogames and music videos but if given the chance they might just enjoy it. 

In addition to the film the disc also contains a nice documentary, a discussion of his career with author Richard Matheson. Matheson wrote the screenplay for this film as well as many others. His novel I AM LEGEND was made into film three time with THE LAST MAN ON EARTH (also starring Price and being released by Kino Lorber on blu-ray), THE OMEGA MAN and I AM LEGEND with Wil Smith. It’s an interesting look at his long and wonderful career. 

Fans of Verne, Price, Bronson, AIP films and more will want to make sure this one is included in their collection. Families should pick this one up just to have a good night of entertainment together. This is a movie worthy of repeat viewing and should become a part of your collection.

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THE LAST MAN ON EARTH: CLASSIC PRICE

 

 

The early 1960s saw actor Vincent Price making numerous films in the horror genre and becoming and icon in the process. Few will recall that it wasn’t until the early 50s that he made films like HOUSE OF WAX. But it was the Edgar Allan Poe films he made with director Roger Corman that cemented him in the halls of horror. And in between a few of those films he made an Italian produced feature shot in Italy based on a novel by author Richard Matheson. The movie was THE LAST MAN ON EARTH. 

Price stars as Dr. Robert Morgan, the apparent sole survivor after a plague has killed off every other person on the planet. But this diseases has not just killed them, it has turned them all into vampire like creatures that avoid sunlight, fear mirrors and are avoid garlic. Morgan has holed up in his house using protective measures to keep them out at night. During the daylight hours he roams the city looking for their nest as he tries to eliminate them driving stakes through their hearts and then taking them to a landfill where their corpses are burned. 

In flashbacks we see what transpired as Morgan and his fellow scientists tried to find a cure for this deadly virus. Eventually his daughter succumbs to the virus and when his wife calls for help they take her body to be burned with the others. This was the beginning of the burn pit we saw earlier. When Morgan’s wife dies he doesn’t want to face this again and buries her quietly. But she comes back that night and he is forced to kill her and deal with her body the way he should have to begin with. 

Back to the present and one day Morgan finds a stray dog on the streets. Longing for some companionship he finally catches the dog and brings him home. Unfortunately he finds the dog has the plague as well and must kill it. But while burying the dog after something catches his eye. It’s a young woman, alive and well. He chases after her, catches her and shows him that he’s normal. 

Taking her home he discovers that she is ill with the plague as well. Having determined that he has a natural immunity, he gives her a transfusion of his blood and saves her. But as she is recovering she confesses she has something to tell him that will change things. 

I’ve seen this film numerous times and it’s always been fascinating to watch. Perhaps more so now after having spent a year in lockdown due to a mysterious plague of sorts with Covid-19. As this tale unfolds you begin to wonder what would have happened now if things had grown progressively worse. What would people have done if bodies would have had to be burned rather than buried? It causes some interesting things to consider. 

This is the first adaptation of Matheson’s story and word was he wasn’t happy with it. That’s surprising as the other version drifted further away from his original story. Those were the Charlton Heston movie THE OMEGA MAN and the Wil Smith film I AM LEGEND. It would make an interesting nights viewing to watch all three back to back. Matheson was an amazing writer and this film proves that. 

Kino Lorber is releasing the film for the first time on blu-ray and they’ve done an amazing job. The picture looks better than I’ve ever seen it before. In addition to that they are including a new audio commentary track by Richard Hartland Smith, an episode of TRAILERS FROM HELL featuring Joe Dante, “Richard Matheson: Storyteller” a documentary interview with Matheson, 2 TV spots, an alternate ending and the Italian trailer, the theatrical trailer and a collection of other trailers of Price films. 

You may have seen this film before but not like this. If you are a fan of the film, horror or Price, then by all means this one must be an addition to your collection.

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MAJOR DUNDEE: A CLASSIC MAKES ITS WAY TO BLU

 

 

I’ve long been a fan of Sam Peckinpah. Even when I wasn’t aware of his name I loved his movies. Oddly enough those first films of his I loved were not the ones he was most noted for like THE WILD BUNCH. No, I came to Peckinpah first by way of this film, MAJOR DUNDEE. I saw it on TV years ago and thought it was amazing. It made me a fan of Charlton Heston and Richard Harris who both star in the film. And now the movie is available from Arrow Video and has never looked better. 

Heston stars in the lead role as Major Dundee, a Union soldier stationed out west during the Civil War.  He is currently dealing with an Indian uprising led by Apache Chief Sierra Charriba. Charriba has been attacking settlements and bases throughout New Mexico and is now heading south to cross into Mexico where he can’t be touched. His most recent attack has killed a column of the cavalry and left Dundee shorthanded. 

Short on men but determined to end this butchery taking place and raise his profile, Dundee defies orders and recruits any and all he can to aid him in his quest. This includes a number of Confederate soldiers he is currently holding as prisoners of war. This group is led by Capt. Ben Tyreen (Harris). 

Tyreen and Dundee have a past. Both attended West Point together. During their time serving in the Union Army Tyreen was brought up on charges and court martialed for fighting a duel. Dundee was the deciding vote in the court martial and ended the career of Tyreen and led to his joining the Confederate Army. 

Dundee forms his group of rag tag soldiers and scouts. Among them are Tim Ryan (Michael Anderson Jr.), the only survivor of the massacre, Trooper Samuel Potts (James Coburn) a one armed mountain man and scout, Lieutenant Graham (Jim Hutton) an inexperience armament expert, Rev. Dahlstrom (R.G. Armstrong), Aesop (Brock Peters) the leader of a group of black soldiers and horse thief Benjamin Priam (Dub Taylor) along with other troops. Tyreen eventually agrees to join the expedition swearing that his men will abide by the terms of capture up until the capture or end of Charriba. 

The group sets out and follows the trail of Charriba into Mexico. They are attacked but able to rescue the children captured by Charriba, unfortunately losing some munitions in the battle. Dundee sends the children back with a few men and the group decides to attack a French garrison in a small nearby town to replenish their supplies. 

Nothing seems to go right for the group when they succeed in taking over the town but find the people there near starvation. Dundee and his men share their meager amount of food with the people of the town who welcome them with open arms. Dundee allows the French prisoners escape so they will come back with reinforcements. They do and are all capture, resupplying Dundee with the items he needed to begin with. 

The ups and downs for the group continue through the film with Dundee and Tyreen facing off again and again as comrades in arms one moment, both seeking love from the same woman the next and eventually coming to grips with the fact that to survive this adventure they will have to work together to make it out of this alive. 

Peckinpah was known for his love of the west and many of the movie he made reflected that. He was also a believer in men being men of the old sort, tough guys who rode hard, drank hard and fought long. This film sums up that better than most and also allows him to work with some major names as well as with a number of actors who became staples in his films. Not only were a number of the aforementioned actors in this one but so were Warren Oates, L.Q. Jones, Strother Martin and Ben Johnson. 

The story is compelling here with a man on a mission, but what exactly is that mission? Is it to protect the people where he is stationed? Is it to take down the Apache Chief who is warring on our country? Or is it a quest for glory while stationed far from the war taking place? Or could it be all of these things. 

The movie is a classic long neglected but treated with love and care by Arrow Films. This release on blu-ray includes the 136-minute Extended Version of the film from a 4K scan, as well as the original 122-minute Theatrical Version. And the extras here are extensive. They include a 60-page booklet featuring new writing by Farran Nehme, Roderick Heath and Jeremy Carr plus select archive material, limited edition packaging featuring newly commissioned artwork by Tony Stella, a fold out poster featuring original and newly commissioned artwork by Tony Stella, an audio commentary with Nick Redman, David Weddle, Garner Simmons, Paul Seydor, an audio commentary by critics Glenn Erickson & Alan K. Rode, an audio commentary by Glenn Erickson, “Moby Dick on Horseback” a brand new visual essay by David Cairns, “Passion & Poetry: The Dundee Odyssey” a feature length documentary about the making of Major Dundee by Mike Siegel, featuring James Coburn, Senta Berger, Mario Adorf, L.Q. Jones, R.G. Armstrong, Gordon Dawson, “Passion & Poetry: Peckinpah Anecdotes” where nine actors talk about working with legendary director Sam Peckinpah, featuring Kris Kristofferson, Ernest Borgnine, James Coburn, David Warner, Ali MacGraw, L.Q. Jones, Bo Hopkins, R.G. Armstrong, Isela Vega, “Mike Siegel: About the Passion & Poetry Project” in which filmmaker Mike Siegel talks about his beginnings and his ongoing historical project about director Sam Peckinpah, extensive stills galleries, featuring rare on set, behind the scenes, and marketing materials, the 2005 re-release trailer, “Riding for a Fall” a vintage behind the scenes featurette, extended/deleted scenes, silent Outtakes, select extended/deleted scenes and outtakes with commentary by historian and critic Glenn Erickson giving context on how they were intended to appear in Peckinpah’s vision of the film, original US, UK and German theatrical trailers and a stills gallery. The amount of things included in this release is astounding.

This is a piece of movie making history that deserves to be rediscovered and now is your chance. If you are a fan of the genre, of Peckinpah, of the stars then by all means you must include this on your shelf. You will never find a better offering of this title ever. Kudos to Arrow Video for another amazing release.

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SPIRAL: I WANT TO PLAY ANOTHER GAME

 

 

When the first SAW movie came out and I watched it I was stunned. Here was a mystery that slowly unfolded before my eyes. All the pieces of the puzzle were there, an apt description since the main bad guy was named Jigsaw. The movie presented a fresh new face for horror but was limited in both scope and location. Writers James Wan and Leigh Whannell had written a near perfect mystery. 

The success of that film made them big stars down the line and led to a series of SAW films. At first I wasn’t convinced they could carry on especially since the second one was the weakest. But as they each unfolded the long term story was told. What seemed like the end in the first film was actually the beginning, pulling the viewer down a gore fueled bloody path that came to a complete end.

But Hollywood never lets a successful franchise go away. Talk began of yet another story involving the character of Jigsaw character being made. Chris Rock was attached to it. The bad news for the film was that the pandemic kicked in just as it was about to be released. But it did get there and now it arrives on disc. 

Rock stars as Det. Ezekiel “Zeke” Banks. Zeke almost always works alone due to the fact that he turned in a dirty cop who killed a witness. The blue code is strong in this city and rather than be celebrated for doing the right thing the rest of the detectives shun him. He’s bitter, going through a divorce and seems to be the only cop on the force looking for justice. 

As the film opens Det. Marv Bozwick (Dan Petronijevic) chases down a purse thief into the subway tunnels beneath the city. He’s captured there and when he wakes finds himself chained, standing on a ladder on the tracks with his tongue in a vice and a TV nearby. It fires up and ask him if he wants to play a game. His lies in court have sent innocents to their deaths. He can jump and have his tongue yanked out or stay and have the next train hit him. Taking too long to decide both things happen. 

Zeke is handed a new partner named Det. William Schenk (Max Minghella) fresh from the academy by his captain Angie Garza (Marisol Nichols). Preferring to work alone he begrudgingly takes on the new partner and they get the next case in line, the demolished corpse in the subway tracks. 

Working the case they find clues seemingly left behind on purpose. Zeke has a feeling that something seems familiar here. When they return to the office he has a package waiting for him, a small box with a thumb drive on it. The drive shows the murder and offers another clue. Going to the location in the video they find a spiral like that used by Jigsaw who is now dead and another clue, the tongue and badge of Det. Bozwick. 

Zeke pushes Garza to appoint him the head of the task force investigating this murder. The detectives are reluctant at first but eventually fall in line. After their first day of working the case Zeke goes home to discover his father, Marcus Banks (Samuel Jackson) the ex-chief, waiting in his apartment. Words are exchanged and he leaves only to later follow up on a lead of his own. 

More officers are killed, more body parts as clues are left behind and we the viewers see the demise of each officer in glorious gross detail involving various machines of death. The big question is who is behind these killings if Jigsaw is dead? A follower? And why these particular officers, each one with a dirty secret to tell? Why does this revolve around Zeke? The answer are delivered in the final portion of the film. Some will be satisfied and others not. But the movie does add another chapter in the story of SAW. 

Rock does a great job here. For years he’s appeared too young to handle a mature role like this. He does so here showing that he has the capability to take the lead in a film and deliver the goods. The supporting casts also does a great job but none stand out and perhaps that is because the film focuses mostly on Rock’s character.

If you’re a fan of the series you will enjoy this one. The gadgets of death don’t quite live up to previous efforts though. If you’re at all squeamish this movie might not be for you. And if you are wondering, yes they do leave it open for a sequel.

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SHENANDOAH: FAMILY COMES FIRST

 

 

Films about the old west and the Civil War were a staple in the movie making business. But as the sixties came around all of those staples began to see a change. With tons of westerns on TV they weren’t the box office draw they once were. It took a name star to pull ticket buyers into the theater. On top of that the stories were changing too, bringing in topics of the day and setting them in these genres. Such was the case with SHENANADOAH made in 1965. 

SHENANDOAH tells the story of the Anderson family led by patriarch Charlie (James Stewart). Taking place during the Civil War, Anderson has kept out of the war and made sure his six sons have too. These include Jacob (Glenn Corbett), James (Patrick Wayne), Nathan (Charles Anderson), John (James McMullan), Henry (Tim McIntire) and Boy (Phillip Alford) as well as daughter Jennie (Rosemary Forsyth) and daughter in law Ann (Katherine Ross). But while Charlie might try to keep his family out of the war, the war will no doubt come knocking at his door. 

The family has no slaves and Charlie considers them a God fearing family that regularly attends church. Jacob feels that they can’t just stand by but Charlie begs to differ. His holds firm that until the war concerns them they won’t be concerned with the war. 

As the war booms on around them a young local man who is part of the Confederate Army, Sam (Doug McClure) has been courting Jennie. Before being shipped off he asks Charlie for her hand in marriage and Charlie grants it. A wedding is pulled together and the couple are united but the next day Sam is called to duty and regretfully leaves his new bride. About the same time Sam leaves, Ann gives birth to a baby girl that she and husband James name after Charlie’s late wife. 

One day while out fishing Boy is captured by a group of Union soldiers. Wearing a rebel cap he found floating down the nearby creek, they assume he is a Confederate soldier and take him prisoner. Boy’s friend Gabriel, who is black, is told by the soldiers that he is now free. He runs straight to the Anderson farm and lets them know what has happened. The war now concerns Charlie Anderson. 

The film proceeds to give us the search for Boy by the entire Anderson family with the exception of James, Ann and their newborn baby who remain behind to watch over the farm. Everything from Union camps to prison and trains transporting prisoners of war is searched to find Boy and bring him home. Along the way the devastation of what has taken place during this Civil War is on view and tragedy will hit the Anderson family hard before the film ends. 

Well made by director Andrew V. McLaglen, son of actor Victor McLaglen, who would go on to direct numerous great westerns including THE RARE BREED, THE WAY WEST, BANDOLERO and CHISUM. His knack for drawing out the human side of the genre made him one of the best when it came to stories like this. Stewart was nowhere near slowing down when it came to making movies at this time. He might be playing older characters but his ability to make them believable and characters we cared about continued as is shown here. 

The film was known not only for the thorough story it was telling but for its metaphorical use of a war story from the past to view the current war at the time, the Vietnam War. By 1965 the tide was turning on the views of that war with many wondering why we were there. Charlie Anderson’s viewpoint of not becoming involved until you had no choice and being drawn in only when his child was dragged into it was the sentiment of many parents who were seeing their child forced to go to war in Vietnam. 

The best part is that while these perhaps not quite so subtle implications are there they don’t stand in the way of good storytelling. That is what draws a viewer in, that is what makes us become involved with the drama unfolding, that is what keeps us entertained first while considering the concepts being discussed at the same time. SHENANDOAH is one of those movies that you can sit and watch repeatedly and still enjoy. It’s one that I know I’ll pull out from time to time. 

Kino Lorber has released this on blu-ray and done a great job offering the cleanest version of the movie you are likely to find. Included on their extras are an audio commentary track featuring film historians C. Courtney Joyner, Michael F. Blake and Constantine Nasr, THE DEFIANT VIRGINIAN a short super 8mm film and a collection of trailers. 

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THE BLACK MARBLE: BAD LUCK

 

 

There was a time when the novels of ex-police officer Joseph Wambaugh were all being turned into film. Wambaugh made a name for himself describing in detail the daily lives in officer wearing the blue uniform on the street. The good, the bad, the happy, the sad, all were part and parcel with his stories. With THE BLACK MARBLE he moved slightly focusing on a detective on the downside with an alcohol problem but still possessing talent. The movie was a perfect rendition of that novel.

Sgt. A.L. Valnikov (Robert Foxworth) is an aging detective with a drinking problem. We find him at the beginning of the film drunk in church and leaving in the midst of a rainstorm. When he goes to pocket his handcuffs that have fallen on the steps of the church, he accidentally drops them into the front of his pants locking them in a most precarious place. Thus is the life of Valnikov.

Into Valnikov’s life walks Sgt. Natalie Zimmerman (Paula Prentiss). Where Valnikov is scattered in his methods and disheveled in his looks, Zimmerman is pragmatic and well dressed. Zimmerman is upset that she’s been partnered with Valnikov having struggled her way up through the boys club that is the police department. Unfortunately for her Valnikov’s friend Clarence Cromwell (John Hancock) has the ear of the department’s captain and the pairing is complete. 

As their story unfolds we also learn about dog groomer Philo Skinner (Harry Dean Stanton). Philo was once the groomer to the stars of the dog world but has fallen on hard times. His wife berates him constantly and Philo is heavily in debt to his bookies. With nowhere to turn he comes up with a scheme to kidnap a dog and ransom the pet for $85,000 from its owner (Barbara Babcock). What he doesn’t know is that she doesn’t have the money. 

Valnikov and Zimmerman are assigned the case and begin looking for clues to find the kidnapper. Along the way Zimmerman begins to learn more about Valnikov. She learns that he’s a romantic, a Russian and that his restaurant owner brother loves him to death. She also learns his reason for drinking, the suicide of his last partner.

The movie is a bright mix of detective tale, romance, comedy and look at human nature as seen through the eyes of the characters. Foxworth is at his best here showing both that sad look when needed, the sloppy drunk and the romantic switching from one to the other with ease. Prentis is perfectly cast as the frustrated professional who may or not be using her romantic life to further her career. And Stanton has never played a sleazier character than he does here. 

The film is directed by Harold Becker who also directed THE ONION FIELD the year prior, another film based on a novel by Wambaugh. That movie is completely different from this one with a much more serious tone to it. Even so he shows a deft hand here letting the humor and the emotions boil beneath the surface before being unleashed.

The movie was not a major hit. My guess would be not enough people were that familiar with the stars as feature film box office draws. And yet the movie plays as well today as it did when released. When I first saw this I was surprised at just how good a movie it was. I still think it’s one worth watching and watching more than once. Kino Lorber has just released this one on blu-ray and it looks great. Now it just needs to find its audience. Give this one a watch, I think you’ll be glad you did.

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SON: HOW FAR WOULD YOU GO

 

If you’re unfamiliar with the streaming service Shudder you either hate horror films are just haven’t been told about it. Not only is Shudder the home of Joe Bob Briggs The Last Drive In, it offers a collection of horror films past and present, domestic and foreign, that will satisfy any fan of horror. Not only that, each month they offer plenty of new films most all made by RLJ Entertainment.

 

With the many low budget low quality companies out there making sub-par horror films (how many variations of sharks are we up to now?) RLJE embraces the genre and provides opportunities for up and coming film makers to create quality product for Shudder. But these films appear of disc months before they arrive on the channel. Case in point SON.

The film opens with a very brief lead in as Laura (Andi Matichak) is a pregnant woman on the run. She pulls off to the side of the road and there has her baby screaming throughout that she doesn’t want it. But seeing the baby and holding it in her hands her tone and feelings change.

Fast forward to 8 years later. Laura now lives with her son David (Luke David Blumm) in a small town where he goes to school, she works and also attends classes at night while her neighbor keeps an eye on David. There lives are moving along fine until one night she hears a noise coming from his room. She enters to find a group of people standing over his bed. She tells her neighbor to call the police but by the time they arrive the people are gone. 

A detective named Paul (Emile Hirsch) listens to her story and believes her but no evidence is found. Before he leaves David walks in on the two of them talking and vomits blood. The doctors at the hospital do everything they can to find out what is wrong with David but are perplexed. They can find nothing. Could it have been something done to him by the people Laura saw?

They return home but things are no longer normal. Another night of sounds in the yard frighten Laura and while Paul is there David has another seizure. As he and Laura sit waiting on the doctors she reveals to him she has a past. She was part of a satanic cult led by her father. Now she fears that her father and the group has found her and are coming after David. 

As more things happen to Laura and David, Paul and his partner investigate the cult. They discover that at one time Laura was institutionalized due to all she suffered at the hands of her father. This leads them to wonder is there really a cult out there trying to capture this boy or is Laura having a psychotic breakdown where she sees danger that doesn’t really exist?

The film offers a solid story with a great concept of is it happening or not going for it. Everything that you see up to the point of this revelation about Laura you suddenly question, dipping back into your memory (if not rewinding) to recall just what actually happened since the film began. Until the final moments of the film you find yourself questioning all of her actions as she does a number of things to avoid the cult, if they exist. And at the same time she does more to protect her son, things that are unacceptable except for the fact that she is a mother who cares about him. 

Many films of this genre that are not major Hollywood releases have to deal with performances by lesser actors that are completely unbelievable. That isn’t the case here. Matichak has you eating out of her hand, believing that she is a mother who will do anything to protect her child. Hirsch is also great as the detective who finds himself falling for a woman who may not be all there. And Blumm plays the role of David quite well, something that many young actors would have difficulty with.

Writer/director Ivan Kavanagh has crafted a story that lulls you in and makes you believe one thing only to upend that tale and make you doubt all that you’ve seen before. And as the story progresses you then wonder if you were right all along. Through it all he tells a good tale and gets great performances from his cast. 

This movie offers chills, terror and enough of a story to entertain which is a great qualification for a new release in the horror genre. It’s not a sequel or franchise film, it’s one that stands on its own and does so well. And if you enjoy a good scare, then you’ll want to give this one a watch.

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WRATH OF MAN: BACK AND FORTH

 

 

I’ve long been a fan of director Guy Richie. With the exception of SWEPT AWAY I’ve enjoyed all of his films. Be it Sherlock Holmes, the man from U.N.C.L.E. or his exceptional British crime dramas like LOCK STOCK AND TWO SMOKING BARRLES or SNATCH, all have offered exceptional entertainment. Richie was the first to really see the potential of Jason Statham and the pair have worked on 4 films together. Including this week’s pick WRATH OF MAN.

The story bounced back and forth in time from various perspectives all telling the same story. Richie does an exceptional job presenting this tale and doing so in a method that doesn’t prove to be distracting or too complicated. Instead this method helps move the story forward. The only thing it makes difficult is writing about it without revealing too much. So please bear with me. 

The film opens with the heist of an armored car and the killing of two guards. The action is quite put on display but the voiceovers of the criminals involved gives us what is happening. The guards and two bystanders are shot during the heist. 

Fast forward a few months and there is a new hire for the same armored car company. Statham plays Patrick Hill, called H by his mentor Bullet (Holt McCallany). His first day on the job he’s given a hard time by a driver named Dave (Josh Harnett). When paired with him on a run a few weeks later, Dave is the one that is too nervous to move while Hill comes out of the truck with a plan in mind that results in the robbers all being killed.

But there is more to Hill than being a simple truck guard. We discover that the two victims shot in that opening heist were Hill and his son. It turns out that he himself was part of a large crew that robbed armored cars. He was doing the team robbing that truck a favor as eyes on the street but they didn’t know who he was. Once he recovered, he and his crew set out to find out who it was that shot and killed his son. 

The third story taking place here is that of the thieves who did the original heist. This is a team of ex-military men led by Jackson (Jeffrey Donovan). Feeling rejected and underappreciated by the country that sent them to Afghanistan, looking for action and a way to make money they come up with the plan to rob armored cars. Jackson has a man on the inside to help them but won’t tell the others who it is. The biggest problem this team faces is the uncontrollable Jan (Scott Eastwood).

All of these story elements are presented in four distinct chapters of the film ending with the fourth that pulls them altogether. Each story is singular in itself and Richie does an amazing job of wrapping them around one another to tell a more complete story. The action is plentiful and the violence is brutal but fans of Richie have come to expect that. This is not a story for the squeamish and truth be told not many will make it out of the film alive. But that presents a more realistic world rather than a movie, a world where people die as a result of their actions. 

Statham does a great job in this film. He’s plaid stoic characters in films before but never as much as he does here. His focus is straight on and those who cross him will pay the price, even if they are part of the same criminal world he is from. Donovan does a solid job as well but for me he felt underused. His character had so little to draw from. Eastwood on the other hand played the crazed killer with enough restraint that it became believable. The son of Clint he’s making a name for himself on his own terms and this movie should help that along. 

In the end I found the film to capture my interest from start to finish. There was no time that I found myself bored or reaching for the remote and the fast forward button. That’s a rarity these days. The film didn’t feel like it had filler involved, no ten minute repetitive car chases that become tedious to those of us who watch movies all the time. Instead it was a movie that I know I could watch again with ease. My suggestion is that you make the time to do so at least once.

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THE PLAINSMAN: HERO OF ANOTHER TIME

 

 

I grew up learning about heroes by reading and watching movies. The reading gave me more details into the lives of heroes, the movies brought them to life in a way that just touched on what they did. It’s difficult to sum up someone’s entire life or legend in 120 minutes or less. Rather than leave me thinking I now knew everything about someone it made me look more in depth. That was the power of film.

But in the late sixties things began to change. The counter culture revolution found its way into filmmaking. We saw the rise of the anti-hero, a non-conformist who could care less about doing what was right, instead looking out for number one. This was followed a couple of decades later by filmmakers who decided it was best to not just retell stories of the same heroes by to deconstruct them. No longer were we provided with a story used to get across morals, instead we were “treated” to tales of how terrible they were in real life.

With all of this in mind I sat down to watch the new Kino Lorber release of THE PLAINSMAN. Made in 1936 the film starred the everyman of hero films Gary Cooper as Wild Bill Hickok. Films like these were the bread and butter of Cooper’s early career. This movie shows why.

THE PLAINSMAN tells the story of Wild Bill Hickok when he first headed west. With the Civil War over he’s on his way to find new adventure. As he’s about the head out he comes across his old friend and partner Buffalo Bill Cody (James Ellison). Bill has just gotten married to Louisa (Helen Burgess) and intends on opening a hotel, settling down and not roaming the country any longer. What they don’t know is that onboard the same paddle wheeler they’re taking is a shipment of guns corrupt politicians intend to sell to the Cheyenne Indians out west. John Lattimer (Charles Bickford) is in charge of this operation.

Upon arriving at their destination the trio come across their stage driver, none other than Calamity Jane (Jean Arthur). Jane is still desperately I love with Hickok who feels the same yet never lets her know. Before leaving Hickok discovers the gun shipment and when he arrives in Kansas he informs Gen. Custer (John Miljan) of what he found. Custer in turn sends him out to talk to Yellow Hand (Paul Harvey), the chief of the Cheyenne. At the same time he recruits and sends Cody as a guide with a group transporting ammunition.

Jane follows Hickok and is captured by Yellow Hand. Hickok bargains for her life. Yellow Hand tells them that if they give him the route of the ammunition group he will set them free. As he prepares to burn Hickok alive, he finally admits to Jane that he loves her. Unable to bear the sight of him being tortured she tells Yellow Hand the route of the ammunition group. Yellow Hand keeps his word and sets them free. Hickok sends Jane to warn Custer and sets out to warn and join the group.

These are the kinds of adventures that made up the majority of films in the past. Heroic deeds and efforts made for the greater good. They were done for far less money than movies today are made and boosted the careers of most involved. Cooper is at his best here, with a sly wink and a wise word here or there. Arthur does a fantastic job as the longtime love of Hickok who pined for him waiting for the day he would finally marry her. And director Cecil B. DeMille showed why he was one of the biggest directors in Hollywood at the time.

Yes, I understand that reality and movie magic are two different things. I know that there are a large number of items in this movie that take place out of order from what we see. I know that it’s politically incorrect to portray Native Americans this way. And I know that these heroes of a bygone era were not the squeaky clean images that are portrayed here. I also know that this is a movie made for entertainment and not a history lesson. These movies were made during the great depression, a time when we needed heroes to look up to, to inspire. And they accomplished that. 

If you enjoy movies from this time period or are a fan of Gary Cooper then you will no doubt love this movie. Odds are good that you’ll add it to your collection. Kino Lorber has done a fine job of bringing this old movie new life in their blu-ray release of the film. It includes an audio commentary track by film critic and author Simon Abrams and a collection of trailers for this film and others. It’s worth picking up.

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ALIAS NICK BEAL: LET’S MAKE A DEAL

 

 

I’d heard of ALIAS NICK BEAL for some time now. It seemed to always pop up on Turner Classic Movies but I never got around to watching it. Now Kino Lorber has released the film in a cleaned up version and I’m glad I waited. Not only does the movie look great it turned out to be a solid film as well.

Thomas Mitchell (who many will remember from ITS A WONDERFUL LIFE as Uncle Billy as well as numerous other films) takes the lead here. He stars as Joseph Foster, an honest district attorney determined to clean up his city of both criminals and crooked politicians. He helps out with a youth club as well and has the support of many close friends, friends who hope that a victory would help him find himself as the next governor. Foster says he’d do anything to win his next big case, even sell his soul.

As he’s about to take the most notorious criminal to task the evidence he was waiting for is burned to a crisp. With all hope lost he gets a message from someone telling him they can help and to meet at a waterfront saloon. At this dive in walks Nick Beal (Ray Milland). Beal tells Foster that another set of books exist. Taking him to the offices of his adversary, Beal displays the books for him. The problem is he has no warrant. Beal convinces him that winning the case is the most important thing and let’s Foster know that one day he’ll come to him for a favor.

As Beal handles Foster he also works himself into the life of Donna Allen (Audrey Totter). A down on her luck actress who is now little more than a bar floozy, he offers her a chance to make something better of herself. Setting her up in a penthouse filled with nice clothes, all he wants in return is for her to work herself into the governor’s campaign of Foster.

It isn’t long before Foster falls prey to the very things he said he was determined to get rid of. Along the way he begins a romance with Allen. As he begins to change his friends notice what is happening and begin to abandon him. His wife Martha (Geraldine Wall) sees herself losing him but wants to save him. With the help of Martha and his friend Rev. Thomas Garfield (George Macready), there might be a chance for him yet. Or perhaps Nick Beal will collect his marker after all.

The story here is a good morality play as we watch a man struggling to do good attempt to take a shortcut and falling by doing so. But what makes the story more interesting is that it’s sold as a film noir, those movies that featured an extreme use of lighting, cynical heroes and criminal situations. But as you may have guessed there’s more to it than that. Beale seems to materialize out of nowhere. He has a contract for Foster to sign. And he avoids touching the Bible. Any guesses as to who he might really be?

Mitchell was an excellent actor but for most of his career he was saddled with sidekick and supporting roles. There were few who could compare to his abilities to make those characters stand out. Seeing him in the lead here shows what talent he truly possessed. He turns in a solid performance. Milland on the other hand was by this time a leading man. While the focus of his character is there in the title and in the advertising for the film, his role isn’t near the lead one would expect. It takes a certain amount of confidence to allow others to shine when you’re at the peak of your career. And Milland was at his peak, giving some of his best performances in the years this and many of his films were made. 

The rest of the cast does a great job as well though most never went on to anything this big. The film was directed by John Farrow who married Maureen O’Sullivan and who among their children was Mia Farrow. His career produced a number of hits and he won an Oscar for his script for AROUND THE WORLD IN 80 DAYS. His direction here works well with the material and the end result is a movie that will not only entertain but have you figuring out just who Nick Beale really is. It’s one worth watching more than once.

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JOINT SECURITY AREA: KNOW THY ENEMY

 

You may be tired of hearing it but I’ll say it again anyway. One of the joys of movies coming out on disc is the availability of seeing films you might otherwise have no access to. This is particularly true when it comes to foreign films. Don’t get me wrong, I’m not one of those people who think all foreign films are artistic masterpieces that American directors should follow. But it’s a nice to experience the films from other countries and other viewpoints on various topics.

One such film is JOINT SECURITY AREA, a Korean film directed by Park Chan-Wook in 2000. Famous for his trilogy that included SYMPATHY FOR MR. VENGEANCE, OLDBOY and LADY VENGEANCE, this film was made just before that series began. The film focuses on the situation in North and South Korea and gives us a look at it from a Korean perspective. 

In the de-militarized zone (DMZ) Joint Security Area at a North Korean border house just across the bridge of no return two North Korean officers have been killed. Sergeant Lee Soo-hyeok (Lee Byung-hun) is a South Korean soldier who crosses the bridge wounded as gunfire erupts from both sides. Why he was there and how he may or may not have been involved in the deaths of the two other soldiers is the crux of the film.

The thin line between the two countries is fragile at best and what transpires may have a major effect on their situation. The Neutral Nations Supervisory Committee sends in an investigator, a Swiss Army Major named Sophie Lee (Lee Young-ae). As she investigates things don’t add up. In particular the fact that the story Sgt. Lee has told her doesn’t match with that of North Korean Sergeant Oh Kyeong-pil (Song Kang-ho).

Sgt. Lee confesses to shooting both dead victims after he’d been captured and began an escape. Sgt. Oh claims that he barged in and began shooting everyone before escaping. In the melee that follows the number of bullets found in the various bodies and location don’t add up to the same number fired. One is missing.

In the course of the investigation another witness is called in, Private First Class Nam Sung-shik (Kim Tae-woo). He seems troubled with the line of questioning and is pressured by those conducting his interview. So much so that he jumps out of the window of the interrogation room in an attempt to commit suicide.

As the film and investigation move forward we learn more about what was going on at this border location. A set of circumstances set into motion a friendship between the guards on both sides, led by both sergeants. It is a gradual friendship that transpires over time. But a major event takes place that led to the shooting. Just who the real guilty part is isn’t revealed until the end.

It is rare, if ever, that we as an audience are allowed to see or hear much about the border between North and South Korea. With the exception of the film/series M*A*S*H and President Trump’s recent visit to that border I can’t think of much we’ve heard about it. This film presents us a picture of two groups of people literally at each other’s door who discover they may have more in common than they realized. It is only the bureaucracy of each that interferes with more people discovering this.

The movie is amazing and highly entertaining. I found myself caught up in the story and never once noticed that it was sub-titled or felt the need to grab the remote in search of the fast forward button. The movie is as much about people and friendship as it is about the problems of both countries. That draws you into the more human aspects of the story.

Wook is an amazing director as is seen not just here but in all of his films. Here he works with a more subtle story than I was used to seeing from him. The development of the plot taking it’s time to unwind works well with this story. The back and forth from one version to the other also helps present underlying issues surrounding that story. The end result is a wonderfully dramatic film that most will enjoy if they only give it the chance.

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