Tuesday, August 23, 2022

55 Years Ago Today: THE TRIP Released


Yes, it was 55 years ago today that Roger Corman's THE TRIP (1967) was first dropped into movie theaters, just in time for the Summer of Love. To boost our celebration of that fateful day, I'm going to share with you this link (which I was just sent) which will lead you to a particularly lovely and incisive review of THE MAN WITH KALEIDOSCOPE EYES, written by Patrick Moroney - a self-described "actor, writer and movie buff from Brisbane"! 

Enjoy!


Tuesday, August 16, 2022

Beverly Gray on THE MAN WITH KALEIDOSCOPE EYES


On her blog BEVERLY IN  HOLLYWOOD, Roger Corman biographer Beverly Gray has shared some interesting thoughts in my new novel THE MAN WITH KALEIDOSCOPE EYES. 

In addition to Electric Dreamhouse's release of the hardcover first edition and ebook, we are also offering signed and personalized hardcovers here through VIDEO WATCHDOG! 

Find out more here!









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Monday, August 15, 2022

Found on YouTube: KILLERS THREE (1968)

Maureen Arthur, dick clark, and Robert Walker in KILLERS THREE.

KILLERS THREE is an AIP release that got past me in its initial release in late 1968, early 1969; I’ve always wanted to see it. It was a Dick Clark production (make that a dick clark production, in keeping with a trademarked font applied to his name throughout) and he also plays the standout role in the film, which added to its strange allure. I learned earlier this week that it was available free on YouTube in watchable quality and made a date with it last Saturday night.

Despite a talented cast that includes Robert Walker, Diane Varsi (between roles in WILD IN THE STREETS and BLOODY MAMA), Norman Alden, John "Bud" Cardos and Merle Haggard in his screen debut, it doesn't amount to much. It’s basically a BONNIE AND CLYDE rip-off about two homecoming soldiers (Walker, clark) who return to their impoverished town in North Carolina to work as moonshine runners and contrive to steal $200,000 and head off (with Walker’s wife Diane Varsi and young son) to California. Things go wrong and people die, causing them to become fugitives with Varsi's brother Haggard (who plays a highway patrolman) in visual pursuit of them as his rollicking three-verse ballad of their misadventure is played and played and played until we memorize it. I assume the film was meant to be a contemporary story but it’s set do deep in the south that it’s hard to tell if it’s the 1960s or twenty, thirty years earlier. Some local acting talent was employed but the resulting performances were evidently so thickly accented or mumbled that these scenes were overdubbed with selections from the Mike Curb soundtrack album, causing the country and rock tracks to merge uncomfortably. The rock tracks at least help to certify the time frame. Mr. clark, who was fine in 1959's BECAUSE THEY'RE YOUNG, again proves himself a capable actor as the deranged member of the trio, but there are moments in which he seems to drop the stitch of his character; he was wearing a lot of hats in this film, so it's understandable. The little boy, Tony, who was apparently cast for his ability to shed tears on cue, had to be dubbed by a voice actress at Titra; he sounds like an anime character. Here's a link to the film's trailer, should you care to gauge your interest.

Kevin Thomas of the LA TIMES, in a surprising rave review, noted that the film opened in theaters about 12-14 minutes shorter than the running time originally announced, and indeed it appears to have sacrificed some nudity and blood to give it a bigger audience grab. Were the film to be released to Blu-ray today, this deleted material just might find its way back into the picture, as has happened with numerous other AIP releases of this period. It just might make the difference between a hard-hitting picture and a mamby-pamby one.


(c) 2022 by Tim Lucas. All rights reserved.


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Saturday, August 06, 2022

RIP Clu Gulager (1928 - 2022)

It’s sadly time to bid a fond farewell to the great Clu Gulager. I once had the pleasure of meeting him and his son, director John Gulager, when the New Beverly Theater (Clu’s home away from home) invited me to host a Q&A after a screening of Dario Argento’s INFERNO. As his legend comfirms, he sat in the front row of the theater and I was aware of his intent presence throughout. Afterwards, he came up to me with some wonderful words on the evening. I told him that I’d just recently seen THE KILLERS again and the absolute truth, as I saw it: that he stole the picture and every single scene from Lee Marvin! He replied, with the voice of a repentent school boy, “No sir, no one ever steals a scene from Mr. Marvin!” He had my heart after that, and I quickly coralled him and John into a photo that I think Howard S. Berger was kind enough to take. (I don't seem able to find it just now.) Clu actually steals most scenes he’s part of, simply by being the most authentic person on screen, whether that means being organized, committed, lethal, or sweet as can be. He’s only in THE LAST PICTURE SHOW briefly but the sexual heat he emanates just by entering a room is startling. Donna and I have recently been enjoying his appearances as the deputy sheriff on THE VIRGINIAN, the most recent one being the Season 3 episode that shoukd have introduced his character but was held back till Episode 19. He doesn’t get many opportunities to cut loose on THE VIRGINIAN, but his character has an aura about him that seems to emanate from the chortle in his voice, an assurance that we’re only seeing about half what he can really do... and then sometimes he outdraws another actor (in a way that feels genuine, not just written that way) or jumps on a horse or competes with Doug McClure for the girl of the week where we see the fuller breadth of his talent suddenly leap to life. So many stories today on my newsfeed of what a great guy he was. No one could miss it. Wish I’d known him better, but so, so grateful for the evening we shared and the moment we had. My deepest sympathies to Clu’s family and to everyone his life touched.


(c) 2022 by Tim Lucas. All rights reserved.

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