Radius, or Radiation?

DATELINE: Instant Classic!

 Klattenhoff acts puzzled!

An independent film made in Manitoba has the distinction of being a fascinating fantasy-sci fi-thriller of most unusual quality.

Radiustakes its simple plot and never exceeds its tight grasp on the situation.

Supernatural? Science fiction? Fantasy? This film defies categories and transcends all of them.

Radiusmanages to hold our curiosity and shock us with a lack of monsters, UFOs, or other junk you’d expect. Special effects are minimal, but have a fascinating power that reminded us of those 1950s sci-fi thrillers.

Two people with amnesia are hopelessly tied to each other. If they go outside of a parameter of fifty feet, one emits a deathly energy that kills any living creature.

Diego Klattenhoff and Charlotte Sullivan are the essential two-actor cast. All others are doomed to some mysterious death ray almost immediately. Klattenhoff also served as producer on the picture.

Trying to figure out what’s going on never violates your intelligence quotient. It grows steadily—and the revelations are more and more disturbing. If there is a paranormal, inter-dimensional connection, it has provided justice and redemption for the main character. It is morality coming from some esoteric alien force.

We cannot stress enough how surprised we were at the high-quality production, direction, acting. Some viewers were apparently bothered that the film did not devolve into the usual clichés.

We enjoy such discoveries and love to share them. Take in this film.

 

Close Encounters on Blue Book

DATELINE: Pointless Flash Forward

 Real Hynek On Set of Third Kind

We give the show credit for a sixth episode that is a little different than all the others. Here, Dr. J. Allen Hyneck is all gray-haired, in 1976, 25 years later than the other episodes of the series Project Blue Book.

And, here he is advisor for Steven Spielberg’s classic UFO movie,Close Encounter of the Third Kind—which of course was Hyneck’s rating system. He worked as technical advisor on this film.

So, we have the wizened, older Aiden Gillen talking to a reporter. Of course, this is old school flashforward. Gillen is wearing a white-haired wig, but has not truly aged. And, he will discuss publicly the CIA investigation of the Air Force Blue Book that ended ten years earlier.

What was the point of this? It’s not clear, except that there is a studio set-up and an unsatisfying interview with a journalist, circa 1976.

The CIA and Robertson Panel are clearly operating under some other power—and that is as acceptable to this series and its inconclusive set of “facts.”

The show continues to feature murderous Russian agents who also have fooled Blue Book—and Captain Quinn. Once again, an eccentric with alien connections proves that the koo-koo birds are the ancient alien preferables for abduction and mental telepathy.

 

Trump as Movie Critic &/or Norma Desmond

 DATELINE: Old Time Movies!

At a campaign rally this week, Donald Trump showed another facet of his koo-koo bird presidency. He started attacking Hollywood’s Oscar choice of The Parasitefor best picture. It seems he does not care for South Korea’s movie industry.

 

If it had been made in North Korea, he might have been more tolerant. Perhaps he just has an intolerance for parasites, or movies that attack and ridicule rich people.

We firmly believe that Trump never watched The Parasitebecause of its subtitles. We all know that he is a dyslexic reader and has trouble with big words and fast scrolling of verbiage. His own notes are large block letter words that are monosyllabic.

However, he did cite 1950’s Sunset Boulevard as his idea of a great movie. We presume his followers have never seen it, and young people would never watch a black & white movie.

You may not recall the Billy Wilder-Charlie Brackett movie from 1950. It was a dark satire extravaganza about the dissolution of a silent screen siren.

Gloria Swanson took the role that Garbo refused and said the immortal words of Norma Desmond who is accused of once being big in movies: “I am still big. It’s the pictures that got small.”

Trump may well paraphrase the famous line: “I am big. It’s the White House that got small.”

You know that Trump is always ready for his close-up—and in fact, demands it every day. He is about ready to have the police and men in white coats come and take him away, just like poor old Norma Desmond.

 

Ossurworld’s William Russo just published a book on producer Charles Brackett who made Sunset Boulevard. It’s title is TITANIC’S FORGOTTEN MOVIE, available in softcover or ebook for smart readers.

  Man off the Eiffel Tower

DATELINE: Flawed Movie 

 Laughton in detective hero mode.

Making a motion picture on location in Europe in the late 1940s was done masterfully by Carol Reed and The Third Man. Trying to emulate that came a Paris-based production called Man on the Eiffel Tower.

Filmed entirely in Paris and in color, it was meant to be a travelogue to whet the appetite of arm-chair tourists and fans of Hercule Poirot, with a bad stand-in, Inspector Maigret.

It should have been interesting and one of the post-war gems. Alas, despite car rides through the streets of Paris, lunch on the Eiffel Tower, and a climax in which the supervillain plans to jump off with breathtaking views, the movie is a mess.

It is a Maigret mystery with Laughton as a slightly irascible, overweight, curmudgeon. He is perfect and does his usual schtick in routine fashion, playing opposite a foppish and dissipated looking Franchot Tone. Laughton is not Hercule (who is Belgian, we know), but might have had trouble with the fastidious role.

Taking over directing duties when Laughton threatened to quit the movie (and you can see why he may have considered it), is Burgess Meredith. We see him here a decade before he played a similar role on Twilight Zone in a classic episode about a man wearing thick eyeglasses.

Also aboard is empty-suit leading man Robert Hutton, also looking less boyish than usual.

Perhaps the source material of the famous detective failed them, but the movie leaps and bounds to try to capture the flavor of Paris from rooftop chases to taxi rides around the ambiance of the Left Bank. It is mostly American actors or Brits pretending to be as French as the actual settings.

It just didn’t work, and throw in a music score that is intrusive and overbearing, and you have undercut drama, suspense, performances, and plot.

What a disappointment. This film is a classic of bad movie-making. The producer tried to bury it by hiding all the prints, but failed.

 

 

 

  Double Your Spies

DATELINE: Double or Nothing?

 Gere & Topher!

It only took us a decade to come around to The Double, a Russian spy infiltrates the CIA and/or FBI thriller. This one slipped through the cracks ten years ago, and we wondered why.

Perhaps the stars were box-office poison back then. Today, they look like classic performers, doing Hamlet.

You might be held back because of the smarmy leads: there is Richard Gere, in varying shades of white and gray as he plays himself in 25-year flashbacks as the ubiquitous CIA wrecking crew.

Then, there is the ever-irksome millennial Topher Grace as the research librarian turned field agent for the FBI.

They are forced to team up to find the former Soviet agent called Cassius who led one of the most dangerous murder groups out of Russia back in the 1980s.

You need only watch the trailer for this film, and you have a pretty good idea who the double is and how dangerous he may be. You will be on the road of the Red Herring.

Topher Grace’s analytical agent claims Cassius is not dead, not executed by Gere in his last act before retiring. They disagree, and then we begin to suspect that the double is the agent leading the hunt.

All of this is droll and clever until improbable meets impossible in the grand finale. We still aren’t sure who was supposed to kill whom for what government. Oh, Martin Sheen is along as head of the CIA. So, you can trust him.

As for the rest of these double agents, you sympathize at your own risk. Well, it was diverting.

Crosby in Search of a Crosby

 DATELINE:Haunted by Uncle Bing

The nephew and godson of Bing Crosby has been documenting his uncle Bingle for decades. Now, he has produced, directed, and written up, all his film records as he tries to uncover the truth behind the legendary crooner.

The film is not merely vanity; it serves a genuine purpose in dissecting a legend. Chris Crosby was close to greatness, and he documents it well.

And Bing has had his share of Mommie Dearest moments. His eldest son Gary wrote a scathing book about his father’s cruelty and bad parenting. A few think he added the worst to sell the book to publishers. Yet Bing was at heart a Daddie Dearest, and nasty too.

Chris Crosby is fairly even-handed, trying to learn how bad his uncle truly was. What he finds from his father Bob Crosby, and Bing’s friends like Bob Hope, Anthony Quinn, Mel Torme, Stewart Granger, Donald O’Connor, Terry Moore, Rhonda Fleming, and many others, is that he was exactly what you saw: an easy-going, charming person with a hard veneer. He was always friendly, but you never broke below the surface.

Like many celebs, he was smart with money, shrewd with people, and kept his foibles well-hidden. Oh, you will hear the stories of his womanizing, his drinking, and his sadistic treatment of his sons (two of whom committed suicide after his death).

You will hear he cut you if you did not adhere to his strict Catholic views. If you were divorced, you may have lost him forever. He went to church every Sunday, and he was secretly charitable to a fault.

Many show biz friends knew the image, and never wanted much more. He never gave more because it was generous in a cut-throat business. He meant it when he sang “White Christmas.”

He died on a golf course in Madrid, whistling and singing, one day after visiting a long-time friend after 20 years. It was spooky.

Chris shows the drickle down talent, watering by generation. He seems to be haunted, if not possessed, by Bing. His sister was less fortunate. When she chose to live with a man they disapproved of, she was kidnapped and given electro-shock treatments.

But, if you were a fan, or a friendly associate, that stuff never intruded on what you saw and knew. Bing was complicated, as they say nowadays.

Thomas Crown: An Affair Not to Remember?

DATELINE: What Should Have Been?

 Stand-in graveyard?

In 1968, one of the ultra-cool movies that was meant to be an antidote to the growing counter-culture of long-hair and hippies, was Norman Jewison’s stylish caper film. Sexy cool, with dune buggy rides on Crane’s beach in Ipswich and rooftop brunch on a patio in the South End of Boston, this was your ultimate sophistication.

The Thomas Crown Affairwas meant to be a vehicle showing off a Brahmin Bostonian outsmarting a beautiful insurance agent at his hobby of “crime.”

It has all the looks of a film back in the late 1960s when Alfred Hitchcock wanted to drag Grace Kelly out of retirement with the promise of another Cary Grant co-star vehicle. It’sTo Catch a Thief in reverse. However, nothing panned out. The film settles for second-best.

Hitchcock also had Tippi Hedren under contract—and so they could not even bring her on as the beautiful insurance agent. Yet, Faye Dunaway is clearly wearing the designer outfits and living the life of a millionaire investigator meant for Grace or Tippi. She tangles with a guy in a Brooks Brothers suit who pretends to be a millionaire executive, but looks like a motorcyclist in posh dress.

No doubt that Steve McQueen looks dashing, but we never believed for a second that he could play polo or chess. Not only that, the film looks like it was supposed to play out in London, but they had to settle for Boston. McQueen reportedly could not master a Boston accent and gave up half-way through the film.

It’s the ultimate double-cross thriller that Hitch loved to do, but Jewison throws in modern elements like split-screen moments (all pointless) and Noel Harrison (not Rex) sings “Windmills of Your Mind.” It seems even Dusty Springfield turned them down.

The climax of the movie takes place at Cambridge City Cemetery, a stand-in for ritzy and prestigious Mount Auburn Cemetery across the street, no doubt. We were a tad shocked to see filming near my mother’s recent burial site back then, not far from her grandmother.

Some films you may remember for all the wrong reasons.

 

 

 

 

 

Boys from Brazil: Where the Nuts Are

DATELINE: Hitler Clones 

 Peck as Mengele!

Back in the day, Ira Levin was one hot writer. He was knocking out Broadway and movie hits with aplomb, and writing novels too. He was entertainment and controversy, wit and delight. Apart from Death Trap, he gave us Boys from Brazil.

One of his least favorite set-pieces was the novel and movie about Josef Mengele. How short-sighted they were back in those days. The main criticism centered on Atticus Finch, the hero of all things American, being done up as a pasty and hideous looking Mengele. Yes, sir, that’s Gregory Peck in the lead role, horrifying.

He is magnificent, but back then he was stung by severe criticism. His performance may be one side of over-the-top , but when you ae playing one of the evilest fiends in history, it’s hard to pull back.

The cast is utterly astounding

Playing the old Jewish Nazi hunter whose efforts have gone past relevance is Laurence Olivier. Even Peck’s Mengele has no respect for the old-timer who warns young and hunky Steve Guttenberg to get out of Paraguay before there is one less nice Jewish boy. In an early role, Guttenberg is a sacrifice to plot, replaced by his clone John Rubinstein.

James Mason, who always accounted for Nazis of varying stripes, plays a Prussian aristocratic Nazi. Every nuance of his performance, especially with Peck, is a subtext of delight. And, you have to stand back in sheer horror at a gala soiree of Nazis in Paraguay in the 1980s.

Throw in a passel of well-known character actors—from Anne Meara and Uta Hagen to John Dehner and Denholm Elliot—and you have a hoot of acting. What other movie features two 70ish stars in a dirty, knock-down fight to death at the climax?

Yes, Ira Levin knew how to entertain and write a film that was 40 years ahead of its time.

What brought the fiercest criticism was the crypto-science of the age: genetic research! The public could not accept Mengele’s theories that he could clone humans—and create a new Master Race leader. How silly they were back then! It would only take 30 years to make the story less crypto.

The boys back in Brazil were hardly your run of the mill Nazi party members: Mengele was after the big fish. He had enough DNA from Hitler to make a bunch of them from now until kingdom come!

Today, that is cutting edge. It’s quite a movie.

 

 

 

 

 

 

Merlin Among the Stars!

DATELINE: Jan Merlin’s Final Book!

Hand-made card drawn by Jan at Kilimanjaro during film Woman & the Hunter.

My dear friend and coauthor Jan Merlin died a few months ago. He lived a long and creative life. That does not lessen the effect of a hard loss, and I have managed to complete something that was brewing for decades.

Jan knew that I kept all his letters, copies of his emails, and took notes on many of our conversations over the course of thirty years. He steadfastly said he did not want a biography in any traditional sense. But, as the years passed, he often gave me a flood of memories about his years on Broadway, in early TV, and later in movies. I have completed a memoir in his own words.

He worked with so many famous—and he was one of them, knew their foibles and secrets. If I learned anything, it was a secret society—and they all kept their privilege sacred. Yet, he provided me with anecdotes with people from stage like Josh Logan, from movies such as Marlon Brando, from literature like Gore Vidal and Truman Capote, from TV like every Western TV star over 15 years (from Chuck Connors to Michael Landon).

So, I have compiled his memories to provide some amazing insights into the profession of acting and the business of movies. It did not take long to do—as I had been adding bits and pieces after each chat or text.

Now, I have for you a record of an era: the star of two TV series, Tom Corbett and Rough Riders,who played mostly the bad guy on TV westerns, committing every dastardly act and finding come-uppance weekly in a variety of ways.

His voice is clear and direct on every page; he never pulled punches, never played the social game, and he felt he damaged his career with projects like The List of Adrian Messengerwith Kirk Douglas, and he felt John Huston misused him. Even today, he is the man under the masks—but Douglas takes credit for the performance (even in an Oscar compilation clip!).

He gave me a title:  We Were All Six Feet Tall,which I have kept with the main focus, Merlin Among the Stars.It is now available on Kindle as an ebook and the paperback will soon be out for his fans and friends.

When I re-read his letters, there was so much I had forgotten—and never followed up. One example was his friendship with noted crypto-scientist Willy Ley who was tech advisor on his show Tom Corbett, Space Cadet.

There are gems from the era—and can only be appreciated by those with a grand sense of the past.

 

 

Link: https://www.amazon.com/dp/B0831S1RVZ

 

Whose Roy Cohn Was He?

DATELINE: Ethel’s Killer

 Master of Slime.

You may be aghast at the idea that Roy Cohn managed to be so powerful and so hidden in the open. He was adviser to Joe McCarthy, Ronald Reagan, and his final resulting horror, Donald Trump.

His philosophy borders on evil incarnate: he claimed to hate hypocrisy and was the biggest hypocrite around. Now, the man who put together the shocking Studio 54 documentary turns his research on Cohn. The result is unnerving and frightful. Roy Cohn, claims the movie, was dangerous, like a caged animal: open the cage at your own risk.

Most people may know Cohn from Angels in America,the play and movie in which he is depicted as haunted by Ethel Rosenberg whom he assiduously worked to have executed as a Russian spy. Today, Donald Trump lamented that he could find no lawyer like Roy Cohn to defend him against impeachment.

Yet, the lessons of Roy Cohn now are shaping America. And Cohn died of AIDS in 1986, Words like evil, Machavellian, ruthless, despicable, permeate the film, and he had a tendency to become infatuated with tall Nordic blond men (the last of these was Trump). The Army-McCarthy hearings were an attempt to impress his companion, David Schein.

He made big money by getting John Gotti, crime boss, off from a murder charge—and became the mob mouthpiece. Trump, with his own crime connections, took to Cohn like a duck to water.

Among his strongest defenders are convicted political trickster Roger Stone, a long-time friend, Barbara Walters whom Cohn said he wanted to marry, and Donald Trump, his protégé. When he needed character witnesses, all these people came to his aid.

When he was dying of AIDS, denying it emphatically to Mike Wallace in an interview, Ronald Reagan pulled strings to put him in an experimental drug program.

Cohn was reprehensible, and this biography doesn’t help his reputation or those guilty by association.

 

 

Kremlin Letter: Postage Due

DATELINE: IMF Gone Wrong

  George Sanders Goes Out in Flames! 

In 1970 if you wanted a thinking man’s spy thriller, you went to a film based on John LeCarre, and if you wanted a thriller with twists, you went to Mission: Impossible. If you wanted laughs, you turned to James Bond.

If Huston wanted to do Mission: Impossible,he needed the music. This movie version is rife with sex talk and use of sexual blackmail as part of the work habits of spies.

All these spies are retired and go by weird nicknames or coded identities. No matter.

So, it figures that John Huston would manage to straddle the fence and give us a spy thriller that has all these elements—and the imprimatur of one of the great directors: John Huston.

The Kremlin Letteris sheer, unadulterated  nonsense with twist of logic that defies explanation. Yet, it is glorious in its location settings—and startling cast of giants.

You will see in no particular order: Orson Welles, Max Von Sydow, Raf Vallone, Richard Boone, Dean Jagger, and Patrick O’Neal, and in a career killing performance—George Sanders in drag.

We don’t know if this movie led to Mr. Sanders’ untimely exit in Spain shortly after making this movie. He claimed he was bored. Well, we never saw him offer so much energy than as a piano-playing crossdresser in a gay club.

There is talk about two gay characters hooking up: Welles and Sanders. That would have been worth the price of admission, but the film really devolves into one of those sex-talk double-cross twisters.

What has any of this to do with retrieving a letter that seems worthless (but everyone will kill for it). That’s the old McGuffin of Hitchcock.

And Huston had turned to appearing on camera by then—and again gives himself a role in the picture. No spies come in from the cold, and everyone has a license to kill.

We knew this was going to be a treat from the opening credits. Huston still had the juice in those days—and could deliver a real movie in a world of nouveau auteurs.

 

 

 

Orson Welles Undone

DATELINE:Roots of Career Destruction

  Distraught Orson!

If you want to trace the root of all the problems of the great director Orson Welles, you can go straight to Rio. After the fame and accolades of Citizen Kane, Welles took on two simultaneous projects –Magnificent Ambersons and Journey into Fear. 

They filmed at adjoining sound stages at RKO, and he ran from one to the other in costume, trying to act and/or direct. Both are stunning films, but flawed. If only he had put full attention to each.

That’s when Nelson Rockefeller called and told him he had a duty to build bridges with South America to stop any Nazi foothold from developing. He went there on a good will trip to make a documentary—and the rest is catastrophe.

It’s All True is the name of this doc, and it was to be the name of three films made in Brazil. Alas, he went down there with no specific plan—but to research and film. He decided to make a film about the political and social conditions by showing the history of samba. Welles is quite a sympathetic figure here.

In the middle of trying to put together rushes and a plot, RKO underwent change of ownership—and shelved his project, leaving Welles in the lurch.

As he was about to film a voodoo ceremony, he could not pay the participants. One ringleader visited, quite upset, and put a spike with red ribbon through the script It was a curse of the moviedom and doom.

Welles knew it, and he spent the rest of his career trying to finish films when money ran out. He knew he should have simply moved on, but could not.

This film would have been fascinating if it had focused on the problems of making his movies—but most of the footage he made was found in 1985. It actually comprises (without soundtrack) more than half of this film.

Beautiful footage may well tell us masterpieces were lost. However, we don’t need more than one bite to prove the point. Overlong and overkill marks this 1993 attempt to show the master’s work, rather than the master at work.

 

 

 

 

Armstrong: Your Perfect All-American Boy

DATELINE: Perfect Choice

  First Man!

Why watch a docudrama about the life of Neil Armstrong? You can see his home movies and watch him in newsreel footage. The extraordinary documentary called Armstrong presents a most intriguing man you never knew.

In fact, no one seemed to know him. He was quiet as a church-mouse, reclusive amid a social world of military and popular science.  His friends (so labeled) said he was silent and to himself, meaning they did not know him. They knew only that he was a top-notch aviator, smart and talented.

His siblings could tease him about reading an aeronautics, and he’d smile in response. If anything will strike you about how handsome he was, it is that he was also so young-looking, even at 40 when he went to the Moon.

You will also know that Neil Armstrong would never participate in any fraud or coverup. He was mid-Western American honest, like Abe Lincoln. He went to the Moon—and you better believe it.

Harrison Ford, no less, speaks the words of Neil. It is a perfect choice, as we hear from Armstrong’s fellow astronauts. Of all, Frank Borman clearly is the one who likes him and admires him most. Even Neil’s youngest son notes his father was “not verbose.”

No, Buzz Aldrin declined to participate in this documentary.

He was a Korean War hero who saw death up close and remained shaken and stoic to the world. This was a remarkable man. He dismissed comparisons to Columbus with humor: he did not want to end up someplace other than his destrination, as happened to Columbjus.

In one home movie he gives a book by willy Ley to his young son for Christmas. How amusing, as Ley was a friend of Jan Merlin (my frequent coauthor) and cience advisor to  the 1950s science fiction show, Tom Corbett. Ah, connections, third degree.

 

 

 

 

 

Just Wright, You Cannot Go Wrong!

DATELINE: No Salad Eating Chick

  Queen & Commoner

We may be catching this about ten years too late, but better late! Hundreds of views on Amazon Prime say how much they love this movie. Queen Latifah is perfect, not Just Wright.

As one of the few oversize women in starring roles, unabashed, she steals every scene with her genuine sweetness in the face of life’s adversities.

She plays a physical therapist who has a chance encounter with an NBA star (Common). From there, the breaks seem to go every which way. Phylicia Rashaad plays Common’s mother, and Pam Grier plays Latifah’s mother. We have something going on here.

We were mostly bowled over and amused to find another Boston icon in the movie: Latifah starred with Tom Brady’s wife in one picture, and here in all the basketball scenes is former Celtic, Rajon Rondo.

This romantic comedy with a basketball setting has all the wrong turns and twists of fate you might expect that throw the crossed paths of Latifah and Common back together repeatedly.

Because Queen Latifah is not your standard trophy wife of a pro athlete type, this film takes on more gravitas. Common is a tad short for the NBA but is likeable and good-looking. But Rondo is a better actor, but Dwight Howard has a bigger scene.

The inevitable twist of fate brings the physical therapist into physical contact with the superstar in contract negotiations, and the big pay-off must satisfy the audience.

This is sheer fantasy, as any fan can tell you. Players are never thrown into a big game full-time after a career injury, but spend weeks acclimating. But this is a movie romance.

Queen Latifah even hums a few bars from “The More I See You,” in one scene as a throwaway to her old musical career. She’s billed as musical consultant. Don’t be fooled: this is still a jazzy gem.

 

 

 

 

 

Captain Kidd Returns to Upstage A&C

DATELINE: Unexpected Slapstick

  Laughton & Costello!

Almost ten years after his low-budget pirate on the bounding sea as Captain Kidd and 20 years after Bligh’s Mutiny on the Bounty, Charles Laughton jumped at the chance to reprise Captain Kidd. He had also the opportunity to reprise Henry VIII in a movie with Bette Davis as his daughter, Queen Elizabeth. They famously greeted each other as “Father,” and “Daughter,” off screen too.

Now, the irascible Laughton would poke fun at himself and his performance as Captain Kidd confronting scene-stealer emeritus Lou Costello. Perhaps that was the true challenge for Laughton and his Oscar-level talent. He was about to show he could play vaudeville with the best of them.

Abbott & Costello Meet Captain Kidd was another in a long series of features in which the comic duo came across monsters of cinema, historical figures, and pratfalls of comedy.

Dignity knows nothing of being a performer with an audience eating out of their backhand of talent. Laughton was a comedian at heart and could steal a scene before Costello could roll an eye.

We were surprised at how many pratfalls Lou Costello gave. Any barrel he hid within was blown up. The big surprise was Laughton: he took the falls without a stuntman. Chairs were pulled out from under him and he plopped onto the floor, and he fell face first into sand in another. It was noteworthy.

If ever there was something unseemly, it was that this comic version of 1953 was in Technicolor, which was never the case for the earlier Laughton masterpieces. If there was a silver lining on the silver screen of the 1950s, it was that garish color fit the bill. There were plenty of explosions among the song and dance routines.

If ever there was a chance to make a side-trip to Oak Island and bury a treasure, this little pirate satire gave us a vision of outright lunacy. A map in the opening credits could be Oak Island.

You start off with a musical introduction to Laughton as the crew sings and dances on their ship, and Kidd sneers at the mention of women. Yup, Laughton had to love this.

We were mostly appalled.