Ghost of Bogart

DATELINE: Not Again? 

  Jerry Lacy as Bogey

We went back in our time machine to the time machine of 1972 who brought us back to 1942. It is Play It Again, Sam,which features Humphrey Bogart advising Woody Allen.

No, Sam never appears once yet again, even in the actual film clips from the movie Casablanca. Dooley Wilson seems to be discriminated against. He sings part of “As Time Goes By,” at film’s end.

This astral route brought us face to face with legendary tough-guy star, Humphrey Bogart. He returned in 1972 in the guise of Jerry Lacy, an impersonator who had a decade of roles as the iconic man in trench coat with Borsalino.

Alas, to see Bogart’s best scenes in Casablanca, you had to endure Woody Allen as Allen Felix, movie critic before the Internet and blogs, who adores Bogie and has an apartment decorated like a 1942 teenage boy. Those collectibles are worth big bucks today.

Though Allen wrote and starred in this vehicle, it was directed by Herbert Ross which gives it some grounding as a ghost story.

The appearances of Bogart dispensing advice to nudnik Allen is appalling, as he speaks sexist and violent attitudes that he never expressed in his movies or real life a generation earlier. If you see this film as homage to Bogart’s Rick and his romance with Ilsa, you have been sold a bill of goods by shyster Allen.

The film comes alive when Bogart and/or Lacy appear, and the film goes down the chute when Allen’s nutcase New Yorker takes center screen.

The Sam “again” part has more to do with Allen re-enacting the Rick role with Bergman in a climactic scene. This was before Allen became Bergman (Ingmar, not Ingrid).

Diane Keaton and Tony Roberts take on thankless roles in Allen’s world, which Keaton was able to transcend by slipping over to The Godfather at the same time she did this film. Roberts and Lacy were not as lucky.

Though the Bogey ghost appears with more frequency in the final 30 minutes, it is not enough to save the story from itself.

Whether Bogey conjures his personality as a dream, an hallucination, or the actual spirit of a movie icon, may be in the eyes of the beholder. We like to think Lacy channeled the real star, but taking it in again decades later, we see this is not a ghost, but a frightful excuse for Allen to behave badly and perform even worsely.

 

 

 

Resurrecting James Dean

DATELINE: Dug Out of the Film Mausoleum

Two hundred years ago Resurrection Men stole bodies out of graves and sold them to medical students.

Today Resurrection Men steal movie star images out of film archives to sell to fans. The body of work of James Dean is about to be dissected by film students.

A generation ago we wondered if old clips of TV and movies could be merged into a new script with old, dead actors as stars. It seemed fantastic to think James Dean could, at long last, costar with Marilyn Monroe.

Well, we have reached one plateau, or perhaps hole in the ground. It appears that James Dean, with permission of his greedy surviving relatives, will rise from the dead thespian hall of fame.

 

A script about some Vietnam-era characters will cannibalize a few of his past scenes, dubbed with a sound-alike actor, to create, without his knowledge or permission, a new movie: yes, his fourth leading role, sixty years after he won Oscar nominations for East of EdenandGiant, will likely result in no Oscar this time.

Some fans are incensed, and others are utterly perplexed at how such a task can be completed.

Can Dean be colorized, animated, and computer-generated into a character he never heard of, studied, or believed he could depict?

It won’t matter because the notion is out of his hands. It is a new-fangled out-of-body experience. It might have driven James Dean out of his mind or sent him speeding off in a Porsche to his doom.

Nearly all of his costars are gone, and a few who lived long enough to entertain the misuse of their images in a post-death world, have left wills and other documents that will forbid any such action. Dean, alas, died long before such a notion was possible.

Dean will costar with other actors he never screen-tested, and it is impossible for him to create chemistry. He will be like a wooden statue in a department store window. Oh, his costars may be able to respond to his behavior, but he will be denied any chance to upstage them.

The film will be called FindingJack, and it’s entering pre-production.  It’s more like Finding Jack Spratt, as he is an invisible and hidden carbohydrate in a world of spaghetti film stock.

Fire Mountain of Martinique

DATELINE: Trouble in Paradise

Rubble and bodies, after pyroclastic flow!

In May of 1902 was, perhaps, the most devastating and bizarre volcanic explosion ever known in world history. On a paradise of pleasure in the Caribbean, the entire town of Saint-Pierre was wiped out in 3 minutes.

Only one man survived, and he was in a prison cell with walls over a meter thick. He was found 4 days later with terrible burns. There had been a shock wave first that raced through the town before pyroclastic gas choked victims.

People died of burns, with their clothes fully intact. It was bizarre.

Thirty thousand people died hideously in place:  no lava, no ash buried them: they died from gas flows of 1000 degrees that rushed down the volcano. Some people burned up and fell down on Sunday morning, attending church on a holy day to end Carnaval season.

Some people blew apart from inside their bodies: it was a pyroclastic flow, relatively unknown back then. This was not your classic volcano out of Hollywood special effects. It was more like Dante’s Inferno.

For weeks there had been cannon-fire explosions, lightning storms, and the officials of the town refused to order an evacuation.

Back then, Mont Pelee was considered the “debonair” volcano: placid, sleeping, and seldom doing much damage apart from the horrid smell of rotten eggs that permeated the area.

When Mont Pelee awoke, it killed everything in eight square miles. It must be a haunted area.

This documentary even features actual photos and movie newsreel from that May of 1902. It was considered divine punishment for the revels and immorality of the week before when Mardi Gras outrages included lifting up the skirt of a statue of the Blessed Virgin.

If you want to see a disaster that has been little documented, listen to expert volcanologist Mark Davis as he relates the devastation. A fascinating and horrific hour depicting three minutes of hell.

 

 

 

Wildest Bill Hickok

DATELINE:  Madison, Olyphant, and Bridges

Somewhere between the TV series Deadwood version of Wild Bill Hickok (limned by Keith Carradine) and the TV series Wild Bill(limned by Guy Madison), you have the version from Walter Hill and played by Jeff Bridges as the wildest Hickok of all.

As a Western on the tale end of movie westerns, this one is a classic mostly undiscovered. Wild Bill has a wonderful cameo cast and is filled with comedic violence.

In this version, Keith Carradine is Buffalo Bill. Ten years later he would join Timothy Olyphant in the HBO series for a few episodes as Wild Bill.

Here, the rootin’ tootin’ Calamity Jane is Ellen Barkin, and one of Bill’s Brit friends is a biographer played by John Hurt.

The bad guys lining up to be dispatched in colorful fashion include such as Bruce Dern and David Arquette.

Wild Bill traipsed through the litany of Western venues from Abilene to Deadwood, making appearances as a ruthlessly violent marshal who’d shoot you in an instant if the matter called for breaking lawbreakers.

James Butler Hickok found himself trapped in celebrity and became Wild Bill as a profession, requiring certain behaviors and attitudes.

The film, utterly timeless depiction of a Western legend, provides us with a conspiracy theory behind the tale. It would seem that the sniveling coward Jack McCall was, perhaps, hinted at an illegitimate son of Hickok.

You may find that the Olyphant-McShane profanity laced TV series owes much to this film—and it’s done with a modicum of the bad language of bad guys.

Tenth Victim: Futuristic and Dated

DATELINE: Murder in the 21st Century

 Andress in Undress?

The expiration date on using The Tenth Victim probably ended in the 20thcentury.

A social satire about murder in the future, this Italian film has all the earmarks of Fellini and Antonioni. It is excessive, flamboyant, and beautifully filmed. Its main conceit was that in the 21stcentury America, violence would be rampant and institutionalized as a game.

You would have hunters and the hunted. Alas, nothing racial or insulting to minorities occurs. In fact, there is not a minority to be seen in a colorful landscape meant to be the United States.

The male victim is a highly successful hunter with a dozen kills to his credit, but now the computer system has turned the tables and sent a stunningly beautiful woman out to get him. He does not know her identity, and that is part of the game. Everyone dresses in eye-popping fashion, and the future is squeaky clean, streets bright and cheery.

The cast is exemplary for the time: Marcello Mastroianni bleaches his hair blond (it was big that year as Terence Stamp did it too), and he is pursued by the American killer Ursula Andress. Hunh? You mean it’s not Anita Ekberg? Or Sophia Loren?

The sets are spectacular, and the music is jazz out of the classic Fifties mode, what you’d expect in a Euro-entertainment of the period.

As for the plot, it is neither violent enough, bloody enough, or shocking enough to make it controversial. It is played for light-hearted satire, and there is not a drop of blood to be seen.

Other touches indicate that comic books are great literature in America in the 21stcentury, collected like first-edition Francis Bacon.

In 1965, this flashy film grabbed them at the art house. Today it is more akin to a flash in the pan, though we are reluctant to pan something that is original, singular, and cute.

Pasolini Undone

DATELINE:  Last Days of Sodom? 

Dafoe as Paso

Willem Dafoe tackles the infamous Italian director of the 1960s. Next to Fellini and Antonioni, Pier Paolo Pasolini is the darling of avant-garde cinema. His highly-charged political movies seemed to blame scandal and scandalizing on media and right-wingers. 

The movie is Pasolini,about a man who was the ultimate socialist on film. His movies from 120 Days of Sodom to Teorema were puzzling allegories that combined sordid sex and overblown intelligentsia. He wanted to offend audiences with pictures likeThe Gospel According to Matthew and succeeded wildly.

So it is with Abel Ferrara’s version of the film-maker’s life. With multiple languages, and layers of story-telling, this is Cinema with a capital C.

Dafoe seems to be nearly as outrageous as Pasolini as he was as Nosferatu.

The film is blatant in its crossovers, using a fictional version of Pasolini in a “novel” he visualizes with his actual life. This technique spares your major star from doing embarrassing sex scenes.

Dead at a premature age, it seems even Dafoe might be a bit long in the tooth for the role, but Terence Stamp, another good choice who worked with Pasolini, was definitely too far along.

The film tries to extract the genius of a director out of the chaos of politics, anarchy, and religion, that made up post-war Italy. It remains chaos theory.

Pasolini was the victim of senseless gay bashing murder in Rome in 1975, though the movie is far less graphic than the real killing.

Gothic Lunacy: Lord Byron’s Party

DATELINE: A Dark & Stormy Movie

 

Polidori, Shelley, and Byron, aka Spall, Sands, and Byrne

 

If you want to learn about the dark and stormy night in 1816 that resulted in the creation of Frankenstein and Dracula by Lord Byron’s pals, you might look elsewhere.

Ken Russell’s hothouse and nuthouse movie about Percy and Mary Shelley and Lord Byron is pure Gothicnonsense. As was the style of Russell back in 1987, you had a psychedelic version of biography and history. It is not satisfactory.

The cast is somewhat exemplary:  Gabriel Byrne as lame Byron, Julian Sands as pretty Shelley, Timothy Spall as off-putting Dr. Polidori, and Natasha Richardson as demure Mary! Wow, you almost expect the acting alone will carry the film.

However, the director hijacks every moment and even has cast members chewing on rats. We thought the film turned into that rat-festival moviel, Willard.And, inexplicable pythons wrap around suits of armor. Yep, it’s Ken Russell.

Instead of a dark and stormy night where these highly creative people choose to write great books, we have a literal ghost story. The demons are really around every corner. You almost feel sorry for the servants who basically take a powder during the latter part of the movie to avoid these koo-koo birds.

The summer without sun inspired the writing of Frankenstein and Dracula. Byron took credit for Polidori’s work, and Byron couldn’t write prose. The stepsister of Mary is around for crazy moments in which the sexual peccadilloes of the characters is tested.

We have more than your usual homoerotic connections between the men, including some fairly passionate kisses, but Julian Sands was never prettier. Gabriel Byrne seems to have bigger breasts than the women stars. Timothy Spall is actually slim.

The film becomes increasingly erratic and difficult to watch, as befits what did in the style of Ken Russell ultimately. We had hoped to see something truly fascinating, but not quite on the level of a train wreck.

 

 

 

 

 

 

Who Was Paul Walker?

DATELINE: Short, Full Life

If you were not a fan of the action series Fast and Furious, you likely never saw actor Paul Walker appear in a big movie. Oh, you likely saw him grow up on TV, as he was a child actor in commercials and series guest roles. He was absolutely stunning to look at from the earliest age.

This documentary titled I am Paul Walker is another in a series of biographical films to study  flashy stars who died prematurely.  This entry presents us with someone you might enjoy knowing.  He was easy-going, charming, beautiful to look at, with a sense of adventure (swimming, surfing, fast cars).

The film is hagiography, without a critical bone, but what’s to criticize except the hideous monster called Fate?

The film is an homage, and really is a family photo album. His brothers and sisters, as well as parents, all devout Mormons, are as all-American as apple pie. They can be angry and have a short-fuse, or so they tell us, but their gleaming smiles and bright eyes belie that assessment. His brothers are just as handsome as Paul. His friends are like brothers.

With an abundance of videos, photos, and film clips, each more intensely picturing Paul, you have a valentine, not a movie.

Paul may not have been Olivier, but he did what he did quite convincingly and with commitment. One of his earliest boosters was actor Michael Landon.

Yet, no one points out that he was robbed of childhood by a stage mother, no matter how sweet she is, who was behind his every audition. Of course, he was always called back: he was a head turner.

Since the film puts most focus on his intense relationships with other men, it comes as a shock that fathers a child out of wedlock, and out of the Varsity Blues. Life with Paul was Pleasantville.

How could you not fall in love with him? He was a surprise and delight at every turn.

As a daredevil surfer boy, he grew into a humanitarian and amateur marine biologist, fascinated by the white sharks that surrounded his favorite surfing haunts. He used his wherewithal to help Haitian earthquake victims—and visited there. He was unconventional and ultimately transcended his outward beauty.

His death in a fiery car crash put an end to potential just starting.

Murnau & Max: Life & Death Struggle

 DATELINE: Noserferatu-too much?

Has it been twenty years since Willem Dafoe took on the role of Max Schreck as Nosferatu? And, John Malkovich played the great German director. Shadow of the Vampireis meant to be film history, horror in cinema, and ultimately docudrama to end all vampire tales.

It was like watching Burton and O’Toole in Becket in some kind of twisted duo version of clash of titans. They quibble like Fredric March and Spencer Tracy in Inherit the Wind.Yes, their screen confrontations are on this level.

Is it comedy, satire, or history? Perhaps it is all rolled into one silent screen classic, as the original depicted shadows over substance. You may laugh at the foibles of movie makers.

Unable to film Dracula, Murnau, the Herr Doktor of cinema, filmed on some remote location where an unknown actor, of Stanislavski Method, turned himself into a real vampire. Or did he?

The conceit of the movie is that Max was no actor, but a real creature of death whom Murnau located.

The film is looney in its hilarity. When Max misbehaves on the set, F.W. Murnau denies him makeup.  When Max Schreck begins to eat the cameraman, the two come to one of their marvelous argumentative scenes. Dafoe clicks his fingernails like a castanet and watches sunrise on film, moving us behind the hideous makeup. You can’t have a film like this without Udo Keir as well.

Two temperamental creatures want to make a movie to last for all time: and they do! Nosferatu’s spirit is captured in this behind-the-scenes account, however falsified or dramatized.

The ending is spoiled, purely preposterous, with Murnau directing the ultimate mass murders.

It’s koo-koo bird stuff, but dreams can be made of that too.

Chasing but not Chaste Michael Jackson!

DATELINE: Defensive Defense

 No More, Please!!!

A documentary to defend Michael Jackson against child molestation charges proves to be highly defensive in itself.

Chasing Michael Jackson is an odd bird, and not because the dead subject is a dodo bird who cannot defend himself, but because we can’t really figure out what the real motive is. Yes, there are some extremely close friends and relatives of Jackson who participate to discredit his accusers.

It is hard to know where the “journalist” behind this film comes from: he insists in his on-camera and extensive interviews that he is digging for the truth. He also takes great pains to discredit one “victim” for claiming he was molested in a part of the Jackson estate that was not built until three years after. Pictures prove that point, but never explain the other possible reasons for the discrepancy. We do hear charges that the victim is a perjurer who swore Jackson never touched him a decade earlier at trial.

One of the other key personalities is Mark Lester, the former child star (from Oliver!) and friend of Jackson as a contemporary. He too claims the victim and family were greedy and vindictive. Lester never mentions that he has since claimed to be the sperm donor for one, or more, of Jackson’s children.

The documentary takes aim at the “Me Too” movement, walking a tightrope about victim rights while trampling on selected victims.

One thing is right: this is all about money. Everyone is on the gravy train, cashing in on Jackson long after his premature death.

 

 

 

Time & Again Machine

DATELINE: Wells Novel on Screen Again

 Guy Pearce face-off with hologram enacted by Orlando Jones!

 

Back in 2002, forty years after the original classic George Pal movie, there came a remake of The Time Machine, based on the H.G. Wells classic.

This time the stalwart hero is Guy Pearce, and the story once set in London during the Victorian Age with an American as the time traveler, is now set in New York with an Austrailian as the American scientist. It doesn’t matter much as Guy Pearce is so brilliant, humorous, and always watchable. His rebel scientist eschews hats and wears his long hair greasy. It is quasi-Victorian, but totally Hollywood.

The film’s best moments are its paeon to the earlier film and story. As if to underscore the homage, they have brought Mr. Ed’s Alan Young out of retirement to play a cameo. He was one of the stars of the 1960 version.

Our favorite moment is when Orlando Jones shows up as a hologram at the New York Public Library who can tell us about the earlier movie, the Wells novel, and can even sing a tune from the bad musical version of the same.

The time machine itself is a Rube Goldberg mess that looks worse than the one used in 1960, and one character even calls it a “cappuccino maker.”

The impetus for time travel is, of course, the unfortunate death of our hero’s girlfriend. He goes back to fix the problem but discovers that you might go back a thousand times, but her death will occur every time, however differently.

The interesting travels through time also takes us 802,000 years into the future when the planet has clearly gone through some ice ages and re-growth. It is interesting that the evolving of humans seems minimal. You can blame that lack of insight on Wells, not the movie.

All in all, this old-fashioned and fun movie plays with the subject and our memories of it. It’s hard to believe that it was almost twenty years ago that it escaped our attention.

 

 

 

 

 

 

 

 

 

 

Patrick Swayze Remembered!

DATELINE: Gone 10 Years!

 I am Patrick Swayze!

Has the Dirty Dancing Ghost star been gone for ten years?

The documentary put together by those who loved him (wife, brother, costars, friends, agents) is powerful its use of one word: “heart.” It seems to crop up regularly from a variety of people. He had it and he gave it.

The film description said he “challenged Hollywood’s notion of masculinity,” which perplexed us, as he seemed instead to epitomize it. He could play a cowboy, a dancer, a roadhouse thug, in action films where he did his own stunts. He was vibrant, and only handsome incidentally. He was an athlete or a ballet dancer, and from that root came everything else. This is one of a series of biographical films, this called I am Patrick Swayze.

His mother was the ultimate stage mother: she ran a Texas ballet school, and it was obvious Patrick Swayze would be part of that world. Knee reconstruction from football injuries put him in pain whenever he did those roles thereafter.

He did not want to be a teen idol, though his roller blading was stunning, and his dirty dancing made him internationally famous.

Friends talk of his soul of a poet, how well-rounded in arts he was. Rob Lowe and C. Thomas Howell were teammates, rivals, and friends, from the Coppola movie The Outsiders. He costars noted he was mild and dynamic at the same time.

We always found him watchable and curious about what he might do: sometimes he took on roles that did not interest everyone, but he was his own man in that regard. Then, he was sick with pancreatic cancer and gone abruptly. It now appears to be a grave injustice of the universe to take away a person who epitomized life.

He wanted to prove there was life beyond being a sex symbol, which led him to do sky-diving stunts in Point Break and brutal fight scenes. He was not wanted for one of his great roles, in Ghost.The director had to be convinced, but Patrick Swayze always convinced anyone who put his attentions on.

Like the proverbial meteor, he came, shined by in the firmament, and went away. Like many others, after seeing this film of his life, we miss him too.

 

 

 

 

 

 

Uncanny Cats: Not Exactly T.S. Elliot

DATELINE: Cat Got Your Tongue? 

Way back in 1977, on the heels of a career of low budget horror movies, Ray Milland took off his toupee and faced the snarling, pouncing faces of cats. The film was titled The Uncanny, which is hardly catty enough.

Yes, what Alfred Hitchcock did for The Birds, this film wanted to do for your cute and cuddly pussycat. Don’t ask what’s up, pussycat, because writer and scientist Peter Cushing believes that cats are the devil’s messenger—and they have it for him. He has written a book and is trying to sell it to publisher Milland.

Like Erich van Daniken, Cushing’s paranormal writer has tackled the Pyramids, UFOs, and other topical crypto-science subjects—and has turned his attention to a conspiracy of cats. And, his feline nemesis is not a happy camper.

If your idea of fur balls turning evil is good for a laugh, this movie is for you. If you belong to Internet websites that features kitty cats doing funny things, you may be horrified. Well, that is the point of this film.

As for us, we never grab a pussy by the tail—and recommend you don’t either!

The sordid little tales are set in London in 1912, Hollywood in 1936, and in contemporary Montreal. We should tell you that the cold winter of Montreal does not stand in well for Los Angeles.

The cast is downright overblown: Donald Pleasance and Samantha Eggar are in Hollywood, and Simon Williams—fresh off Upstairs/Downstairsas wastrel James Bellamy has a cat moment himself. A few other known faces, like John Vernon, are also in the storyline.

The film did not ruin anyone’s career, having been lost for decades and forgotten by everyone involved. It isn’t HItchock level, and it is of varying brutality and humor, but you seldom find a movie in which cute kitty-cats are filmed like horrid monsters, leaping from balconies to kill.

As a curio, this one is worth peeking at.

 

 

Halston: Fashionista with Un-Common Touch

DATELINE: Clothes Make the Woman

 Halston, Taylor, Minelli at Studio 54!

Fashion designer extraordinaire, Halston was part of a generation that self-immolated by 1990. Most of them were gone: trend-setting, pop culture icons:  notably Halston (he only needed one name, like Liberace). A fascinating documentary aptly named Halstontells the tale.

The 1950s gave young talents like Halston and Warhol a youthful connection to fame, but it was by the 1960s they took charge of their lives. Halston was a gypsy of America, living in no true fixed abode. So, he was likely to be self-made.

He was ambitious and flamboyant, ready to take his energy and ideas into all kinds of creative realms. He was the pioneer who made Europe take note of American fashion, though he was later given rivals like Perry Ellis and Calvin Klein.

Halston tried to stay ahead of the curve, branching out into aesthetics like perfume with bottles as arty as popular. He melded movies and fashion together, finding that his association with people like Liza Minelli and Elizabeth Taylor were ways to grow socially and artfully.

It started to go wrong when he splurged into Studio 54 with Warhol, Capote, and the raft of disco dollies. It was, some said, the beginning of a dissolution.

The documentary never says much about his aging, but it’s there: clearly losing youth to something harder. He became as hard as his looks, or perhaps his looks took on his personality: moody, bossy, self-centered.  It wasn’t pretty, when he started to be less pretty.

Others thought his greed was the deciding factor that led to his destruction: he sold out to J.C. Penney, going from class to mass appeal. It alienated his well-to-do friends and undermined his name. He actually sold his own name, and lost control of it.

The end featured more intrigue that Ancient Rome, as he was pushed out (literally locked out) of his own empire by locksmiths and Playtex bra people who bought his name. A few thought it was drugs that did him in, if not promiscuity.

It was the 1980s and the deadly virus that swept through art circles in theatre, fashion, music, especially in New York, took him too. Andy Warhol once said that he’d want Halston and Elizabeth Taylor as his chums because they were so nice.

This celebrity name-dropping documentary may stir memories in a generation grown old. Halston was loved by many people who felt he epitomized tragedy by the end.

 

 

 

 

Madhouse/Funhouse/Nuthouse & Then Some!

DATELINE: One Last American International Horror

 

 

 Cushing & Price

 

Madhouse is a nuthouse extravaganza movie with a funhouse spirit.

Vincent Price finished up his American International contract, which featured so many classic Edgar Allan Poe tales done outrageously, that it seemed inevitable that he would go out with a blaze. Here, he plays a movie star who made a bunch of movies as “Dr. Death,” a hideous murderer. Art imitates life here.

His career went south when he was accused of cracking up and murdering his fiancée. Whether he did it or not is the crux of the horror. You may find more than a fair share of suspects trying to “gaslight” the old star.

Well, after a dozen years in a madhouse, he returns to acting to star, good grief, in a TV series based on his infamous character.

If you haven’t guessed that most of the funhouse nuthouse stuff is all tongue-in-cheek, you miss more than most of the Hammer House parody.

Joining Price is Peter Cushing as his best friend, fellow actor, and screenwriter of all those grisly murder movies.

If that is not spicy enough for you, A-I studios dug up their two other favorite stars of the 1960s—Boris Karloff and Basil Rathbone—and featured them in amusing cameos. It’s no mean feat, as the two legendary stars were long-gone for about a half-dozen years by the time this film was before the cameras.

You have to love a movie that begins with everyone watching a film in a Hollywood mansion with the final credits rolling out the words, “The End” in blood red letters.

If shameless overacting isn’t your thing, then you may not appreciate the golden opportunity Price has been given: he even dresses the part, in white trench coat and matching fedora.

There is even an O.J. Simpson moment when Scotland Yard has everyone try on the murderer’s glove: if it fits, you know the rest…So, O.J.’s lawyers found the idea in this movie!

Playing Mr. Toombes, Price puts a cutrate on fellow cast members as they are all mysteriously dispatched as the new TV series takes place at British studios. It is a nicely set film with solid production values to make you forget this is what a good cast and production team can do with a low-budget.