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Posted: |
Jul 31, 2024 - 11:26 PM
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By: |
Bob DiMucci
(Member)
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In THE EVIL, psychiatrist “C.J. Arnold” (Richard Crenna) obtains permission to transform an abandoned mansion - built over desert sulfur pits - into a drug treatment center. From the start, his physician wife “Caroline” (Joanna Pettet) sees strange things in the house. C.J. brings along some of his former students and friends to help renovate the house. Among them are former addict “Felicia” (Lynne Moody), practical joker “Pete” (George O’Hanlon Jr.), professor “Ray” (Andrew Prine), bubbly coed “Laurie” (Mary Louise Weller), electrician “Dwight” (George Viharo), “Mary” (Cassie Yates), and her dog. Sudden violent behavior from the dog leads to the discovery of a trap door in the cellar bolted down by a metal cross.
Gus Trikonis directed this 1978 film for New World Pictures. Johnny Harris’ score for the film has not had a release. The $700,000 production grossed just $1.8 million at the U.S. box office.
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When a nighttime lightning storm takes out the power grid and causes a BLACKOUT of Manhattan, a prison van crash provides the perfect opportunity for radical criminal “Christie” (Robert Carradine) and three of his cohorts (Don Granbery, Terry Haig, and Victor B. Tyler) to hit the streets looking for trouble. They find it in a nearby high-rise apartment building where, tailed by dogged cop “Dan Evans” (Jim Mitchum, son of Robert), they embark on a crusade of robbery, harassment, and assault.
BLACKOUT was inspired by the New York City blackout of 13 July 1977, which left the city and many of its surrounding neighborhoods without power for one day. The event sparked widespread vandalism and crime. Producer Nicole M. Boisvert came up with the idea at a cocktail party to set a violent suspense thriller during the blackout; she reportedly already had the crime story in mind, but was looking for a “gimmick” to make the film marketable. In the film. Manhattan was doubled by Montreal, outside of establishing shots.
The film was a Canadian-French-U.S. co-production. The producers were unable to finance the $970,000 budget solely from the Canadian Film Development Corp., so Montreal-based studios Dal Productions and Agora Productions collaborated with the French company, Maki Films, to raise funds for the film. Dal was forced to cancel its production of ALLIGATOR and postpone filming David Cronenberg’s THE BROOD (1979) to complete BLACKOUT. The final cost was $1.2 million, and that’s all that the film grossed in the U.S. Twenty minutes of Didier Vasseur’s score was released by Music Box in 2019 as part of the box set “Les B.O. Introuvables (Rare Soundtracks) - Volume 2.”
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New World Pictures distributed Ingmar Bergman’s AUTUMN SONATA in the U.S. In this drama, Liv Ullmann plays “Eva,” a middle-aged woman living in a remote part of Sweden with her husband, meek pastor “Viktor” (Halvar Björk). Eva excitedly prepares for a rare visit by her mother, “Charlotte” (Ingrid Bergman), a world-famous concert pianist. Immediately upon Charlotte’s arrival, however, myriad complications in the mother/daughter dynamic become evident. For instance, Charlotte is supremely chilly and withholding. We learn that while Eva was growing up, Charlotte was an absentee parent who expected her domestic life to be sunny and undemanding; by shunning family-oriented stress, Charlotte made real emotional connection with her daughter impossible. As a result, Eva became bitter, insecure, and needy. Thus, upon reuniting with her mother, Eva can’t stop herself from revealing the resentment she feels towards Charlotte. Furthermore, Eva surprises Charlotte by revealing that Charlotte’s other daughter, Eva’s sister “Helena” (Lena Nyman), is living in Eva’s house. Helena is severely disabled, and Charlotte finds time spent in Helena’s company excruciating.
Both Bergmans received Oscar nominations for this 1978 film—Ingrid as Best Actress, and Ingmar for his original screenplay. The picture won a Golden Globe Award as Best Foreign Film. AUTUMN SONATA was the final theatrical feature film of actress Ingrid Bergman. The film had no original score, but several classical pieces were heard on the picture’s soundtrack. The film grossed $2.8 million in the U.S.
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New World Pictures distributed its third film from François Truffaut with LOVE ON THE RUN (L'amour en fuite). This 1979 French comedy-drama was Truffaut’s fifth and final film about the character “Antoine Doinel” (Jean-Pierre Léaud). Told in non-linear fashion, with frequent flashbacks to the four previous films, it also starred Claude Jade, Marie-France Pisier, Dorothée, and Dani.
Antoine Doinel is to a great extent an alter ego for Truffaut; they share many of the same childhood experiences, look somewhat alike and are even mistaken for one another on the street. Although Truffaut did not initially plan for Doinel to be a recurring character, he eventually returned to the character in one short film and three features after introducing him as a 14-year-old in his debut film THE 400 BLOWS (1959). In all, Truffaut followed the fictional life of Doinel for over 20 years, depicting his romance with “Christine” (Claude Jade) in STOLEN KISSES, then Antoine and Christine's marriage in BED AND BOARD (1970), and their subsequent divorce in LOVE ON THE RUN.
After the financial failure of THE GREEN ROOM, Truffaut needed a hit. Despite lukewarm critical notices, LOVE ON THE RUN proved to be that hit, at least in France, with 8 times the paid admissions of the prior film. Georges Delerue scored the film, with 4-6 minutes of music appearing on various Delerue/Truffaut compilation discs.
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Posted: |
Aug 4, 2024 - 12:02 PM
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By: |
Bob DiMucci
(Member)
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THE KIDS ARE ALRIGHT was the passion project of Jeff Stein, a fan of The Who. With absolutely no previous filmmaking experience, Stein took it upon himself to create a representative film document of The Who from all the bits and pieces he could find. It was basically a series of performances spread out over ten years, as uninterrupted as they could be: from television, concerts, the film WOODSTOCK, foreign television shows, and even collectors' 8mm movies.
The Who’s leader Pete Townshend greenlit the idea when Stein pitched it to him in 1975, and then, for more than two years, Stein collected footage in Britain, the United States, Sweden, Germany, France, Australia, Norway, and Finland, in some cases actually rescuing footage from the trash. During the process of sound editing, on 7 September 1978, Keith Moon died. All the band members except Townshend had seen a rough cut of the film just a week before, and, after Moon's death, they were determined not to change anything. By 1979, the project was released as both a film and an album.
Roger Corman’s New World Pictures distributed the 109-minute film in the U.S., where it grossed $3.9 million.
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Posted: |
Aug 5, 2024 - 12:55 PM
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By: |
Bob DiMucci
(Member)
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In the northern California fishing village of Noyo, strange HUMANOIDS FROM THE DEEP emerge from the watery depths. The villagers aren't quite sure what's going on: people are disappearing and family dogs are turning up dead and mutilated. Unaware of the cause, the strange events aggravate already tense relations between “Hank Slattery” (Vic Morrow), leader of a group supporting the construction of a huge new cannery, and “Johnny Eagle” (Anthony Pena), who wants to see land and fishing rights restored to his Native American people.
“Jim Hill” (Doug McClure), who supports the cannery but dislikes Hank and his racist pals, investigates matters with “Dr. Susan Drake” (Ann Turkel). The truth eventually comes out: Canco, the cannery company, had been experimenting with growth hormones to increase the salmon population as well as the size of the fish. Some escaped into the wild, and their subsequent eggs were eaten by frogs that mutated into the horny humanoids of the title.
Roger Corman instructed director Barbara Peeters to make a film where "The monsters kill all the men and rape all the women,” but as the film was being finished up, Corman felt that the picture needed more sex, nudity, and monster shots throughout, so he ordered scenes shot that showed the humanoids attacking and ripping the clothes off other nubile young women. Peeters, who was a feminist, hated that idea and refused to shoot the scenes. Corman said he'd hire a second director and get her feedback before using the new footage. She agreed to that.
But Corman never showed the new footage to Peeters or to the cast and other crew. They didn't see the new scenes until the preview of the film. Peeters was furious, protesting that they were inserted purely to show gratuitous nudity. Corman also edited out many of the scenes dealing with the plot and character development to make room for the nudity and more creature scenes. Peeters complained that it was no longer the film she made and wanted her name taken off. Corman said he'd do that but only if she paid the expense of redoing the credits. She wouldn't, so her name stayed on the film as sole director.
The Variety review of the 1980 movie said that "with HUMANOIDS OF THE DEEP, Roger Corman comes full circle back to his very first film as a producer, MONSTER FROM THE OCCEAN FLOOR (1954). Despite costing 100 times as much, new pic has similar premise and same raison d'etre, that of pocketing a profit from drive-in dates" with the picture having "more nudity and gore than carried by any exploitationer in recent memory."
The $2.5 million production grossed that same amount domestically, but foreign receipts and robust video sales eventually turned the film into a minor success for New World Pictures. James Horner’s score was released on LP by Cerberus Records. Its first CD reissue came in 2001 from GNP Crescendo (paired with BATTLE BEYOND THE STARS). In 2011, BSX Records released a version with some outtakes, as well as music from Christopher Lennertz’s score for the 1996 remake of the film. Intrada released the complete score, along with the original album, in 2023.
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BREAKER MORANT is an Australian war drama directed by Bruce Beresford, who co-wrote the screenplay based on Kenneth G. Ross's 1978 play of the same name. The film concerns the 1902 court martial of lieutenants “Harry ‘Breaker’ Morant” (Edward Woodward), “Peter Handcock” (Bryan Brown), and “George Witton” (Lewis Fitz-Gerald)—one of the first war crime prosecutions in British military history. Australians serving in the British Army during the Second Anglo-Boer War, Morant, Handcock, and Witton stood accused of murdering captured enemy combatants and an unarmed civilian in the Northern Transvaal. The film is notable for its exploration of what later became known as the Nuremberg Defense, the politics of the death penalty, and the human cost of total war. As the trial unfolds, the events in question are shown in flashbacks.
BREAKER MORANT was first Australian film to win a major award at the Cannes Film Festival. Jack Thompson was the first actor to ever win the then-new Best Supporting Actor category at Cannes, for playing “Major J.F. Thomas.” The film received an Oscar nomination for Best Adapted Screenplay, and won ten Australian Film Institute Awards, including for Best Film, director, screenplay, and five acting awards.
The 1980 film was released in the U.S. by New World Pictures and Quartet Films. The $800,000 production was a big hit around the world, grossing $4.7 million in Australia and $7.1 million in the U.S. The film had no original score, but used classical and traditional tunes and marches on its soundtrack, arranged by Phil Cunneen. The music was released on a Cherry Pie Records LP in Australia (First American in the U.S.), but has not been re-issued on CD.
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Posted: |
Aug 9, 2024 - 5:44 AM
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By: |
Solium
(Member)
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In the northern California fishing village of Noyo, strange HUMANOIDS FROM THE DEEP emerge from the watery depths. The villagers aren't quite sure what's going on: people are disappearing and family dogs are turning up dead and mutilated. Unaware of the cause, the strange events aggravate already tense relations between “Hank Slattery” (Vic Morrow), leader of a group supporting the construction of a huge new cannery, and “Johnny Eagle” (Anthony Pena), who wants to see land and fishing rights restored to his Native American people.
“Jim Hill” (Doug McClure), who supports the cannery but dislikes Hank and his racist pals, investigates matters with “Dr. Susan Drake” (Ann Turkel). The truth eventually comes out: Canco, the cannery company, had been experimenting with growth hormones to increase the salmon population as well as the size of the fish. Some escaped into the wild, and their subsequent eggs were eaten by frogs that mutated into the horny humanoids of the title.
Roger Corman instructed director Barbara Peeters to make a film where "The monsters kill all the men and rape all the women,” but as the film was being finished up, Corman felt that the picture needed more sex, nudity, and monster shots throughout, so he ordered scenes shot that showed the humanoids attacking and ripping the clothes off other nubile young women. Peeters, who was a feminist, hated that idea and refused to shoot the scenes. Corman said he'd hire a second director and get her feedback before using the new footage. She agreed to that.
But Corman never showed the new footage to Peeters or to the cast and other crew. They didn't see the new scenes until the preview of the film. Peeters was furious, protesting that they were inserted purely to show gratuitous nudity. Corman also edited out many of the scenes dealing with the plot and character development to make room for the nudity and more creature scenes. Peeters complained that it was no longer the film she made and wanted her name taken off. Corman said he'd do that but only if she paid the expense of redoing the credits. She wouldn't, so her name stayed on the film as sole director.
The Variety review of the 1980 movie said that "with HUMANOIDS OF THE DEEP, Roger Corman comes full circle back to his very first film as a producer, MONSTER FROM THE OCCEAN FLOOR (1954). Despite costing 100 times as much, new pic has similar premise and same raison d'etre, that of pocketing a profit from drive-in dates" with the picture having "more nudity and gore than carried by any exploitationer in recent memory."
The $2.5 million production grossed that same amount domestically, but foreign receipts and robust video sales eventually turned the film into a minor success for New World Pictures. James Horner’s score was released on LP by Cerberus Records. Its first CD reissue came in 2001 from GNP Crescendo (paired with BATTLE BEYOND THE STARS). In 2011, BSX Records released a version with some outtakes, as well as music from Christopher Lennertz’s score for the 1996 remake of the film. Intrada released the complete score, along with the original album, in 2023.
This was a guilty pleasure in the 80's. Having seen it once again in the 2000's I was shocked how gory it was. Fascinating backstory. Sounds similar to the situation with Caligula. The plot actually sounds pretty good for a "B" movie thought I guess the story took a back seat in the final cut to nudity and violence. It's a shame this film never had good publicity art. I hate the generic posters and CD covers for this film. Thanks for the reminder of the GNP release. I totally forgot a portion of the score was released with BBTS, I actually have that CD.
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Posted: |
Aug 10, 2024 - 3:35 AM
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By: |
Bob DiMucci
(Member)
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New World Television produced the made-for-TV movie GEORGIA PEACHES, executive produced by Roger Corman, which was hoped to be the start of a new CBS television series. Two sisters, “Lorette and Sue Lynn Peach” (country music singer Tanya Tucker and Terri Nunn, lead singer of the rock group Berlin), run an auto garage in the deep South, along with their moonshine-running friend “Dusty Tyree” (Dirk Benedict). They are extorted into being government agents to bust up a crime ring run by respectable businesswoman “Vivian Stark” (Sally Kirkland) if the three friends want to keep their garage and house.
After a fight at the Dixie Truck Stop between Dusty and loutish employee “Ed” (stuntman David Cass), he pulls a knife on Dusty, but owner “Joe Don Carter” (David Hayward) shows up just in time to fire Ed, and Joe Don decides to hire Dusty to his company. But it proves short-lived when they find out Joe Don works for Vivian, and after a car chase that takes out the tires in his van, Joe Don gets KO'd by Dusty. The remainder of the film has our heroes outwitting Stark and her cronies.
In addition to the hijinks and chase scenes in the film, Tucker and Nunn performed several musical numbers. Long-time Corman collaborator Daniel Haller directed the film, which aired on CBS on 8 November 1980. R. Donovan Fox scored the film. No television series resulted from the film, possibly because CBS already had the similar “The Dukes of Hazzard,” which had premiered two years earlier. A slightly longer version of GEORGIA PEACHES was released to theaters overseas, re-titled FOLLOW THAT CAR.
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Posted: |
Aug 11, 2024 - 12:10 PM
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By: |
Bob DiMucci
(Member)
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In 1976, Charles B. Griffith had made a popular car theft film for Roger Corman's New World Pictures called EAT MY DUST! Corman wanted Griffith to make a follow-up called “Car Wars” using stunt footage from five old New World films. Griffith wrote a script which Corman rejected. However, a few years later, he reactivated the project, which became SMOKEY BITES THE DUST.
The car destruction film followed the rivalry between a small-town southern sheriff (Walter Barnes) and teen-aged thief "Roscoe Wilton" (Jimmy McNichol) who steals cars and destroys them. Roscoe steals a black convertible from "Harold Kane" (John Blyth Barrymore), the homecoming date of the sheriff's daughter (Janet Julian). "Glen Wilson" (Dick Miller), the owner of the homecoming convertible, orders Kane to get the car back. Said Griffith:
“[Corman] called again and offered me a lot more money than he ever had before. I guess I got flattered, and I went ahead and did it. He had Max Apple in Texas go ahead and write a script around all the wrecks and chases. But Max wasn't allowed to see the footage. It was too expensive to rent a Moviola and send Max prints or anything else, so he had only vague descriptions written down on what the stunts were—and nothing worked. So, I made a lot of changes in it, and that made Roger angry. He tried to cut it just to the action of the old pictures, but he couldn't, because he needed all the distribution rights. Then he cut all the motivations and all the character development. It was a mess, a jumbled mess!”
The score, by Bent Myggen, has not had a release. The film was not a big earner.
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Posted: |
Aug 13, 2024 - 12:58 AM
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By: |
Bob DiMucci
(Member)
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Despite her dislike of the horror genre, feminist author Rita Mae Brown hoped to learn the fundamentals of screenwriting and developed a script, originally titled “Do Not Open the Door,” as one of two projects for Roger Corman’s New World Pictures. The script was later retitled THE SLUMBER PARTY MASSACRE.
In the film, when her parents go off on a business trip for the weekend, pretty “Trish” (Michelle Michaels) decides to throw a slumber party with her basketball team chums “Kim” (Debra De Liso), “Jackie” (Andree Honore), and snobby/slutty “Diane” (Gina Smika Hunter). Not invited to the party is pretty new girl “Valerie” (Robin Stille) who lives next door with her kid sister “Courtney” (Jennifer Meyers). Also uninvited, but making an appearance, are horndogs “Jeff” (David Millbern) and “Neil” (Joseph Alan Johnson), as well as Diane's lug of a boyfriend “John” (Jim Boyce). The biggest party crasher of all, however, is escaped homicidal maniac “Russ Thorn” (Michael Villella) who wound up at the high school by stowing away in the van of a comely telephone linewoman (Jean Vargas) and has already done away with pretty “Linda” (Brinke Stevens) who couldn't make the party anyway because she had to study. Soon the power is cut, the phone is dead, kindly creepy snail-hunting neighbor “Mr. Contant” (Rigg Kennedy) is dispatched, the girls and horny boys begin disappearing one-by-one, and their only hope might be neighbor Valerie if “Coach Jana” (Pamela Roylance) can't get there in time.
SLUMBER PARTY MASSACRE is the rare slasher film directed by a woman: Amy Jones. Said Jones: “I'd been working as an editor and was offered several pictures to cut, including DINER and E.T.—THE EXTRA-TERRESTRIAL. My first child was 10 months old, though, and I wanted to spend all the time with her I could, so I signed for E.T. and turned the others down. Then E.T. kept getting postponed, and by the time they told me I'd be working seven-day weeks on it, I got very nervous. Meanwhile, I'd been thinking about directing, and I spoke about it to Roger [Corman]. He said, ‘You've got to direct in order to direct,' so I read a bunch of scripts he had shelved and found one called SLUMBER PARTY MASSACRE that seemed sort of interesting.
"It had a prologue, and after rewriting it a bit, I simply did it in one weekend, using UCLA students as actors and a crew of five people. Then I cut it on a friend's Moviola and dropped off this seven-minute reel of film at New World. Roger called the next day and said he could use the seven minutes, but what he really wanted to know was how much it had cost. I told him, ‘$1,000,’ and he said, ‘Amy, you have a future in the business. How much can you do the rest of the film for?’ I hadn’t wanted to direct that picture, but I told him $250,000, and he put a ‘go’ on it.”
Production of the film took place over twenty days in summer 1981, and cost only $220,000. At Corman’s insistence, Jones was forced to hastily add a nude shower scene. The 1982 film’s score, by Ralph Jones, was released on a Web Records LP, but has not been re-issued on CD. One source says that the film grossed $3.6 million.
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Posted: |
Aug 15, 2024 - 11:47 PM
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By: |
Bob DiMucci
(Member)
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New World Pictures handled the American release of Werner Herzog’s 1982 epic tale FITZCARRALDO. “Brian Sweeney Fitzgerald” (Klaus Kinski) runs a broken-down ice house in a frontier town deep in the Amazon, living like a pauper while indolent rubber barons reap enormous fortunes from their vast land holdings. His only friend is the local madame “Molly” (Claudia Cardinale), who accompanies Fitz on a mad downriver race to catch an opera performance. Determined to build his own opera house deep in the jungle, Fitzgerald tries in vain for financial backing from the local millionaires, but then comes up with an incredible scheme. With Molly's backing, he buys a riverboat and steams upriver, seeking an entire unclaimed land parcel. It has so far been useless for rubber exploitation because the only river access is rendered unnavigable by a series of rapids and waterfalls. Fitz tells nobody his plan, not even his boat captain, until he reaches his objective, a point in the river that parallels the unreachable upper tributary into the unclaimed rubber fields. There he announces that with ropes and pulleys, Indian labor and the laws of grade-school physics, he'll haul the entire steamboat over the hill that separates the rivers. To everyone's amazement, the previously hostile forest Indians agree to help. The giant ship is soon inching its way up a 45-degree embankment, a mountain of mud as red as Fitzgerald's wild Irish hair.
Jack Nicholson loved the screenplay, and wanted to play the lead. He demanded his usual $5 million salary, which was too much for the producers, so they cast Jason Robards. When Robards became ill with dysentery after 6 weeks of filming in the jungle, the production had to be stopped with 40% of the picture completed. The insurance company paid for the resulting costs, and filming started again from scratch after Klaus Kinski signed on.
The film was selected as the West German entry for the Best Foreign Language Film at the 55th Academy Awards, but did not make the list of nominees. Herzog won the award for Best Director at the 1982 Cannes Film Festival. FITZCARRALDO’s score was by the German musical collective Popol Vuh and was taken from their previously released music. Their music cues and various opera extracts were released on a Polydor LP. The album was first re-issued on CD by Weltbild Music in Austria in 1994. CD releases followed later in France, Italy, and Britain, but not in the U.S.
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Posted: |
Aug 17, 2024 - 12:01 AM
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By: |
Bob DiMucci
(Member)
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ANDROID takes place in 2036 on a desolate space station. Klaus Kinski plays “Dr. Daniel,” a scientist doing research with his timid assistant, an android named “Max 404” (voice of Don Keith Opper). Three escaped convicts—“Keller” (Norbert Weisser), “Mendes” (Crofton Hardester), and “Maggie” (Brie Howard)—make it to the station, and Max lets them on board in an attempt to quell the monotony of his everyday life. Quickly, the escapees realize Max is an android, and that the doctor is a little “off.” The question is whether they can keep from stabbing each other in the back long enough to get off the ship and away from Daniel.
Producer Mary Ann Fisher and director Aaron Lipstadt previously served as personal assistants to Roger Corman, and executive producer Rupert Harvey worked at New World Pictures in business affairs. New World agreed to provide half of the film’s $1 million budget if the producers raised the other $500,000. When the film was completed, and after some test screenings in 1982, Corman balked at releasing it due to its lack of action or gore. The filmmakers raised an additional $800,000 to acquire full ownership.
The film was then picked up for domestic release by distributors Island Alive and New Cinema, and released in the U.S. in early 1984. Don Preston’s score has not had a release.
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Posted: |
Aug 17, 2024 - 3:53 PM
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By: |
Bob DiMucci
(Member)
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TIME WALKER is a modern sci-fi take on a mummy film. Professor “Doug McCadden” (Ben Murphy) goes to Egypt and discovers a sealed sarcophagus in a cave. Back at the university, opening it reveals a mummy brought back to life by radiation, which carries a green mold-like substance that devours the flesh of anyone who touches it. Five crystal jewels are stolen from the sarcophagus, and are then distributed among various campus students, but the walking mummy is on a violent campaign to retrieve them, and he has a very good reason.
When Roger Corman was producing and directing films himself, he tended to use non-union crews. While on location at the campus of California State University, Northridge, this production was picketed by the International Brotherhood of Teamsters Local 399, with the support of the International Alliance of Theatrical Stage Employees (IATSE). The demonstrations began after talks between the Teamsters and production manager Mark Allan failed to result in a contract with the union. The Teamsters’ action was endorsed by the Sound, Cinetechnicians and Television Engineers Local 695, whose executive director, Jim Osburn, was forming a committee to launch “a concerted assault on nonunion production” on the West Coast, which he claimed was mandated by IATSE officials. Local 695 found no rogue members among the nonunion crew, although the union did recruit several new members to its ranks. Roger Corman stated that New World’s financial commitment on TIME WALKER would only begin upon the film’s completion, and New World was not involved in the hiring of personnel.
Tom Kennedy directed the 1982 film. Reportedly, the film was budgeted at well under $1 million, and garnered film rentals of $1.8 million. Richard Band’s score was released by Dragon's Domain in 2017.
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