Monday, 13 September 2010

TINTIN AND THE MYSTERY OF THE GOLDEN FLEECE - finally on DVD

The two live-action Tintin films from the sixties now digitally remastered...

(Updated article from 2006)

Frustratingly hard-to-get (until now), these handsomely made children's films will suit Tintin fans of all ages. Both movies are about to be released on DVD in the UK (in mid-October) having been digitally remastered - reportedly a huge improvement in image quality on the previous French and Australian releases. The UK release of Tintin and the Mystery of the Golden Fleece will also include the recently discovered English-language audio track.


I'm sure I remember these two Tintin adventures being available as hardback books in the same style as the other Tintin comic albums, but with photographs and text telling the story of the films. I've recently tracked down both books again but only in French (pictured below). Did I imagine the English editions? I've also seen images on the net of comic album versions of these stories, but I believe they are even rarer.

Besides remembering these stories being included in the classic Tintin comic book collection (early graphic novels, if you like), I also saw Tintin and the Mystery of the Golden Fleece on British television in the seventies. The memory of that broadcast, prompted me to search for these films again four years ago, first finding them on VHS in Canada.



TINTIN AND MYSTERY OF THE GOLDEN FLEECE
(France/Belgium, 1961, aka TINTIN ET LE MYSTERE DE LA TOISON D'OR)

Tintin and the Mystery of the Golden Fleece (1961) is by far the most fun of the two. Both films succeed at portraying the famous characters, but Golden Fleece also captures the flavour of a typical Tintin adventure - it has the globe-trotting scale, the sense of location and culture, and a good mystery at the core of the plot.

Captain Haddock (played admirably by Georges Wilson) is sitting in his hammock at Marlinspike, when he receives a telegram informing him that he's inherited a ship. He takes Tintin (played in both films by Jean-Pierre Talbot) and of course Snowy down to Istanbul to collect his inheritance.

The ship, called the Golden Fleece, turns out to be an old rust-bucket. But why does international businessman, Anton Karabine, want to buy the ship from them. Rather than sell it, they sail to Greece to deliver the relatively worthless cargo of carpets. Then they discover more about the ship's history and how desperately Karabine still wants to get his hands on it...


The young actor Jean-Pierre Talbot is a real find as Tintin. He looks the part, does his own stunts and is even pretty good at judo (for taking the baddies down). He only seems to fall short of the original character by not getting any comedy moments to himself. He also doesn't get much chance to frown - comic book Tintin always had a great frowny face when he was working out mysteries, but there's none of that here.

The comedy is of course left to Captain Haddock, dotty Professor Calculus and the hapless Thompson Twins, all uncanny lookalikes of the originals. But even the secondary characters appear to have walked off the pages of Herge's illustrations.


The handsome photography complements the many real-life shooting locations which make up the majority of the film. Particularly spectacular are the cityscape of Istanbul and the Greek clifftop monastery (that looks like the same one used in the James Bond movie For Your Eyes Only).



TINTIN AND THE BLUE ORANGES
(France/Spain, 1964, aka TINTIN ET LES ORANGES BLEUES)

Tintin and the Blue Oranges (1964) falls short as a follow-up. The characters are still impeccably portrayed, even though it's largely a different cast. Jean-Pierre Talbot returns as Tintin, but Calculus and Haddock are played by new actors. A notable addition to the cast is a cameo by Castafiore, the opera singer, who briefly adds fun to the proceedings.

Basically, Professor Calculus is sent some mysterious blue oranges in the post. When an intruder tries to steal them, Tintin and Haddock realise they're valuable, but why? They head off to Valencia, where Calculus remembers an old colleague was working on something similar. When the Professor is kidnapped and Tintin and Haddock are stranded in a grain silo, they realise that they are getting closer to the heart of the matter...

The problem with the film is the less spectacular locations and the less spectacular plot. The action mostly takes place in small towns in Spain, but nowhere iconic or recognisable. There's also a huge gang of children added to the mix - always a mistake in children's films, I feel. You don't necessarily need child characters for a young audience to identify with.

The whole film feels much smaller in scale, with few memorable scenes. The only highlight for me was an exciting fight scene. Jean-Pierre manages a spectacular flying tackle, a couple of judo throws, and a dropkick all in one take.




Once again, the French DVDs (pictured here) have no English subtitles. The 2007 Australian DVDs have subtitles, but are also from analogue masters (that is, not digitally remastered).


Here are original trailers for both films, in German, but you'll get the idea...






Again, I'd also like to hear from anyone who can find any trace of my another Tintin holy grail - the 1960s' cartoon series that were shown as a series of 5 minute cliffhangers. These are also totally off the home video radar as far as I can see. I believe they might have been released on VHS in the UK (in the eighties, before the new 1993 series came out).

For all your Tintin needs, visit Tintinologist.

Friday, 10 September 2010

KARAOKE TERROR (2003) - from the author of AUDITION


KARAOKE TERROR
(2003, Japan, Shôwa kayô daizenshû)

I think he got the point...

This darkly humorous satire of suburban Japan grabs the viewer quickly and stays intriguing to the end. A sunnier, small scale Fight Club, with singing. I shouldn't really try to categorise the unique story, but I certainly enjoyed it. Knowing nothing about Karaoke Terror was a good way to go in...


For the first few minutes I thought I was going to get another Linda Linda Linda, as a group of slackers performed some very bad karaoke in matching costumes, wearing bowler hats that seemed to reference A Clockwork Orange.

But the story soon kicks off when one of their group randomly murders a middle-aged woman on the outskirts of Tokyo. It's nasty, but with just a little too much gushing blood to be totally serious.


It turns out that the victim's friends are also fans of karaoke, and not above resorting to bloody vengeance, if they can track him down before the police do.

It was a while before I figured out this was in fact a satire. Problem being I wasn't getting all the humour. The story of the escalating battle between the middle-aged divorcees and the young slackers isn't quite as important as the contrast between the two sides, their attitudes, lifestyles, and just as importantly, their tastes in music.


This is based on a novel by the author Ryo Murikami, no stranger to controversy as he exposes attitudes lurking in the big cities. He also wrote the infamous Audition, which notably excludes any humorous streak.

The story still gripped me, and while I enjoyed the characters and the brilliant cast, I was very aware of repeatedly missing the point of the choices of music and many cultural references.


Each actor in the ensemble cast carves their own very clear characters. The women are just as immoral as the men, while justifying their crimes in different ways. I only knew the intriguing Ryuhei Matsuda from Nightmare Detective, Otakus In Love and Gohatto. A more experienced actor than the rest of the guys' group, he still modestly blended in completely here.

While looking like modern Japan, this presents a gallery of skewed and surreal characters, like Twin Peaks with an agenda.


Karaoke Terror is available on DVD from Synapse Films in the US (see cover art at top). It includes extensive liner notes with a guide to the 60s pop songs featured in the film, a trailer and a good 20 minute 'making of' feature.


This English-subbed trailer includes some major spoilers...

Tuesday, 7 September 2010

NFL 2010 Predictions

As an avid football fan, I had to chime in with my 2 cents on who I think will make the playoffs. Like most predictions so many things can change. For instance last year I said the Saints would go 9-7, who knew?! I also only guessed 6 out of the 12 playoff teams who actually made it to the post season. So please do not go to Vegas based on anything I write here.



AFC

East
---------
New York Jets 11-5
New England Patriots 10-6*
Miami Dolphins 8-8
Buffalo Bills 3-13

South
------------
Indianapolis Colts 12-4
Tennessee Titans 9-7*
Houston Texans 6-10
Jacksonville Jaguars 4-12

North
------------
Baltimore Ravens 11-5
Pittsburgh Steelers 8-8
Cincinnati Bengals 8-8
Cleveland Browns 3-13

West
-------------
San Diego Chargers 10-6
Kansas City Chiefs 7-9
Denver Broncos 5-11
Oakland Raiders 5-11


NFC

East
------------
Dallas Cowboys 12-4
Philadelphia Eagles 9-7
New York Giants 8-8
Washington Redskins 6-10



South
-------------
New Orleans Saints 11-5
Atlanta Falcons 10-6*
Carolina Panthers 7-9
Tampa Bay Buccaneers 2-14

North
-------------
Minnesota Vikings 11-5
Green Bay Packers 10-6*
Chicago Bears 6-10
Detroit Lions 4-12

West
-----------
San Francisco 10-6
Seattle 6-10
Arizona 6-10
St. Louis 3-13

Friday, 3 September 2010

METROPOLIS (1927) - the 2010 restoration


METROPOLIS
(1927, Germany)

Longest ever restoration of this early epic sci-fi.

I was excited to see a near-complete restoration of Fritz Lang’s Metropolis, which premiered in the UK last week. It was also my first time seeing any version on the big screen. The same way German silent films like The Golem (1920) and Nosferatu (1922) inspired the golden age of US horror in the 1930s, the silent epic Metropolis influenced science-fiction films for decades to come. Blade Runner (1982) is perhaps the most famous vision of the future that drew on Metropolis which, ironically, was also an expensive flop on its first release.


With a humanoid robot passing as human, impossibly high buildings, the underclass of society existing in the lower levels... there weren't many films that Ridley Scott could have looked to that were thematically similar and visually inspirational. I was surprised by a scene in Metropolis where the hero runs through a dark mass of gridlocked cars, an uncanny reminder of the central chase scene in Blade Runner. All that was missing was the rain. The climax of Metropolis also reminded me just how much Tim Burton borrowed for the ending of Batman (1989) – more than just a homage!


The story pivots on Joh Fredersen, the master of a futuristic city, his idealistic son Freder, and a young woman, Maria, dedicated to improving the plight of the hard-working underclass. Fredersen wants to sabotage her revolutionary work and turns to Rotwang, a (really quite mad) scientist. He’s impressively built a humanoid robot. Better still, he can perfectly disguise it as Maria, so that she can mislead the rebel workers. But this complex and sneaky plan could backfire on Federsen’s empire and the city of Metropolis itself...


While the skyscraping city was a projected glimpse of the future inspired by a trip that the director took to Manhattan, the story reads more like children’s fable than sci-fi. Huge crowds of citizens, like the factory workers, surreally act with a ‘hive mind’ even when they're off-duty. This simplistic unity of purpose reminded me of communist Russian cinema of the same era. While the swarms of extras are undeniably impressive, it’s tough to believe all those people would all make the same mistake (like forgetting about their children behind during a disaster).


The plot isn’t as strong as the striking visuals of men and machines, (men as machines), and the production design of a future city life and science. Some of the shots made me feel that I was being hit in the eye, a powerful overdose of visual imagination - the bizarre garden, the rare close-ups of the robot, the dreamlike mini-epic tale of Babel… are all powerful as still photos, but deserve to be seen brought to life.


Like Blade Runner and 2001 - A Space Odyssey, the visual effects set a high standard for science-fiction for decades. Using extensive large-scale modelwork, matte paintings and huge working sets, many seamlessly combined with models (using the in-camera Schufftan process). I’m also still impressed by the superb make-up work on the living statue of death, besides the iconic ‘robot Maria’. Talking of visual effects, her phenomenal near-nude dance is so powerful a scene, it’s still risqué today. Not for her costume, but the reaction of the panting crowd.


Metropolis premiered in Germany in January 1927. It had cost over a million dollars (back then). But within months, it was released in the US in a much shorter version, with its dialogue and narrative intertitle cards rewritten. This US version remained the worldwide template for decades, with the original German negative presumably destroyed in WW2.


A series of restorations have gradually clawed back footage, minute by minute, up to a running time of two hours for the 2002 restoration, (released on DVD by Kino as the Restored Authorised Edition). This version was in the process of being remastered for a Blu-Ray release, when most of the remaining footage was dramatically re-discovered in Argentina. The film is almost complete now, at 147 minutes out of the original 152.


The retrieved footage fleshes out almost every scene, but particularly clarifies Rotwang’s motives, and restores the part of Federsen’s creepy spy (Fritz Rasp), who strongly reminded me of film critic and Exorcist-fanatic Mark Kermode. Rasp was also the leering baddie who victimised Louise Brooks in Diary of a Lost Girl. He went on to appear in Lang’s more predictive sci-fi Woman in the Moon the same year (1929).

The downside is that this 25 minutes of newly recovered footage is heavily scratched and taken from 16mm film. It carries the missing narrative and reveals what we’ve been missing, but pales in comparison with the startling detail of the renovated 35mm footage. This can now be appreciated in more detail in the cinema and on the forthcoming Blu-Rays.


Misleadingly called ‘The Complete Metropolis’, it’s a miraculous restoration. The new recording of the original orchestral accompaniment helps the film enormously, adding to the energy and pace and sounding remarkably modern.

To me, the action still looks ‘sped up’. Some of the actors’ movements verge on comical, especially when young Feder is running around trying to save the day - at times he resembles The Flash. There are conflicting reports about the original projection and recording speed, but if it were slowed down to show more realistic motion, the running time would of course be even longer.


The new (almost-complete) Metropolis opens across UK cinemas on September 10th. There are also two special screenings with a live orchestra playing the original score at The Roundhouse on October 10th and 11th, details here. The BFI will continue to screen the film in November and December. In November the Blu-Ray lands in the US, then later in the UK.

The new restoration trailer, with a taste of the re-recorded original music is here on YouTube...









Running nearly two and half hours, 'The Complete Metropolis' may challenge the patience of anyone unused to black-and-white, let alone silent cinema. While I’m dedicated to the director’s original vision, I’ll also recommend a possibly more accessible version, the 1984 restoration. It offered colour tinting, an 87 minute duration, a cavalcade of eighties 'soft rock' music (including Freddie Mercury, Pat Benatar and Giorgio Moroder), and all the best highlights and visuals. The intertitles were transformed into subtitles and the framerate slowed to 24fps. But good luck trying to find it... last seen on VHS and laserdisc.



Another fan review with some great photos from missing scenes on the Libertas site.

Rare behind the scenes photos on this German site StyleMag....

Some before and after films of restoration of the new footage by Scientific Media.


Tuesday, 31 August 2010

August Screening Log




It was a tough month, but movies were still watched. It was a few less then last month but I still was able to see some good ones.

1) His Name Was Jason / Netflix Instant/ C+
2) Ink / Netflix Instant/ B
3) Hot Tub Time Machine / DVD/ B-
4) Law Abiding Citizen/ Netflix Instant/ B
5) The Pianist/ Netflix Instant/ A
6) Pirate Radio/ DVD/ B+
7) Dinner for Schmucks/ Theater/ B-
8) Mac and Me/ DVD/ D
9) I'm Reed Fish/ Netflix Instant/ C-
10) Sudden Impact / DVD/ B
11) Scott Pilgrim vs. The World / Theater/ B+
12) Jaws/ Theater/ A+
13) Cheerleaders Beach Party/ On Demand/ F
14) The Ghost Writer/ DVD/ B-
15) Piranha 3-D/ Theater/ B-
16) Finding Neverland/ DVD/ B
17) The Losers/ DVD/ B

Stand out movie of the month was Pirate Radio, it was a really well done movie that had some great acting, I would rent it for sure. I wasn't expecting to enjoy it was much as I did.

Friday, 27 August 2010

BARBARELLA (1968) the Ultimate Guide - Part 6: the Posters


I'm no expert on movie posters so I can't say for definite which countries had each poster campaign. But I've tried to show the main types of original poster art, without showing every minor variation in layout. Many of these have since been reproduced as postcards and posters, though many of the originals can be found on eBay and specialist sites.



This beautiful artwork was used across Europe and America. The artist is Robert McGinnis, whose most famous posters were for several James Bond movies from Sean Connery's era, as well as Live and Let Die and The Man with the Golden Gun (thanks to IMP for that info). The long, wide version (at top) was a spectacular 20 feet wide!

One character isn't recognisable from the film (the one in the spacesuit, centre right), so I'm guessing this was produced for advanced publicity. Note that Durand-Durand's ship is the one shown crashing, rather than Barbarella's.


USA, 1968



UK 'quad', 1968


Spain, 1968


Mexican over-sized lobby card, 1968


Japan, 1968.


A couple of Italian variations on the McGinnis artwork.



Italy also has their own style of collage posters, called fotobustas, of which many variations are produced for each film. These are the ones I know of...








As you can see, many of the costumes are the wrong colours and the fleshtones look strange, probably because they're black and white photos that have been coloured in.



RE-RELEASE POSTERS

Czechoslovakia, 1971


Germany, 1973


Cult fantasy artist Boris Vallejo painted this artwork for the 1977 re-release that followed the space madness of Star Wars. Note that Pygar is wingless. This has become familiar as the art on all home video releases - on VHS, laserdisc and DVD. Note also the new, longer title (which never appeared onscreen).


Lastly there's this spectacular art by the Hildebrandt Brothers, famous for a classic early Star Wars poster, for a 1979 re-release. Seems like a lot of re-releases, but I guess it's because there was no home video yet.




A wide selection of Barbarella repro posters here at Movie Poster Shop.

Some fantastic original posters here at Poster Nirvana.




Don't miss out on any previous chapters of The Ultimate Guide to Barbarella: