JACK NICHOLSON PEAKS WITH SUSAN STRASBERG IN 'PSYCH-OUT'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVB-owo9AFIwj1DMoKoiNrPRNIhUvQaVeKMcMoFDoUb6uQXi1dO_QVaRZ8QGBFPiF5LQCN0JQjcAcqdKJ2eDfa5L0kU0EQxKtioWLKzjcY-IIoOL8D_6wrX5cI2SdWlxhxxnqfS3a1tt2vwgVujDDpMKygT0tSJEesYWuar3E9GNVosOQQ_33UzDQ7HWW0/s1549/1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1021" data-original-width="1549" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVB-owo9AFIwj1DMoKoiNrPRNIhUvQaVeKMcMoFDoUb6uQXi1dO_QVaRZ8QGBFPiF5LQCN0JQjcAcqdKJ2eDfa5L0kU0EQxKtioWLKzjcY-IIoOL8D_6wrX5cI2SdWlxhxxnqfS3a1tt2vwgVujDDpMKygT0tSJEesYWuar3E9GNVosOQQ_33UzDQ7HWW0/s16000/1.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Jack Nicholson and Susan Strasberg in PSYCH-OUT Year: 1968 Rating: ***1/2</u></td></tr></tbody></table><p>In 1968, Susan Strasberg, a passive deaf girl hiding out in San Fransisco, happens upon members of a hopeful rock band consisting of a completely miscast Jack Nicholson and Adam Roarke, looking more like blue collar roughnecks than guitar-slinging hippies, and Max Julien, far more aligned with the drugged-out, passive aesthetic...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Other young future-classic actors include Bruce Dern as Strasberg's troubled brother, the movie's McGuffin that little sister's seeking, fitfully named The Seeker, and Dean Stockwell as a "wise" hippie, reminding Jack, who wants his group to make it big, how shallow money and success are...</p><p><span></span></p>

adam roarke, bruce dern, dean stockwell, drug culture, garry marshall, gary kent, henry jaglom, jack nicholson, max julien, richard rush, sixties, susan strasberg

JACK NICHOLSON PEAKS WITH SUSAN STRASBERG IN 'PSYCH-OUT'

Jack Nicholson and Susan Strasberg in PSYCH-OUT Year: 1968 Rating: ***1/2 In 1968, Susan Strasberg, a passive deaf girl hiding out in San Fr...

RICHARD RUSH DIRECTS ADAM ROARKE IN 'THE SAVAGE SEVEN'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUsPXRFQOGdvc7k8ZCXhmgEqO-M8qWVwLWoMnrTTGlXdWHZ1UnF6zFtFfn1bsoQtdUHLPanCLVQc-hdccDB-tQG3zeHNqdlEopQkCPJ9Iwb2kZvaBNng5Mli2HVG7mVNSkcYJVvlR3ANJt1rs79tsDSW3crSa-FSsW3PPu5_Bm39oDRz0CDZ5ma924Pg/s2642/0.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1197" data-original-width="2642" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUsPXRFQOGdvc7k8ZCXhmgEqO-M8qWVwLWoMnrTTGlXdWHZ1UnF6zFtFfn1bsoQtdUHLPanCLVQc-hdccDB-tQG3zeHNqdlEopQkCPJ9Iwb2kZvaBNng5Mli2HVG7mVNSkcYJVvlR3ANJt1rs79tsDSW3crSa-FSsW3PPu5_Bm39oDRz0CDZ5ma924Pg/s16000/0.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: THE SAVAGE SEVEN Director: Richard Rush Year: 1968 Score: ***1/2</u></td></tr></tbody></table><p>Perhaps the reason most 1970's Westerns played like violently marauding, town-taking-over biker flicks is that biker flicks from the <i>1960's</i> were in fact fully-charged/revved-up modern Westerns... </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Especially with Richard Rush's THE SAVAGE SEVEN about a rural, dilapidated Indian Reservation resembling a ghost town slum where white actors Robert Walker Jr and John Cardos, along with half-black Max Julien, play the Indian residents, initially dealing with that titular gang led by an otherwise polite, handsome and helpful Adam Roarke... </p><p><span></span></p>

action, adam roarke, biker, charles bail, exploitation, gary kent, larry bishop, max julien, modern western, penny marshall, richard rush, sixties

RICHARD RUSH DIRECTS ADAM ROARKE IN 'THE SAVAGE SEVEN'

Title: THE SAVAGE SEVEN Director: Richard Rush Year: 1968 Score: ***1/2 Perhaps the reason most 1970's Westerns played like violently ma...

GARY KENT IN RAY STECKLER'S 'BODY FEVER' AKA 'SUPERCOOL'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu846sngxRvOod_czHWrL8C2qqqa3pHV96mioPXYFpwGV3KyaZfUrzqBUPGWoUyFxAobinF0YlD0TFtBjmuJb_jM2AfiMgsuUFNq38VjXzMXguYIEPddXOVUUTVvdpAzGtwoEQXt8bLUic/s1600/45144595_2105173716193564_3520784872366931968_n.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="513" data-original-width="735" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu846sngxRvOod_czHWrL8C2qqqa3pHV96mioPXYFpwGV3KyaZfUrzqBUPGWoUyFxAobinF0YlD0TFtBjmuJb_jM2AfiMgsuUFNq38VjXzMXguYIEPddXOVUUTVvdpAzGtwoEQXt8bLUic/s400/45144595_2105173716193564_3520784872366931968_n.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Ray Dennis Steckler and Gary Kent fight in Super Cool YEAR: 1969</u></td></tr> </tbody></table> Film Noir/Gumshoe/Private Eye films have a main character wandering (and wondering) from one location to the next in search of something, or someone, or both...<br> <br> What they get along the way are a lot of names, mostly red herrings. Sexy dames and tough broads with tougher boyfriends. Fights. Gunshots. Psychedelic drugs and heroin or...<br> <br> Well the last sentence doesn't fit the Humphrey Bogart-era films, in which this was inspired all the way to director and here main star as well, Ray Dennis Steckler looking into a HIGH SIERRA poster with his image reflecting onto Bogie's. And in SUPER COOL, the real title's shown in the opening credits despite being packaged as BODY FEVER and with other names like CHEAT FOR LIFE, THE LAST ORIGINAL B MOVIE and DEADLOCKED...<br> <br> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaUBcXwH0QnKAhExJLZXvPrma8Jd0Y2s_huCihqmthLDWBMqR5N4XZhFhLbTtSOz-l39jz0lZsaBZkrcCrnzlYw0YLSGIzsj1BoZtN-GqvxZtWdrhzrUyDq3nV8nkdiiNKJnhrIvvJDtKV/s1600/45089360_594050697690777_7978350524862824448_n.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="573" data-original-width="871" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaUBcXwH0QnKAhExJLZXvPrma8Jd0Y2s_huCihqmthLDWBMqR5N4XZhFhLbTtSOz-l39jz0lZsaBZkrcCrnzlYw0YLSGIzsj1BoZtN-GqvxZtWdrhzrUyDq3nV8nkdiiNKJnhrIvvJDtKV/s400/45089360_594050697690777_7978350524862824448_n.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Gary Kent grabs the bag of loot from his director Score: ***</u></td></tr> </tbody></table> It's an urban/suburban odyssey of Steckler's scrawny gumshoe Charlie Smith, trying to find a missing dame, played by his real life star and perpetual ingenue Caroyln Brandt, who stole a ton of drugs (after all, she's a cat burglar who dresses like Catwoman)...<br> <br> The best elements pit Smith against Frankie Roberts, played by Steckler's stock heavy Gary Kent (a formidable ax-murderer in THE THRILL KILLERS), who not only keeps women addicted to smack but smacks them regularly. And like those mazy Noirs of the forties and fifties, the plot is purposely convoluted: so the audience is as confused as the snoop... But the flat conclusion seems a bit forced: ending a breezy jaunt that could've gone on forever. Or at least fifteen (or ten, perhaps?) minutes longer.<br>

action, carolyn brandt, cult, exploitation, gary kent, gumshoe, independent, neo noir, ray dennis steckler, sixties, thriller

GARY KENT IN RAY STECKLER'S 'BODY FEVER' AKA 'SUPERCOOL'

Ray Dennis Steckler and Gary Kent fight in Super Cool YEAR: 1969 Film Noir/Gumshoe/Private Eye films have a main character wandering (an...

TWO SHOTS OF EARLY JACK NICHOLSON ARTHOUSE WESTERNS

<div style="color: #3d596d; font-family: Merriweather, Georgia, 'Times New Roman', Times, serif; font-size: 15px; line-height: 25.5px; margin-bottom: 24px;"> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; font-family: Times; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaXq0ibdTgIt29N8P1jY6x5hQ-WDijHzHxIEYkZFWoczLQHlKiuzTGLUWMVyg2jj-vt_N8sCUqbqj4w1PurxJYc4EHsoKuTZQ8aHrVOEj7fPgCKDl6tK05VmpsPp3NfVKYNisOJu2lHWI/s1600/8.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaXq0ibdTgIt29N8P1jY6x5hQ-WDijHzHxIEYkZFWoczLQHlKiuzTGLUWMVyg2jj-vt_N8sCUqbqj4w1PurxJYc4EHsoKuTZQ8aHrVOEj7fPgCKDl6tK05VmpsPp3NfVKYNisOJu2lHWI/s400/8.jpg" width="266"></a></td></tr> <tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><u>The Shooting & Whirlwind YEAR: 1966</u></td></tr> </tbody></table> Welcome to director Monte Hellman’s Mild West, where it takes a good ten minutes for outlaws and cowpokes to become situated around a cabin in RIDE IN THE WHIRLWIND or a mining post camp-out in THE SHOOTING...<br> <br> To some fans of the conventional Western, the pace is far too slow, while to others, this double feature is authentically realistic and truly remarkable.</div> <div style="color: #3d596d; font-family: Merriweather, Georgia, 'Times New Roman', Times, serif; font-size: 15px; line-height: 25.5px; margin-bottom: 24px;"> In the first venture, THE SHOOTING, Warren Oates stars with Will Hutchins, the latter fitfully misplaced in this brooding Western about a woman, played by Millie Perkins billed simply as Woman, hiring two bounty hunter types to guide her across the scorched desert terrain for an unknown agenda...<br> <br> Beginning with a mystery yarn setup involving a murder discussed with sporadic flashbacks, puzzled over by the usually dynamic Oates as the thankless stalwart lead, Willett Gashade, and storyteller Hutchins as Coley, whose comical, simpleton character takes some adjusting to until the realization that, as the journey sustains throughout the scorched desert, his days could be numbered…</div>

gary kent, harry dean stanton, jack nicholson, millie perkins, monte hellman, rupert crosse, sixties, warren oates, western, will hutchins

TWO SHOTS OF EARLY JACK NICHOLSON ARTHOUSE WESTERNS

The Shooting & Whirlwind YEAR: 1966 Welcome to director Monte Hellman’s Mild West, where it takes a good ten minutes for outlaws an...

A GRITTY BAGFUL OF ARCHIVE MOVIE REVIEWS

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-KbEtY2pTqRAHwVbehgOtUJG_0BgD7DnyOMgdKT-G7mgx9cc7tuhVFrP44NdKFPybd08u_rnF04uC_2NxNx37-e8qMcQw0W3YuquPq6i3AGQ3KlomKMx9EFHYhZ3DatOLi1mvYrQ3LpQ/s1600/body+fever.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-KbEtY2pTqRAHwVbehgOtUJG_0BgD7DnyOMgdKT-G7mgx9cc7tuhVFrP44NdKFPybd08u_rnF04uC_2NxNx37-e8qMcQw0W3YuquPq6i3AGQ3KlomKMx9EFHYhZ3DatOLi1mvYrQ3LpQ/s320/body+fever.jpg" width="182" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">1969 ***1/2</td></tr> </tbody></table> <span style="background-color: white;"><b>SUPERCOOL: </b></span>Film Noir/Gumshoe/Private Eye films have a main character wandering from one location to the next in search of something, or someone... What they get along the way are a lot of names, mostly red herrings. Sexy women. Fights. Psychedelic drugs and...<br /> <br /> Okay that last aspect didn't fit the Bogart-era films, in which this was inspired, but in SUPERCOOL aka BODY FEVER aka DEADLOCKED aka THE LAST ORIGINAL B MOVIE, we have an urban/suburban odyssey of a scrawny P.I., played by Ray Dennis Steckler, who also starred and directed in, among many low budget cult titles, THE THRILL KILLERS, as he tries to find a missing dame who stole a ton of drugs. The best elements pit Stecker's Charlie Smith against Frankie Roberts, played by Steck's stock heavy Gary Kent, who not only keeps women addicted to smack but smacks them regularly. And like those mazy Noirs of the forties and fifties, the plot is purposely convoluted (so the audience is as confused as the snoop)... But the flat conclusion seems a bit forced: ending a breezy jaunt that could've gone on forever. <br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5484218195006448546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaYYoipGdH1DOdG-7IlnyeK7TEYdEvGKDHoDbkYp1KfdZ71iiDWO11GfWoizk8tiTwikVqRYPF-b45n60nro33Vci2Lvm4oueR21BzO38_t0Smw2n4R90XOBQF16iIcOwkPFBSsQsutsc/s200/shepart.bmp" style="height: 146px; margin: 0px auto 10px; width: 200px;" /></td></tr> <tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white;">year: 1961 rating: ***1/2</span></td></tr> </tbody></table> <span style="background-color: white;"><b>THE LITTLE SHEPARD OF KINGDOM COME:</b></span> Jimmie Rodgers, pop singer from the fifties, shifts into acting about as comfortably as Elvis Presley, and that's not such a bad thing.<br /> <br /> Rodgers plays Chad, a wandering young man from the mountains, without a family or last name, who happens upon two families: one of humble-means up North... including reliable Robert Dix... the other of great importance down South, headed by Chill Wills... prior to the Civil War.<br /> <br /> Rodgers seems very genuine and soft-hearted, and even sings. The plot is more-or-less a journey into two regions that'd soon be at war, shown during the final act where the battle scenes are involving but never too intense. But it's the first half, where Chad settles into each domestic setting, that stands out: seemingly tailor-made for Rodger's easygoing performance. And George Kennedy makes for a terrific heavy, providing a sporadic black cloud to this sun-soaked, and quite relaxing, portrait of 19th Century America.<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihZmjihBrZEIVt4RrOqijWMSs0ztaBgbbdlUcP1ZT9Tkz56CS0kHXC7wxi_jhWEH8eRwkn94BZ2uV39i8FcNUjF19xxp2mOALdt8w4FezHmtu5HKfoUkeVO0YVwyWY9xY65Rglre9QnII/s1600/major+dundeee.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5484162287792034594" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihZmjihBrZEIVt4RrOqijWMSs0ztaBgbbdlUcP1ZT9Tkz56CS0kHXC7wxi_jhWEH8eRwkn94BZ2uV39i8FcNUjF19xxp2mOALdt8w4FezHmtu5HKfoUkeVO0YVwyWY9xY65Rglre9QnII/s200/major+dundeee.jpg" style="float: right; height: 134px; margin: 0px 0px 10px 10px; width: 200px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">year: 1965 rating: **1/2</td></tr> </tbody></table> <span style="background-color: white;"><b>MAJOR DUNDEE:</b></span> Early Peckinpah Western has the title-bearing Major, played by Charlton Heston, gathering up troops for a mission to destroy a band of killer Apaches.<br /> <br /> Richard Harris and Warren Oates are Confederates that reluctantly join the posse. After a somewhat rushed set-up, we ride from location to location, providing a decently filmed action scene along the way, but within each camp are lulls of stagey conversation... Ride, stop, and talk... again and again till the bloody climactic battle that doesn't last as long as the long bouts of campfire chat, or painfully corny scenes involving romance, and lots and lots of dancing, in Mexico.<br /> <br /> Jim Hutton, Timothy's father, is embarrassingly cliched as a by-the-book military man. Peck stock actors Warren Oates and Ben Johnson are all but wasted. But Richard Harris is effective as the proud Confederate and, ever-challenging the main character, provides Heston with his best scenes: mostly reaction. Meanwhile, James Coburn, as a one-armed half-Indian, advises Heston to not stay too long in the Spanish town because he doesn't look like a Mexican. Thank God someone didn't tell Orson Welles that eight years earlier, because TOUCH OF EVIL provides the icon one of his best (that is, most understated) performances.<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyo2jfhFa9vEGvvyiiNdt4stZjj8XkNutgjYxy3lvDh322PnNSDzmP_mBE_1IOmVWggp5y80Qtj8wLuAGwgzVClhyphenhyphengEne_BOuR8tFn5J43wPK0s0_TsOZl-CzYHT2J13hbItAXIuHfVkc/s1600/fortyguns.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5480082526628405330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyo2jfhFa9vEGvvyiiNdt4stZjj8XkNutgjYxy3lvDh322PnNSDzmP_mBE_1IOmVWggp5y80Qtj8wLuAGwgzVClhyphenhyphengEne_BOuR8tFn5J43wPK0s0_TsOZl-CzYHT2J13hbItAXIuHfVkc/s200/fortyguns.jpg" style="float: right; height: 86px; margin: 0px 0px 10px 10px; width: 200px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">year: 1957 rating: **</td></tr> </tbody></table> <span style="background-color: white;"><b>FORTY GUNS:</b> </span>One of the great opening shots has three brothers, Barry Sullivan, Gene Barry and Robert Dix travelling by stage as forty mounted horses with armed men, led by Barbara Stanwyck, thunder past.<br /> <br /> It's after the credits, and the trio reach a small town, where things go downhill slowly as a man walks around singing out loud, and a few fights occur which, while filmed creatively, seem out of an adolescent melodrama, during which a plot slowly unfolds: HIGH NOON without the suspense. <br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5480090509195957394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIQFy_5e6V_DzLLt9-wkC9oM-UvPa4umApp-CdywvawvjYnEu1q7B0AI-eRAhXqgIgRg5ypD27mnB6pg5LGf1Pp77l0nkrUbSL0X7h0jugkP6sKatPBoKkm1xRbAU5kbBT6Q6bgNbpDkc/s200/rebel+rousers.jpg" style="height: 189px; margin: 0px auto 10px; width: 177px;" /></td></tr> <tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white;">1967 rating: **</span></td></tr> </tbody></table> <span style="background-color: white;"><b>THE REBEL ROUSERS:</b></span> Nice guy husband Cameron Mitchell and pregnant wife Diane Ladd are in some serious trouble... <br /> <br /> Three actors, Jack Nicholson, Bruce Dern and Harry Dean Stanton, who in only a few years would become highly successful, sought-upon, iconic movie stars, play troublesome bikers that kidnap the couple, and then race up and down the beach to see who can "marry" the bride while Mitchell, after getting beaten to a pulp, escapes and, while seeking help, the ruffians continue having a much better time than the audience. Made in 1967 and released in 1970 after Jack hit it big (the others would soon follow), this futile biker outing is a curio-piece strictly for the cast... Bruce Dern in particular: as the hellion with a conscious, he's exceptionally fun to watch.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFlydp-7XciKu2SR8A53Ghbbll2KQBEoEHXT7nG5LcVrwxApjIo6uqpo7mCQw4j4vt0yIjik2JtBoYJFVaMuxEAP4IhZ0vXMUq2dwzVDpaIUqD2eOjSZctlJjyKRZNGZJ7gVC-Cn7Obww/s1600/switchblade+sisters.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5478280566064569746" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFlydp-7XciKu2SR8A53Ghbbll2KQBEoEHXT7nG5LcVrwxApjIo6uqpo7mCQw4j4vt0yIjik2JtBoYJFVaMuxEAP4IhZ0vXMUq2dwzVDpaIUqD2eOjSZctlJjyKRZNGZJ7gVC-Cn7Obww/s200/switchblade+sisters.jpg" style="float: right; height: 180px; margin: 0px 0px 10px 10px; width: 167px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white;">year: 1975 rating: ***</span></td></tr> </tbody></table> <span style="background-color: white;"><b>SWITCHBLADE SISTERS:</b></span> Part of an autograph series DVD presented by exploitation and Jack Hill fanatic Quentin Tarantino, the movie starts off cool enough as a gang of dagger-wielding chicks led by Lace, played by Robbie Lee, and their boyfriend/counterpart gang, Asher Brauner's Dominic, rule both the town and their high school.<br /> <div> <br /> Throw in a new girl named Maggie... tougher than Lace and therefore respected... and after a brief stint in lockup, a nifty friendship ensues as both gals deal with the splendidly villainous Dominic, whose lethal bravado all but steals the show. Too bad a side-plot about the politically-motivated revolutionary leader of a rival gang, who resembles a geeky accountant, takes things to a level that, although ending with a nifty shootout in the streets of an abandoned city, turns a simple exploitation into something that tries for everything.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQzHH3bmn2hCte8P7kDDt6JxfEhGjwq_6AR7hiEiUWYN8O2yxgZoQ_ZFgCxTBDyz4vXtmbcldDM3bNtvqqnL3rz2tv4f4wOdwnxjt3Fvo55ODFyoHhk9aNiwrqJZZOGxrjVFevZ-Sb7G0/s1600/zab460.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5478060550283191986" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQzHH3bmn2hCte8P7kDDt6JxfEhGjwq_6AR7hiEiUWYN8O2yxgZoQ_ZFgCxTBDyz4vXtmbcldDM3bNtvqqnL3rz2tv4f4wOdwnxjt3Fvo55ODFyoHhk9aNiwrqJZZOGxrjVFevZ-Sb7G0/s200/zab460.jpg" style="float: right; height: 200px; margin: 0px 0px 10px 10px; width: 164px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white;">1970 rating: **</span></td></tr> </tbody></table> <div> <span style="background-color: white;"><b>ZABRISKIE POINT:</b></span> This searing counterculture film by arthouse guru Michelangelo Antonioni is like watching paint dry, although some of the colors are nice, mostly provided by filler-music from Jerry Garcia, The Rolling Stones and Pink Floyd... and then a horribly dull title song by Roy Orbison after a literally explosive climax. </div> <br /> The acting between the two young leads, Mark Frechette and Daria Halprin, is liken to that of a artistic porno while the plot, as it were, has our two great looking revolutionaries... one in a stolen airplane and the other in a cool old car... meeting in the desert whilst silently plotting something against the only real actors in the film, Rod Taylor and G.D. Spradlin, who are, for some unexplained reason... perhaps because they like making tons of money... very bad people. Looks and sounds nice but dulls the other senses. And Harrison Ford plays an imprisoned hippie in a jailhouse scene, but this reviewer just can't spot him.</div>

bagful, biker, exploitation, fifties, gary kent, robert dix, seventies, sixties, war

A GRITTY BAGFUL OF ARCHIVE MOVIE REVIEWS

1969 ***1/2 SUPERCOOL: Film Noir/Gumshoe/Private Eye films have a main character wandering from one location to the next in search of so...

A RANDOM BLOODY BAGFUL OF ARCHIVE REVIEWS

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBnlecVSPpL6sNXzY6lJoYwyEz5ief_r6vKst6fKf_JtqcSVy4L4XsVvXBt3sRMbVLMhvzBhl72DdeCLUvUjfGoZSaYlJcylC27zgHjbaHcR6TyP0gCC2NEAVIrRufpOP2uFa1Yp4ZBUA/s1600/gorga.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBnlecVSPpL6sNXzY6lJoYwyEz5ief_r6vKst6fKf_JtqcSVy4L4XsVvXBt3sRMbVLMhvzBhl72DdeCLUvUjfGoZSaYlJcylC27zgHjbaHcR6TyP0gCC2NEAVIrRufpOP2uFa1Yp4ZBUA/s200/gorga.jpg" width="200" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">year: 1969 rating: *1/2</td></tr> </tbody></table> <span style="background-color: white;"><b>THE MIGHTY GORGA:</b></span> A man trying to save his fledgling zoo joins a woman whose father has been lost in the jungle on search of a giant ape named Gorga... <br /> <div> <br /> A waste of time for those who love the so-bad-it's-good genre. This one isn't good at all, save for the appearance of the plastic T-REX who'd later turn up as the main villain in the much better  schlocky companion film, ONE MILLION AC/DC, penned by Ed Wood and part of a double feature DVD with THE MIGHTY GORGA, who is basically a man in an ape suit, filmed so close-up it's difficult to "enjoy" the cheesiness of the not-so-special effects, while the acting is quite dull even though the otherwise talented and established actors, including exploitation favorite Gary Kent and noir staple/Lawrence Tierney brother, Scott Brady, aren't bad... just bored silly, like the audience.<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMv8iP6LCpdNdhQlRgGD68IUIRBnqhETurQVCQgVysozZwe-DUwd5Du2YouIZCUw1VAFr1lbDRlzbbIr7uPCFKPF92hhKY0lVbBeV4nSQY-wowkJ8bjAHExTYAzjwzfxZ_37RK6Q50Vmw/s1600/Picture+4.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMv8iP6LCpdNdhQlRgGD68IUIRBnqhETurQVCQgVysozZwe-DUwd5Du2YouIZCUw1VAFr1lbDRlzbbIr7uPCFKPF92hhKY0lVbBeV4nSQY-wowkJ8bjAHExTYAzjwzfxZ_37RK6Q50Vmw/s1600/Picture+4.png" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">1957 ***</td></tr> </tbody></table> <span style="background-color: white;"><b>A FACE IN THE CROWD:</b></span> First half has charm and a nice story arc of a guitar-slinging slick-talking bum turned radio personality then TV host i.e. the man of the people aka "Lonesome Rhodes", played with sublime gusto by Andy Griffith...<br /> <br /> Patricia Neal, as a radio show producer, pulls the strings, falls in love, and eventually Rhodes glides into womanizing and worse yet, backing a politician. This occurs during the second half as the characters, and the story, declines into an overly-obvious over-the-top message: not that too much fame will ruin a normal man, but that politics, when mixed with television, doesn't work and can be America's downfall.<br /> <br /> Rhode's climb to the top, from rags to riches, is a treat; but once he arrives, the movie, like the main character, loses focus and never quite regains.</div> <div> <div style="text-align: right;"> </div> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrOd9S81XdFRnIa94M-woSuPKXbIrhFK59gRvaVoJIS9wwLKbBn6f3R4XPdXZuMmQt-7dTPCQu9y5mcCnwU5JcRB34APXI3fnSMutxIoX7hMWoT8DA3CIXoA7GJKnerVr_v4HlwcxuzHo/s1600/tar5.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5505833128804095234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrOd9S81XdFRnIa94M-woSuPKXbIrhFK59gRvaVoJIS9wwLKbBn6f3R4XPdXZuMmQt-7dTPCQu9y5mcCnwU5JcRB34APXI3fnSMutxIoX7hMWoT8DA3CIXoA7GJKnerVr_v4HlwcxuzHo/s200/tar5.jpg" style="float: right; height: 150px; margin: 0pt 0pt 10px 10px; width: 200px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">1955 rating: ****</td></tr> </tbody></table> <span style="background-color: white;"><b>TARANTULA:</b></span> The most brilliant thing director Jack Arnold did to make this movie timeless, and just as creepy and terrific today as it was all those years ago, is to mostly show the titular creature... a giant tarantula created by a "mad" scientist... at dusk or night. Then as the story builds, and we're used to the creature in shadowy form, it seems more real in the daylight...<br /> <br /> The main-frame storyline, of a young doctor and a beautiful lab assistant trying to figure out who's eating cattle and why folks are vanishing, works in perfect unison with the monster that, like in all great creature-features, is used only sparingly. And keep an eye out for a young Clint Eastwood as a jet fighter pilot in the very end; although his face is mostly covered with a mask, that's the man (and be sure to <a href="http://www.cultfilmfreaks.com/2016/09/TARANTULAlland.html">CLICK HERE</a> for a more in-depth review of TARANTULA, which was written as a double-feature retrospective on producer William Alland and star John Agar, also including THE MOLE PEOPLE).<br /> <br /></div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: right;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn2QVzdQLJ_EXP0W-ASxBFEL4haquwP7t-qoV483cq8KdONwrtVtWkRHa2x9UX8iBMJWg_bNvjAfyYy2eDEi1nMcgqyB6RTmK4chVpLABW0UtPT6oNY13nS1Zpnw5mT6FNR66KUzbRha4/s1600/2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn2QVzdQLJ_EXP0W-ASxBFEL4haquwP7t-qoV483cq8KdONwrtVtWkRHa2x9UX8iBMJWg_bNvjAfyYy2eDEi1nMcgqyB6RTmK4chVpLABW0UtPT6oNY13nS1Zpnw5mT6FNR66KUzbRha4/s200/2.jpg" width="200" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">year: 1947 rating: ***</td></tr> </tbody></table> <span style="background-color: white;"><b>NIGHTMARE ALLEY:</b></span> Film Noir flicks usually teach us tempted sinners how crime doesn't pay, and now we learn, either does reading minds...<br /> <br /> The best scenes occur at a carnival as barker Tyrone Power learns a "code" from Joan Blondell that she performs with hubby Ian Keith, a once great mentalist turned rummy, who owns one scene where, coming out of a boozy haze, he wields a con on Power involving a "stock" childhood memory. But after Tyrone and gorgeous carnival performer turned wife, Collen Gray, move their high-paying act to a nightclub, and a ridiculous plot involving a millionaire's dead daughter unfolds, things go downhill slowly... They should have stayed put at the carnival.<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5472694985728130594" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDxcJ0xDzfm0qowbmOfHk2UDQtw0Ysel_ap76T5v6NOsc-kWNcaBbuxk5ZC601CkgM1schwAAUDqi_4DcF80icDx6uJFchQhML1VS4-kFtzPR1fbvAuHh9w2CUdUJRoCWRqL0o0BauFgg/s200/gary+kent.jpg" style="height: 150px; margin: 0px auto 10px; width: 200px;" /></td></tr> <tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white;">year: 1965 rating: ***1/2</span></td></tr> </tbody></table> <span style="background-color: white;"><b>ONE SHOCKING MOMENT:</b></span> In one aspect this movie is way ahead of its time. When it came out, showing full frontal nudity, implied lesbianism, and dominatrix was groundbreaking.<br /> <br /> But for a sixties-era "Nudie Cutie", or better yet, "Porn Without Penetration", ONE SHOCKING MOMENT is quite tame, and unlike many of those films – in which a lean plot involves getting a man and woman together in a room – there is a story which, once underway, is quite intoxicating when a married couple who aren't that innocent to begin with, including apish hubby Gary Kent (under the pseudonym Philip Brady) flirts with every woman alive (going a step further with the office bimbo) and deadpan/dingbat wifey Lee Anna, dressed up like a floozy... both find themselves entwined in sexual taboo after frequenting a nightclub owned by an assertive lesbian, played by scene-stealer Verne Martine, who has her sights on the wife and eventually teaches the cheating Kent something about submission.<br /> <br /> Beautiful black and white cinematography by Lazlo Kovacks, a tempestuous hipster-inspired soundtrack, and more than <i>one</i> shock makes this a real treat: and then some.<br /> <div> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAzX0_rLR7iQcBGIeFhk2sbCmXzvPDi1sSTy17zDzePaB0N5RKBkxopOQM0k0X9vS4J92wD0y-ZQ-pzHNI2Ad6rJ0FC7iKd6eWnAyZkxHEgDPGSkiNzWXsEVQ0kH3XQ7U2zeu5BTn102c/s1600/tetro.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5486426587652158514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAzX0_rLR7iQcBGIeFhk2sbCmXzvPDi1sSTy17zDzePaB0N5RKBkxopOQM0k0X9vS4J92wD0y-ZQ-pzHNI2Ad6rJ0FC7iKd6eWnAyZkxHEgDPGSkiNzWXsEVQ0kH3XQ7U2zeu5BTn102c/s200/tetro.jpg" style="float: right; height: 195px; margin: 0px 0px 10px 10px; width: 200px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">year: 2009 rating: **</td></tr> </tbody></table> <span style="background-color: white;"><b>TETRO:</b></span> Francis Ford Coppola returns to film school, and is a "triple threat" as writer, producer and director for this independent black and white study of two brothers: one a brooding so-called genius, Vincent Gallo as Tetro...<br /> <br /> The other, Alden Edrenreich as Bennie, a youthful dud who, staying with brother and his girlfriend, yearns to complete Tetro's play-in-progress, scrawled in notebooks and only meant as cathartic exercise for the author.<br /> <div> <br /> The location, Buenos Aries, is beautiful, as is the cinematography. But the characters are all one-sided, especially Tetro's famous composer father, shown in colorized flashbacks: so abundantly evil he should have a thin little mustache and a few sticks of dynamite.<br /> <br /> Indie icon Vincent Gallo convincingly looks, and acts, the part of a reluctant-to-gain-fame dark-horse artist, but Edrenriech lacks the blunt determination that, for instance, Matt Dillon (originally cast as Tetro) wielded as the little-bro-under-big-bro's-shadow in Coppola's RUMBLE FISH, which this is a ponderous replica of.<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJPQPSyRILEXga-jMXspC8KYYlXEhsYI9Y3FY1JVlL8gulwiJJh02QjDbKOQG_wcxYIsQDWk0eyvnXwdn0-vatnQqxfK_B_WwuX-5AuObO_J5ihoBmS8OSMYn6LqWTdjbuO0kHz8CQ9Bw/s1600/runangelrun2.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5470848124960161986" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJPQPSyRILEXga-jMXspC8KYYlXEhsYI9Y3FY1JVlL8gulwiJJh02QjDbKOQG_wcxYIsQDWk0eyvnXwdn0-vatnQqxfK_B_WwuX-5AuObO_J5ihoBmS8OSMYn6LqWTdjbuO0kHz8CQ9Bw/s200/runangelrun2.jpg" style="float: right; height: 172px; margin: 0px 0px 10px 10px; width: 193px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">year: 1969 rating: **</td></tr> </tbody></table> <div> <span style="background-color: white;"><b>RUN ANGEL RUN:</b></span> The opening credit sequence (making up for backstory) shows the cover of a fictional LIFE-esque "LIKE MAGAZINE" adorned with the face of William Smith's character, Angel: he's been interviewed and told-all about his biker gang.<br /> <div> <br /> So the film starts with his former-fellow marauders chasing he and his girl down the highway and onto a moving train (the best filmed sequence, using split-screen nicely). After finding solace at a rural farm, Mr. and Mrs. Smith learn to be "normal", which doesn't go without tons of arguments and forgiveness. This is the down-time of biker films, and has a "message" about the biker lifestyle selling out, perhaps because of the year-before blockbuster EASY RIDER: which this film borrows from in its flash-cut editing.<br /> <br /> Smith's acting is good, as usual, but he seems to be doing a Marlon Brando/Stanley Kowalski imitation: his performance exceeding the material. And Jack Starrett, whose classic leathery voice is used for an aged gas station attendant, has directed much better. </div> </div> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg5kcms2jOKqMzlee2dekQntxAF4jt0KLLoxV2HIgMRBBEHte16mc4zOjo_sdsPOtNr8zcKZfPNmzzPBSNjqtxgXr8Gt55lKmXdfACn6820Cxiwa45rc6oihM-Y9m_GexOOKP2xBDnePk/s1600/goonies.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5485840664555850834" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg5kcms2jOKqMzlee2dekQntxAF4jt0KLLoxV2HIgMRBBEHte16mc4zOjo_sdsPOtNr8zcKZfPNmzzPBSNjqtxgXr8Gt55lKmXdfACn6820Cxiwa45rc6oihM-Y9m_GexOOKP2xBDnePk/s200/goonies.jpg" style="float: right; height: 130px; margin: 0px 0px 10px 10px; width: 200px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">year: 1985 rating: **</td></tr> </tbody></table> <span style="background-color: white;"><b>GOONIES:</b></span> For a big budget Steven Speilberg production the initial setup frugally takes place within one house, getting to know each kid's quirks and then, in the same house but upstairs, the ragged clan way-too-easily find a treasure map and the adventure begins: with a bicycle ride occurring in the course of a Cyndi Lauper song as THE GOONIES find another house where they spend the rest of the film: only underground where there are several mazy levels.<br /> <br /> Tons of bickering chatter, gratuitous product placement, hijinks-action and toilet humor make this flick, which could be retitled THE GARBAGE PAIL KIDS AND THE TEMPLE OF DOOM, more suited for teens than children, as three villainous yet goofy thugs provide filler as they thwart the quest: which, despite the grandiose musical score, is really just a lot of banal running around. And yet the main problem isn't the plot... treasure hunts are always intriguing... but the Goonies themselves: it's never really clear why they're outcasts – or from what exactly.</div> </div>

bagful, crime, eighties, exploitation, fifties, film noir or melodrama, gary kent, sixties

A RANDOM BLOODY BAGFUL OF ARCHIVE REVIEWS

year: 1969 rating: *1/2 THE MIGHTY GORGA: A man trying to save his fledgling zoo joins a woman whose father has been lost in the jungl...

SATAN'S SADISTS: A REBELLION OF HUMAN GARBAGE

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLBwgH8PJQKeI0Z099U6WiivYdUE5Wgt6lvIj0UIHLSGNUWZl1GMu5xxAtQSZXhGLpHMCkih-34d2kvmyfD0rQlJROFdULqrtzfNaGQVgGnnzz2BA7d3m1d_kiLG68ige1_JdGydRQ0lk/s1600/74d85757-3eac-4d98-ad39-8d02868daa7d_zps003aba78.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLBwgH8PJQKeI0Z099U6WiivYdUE5Wgt6lvIj0UIHLSGNUWZl1GMu5xxAtQSZXhGLpHMCkih-34d2kvmyfD0rQlJROFdULqrtzfNaGQVgGnnzz2BA7d3m1d_kiLG68ige1_JdGydRQ0lk/s1600/74d85757-3eac-4d98-ad39-8d02868daa7d_zps003aba78.jpg" width="219" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">year: 1969</td></tr> </tbody></table> The tagline for this 1969 biker flick written by Greydon Clark and directed by Al Adamson... "A Rebellion of Human Garbage"... truly says it all... <br /> <br /> At times feeling like a snuff film on the verge of payoff, other times sublimely embodying exactly what it is: a low budget drive-in odyssey pitting a gang of scruffy bikers, who call themselves SATAN'S SADISTS, against anyone in their havoc-wreaking path. The bedlam rollers wind up at an off-highway diner harboring tough guys Gary Kent, as a hitchhiking Vietnam vet, and Scott Brady as the vacationer who gave him a lift...<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUBk6tS3RvkMUw4mT7ps0zs-9H-y3MeOUJyzvnnIBKGAVerUjHNFDQ8d6_J84lykviZt5byo6xIIwGErz3jcfcvwgmlEC4wO_iY5WrgqlcvZzdBcEGQYRSkGbXxcOqz6rHWXl9FUVjAyso/s1600/satans-sadists-4.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUBk6tS3RvkMUw4mT7ps0zs-9H-y3MeOUJyzvnnIBKGAVerUjHNFDQ8d6_J84lykviZt5byo6xIIwGErz3jcfcvwgmlEC4wO_iY5WrgqlcvZzdBcEGQYRSkGbXxcOqz6rHWXl9FUVjAyso/s200/satans-sadists-4.jpg" width="200" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>SatanScore: ***</u></td></tr> </tbody></table> Russ Tamblyn, as the more strategy-minded leader, and his gang of misfits pillage and plunder the greasy spoon in truly shocking scenes, going outside even the limitless box of this particularly violent genre, and then ride off... without even leaving a tip! So the avenging Marine and a surviving waitress head after them, and for the next hour each Sadist, all uniquely odd and perfectly irritating in their own style, gets picked off: resulting in a snake attack on Robert Dix and a terrific knife battle finale between Kent and future KINGDOM OF THE SPIDERS director John Bud Cardos. But that's not before the ragged bikers are raping unlucky female campers, smoking pot, dropping acid, and being gloriously despicable. After all, it's their movie!<br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhogMtEY8wBELhpjSF_jobwzhu64GDCHpvNOJbfw0hjDejLMCroqhyZB2IPAr4tZu2jDpuUlLl_aEEkzsdwhNcg0vrK29UXwFOpjwuKFtJKYYzyj4aM6S9sxpu75q0aE0Ge0H_OSKbj0qM/s1600/vlcsnap-2010-07-23-08h32m08s82.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhogMtEY8wBELhpjSF_jobwzhu64GDCHpvNOJbfw0hjDejLMCroqhyZB2IPAr4tZu2jDpuUlLl_aEEkzsdwhNcg0vrK29UXwFOpjwuKFtJKYYzyj4aM6S9sxpu75q0aE0Ge0H_OSKbj0qM/s1600/vlcsnap-2010-07-23-08h32m08s82.png" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">INTERVIEW WITH TOUGH GUY ACTOR/STUNTMAN GARY KENT</td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> </div> <i>In the 1969 Al Adamson biker flick SATAN'S SADISTS, a group of hog-riding thugs roll into a small town and turn over a cafe where, besides the owner and a waitress is a tough Vietnam-vet marine, played by GARY KENT, and a seasoned cop (Scott Brady) and his wife who'd given the marine a lift: and here's where they end up, now having to deal with the lethal Sadists, or die...</i><br /> <br /> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS1_Ev1BxvNhhbdLjG4lXCNqjL6973QM-MRqYncUSE51YNppBQkzXh6p2hCepBSpbB7JrT7LObYw_zlM5NQdf__LT8vk8jAKPf4A9qLAVmF5qDfryvCUMj4O4_hsIYMdxNPxgP9YqHfpI/s1600-h/23584_359982500781_359585090781_3475109_1621309_n.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5448619325820517618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS1_Ev1BxvNhhbdLjG4lXCNqjL6973QM-MRqYncUSE51YNppBQkzXh6p2hCepBSpbB7JrT7LObYw_zlM5NQdf__LT8vk8jAKPf4A9qLAVmF5qDfryvCUMj4O4_hsIYMdxNPxgP9YqHfpI/s200/23584_359982500781_359585090781_3475109_1621309_n.jpg" style="float: right; height: 121px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a><span style="background-color: white;"><span style="color: #073763;"><b><span style="color: black;">How was it working with Scott Brady in SATAN’S SADISTS?</span> </b></span></span><br /> <br /> Well, I had worked with Scott Brady before, and liked and respected him very much. He was also one of my heroes when I was sneaking off to movies while still in school and dreaming of becoming an actor. So, being able to work with him again was a joy, and the scene itself was cool... I thought Scott was great as the tough cop with a chance at he and his wife finally getting some slack. I mean, here we were, in the desert, beautiful day... doing what we all liked to do. Pleasant feelings in the acting whirlpool...<br /> <br /> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcyCRZ9d8IEJBb-2kB8fOeOeqS-_YwU5N_F9RFGgie261eBz_mpfLUXSTkRGe8U5NyBgqQM6X-lx9BWkBvAfbCL006C8uA7WXt90okObBcB10VqxndyCZ6w-Xh670dUTREAw2MY8NOxI4/s1600-h/23584_359982520781_359585090781_3475112_3727284_n.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" border="0" height="200" id="BLOGGER_PHOTO_ID_5448621207555011810" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcyCRZ9d8IEJBb-2kB8fOeOeqS-_YwU5N_F9RFGgie261eBz_mpfLUXSTkRGe8U5NyBgqQM6X-lx9BWkBvAfbCL006C8uA7WXt90okObBcB10VqxndyCZ6w-Xh670dUTREAw2MY8NOxI4/s200/23584_359982520781_359585090781_3475112_3727284_n.jpg" style="float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 169px;" width="169" /></a>Then, to have it culminate in that scene in the cafe... where we are immediately confronted by the thug bikers... tough, it would seem, for anyone to handle...<br /> <br /> Now, it is a tribute to our acting that Scott and I didn't do some major ass-whupping, as we were not the type of guys to let that happen... but, we were acting, and that ass whupping stuff wasn't in the script...<br /> <br /> It also was a good example of how "just going along, and maybe they will leave us alone" mostly does not work. My credo had always been, if you are gonna move, do it soon, fast, and heavy as all hell...or you lose...<br /> <br /> <span style="background-color: white;"><b>Any other recollections of the shoot? </b></span><br /> <br /> I was disappointed that I was not more charming in the film, didn't smile more...but then, producer Sam Sherman told me "remember...you do not have a lot to smile about!"<br /> <br /> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgTiuPyP0FHvb-h8M1uN1wkX62sW0hC0mG4i8SHYblJqsKngYXwu7QJraw7ZWTun3jd7CccUcARpNt8B_0Yp6UrHXESrXFvpzp6xwASTcoLSQnaQ8niuhiriUQp3AoBa14d4Ap5lQE0io/s1600-h/23584_359982505781_359585090781_3475110_2713561_n.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5448619818667887826" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgTiuPyP0FHvb-h8M1uN1wkX62sW0hC0mG4i8SHYblJqsKngYXwu7QJraw7ZWTun3jd7CccUcARpNt8B_0Yp6UrHXESrXFvpzp6xwASTcoLSQnaQ8niuhiriUQp3AoBa14d4Ap5lQE0io/s200/23584_359982505781_359585090781_3475110_2713561_n.jpg" style="float: left; height: 150px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a>At night, after the martini shot, Scott and I and Bob Dix would meet in Bud Cardos's room for drinks before dinner. Bud had whipped up a marvelous pate' that, munched on a Ritz cracker, tasted great... until we found out it was freshly killed and skinned rattlesnake...<br /> <br /> And after dinner, there was much singing of "the old songs" and a lot of raunchy joke telling. It was very eerie for me to return years later as a witness for the prosecution in the trial of Al Adamson's killer, Fred Fulford. They put me up at the same motel Bud, Scott, Dix and I had stayed at years earlier, during the making of Satan's Sadists...<br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSBPbiIsBwLIVHd-hK163aJWFJe7IYjklOQTdjRAY5zOhLq0xZWgMEEbHnvyLvm4QAW7HVfzTQV29odlH7fTk6wtOpS2srd8fmuVqFmma2-52GhpV_0EiLFjVufqJQBIrtoqKtYxyGQjM/s1600/ss.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSBPbiIsBwLIVHd-hK163aJWFJe7IYjklOQTdjRAY5zOhLq0xZWgMEEbHnvyLvm4QAW7HVfzTQV29odlH7fTk6wtOpS2srd8fmuVqFmma2-52GhpV_0EiLFjVufqJQBIrtoqKtYxyGQjM/s1600/ss.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Robert Dix as a biker who is soon to meet Gary Kent... and a snake... and his maker...</td></tr> </tbody></table> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div>

biker, exploitation, gary kent, greydon clark, jazz score, john bud cardos, robert dix, russ tamblyn, sixties

SATAN'S SADISTS: A REBELLION OF HUMAN GARBAGE

year: 1969 The tagline for this 1969 biker flick written by Greydon Clark and directed by Al Adamson... "A Rebellion of Human Garba...

ANOTHER BLOODY BAGFUL OF ECLECTIC HORROR

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1wZCElo50Qk0keX2GBEK2JtwwDFplgcCa3U5iCLeHStTwcBnwX8mszSds2tOO_LJcicYNcAM95LiynGGtxbizMwRxB_fP62pXAjt3lBLbUeri222I2Al4VugbZUM7IP5eh4AZO8v3DE/s1600/31966_117684458274518_114286515280979_90987_2058846_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1wZCElo50Qk0keX2GBEK2JtwwDFplgcCa3U5iCLeHStTwcBnwX8mszSds2tOO_LJcicYNcAM95LiynGGtxbizMwRxB_fP62pXAjt3lBLbUeri222I2Al4VugbZUM7IP5eh4AZO8v3DE/s1600/31966_117684458274518_114286515280979_90987_2058846_n.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Pictured: Connie Nelson Year: 1971</u></td></tr> </tbody></table> <span style="background-color: white;"><u>DRACULA VS FRANKENSTEIN:</u> </span>Here's an Al Adamson directed b-movie so tailor made for a drive-in theater, you might have to roll your car inside the living room to watch it...  <br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgZ_Tf4w3s95ibAoDFbCtVvlBVeWAMhid94oHMeFXyOiWrWkgFr3Rropv-egmdol50Wu2MFf4XmQhhm9A4s226pY1KlxqTUN7dTL3qj3_5Ks8ZXilDmB1zmjULkNDIgstv8Um6sSXcRjKA/s1600/220px-Draculavsfrankposter.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgZ_Tf4w3s95ibAoDFbCtVvlBVeWAMhid94oHMeFXyOiWrWkgFr3Rropv-egmdol50Wu2MFf4XmQhhm9A4s226pY1KlxqTUN7dTL3qj3_5Ks8ZXilDmB1zmjULkNDIgstv8Um6sSXcRjKA/s1600/220px-Draculavsfrankposter.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>DraculaVFrankensteinSCORE: **</u></td></tr> </tbody></table> Not exactly a pairing-up of two classic monsters, DRACULA VS FRANKENSTEIN is more of an exploitation horror: Involving monolog-driven mad scientist J. Carrol Naish working out of a carnival fun house with an axe-wielding idiot man-child, Lon Chaney, sent to kill women for experiments to give his other employee, a brooding Count Dracula, eternal life...<br /> <br /> All the while reanimating Frankenstein's Monster who resembles a melted cabbage... But the worst thing is that it can be quite boring with tedious bouts of dialogue, spouted mostly by two love-struck heroes: A man helping his new girlfriend find her lost sister and eventually happening upon... all that stuff already mentioned (a much cooler yet unlucky couple are beach lovers Connie Nelson and our pal, Gary Kent.) Although at times it can be somewhat involving: A fact which remains completely unexplainable.<br /> <br /> <div class="separator" style="clear: both; text-align: center;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLd5yzlr1upOTeYTIc7nU8pdIQ4K8dsvnH3sm1QV-4yuHJ0qWWmGE8_sTw7Semcvt2dFBYg9-OopnXnlxhLu0cRrPmis-ncCj_SICF6Pv-udFlCAlg1yqDrzDdhVclr4J9TDMnm5Hikj4/s1600/209867.1020.A.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLd5yzlr1upOTeYTIc7nU8pdIQ4K8dsvnH3sm1QV-4yuHJ0qWWmGE8_sTw7Semcvt2dFBYg9-OopnXnlxhLu0cRrPmis-ncCj_SICF6Pv-udFlCAlg1yqDrzDdhVclr4J9TDMnm5Hikj4/s1600/209867.1020.A.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>1982 rating: ***</u></td></tr> </tbody></table> <span style="font-size: 100%;"><u>THE FOREST:</u><b> </b>The set-up to this woodsy body count low budget slasher: the massacre of two couples arriving at the forest... The women first and their boyfriends, who, for some reason, arrive later on... </span><br /> <br /> <span style="font-size: 100%;">This is merely a bizarre platform for a subplot involving the ghosts of two children and their crazy, cannibalistic father played by director Don Jones's stock actor Gary Kent (SCHOOLGIRLS IN CHAINS), who kills, then eats, all females that cross his path: a cheap horror with a lot of activity, including a backstory involving the then-normal dad, kids, and a cheating wife just screaming to be killed keeps you interested enough to forget it's yet another FRIDAY THE 13th ripoff, but with a unique personality all its own. NOTE: The killer's son, child/pre-teen actor Corky Pigeon, played a geek named Freddie (whose secret was tap dancing) on the 80's sitcom SILVER SPOONS. </span><br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8BOzeyrPA00f3O4e-S01GP8sJzUQHBX9wxxnodhUCT5P-gByAoj_Sa3_yynsCT4Gh1Cf7sOKpWqvJsNmAhgJYVypMxtearAmAubeKZov_EcTDgmftaAtWueccoNz3kW7Gy0AnjYrdqc/s1600/SPIDERBABYT.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8BOzeyrPA00f3O4e-S01GP8sJzUQHBX9wxxnodhUCT5P-gByAoj_Sa3_yynsCT4Gh1Cf7sOKpWqvJsNmAhgJYVypMxtearAmAubeKZov_EcTDgmftaAtWueccoNz3kW7Gy0AnjYrdqc/s1600/SPIDERBABYT.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>year: 1964 rating: ***</u></td></tr> </tbody></table> <u><span style="background-color: white;">SPIDER BABY:</span></u> Whenever there's a horror film about a backwoods family of dimwitted yet dangerous loons, it's usually compared to, or accused for stealing from, THE TEXAS CHAINSAW MASSACRE... but no longer.<br /> <br /> This film, written and directed by Jack Hill ten years prior, starring Lon Chaney as the caretaker of two lethal sisters and their lanky, lughead brother played by scene-stealer Sid Haig, is not only groundbreaking and shocking, but lots of fun as most of the fear is implied: when outsiders visit the house, will Lon be able to stop the twisted clan... especially gorgeous Jill Banner, using knives like spider's teeth... from murdering them? And although things drag in the middle, it's still a minor classic.<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieM1INJkiG1BOQ5_nBWmr9rUMfc-_rOT7pBg5HENx_z2kvVj0mwiLbDi2aZCSaDLEQhudVeHxvVmg7VLivbWGKNLM6v3JC4UdPkdRTDO2Cs0TMvmuEdoFsN0Qgjv8HNjfAUNzyKLFl9AI/s1600/stee.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieM1INJkiG1BOQ5_nBWmr9rUMfc-_rOT7pBg5HENx_z2kvVj0mwiLbDi2aZCSaDLEQhudVeHxvVmg7VLivbWGKNLM6v3JC4UdPkdRTDO2Cs0TMvmuEdoFsN0Qgjv8HNjfAUNzyKLFl9AI/s1600/stee.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>year: 1987 rating: ***1/2</u></td></tr> </tbody></table> <span style="font-size: 100%;"><u><span style="background-color: white;">THE STEPFATHER</span></u>: A fantastic, fully-satisfying suspense/horror from Canada about a man who always needs a new family to kill starring Terry O'Quinn, years before gaining fame on LOST...</span><br /> <br /> <span style="font-size: 100%;">As the title character, one minute he's extremely bland and unassuming, the next an intensely driven, strict "family values" patriarch, and eventually a complete psychopath, yet never showing<span style="font-style: italic;"> </span>the cards... Keeping protagonist Jill Schoelen, as the unfortunate new step-daughter, on her toes. Meanwhile, a</span><span style="font-size: 100%;"> side-story involving a young man's search for the Stepfather (before he strikes again) adds a nice peripheral balance, reminiscent of Alfred Hitchock and Brian De Palma's best work.</span><br /> <br /> <div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDMurKghokV9O4HuiR2FTYoKqnYGWEgHUt0O5XHWMGTQaJj27iz_pgy53wn1zJoZPI3L2PW7NGX7afVmyZaRtDWT-vFy1ZCz08H_jHX9BINRkCeKMpY2apo5SZW93dMV5z9pbGB343M0/s1600/INNOCENT+BLOD.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDMurKghokV9O4HuiR2FTYoKqnYGWEgHUt0O5XHWMGTQaJj27iz_pgy53wn1zJoZPI3L2PW7NGX7afVmyZaRtDWT-vFy1ZCz08H_jHX9BINRkCeKMpY2apo5SZW93dMV5z9pbGB343M0/s1600/INNOCENT+BLOD.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>year: 1992 rating: **</u></td></tr> </tbody></table> <span style="background-color: white;"><u>INNOCENT BLOOD:</u> Decent</span> premise with good beginnings: A sexy, hungry french Vampire (Anne Parillaud) in America sets her sights on mafia kingpin Robert Loggia... a clever gag has her being repelled by Loggia's breath before she bits him... he's Italian, therefore reeking of garlic.<br /> <br /> Our anti-heroine bloodsucker, while feasting on various evil mobsters, falls in love with undercover cop Anthony LaPalgia while they both try stopping Loggia, who's not only head of the mob but now a powerful vamp himself while director John Landis, returning to horror a decade after AMERICAN WEREWOLF IN LONDON, balances humor and horror okay, but there's not enough going for either genre... Unlike the Werewolf classic, BLOOD is neither funny or scary: The choice of the vamps screeching like rabid cougars is pretty lame. And in the Landis fashion, there are many clips of other classic movies being watched on television by various characters, but homage becomes too excessive: making one long for those films instead.<br /> <br /> <div style="text-align: right;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoEtk5vRX5shaYgwdBS87G2mc8Mvv_Zn_cu7T5FtP-7o2oiDAha-s7Z9_5JRzq2YIbY1q6qmc2mGpXOJ1GKnJh4wKA6GJ1qCaVowb1g8aLp79oJhxqlFcDUeipZ0rwPKQw0LW7dfT-rEs/s1600/Picture+1.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoEtk5vRX5shaYgwdBS87G2mc8Mvv_Zn_cu7T5FtP-7o2oiDAha-s7Z9_5JRzq2YIbY1q6qmc2mGpXOJ1GKnJh4wKA6GJ1qCaVowb1g8aLp79oJhxqlFcDUeipZ0rwPKQw0LW7dfT-rEs/s1600/Picture+1.png" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>1983 rating: *1/2</u></td></tr> </tbody></table> <u><span style="background-color: #f3f3f3;">AMITYVILLE 3D</span>:</u> Gone are the days when 3D meant things moving towards the camera in a contrived manner. It's hilarious seeing this in 2D years later after the gimmick not only wore off, but is seen as merely that. Yet this film suffers from more than pretension of a 50s-era trend trying desperately to regain itself in the 1980's...<br /> <br /> Although the first ten minutes as Tony Roberts and Candy Clark trick a pair of seance-giving charlatans is not bad, the rest of the movie, after Roberts moves into the ghostly manor with his gorgeous daughter Lori Laughlin (visited by her friend, Meg Ryan), is quite stale. And those ever-buzzing flies just aren't scary... In fact, they never were.</div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <br /> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_yUb1BgajHDH2rGnUZfVdG02tX7J7LHzoVqBEFE0_Ou5yA0hWA_8g30nze8azfN8jlv55_rzueQ5KAFNlOL6ZWIRJYejpqHK5V8mW71RWr-uL24K8Fa4fUt35Falch1Zs6ZHK6-EPdno/s1600/CONNELLY.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_yUb1BgajHDH2rGnUZfVdG02tX7J7LHzoVqBEFE0_Ou5yA0hWA_8g30nze8azfN8jlv55_rzueQ5KAFNlOL6ZWIRJYejpqHK5V8mW71RWr-uL24K8Fa4fUt35Falch1Zs6ZHK6-EPdno/s1600/CONNELLY.JPG" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>year: 1985 rating: *1/2</u></td></tr> </tbody></table> <u>PHENOMENA</u>:<b> </b>It's hard to stare at bugs, especially maggots, for very long... Some can't even say the M word out loud...<br /> <br /> But not for teenager Jennifer Connely who has the power to read their little minds, thus aiding Donald Pleasence, as a insect forensic expert, in finding a serial killer roaming around much like the phantom in Dario's SUSPERIA, which this is either a ripoff or, since it's the same man behind it, a homage by crashing girl's heads through windows, using a Goblin soundtrack but this time adding Iron Maiden and Motorhead tunes: So if you enjoy watching Jennifer Connelly, right after a flashback role in ONCE UPON A TIME IN AMERICA and before playing a sexy ingenue in her career making CAREER OPPORTUNITIES, this isn't bad... but if you want a good horror flick, or a movie that actually goes somewhere: best try something else.<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijbZ3xxmG9g6wJugMtMtPNrRT4SkIskpWZ5mt9BuEQlp2N_QNyWUspnPnZmOoGCmPxdoSFg35Qo0SLge-JPeVPX0WLFA7WVGIfSfIRodlagoMiDUyW-kKJ5mPoJQSydl3Cllg5J1_fB0I/s1600/28204.1020.A.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijbZ3xxmG9g6wJugMtMtPNrRT4SkIskpWZ5mt9BuEQlp2N_QNyWUspnPnZmOoGCmPxdoSFg35Qo0SLge-JPeVPX0WLFA7WVGIfSfIRodlagoMiDUyW-kKJ5mPoJQSydl3Cllg5J1_fB0I/s1600/28204.1020.A.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>year: 1981 rating: **1/2</u></td></tr> </tbody></table> <u><span style="background-color: white;">THE HAND:</span> </u>Michael Caine is terrific in this otherwise mediocre thriller by first-time director yet already screenplay Oscar winning Oliver Stone. Story centers on a cartoonist (Caine) who loses his hand in an automobile accident – technically the most riveting scene. After which he rehabilitates while the severed limb is, or seems to be, crawling around doing his dirty work for him.<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTOeyE_QLpRh_ELN9GE8rV8OG5faVnELp7iiakuRN1exf8kPNrIKFnyi3me8u05ohCfWcIbqO-xZlCGqpMVk89hEWsz8bkLeNn06mggHO30vXU_xnwsRosg2QUuW0zG06q6FcMBYn-5fo/s1600/n1111.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTOeyE_QLpRh_ELN9GE8rV8OG5faVnELp7iiakuRN1exf8kPNrIKFnyi3me8u05ohCfWcIbqO-xZlCGqpMVk89hEWsz8bkLeNn06mggHO30vXU_xnwsRosg2QUuW0zG06q6FcMBYn-5fo/s200/n1111.jpg" width="107" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Midnight Relocated</u></td></tr> </tbody></table> Stone’s best direction occurs during taut conversations between Caine and the people around him, providing a suspenseful base liken to stage-influenced British horror films, building character development in lue of cheap shocks. But scenes involving The Hand itself look a bit cheesy, and sporadic cuts to black and white seem misplaced, contrasting from our protagonist turned antagonist and revolving side-characters Annie McEnroe (THE SURVIVORS, THE HOWLING II) as a tempestuous college student, Bruce McGill as a temperamental shrink, and Caine’s cheating wife Andrea Marovicci: his ultimate target.<br /> <br /> The film has moments, but loses its grip less than halfway through. Although, witnessing Michael Caine slowly going mad – a role that, according to Stone, took a toll on the actor’s real life – is worth the ninety minutes.<br /> <div style="text-align: left;"> </div>

al adamson, candy clark, connie nelson, cult, eighties, exploitation, gary kent, horror, jennifer connelly, lon chaney jr., michael caine, oliver stone, pamela sue martin, sequel, seventies, tim matheson

ANOTHER BLOODY BAGFUL OF ECLECTIC HORROR

Pictured: Connie Nelson Year: 1971 DRACULA VS FRANKENSTEIN: Here's an Al Adamson directed b-movie so tailor made for a drive-in the...

GARY KENT: THRILL-KILLS, SADISTS, SCHOOLGIRLS & PSYCH-OUTS

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLYFN1XCt4x571f9rW9uBi7hlFKkMawduiVkXhf3Hjx9hkqzT_KTsWnCSTFsrY83Xa94mOIolx6GVaFx5hA5nE8Lz1Ycalg7BUhqXeWBsH73HLxtOestX2Jg2_DLXI-Rq_yoeHpCD3BCY/s1600/garykent.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLYFN1XCt4x571f9rW9uBi7hlFKkMawduiVkXhf3Hjx9hkqzT_KTsWnCSTFsrY83Xa94mOIolx6GVaFx5hA5nE8Lz1Ycalg7BUhqXeWBsH73HLxtOestX2Jg2_DLXI-Rq_yoeHpCD3BCY/s320/garykent.jpg" width="320" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Gary Kent Interview</td></tr> </tbody></table> <i>GARY KENT is an actor, director, producer, stuntman and author who appeared in a number of classic cult films including THE THRILL KILLERS, THE FOREST, SATAN'S SADISTS and SCHOOLGIRLS IN CHAINS... </i><br /> <br /> <i>Our first adventure takes us to the Roger Corman produced Richard Rush directed hippie drive-in flick from the sixties, PSYCH-OUT...</i><br /> <i><br /></i> <i>Centering on the exploits of a band with members played by Jack Nicholson and Adam Roarke, who wind up connecting with the likes of Dean Stockwell, Bruce Dern, Henry Jaglom, a young Garry Marshall, and of course, our subject Gary Kent, playing a junkyard thug...</i><br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk1gFhiSK4TRHi09d97l4doSXKC1HUYpMGDR9XOb40OO58RlrWOQ5NY-NOd5dECPYSLzOOUifNhoKdIbBNfvdgIzhzr_7ZT31Slb2jQD5tzrv-ullA4mRC28-f8VpEaijJE-QtnBMD_Wk/s1600/Picture+080.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk1gFhiSK4TRHi09d97l4doSXKC1HUYpMGDR9XOb40OO58RlrWOQ5NY-NOd5dECPYSLzOOUifNhoKdIbBNfvdgIzhzr_7ZT31Slb2jQD5tzrv-ullA4mRC28-f8VpEaijJE-QtnBMD_Wk/s200/Picture+080.jpg" width="200" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Jack and Gary Fade</td></tr> </tbody></table> <span style="background-color: white;"><span style="font-weight: bold;">How was it working with a then non-famous Jack Nicholson?</span></span><br /> <br /> Working with Jack was a pleasure. He was always dead serious about his work, and at the time I met him he was in mid-thirties, did not drink or smoke (except for pot). He was not a huggy-feely kinda guy, nor was he a prima-donna... he didn't hang with cast and crew much after the day's shoot, he was always holed up in his room with some good homegrown and a beautiful lady... when I first met him, that beautiful lady was his wife, Sandy.<br /> <b></b><b></b><br /> <div> He was competitive... a good sport, and was also co-producer on the first two films I worked with him on (The Shooting, Ride In The Whirlwind). Jack always seemed very sure of himself as an actor... and more or less private person off the set, except for a few close, close friends.<br /> <br /> One of those friends was actor John Hackett... with whom I became close friends, and John was instrumental in my securing a few gigs doubling Robert Vaughn on The Man From Uncle television series. Small world....</div> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT9TmZD1hzAEYMseEg6uAlc9T0oFpZ3Sz8ZcVJxrYo5L-pnPKpxfIhGDk2_LJotQoveOoTAYJpP8dAXzGM9t4bvmHgXECavhRUfhvNaFZ9aY0dnZDNApBPlnjcfVLctGb3y0z9lBLKUeA/s1600/Picture+081.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT9TmZD1hzAEYMseEg6uAlc9T0oFpZ3Sz8ZcVJxrYo5L-pnPKpxfIhGDk2_LJotQoveOoTAYJpP8dAXzGM9t4bvmHgXECavhRUfhvNaFZ9aY0dnZDNApBPlnjcfVLctGb3y0z9lBLKUeA/s200/Picture+081.jpg" width="124" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Adam Roarke</td></tr> </tbody></table> <span style="background-color: white;"><span style="font-weight: bold;">How about the late Adam Roarke? </span></span><br /> <br /> Adam Roarke was one of the guys. He was hardwired, and lived and performed pretty much out there on the edge. He came from a humble, even hardscrabble Bronx family... he learned to fight early in life – "on the block." Later he fought in the Golden Gloves competition and did quite well.<br /> <br /> Adam was also very outgoing, could party hearty, but, like Jack, took the work seriously, no matter how raucous the film.<br /> <br /> <span style="background-color: white;"><span style="font-weight: bold;">What were some of highlights behind and in front of the camera?</span></span><br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-gLSHBwp-smuI2uV9r-piVv-4fvlHzhgzYiWTyRVAidvO2-8H1zBs5_g05mb6xTZBNLodzXPdTW-MtWI3H1e1LhpRFx_r0YxmIHariIs9qhMesNi0_XZB1FszDnRQsJhBylFaSxHDBt4/s1600/Picture+078.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5452076727896594466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-gLSHBwp-smuI2uV9r-piVv-4fvlHzhgzYiWTyRVAidvO2-8H1zBs5_g05mb6xTZBNLodzXPdTW-MtWI3H1e1LhpRFx_r0YxmIHariIs9qhMesNi0_XZB1FszDnRQsJhBylFaSxHDBt4/s200/Picture+078.jpg" style="float: right; height: 200px; margin: 0pt 10px 10px 0pt; width: 143px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Gary Kent</td></tr> </tbody></table> Well, I had a whole bunch of things I was in charge of, so each day was a challenge for me in some way, mostly in effects, figuring out how to give the script and director Richard Rush, what they wanted to see on the screen, but not CGI... this (the fire trips) had to go from reality, segue into a bad trip on acid, fire becoming the main threat, real and imagined, segue into our heroine coming out of the trip on the Golden Gate Bridge and how to double Dean Stockwell in the car hit sequence that kills him. Whew! Then I had to coordinate the stunts, work 'em out with Richard, then hire the guys and get down with it.<br /> <br /> As to how I played my scene with Jack...I knew Jack would likely under-play his character at first, before letting hi explode in the fight, so I decided to underlay my character also, this seeming lack of physical threat with only implied violence, vocally....until the real stuff begins....<br /> <br /> <span style="background-color: white;"><span style="font-weight: bold;">And what was the most intense stunt?</span></span><br /> <br /> Well, that would have been when I doubled Bruce Dern coming through the skylight at the art museum... after I broke through the glass, I saw the balustrade I was to swing to was a little farther that I had realized. There were no pads below me to fall on if I lost my grip, or missed my landing point... as the camera and crew were directly below, shooting straight up.... when I did the swing, I barely made it over the balustrade... doesn't look like much on film, but for me, a miss would have meant a crushed skull, for sure, and very possibly a bad attitude!<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgTiuPyP0FHvb-h8M1uN1wkX62sW0hC0mG4i8SHYblJqsKngYXwu7QJraw7ZWTun3jd7CccUcARpNt8B_0Yp6UrHXESrXFvpzp6xwASTcoLSQnaQ8niuhiriUQp3AoBa14d4Ap5lQE0io/s1600-h/23584_359982505781_359585090781_3475110_2713561_n.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5448619818667887826" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgTiuPyP0FHvb-h8M1uN1wkX62sW0hC0mG4i8SHYblJqsKngYXwu7QJraw7ZWTun3jd7CccUcARpNt8B_0Yp6UrHXESrXFvpzp6xwASTcoLSQnaQ8niuhiriUQp3AoBa14d4Ap5lQE0io/s200/23584_359982505781_359585090781_3475110_2713561_n.jpg" style="float: left; height: 150px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Gary Kent in Satan's Sadists</td></tr> </tbody></table> <i>In the 1969 Al Adamson biker flick SATAN'S SADISTS, a group of hog-riding thugs roll into a small town and turn over a cafe where, besides the owner and a waitress is a tough Vietnam-vet marine, played by GARY KENT, and a seasoned cop (Scott Brady) and his wife who'd given the marine a lift: and here's where they end up, now having to deal with the lethal Sadists, or die...</i><br /> <br /> <span style="background-color: white;"><span style="font-weight: bold;">How was it working with Scott Brady in SATAN’S SADISTS? </span></span><br /> <br /> Well, I had worked with Scott Brady before, and liked and respected him very much. He was also one of my heroes when I was sneaking off to movies while still in school and dreaming of becoming an actor. So, being able to work with him again was a joy.<br /> <br /> The scene itself was cool... I thought Scott was great as the tough cop with a chance at he and his wife finally getting some slack. I mean, here we were, in the desert, beautiful day... doing what we all liked to do. Pleasant feelings in the acting whirlpool...<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcyCRZ9d8IEJBb-2kB8fOeOeqS-_YwU5N_F9RFGgie261eBz_mpfLUXSTkRGe8U5NyBgqQM6X-lx9BWkBvAfbCL006C8uA7WXt90okObBcB10VqxndyCZ6w-Xh670dUTREAw2MY8NOxI4/s1600-h/23584_359982520781_359585090781_3475112_3727284_n.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5448621207555011810" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcyCRZ9d8IEJBb-2kB8fOeOeqS-_YwU5N_F9RFGgie261eBz_mpfLUXSTkRGe8U5NyBgqQM6X-lx9BWkBvAfbCL006C8uA7WXt90okObBcB10VqxndyCZ6w-Xh670dUTREAw2MY8NOxI4/s200/23584_359982520781_359585090781_3475112_3727284_n.jpg" style="float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 169px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Scott Brady</td></tr> </tbody></table> Then, to have it culminate in that scene in the cafe... where we are immediately confronted by the thug bikers... tough, it would seem, for anyone to handle... now, it is a tribute to our acting that Scott and I didn't do some major ass-whupping, as we were not the type of guys to let that happen... but, we were acting, and that ass whupping stuff wasn't in the script...<br /> <br /> It also was a good example of how "just going along, and maybe they will leave us alone" mostly does not work. My credo had always been, if you are gonna move, do it soon, fast, and heavy as all hell...or you lose...<br /> <span class="Apple-style-span" style="font-weight: bold;"><br /></span> <span style="background-color: white;"><span class="Apple-style-span" style="font-weight: bold;">Any other recollections of the shoot?</span></span><br /> <br /> I was disappointed that I was not more charming in the film, didn't smile more...but then, producer Sam Sherman told me "remember...you do not have a lot to smile about!"<br /> <br /> At night, after the martini shot, Scott and I and Bob Dix would meet in Bud Cardos' room for drinks before dinner. Bud had whipped up a marvelous pate' that, munched on a Ritz cracker, tasted great... until we found out it was freshly killed and skinned rattlesnake...<br /> <br /> And after dinner, there was much singing of "the old songs" and a lot of raunchy joke telling. It was very eerie for me to return years later as a witness for the prosecution in the trial of Al Adamson's killer, Fred Fulford. They put me up at the same motel Bud, Scott, Dix and I had stayed at years earlier, during the making of Satan's Sadists...<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX9Fs_CfCNYeWc86F-lWLWsNF8hz1R_6Y-vEtIWj3a8I9XYzdsgRhapNfzNG2ao4hXAd-p-wptdHTujToCkeM5tmc7SswDxJQgrnnppv9k62NtFsmzX3HQ7cfV6ydb6n6o2Sz9cSWHbv8/s1600/28575_124263400930299_106968345993138_188226_2738612_n.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5476515595600949170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX9Fs_CfCNYeWc86F-lWLWsNF8hz1R_6Y-vEtIWj3a8I9XYzdsgRhapNfzNG2ao4hXAd-p-wptdHTujToCkeM5tmc7SswDxJQgrnnppv9k62NtFsmzX3HQ7cfV6ydb6n6o2Sz9cSWHbv8/s200/28575_124263400930299_106968345993138_188226_2738612_n.jpg" style="float: right; height: 200px; margin: 0pt 10px 10px 0pt; width: 142px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Gary Kent</td></tr> </tbody></table> <i>GARY KENT has acted in many exploitation films, portraying the hero at times, but usually psychotics, and in this low budget odyssey, THE HARD ROAD, directed by Gary Graver, Connie Nelson plays a teenager who descends into a lifestyle of drugs and orgies and otherwise, and Gary doesn't play the hero or villain, but something somewhere in-between...</i><br /> <br /> <span style="background-color: white;"><b>How did you get into character for "Leo"?</b></span> There was an agent, with offices on the Sunset Strip, who embodied the hot-shot, testosterone-fueled fellow named Leo, whom we meet in the movie. This fellow, Mickey, even had the two-way mirror to view his secretaries. He also would frequently appear wearing a fur coat of some sort, the kind for males they used to wear at Yale ball games. I had a pet coyote who ate the coat one day when Mickey laid it on my sofa, and proceeded to the kitchen to mix drinks. Poetic justice? Anyway, it was Mickey I was channeling.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq9m-na5cjjN7ZNwBENy7gq8qRk3TH9pegBKdJeos7GnBL8hEHSk9vK5aGQfi7AWrm-WphTWFZqQOgaz3Rl0L_-QE5tSBlxKg_zWys6GIeGUKF6AIipB4Li62ySa6KzZ8Ntp10wu5Yx68/s1600/29766_114289071947390_114286515280979_77468_2039857_n.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5565320063566889794" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq9m-na5cjjN7ZNwBENy7gq8qRk3TH9pegBKdJeos7GnBL8hEHSk9vK5aGQfi7AWrm-WphTWFZqQOgaz3Rl0L_-QE5tSBlxKg_zWys6GIeGUKF6AIipB4Li62ySa6KzZ8Ntp10wu5Yx68/s200/29766_114289071947390_114286515280979_77468_2039857_n.jpg" style="float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 126px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Connie Nelson</td></tr> </tbody></table> <span style="background-color: white;"><b>How was it working with Connie Nelson?</b> </span> Connie was Gray Graver's girlfriend at the time of the making of the film. She was friendly, but also a bit anxious, as it was her first film I believe, and here she was playing a lead. In a later movie for Al Adamson, I am making out with Connie on a beach blanket just before being beheaded by Lon Chaney.<br /> <br /> <span style="background-color: white;"><b>And working with director Gary Graver?</b></span> Gary was one of my best friends, and remained so for many years. We must have done at least ten or more films together, wrote screenplays together that we could never get produced, we went through family problems, personal triumphs and failings, etc... Gary was one of the hardest working guys I have known... he was mostly a cinematographer... his forte was speed getting the shot set and done, and his personality... which was charming, very funny in a dry way, and ingratiating. He worked tirelessly as a film editor, also, and frequently, after a long day of filming, Gary would go to the editing room and edit long into the night. If he wasn't doing that, he was dragging us (some cast and crew) off to see a foreign film he particularly liked, or some work by his idol, Orson Welles.<br /> <br /> As a director, Gary was fun and enthusiastic...he knew how to set staging, but was not schooled in drama or theater, so he left the actors pretty much on their on as far as interpretations, portrayals, etc. were concerned.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9j4j-omKJXzzNssHx2VdRtPWw9Ulx4PkycW1cr17bFbjpIO0Ott7XuVSJXY9PwyWFlJzuSb0hLLJRA0dW2s144lSCdeiC-89yrlvPGKIObPSbdnbn0ceOgeDJa_uyhKyMovhkT5ZOaHs/s1600/using5.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5455348816852993794" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9j4j-omKJXzzNssHx2VdRtPWw9Ulx4PkycW1cr17bFbjpIO0Ott7XuVSJXY9PwyWFlJzuSb0hLLJRA0dW2s144lSCdeiC-89yrlvPGKIObPSbdnbn0ceOgeDJa_uyhKyMovhkT5ZOaHs/s200/using5.jpg" style="float: left; height: 194px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Gary Kent knives</td></tr> </tbody></table> <i>Gary Kent has played some pretty vicious psychos and here’s yet another memorable loon in THE FOREST: a bearded mountain man who has a taste for pretty girls, literally, trudging around the outdoors and making mince-meat out of campers, while being haunted by the ghosts of his two children, in this, a unique slasher-feature directed by Donald Jones...</i><br /> <br /> <span style="background-color: white;"><span style="font-weight: bold;">How did you get into the head of John, the psychotic forest dwelling cannibal? </span></span><br /> <br /> For this particular character, I more or less channeled a real murder case that took place in Sequoia Nat'l Park shortly before Don Jones wrote The Forest... in that case, a guy who had been working as a handyman at one of the park lodges turned out to be the culprit. He had killed and even decapitated several of his victims... mostly innocents enjoying nature at its finest.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCe-xMyz3FIT0FQz5yrcoyh2zyASOB25dBVGeDtR5XJcHmD4e97v6dS4NrdnhdWCLIwOH2HOxam-ey7fdAfTnkNhOakvghFAHslBnPNpqtq-CQeZ-6iOcQF6FAFO0QFcSAzPHHZ6JOUk8/s1600/using4.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5455348058232431666" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCe-xMyz3FIT0FQz5yrcoyh2zyASOB25dBVGeDtR5XJcHmD4e97v6dS4NrdnhdWCLIwOH2HOxam-ey7fdAfTnkNhOakvghFAHslBnPNpqtq-CQeZ-6iOcQF6FAFO0QFcSAzPHHZ6JOUk8/s200/using4.jpg" style="float: right; height: 200px; margin: 0pt 10px 10px 0pt; width: 189px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Gary Kent kills</td></tr> </tbody></table> We never think of our forests as particularly deadly places, but of course, they can house some pretty demented folk along with the critters. The fellow was not your usual handyman type... being mid-aged, very fit, totally at home in the Forest.... da... da... dum da dum!!!! So I wanted to play Don's villain as more animal like in his view of life... eat or be eaten, kill or be killed.... nothing personal.<br /> <br /> <span style="background-color: white;"><span style="font-weight: bold;">Two great scenes during your character’s flashback involve the killing of his cheating wife and the fight with the lover…</span></span><br /> <br /> The demise of the dearly beloved wife. Yes, I remember the scene well. It was fun to shoot, as the woman playing my wife was sufficiently the bitch to motivate the murder. It did give me pause to consider what kind of man would take such abuse from his mate, but then, as I read on in the script... what do'ya know... he didn't!<br /> <br /> The fight with the lover. I was bothered that the lover hung around after being caught in bed with this man's wife. Seems like he would be long gone. But, that's what Don wanted, so how to make it work? It was kind of tongue in cheek, then, the whole sequence, asking you to suspend belief for a moment, in order to justify the future events.<br /> <br /> In that light, staging the fight became easy... I thought it would be interesting to have as weapons only the tools of a hardscrabble farmers arsenal (pitchfork, band-saw, etc.)… The power-saw at the end would have looked much deadlier if we had been able to turn it on.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDvYY_VxyMXKUCz8zHlOrRrFx7-JWyM7d16mzx5sqHEot-uKhcdlBs9aqnbw-geait_AUEwxOondhREAYRuqECjqzdmn-GhhKRKUpHAW9w3YqxKdo3uPEi4zA-VSWgxjnZrdQS0hVZYio/s1600/USING.jpeg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5455347912306707858" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDvYY_VxyMXKUCz8zHlOrRrFx7-JWyM7d16mzx5sqHEot-uKhcdlBs9aqnbw-geait_AUEwxOondhREAYRuqECjqzdmn-GhhKRKUpHAW9w3YqxKdo3uPEi4zA-VSWgxjnZrdQS0hVZYio/s200/USING.jpeg" style="float: left; height: 169px; margin: 0pt 10px 10px 0pt; width: 191px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Gary Kent enraged</td></tr> </tbody></table> <span style="background-color: white;"><span style="font-weight: bold;">And how was it working with Donald M. Jones again? </span></span><br /> <br /> It is always a pleasure working with Don Jones. As usual, he lucked out and got us great quarters at this new lodge inside the park. The owner of the lodge was new, and wanted to make Jones. As usual, he lucked out and got us great quarters at this new lodge inside the park. The owner of the lodge was new, and wanted to make a statement to future guests, so all of our meals were gourmet cooked, all amenities first class for a film abut a maniacal killer lopping off heads and feet in search of a decent meal.<br /> <br /> My wife, Tomi Barrett, played Sharon in the film, using the AKA Elaine Warner... as did I when I used Michael Brody or something like that, for my credit. It was done in order to work a non-union film for a friend, and not have to suffer penalties from the Union, SAG.<br /> <br /> This picture seems to be gaining in popularity years after we made it. Not quite sure why… maybe the scenes of the forest... All in all, pretty inspiring. I loved this shoot.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim5GI0tSfVJ6JqcIzQTN08e9wvu4v0TWeYEIl7-fD31NlyC2no2dvzQMpx4EPUs_xe0_LLzSRTWbe9b0qAW8VAT_a5_r2O6vtxQeLAohGbgJowh45AoIMQzM8yAD6I9c4GB169t7ZVKl8/s1600/Picture+024.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5453931255298918994" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim5GI0tSfVJ6JqcIzQTN08e9wvu4v0TWeYEIl7-fD31NlyC2no2dvzQMpx4EPUs_xe0_LLzSRTWbe9b0qAW8VAT_a5_r2O6vtxQeLAohGbgJowh45AoIMQzM8yAD6I9c4GB169t7ZVKl8/s200/Picture+024.jpg" style="float: right; height: 200px; margin: 0pt 10px 10px 0pt; width: 155px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Gary Kent</td></tr> </tbody></table> <i>SCHOOLGIRLS IN CHAINS came out in 1973 before a lot of films that imitated not only the violence and shock-factor but, like in Troma’s MOTHER’S DAY, the overall plot involving two crazy, mother-whipped brothers who kidnapped three beautiful young women, holing them up like live toys in their dusty, rat-infested cellar... And while Gary seems the more normal of the two psychos, he's anything but...</i><br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguNQntbLLtLK40a_537aZkKkNgncl1aBsEnP2GnOfz8dOonZOz81ZB_ZQw9r0cAic4RNjN_wnp8-8mZWqv-GmHCRReiC9b426ugMpUvyyatR5f9Ucluip3j_eq3XkgmwLrp5BcehLF0vU/s1600/Picture+020.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5453930558579257826" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguNQntbLLtLK40a_537aZkKkNgncl1aBsEnP2GnOfz8dOonZOz81ZB_ZQw9r0cAic4RNjN_wnp8-8mZWqv-GmHCRReiC9b426ugMpUvyyatR5f9Ucluip3j_eq3XkgmwLrp5BcehLF0vU/s200/Picture+020.jpg" style="float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 186px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">As a troubled man-child</td></tr> </tbody></table> <span style="background-color: white;"><span style="font-weight: bold;">How did "Frank" differ from your other "psycho" roles? </span></span><br /> <br /> This fellow was perhaps even more dangerous, as he physically did not give a shit about the suffering of others... Why? And the only clue we are given is that flashback with the mother... yes, that's right, the demented mother raises killer son syndrome... but does that hold up? Frankly, yes, not a deluge, but a rivulet... cases of mother/son maniacal misadventures. Many have been committed to news-events, and even works of high-drama. William Shakespeare has taken care of that.<br /> <br /> Well, my mind was on one of those guys, a cross between a hen-pecked, whining son who had killed his fiancee on his mothers orders… True story – when I was first in L.A., the early years... to a dour, low key brute, who along with his close friend, an Oriental fellow, kidnapped, tortured and murdered a variety of people in the late 60s – early 70s… This bastard seemed in the newsreels, to be removed emotionally from any compassion for the injuries or deaths of his victims. Yeah, I borrowed some of that guy to inhabit Frank’s persona.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJYgXtt2-CcdEo3Nlkm6Z7mxOwdi7mA4jdOTPEsKdIUNXz_rgO0jCJwLET8tUhofpNZit5ZxpPNIMUCfLCN_gSJh009hswQ51ZU8NYusTEAKQcpPDJewAcOsSxrzSkKHMAGY4gxRD1v9Q/s1600/Picture+001.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5453930222356665538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJYgXtt2-CcdEo3Nlkm6Z7mxOwdi7mA4jdOTPEsKdIUNXz_rgO0jCJwLET8tUhofpNZit5ZxpPNIMUCfLCN_gSJh009hswQ51ZU8NYusTEAKQcpPDJewAcOsSxrzSkKHMAGY4gxRD1v9Q/s200/Picture+001.jpg" style="float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 173px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Kent and Stoglin</td></tr> </tbody></table> <span style="background-color: white;"><span style="font-weight: bold;">How was the interaction between you and your “brother” John Stoglin? </span></span><br /> <br /> It was cool playing off my co-star, John Stoglin Parker. John is a very good actor... did much stage work in and around L.A., including winning "Best Actor" award in the glory days of the Glendale Center Theater. You can see that acting ability in how much that poor, misshapen fellow is resurrected by John into a real person... and he never lets it go... not once! This made it easy for my character to feel some of his only human warmth... and that toward his "sicker" brother.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaYhezukNYIeqqYW6Nt5xNaPEmV39PBYL1oDieVk3Cnb7677u9HpaLZqmBvRfjYeVQLgkoMpwZtCO-XKS2A72vyM2vv5dFhV1cKAd3Q6GUaNZ3uSM7MMkYmS-EsmP5gfmObxRZE1eFeHc/s1600/Picture+013.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5453936431371477154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaYhezukNYIeqqYW6Nt5xNaPEmV39PBYL1oDieVk3Cnb7677u9HpaLZqmBvRfjYeVQLgkoMpwZtCO-XKS2A72vyM2vv5dFhV1cKAd3Q6GUaNZ3uSM7MMkYmS-EsmP5gfmObxRZE1eFeHc/s200/Picture+013.jpg" style="float: right; height: 180px; margin: 0pt 10px 10px 0pt; width: 192px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Merrie Lynn Ross</td></tr> </tbody></table> <span style="background-color: white;"><span style="font-weight: bold;">The scene where Merrie Lynn Ross runs through the orange field and then the train passes is jarringly memorable...</span></span><br /> <br /> That train was a Godsend... came by location site the same time every day, so we just figured out what we wanted to shoot, using a train, and then just shot it. The shot where Lynn Ross' body is hanging over the fence, and then, on a reverse, we see her body through the spaces between cars, hanging on the fence. And then, suddenly it is missing, no longer there, and as the train pulls away, we see the two brothers walking away, chatting amicably and Frank is carrying the body over his shoulder. That was a great shot, reverse shots; that I thought were dynamite.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcX_LQZGAO3WooQiK42ppZFFHFvSUdUz9TLLsK-Mw0KltSRDKfHZy8ng6Q2TFx7gOVGSYR8z8hjoQlazKzANd3gzUs4sEHEqZet42q2IjKr3cWxX45SqpItOudStbiY4Qp0tijshT-8bY/s1600/Picture+019.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5453938752593854626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcX_LQZGAO3WooQiK42ppZFFHFvSUdUz9TLLsK-Mw0KltSRDKfHZy8ng6Q2TFx7gOVGSYR8z8hjoQlazKzANd3gzUs4sEHEqZet42q2IjKr3cWxX45SqpItOudStbiY4Qp0tijshT-8bY/s200/Picture+019.jpg" style="float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 178px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Gary Kent</td></tr> </tbody></table> <span style="background-color: white;"><span style="font-weight: bold;">What else did you do on this film besides act? </span></span><br /> <br /> I mainly started the film as Production Manager... Don already had a lot of things lined up, though, so I assisted with the location scout, putting the crew together, negotiating salaries and equipment rentals even assisted in casting. Once filming began, there was little time for me to function well in two demanding areas... some other very capable crewman who's name escapes me, took over my Production job and brought us through on time and on budget.<br /> <br /> Behind the scenes, I think John and I personified what a team of cheerleaders would probably be like on a movie set... we exuded sunniness and optimism, in light of such a dark, deadly and dehumanizing on screen persona... can you imagine? The predicament? The gradual despair... quite sad, really... we needed to see it resolved… although strangely so...<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3__keY0C6l-qQkqGC_eS_mLHOqgVJwFGYklIZ-ZLwKvmazpWK5xrB0dS-mt7_E5l6U-osN1alTtYTbXZr_tHcZ0fTUKwYcTj85QcPAKDymCFdN6RFfREC42ehah4GC_nKSNnTdrZwcTE/s1600/23573_106968562659783_106968345993138_130620_6190786_n.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5452756744134240082" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3__keY0C6l-qQkqGC_eS_mLHOqgVJwFGYklIZ-ZLwKvmazpWK5xrB0dS-mt7_E5l6U-osN1alTtYTbXZr_tHcZ0fTUKwYcTj85QcPAKDymCFdN6RFfREC42ehah4GC_nKSNnTdrZwcTE/s200/23573_106968562659783_106968345993138_130620_6190786_n.jpg" style="float: right; height: 200px; margin: 0pt 10px 10px 0pt; width: 178px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Thrill Killer Kent</td></tr> </tbody></table> <i>GARY KENT appears in this famously infamous b-movie, THE THRILL KILLERS, in which he and two buddies, having escaped from a mental asylum, are on the loose in L.A. and… let’s just say they aren’t too friendly to a couple in an abandoned house or the couple’s friends at the local diner. Directed by Ray Dennis Steckler, who appears in the film as a solo-roaming psycho, this is an indie drive-in classic like you'll never witness... </i><br /> <br /> <span style="background-color: white;"><span style="font-weight: bold;">How did you get into character to play such a vile, dangerous loon?</span></span><br /> <br /> Well, if I have an excuse, it was watching newsreels of genuine maniacal killers... dangerous, psychically imposing men, driven to an edge, imaginary or otherwise, men willing to kill their way out of it. When they were that far into it, indeed, they would have a short tenuous grip on reality, anything will spark the rage... I always wanted Ray to do a back-story on the characters... like, what was the life like, or series of events like that led to "Gary" carrying all that rage at merely being locked up. <br /> <div> <br /></div> <div> <span style="background-color: white;"><span class="Apple-style-span" style="font-size: 100%; white-space: pre-wrap;"><b><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: "georgia";">You have a great insane laugh in this film… How did this eerie cackle come about? </span></span></b></span></span></div> <div> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga07mUnuj5qD8kUPd09B4YTVgtdso-mCKZ-YcuNwEyY0ah5YoAlPDY5JUCnWDcgAQEHiiMNtXbxyfJMf1XSOT0itUuomHVnL9Nnptgx_KN-44FYz4HB9lcENWngoZB3ge-e26FZNDmacc/s1600/23573_106968659326440_106968345993138_130645_4999632_n.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5484741777309891858" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga07mUnuj5qD8kUPd09B4YTVgtdso-mCKZ-YcuNwEyY0ah5YoAlPDY5JUCnWDcgAQEHiiMNtXbxyfJMf1XSOT0itUuomHVnL9Nnptgx_KN-44FYz4HB9lcENWngoZB3ge-e26FZNDmacc/s200/23573_106968659326440_106968345993138_130645_4999632_n.jpg" style="float: right; height: 200px; margin: 0pt 10px 10px 0pt; width: 190px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Madcap Laughter</td></tr> </tbody></table> <span class="Apple-style-span" style="font-size: 100%; white-space: pre-wrap;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: "georgia";">I had a neighbor at the time, whose husband was in prison for armed robbery. She had a lot of children, one of whom was a little boy about seven or eight years. All of the children seemed to be dealing emotionally with a variety of problems... self-esteem, mostly, and a mother who was right out of a John Waters movie, (only darker)... anyway, I was struck by how that little boy laughed. He lived mostly with foster families... but he would show up at his mother's on holidays, where there would be some semblance of festive gaiety. Much laughter among family and friends... I sometimes would notice how loud the boy laughed, and how empty the laugh was of any real feeling of "mirth" or "joy"... feelings one normally associate with laughter. <br /><br />He was laughing because he felt it was what had to be done to fit in, or get by, but he wasn't feeling "funny" at all. I am over stating here... but I remembered how hollow his laugh sounded. I decided to try and recreate that (to me) "panic and paranoia" masquerading as a good, hearty "laugh"...don't know if it worked, but at the time it seemed like the ticket, if you get my drift.</span></span></span></div> <div> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_t1gdaETtVioNj43ogBR6jsNVEBqDMocE4Cb9XqekEARqT0p7oT0eey0E-Gqy4BtCVeQIBr7P3mDwLHM1iZmc5CyMh4RPhGpIB_n8U_DOiEfs_fTv5NjVNA5YUlQgC6iFFkwUpMkBWk/s1600/wolf1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_t1gdaETtVioNj43ogBR6jsNVEBqDMocE4Cb9XqekEARqT0p7oT0eey0E-Gqy4BtCVeQIBr7P3mDwLHM1iZmc5CyMh4RPhGpIB_n8U_DOiEfs_fTv5NjVNA5YUlQgC6iFFkwUpMkBWk/s200/wolf1.jpg" width="157" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Wolf and Kent</td></tr> </tbody></table> Now, strange, James, to say this, but I have been trying to get a wild, Texas Red wolf to bond with me... long story… (felt trapped, did he, by a city encroaching rapidly on his habitat?... hounded by the city pound, the town dog patrol… a kill, kill situation… hounded by folks that consider him a ghost dog, a devil dog, etc. of mythic proportion... all incorrect...) he has shown up in desperation at my place... I have given him shelter, and am gradually ever so gradually winning him over... he will even come in my house... AS LONG AS I KEEP THE DOORS OPEN!!!! If I close a door, he reverts to sheer dangerous animal-panic... "Don't f**k with me pal… Don't close me in, cut off my escape!"<br /> <br /> Hmmmm… could a human be driven to that edge? It happens everyday.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP47TCpHxjOmrUVH0XvxnyEnFbA7khgXazlQl5UvhsTXHQzQ1ppEEgsvO9oMVQ8TpJli4EN39fnhwfejSEujEmlv7kUWmiFthWF5wYoQ33562n5mtGlGdKbXM3NUUGO0YhWSh-PdDRLvU/s1600/23573_106968699326436_106968345993138_130655_4659506_n.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5452755722173951746" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP47TCpHxjOmrUVH0XvxnyEnFbA7khgXazlQl5UvhsTXHQzQ1ppEEgsvO9oMVQ8TpJli4EN39fnhwfejSEujEmlv7kUWmiFthWF5wYoQ33562n5mtGlGdKbXM3NUUGO0YhWSh-PdDRLvU/s200/23573_106968699326436_106968345993138_130655_4659506_n.jpg" style="float: left; height: 178px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Axe anything</td></tr> </tbody></table> I can only remember making the decision to play this character as definitely riding the edge of psychosis, one of those bad, violent blokes that kills men and women on a moment's whim, hair-triggered and bad news when you see him on the street..."Oh no, this guy is easily trouble waiting for a light"... Ray agreed, so we went for it... Loved it, the rough stuff.... love it!!! Over the edge, well… that's my gig!!!<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWQU-Ykhq84QrUU9WfLZUNysopkYYtqXeT046F1Ibu9kCQxi1TgFoKO64DrCek29QRL6wjOuMwC5P7PrjctdcGXLSxQcFpnBTT7g5H9CXnW3JXFFk6_GAej5NOManP70rtp1fshH-DZPQ/s1600/23573_106968782659761_106968345993138_130679_4473841_n.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5452756452275887730" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWQU-Ykhq84QrUU9WfLZUNysopkYYtqXeT046F1Ibu9kCQxi1TgFoKO64DrCek29QRL6wjOuMwC5P7PrjctdcGXLSxQcFpnBTT7g5H9CXnW3JXFFk6_GAej5NOManP70rtp1fshH-DZPQ/s200/23573_106968782659761_106968345993138_130679_4473841_n.jpg" style="float: right; height: 156px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">The Man Face</td></tr> </tbody></table> <span style="background-color: white;"><span style="font-weight: bold;">Recollections of the diner scene?</span></span><br /> <br /> The diner scene was shot in Topanga Canyon, at a biker/bar/bistro smacked upside the hills between The Great Valley and Malibu... a dynamite sort of "outlaw" venue, as opposed to Coldwater, Benedict, Laurel, etc. The gentler, more civilized canyons. This particular cafe appears a lot in biker flicks of the era. The owner of the Cafe was played by my then wife, Rose Mary aka Laura Benedict. That's her smoking the cigar. Rose Mary had a background in Texas theater, and was working at the time for a theater company in Burbank. It was strangely a hoot doing the scene with her; she had an intriguing panache in the scene.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh78h8oyB71MmFxcDjxoh5vtUkiEXAywHCHErU1byh7PHpCitX_L6hD3ovuYAX9rNpUDtyVfCJQm0UOHYG27O68du7LpGLZxfbyk5D1Z7I0SOx27aUz9Ajwh4y12s9OmkTWL648O-BSHsA/s1600/23573_106968785993094_106968345993138_130680_8127166_n.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5452756168171543026" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh78h8oyB71MmFxcDjxoh5vtUkiEXAywHCHErU1byh7PHpCitX_L6hD3ovuYAX9rNpUDtyVfCJQm0UOHYG27O68du7LpGLZxfbyk5D1Z7I0SOx27aUz9Ajwh4y12s9OmkTWL648O-BSHsA/s200/23573_106968785993094_106968345993138_130680_8127166_n.jpg" style="float: left; height: 138px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Gary Kent</td></tr> </tbody></table> <span style="background-color: white;"><span style="font-weight: bold;">How about that wonderfully long scene as you chase the girl up the hill and then fight with her husband? </span></span><br /> <br /> Well, this was a steep step into the twilight zone... a zone, my friends, where a women in high heels, on a rocky, bramble covered series of cliffs and back slides, continuously and easily avoids capture by a husky, athletically fit male in his fighting trim... wearing gimme' shoes! How are we going to make this thing work? The fun part was doing the actual chase - the actual climbing and stunt fight... I didn't know what I was doing, only that I enjoyed all the scrambling over things, and getting in fights. Hmmmm... could it be? Nah.<br /> <br /> I also felt a sort of pity for Liz Renay... why she did not break an ankle is a testament to her background in dance.<br /> <br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ0fjjlvVwTK6x8uCNCcgXLuiULTIe2Ou1FZP_BWKJl2TiLeBeQGoOu5vVoKPw7JO2xReIjBvpixNKKYmNqVCoYA8nwderFOAIDXHCJh57yFjMNEQr9_QAQBU4oYdSRXL567t0G-9bDNI/s1600/23573_106968619326444_106968345993138_130636_1813318_n.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5452755222687827266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ0fjjlvVwTK6x8uCNCcgXLuiULTIe2Ou1FZP_BWKJl2TiLeBeQGoOu5vVoKPw7JO2xReIjBvpixNKKYmNqVCoYA8nwderFOAIDXHCJh57yFjMNEQr9_QAQBU4oYdSRXL567t0G-9bDNI/s200/23573_106968619326444_106968345993138_130636_1813318_n.jpg" style="float: right; height: 200px; margin: 0pt 10px 10px 0pt; width: 147px;" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Ray Steckler</td></tr> </tbody></table> <span style="background-color: white;"><span style="font-weight: bold;">And finally, tell us a little about the iconic director… </span></span><br /> <br /> Ray Steckler. Wow! Let me remember him, if you will. I met Ray as he lived across the street from me in a low-end, artsy-crafty section of Hollywood... I'm talkin' south-east Hollywood, headed for the outskirts of downtown L.A.<br /> <br /> We met while we were both out doing yard work, mowing, trimming kind of stuff... and struck up a conversation. He was a friendly enthusiastic fellow who wanted to make some movies, and I wanted to do some stunts, or a chance to figure out how to do them. I also had acting credentials, so Ray asked me to be in his movie, "The Thrill Killers"...<br /> <br /> I do not recall seeing a script, although there could have been one... basically, he would have us improvise... he would set up the scene, the problem, etc. And then let you start with each other, feeding into and reacting in the moment as our characters might... led to some very bizarre stuff... I think Ray got off on watching his actors improvise, and giving them a premise and a stage on which to do so... Hey, Ray, RIP.<br /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbPD_GzpdzLT9LZu5JLsnAOPmDDDky_ygB98tbQQ8S5zIoG0HjxG4-itEgXbNdZ-wqyqZIFSSCRhmltBrFIvWTYr9qXUcK1degMfDFeB-HGWScf2na22fsIwUq6YjrEEX0IIhioy-xTAo/s1600/GARY+KENT+RULES.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbPD_GzpdzLT9LZu5JLsnAOPmDDDky_ygB98tbQQ8S5zIoG0HjxG4-itEgXbNdZ-wqyqZIFSSCRhmltBrFIvWTYr9qXUcK1degMfDFeB-HGWScf2na22fsIwUq6YjrEEX0IIhioy-xTAo/s640/GARY+KENT+RULES.jpg" width="640" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white;">Gary Kent is a real author... His book provides insight and adventure.. Check it out below...</span></td></tr> </tbody></table> </div> <iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-na.amazon-adsystem.com/e/cm?t=mr0c27-20&o=1&p=8&l=as1&asins=0981744370&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 240px; width: 120px;"></iframe> <iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-na.amazon-adsystem.com/e/cm?t=mr0c27-20&o=1&p=8&l=as1&asins=B00C89ONOU&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 240px; width: 120px;"></iframe> <iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-na.amazon-adsystem.com/e/cm?t=mr0c27-20&o=1&p=8&l=as1&asins=B0002ZYE5K&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 240px; width: 120px;"></iframe> <iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-na.amazon-adsystem.com/e/cm?t=mr0c27-20&o=1&p=8&l=as1&asins=B0036K9CPA&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 240px; width: 120px;"></iframe> <iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-na.amazon-adsystem.com/e/cm?t=mr0c27-20&o=1&p=8&l=as1&asins=B000G8NXPK&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 240px; width: 120px;"></iframe>

adam roarke, al adamson, exploitation, gary kent, jack nicholson, jazz score

GARY KENT: THRILL-KILLS, SADISTS, SCHOOLGIRLS & PSYCH-OUTS

Gary Kent Interview GARY KENT is an actor, director, producer, stuntman and author who appeared in a number of classic cult films includ...