Watch Tenderly (1968) Online
Wednesday, August 6, 2014 by mbokde
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Tuesday, August 5, 2014 by mbokde

When a lighthouse keeper takes in a seal in need and gives to his children to look after, the whole family is drawn into the shadowy world of illegal seal poaching. The family then finds themselves leading the fight to rid their coastal town of the criminals and save the seals.
Was this made in two-strip Technicolor?
This looks like something made in 1933. Its hard to believe its from 1969, what with the colors, the tracking and the sound quality. The color looks like old two-strip Technicolor, but worse than that. I have seen many two-strip Technicolor films and they look better than this crap. Buy this film, and try to look for a copy of The Black Pirate, Whoopee or Hollywood Revue and compare it, and you'll see what I mean.
Posted in: 1968 | 0 comments | |
by mbokde

A seasoned cowboy takes a young tender-foot under his wing. They become embroiled in a range war, and end up on opposite sides.
Obvious remake unfortunately fails in every way
This is a remake of "Man Without A Star", which packed a lot more star power, and a much better story. In fact, the biggest star in this version may be Western favorite John Anderson.
It is about a man (gee, could his name be Gannon?) who takes on a naive young man as his protégé. Unlike the original, both these guys are not credible characters. They have too much of the modern cinema touch in them, the desire to kill, kill, kill. They are more like a dork's comic book version of the original.
Neither character is likable, and the movie is much like a spaghetti western in that it tries to make you hate one less than another, which is how to choose who you like.
That sort of "director and writer" control freak format not only destroys the art and story of what they concoct, but it takes us out of the story, and makes us realize we're just watching. We're no longer into the story. Instead, we're just keenly aware of the presence of the director, writer, and others. They may as well just let the film crew walk around in the background. That would be less humiliating to them, as it would at least be honest.
A look at this film, and one wonders why the two leads don't just conquer the world in one day, since the movie makes them such supermen, and also makes them totally unidentifiable.
Every scene just fails compared to the original, which makes it even sadder, because the original wasn't a "great" movie, but compared to this, it looks like the Seven Samurai.
Posted in: 1968 | 0 comments | |
Wednesday, July 30, 2014 by mbokde

A giant asteroid is heading toward Earth so some astronauts disembark from a nearby space station to blow it up. The mission is successful, and they return to the station unknowingly bringing back a gooey green substance that mutates into one-eyed tentacled monsters that feed off electricity. Soon the station is crawling with them, and people are being zapped left and right!
The Best Lousy Movie I've Ever Seen
You have GOT to see this movie to believe it. The music is better (or cheesier) than Austin Powers (Whammy bar electric guitars twang along while a pretentious singer who sounds like Elvis on Ludes wails "Green SLIME! Green Slime!") Richard Jaeckal (of The Dirty Dozen fame) is unintentionally hilarious as the space station Rambo. He grits his teeth every time the camera is on him (no exaggeration!) But the stars of this movie have to be the one-piece, rubber suited, one-eyed monsters with the electric touch. I saw this when I was 15, and I still remember laughing at them, and at the space station hanging on its wires, burning in space (The flames and smoke RISE UP...in space, get it?) All in all, a spectacularly bad movie...so bad its great.
Posted in: 1968 | 0 comments | |

A young man who disguises himself as a girl in order to gain access to a girl's College.
Posted in: 1968 | 0 comments | |
Monday, July 28, 2014 by mbokde

In this thrilling war drama set in Yugoslavia during WWII, a small band of courageous commandoes are sent to kidnap an important German commander in exchange for an American general being held in a German fortress.
Average Grade Yugoslav War Pic
Low-budget, low-octane "thriller" directed and starring the old-sounding and tired-looking Richard Conte.
Set in Yugoslavia during WWII, a small band of American commandos is sent to rescue an American officer from a German fortress.
The movie follows pretty much the same plot as the far superior WHERE EAGLES DARE: the commandos' mission is botched immediately by a traitor in the midst of the good guys; some rescue attempts go wrong; and the whole mission turns out to be a fake for a completely different target, thus revealing the traitor.
OPERATION CROSS EAGLES is a pretty boring and obviously low-budget flick shot in Yugoslavia, where production costs were cheap and plenty of WWII-era equipment was (and probably still is) floating around. The story is familiar and presented drearily with no innovation whatsoever. This comes as no surprise as Conte directed the picture. It's his directorial debut, and he probably couldn't do too much out of the ordinary for a first venture and starring at the same time.
The cast - especially Conte and Calhoun - don't make very convincing soldiers, as they both look to be in their early 60s, but they appear perfectly comfortable in their roles. There are no preachy speeches to deliver, or moving dialog of any kind, but neither actor is really known for that sort of work. They're just ordinary guys having ordinary conversations and sound fine doing it. Relja Basic (THE FIFTH OFFENSIVE) is on hand as a nasty German Admiral, and has enough to do in a pretty predictable part. Demeter Bitenc (THE BATTLE OF NERETVA) pops up a few times as the bad guy.
There's enough cheap action going on to keep you interested, but not really glued. Nothing exciting and cool happens; but nothing utterly bad-looking happens, either. One long airplane strafing scene gets really, really monotonous and I seriously almost fell asleep. The cinematography is pretty slapdash, the music score is nothing special and the scenery doesn't do Yugoslavia justice.
Add to all of this a really stupid climax, which you don't even expect to happen when it does! And it's over so fast! I wasn't paying attention and had to rewind the tape to catch what happened. The story just abruptly ends and the movie is basically over. No loose ends to tie up or anything.
I saw this on an easy-to-find, out-of-print American NTSC video. It's pan and scan (the film was probably shot that way) and the colors are worn and very dull. There are plenty of typical scratches, speckles and such floating about. It's an average-quality video release of an average quality movie.
RATING: 5/10
Posted in: 1968 | 0 comments | |
Sunday, July 27, 2014 by mbokde

Deborah, a wealthy American, and her Italian husband, Marcel, are honeymooning in Geneva when they meet Marcel's friend Philip, who belligerently informs them that Susan, Marcel's former fiancée, has committed suicide. The couple stop at Susan's deserted villa, where Marcel receives a death threat over the telephone. In Nice, he continues to receive menacing phone calls, and Deborah begins taking tranquilizers; one evening she accidentally takes too many and is revived by Robert, an artist who lives in the adjacent villa. Later, Philip attempts to murder her to avenge Susan's suicide, but Marcel appears, stabs Philip, and buries his body in the garden. The next morning, when Marcel leaves to buy two plane tickets to the United States, Philip and Susan suddenly appear; when the terror-stricken Deborah faints, the couple drug her, slash her wrists to make her death look like suicide, and drive away.
On a honeymoon in Switzerland a young couple is frightened of the husband's old friend who considers him the killer of the husband's previous girlfriend.
Occasionally suspenseful but basically rather lukewarm sub-Diabolique-goings-on, which has a flashy direction, some elaborate twists, impressive music score and a deliberately murky and grim style in the usual French-Italian manner. It suffers, however, from a maddeningly illogical narrative, platiduous dialogue, too many slow patches and surprisingly uninspired ensemble acting.
"Smalling"
Posted in: 1968 | 0 comments | |
Saturday, July 26, 2014 by mbokde

Leschenhaut and Morillon are trying to organize a plot to overthrow the French government and set up a new fascist organization. Their plans are interrupted by Davis, an American boxer, tutor of young Paul de Villemont; in Villemont Manor he discovers the plot and, after the kidnapping of the boy, he travels to Rome, where the organization would exchange Paul with a list of members stolen by Davis to give to the press.
My Favourite Childhood Film
While living in South Africa my dad and I watched many classic films together, and those are special memories. We managed to record "House of Cards" using our very first VCR (in 1983) and I spent many evenings re-watching it until my brother recorded something over it... I was devastated and have been hoping to find it ever since.
Twenty years later I am still a fan and I give it 10/10 because that's my childhood-based feeling for it. No other film I've seen has stayed with me as intensely.
It's difficult to say exactly why I love this film because the memories are so old. My feelings include: excitement, curiosity, urgency, pleasure, amusement, fun, the motivation to see it may times and the crush I have had since on George Peppard! The images are a little mixed: I remember a boat on a lake, a car racing along a winding road and many desperate escapes. Also images of Paris and the Seine. Orson Welles is totally creepy. My visits to Italy have been influenced by scenes from the film - even visiting the Colosseum in Rome.
Hopefully my memories aren't too tainted by all the films I've seen since, if I come across this one again I'm keeping it far away from my brother.
Posted in: 1968 | 0 comments | |

too slow, too boring, everything takes too long to happen
I like Hilton and Gordon Mitchell so I gave this one a try. The DVD I saw is an ugly, full-frame transfer, probably from VHS. English dub. It's a "funny" story of a man (Hilton) that runs afoul of a gang of three bank robbers (Mitchell, John Ireland, Piero Vida). The robbers are busy trying to double-cross one another and Hilton joins the party. A pretty blond (Sandra Milo) takes her turn at tricking each of the men also. The story is very reminiscent of double-cross pics like ONE DOLLAR TOO MANY or ANY GUN CAN PLAY. However, this film is a little tedious, a little boring. Some of the comic scenes are pretty well-done but the action sequences are slow-moving, boring, very poorly staged. Generally the pacing of the film is too slow, too boring, everything takes too long to happen. Music is an annoying carnival-style motif which is supposed to sound whimsical but features too much acid rock-style organ and guitar. Mitchell's part FWIW is basically a cameo, he is dead after 15min of the film. Hilton is charming but can't save the film on his own. As of this writing the full film is available on YouTube. 5/10 stars.
Posted in: 1968 | 0 comments | |
by mbokde

Griffith, Dreyer and Sternberg
A woman disguised as a man or otherwise around is the theme of many comedies in which most of our pleasure comes out when the transvestite is almost being caught. But this movie from Harry Kumel doesn't need the suspenseful moments or the jokes about transvestism, because he has made a tragedy out of it. He uses the premise to inform us that the heroine is feeling safe when she is in disguise, because in this way she avoids prosecution for the murder of her lover 15 years ago. But this disguise also destroys her freedom and identity, because nobody knows anymore who she is and why she lives. We need other people to define ourselves. And if these people think we are someone else we feel lost.
Harry Kumel uses techniques from Griffith, the sober mise-en-scene from Carl Theodor Dreyer and the themes of Sternberg( whom he dedicates the film to) to tell this story. But he makes of all these different visions a very personal film. It is his first movie and he already shows that cinema is capable of complex feelings. He shoots Belgian landscapes of pure beauty and frenzied walks through the forest and he lets all these images emphasize the isolation of the heroine. The only real weakness of this movie is that the people who call the disguised woman 'monsieur Hawarden', had to be given a guide-dog for their blindness. But if you throw away Hollywoodstandards for 100 minutes and prepare yourself for some art from the Netherlands and Belgium, then you will not be disappointed.
If you liked this movie, Harry Kumel's Eline Vere is the next one to see. It shows much parallels with this movie.
Posted in: 1968 | 0 comments | |
Friday, July 25, 2014 by mbokde

Story of a young woman, Mrs. McBain, who moves from New Orleans to frontier Utah, on the very edge of the American West. She arrives to find her new husband and family slaughtered, but by who? The prime suspect, coffee-lover Cheyenne, befriends her and offers to go after the real killer, assassin gang leader Frank, in her honor. He is accompanied by Harmonica on his quest to get even. Get-rich-quick subplots and intricate character histories intertwine with such artistic flair that this could in fact be the movie-to-end-all-movies.
Sergio Leone:I salute you
I have recently commented on Leone's GBU and was intending on reviewing AFOD and FAFDM as well as this one - OUATITW, but after reading a number of the comments about these from all the avid fans on this great site, I will simply give you a short account of how these films have affected my life. I am 55years young and saw all these films on their first release in Sydney.(late '60's) They were cut, but it didn't stop me seeing the brilliance in them. I would imagine that a lot of the members of this site are much younger than myself and have only watched these films on DVD or TV quite recently. (Stood the test of time, eh!!) (WideScreen is a must for these.) Leone's films exhibit an idealism in art that surpassed his Hollywood models (eg: Ford). Although, at the time of creation, I doubt he would have thought he was. He simply had a vision.
From film to film he improved on this. Like most artists, I don't think he was too concerned with the financial gains that might or might not be realized.(This was probably his downfall). That these little films can impress all you younger fans so much says a lot about good taste and the sad lack of it in American films of recent times.
Great directors, like Leone, don't come along every day and it saddens me greatly to know he died before he was recognised for the genius he surely was. Morricone must be 75 now, soon we will loose him too. I am a successful composer in Australia and can tell you, without bias, that Morricone is in the top five best ever film composers just from these four films alone, if not one of the best composers in general (yes, this includes Stravinsky, Bartok, Debussy and Schoenberg.) of the 20th century. Eastwood is also reaching the end of his life and although I'm not a huge fan of his recent work, he is one of the last living greats. Without the inspirations put forth by these men, I might not still be writing and recording my music these days. Plenty of times I could have stopped when things got tough but all I had to do was revisit these gems of modern art to realise that greatness does still exhist , all you have to have is the love and desire and guts to make your visions a reality. Leone, Morricone and Eastwood: I salute you.
Posted in: 1968 | 0 comments | |
Thursday, July 24, 2014 by mbokde

A pretty young girl named Sappho is, despite her boyfriend's best efforts, determined to remain a virgin until she marries. One day she picks up a beautiful, busty hitchhiker named Brigitte, and finds herself attracted to the sexy young blonde.
A dream girl, in a terrible movie
Yvonne D'Angers, famous Frisco stripper back in the Carol Doda era, was one of my '60s dream girls, having seen her in a fabulous spread in the oddball men's magazine "Broadside" (a sort of "Ramparts" for dirty minded guys). I later saw her briefly in Russ Meyer's ill-fated mainstream movie THE SEVEN MINUTES, but reading about her starring role in SAPPHO DARLING got my hopes up.
This Albert Zugsmith travesty was a big deal at adult theaters back in its initial release, but has fallen into obscurity since, mainly because it no longer had novelty value and is of poor quality. But that never stopped John Waters' movies from achieving cult status!
Carol Young stars as Sappho, a pretty girl who overly identifies with her namesake, the Greek poet Sappho, whose works are heavily quoted in the film's pretentious voice-over. She wants to remain virginal, much to the consternation of her creepy boyfriend Sven (Alyn Darnay).
He's named Sven because writer and uncredited producer Zugsmith ludicrously styles this farrago as taking place in Sweden, replete with poorly-matched occasional stock footage of Svenska locations. This was to ride the '60s porn wave of hot-hot imports, which got underway with the smash hit DEAR JOHN (also now sadly forgotten) and continued with INGA and I A WOMAN.
Sappho picks up a top-heavy hitchhiker Brigitte (the inimitable Yvonne D'Angers) and offers her a place to stay while the new arrival seeks work. Brigitte gets hired at a massage parlor, interviewed by a comely woman who the Something Weird shill (back of video box liner notes) and others have misidentified as Uschi Digard -some folks need new pairs of glasses.
SPOILERS ALERT:
Typical of the hothouse scripts Zugsmith was famous for (his next porn assignment TWO ROSES AND A GOLDEN ROD is even worse), film is plot-heavy and thoroughly unconvincing at every turn. Brigitte reveals she was victimized by five hoods, chanting "Gang...Rape" (film's campiest element) and has been emotionally scarred ever since.
Boy friends try to rape both Sappho and Brigitte in later reels, fended off with handy household implements like a broom or teapot. A massage parlor client (Sally Sanford) is a stereotypical lesbian who makes the moves on Brigitte and later drops by with a tall-tall gal pal (Julia Blackburn) to abortively attempt to party with Brigitte and Sappho. This nonsense is all filler surrounding the picture's key sexploitation content: the two stars taking a shower together and ultimately enjoying the Sapphic lesbian sex in bed we've all been waiting for.
Actually, the shower scene demonstrates effective casting: D'Angers' fabulous silicone breasts and dark, wide nipples, pressed against slight Young's tiny breasts with their perky nipples. This is quality porn.
Unfortunately a few minutes of arousal material is encased in an indigestible Zugsmith package. The purple prose reaches one of its many nadir moments when the gals discuss "inner beauty" and "Does size matter?" from strictly a girly point-of-view as written in insulting fashion by a hasn't-got-a-clue man. His poster advertising at the time accused himself of being an Academy Award winner -talk about fraudulent wishful thinking! Fictitious director is credited as "Gunnar Steele", most likely a pseudonym for Zugsmith.
Posted in: 1968 | 0 comments | |
Tuesday, July 22, 2014 by mbokde

The most ultra-secret telephone number of all is that of the "Hot'Line' that links the heads of state of the United States and Moscow. A conniving double agent manages to steal the top secret phone number and then begins to implement chaos by phoning Washington and Moscow, telling the two powers that their respective spy chiefs are traitors. It's spy versus spy, agent versus double agent, counter spy against counter-counter spy in a rapidly increasing international crisis that finds its solution on the stage of Chinese theater in Barcelona, Spain as the spy leaders, the traitorous agent, a beautiful girl, three old ladies, a young man caught up in the chain of events and a troupe of acrobats collide head on in battle.
A big mistake for everyone involved.
I caught this turkey on late night T.V. and was frankly embarrassed for Taylor and Boyer, two distinguished performers who deserved to end their careers with some kind of dignity and grace. The whole thing was like someone's home movie of a recent nightmare. The movies also illustrates the truth of the adage: "Dying is easy;comedy is hard." Robert Taylor (for one) has never shown any kind of comic flair. The best that can be said of his performance here is that he made the wise decision to play his role "straight", with no attempt to be 'funny" in the delivery of his lines. About the only appeal this film might have would be for devotees of bondage films who enjoy watching the three giggling old ladies tie up and terrorize the heroine.
Posted in: 1968 | 0 comments | |
Saturday, July 19, 2014 by mbokde

Based on real life events that led to tragic deaths of Crown Prince Rudolf of Austria and his lover Baroness Mary Vetsera.
Flawed, yet still impressive romance
Although not up to the excellence of the classic 1936 film starring Charles Boyer and Danielle Darrieux, this remake of the tragic romance between Crown Prince Rudolph of Austria and commoner Maria Vetsera is still quite compelling. Omar Sharif is burdened with the worst haircut imaginable, yet when he looks longingly at lovely Catherine Deneuve, it should send your heart fluttering. And while Maria isn't as strongly written as the character should be, Deneuve projects innocent maturity beautifully. Ava Gardner and James Mason don't have much to do, but James Robertson Justice is a joy as Prince Edward of England. Extraordinary production values make it a visual delight. Finally, while the script fails to properly explain the political situation that would drive Rudolph to his drastic decision, director Terence Young builds the tension to heartbreaking pathos, with the final moments fully worthy of a great tearjerker.
Posted in: 1968 | 0 comments | |
Tuesday, July 15, 2014 by mbokde

Jerry, Reno and Paco are in prison, where they meet a young Mexican man who claims he has been convicted for a crime he hasn't committed. Mysteriously, the three men are released of prison and proceed to prove the Mexican man's innocence.
Posted in: 1968 | 0 comments | |
Friday, July 11, 2014 by mbokde

World War 2 - a British commando squad is tasked with attacking the "secret" German airfield from which German fighters have been attacking bombers which are trying to stop German tanks from reinforcing the D Day defences.
Run-of-the-mill
Here we have yet another Italian/Spanish World War II film, concerning an "impossible mission" taken on by misfit soldiers. How many times did the Italians make this type of WW2 movie in the 1960s and 1970s? There's DIRTY HEROES, BATTLE OF THE COMMANDOS, FIVE FOR HELL, COMMANDOS, LAST DAY OF THE WAR . . . this one of the better ones, although it's in no way a classic.
The plot: The Germans have built a secret airfield which threatens the D-Day invasion. Flak in the area is so heavy that Allied planes can't get through the bomb the airfield. So High Command calls in French commando Sgt. Cloadec (Aldo Ray!!!, in the same type of role he had in GREEN BERETS) to take on the impossible task of leading 4 misfit commandos behind enemy lines to destroy the airfield. The mission takes on various twists and turns until the climax.
Unfortunately we never get to see too many enemy soldiers pursuing the good guys. The lack of extras is only one piece of evidence which suggests the low budget. Besides Aldo Ray, the producers couldn't hire any other easily recognizable actors for the movie. The special effects are the worst I have ever seen. They usually involve burning model plastic aircraft. And I am not kidding; the closeups are just as bad as the awful effects in BRIDGE TO HELL. The heroic "Colonel Bogey-esqe" musical score is rousing at first but soon goes into monotony. But we do finally get to see some action and a little bit (a very little bit) of originality and some good acting. The cinematography is quite decent; the movie was filmed out in the woods some place, for the most part, but resembles France pretty accurately for once. Most Italian war movies are set in France or Germanty, but look like they were filmed in -- well -- Italy or Spain.
Overall, the movie is entertaining but really lacks originality and is also undeniably cheap. But, it's well paced, solidly directed and contains some good characters.
5 out of 10 stars.
Posted in: 1968 | 0 comments | |
Thursday, July 10, 2014 by mbokde

Four Tales Of The Occupation Of Greece
I first saw this little film some years ago on the old VHS video format at a video rental place that had an impressive selection of foreign films. 'The Cannon & The Nightengale' as it was indicated in the subtitle is a quartet of short stories about Greece during the various occupations during World War 2. Two of the stories are comedies, and two are dramas. My personal favourite is one where a German officer takes over the house of an average Greek citizen,who is obviously not happy about the arrangement,but can do little about it, except make his uninvited guest feel as unwelcome as possible. The other three stories tell tales of the English,Italian & American occupations. The film's black & white photography is a treat for the eye, and the rest of the film is well written & directed (by two directors,no less). No rating, but serves up a bit of rude humour.
Posted in: 1968 | 0 comments | |
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