MVD and Arrow Video June Slate Includes 1960s Western ‘Django’

MVD Entertainment Group has announced the Arrow Video Blu-ray lineup for June 2020.

Arrow Academy’s Blu-ray of 1960’s America as Seen by a Frenchman was released June 2. French documentarian François Reichenbach spent a year and a half traveling the United States capturing some of the most famous sites and sounds. The result was a look at America with a French sensibility.

Arrow Academy will have a second release for the month June 23 with director Tomu Uchida’s 1962 film The Max Fox. The film was highlighted in the August 2007 issue of Sight & Sound as one of their “75 Hidden Gems — The Great Films Time Forgot.” This release, featuring a brand new restoration courtesy of Toei, will mark the film’s worldwide Blu-ray debut.

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Also June 23 comes the Blu-ray release of 1988’s Dream Demon via Arrow Video. A soon-to-be-wed woman starts having terrible dreams that start to blend into a frightening reality. Harley Cokeliss’ gory 1980s psychological nightmare has languished in obscurity for the past three decades, but that will soon change with this new 2K restoration approved by Cokeliss. In addition to the theatrical release, Arrow’s edition also includes the director’s cut.

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The 1966 Spaghetti Western Django arrives June 30 as a limited edition Blu-ray set that includes a fold-out poster and photo cards of images from the film. A collectible Steelbook edition also will be available.

‘Django’ Steelbook cover

Franco Nero stars as Django, a mysterious loner who arrives at a mud-drenched ghost town on the Mexico-U.S. border, ominously dragging a coffin behind him. With Django, director Sergio Corbucci upped the ante for sadism and sensationalism in Westerns, depicting machine gun massacres, mud-fighting prostitutes and savage mutilations.

A huge hit with international audiences, Django’s brand of bleak nihilism would be repeatedly emulated in a raft of unofficial sequels. The film is presented here in an exclusive new restoration with a wealth of extras including the newly restored bonus feature Texas Adios, which also stars Franco Nero, and was released as Django 2 in several territories.

Dramas ‘Passion of Darkly Noon’ and Altman’s ‘Kansas City’ Due on Blu-ray From MVD and Arrow in March

Two dramas, The Passion of Darkly Noon and Kansas City, are arriving on Blu-ray in March from Arrow Video and MVD Entertainment Group.

Kansas City (1996), directed by Robert Altman and streeting March 3 from Arrow Academy, is a star-studded gangster flick set in 1930s Kansas City. Blondie O’Hara (Jennifer Jason Leigh) resorts to desperate measures when her low-level hood husband Johnny (Dermot Mulroney) gets caught trying to steal from Seldom Seen (Harry Belafonte), a local crime boss operating out of jazz haunt The Hey-Hey Club. Out on a limb, Blondie kidnaps laudanum-addled socialite Carolyn (Miranda Richardson), hoping her influential politician husband can pull the right strings and get Johnny out of Seldom Seen’s clutches. Nominated for the Palme d’Or at Cannes, and featuring a soundtrack performed live by some of the best players in contemporary jazz, this Altman classic is making its Blu-ray debut. Special features include audio commentary by Altman; a newly filmed appreciation by critic Geoff Andrew; a 2007 visual essay by French critic Luc Lagier, plus a short introduction to the film narrated by Lagier; two 1996 promotional featurettes including interviews with cast and crew; electronic press kit interviews with Altman, Leigh, Richardson, Belafonte and musician Joshua Redman, plus behind-the-scenes footage; four theatrical trailers; TV spots; an image gallery; a reversible sleeve featuring original and newly commissioned artwork by Jennifer Dionisio; and for the first pressing only, an illustrated collectors’ booklet featuring new writing by Dr Nicolas Pillai, original press kit notes and an excerpt from Altman on Altman.

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The Passion of Darkly Noon (1995), due March 24, is a drama set in America from British director Philip Ridley. Darkly Noon (Brendan Fraser) is the sole survivor of a military-style attack on an isolated religious community. Stumbling through a forest, he is rescued by Callie (Ashley Judd). Darkly finds himself feeling strange new desires for Callie as she nurses him back to health only to watch her jump into the arms of her returning mute lover Clay (Viggo Mortensen). Lost in the woods with only his fundamentalist upbringing to make sense of his unrequited passions, Darkly soon descends into an explosive and lethal rage. Special features include new audio commentary by writer/director Ridley; an isolated score track in lossless stereo, including never-before-heard extended and unused cues, and the two songs from the film; “Sharp Cuts,” a newly filmed interview with editor Leslie Healey; “Forest Songs,” a newly filmed interview with composer Nick Bicat; “Dreaming Darkly,” an archive featurette from 2015 featuring interviews with Ridley, Bicat and Mortensen; previously unreleased demos of the music score, written and performed by Bicat before filming started; the theatrical trailer; an image gallery; a reversible sleeve featuring new and original artwork; and for the first pressing only, an illustrated collector’s booklet featuring a new Ridley career retrospective written by Alexandra Heller-Nicholas.

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‘Manon,’ ‘One Missed Call Trilogy’ and Slasher ‘Deadly Manor’ Due on Blu-ray Feb. 25 From MVD and Arrow

Three titles are coming on Blu-ray Feb. 25 from Arrow Video and MVD Entertainment Group: Henri-Georges Clouzot’s Manon, the Japanese “One Missed Call Trilogy” and the slasher Deadly Manor.

Manon comes via Arrow Academy. Loosely adapted from Antoine François Prévost’s 1731 novel, this French drama is the story of a French Resistance fighter that rescues and falls in love with a woman accused of working with the Nazi’s. The couple moves to Paris where their life begins to spiral out of control as they get caught up in prostitution and murder. The film took home the Golden Lion award at the 1949 Venice Film Festival. The new high definition release includes a new video appreciation by critic Geoff Andrew and an archival documentary that features Clouzot discussing his love for literature.

The multi-disc “One Missed Call Trilogy” features a legendary trio of J-horror films launched with Takashi Miike’s 2003 film about people who receive strange voicemails from their future selves predicting their deaths. Yumi Nakamura, a young psychology student, begins to investigate the calls and discovers this terrifying circumstance has been plaguing Japan for centuries. The original was followed by two more films, One Missed Called 2 and One Missed Call: The Final Call. Special features include interviews, documentaries, a TV special and a short film.

Also on tap is José Ramón Larraz’s slasher Deadly Manor (1990), also known as Savage Lust. This final genre effort from Larraz follows teens who stay the night in an abandoned mansion that happens to be home to a lunatic killer. Restored in 2K using the original elements, Deadly Manor is making its Blu-ray debut. Special features include a new interview with actress Jennifer Delora and the original VHS trailer.

Slasher Film ‘Edge of the Axe,’ 1940s Noir ‘Black Angel’ Due on Blu-ray From Arrow and MVD Jan. 28

The Spanish-American slasher film Edge of the Axe and the 1940s film noir Black Angel are being released on Blu-ray from Arrow and MVD Entertainment Group Jan. 28.

From Arrow Video comes Edge of the Axe, which follows a masked killer picking off people in a small California village with — that’s right — an axe. The new 2K restoration of the cult classic (from the original camera negative) includes English and Spanish versions of the film; two new audio commentaries; a newly-filmed interview with actor Barton Faulks; “The Pain in Spain,” a newly-filmed interview with special effects and make-up artist Colin Arthur; an image gallery; a reversible sleeve featuring original and newly-commissioned artwork by Justin Osbourn; and for the first pressing only, a collector’s booklet featuring new writing by Amanda Reyes.

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Due from Arrow Academy is the 1946 film noir Black Angel, which marked the final time behind the camera for prolific director Roy William Neill. In the film, after a man is convicted of murder, his wife and the victim’s ex-husband fight to prove his innocence. Hated by author Cornell Woolrich whose novel served as the source material, Black Angel nevertheless is a sleek and stylish film for genre fans. It stars Dan Duryea, June Vincent and Peter Lorre. Special features on the new restoration of the film include a video appreciation by film historian Neil Sinyard; new audio commentary by the writer and film scholar Alan K. Rode; the original trailer; a photo gallery of original stills and promotional materials; a reversible sleeve featuring two artwork options; and for the first pressing only, an illustrated collector’s booklet featuring new writing on the film by author Philip Kemp.

MVD’s June 2019 Arrow Blu-ray Slate Includes ‘Andromeda Strain’

The 1971 thriller The Andromeda Strain will come to Blu-ray Disc June 4 from Arrow Video via MVD Entertainment Group. Based on the book by Michael Crichton and directed by Robert Wise, the film depicts the efforts of a team of scientists to cure a deadly alien pathogen. The Blu-ray includes a new 4K restoration from the original camera negative and a variety of new and archival bonus material.

Also due June 4 is Trapped Alive, a 1988 horror movie about a group of people trapped in a mine shaft and hunted by a cannibalistic mutant. The Arrow Video Blu-ray comes with a new 2K restoration from the original camera negative, three new commentary tracks, a new making-of documentary and more.

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Carol Reed’s 1963 thriller The Running Man comes to Blu-ray June 18 from Arrow Academy with a new 2K restoration courtesy of Sony Pictures. A man frustrated by his insurance company fakes his own death in order to cash in on the claim. Things seem to be going smoothly until an investigator begins snooping around.

Due June 25 from Arrow Video is Double Face, a 1969 Italian thriller from director Riccardo Freda starring Klaus Kinski as a millionaire unwittingly led into murder by his lesbian wife.

Finally, Arrow Video June 25 releases American Horror Project Vol. 2, featuring three films with new 2K restorations. The collection includes Dream No Evil, a surrealistic horror film about a woman who becomes mad in attempt to find her father and gets lost in a dark fantasy world; Dark August, a tale of a cursed man who seeks out the assistance of a spiritualist; and The Child, the story of an 11-year-old girl who is able to use supernatural abilities to raise the dead. The set comes with a 60-page booklet featuring new writing on the films by Stephen R. Bissette, Travis Crawford and Amanda Reyes.

Spaghetti Western ‘The Grand Duel,’ Film Noir ‘The Big Clock’ Among May Blu-ray Releases From Arrow and MVD

A spaghetti Western, a film noir classic, a J-sploitation film and a gore actioner are among the new Blu-ray releases due in May from Arrow Video and MVD Entertainment Group.

Coming May 7 is Giancarlo Santi’s spaghetti Western The Grand Duel, starring Lee Van Cleef as a sheriff seeking justice for a man accused of murder. Special features include new interviews with cast and crew, including director Santi, and a new commentary with film historian Stephen Prince.

On May 14, Arrow brings two new releases.

Yakuza Law  is from director Teruo Ishii, the godfather of J-sploitation. It’s a tale of a yakuza lynching during the Edo, Taisho and Showa periods. Special features include a new commentary with film critic Jasper Sharp and an archival interview with Ishii.

Also due May 14 is the 1948 film noir The Big Clock. The film follows a magazine tycoon who commits a murder and then attempts to frame an innocent man. At the same time, the innocent man attempts to solve the case. The film is directed by Oscar winner John Farrow and features an all-star cast, including Ray Milland, Maureen O’Sullivan and Charles Laughton.

Due May 21 is She-Devils on Wheels, from godfather of gore Herschell Gordon Lewis. In a small Florida town, an all-girl motorcycle gang known as The Man-Eaters squares off with an all-male rival gang. Included in the special features is another feature-length film from Lewis, 1968’s Just for the Hell of It, also set in Florida, about a gang of punks leading a small town’s youth down a path of destruction and mayhem.

Mike’s Picks: ‘Wanda’ and ‘Phantom Lady’

Wanda

Criterion, Drama, $29.95 DVD, $39.95 Blu-ray, ‘PG.’
Stars Barbara Loden, Michael Higgins.
1971. What stands out about Wanda, aside from the fact that scouting its locations could well have been the most depressing gig in the business, is the degree to which its narrative is still such a downbeat grabber despite all of its raggedness.
Extras: Amy Taubin penned the Criterion essay, and there’s an hour-long audio interview that was done at the AFI in which star Barbara Loden talks a lot about simply getting this labor of love on the screen. We also get the actress/director in a half-hour educational film about a pioneer woman, yet the transcendent standout here is an hour-long documentary on Loden filmed just three months before she died in 1980 at age 48 from cancer.
Read the Full Review 

Phantom Lady

MVD/Arrow, Drama, $39.95 Blu-ray, NR.
Stars Franchot Tone, Ella Raines, Alan Curtis, Thomas Gomez.
1944.
After an extended build-up that makes one wonder if the movie will break out into something more, Phantom Lady is ultimately put over by three extended sequences that easily carry the story beyond what turns out to be a resourcefully versatile lead actress (Ella Raines) is already doing.
Extras: Includes an Alan Rode essay and a vintage noir doc that runs just under an hour.
Read the Full Review

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Phantom Lady

BLU-RAY REVIEW:

MVD/Arrow;
Drama;
$39.95 Blu-ray;
Not rated.
Stars Franchot Tone, Ella Raines, Alan Curtis, Thomas Gomez.

Known earlier in his career as co-director of a German-cinema milestone on which seemingly every future Hollywood émigré legend labored (People on Sunday), Robert Siodmak enjoyed a mostly terrific and certainly prolific Hollywood run from about 1944 to 1952, until a subsequent life of hard bumps and relative oblivion commenced. He’s among the directors who first come to mind in any discussion of film noir, though let it be noted that he managed to cap his American career with Burt Lancaster’s widely adored The Crimson Pirate, which can still show the “Pirates of the Caribbean” franchise a thing or two (and this is speaking as one who’s not un-fond of the first one).

Phantom Lady was Siodmak’s noir launcher, sandwiched between Son of Dracula (Lon Chaney as Count Alucard, and you’d better spell it backwards) and Maria Montez’s Cobra Woman (in Technicolor and with a script co-penned by Richard Brooks, who probably didn’t learn too much he later could bring to Blackboard Jungle from the experience). After an extended build-up that makes one wonder if the movie will break out into something more, Lady is ultimately put over by three extended sequences that easily carry the story beyond what turns out to be a resourcefully versatile lead actress (Ella Raines) is already doing. These set-pieces benefit from Siodmak’s accomplished eye and, one would assume, Elwood “Woody” Bredell — a cinematographer I had to look up because he was unknown to me. Turns out he shot two other Siodmak noirs (and two of the best: Christmas Holiday and Burt Lancaster’s star-maker The Killers) and then a pair of Warner Technicolor achievements that have been 60-year personal favorites: Doris Day’s star-maker Romance on the High Seas and Errol Flynn’s Adventures of Don Juan, which I love almost as much as The Adventures of Robin Hood (there, I said it). Why didn’t Bredell work more?

Anyway. The Lady script (Bernard C. Shoenfeld adapting William Irish, aka Cornell Woolrich) asks a lot in terms of asking us to accept coincidences and other unlikely events. A New York architect under the thumb of his estranged wife’s money (Alan Baxter) is accused of strangling her, and his alibi is a classy but depressed woman he picked up at a bar but whose heavily depressed state at the time kept her from divulging her name. Baxter later can’t locate her, the bartender claims never to have seen her, and soon this rather abruptly convicted victim is on death’s row. In lieu of help from a best friend (Franchot Tone) who’s out of the country, Baxter’s only hope is the sleuthing of his secretary (Ella Raines) who is constantly finding herself in life-threatening situations once it becomes clear that something about the whole deal smells highly suspect.

Here’s an 87-minute movie in which top-billed Tone doesn’t show up for nearly an hour, which means that the burden is on the mostly straight-arrow, Wichita-bred assistant Raines is playing — though in one of those three standout scenes, she rather spectacularly tarts herself up to masquerade as what used to be a called a “chippie” (a good word whose common usage I miss). This part of the story includes the famous drumming sequence by one of the bribed heavies here (Elisa Cook Jr.), whose studio-dubbed playing at a jam session is either supposed to come off as orgasmic or some kind of Gene Krupa-ish reefer madness. (Poor Gene. Whenever he’d come on TV in the ’50s and ’60s, the disapproving mother of a friend of mine used to yell, “dissipated” at the screen. She also did the same to did as well as any tube image of comedian and game show host Jan Murray, but I’m not necessarily her to give you my life story.)

When Tone finally shows up, he displays a few eccentricities of his own, which means he fits right into the package. It’s a twitchy performance that works for me and is certainly unlike anything else I can think of in the actor’s history (had he played the vice president’s role like this in Otto Preminger’s better-than-ever adaptation of Advise and Consent, it definitively would have put a decidedly different cast on the movie). Tone’s extended scene with Raines late in the picture is another of the picture’s big moments, along with Cook’s drum frenzy and Raines’s nocturnal pursuit of the bartender in her attempt to determine why the guy lied about never having seen the woman who was sitting at the bar with Baxter.

By this time — and even though his situation is what motivates the entire plot — the Baxter character becomes kind of the forgotten man. An actor who died in real life at 43 — and was, I’m flabbergasted to see, onetime Commissioner of Baseball Peter Ueberroth’s real-life uncle — Baxter was one of those actors who, like John Carroll and John Lund (though I always liked Lund), donned a mustache in some futile attempt to become the new Clark Gable. Ultimately, this is Raines’s picture from her biggest year in the movies (1944), when she also had the female lead in Preston Sturges’ Hail the Conquering Hero (my favorite Sturges, says this son of a World War II Marine) and Tall in the Saddle — in which the bluejeaned/tomboy persona she projected in it made her one of John Wayne’s best leading ladies ever. I don’t know why Raines didn’t become a bigger star, but working for Universal in the ’40s and then Republic in the ’50s likely wasn’t the way to go about it.

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Visually, the Arrow Blu-ray is definitely a step up from the old TCM DVD, and that’s important when we’re dealing with shadows, fog, streetlights on pavement and that sexy/trashy black outfit Raines uncharacteristically dons when working undercover to determine just what Cook’s seamy story is. Extras include an Alan Rode essay (class) and a vintage noir doc that runs just under an hour that is better in the early and more germane going (appearances by Robert Wise and Edward Dmytryk) than it is later on when John Dahl, Dennis Hopper, Carl Franklin and Bryan Singer talk about neo-noir, which tends to date the package, though some may disagree. It’s never a loss, though, seeing directors talk about their works, especially ones that have followings.

Mike’s Picks: ‘Wanda’ and ‘Phantom Lady’

Arrow Films Announces April 2019 Slate

MVD Entertainment Group and Arrow Films have unveiled six catalog titles coming to Blu-ray in April.

Due April 2 is Takashi Miike’s Terra Formars, a 2016 sci-fi adventure about a team of space explorers who battle a horde of oversized anthropomorphic cockroaches. The Blu-ray includes a full-length documentary on the making of the film, outtakes and more.

Arriving April 9 will be The Iguana with the Tongue Fire, from Riccardo Freda, about a series of brutal killings in Dublin that carry political complications. The film is presented with a new 2K restoration from the original 35mm camera negative.

Also coming April 9 is Mélo, from director Alain Resnais. This story of a doomed love triangle is based on the classic play from Henri Bernstein and come with a new 2K restoration.

April 16 sees the Blu-ray release of Keoma, pairing star Franco Nero and director Enzo G. Castellari in the story of a half-breed gunfighter that returns home to find his fellow townsfolk terrorized by a terrible gang. Includes a 2K restoration and new special features.

Mary Page Keller and Andrew Stevens star in Richard Friedman’s Scared Stiff, coming to Blu-ray April 23. A singer moves into a colonial mansion with her son and boyfriend only to uncover deep, dark secrets hidden within the boarded up attic.

Due April 30 is Khrustalyov, My Car!, a satire about a military doctor arrested in Stalin’s Russia, accused of being a participant in the so-called “doctor’s plot.” This limited-edition release includes a 60-page booklet featuring new writing by Gianna D’Emilio, an archival essay by Joël Chaperon and original reviews.

My Name Is Julia Ross

BLU-RAY REVIEW:

MVD/Arrow;
Mystery;
$39.95 Blu-ray;
Not rated.
Stars Nina Foch, Dame May Whitty, George Macready.

Somewhere around the time we spot George Macready cutting up women’s clothing with scissors as his elderly mother looks on, the thought is cemented for good that My Name Is Julia Ross isn’t your standard garden-variety ‘B’ from 1940s Columbia Pictures. And it wasn’t. Released around Thanksgiving 1945 just a couple months after World War II’s conclusion, JR has been regarded as its year’s dominant big-screen sleeper for so many decades that I first began reading about it as an 11-year-old in the ’50s.

Released just a year earlier, MGM’s Gaslight had won an Oscar for Ingrid Bergman, long before its title entered the modern-day lexicon as a verb for trying to convince people that things aren’t as they appear. Unlike poor ball-of-confusion Bergman in Gaslight’s earlier going, the abducted Julia character that Nina Foch plays isn’t having any of it because she knows that she’s in the hands of charlatans. She just doesn’t know why.

Aside from those occasional plot holes without which speedily efficient ‘B’-pics likely couldn’t have existed, the feminist blueprint here (screenplay by Muriel Roy Bolton from a novel by male pseudonym Anthony Gilbert) gave director Joseph H. Lewis fairly sturdy material with which to fine-tune some stylish touches. In fact, the very first fog-filled shot aptly establishes Foch/Julia’s isolation in London: no parents, no gal-pals and no boyfriend after a thought-to-be-contender ends up choosing another woman. And in terms of work, she also has no prospects, and the landlady would really like to get her back rent.

Suddenly, there emerges a miracle newspaper posting from a job agency unknown to her (and, as it turns out, no one else). An elderly type (Dame May Whitty) needs a live-in secretary, and lonely Julia strikes her as perfection, presumably setting the table for a mutually beneficial union. What’s more, actress Whitty momentarily conjures up warm audience feelings, given all that (then and still) screen currency she built up from her sympathetic performances in Hitchcock’s ever-popular The Lady Vanishes and the lesser-seen but still remarkable Night Must Fall (original version). Then, a little later, Whitty’s son turns around from a window gaze to reveal that’s he’s George Macready — an actor who was just a year away from his unforgettably creepy turn opposite Rita Hayworth and Glenn Ford in Gilda and one who was once described by the late film historian Doug McClellan as “Columbia’s all-purpose degenerate of the ’40s.” (Now, that’s turning a phrase.)

No good can come of this, and before we can blink, the agency has flown the coop while mom-son-maid and their small band have fled their London digs for a Cornwall near-mansion where Julia wakes up in bed as waves crash below on rocks below. The joint wouldn’t be a bad R&R spot under different circumstances, but in this case the confused abductee is in a bad dream that keeps getting worse. Not helping is the fact that the initials “M.G.” are everywhere (monograms included), while everyone is telling Julia that her name is really Marian Hughes and that she’s the mentally shaky wife of Macready.

He’s no prize, to be sure, and Julia hasn’t even seen him scissoring the clothing — that act certainly a window into his odd personality, along with a fiery temper that tends to manifest itself in women’s bruises. The rest is mostly cat-and-mouse dealing with the prisoner’s attempts to escape, resulting in a highly competent co-feature of the day whose onetime potency has diminished somewhat over the years due to screen subsequent variations (William Wyler’s knockout take on John Fowles’ The Collector, this is not). Helping things out a lot is cinematographer Burnett Guffey, who like all those workhorse old-timers seemed to shoot about 17 pictures a year, though they obviously didn’t. I’m always impressed by camera whizzes who pulled off Oscar wins in both black-and-white and color, as well as in different screen eras. Guffey did both (From Here to Eternity and Bonnie and Clyde), and in Julia Ross, I never once think I’m anywhere on Columbia Pictures’ backlot.

Director Lewis gets a lot of credit for this, as well he should. This was his breakout picture, along with 1946’s So Dark the Night, which Arrow has just released on Blu-ray as well. (And I’d better take an immediate look at this because the packed bonus section features Glenn Kenny, Farran Smith Nehme and Imogen Sara Smith — or “all the stars in heaven,” as they used to say at MGM). Not that anyone’s slumming here: In addition to a detailed print intro by critic Adrian Martin as part of Arrow’s always slick-in-the-good-sense packaging, this Julia Ross release features recent Michael Curtiz biographer Alan K. Rode for its own bragging rights, and he’s as amused at Macready slicing up women’s clothing as I am.

In keeping with his commentary on the recent Blu-ray of the Raymond Chandler-scripted The Blue Dahlia, Rode is adept at sleuthing old studio records to reject inaccurate claims that have been made about the movie — as with Lewis’s assertion that his picture’s enthusiastic reception led Columbia Pictures to move it to the top of double bills, which never happened. For all of Lewis’s skill with scant budgets (he later did Gun Crazy and The Big Combo), he was apparently one who inflated certain accomplishments, as many do in later years if they’re not careful. On the other hand, Lewis’s swan song Terror in a Texas Town (secretly scripted by still blacklisted Dalton Trumbo) should by itself put him on some map. It’s presumably the only Western whose climactic dusty-street gunfight pits a gunman against Sterling Hayden heaving a whaling harpoon.

Also featured is Nora Fiore (aka The Nitrate Diva), whose feminist-oriented critical take is the kind you can bet the film didn’t get at the time (though with a late ’45 release date, the picture hit just as many reluctant women were being forced back into domesticity from the wartime factory work they had enjoyed). I suppose it’s a thought-provoker linking these two events, though one has to wonder if Columbia chief Harry Cohn had these kind of lofty ambitions on his mind for a second feature whose shelf life he couldn’t envision. For Cohn, male feminism probably amounted to chasing one less starlet around his desk.

Mike’s Picks: ‘Desert Fury’ and ‘My Name Is Julia Ross’