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Posts Tagged ‘Victoria Shaw’


Saturday, August 5th, 2017


Stars – James Shigeta, Glenn Corbett, Anna Lee, Victoria Shaw
Director – Samuel Fuller * Reviewed by Steven Ruskin

Released by Twilight Time
Limited edition of 3,000 Units
Available at Screenarchives.com and Twilighttimemovies.com

Sam Fuller takes on a lot with this movie. There is the story of a stripper who gets shot down on the streets. She is in her full stage costume running between cars at night when she falls. We learn a lot about Sugar Torch and the act she was working on with a karate man smashing bricks before she begins to peel off her geisha styled kimono. Then there are the two cops assigned to the case, played wonderfully by James Shigeta (Bridge to the Sun) and Glenn Corbett (Route 66, Chisum), These detectives are very tight. The easy going banter between them feels like any number of later day buddy cop pictures. Shigeta in particular has a very natural style. Another character is the alcoholic painter who likes to throw beer on her paintings. Though very kooky she’s like the wise older relative to Corbett who gets advice from her. While there are compelling trips inside Little Tokyo in Los Angeles and quite a bit of time devoted to aspects of the culture there it is Victoria Shaw as Chris the attractive art student witness that sets the film on its main course.

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Both detectives fall for Chris but she falls for James Shigeta. Shigeta has a very tough time with this. He thinks his partner resents him but more for his love crossing a taboo racial line than simply winning the girl. Fuller drills down on this deep seated case of reverse racism. We can feel that the Japanese detective is uncomfortable with this from any number of angles. It certainly was not the kind of thing that movies openly dealt with then. Fuller was always one to confront racism and injustice. The theme of people mistakenly judging others frequently comes up in his films. There was the hooker trying to start her life anew in The Naked Kiss (1964). His film White Dog (1982) which dealt with a dog that was taught to attack black people was left unreleased for many years due to a misinformed backlash from groups that judged it without even seeing it. Sam Fuller also will pick up a blow torch to make his point when a match would have gotten the job done. Sometimes he makes his points with a sledgehammer swinging it like Thor against injustice. While the spirit is admirable it sometimes mars the flow of his films and sticks out a bit too much. On the other hand that is who he is, like it or not.

For a film that seems to only have a few interiors there is a tremendous amount of detail to be seen. There is an intriguing collection of porcelain figures in the detectives’ shared apartment. Later on in the film we see dozens of these intricately made dolls encased in glass cases filling a set. We even see how they are made and the woman who specializes in wigs for them. Fuller takes us inside a few dojo to see men practicing judo and karate. There are posters in these schools and in the detectives’ apartment advertising various kendo tournaments. One of the highlights in the film is the kendo fencing match between the two detectives. It is highly ritualized match that gets out of hand when one of them begins to actually attack the other. What at first looks like a shocking clash of cultures and races between a white man and Japanese man turns out to be two very good friends getting so far beyond words that only combat can express what one of them feels. It’s a powerful scene and the one in which everything in the film comes together.

The Crimson Kimono works on a lot of levels. It begins as a Noir-ish tale of a stripper being killed on the street but it ends with another woman being killed on the same street, and by then it has become several others kinds of pictures. Too much? Probably. But amidst the immersion in the Japanese culture hidden in Little Tokyo Sam Fuller mangers to get in a story about two buddies whose friendship is tested by a kind of racism that cuts deep.


Video – 1.85:1
Much of this black and white picture looks wonderful. The way the painting fills in during the opening credits is a delight. There are occasional bits that fall short but nothing at all that stands in the way. Fuller does some interesting compositions that will leave wanting to hit the pause button for a sustained look. As noted by Curtis Hanson in the extras he moves his camera more than you might notice at first. There is one bit where the cameraman backs into a restaurant or hotel allowing the actors to move from the street to the interior in one continuous take.

Audio – DTS-HD 1.0 with subtitles offered in English SDH
All dialogue sounds fine and is easy to follow.

Extras – Twilight Time’s signature isolated music track , Sam Fuller Storyteller, Curtis Hanson: The Culture of The Crimson Kimono ,Original trailer

The extras are ported over from the Samuel Fuller Collection DVD set. Curtis Hanson who saw Fuller regularly at one time reveals some fun interactions that show off what a great storyteller Fuller was. We get a good sense of his background, too. Both of these extras are top notch and must see.

On a scale of Poor, Fair, Good, Excellent, Classic:

Blu-Ray – Excellent

Movie – Good / Excellent

Edge of Eternity (1959) Blu-Ray Review

Sunday, February 26th, 2017


Stars – Cornel Wile, Jack Elam, Edgar Buchanan, Victoria Shaw, Mickey Shaughnessy,
Director – Don Siegel

Released by Twilight Time
Limited edition of 3,000 Units
Available at Screenarchives.com and Twilighttimemovies.com

Reviewed by Steven Ruskin

Don Siegel is a director of tough crime films. He’s got a wonderful way of getting the most out of unusual locations. Most of his films snap and crackle with energy. His characters do not suffer fools and take no guff from anybody. He also made Invasion of the Body Snatchers (1956). Some of his peers like Sam Peckinpah get a great deal of deserved attention. Yet the man who made one of the most iconoclastic action films ever with Dirty Harry (1971) is simply not near as well recognized as he should be. Film fans like us will want to check out everything he has done. Much of his work is pretty easily available and well worth a look. But this one, Edge of Eternity despite some poor pan and scan showings on TV remains a film of his that gets almost no attention at all. I’ve got a paperback book from 1974, Don Siegel: Director by Stuart Kaminksy that celebrates the director. If there was any mention there at all it got very short shrift. Being a huge Siegel fan the opportunity to see this film in all of its true Cinemascope glory was a real treat.

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The film starts off with a thrilling plane ride through the Grand Canyon. This is the real deal. It looks gorgeous and just a little bit foreboding. We see a man in a suit scanning the distance with binoculars. He is right at the edge of a cliff. Another guy sneaks up and takes the brake off his nearby car. He gives it a push and tries to run the first guy off the cliff. He misses and the car sails hundred of feet to the ground below. After a brutal fight the first guy sends the second over the edge to his death. A very short while later we see that man in a suit hung from the rafters in a cabin with his hands tied behind his back. We’re two murders in and the picture has hardly even started. What follows next is a long interlude with deputy Cornel Wilde taking his time to slowly work the case and pursue an attractive girl he gave a speeding ticket to. Wilde was a handsome leading man well known to Film Noirs fans for Leave Her To Heaven (1945) and The Big Combo (1955).  The film is only 80 minutes long and the bulk of it is spent with Wilde as he questions people and drives through the beautiful winding roads in Arizona.

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That long middle section has a wealth of warm and friendly character actors. Jack Elam runs the single car tramway that rides from one cliff to the hole in the wall bat cave across a huge gorge. The car travels hundreds of feet in the air suspended by a cable. This is one scary ride and you just know that it will feature in the climax of the film. Edgar Buchanan is Wilde’s boss. He’s familiar from tons of TV Sitcoms in the 60s like Petticoat Junction, Green Acres, and The Beverly Hillbillies. A nicer boss you couldn’t wish for. Mickey Shaughnessy is on hand as the amiable local bar tender. He is always buying drinks for everyone and letting local drunks sleep it off in the back room before driving home. Shaughnessy has a natural outgoing style that suits this role perfectly.  This middle section behaves like one of those ninety minute detective shows that used to be on TV in the seventies. Siegel punctuates this interlude with a startling POV stabbing knife murder of an old man. The end of the film takes place as expected with a fight on the tramway car. It is a corker. We get a mix of excellent matte work with the stars looking fierce and front and center. The true stars are the stuntmen who dangle from this small cable car as they punch and kick at each other in plain view of The Grand Canyon all around and below them.

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It is worth noting that although Siegel was usually found working in crime pictures he makes the whole early and middle section of this film work so well. After that first sequence the story settles into to a very relaxed portrait of a small southwestern town. Everybody knows everybody. People are friendly, for the most part. We see Cornel Wilde engage in an easy banter with the people he meets. He even states that he likes to mix business with pleasure when he takes Victoria Shaw out on a date. They stop off so he can question a few folks on the way to dinner. Siegel surprisingly handles this kind of thing very well. Maybe he is glad the film is not so well known otherwise he may have found himself working with Edgar Buchanan again on multiple episode of the TV show Petticoat Junction. Siegel did not direct a great deal of episodes for TV. His best work there was The Killers (1964) a feature with Lee Marvin which was released to theaters. Baby Face Nelson (1967), The Line up (1958), and Hell is for Heroes (1962) are much more what we think of as his style at that period. He did his share of star vehicles like Hound- Dog Man (1959) with Fabian and Flaming Star (1960) with Elvis Presley. One has to remember that he was a working director for hire; sometimes under contract and others times looking for work. Like most directors that came up like he did he was not always able to choose the kinds of projects he wanted to be remembered for. Work was work and his did his share of paying the bills. When we look back on his career we tend to cherry pick the ones we like. This is a great opportunity to catch a rare Don Siegel picture.

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Video – 2.35:1
The colors are amazingly vibrant . Detail is strong save for a tiny bit of shimmering in the mountain side as the plane flies though the canyons. Siegel has said that he did not prefer to work in the Cinemascope format yet his work here with Burnett Guffy is very sturdy. The opening murder at the edge of the canyon, the subsequent killings and that last sequence have plenty of suspenseful shots. Guffy is most well know for Bonnie and Clyde (1967) but his earlier work on The Sniper (1952) is equally impressive.

Audio – DTS HD MA 1.0 in English with subtitles offered in English SDH
All dialogue is easily understandable. Music and effects fit well in the track.

Extras – Twilight Time’s signature isolated score track, Commentary by film historians C. Courtney Joyner and Nick Redman.

The two historians carry on an amicable chat about the film and how this work fits in with Siegel’s career. They are both knowledgeable and obviously fans of the director.

On a scale of Poor, Fair, Good, Excellent, Classic:

Blu-Ray – Excellent

Movie – Good / Excellent