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•MOST DANGEROUS MAN ALIVE (1961), •KATE AND ANNA MCGARRIGLE: A PORTRAIT (1981), •THE GOLD GHOST (1934), •MOST DANGEROUS MAN ALIVE (1961)
TONIGHT: STRICTLY MEMBERS-ONLY
* MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
DETAILS BELOW
* MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT, 'THO *
DETAILS BELOW
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SPLODGE! NOTES: 1st. Mon. JANUARY (07/01/05)
ON THE FIRST MONDAY OF EVERY MONTH
"SPLODGE!"
a community FilmEdSoc project,
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Unusual films of discernment, still presented in convivial
surroundings!
Unusual films of discernment, still presented in convivial
surroundings!
ALL PRESENTED ON GROOVY 16 MILLIMETRE FILM!
the back room
714 NICHOLSON (CNR. SCOTCHMER) STREET, NORTH FITZROY
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no-strings, no-attachments mailing list,
just give us a "hoy" here at splodgeburger!
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1st. Quartile
1st. Quartile
JANUARY
AD 2005
Monday, 07th.
Registration: 7.30 - 8.00 pm
Screening: >>>>> 8.00 (*EIGHT*!!!!) pm <<<<<
TONIGHT: STRICTLY MEMBERS-ONLY
MEMBERSHIPS STILL AVAILABLE AT THE DOOR ON THE NIGHT
DETAILS BELOW
TONIGHT! -
•KATE AND ANNA MCGARRIGLE: A PORTRAIT (1981),
In honour of their current tour abouts this town, we look back at the kooky '70s folk-rock sisters from Quebec, as they undertake their assault on Carnegie Hall. Includes many of their best toe-tapping hits. Prod Co: National Film Board of Canada. Prod: Derek Lamb. Directed by Caroline Leaf. 28 mins. ALC.
In honour of their current tour abouts this town, we look back at the kooky '70s folk-rock sisters from Quebec, as they undertake their assault on Carnegie Hall. Includes many of their best toe-tapping hits. Prod Co: National Film Board of Canada. Prod: Derek Lamb. Directed by Caroline Leaf. 28 mins. ALC.
•THE GOLD GHOST (1934),
Dumped by his girlfriend, Buster drives west and winds up in a ghost town called Vulture City, where he appoints himself sheriff. Also stars Dorothy Dix, William Worthington and Lloyd Ingraham. Written by Ewart Adamson and Nicholas T. Barrows. Prod Co: Educational Films Corporation of America. Prod: E.H. Allen. Dirs: Buster Keaton, Charles Lamont. 21 mins. ALC
and featuring:
•MOST DANGEROUS MAN ALIVE (1961),
A gangster framed for murder escapes from the police, and ends up on the site of an explosion of a new nuclear bomb. As a result his body combines with steel to make him unkillable, and he seeks out the men who framed him.
Deliberately paced at first, MDMA picks up steam and is a better than your average blend of hoodlums, fast cars, loose women & sci-fi.
Aussie-born actor Ron Randell is believable as a radioactive freak of nature who is bent on re-establishing relationships with his women and setting the record straight with his one time gangster 'friends'. The tough guy treatment of women in MDMA, and Randell's 'romance' with Debra Paget goes beyond the typical 1950s screaming 'scared' teenagers.
MDMA is nostalgic fun, boasts some mean looking thugs, like Anthony Caruso, and is reminiscent of films like THE INDESTRUCTABLE MAN (1956) or MAN MADE MONSTER (1941), but packs its own punch as a solid B picture of the 1960s.
This two dimensional comic book has enough laffs – and great cars! – to make it fun, but it is pulp. (In this post-Tarantino world, terms like 'pulp' and 'B-movie' have elided into a generalised form of slumming, which is unfortunate, as mere cheapness can result in both the lizard-brain clichés trotted out here or an ingenuity-within-constraints-of-a-low-budget gem like Murder By Contract).
Basically, The Most Dangerous Man Alive is an updated Frankenstein, and this is what makes it interesting (there's even an 'Igor' at the controls of the electrical apparatus at one point). The set-up sees hood Eddie Candell (Aussie Ron Randell, in a euphonious döppelganger that seems to have influenced him to change the pronunciation of his own name, which originally rhymed with 'candle') escaping from jail into the desert where a nuclear test morphs him into a 'man of steel'.
The film is framed by the repetition of a line by the ubiquitous boffin-in-a-lab-coat who reminds us to pay homage to 'the laws of nature'. "We have seen the dark side of the moon", he adds, to underline the sense of no going back in post-nuclear America. As the original Frankenstein lamented secular science's ascension after the Death of God, so here the angst is moral. Science in the atomic age has once again out-stripped humankind's calculus of reason and ethics, and is embodied in an indestructible gangster.
Or is he? As in the original Frankenstein, Crandell is often portrayed as a sympathy figure, a victim of the science that has created him against his wishes, intent being a crucial determinant in this liberal-humanist universe.
Naturally the love of a good woman brokers his inevitable undoing, in what amounts virtually to a tug-of-love between Elaine Stewart's Carla and the agencies of institutional America, which briefly try to salvage the threatening force's inner humanity before accepting that only the National Guard (replete with flamethrowers!) can provide the answer. A pile of dust (pardon the symbolism) is the inevitable result.
MDMA actually looks better on the small screen, where its over-lit TV production values belong. Typical of low budget movies, it gets away with more, and there is a surprising abundance of lascivious nightwear from both Paget and Stewart, the flipside of which is an unpleasantly vivid near-rape scene later.
At the climax of this, his last film (actually completed in 1958), elderly swashbuckler Allan Dwan throws all discipline to the four winds in a location identical to Border Incident's 'Valley of the Vultures', where the film's genre discipline collapses into a smorgasbord of Western, military and even 'ant movies' that culminates in immolation a la a poor man's White Heat ("you can’t stop me", mumbles Candell/Randell in the flames).
Shot in Mexico, Dwan's final film is this mournful story of a gangster (Ron Randell) who gets caught in a cobalt explosion when he's escaping from prison, and who becomes a man of steel. He sets out to revenge himself on all his enemies. With Elaine Stewart and Debra Paget as the women in his life, current and former. As tough as flint, as beautifully engineered as the best of Dwan's films, this is B filmmaking at its best.
The script was, in part, written by another Aussie expat, MICHAEL PATE, who occasionally dabbled in screenwriting, and also collaborated on the script for Escape from Fort Bravo (1953).
Is it any wonder then that Wim Wenders, in his 1982 critique of filmmaking, The State of Things, would have a (fictional) film crew in Mexico remaking no less singular a flick than... The Most Dangerous Man Alive?
Prod. Benedict Bogeaus. Dir. Allan Dwan. Wr: Phillip Rock (story: The Steel Monster) and MICHAEL PATE (story: The Steel Monster), James Leicester and Phillip Rock. Mus. Louis Forbes. Phot: Carl Carvahal. Ed:Carlo Lodato. Snd: Joe Kavigan (sound editor). Cast: RON RANDELL (Eddie Candell); DEBRA PAGET (Linda Marlow); Elaine Stewart (Carla Angelo); Anthony Caruso (Andy Damon); Gregg Palmer (Lt. Fisher); MORRIS ANKRUM (Capt. Davis); Tudor Owen (Dr. Meeker); Steve Mitchell (Devola); Joel Donte (Franscotti). 82 mins. NFVLS
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Minor programme changes may occur due to unforseen
circumstances.
circumstances.
Feature runs last; shorts order may vary from listing.
* Acknowledging ACMI Inc. & ScreenSound Australia ;) *
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THIS IS A FILM SOCIETY SCREENING OPEN TO MEMBERS
BUT IF YOU WISH TO BECOME A MEMBER, THE JOINING FEE IS SO LOW,
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IT *MIGHT AS WELL BE FREE*!
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arrive well-prior to the time listed for the screening to
commence!
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