#Bob Wehling

[daytrippergilmour]

I love Bob Geldof's version of In The Flesh

So ya. thought ya. mightliketogototheshow

To feel the waaaarm thrill of confusion that... space cadet glow (heh)

Igotsomebadnewsforyousunshine

Pink isn't wehl he's uhh backatthehotel

And they sent US along as a surrogate band

Now tonight we're gonna find out where you fans REEEEALLLLY STAND!!

[kwebtv]

From the Golden Age of Television

Series Premiere

Zorro - Presenting Senoir Zorro - ABC - October 10, 1957

Action Adventure

Running Time: 30 minutes

Written by Norman Foster and Bob Wehling

Produced by William H. Anderson

Directed by Norman Foster

Stars:

Guy Williams as Don Diego de la Vega / Zorro

Gene Sheldon as Bernardo

Henry Calvin as Sergeant Demetrio Lopez Garcia

Britt Lomond as Captain Enrique Sánchez Monastario

George J. Lewis as Don Alejandro de la Vega

Jan Arvan as Don Ignacio Torres

Than Wyenn as Licenciado Piña

Fred Cavens as Ship Captain

Eumenio Blanco as the Alcalde

[ulkaralakbarova]

Both dumped by their girlfriends, two best friends seek refuge in the local mall. Eventually, they decide to try and win back their significant others and take care of their respective nemeses. Credits: TheMovieDb. Film Cast: Rene: Shannen Doherty T.S. Quint: Jeremy London Brodie: Jason Lee Brandi: Claire Forlani Shannon: Ben Affleck Gwen: Joey Lauren Adams Tricia: Renée Humphrey Silent Bob: Kevin Smith Jay: Jason Mewes Willam: Ethan Suplee Stan Lee: Stan Lee Ivannah: Priscilla Barnes Svenning: Michael Rooker La Fours: Sven-Ole Thorsen Security Guard: Carol Banker Arresting Cop #2: Steven Blackwell Pull Toy Kid: Kyle Boe TV Executive #1: David Brinkley Fan Boy: Walt Flanagan Guy Contestant #1: Ethan Flower Girl with Easter Bunny: Chelsea Frye TV Executive #2 – Bentley Garrison: Jeff Gadbois Guy Contestant #2: Ed Hapstak Cop #1: Terry Hempleman Game Show Host: Art James Steve Dave: Bryan Johnson Child at Kiosk #2: Mikey Kovar Fan at Comic Store: David Klein Roddy: Scott Mosier Saleslady at Lingerie Store: Crystal Muirhead-Manik Kid at Poster Kiosk: Tyson Nassauer Gill: Brian O’Halloran Passerby in Parking Lot: Aaron Preusse Child at Kiosk #1: Britt Swenson Teacher: Mary Woolever Team La Fours: Brad Fox Team La Fours: Gino Gori Team La Fours: Zach Perkins Team La Fours: Brad Giddings Team La Fours: Bryce Mack Team La Fours: Christopher O’Larkin Audience Member (uncredited): Earl R. Burt Shopper (uncredited): Tammara Melloy Screaming Girl in Audience (uncredited): Rachel Oliva Shoobie Shake Girl (uncredited): Jessica Sibinski Comic Book Fan (uncredited): Joel Thingvall Film Crew: Supervising Sound Editor: Richard LeGrand Jr. Producer: Sean Daniel Producer: James Jacks Thanks: John Hughes Supervising Music Editor: J.J. George Casting: Don Phillips Writer: Kevin Smith Stunts: Phil Chong Producer: Scott Mosier Stunts: Sven-Ole Thorsen Stunt Coordinator: Robert Apisa Director of Photography: David Klein Original Music Composer: Ira Newborn Editor: Paul Dixon Production Design: Dina Lipton Executive Producer: Caldecot Chubb ADR Mixer: Alan Holly Set Decoration: Diana Stoughton Line Producer: Laura Greenlee Stunts: Chuck Zito Production Supervisor: Beth DePatie Post Production Supervisor: Terra Abroms Foley Artist: Joan Rowe Stunts: Carl Ciarfalio Sound Effects Editor: Charles Maynes ADR Editor: Bob McNabb Makeup Artist: Toni G Main Title Designer: Mike Allred Executive In Charge Of Production: Donna Smith First Assistant Director: Fernando Altschul Stunts: Eric D. Howell Casting Assistant: Ethan Flower Script Supervisor: Carol Banker Second Assistant Director: Louis Shaw Milito Sound Re-Recording Mixer: Michael C. Casper Set Costumer: Roseanne Fiedler Costume Supervisor: Dana Kay Hart Foley Artist: Diane Marshall Sound Re-Recording Mixer: Daniel J. Leahy Location Manager: Ralph B. Meyer Sound Designer: Harry E. Snodgrass Key Makeup Artist: Brigette A. Myre Foley Mixer: James Bolt Sound Editor: William Hooper Sound Recordist: Charlie Ajar Jr. Sound Editor: William Jacobs Costume Design: Dana Allyson Music Supervisor: Kathy Nelson Color Timer: Dennis McNeill Title Designer: Dan Perri Orchestrator: Don Nemitz Stunts: Jake Crawford Prosthetic Makeup Artist: Crist Ballas Supervising ADR Editor: Norval D. Crutcher III Assistant Sound Editor: Samuel Webb Negative Cutter: Gary Burritt Assistant Sound Editor: Michelle Pleis Boom Operator: Anton Herbert Production Coordinator: Lisa Bradley Music Supervisor: Jeff Saltzman First Assistant Editor: Richard J. Rossi Location Manager: Bob Medcraft Art Direction: Sue Savage Cableman: Matthew Magrattan Second Second Assistant Director: Shari Nicotero Assistant Editor: Paul Kieran Hairstylist: Sherry Heart Sound Mixer: Jose Araujo Casting Associate: Dee Dee Wehle Assistant Editor: Elisa Cohen Hair Assistant: Kristin Mosier Movie Reviews: JPV852: Only the second time seeing this (last was probably in the early 2000s on DVD) and thought it was okay but guess like others, this has grown on me. Laughed throughout even when the dialogue wasn’t the greatest, but I have an appreciation...

[whitewaterpaper]

Zorros märke / Sign of Zorro, the (1958) [US]

Eftersom @kulturdasset​ (och alla porrbottar som följer mig) kokat av nyfikenhet sedan jag släppte bomben att jag inte hann se klart en film förra månaden. Så Så kommer här den rafflande upplösningen på dramat.

¡Oi! Spoilers, stavfel och alternativa fakta kan förekomma rakt föröver!

Tv-serien "Zorro" från 1957 vill jag minnas gick på TV3 i min ungdom. Vill minnas att jag sett spridda delar av den, men att jag aldrig fastnade för den. (Det kan ju bero på att jag inte uppskattar äldre produktioner då som jag gör i dag). Den här filmen är ihopklippt av åtta avsnitt av den serien, trots det så klockar den inte in på mer än 1½ timme. Det är kanske därför den här filmen också listar två regissörer och sex manusförfattare. Den här filmen börjar, som sig bör med Diego de la Vega på väg hem till Los Angeles på sin fars begäran. Ombord på båten får han för första gången höra om de problem staden dras med, och han bestämmer sig för att problemen med stadens girige borgmästare kanske bäst hanteras inkognito...

Det enda som skvallrar om att det här är klippt från en längre produktion är dess aningen episodiska scener. (Märkligt nog överlevde en massa dansscener saxens ingrepp :p). Med dagens ögon mätt är det här också en väldigt obalanserad film, alla de stora rollerna är män och jag tror de enda kvinnorollerna är just dansarna inne på värdshuset. Trist är bara förnamnet. Annars har man fångat karaktärerna bra, och Sgt. Garcia (motsvarigheten till 1990 års Sgt. Mendoza) är så där lagom naiv och klumpig som han skall vara. Det enda som jag ställer mig emot är en scen i början av filmen där borgmästaren/kaptenen öppet säger "inget skall stoppa mig från att bli den rikaste mannen i Kalifornien". I min värld är karln lite smartare än så.

Det här är en fartfylld film med bra actionscener, och trots att den är filmad i svartvitt så känns den inte färglös. Jag hade gärna sett lite matigare kvinnoroller, avsaknaden av kvinnor i filmen ger filmen en air av "män som gör manliga saker" som känns lite småtrist och passé idag. Men annars en fullt sevärd film fortfarande. Jag kan sträcka mig så långt att erkänna att viss nyfikenhet på tv-serien till och med väcktes.

Även om Disney inte lagt upp tv-serien på Disney+ (än?) så återfinns den här filmen. Jag antar i en tid då tv inte var förunnats alla så var det här kanske då en godtagbar mellanväg till att eventuellt hitta ut till en ny publik. Kanske gör den samma jobb idag, men på helt nya plattformar?

Länkar:

Filmen @ IMDb.com.

Filmen @ Vodeville.se.

Filmen @ PlayPilot.se.

Filmen @ DuckDuckGo.

Poster @ affichesdisney.canalblog.com.

[sesiondemadrugada]

Slacking Towards Bethlehem: J.R. 'Bob' Dobbs and the Church of the SubGenius (Sandy K. Boone, 2019).

[cacchieressa]

Memo from My Future Self by Ellen Wehle

Offered the feast Fool will you choose hunger

How many times must I return here

Great Eye At your keyhole

Fact: particles observed will Jump flight paths

"Now" a kite-song Saxophone over rooftops

Call it longing Whatever wind you've

Set in motion these Chinese lanterns bobbing--

Pontoons between You and a silver shore

[brokehorrorfan]

Eegah will be released on Blu-ray and DVD on November 26 via The Film Detective. It includes the original version of the film as well as Mystery Science Theater 3000's riff.

The infamous 1962 horror cult classic is directed by Arch Hall Sr. and written by Bob Wehling (Zoro). Richard Kiel, Marilyn Manning, Arch Hall Jr., and Arch Hall Sr. star.

Eegah has been restored in 4K by Peter Conheim from the Cinema Preservation Alliance. The Blu-ray is limited to 1,500 units. Special features are listed below.

Special features:

Eegah - Mystery Science Theater 3000 version (1993)

Interview with actor Arch Hall Jr.

Interview with Mystery Science Theater 3000 creator Joel Hodgson

Seven-foot-tall Eegah the prehistoric caveman (Richard Kiel) is out on the prowl in his desert domain when Roxy (Marilyn Manning) runs him down with her sporty little roadster. The brute survives, but he s soon holding both Roxy and her father captive in his lair. It s up to Roxys boyfriend Tom (Arch Hall Jr.), a gas station attendant who moonlights as a rock n roller, to subdue the rampaging man-beast. What Tom doesn t bargain for is Eegahs extreme interest in stealing his girl!    

[bobcrawford1]

(Bob Crawford-RMCO MUSIC)

The Players:

Wheeling: Bob Crawford-Guitar, Ed Palermo-Soprano Sax, Frank Ferrucci-Keyboards, Lincoln Goines-Bass, Pat Wehl-Drums

[thejoyofviolentmovement]

New Video: Namesake (f.k.a. Honduras) Releases a Frenetic Visual for Breakneck Ripper "Population"

New Video: Namesake (f.k.a. Honduras) Releases a Frenetic Visual for Breakneck Ripper "Population" @namesakenyc @thesyndotcom @GetBetterRecs

A love of Bob Dylan and basketball brought Patrick Phillips to New York — but it was the scene at Bushwick’s Shea Stadium that lead him to form a band with Tyson Moore, Josh Wehle and Paul Lizarraga. Initially formed as Honduras, the New York-based indie act now known as Namesake, experienced some early success with their free-spirited full-length debut, 2015’s Rituals, including opening for…

[mexcine2]

        The Amazing Colossal Irishman -- Get Outta Town (1960) poster  

Although I generally choose subjects for these essays which—in addition to providing fodder for my witty commentary—are reasonably competent in both an artistic and marketing sense, today’s poster doesn’t necessarily fit that criteria. This poster isn’t especially inspired and doesn’t seem to have that “hook�� that might pique the ticket-buying interest of movie audiences. However, Get Outta Town is a sentimental favourite and the poster is worthy of examination.

As noted above, I have a soft spot for Get Outta Town (the movie, not the poster so much). Clearly a low-budget vanity project for actor Doug Wilson, the film has nice noir-ish feel to it, the location shooting adds verisimilitude, and the vernacularised title* draws attention (apparently the working title was “The Day Kelly Came Home,” which isn’t bad; the picture was re-released in 1964 as Gangster’s Revenge, which sounds like a generic translation of a Japanese yakuza movie title).

*[ Get Outta Town was the first in a planned trilogy, to be followed by Fuhgettaboutit and Whatsamattayou.  Alright, that’s totally not true.  As far as I know.]

Most of the behind-the-camera personnel behind Get Outta Town don’t have extensive Hollywood credits. Executive producer William B. Hale might be the same “William B. Hale” who made a 1950s documentary on the Watts Towers entitled “The Towers,” but this is unconfirmed.  Co-producer/director Charles Davis is only cited by IMDB as the director of one other, later independent film (assuming this is the same Charles Davis); cinematographer Larry Raimond has a handful of credits spanning nearly 3 decades.  Scripter Bob Wehling seems to have had the most work experience, directing a couple of features and doing some acting in additional to his writing chores.  Co-producer and star Doug Wilson has a handful of TV appearances on his resumé, and IMDB also indicates he was a film editor, although no credits are provided.

[To be fair, technical credits on episodic Fifties television series are not well documented, so at least some of these people could have been hard-working professionals, just not on theatrical features.  As an aside, Get Outta Town’s on-screen credits are in the familiar “Sixties TV sitcom” font, which subliminally reinforces the television-industry connections of the cast and crew.]

Get Outta Town carries a 1959 copyright date by “MCP Film Distributing Co.” (the production company is listed variously as “Albex Films” and “Davis-Wilson Productions”) and was released in 1960 by Sterling World Distributors (the 1964 re-release was handled by Beckman Film Corp.).  A fair amount of “paper” can be found for Get Outta Town, including the one-sheet poster illustrated here, lobby cards (I think I even own one), and an insert.

The poster for Get Outta Town (which spells the title Get Outta’ Town, although the film itself doesn’t have the apostrophe) isn’t horrible, but is rather bland.  The yellow background was, for some reason, a popular motif in some Fifties-Sixties cinema posters: perhaps the designers thought it was eye-catching or made the artwork “pop” more than a white  background would.  To me, it signifies “cheap indie film,” though, but I suppose that could be a conditioned response based on the number of posters I’ve seen like this, as opposed to a strictly artistic evaluation.

[More yellow-background posters, from a quick scroll thru www.wrongsideoftheart.com: Carnival Rock, Because of Eve, Cage of Evil, Curse of the Faceless Man, Eighteen and Anxious, Fingerprints Don’t Lie, Girl Fever, Girl on the Run, Liane Jungle Goddess, Red Lips, Right Hand of the Devil, Teenage Zombies, The Violent Years, Wild for Kicks, The Naked Road, Teenage Thunder, Operation Conspiracy, New Orleans Uncensored, Five Guns West, The Party Crashers, Chained for Life, The Incredible Petrified World, The Woman Eater, Voodoo Island, and many more.  The titles alone give you an idea of the class of movies that used the garish yellow background in this era.]

The main image is, of course, of producer-star Doug Wilson.  He’s big, burly, with muscular arms and a hairy chest revealed by his unbuttoned shirt.  There’s a sort of John Wayne-ish vibe about this portrait, and it was probably not coincidental.  I’m of two minds about this.  First, the art does convey the impression of a tough, action-oriented, even working-class protagonist, perhaps a truck driver or an oil rig worker or a longshoreman or a construction boss, etc. (this is somewhat at odds with the tone of the film itself, which is more of an urban crime picture).  On the other hand, Doug Wilson stars in the movie but he’s not a movie star, so a gigantic painting of him, mostly devoid of context, might not be the best sales tactic.  He’s looming over a cityscape, there’s a dead body and two women, but mostly this is DOUG WILSON, TOUGH GUY. Take it or leave it.  

Two women are pictured on the poster.  The poster’s text (to be discussed shortly) suggests these are the protagonist’s “two girl friends,” and we can surmise that Lefty is the good girl (modest top and skirt combo, tasteful necklace) and Righty is the bad girl (spaghetti-strapped gown with a fringed hem, bare shoulders), but they are both awkwardly posed and both share the same shocked and apprehensive expression.  They’re his “girl friends?”  They seem to be regarding him fearfully, not affectionately.  Maybe it’s awe of his massive masculinity that makes them look that way.  

Thus, while the artwork and design aren’t crude or confusing, the exact nature of the film is hazy.  Perhaps the text can clear this up?  But if you’re relying on the printed words on a poster to educate your audience about what to expect, you’ve got one strike against you to begin with.   

The Get Outta Town poster’s text is relatively on-point.  “Kelly turned the town upside down the day they killed his kid brother!”  Got it: revenge motive for town-inversion. ��“He took the law into his own hands!”  His own big, meaty, tough-guy hands.  How would you describe Kelly?  “A two-fisted Irishman with two girl friends!” One girlfriend for each fist, it seems.

[Doug Wilson is credited as “Kelly Oleson”—I don’t remember if his heritage is explained in the film itself, but “Oleson” is a “Danish-Norwegian patronymic surname,” according to the unimpeachable source for everything, Wikipedia.  Even if you spell it “Olson,” it’s still Scandinavian, not Irish.  But I guess “two-fisted Irishman” sounds better than “two-fisted Scandinavian.” Unless of course you’re Scandinavian.]

The poster indicates the film has an “All-Star Hollywood Cast.” You keep using those words.  I do not think they mean what you think they mean. Perhaps you do know, you’re just hoping we don’t call your bluff.  “All-Star Hollywood Cast?”  Doug Wilson was in an episode of “Rawhide.” And two episodes of “Science Fiction Theater!” Jeanne Baird did a lot of television in the Fifties and Marilyn O’Connor played “Rita—Saloon Gal” in an episode of “Tombstone Territory.”  The rest of the cast is a mixture of people who made a few other appearances (mostly on television) and those whose sole IMDB claim to fame is Get Outta Town.  So we’ll give them “Hollywood Cast,” but I’m calling shenanigans on “All-Star.”

The text on the Get Outta Town insert poster is significantly different than the one-sheet’s. The top tag-line is hilarious: “ ‘Squirrel’s’ Tongue Slipped!”  No, it’s not an erotic movie shot at a furry convention, “Squirrel” is the name of a minor character in Get Outta Tongue.  He let something slip, you see, “...and Kelly’s Fists Went Into Action!”  [btw, “Kelly’s Fists” would have been a good alternate title for the film.]  “This Irishman cleaned up gangland when police didn’t!”  Also “His love for two girls solved a nasty crime!”  However, it also caused considerable heart-ache.

The poster for Get Outta Town isn’t bad—technically speaking, the art and design are professional—but it’s not unique or compelling, especially given the no-star nature of the production.  In a way that’s too bad, because the film itself is rather enjoyable in its way.

[brokehorrorfan]

Blu-ray Review: Eegah

Netflix's recent cancellation of the Mystery Science Theater 3000 revival is disappointing, but thankfully the series leaves an extensive back catalog to enjoy. While nearly every episode of the show is available in various collections courtesy of Shout Factory, select episodes occasionally make their way onto other releases. Such is the case with The Film Detective's new edition of Eegah, which includes the 1962 film in its original form along with the 1993 episode of MST3K in which it's featured.

Marketed as a horror movie (tagline: “The name written in blood!”), the plot revolves around the titular Eegah (Richard Kiel, The Spy Who Loved Me), a seven-foot caveman stereotype, complete with an animal hide smock, a huge club, and a cave dwelling. He emerges from the California desert and kidnaps a teenage girl, Roxy (Marilyn Manning), prompting her boyfriend, Tom (Arch Hall Jr.), to come to the rescue. The film culminates with the towering neanderthal following them back to civilization and crashing their party.

Eegah is the only film directed by actor/writer Arch Hall Sr. (The Corpse Grinders) - using the pseudonym Nicholas Merriwether - who also plays Roxy’s father. He conceived the story, which Bob Wehling (Zorro) turned into a screenplay. It's occasionally entertaining in its questionable execution - such as the King Kong-esque love angle between Roxy and Eegah as she attempts to domesticate him - but not nearly enough to warrant an 89-minute runtime. Commonly cited among the worst movies ever made - and justifiably so - the film is a chore to get through.

As is often true, the Mystery Science Theater 3000 version is far more palatable. Hailing from the series' sixth season, the episode finds captive janitor Joel (Joel Hodgson) and his snarky robot companions, Tom Servo (Kevin Murphy) and Crow T. Robot (Trace Beaulieu), in top form as they’re subjected to the B-movie. It's presented in its entirety, including host segments that are at least vaguely related to the film, which was not always the case.

The mad Dr. Clayton Forrester (Beaulieu) describes the film best when introducing it to Joel: "Eegah has got Richard Kiel and not much else." The ample pop culture references are dated, but the humor holds up otherwise. By the end of their riffing, "Watch out for snakes" becomes not only a catchphrase for the episode but also one of the most-quoted lines from the entire series. It has become such a fan-favorite that Eegah was one of the films riffed on a recent Mystery Science Theater 3000 live tour.

The Film Detective's Eegah special edition Blu-ray features a 4K restoration of the original 35mm negative by the Cinema Preservation Alliance's Peter Conheim with DTS-HD 2.0 Master Audio. Even with a few minor flaws, the transfer looks and sounds better than anyone would expect from a production of this caliber. The Mystery Science Theater 3000 version is presented in its original full-screen format. Limited to 1,500 units, the release includes an insert with an essay by The Film Detective’s Don Stradley.

The disc also offers new interviews with Hall Jr. and Hodgson. Hall Jr. explains that his father originally conceived Eegah to be the second part of a double bill in order to sell his previous production, The Choppers. He also addresses some of the film's shortcomings as well as MST3K bolstering its legacy. For his part, Hodgson admits the MST3K gang were at their "most cynical" when they riffed Eegah, but his thoughts on the film have changed since then, sparked by a convention meeting with Hall Jr. years later.

Eegah is available now on Blu-ray via The Film Detective.