THE BOWERY BOYS on DVD: continuing discussion of Warner's eventual release plans (NEW UPDATE 10/2 Po (1 Viewer)

[Ronald Epstein]

Warner Archive Collection: New Releases for 4/16/2013http://l.email-warnerbros.com/1x1.dyn?0lkGgqr-C1TnGh2o1V6CGegxU=0

WARNER ARCHIVE HOME • NEW RELEASES • BESTSELLING DVDs • FORWARD TO A FRIEND

FAST COMPANY/FAST AND LOOSE/FAST AND FURIOUS TRIPLE FEATURE (1938-39) Meet the Sloanes, rare book dealer Joel and his spousal secretary Garda bust crime when they’re not lip-locked in a clinch. The wise-cracks, workplace romance and murder may put viewers in mind of a certain girth-lacking gentleman, but the Sloanes serve up their own brew of cinematic froth. And adding extra-boost to the mystery menu? Three different pairings in each installment! Melvyn Douglas and Florence Rice inaugurate the series in high fashion, mere months before Melvyn’s career would go meteoric (thanks to a little picture called Ninotchka) in 1938’s FAST COMPANY. Claire Dodd shares top billing as the film’s femme who may or may not turn out to be fatale. Next up, FAST AND LOOSE pairs up the dry wits of Robert Montgomery and Rosalind Russell as the Sloanes get swept up in purloined Shakespeare. Finally, no less a luminary than Busby Berkeley takes the director’s chair in 1939’s FAST AND FURIOUS guiding the able hands of Franchot Tone and a Maisie-hot Ann Sothern as Garda who finally goes to the beach for her long awaited vacation. Unfortunately, Joel gets caught up in a deadly scheme… NICK CARTER MYSTERIES TRIPLE FEATURE (1939-40) Nick Carter began his stint as literary icon and criminal foe over 125 years ago on the pages of dime novels. As times and media change, he’s donned a wide spectrum of hero hats: proto-superman, pulp detective, radio gumshoe, paperback spy-sassin — “the American Sherlock Holmes”…Perhaps the best incarnation of Nick Carter can be found in these three high-flying, white knuckling, brawling adventure mysteries starring the great Walter Pidgeon. Not yet confined by the probities of the leading support roles he would be called on to play, Walter’s Carter is equal parts cranium and cool, mixing the ratiocination with romance and fisticuffs. The looming war in Europe casts a shadow of the films as well, with Nick tackling timely menaces such as spies and saboteurs, alongside his diminutive amateur detective sidekick Bartholomew, a true B-man who literally controls swarms of angry bees. NICK CARTER, MASTER DETECTIVE (1939) sees Nick tackling espionage and sabotage in the aviation industry with Rita Johnson providing earth-bound distractions. PHANTOM RAIDERS (1939) sees Nick tackling the sinking of supply ships with Fast Company star Florence Rice. SKY MURDER (1940) has Nick trying to clear Karen Verne of a locked aircraft murder. Future Falcon, Tom Conway is also aboard for the ride!

DR. KILDARE: THE COMPLETE FIRST SEASON (1961-62) Richard Chamberlain and Raymond Massey don the surgical scrubs first made famous by the film team of Lew Ayres and Lionel Barrymore for the equally successful TV incarnation in the 1960s. Richard Chamberlain’s star ascended quickly, as the show swept him from relative unknown to full-on teen idol (in a show pointed squarely at adults, no less). The show was also blessed to have the talents of a young Jerrald Goldsmith on hand to pen the shows score. Kildare’s title theme, “Three Stars Will Shine Tonight”, became a monster hit on its own, sung by Mr. Chamberlain himself. Notable guests include Lee Marvin, Ellen Burstyn, Dorothy Malone, Joseph Cotten, Mary Astor, Margaret O’Brien and more! And as an added bonus, we’ve dug up a “lost” episode — “The Eleventh Hour,” the ORIGINAL, never-aired pilot for the Wendell Corey psychiatric drama, teaming Dr. Theodore Bassett up with Drs. Gillespie and Kildare to get to the bottom of what the devil is wrong with Ann Costigan (Vera Miles). All episodes have been newly remastered especially for this DVD premiere release. Initial quantities of this release will be traditionally replicated (pressed) in anticipation of high consumer demand.

ETHEL (2012) Filmmaker Rory Kennedy corrals a most unlikely, and most inspiring subject for this documentary, her very private and very extra-ordinary mother, Ethel Kennedy. This personal portrait, featuring candid interviews with Ethel Kennedy — her first extended interview in more than two decades — and her children Kathleen, Joe, Bobby, Courtney, Kerry, Chris and Max, spans her political awakening, the life she shared with Robert Kennedy and the years following his death, when she raised their 11 children. Ethel is the first film made about the Kennedys from within the family.

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Dr. Kildare! Nick Carter! The Sloanes!
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[JeffT.]

It sounds very much like PRIVATE EYES (1953) is standard screen. Is HIGH SOCIETY (1955) widescreen?Joe mentions the part at the beginning of THE BOWERY BOYS MEETS THE MONSTERS (1954) were Grissom (Paul Wexler) the Addams Family-like butler changes into a Mr. Hyde-like monster. This has always been missing from the syndicated tv prints cut down to fit an hour timeslot.Anyway this is yet another batch of good films well worth looking forward to.I somehow suspect that starting in the third volume there will (definitely) be some Stanley Clements titles included.Jeff T.

 

[Joe Karlosi]

Yes, HIGH SOCIETY is presented Widescreen on this set.

 

[Ronald Epstein]

Joe mentions the part at the beginning of THE BOWERY BOYS MEETS THE MONSTERS (1954) were Grissom (Paul Wexler) the Addams Family-like butler changes into a Mr. Hyde-like monster. This has always been missing from the syndicated tv prints cut down to fit an hour timeslot.

Yepper, it's intact.

 

[JeffT.]

When I received the first set I (actually) watched each film as presented without jumping around. I find that I enjoy all The Bowery Boys films so (at least in my case) it's easy for me to do that.

This set (once again) has some nice titles SPOOK BUSTERS (1946), BOWERY BUCKEROOS (1947) marking Bobby Jordan's final appearance in the series, HARD BOILED MAHONEY (1947) with veteran character actor Dan Seymour ("What is this 'Routine Eleven' you speak of?"), GHOST CATCHERS (1951), LET'S GO NAVY! (1951), HOLD THAT LINE (1952), PRIVATE EYES (1953) and of course THE BOWERY BOYS MEET THE MONSTERS (1954).

The illusive MR. HEX (1946) is still errant!

Why is there no mention of "widescreen" on any of the original poster advertising for the latter produced films in the series? Was this by now standard format for all films?

Thank you gentlemen for your much appreciated responses.

Jeff T.

 

[Robert Crawford]

I viewed Smuggler's Cove and Meet the Monsters yesterday. I thought both looked very good considering the film element conditions. I'm going to try to view Bowery Buckeroos and Hard Boiled Mahoney later this week.

 

[Tony Bensley]

I think THE BOWERY BOYS MEET THE MONSTERS may have been their first widescreen effort. It is listed as 1.85:1 by imdb.

CHEERS!

 

[JoHud]

When I received the first set I (actually) watched each film as presented without jumping around. I find that I enjoy all The Bowery Boys films so (at least in my case) it's easy for me to do that.

I've been doing that as well. However, that's because I was new to the Bowery Boys before Vol. 1 came out and therefore had no personal favorites. So far, I share your sentiments and find enjoyment in all of them too.

I think THE BOWERY BOYS MEET THE MONSTERS may have been their first widescreen effort. It is listed as 1.85:1 by imdb.

CHEERS!

Technically Private Eyes was and Meet the Monsters was the third, but I think the WAC made the right call as it apparently wasn't intended for widescreen presentation before shooting started. I'm pretty sure the next one, Paris Playboys, will be presented in widescreen.

 

[Randy Korstick]

Bowery Buckeroos has always been very dark, like a night for day filter was on for day scenes in all previous TV prints and the VHS release. Hopefully this has been corrected or at least improved on this release.

I viewed Smuggler's Cove and Meet the Monsters yesterday. I thought both looked very good considering the film element conditions. I'm going to try to view Bowery Buckeroos and Hard Boiled Mahoney later this week.

 

[JeffT.]

When viewing these films I set aside a (late) afternoon or evening usually on a Saturday and watch three-at-a-time (which translates to one disc). So in four weeks I have completed the set.

It will be tough going heading toward the homestretch when Louie (Bernard Gorcey), Butch (Benny Bartlett) and even Slip (Leo Gorcey) himself all drop out of the series. It is unfortunate that everyone couldn't have stayed to the very end but I guess it just wasn't meant to be and their personal lives were just too tumultuous to permit that.

It sounds like PRIVATE EYES (1953) started off in the regular screen format and midway while still in production it was decided to adapt to the new widescreen medium. I am looking forward to seeing both THE BOWERY BOYS MEET THE MONSTERS (1954) and HIGH SOCIETY (1955) in widescreen.

Anyway keep on watching and enjoying those (The) Bowery Boys DVDs!

Jeff T.

 

[Tony Bensley]

I find it interesting that studios made the change from academy ratio to widescreen in the middle of film productions. In my opinion, the decision to transfer PRIVATE EYES in the academy ratio was the right one.Truth be told, as I've stated previously, I am 50/50 regarding the academy matte/widescreen titles for the reason that, while they were originally presented in 1.85:1 ratio for the theaters, some cropping (However much care was taken to retain all meaningful images!) was done to achieve this. An academy ratio presentation would have allowed those with 16 x 9 (Which is exactly equivalent to 1.85:1) screens to choose how to view these titles, thus satisfying all preferences!

With that said, I greatly look forward to viewing THE BOWERY BOYS MEET THE MONSTERS, along with the other Bowery Boys, Volume 2 titles!

CHEERS!

 

[JoHud]

I noticed a few moments that seem cribbed from Edward Bernds' earlier work on the Three Stooges. Private Eyes, for instance, gives a good amount of screen time to Emil Sitka despite his name to even appearing in the opening credits. No doubt his relationship with Bernds factored in. Also, The Bowery Boys Meet the Monsters has a sequence with a gorilla that is almost directly lifted from the very similar sequence in Crime on Their Hands, where Moe and Larry saw into the gorilla's caged pen, stab it in the rear end with the saw, and Moe shoving Larry into the pen repeatedly despite Larry's constant state of fear. In addition, the sequence where Slip is tied onto the operating table at the mercy of a gorilla with a scalpel in his hand is also very reminiscent of the same sequence in Crime on their Hands where Shemp is on the operating table.

Also, the whole sideplot in the same film where Dr. Derek Gravesend (John Dehner) discovers that Sach's brain is perfect enough (rather, puny enough) for his experiment to transplant it into the cranium of an ape is reminiscent of the Bernds' directed A Bird in the Head in which Curly was the "perfect specimen." Of course this very similar subplot was used in the 1946 Bowery Boys film Spook Busters, so it's less clear if Bernds was using Three Stooges inspiration here or if it was loosely cribbed from Spook Busters. Most conspicuously, Spook Busters was released a mere 6 months after A Bird in the Head so it's quite possible there was a bit of minor plagiarism from the earlier Stooges effort.

 

[Joe Karlosi]

I think you're correct, JoHud. I have always noticed this, and it's my view that the reason BOWERY BOYS MEET THE MONSTERS is a stand-out film in this series (some say it's "their masterpiece") is because it takes elements from the Three Stooges films. The movie was not only directed by Stooge directors Edward Bernds, it was also written by Bernds and Stooges writer Elwood Ullman.

 

[Robert Crawford]

I noticed a few moments that seem cribbed from Edward Bernds' earlier work on the Three Stooges. Private Eyes, for instance, gives a good amount of screen time to Emil Sitka despite his name to even appearing in the opening credits. No doubt his relationship with Bernds factored in. Also, The Bowery Boys Meet the Monsters has a sequence with a gorilla that is almost directly lifted from the very similar sequence in Crime on Their Hands, where Moe and Larry saw into the gorilla's caged pen, stab it in the rear end with the saw, and Moe shoving Larry into the pen repeatedly despite Larry's constant state of fear. In addition, the sequence where Slip is tied onto the operating table at the mercy of a gorilla with a scalpel in his hand is also very reminiscent of the same sequence in Crime on their Hands where Shemp is on the operating table.

Also, the whole sideplot in the same film where Dr. Derek Gravesend (John Dehner) discovers that Sach's brain is perfect enough (rather, puny enough) for his experiment to transplant it into the cranium of an ape is reminiscent of the Bernds' directed A Bird in the Head in which Curly was the "perfect specimen." Of course this very similar subplot was used in the 1946 Bowery Boys film Spook Busters, so it's less clear if Bernds was using Three Stooges inspiration here or if it was loosely cribbed from Spook Busters. Most conspicuously, Spook Busters was released a mere 6 months after A Bird in the Head so it's quite possible there was a bit of minor plagiarism from the earlier Stooges effort.

I wouldn't call it plagiarism if the writer is using his own work again or the original writer is given screen credit on the later film.

 

[Robert Crawford]

I think you're correct, JoHud. I have always noticed this, and it's my view that the reason BOWERY BOYS MEET THE MONSTERS is a stand-out film in this series (some say it's "their masterpiece") is because it takes elements from the Three Stooges films. The movie was not only directed by Stooge directors Edward Bernds, it was also written by Bernds and Stooges writer Elwood Ullman.

Right!

 

[JeffT.]

The idea of a mad scientist needing a human head (or brain) for his "mechanical man" originated in THE THREE STOOGES short "Dopey Dicks" (02/03/1950) written by Elwood Ullman and directed by Edward Bernds.The humour that I really like in THE BOWERY BOYS MEET THE MONSTERS (1954) are the subtle clever embellishments like the "double-necked knitted woollen sweater" which is pure Charles Addams.If one thinks about it Slip (Leo Gorcey) is a Moe-like personification and Sach (Huntz Hall) is a Curly-Larry amalgamation.In an interview Edward Bernds confided that he didn't especially enjoy working with Leo Gorcey and Huntz Hall ("The Boys") finding them increasingly "difficult to handle."Whatever problems that there were on the set none of it (thankfully) shows up on screen.Allied Artists probably hired (no nonsense) Mr. Bernds because of his background in filmed comedy and could rely upon the gentleman to keep things well under control.Generally Edward Bernds enjoyed his association with The Three Stooges albeit he wasn't particularly appreciative of Curly (who was in sad physical decline at the time). Mr. Bernds did think highly of Shemp Howard however.

Incidentally, Huntz Hall was a close personal friend of Shemp and attended his good friend's funeral.Jeff T.

 

[JoHud]

I wouldn't call it plagiarism if the writer is using his own work again or the original writer is given screen credit on the later film.

Sorry, poor choice of words on my part. You're absolutely right.

 

[Joe Karlosi]

The idea of a mad scientist needing a human head (or brain) for his "mechanical man" originated in THE THREE STOOGES short "Dopey Dicks" (02/03/1950) written by Elwood Ullman and directed by Edward Bernds.

Good point. The scene where the robot in BOWERY BOYS MEET walks into some machinery and loses his head was right out of the Stooges' DOPEY DICKS.

Ditto for the gag where Leo Gorcey is hiding under a table and sticks his head up through the table and Huntz Hall thinks he's been decapitated ("they cut off his head and he's STILL talking!!") --- same scene was featured in DOPEY DICKS with Larry's head peeping up through a table, and Shemp freaking out!

 

[JoHud]

You're right! I forgot about the robot segment of Dopey Dicks, and with the disembodied head gag, its very likely inspiration was drawn from that short as well.

 

[JeffT.]

When Joe relates The Three Stooges bits with all the "heads" it sounds hilarious. Was it as well done with The Bowery Boys?Naturally, I've seen THE BOWERY BOYS MEET THE MONSTERS (1954) many times in the past but not recently, not in its entirety and certainly not in widescreen.I am not certain that I am comfortable that so much Three Stooges material was reused. There must still be some typical Bowery Boys aspects to it. I'll just have to watch it and access it for myself.Jeff T.