mandag 22. desember 2008

R.I.P. Horst Tappert

It is with great sadness I note that beloved German actor Horst Tappert passed away on December te 13th at the age of 85.

Horst Tappert began his film career in the late 1950s and fans of European cinema will fondly remember Tappert for his performances in a series of Edgar Wallace krimis in the late 1960s - beginning with a supporting role in The Horror of Blackwood Castle (1967) and then graduating to leading player; portraying Scotland Yard Inspector Perkins in both The Gorilla From Soho (1968) and The Man With the Glass Eye (1969).

Tappert featured in German lobbycards for some of the Edgar Wallace krimis he appeared in

Horst Tappert also acted in three German/Spanish co-productions directed by prolific Spanish cult-director Jess Franco: She Killed in Ecstacy and The Devil Came from Akasawa (both 1971) alongside Franco starlet Soledad Miranda, and then finally in the bizarre but stylish and enjoyable crime-thriller The Corspe Packs His Bags (1972).

Tappert in The Corpse Packs His Bags

But it wasn't until two years after The Corpse Packs His Bags that Tappert would land the role that we all know and love him for; that of Oberinspektor Stephan Derrick in the long-running German detective TV series Derrick, which ran for a 281 episodes from 1974 to 1998.

Derrick became a phenomenally popular series and has been broadcast in 108 countries - Italy, France, Japan, China and Norway being some of the countries in which the show was particularly successful. It's somewhat of a mystery just how a show like Derrick managed to become such a huge hit all over the globe and I'm not going to try and guess. I will, however, take the time to discuss my own memories of Derrick - from a Norwegian standpoint. I remember Derrick very well from my younger years as the show used to air every Friday. Back in the 1980s, there was only one single TV channel in Norway and crime shows were only shown Friday nights so it goes without saying that Derrick really reached out to the Norwegian TV audience and made Horst Tappert a household name. It was always a rather innocent and not very violent series but even as new TV channels emerged and crimes shows were being aired all day of the week, Derrick still remained popular with Norwegian viewers; having long since achieved cult status.

Horst Tappert's popularity was also helped by the fact that he was always an outspoken friend of Norway. He and his wife, Ursula, frequently vacationed in Norway; having bought a cabin in Hamarøy in 1990. He also met with King Harald and Queen Sonja of Norway when they were visiting Germany in 1994.

Horst Tappert meets King Harald of Norway

In 2002 Tappert won the Norwegian-German Willy Brandt Prize, which is handed out annually by the Willy Brandt Foundation, named for the former German chancellor who had a Norwegian wife and helped rebuild ties between the countries after the war. Tappert won the prize for having given Germany a human face in Norway after WW2.

So I've been aware of Horst Tappert since my early childhood but back then I only thought of him as Derrick. I basically knew nothing about his earlier acting career and I still remember how stunned I was when - years later - I found out he had been in Jess Franco films! Seeking these films out turned out to be very worthwhile and it really allowed me to see a whole new side of Tappert. The Corpse Packs His Bags, in particular, is a great Jess Franco film and it boasts what is now one of my favorite Tappert performances. In stark contrast to the Derrick character, Tappert plays somewhat of a bad guy character here - at one point he actually ties up his co-star (the chic German actress Barbara Rütting), soaks her in liquor and lights a match; threatening to set her ablaze unless she gives him the information he wants. Such brutal behavior is not what most people will associate with Horst Tappert but he pulls it off convincingly.

Tappert shows his mean side

It's sad that this great, legendary cult actor is no longer with us but Horst Tappert will live on in our hearts forever through the many great memories of his work as Derrick, and in the Edgar Wallace krimis and Jess Franco Films.

R.I.P. Horst Tappert

lørdag 15. november 2008

Lost film #3: Tempo d'immagini

Italy, 1970

Director: Adimaro Sala

Umberto Di Grazia, Maria Pia Giancaro, Dino Mele

Here's another completely obscure Italian film that appears to have disappeared almost entirely: an erotic melodrama called Tempo d'immagini, which was directed by a little-known filmmaker by the name of Adimaro Sala. A pretty low-budget film with only three actors, the film was registered with a visa number (which are issued to all Italian films) in October 1970 but for whatever reason the film was shelved for a great number of years - not given a theatrical release until in 1988!!!

Whatever happened to the film after that is anyone's guess. It doesn't appear to have been released on VHS and it's not even listed in the IMDb or any other notable movie databases.

However, a photo novel version (a so-called cineromanzo) of the film was published in the Italian cineromanzo magazine Topfilm in June 1971. Topfilm also had a French sister-magazine called Playfilm, which was identical in content; the only exception being that Playfilm was in French text instead of Italian. The photo novel version of Tempo d'immagini was published in Playfilm in October 1971 under the French title Temps d'images, and I have been fortunate enough to get my hands on this magazine.

The cover of the Playfilm magazine. The image is not from Tempo d'immagini, however. Instead it shows the stunning French actress Veronique Vendell in a shot from the German sex comedy Virgin on the Verge (1970)

Thanks to this photo novel it is possible to form somewhat of an impression as to what kind of film this is. The story is actually very simple. It deals with two young lovers named Joe and Jannette.

Jannette is played by the gorgeous Maria Pia Giancaro, a notable genre actress in Italian films in the 1970s, who played memorable roles in stuff like Emilio Miraglia's giallo The Red Queen Kills Seven Times (1972) and Mario Siciliano's occult thriller Evil Eye (1974).

Maria Pia Giancaro

Jannette's lover, Joe, is played by Umberto Di Grazia, who was one of the many C.S.C. actors (like Carla Mancini, Luigi Antonio Guerra, Lorenzo Piani etc) that were credited for tax reasons and often didn't actually appear in the films they were credited in. When C.S.C. actors actually did appear, they usually played rather insubstantial roles. Thus, it is quite a surprise to see Di Grazia playing the leading role here. I'm assuming that director Adimaro Sala liked him a lot because he had previously used Di Grazia in a leading role in his La pelle a scacchi (1969), another obscure film with only a handful of actors.

Umberto Di Grazia

Anyway, it seems that Joe and Jannette like to drink whisky and fool around while wearing strange white robes and big fur hats.

Joe and Jannette have fun with whisky and fur hats

There's also a fair bit of sex going on but judging by the way it's shot, it looks as if the sex scenes are a tad on the "artsy" side.

Artsy sex and nudity aplenty

Everything is all nice and jolly until Jannette starts to get involved with another man (Dino Mele). Eventually, Joe finds out about this and it leads to violence...

Jannette and the other man

The inevitable eruption of violence

Obviously, it's difficult to properly judge and appreciate the mood and atmosphere of the film when one only has the photo novel to go by but at least it gives us an idea of what the film would be like. The story is simple and the film obviously cost next to nothing but it looks interesting enought for me to want to check it out. Maria Pia Giancaro certainly looks very lovely here. Hopefully, Tempo d'immagini isn't completely lost and can be rescued from obscurity.

The cast:

Umberto Di Grazia as Joe

Maria Pia Giancaro as Jannette

Dino Mele as The other man

onsdag 5. november 2008

The Lady in the Car with Glasses and a Gun/La dame dans l'auto avec des lunettes et un fusil

France, 1970

Directed by Anatole Litvak

Samantha Eggar, John McEnery, Oliver Reed, Stephane Audran, Billie Dixon, Bernard Fresson, Yves Pignot, Marcel Bozzuffi

Having previously looked at and been impressed by the French thriller The Sleeping Car Murder (1965), based on the novel of Sébastien Japrisot, it felt appropriate to take a closer look at The Lady in the Car with Glasses and a Gun, another French thriller based on a Japrisot novel.

The lovely Samantha Eggar stars as Dany Lang, an attractive English secretary who works in an international ad agency in Paris. Being short-sighted, Dany always wears big, fashionable (and dark) 1960s-style glasses.

The lady with the dark glasses

During a hectic work period, Dany's boss, Michael Caldwell (Oliver Reed), asks her if she'd mind working overnight at his home. Being the faithful employee, Dany agrees and accompanies Michael back to his house. There she also meets with Michael's attractive wife, Anita (Stephane Audran). As it turns out, Anita used to be friends with Dany a long time ago, although their friendship fizzled out as soon as Anita climbed up the social ladder by marrying Michael. The former friends' reunion is rather awkward as they barely exchange a few banal phrases, but the encounter triggers a flashback in Dany – showing how Anita was apparently prone to sleeping around a lot before she met Michael.

The next day, Michael, Anita and their little daughter are going away on a trip and ask Dany to drive them to the airport in their fancy, white convertible and then take the car back and park it at their house. Somewhat reluctant as she's never driven the car before, Dany nevertheless agrees and drops them off at the airport. But as she's about to drive back, Dany gets off in the wrong lane and finds herself heading south - towards the Riviera - instead. Figuring she might as well enjoy this fancy car while she has the chance, she impulsively drives on.

The lady in the car

But soon strange things start to happen. Everywhere Dany goes, she is recognized by complete strangers who all claim to have met her there before. But Dany is certain that she has never been in the south of France before or met any of these people. It's as if she's retracing a route she has never taken. Things turn more sinister when Dany stops at a gas station to use the bathroom. Shortly afterwards, the gas station attendant hears Dany's screams coming from the bathroom. He rushes to find her lying hurt on the floor – claiming a stranger attacked her and viciously hurt her hand. Her hand has to be bandaged but the gas station employees all claim that Dany has recently been at the gas station before and that her hand was already bandaged then. Things start to turn stranger and stranger. What is actually going on? Is there a plot to drive Dany mad? Is she mad already? Or has she experienced some sort of trauma that has given her partial amnesia?

Sébastien Japrisot's plot is certainly intriguing enough and The Lady in the Car is off to a good start, with a promising set-up and a mystery that grabs one's attention. Unfortunately, the film fails to make good on its promise and start losing focus and running out of steam just one third into its running time. The mystery of why Dany is being recognized in places she's never been to before and the effective aura of strangeness that is present during the first half hour or so eventually takes a backseat when Dany encounters an obnoxious hitchhiker named Philippe (played by John McEnery) and for no good reason takes him along with her, lets him in on her story and goes to bed with him. This and several of Dany's subsequent actions come across as rather implausible, and, worse yet, she and Philippe have little to no discernible on-screen chemistry. The Philippe character is merely an annoyance factor that steals focus.

The film never really recovers from this, although it eventually gets its plot back on track and throws in a few interesting moments that help keep our interest up until all the elaborate details are revealed in the not quite successful denouement. To say that the final explanation requires a certain suspension of disbelief is a vast understatement but it works at least partially because Japrisot's intricate plot is fascinating, if somewhat unconvincing. The screenplay was written by Japrisot himself together with the director, Ukraine-born filmmaker Anatole Litvak, but somehow their joint efforts in transferring Japrisot's story to the film medium doesn't work all that well. The structuring of the story and a slow pacing is part of the problem - another one is Litvak's direction. Litvak was certainly no stranger to thrillers and had a successful Hollywood career, having churning out such well-received thrillers as Sorry, Wrong Number and The Snake Pit (both 1948), and gaining an Oscar nomination for best director with the latter. By the time he made The Lady in the Car, though, Litvak was 68 years old and it was to become his final film. It was hardly a good swansong for Litvak as he just doesn't manage to muster up the kind of thrills or enthusiasm that the story requires in order to work.

The book the film is based on

What Litvak does succeed in, however, is capturing that late 1960s/early 1970s flavor very well, with plenty of chic fashions, some Mario Bava-style lighting and a delightful Michel Legrand score, which includes the catchy song "On the Road", performed by Petula Clark.

The film's soundtrack release

It's also evident that the film is atmospheric and visually impressive even though the only English-language version that appears to be in circulation is a soft, fuzzy-looking print with an overly reddish image that does absolutely no justice to the film's color scheme. But even in this print, Claude Renoir's cinematography is striking and one can sense the remnants of a very colorful and stylishly shot film. No doubt, a pristine-looking print would make the film a far more aesthetically pleasing experience and probably help smooth over some of the flaws in the storytelling.

Shots such as these make one long for a good-looking print of the film

Another asset for the film is the beautiful British actress Samantha Eggar in her first brush with so-called Euro cult territory - she'd go on to more success with her subsequent Euro efforts, making Light at the Edge of the World (1971) in Spain and The Etruscan Kills Again (1972) in Italy. Eggar's performance here is quite impressive and she does a terrific and convincing job as the increasingly confused Dany. While some of Dany's motivations and actions seem rather illogical, this is the fault of the writing and not Eggar, who does the best she can with the material and makes sure we still believe in the character even when she's acting implausible.

None of the other cast members are given too much to do but the always welcome Oliver Reed, who would reunite with Eggar nine years later in David Cronenberg's The Brood (1979), does an impressive job with his limited screen time. So does the exquisite Stephane Audran (better remembered for her work in the thrillers of her husband Claude Chabrol) as Reed's wife. John McEnery on the other hand is extremely annoying as the hitchhiking Philippe and the film had been better off had his character been cut from the narrative altogether.

While far from a perfect film, The Lady in the Car with Glasses and a Gun has its memorable moments and a strong leading performance by Samantha Eggar. Those wanting to see a really good thriller based on the writings of Sébastien Japrisot should start with The Sleeping Car Murder instead but this one is worth a look too. Now, if someone could just release a good-looking version of the film - I'm certain it would make the film far more enjoyable.

© 2008 Johan Melle

The cast:

Samantha Eggar as Dany Lang

John McEnery as Philippe

Oliver Reed as Michael Caldwell

Stephane Audran as Anita Caldwell

Billie Dixon as Dany's colleague

Bernard Fresson as Jean

Marcel Bozzuffi as Gas station attendant

Yves Pignot as Batistin

I'm back

After a lengthy absense I am finally back. I have not forgotten about this blog and I intend to try and update it more frequently in the time to come!

fredag 13. juni 2008

Euro actresses doing alcohol advertisements

Recently I've managed to come across several old alcohol advertisements featuring popular Euro actresses of the time. It's pretty nifty and fascinating stuff.

From 1972 to 1974, international star Sylva Koscina did a series of print ads for the popular Italian alcoholic beverage Grappa Julia. Grappa is a fragrant grape-based pomace brandy, and this uniquely Italian drink has been around since the Middle Ages.

Here are two Grappa Julia print ads featuring the lovely Sylva:

And we must not forget Solvi Stubing, the gorgeous German-born actress known from trashy films like Battle of the Amazons (1973), Strip Nude for Your Killer (1975), Deported Women of the SS Special Section (1976) and others. Solvi's big break in Italy was actually as the pretty, blonde girl in a long-running ad campaign for the popular Italian lager beer Birra Peroni.

Solvi started out doing a bunch of TV commercials for Birra Peroni in the 1960s. Some pictures from one of those commercials can be seen below:

Solvi continued to be the Birra Peroni girl for many years, and also did several print ads. Here are two such ads from 1971:

Another German actress who became popular through beer campaigns was the beautiful Margaret Rose Keil, who did a series of ads for Italian vermouth Punt e mes in the 1960s. These ads did Margaret a lot of good and she would go on to enjoy a successful career as a pinup girl and a popular actress in photo novels and films.

Here's a Punt e mes ad featuring Margaret from 1964:

And here is another Punt e Mes ad with Margaret - this one from 1966:

So, does anyone know about any other actresses who did advertisements for Italian alcohol brands?