Tuesday, 7 July 2020

Auction: Rare Posters Featured from David Frangioni’s Collection

Friend of the Archive and author of the poster art book Clint Eastwood Icon, David Frangioni – dropped me a line last night to inform me that he is currently auctioning some of his duplicate posters. 

A great many naturally feature some very nice Eastwood titles from around the world. These include the rare For a Few More Dollars / 633 Squadron Combo British Quad, the Goldfinger / For A Few Dollars More British Quad, the very impressive Where Eagles Dare U.S. Three Sheet and Style C One sheet. Arguably among the most stunning are the The Good, the Bad and the Ugly Italian Foglio Set of 3 which also benefit from being linen backed. With each measuring in at 26" x 36", they are certainly something very special. 

Also among David's collection of lots are some stunning items from Jaws, Rocky, Blade Runner, James Bond, Alien, The Godfather, The Exorcist and many other treasures. 

To check them out for yourself, press  HERE to take you to the Auction run at icollector.com

Monday, 6 July 2020

Ennio Morricone, Prolific Italian Composer Dies at 91


Some devastating news this morning:

Ennio Morricone, Prolific Italian Composer for the Movies, Dies at 91 – from The Hollywood Reporter
Renowned for scoring Sergio Leone’s spaghetti Westerns, the Oscar winner also produced the sounds and music for 'Days of Heaven,' 'The Mission,' 'Cinema Paradiso' and 'The Hateful Eight.'

Ennio Morricone, the Oscar winner whose haunting, inventive scores expertly accentuated the simmering, dialogue-free tension of the spaghetti Westerns directed by Sergio Leone, has died. He was 91.

The Italian composer, who scored more than 500 films — seven for his countryman Leone after they had met as kids in elementary school — died in Rome following complications from a fall last week in which he broke his femur.

A native and lifelong resident of Rome whose first instrument was the trumpet, Morricone won his Oscar for his work on Quentin Tarantino’s The Hateful Eight (2015) and also was nominated for his original scores for Terrence Malick’s Days of Heaven (1978), Roland Joffe’s The Mission (1986), Brian De Palma’s The Untouchables (1987), Barry Levinson’s Bugsy (1991) and Giuseppe Tornatore’s Malena (2000).
Known as “The Maestro,” he also received an honorary Oscar in 2007 (presented by Clint Eastwood, below) for his “magnificent and multifaceted contributions to the art of film music,” and he collected 11 David di Donatello Awards, Italy’s highest film honours.
Morricone’s ripe, pulsating sounds enriched Leone’s low-budget shoot-’em-ups A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966) — those three starred Eastwood — Once Upon a Time in the West (1968) and Duck, You Sucker (1971).
“The music is indispensable, because my films could practically be silent movies, the dialogue counts for relatively little, and so the music underlines actions and feelings more than the dialogue,” Leone, who died in 1989, once said. “I’ve had him write the music before shooting, really as a part of the screenplay itself.
Morricone’s spare focus on one instrument — like the trumpet solo in The Good, the Bad and the Ugly, or the oboe, which soared over a lushly reverent backdrop in The Mission — enriched his contributions.
The composer loved the sound of the electric guitar and the Jew’s harp and employed whistles, church bells, whips, coyote howls, chirping birds, ticking clocks, gunshots and women’s voices to add textures to scores not associated with the typical studio arrangement.
“All kinds of sounds can be useful to convey emotion … it’s music made up of the sound of reality,” he said.
Morricone also teamed with Leone one last time on the Prohibition-era tale Once Upon a Time in America (1984) and partnered about a dozen times with Tornatore, including on Cinema Paradiso (1988), winner of the Oscar for best foreign-language film.
He did not like the term “spaghetti Western” and noted that his work in that genre represented just a fraction of his career.
That is obvious, as his brilliant body of work includes collaborations with other notable directors like Gillo Pontecorvo (1966’s The Battle of Algiers), Don Siegel (1970’s Two Mules for Sister Sara), Bernardo Bertolucci (1976’s 1900), John Boorman (1977’s Exorcist II: The Heretic), Edouard Molinaro (1978’s La Cage aux Folles), John Carpenter (1982’s The Thing), William Friedkin (1987’s Rampage), Brian De Palma (1987’s The Untouchables), Pedro Almodovar (1989’s Tie Me Up! Tie Me Down!), Franco Zeffirelli (1990’s Hamlet), Wolfgang Petersen (1993’s In the Line of Fire), Mike Nichols (1994’s Wolf) and Warren Beatty (1998’s Bulworth).
He was asked but never scored a film for Eastwood the director, a decision he said he regretted, and missed out on a chance to do Stanley Kubrick’s A Clockwork Orange (1971) when Leone insisted that the composer was too busy finishing up one of his films (he wasn’t).
His theme, “Chi Mai,” for the 1981 BBC drama The Life and Times of David Lloyd George became an international hit, and he received a Grammy for his Untouchables score.
Tarantino, a big fan, used some of his compositions for the Kill Bill films, Django Unchained and Inglourious Basterds. In a January 2016 interview, Morricone said working with the director on Hateful Eight was “perfect ... because he gave me no cues, no guidelines.
“I wrote the score without Quentin Tarantino knowing anything about it, then he came to Prague when I recorded it and was very pleased. So the collaboration was based on trust and a great freedom for me.”
In November 2018, he came out as highly critical of Tarantino and the Academy of Motion Picture Arts & Sciences in an interview that was published in the German edition of Playboy, but Morricone denied making the disparaging remarks and threatened to sue.
Ennio Morricone was born on Nov. 10, 1928, in a residential area of the Eternal City. His father, Mario, was a trumpet player, and the trumpet was the first instrument the youngster played. He began writing music at age 6.
When he was about 8, Morricone first met Leone in elementary school (the two would not connect again for more than two decades). He attended the Santa Cecilia Conservatory, where he studied under Goffredo Petrassi, a major Italian composer.
Morricone composed music for radio dramas and played in an orchestra that specialized in music written for films. “Most of these scores were very ugly, and I believed I could do better,” he said in a 2001 interview. “After the war, the film industry was quite strong here in Italy … but these new realistic movies didn’t have great music. I needed money, and I thought it would be a good thing to write film scores.”
He worked with Mario Lanza, Paul Anka, Charles Aznavour, Chet Baker and others as a studio arranger at RCA and with director Luciano Salce on a number of plays. When Salce needed a composer for his 1961 movie Il Federale, he hired Morricone.
About a dozen other films followed, and Leone, doing his first Western, put Morricone to work on Fistful of Dollars. (The director and composer were billed as Bob Robertson and Dan Savio, respectively, in a bid to convince Italian moviegoers, who were growing weary of home-grown Westerns, that the film was a product of Hollywood.)
“Gradually over time, he as a director and me as a composer, we improved and reached our best, in my opinion, in Once Upon a Time in America,” Morricone said.
Our love and sincere thoughts are with Ennio's family
RIP Maestro 
Below: Listen to the 2008 programme The Morricone Affair. as a tribute to Ennio. Presented by renowned Eastwood / Leone historian Sir Christopher Frayling
              
Below: Here's is an original BBC2 Documentary on Morricone  
              

Thursday, 18 June 2020

Sergio Leone: Once upon a time in Italy Exhibition, Media Press Kit

I have to thank my long-time friend Dave Worrall today. Dave has been so generous over the years. I’ve often had an unexpected knock at the door with a driver standing there for me to take charge of a large box from him. Today was no exception. Dave is a champion when it comes to supporting the Archive, and has donated many pieces for me to home and take care of.
So today, this beauty arrives, a very large press/media kit for the Sergio Leone: Once upon a time in Italy exhibition which took place July 30th 2005 through Jan 22nd 2006 at the Autry National Center in L.A. It’s a wonderful piece - containing a wealth of information sheets, Exhibition programme, flyers and a great double-sided insert style advertisement on card - all wrapped up and contained within its own open out wallet folder.
I remember Dave attending this as it was being covered within Cinema Retro Magazine at the time. Dave thank you so much for sending in this stuff and supporting the Archive as you do. I hope these pictures do it some kind of justice. You’re a diamond Sir.

Tuesday, 16 June 2020

That Firefox poster…

It’s funny how some posters are passed and some are rejected. Here’s one of the most bizarre and undoubtedly infamous examples. The controversial Warner Home Video poster was issued to promote their release of Clint’s latest, Firefox (1982). The poster (approx. 76 x 50.5cm) is a striking image, and features a superb close up of Mitchell Gant - declaring Clint as “The Most wanted man in Movies!”
However, it all goes a bit horribly wrong when it gets to the ‘CLINT’ positioned at the top of the poster, specifically - the colour, the size and the positioning and the gap between the letters L and I in his name. Among collectors of course, the poster is referred to with an affectionate nickname – a name which isn’t too hard to work out. The colour used for Clint’s name doesn’t help much either as the gap sits directly on the matching redness of Clint’s forehead - therefore making the gap between letters virtually invisible. If only the designer had reduced it, and positioned it over the dark area of Clint’s hair, all would have looked perfectly fine.
Regardless of this, it still remains a very collectable and sort after poster – I certainly don’t own one. Nevertheless, friend of the Archive Henry currently has one up on Ebay (HERE) at the moment, so if you feel lucky or feel the urge, or you just want to buy it for me (I jest) then hop on over and take a look. Henry has some great material which also includes a stunning condition original UK quad for The Gauntlet (1977). Thanks for the use of your photo Henry, it’s very much appreciated.  

Saturday, 6 June 2020

The Archive on the airwaves for Clint's 90th Birthday

As promised, here is our appearance on BBC WM Radio on June 1st celebrating Clint’s 90th Birthday. My thanks to presenter Paul Franks and his assistant, the delightful Catherine Lund for making it all happen. My thanks also to David Vernall-Downes and Jonathan Downes for putting this together for us to enjoy.

The entire show is available on BBC Sounds for around 30 days or so. However, we have been granted permission to have this here on the Archive for all time. As we mentioned off air, the Archive is not and never has been profit making, and I still resist the whole moneymaking route, such as pop up ads, AdSense etc – our aim is to educate and preserve, not to make money from our interest and/or the love of the subject. 
            

Tuesday, 2 June 2020

Lennie Niehaus, Eastwood’s chosen composer, dies aged 90

Words sometimes fail me. In an almost cruel twist of fate and just days after Clint turned 90, his long-time friend, collaborator and composer dies in California at the very same age. As Eastwood’s favoured composer, Niehaus scored the award winning Unforgiven along with many other compositions for Clint. 
Mike Barnes of The Hollywood Reporter:
His resume includes Bird, Unforgiven, The Bridges of Madison County and an Emmy Award. Niehaus died Thursday at his daughter's home in Redlands, California, under hospice care, his family announced.
Niehaus first met Eastwood in the 1950s in the U.S. Army when the future Hollywood legend served as his swimming instructor at Fort Ord in Monterey, California. A mutual love of jazz sealed their friendship.
Niehaus had orchestrated scores for movies starring or directed by Eastwood including The Outlaw Josey Wales (1976), The Enforcer (1976), The Gauntlet (1977), Escape from Alcatraz (1979) and Tightrope (1984) before he wrote the score for Pale Rider (1985).
Niehaus then handled the music for the Eastwood-produced and -directed Bird (1988), the biopic that starred Forest Whitaker as famed jazz saxophonist Charlie "Bird" Parker.
The pair also partnered on Unforgiven (1992), A Perfect World (1993), The Bridges of Madison County (1995), True Crime (1999), Heartbreak Ridge (1986), The Rookie (1990), White Hunter Black Heart (1990), Absolute Power (1997), Midnight in the Garden of Good and Evil (1997), Space Cowboys (2000), Blood Work (2002), Mystic River (2003), Million Dollar Baby (2004), Letters From Iwo Jima (2006), Flags of Our Fathers (2006), Gran Torino (2008) and Changeling (2008).

The son of a violinist who played in an orchestra that accompanied silent movies, Niehaus was born in St. Louis on June 11, 1929.
"I liked Harry James, and when I heard tenor saxophonist Corky Corcoran play 'The Mole' in 1942, I wanted to play the tenor saxophone," he recalled in a 2009 interview. "My father was in shock. He said, 'The saxophone! You play either the piano or violin, not the saxophone. You'll wind up playing in a house of prostitution.' Actually, he was right. I did play in small funky clubs later."
Niehaus studied music at Los Angeles City College and earned his degree in music education from Cal State Los Angeles in 1951. He played alto saxophone and arranged for Phil Carreón and his orchestra, then went on the road with Kenton for six months before being drafted into the Army.
After his discharge in 1954, Niehaus played in Kenton's band through 1959, leaving to compose music in Hollywood and arrange music for The King Sisters, Mel Tormé, Dean Martin and Carol Burnett. In 1965, he worked as an uncredited orchestrator on the TV comedy Hogan's Heroes.
Niehaus began orchestrating for film composer Jerry Fielding, and they collaborated on features including Straw Dogs (1971), Lawman (1971), The Mechanic (1972), The Gambler (1974), The Bad News Bears (1976), Semi-Tough (1977), The Outlaw Josey Wales (1976) and The Enforcer (1977).
Niehaus' Hollywood résumé also included Pee-wee's Big Adventure (1985), Back to School (1986) and The Two Jakes (1990).
He wrote the music and won his Emmy for the 1993 Showtime movie Lush Life in which Whitaker played a jazz saxophonist. He was nominated again in 2008 for his work on the ABC telefilm Mitch Albom's For One More Day.

His 91st birthday would have been Monday. Survivors include his wife, Patricia, daughter Susan, son-in-law Owen and grandchildren Josh and Emily.
             
Thank you for the Magic, RIP Sir. 

Monday, 1 June 2020

Anthony James, Actor in High Plains Drifter and Unforgiven, Dies at 77

Last week I was very sadly informed that actor Anthony James had died at the age of 77. I felt that Mike Barnes of the Hollywood Reporter wrote a very fine and apt obituary:
He often played bad guys in a career bookended by those two appearances in Oscar-winning best pictures. Anthony James, the lanky character actor who played sleazy, menacing types in such films as In the Heat of the Night, Unforgiven and High Plains Drifter, has died. He was 77.
James died Tuesday of cancer, according to an obituary announcement posted by a funeral home in Cambridge, Massachusetts.
Remarkably, James' career was bookended by appearances in two best picture Oscar winners: He made his big-screen debut as Ralph Henshaw, a racist manning a diner counter, in Norman Jewison's In the Heat of the Night (1967), then wrapped things up as Skinny Dubois, a hostile owner of a bordello, in Clint Eastwood's Unforgiven (1992).
In between, the 6-foot-6 James appeared in Vanishing Point (1971), Hearts of the West (1975), as a spooky chauffeur in Burnt Offerings (1976), Blue Thunder (1983) and The Naked Gun 2 1/2: The Smell of Fear (1991), in which he parodied his evil image in an over-the-top performance.
An only child, James Anthony was born to Greek immigrants on July 22, 1942, in Myrtle Beach, South Carolina. His father, George, built and owned a restaurant called The Mayflower but died when the boy was just 8.
When he was 18, he and his mother, Marika, took a train to Union Station in Los Angeles after selling all of the family possessions. He cleaned bathrooms to pay for acting lessons, then made his onscreen debut with a one-line role on a 1966 episode of NBC's T.H.E. Cat, starring Robert Loggia.
(He took the stage name Anthony James when he discovered there was another actor known as Jimmy Anthony.)
James appeared seven times on Gunsmoke — four as Elbert Moses — and also appeared on The Big Valley, Hawaii Five-O, Mod Squad, Police Story, Starsky and Hutch, Buck Rogers in the 25th Century, The A-Team, Simon & Simon, Star Trek: The Next Generation and Married … With Children.
After retiring from acting in the mid-'90s, James, who never married, moved to the Boston area to focus on a career as an artist, and his abstract paintings were shown across the U.S. (He gifted one to Eastwood.) A book of his artwork and poems, Language of the Heart, was published in 1994.
In 2014, James published his memoirs, Acting My Face, which he dedicated to his mom. "I never considered myself a celebrity, just a sometime recognizable face," he said.
Donations in his memory can be made to St. Jude Children's Research Hospital or to the American Society for the Prevention of Cruelty to Animals.
RIP Sir.