Photo Opportunity #62 Do you feel lucky?

Photo Opportunity #62 Do you feel lucky?

I’ve been wanting to post this shot for a while now – it’s just so cool. The photo is of course from the original Dirty Harry (1971). The scene is the famous bank robbery attempt which happened as Harry was about to bite down into his hot dog from the diner across the street. 

Clint would share this iconic scene with the late great Albert Popwell, an actor who had first appeared opposite Clint in the tough New York thriller Coogan’s Bluff. Popwell would go on to appear (as different characters) in the first 4 Dirty Harry movies. As the Bank robber in the first, and as the murderous pimp in Magnum Force (1973). He appeared as militant Big Ed Mustapha in The Enforcer (1976), a film Popwell said he had not planned on being in. Another actor had been cast in the role of Mustapha in The Enforcer but director James Fargo felt the other actor did not have the proper feel for the role. With time getting down to the wire, Fargo and Eastwood immediately put in a call for their self-described "good luck charm." Popwell later portrayed Dirty Harry's detective colleague Horace King in Sudden Impact (1983). In 1988, Popwell was offered a role in The Dead Pool - the last film in the series - but could not appear due to a scheduling conflict.

He died at age 72 in 1999, from complications following open-heart surgery. He will always be remembered for the Bank Robbery scene, and a long association with Clint – an association of which he was incredibly proud. 

Happy Birthday Clint

Happy Birthday Clint

It hardly seems possible that another year has passed and we find ourselves celebrating Clint’s Birthday once again. At 95 (a nonagenarian apparently) it certainly confirms Clint as the ‘elderly statesman’ of the film industry. I have no idea how Clint will be celebrating his Birthday, but I’d Hazzard a guess that he will be enjoying the time quietly and relaxing over a fine glass of wine with his closest family and friends – and why not?

As always, and on behalf of all the fans, and everyone here at the Archive, we would like to extend our best Birthday wishes and salute this remarkable achievement. 

Trying to come up with something new to accompany and illustrate this post is a task which has started to become increasingly harder. So instead, I thought I’d go through some bags – and see if anything leaped out that had not already been featured on the Archive. I ended up going through a large bag which had a great deal of oversized pages, trade ads, large newspaper cuttings – all of which were much too large for a simple pass through the scanner. 

One of these cutting was a double page spread from Screen International, dated August 14th – 20th 1992. Because it was so large (approx. 20” x 13” and in 2 halves) it had gotten a bit beaten and battered over the last 30+ years (haven’t we all) – but it still remained a treasured piece. Eventually I broke this down into 4 separate passes through the scanner then stitched it all back together before restoring it here on the Archive on Clint’s Birthday.

Unforgiven marked a huge turning point in Clint’s career and marked the beginning of a fruitful and rewarding period. Having the fans behind and supporting your work was always a given, but to also gain the respect from pretty much every critic around the world – well, that was new territory. It seemed that Clint’s work was finally being recognised and applauded – much like the man today. 

Below: Rare Unforgiven fully restored one day trade advertisement 1992 

FLASHBACK: Darlington Raceway September 1963

FLASHBACK: Darlington Raceway September 1963

On the eve of Clint turning 95, I thought I’d take us back, just as Clint was about to turn international film star. Here is a wonderful little piece on Clint attending the Darlington Raceway for the Labour Day Southern 500 on September 2nd 1963. 

Clint was there to actually form part of the judging team for the annual beauty contest. Naturally if there was a chance of a Photo opportunity, pictured behind the wheel of one of the track cars, you were certainly going to take it! Its not known if Clint actually took this car for a spin around the track or just jumped in the driver’s seat for the photo. However, if we know the then – 33-year-old Clint, and his love of cars, I’m betting he took it around a couple of times. 

The Southern 500, officially known as the Cook Out Southern 500 for sponsorship reasons, is a NASCAR Cup Series stock car race at Darlington Raceway in Darlington, South Carolina, United States. The race distance is 501 miles (806 km) and consists of 367 laps. From 1950 to 2003, and again since 2015, the race has been held on Labor Day weekend. The Southern 500 is largely considered one of the Crown Jewels of the NASCAR calendar, and has been nicknamed NASCAR's "oldest superspeedway race." For decades, the race has been considered by competitors and media as one of the more difficult and challenging races on the NASCAR schedule, owing much to the track's unusual, asymmetrical egg-shape, rough pavement, and overall unforgiving nature. Darlington Raceway itself has a long and storied reputation as the "Track Too Tough to Tame." 

Below: The original program for the 1963 Southern 500

Below: Here’s something rather special, a vintage documentary capturing everything of the 1963 event. If you look closely around the 8.00 min mark you will spot Clint at the beauty contest. Of course, the most significant thing about this event is the timeline. Although Clint was still filming TV’s Rawhide, it would be just 7 months before Clint was jetting off to Rome to make a little European western called The Magnificent Stranger – I wonder where it all went from there?

             

*This video may only play on Youtube

The Clint Eastwood Headset Stand

The Clint Eastwood Headset Stand

So, here’s the thing, I’m not quite sure how I got here, but certainly glad I did! I think it was because I went on line a couple of weeks back looking for classically styled set of headphones. I’d been wanting a new set for some time now, picked up a set and really happy. Then I think those clever little algorithms or cookies got to work, threw 2 + 2 together and recommended this rather cute Headset / Gamer stand – yes, in the shape of Clint. 

To be honest, I never gave a headset stand/holder a second thought? I suppose I belonged to the ‘throw them in the drawer after use’ brigade – and suddenly decided to style it up. I found myself returning to look at this over and over again, I was drawn. This wasn’t just a bust like head of Clint – this was more like vintage Harry ’71 style, the big hair, the sharp features, yes, certainly interested…

I finally decided to take a leap of faith and give one a go. So, I had a nice plain brown box arrive nice and quickly this afternoon – and I’ve got to say I was really impressed. It’s made of a strong type of plastic, not at all soft or flexi, probably an injection moulding of some kind, I really can’t be sure. But the detail makes it unmistakably Clint. The base of the neck is perfectly level making if easy to stand anyway. It is all in a cool white stone look and is really effective. The material looks as if it can be painted a particular colour if you so wish, but I must admit, I like this cool white finish. Just perfect for the headset too. Of course, it can also be put to good use if you are a gamer, and can work equally well for your headset.

It's unusual yes, but certainly something you don’t see every day. Therefore, I thought I’d drop a link here to the company’s page. They not only offer Clint, but several other great celebrity stands and in great detail too. An innocent bit of fun which also works well on a good practical level. Excellent.

Find out more HERE

Those missing scores – Come on Malpaso – make it happen!

Those missing scores – Come on Malpaso – make it happen!

At the weekend I projected Pale Rider. I hadn’t watched it for a while, but I have to admit, I still enjoy this one a great deal – in fact, I tend to pull it more than Unforgiven. I just love its mysticism and its entire spiritual edge. I was reminded once again of how good the Lennie Niehaus score is too. Its heavenly, ghostly undertones really add so much to the film’s atmosphere. It’s probably the closest thing to a classic Jerry Fielding score – which is no surprise. Theirs is certainly an influence there, those military style drums still echo Fielding’s name and of course Niehaus had worked with Jerry Fielding as an orchestrator in the past. There are many varying elements to Pale Rider’s score, great depth, and I still think it deserves more. One could argue that it’s perhaps a bit short in terms of length? But so many scores from the Niehaus era continue to remain unreleased? Surely, gathering a collective over 3 or 4 CDs in order to showcase these scores would go a long way in filling a great deal of gaping shelf spaces.

On reflection, there are some major titles here that have still bever seen the light of day. Title such as Tightrope, True Crime, The Rookie, White Hunter, Black Heart, Heartbreak Ridge and the aforementioned Pale Rider – all remain in vaults still gathering dust. Surely compiling these scores over 3 or 4 discs would stir more than enough interest - not only to Eastwood collectors, but soundtrack collectors in general… Package it well, and let it fly. It’s really hard to understand why Malpaso Records doesn’t get on to this and oversee it as a project. If anything, it would act as a lasting tribute to Niehaus and his long collaboration with Eastwood.  

It was just a thought...

I came about writing this piece as a result of looking around, just to see if I could find any news on a possible Pale Rider or True Crime future releases – there was nothing of course. However, the mission wasn’t an entire failure, as I did discover that the Diana Krall single Why Should I Care (from True Crime) did get a release. I should have realised this of course, remembering that I did see a promotional video at some point – which in turn should have told me there was a release. I just didn’t make the connection. 

I did a bit of looking around and was surprised to find a CD single release. On the Verve label (IMPDS 3114), it was an American release – but I I was lucky enough to find one here in the UK. It was nice to finally have something from True Crime in a jewel case with film artwork on it. So, I dug a little deeper, (while I was on the scent) just to see if there were any alternative cover designs or anything else I might had missed – which there wasn’t… But then there was a wonderful German promo which raised its head. This great little gem came with a different card sleeve and came attached to a glossy A4 card folder and featured a shot of Clint tinkling the Piano keys with Krall. The whole thing was obviously fully tied in and co promoting the movie as well as Krall’s album. I’d never seen this before – so naturally swooped in to secure it. A couple of nice little pieces that help breach the gap to some small degree – but the really still is a long way to go. Come on Malpaso – make it happen. 

Below: The U.S. CD Single Diana Krall single Why Should I Care

Below: The rare promotional copy on CD with alt card sleeve and glossy folder

The Return of the U/A Heathrow girls Summer of 1967!

The Return of the U/A Heathrow girls Summer of 1967!

For many years now, we here on the Archive have prided ourselves on the photos based on Clint’s 1967 trip to the UK – and specifically the photo shoot that took place at London’s Heathrow airport upon Clint’s arrival. 

It was United Artists who were responsible for the welcoming party consisting of 3 poncho clad beauties who were there to greet Clint. It’s become something of a ‘thing’ now among a few of the Archive’s staff – Kevin Wilkinson and Davy Triumph especially. The hunt to discover any new photos from this shoot is always a cause to celebrate. So, when Kevin dropped this one in my mail box this week – I was grinning all over. 

I was so tempted to keep this one for our Photo Opportunity for June, but excitement (I’m afraid) simply got the better of me. It’s funny, but with this collection of shots getting larger and larger, it does beg the question, ‘Just how many photos were taken in total from this shoot?’ The three U/A girls dressed in cowboy hats, ponchos and toy guns are Sue Melody, Sandra Marshall and Anita McGregor. I’d love to know if these three ladies are still out there today?

Whatever the answer is, if we continue to discover them, we’ll continue to save and keep them here. I have also added this newly discovered shot to the rest of the existing photos in the original post found HERE 

Great find Kev! 

The Bridges of Madison County, 30 years Next Month

The Bridges of Madison County, 30 years Next Month

I was looking through a major pile of clippings and cuttings this week, and discovered this nice little piece which I thought I’d reproduce here on the Archive, just as the 30th Anniversary of its U.S. release is coming up next month. I have to say I think there is so much to be admired about Clint’s movie in which he co-starred with Meryl Streep. I really don’t understand why the film isn’t mentioned more? Perhaps fans just had a problem with Clint as a leading romantic role, but I really think both Eastwood and Streep really made this an absorbing and touching movie. So, if stuck for something to watch one wet weekend, here’s a suggestion and a timely reminder – pull this one off the shelf, dust it off and give it another go with fresh eyes. Personally, I never get tired of this minor masterpiece. 

I’m not sure what Magazine this article appeared in, there is a Magazine called Nikon Owner, and I know that one particular issue had a cover featuring Clint in The Bridges of Madison County. However, I can’t be sure if this is the same issue.

The Eiger Sanction at 50: The Great Hunt for Felicity Tupp

The Eiger Sanction at 50: The Great Hunt for Felicity Tupp

As we celebrate 50 years of the classic Eastwood thriller The Eiger Sanction, I thought it was about time we finally tried to address definitively, the case of the lost scenes featuring the beautiful French actress Claudine Auger ((born Claudine Oger; 26 April 1941 – 18 December 2019). Auger was arguably best known for her role as a Bond girl, Dominique "Domino" Derval, in the James Bond film Thunderball (1965). So naturally, when pictures and press stills started circulating with her image and her credit mentioned, a lot of eyebrows were raised. Auger was undoubtably a popular beauty, so her participation in the latest Clint Eastwood movie really sent pulses racing. But of Couse, by the time of the film’s release, Auger’s scenes had mysteriously disappeared – which in turn has lead to some 50 years of serious head scratching… 

Below. The Beautiful Claudine Auger

It's a really strange scenario. From all of the many, many books I have accumulated over the decades and the many documentaries that cover Clint’s film career – no-one ever seems to address the question of Auger’s mysterious disappearance? In fact, rather shamefully, it is often the case that the whole existence of The Eiger Sanction seems entirely overlooked - as if it never even existed at all? It barely gets a mention and is something I’ve never really understood? So with that information – or rather lack of it, it’s is often down to us to try and do the homework and fill in the gaps.

At least a good deal of the information here is firmly based on fact. It’s information I’ve accumulated on file for a couple of decades, and gathered from several accurate sources. My referencing skills may had been a bit ‘slack’ all those years ago, so instead I must provide an all-encompassing thank you to all the sources that provided this information originally. I also did a fair share of researching in the original novel, in order to try and patch the storyline together between script and novel, and at the same time use as a secondary source of confirmation. 

Below: The famous FOH / Lobby card, Hemlock wearing the yellow polo neck jumper, while Auger fixes a couple of drinks

So, the Eiger’s greatest mystery was certainly the scenes with Auger. We know that these scenes were filmed and that the stills were not just publicity shots. Because of the pictures appearing, both in the shape of press stills and indeed the inclusion on the film’s lobby cards – it’s probably safe to assume that this particular scene was removed from the final print fairly late in the day. Another of the giveaway signs was the fact that several of the press stills printed legend on the reverse, mysteriously had Auger’s name crossed out with black marker pen. 

Obviously, someone in the Universal publicity offices was given the arduous task of sitting there with a pile of stills and a black marker! But, a great deal of photos did get through the system and got out with Auger’s name fully unscathed. 

Of course, the pictures were certainly the first piece of the puzzle, and it was down to us to try and drag whatever clues we could from them. Firstly, there was the famous lobby card and FOH still that depicted Clint and Auger together in a scene. I suppose the biggest visual clue pulled from this, is the fact that Hemlock is wearing the distinct yellow polo neck jumper. Without examining Hemlock’s hygiene habits too deeply, this is the same jumper he was wearing while on the plane to Zürich and where he first encounters Jemima Brown. Aside from that, there isn’t really much that we can take from this visual clue. We know when he lands, he leaves the airport with Jemima and is next seen back at his home with her – so the continuity becomes a little confusing at this point. 

It is here that we can now revert to perhaps the best piece of evidence which is the film’s final draft screenplay from Warren B. Murphy which is dated May 20th 1974. We pick up where Hemlock has just visited Dragon and picked up his advance payment for the first sanction – and instead the original cut is slightly extended and provides the missing link: 

Above: Clint welcomes Auger to the set

Dragon produces an envelope from his desk drawer

HEMLOCK

Twenty thousand dollars?

DRAGON

Twenty thousand

HEMLOCK

I hate being predictable

He stands, takes the envelope and moves toward the door

DRAGON

You are never that Hemlock. Miss Cerberus will give you the address of our search coordinator in Zürich. Her name is Felicity Tupp. She will be your contact for the first sanction.

HEMLOCK

The only sanction

CUTS TO:

Establishing shot of Zurich - night

Int. An apartment house - night

Hemlock stands in front of the sterile door in a sterile hallway in a sterile apartment building. He hits the buzzer, then turns and looks with distaste at an art print on the wall. The door opens behind him and he turns. The woman standing there is a lush blonde.

WOMAN

I'm Felicity Tupp (she extends her hand) Do come in, Hemlock.

He holds her hand slightly longer than is necessary for greeting, then follows her into her apartment which is done in twentieth century kitsch.

FELICITY

Drink?

HEMLOCK

A scotch on the rocks

FELICITY

Make yourself comfortable while I fix it.

He watches appreciatively as her body shakes making his drink. She hands it to him. He holds on to her hand and sips the drink.

HEMLOCK

You know, this apartment is monumentally ugly. But my guess is that you are going to be very good.

FELICITY

Very good? Shall I finish my drink first?

HEMLOCK

Only if you're one of those women who gets a kick from denying her self-pleasure.

FELICITY

Never. My motto is: if it feels good, do it quickly

HEMLOCK

This will feel very good.

FELICITY

Then do it. Immediately.

Close up - their glasses being set down

HEMLOCK

Tell me about the sanction. Where is the bedroom?

Close up - their legs walking away

FELICITY

Through there. A special agent code named Wormwood was killed by two men.

Close up - her skirt dropping on floor

HEMLOCK

The one you identified? Is he a professional? Damn! These hooks always confuse me*

*I think this is probably referring to ‘hooks’ on Felicity’s bra? Rare picture below:

FELICITY

I'll do it. Yes. His name is Garcia Kruger. A very bad type who has been working here for years.   Aaaah. Aaaah.

Close up - her panties dropping to the floor

HEMLOCK

What do you mean, a bad type? Press down with the soles of your feet.

FELICITY

Ooooooooh. The way he got Wormwood. Wormwood swallowed the gum with the microfilm. Kruger went after it with a knife. Cut his throat. Ooooh. Oh, yes. Oh yesss. The other man couldn't take it, I guess. He threw up.

*The Oooooh’s are probably Felicity getting aroused as Hemlock continues to undresses her

HEMLOCK

Forget him. I'm only interested in Kruger. Move this way. Do you have his schedule?

Close up - Felicity's bare foot, toes pointing skyward

FELICITY  

Yes. I have worked it all out and I have got you a clean weapon too. Oh, please I can’t take any more of that.

*Still being seduced by Hemlock

HEMLOCK

I told you, keep pressing down with the soles of your feet.

Close up Felicity’s foot pressing down on bed

FELICITY

You’re the doctor. Speaking of feet, Kruger’s accomplice had a limp. Will you get the name of Kruger’s accomplice before you kill him?

HEMLOCK

Arch your back now. No. That’s not my job. It makes my work too risky. Besides I don’t care who the second killer was. No more talk now.

FELICITY

Who’s talking?  Arggh. Ohhh. (sighing)

I can’t believe you’re a killer. You’re killing me.

HEMLOCK  

Only with kindness.

Felicity moans, sighs and comes.

Int. Felicity Tupp’s apartment: Day

Hemlock is dressed. Felicity is wearing a short nylon negligee.

FELICITY  

Kruger is very punctual. That schedule doesn’t vary more than a couple of minutes all day long. The gun is in the box. It’s clean.

Hemlock removes a revolver from a shoebox and inspects it. He walks to the door.

FELICITY  

Will you be back?

HEMLOCK

I’m afraid I can’t. I’ve got a date (He smiles at her disappointed face) …With an art dealer.

Hemlock is at the door of her apartment.

FELICITY

Thank you for the advice about pushing down with the feet. It really helps.

HEMLOCK  

I like to leave people a little richer for having known me.

She holds out her hand and he shakes it ceremoniously

FELICITY

You really have magnificent eyes Hemlock. I’m glad you came.

He smiles but does not touch the obvious line.

The scene plays out in similar structure in the novel, but the script offers a much more accurate account how it probably played out on film. So, it begs the question – where and why was this scene eventually removed? Personally, I think there is one or possibly even two reasons for this – and remembering this is only a personal thought as nothing (as far as I know) has ever been officially established? 

Above Clint directing the scene in the same yellow polo neck jumper

Firstly, does this scene really achieve anything? Forgetting for a minute the atrociously cheesy seduction dialogue, does the scene serve any real purpose? If anything, it probably slows down the pace considerably. There is of course another reason – one that I think is probably more likely and that may have become more apparent during the editing / post production stages. Clint is doing a lot of bedding in this movie! Now I know the 70’s was a decade of ‘male masculinity’ and it was the age of bedding anything that moved, at any given opportunity – but let’s just apply the brakes and reflect for a minute. From the very outset of the film, we see Hemlock fighting off the advances of a pretty blonde student – a student who will do ‘anything’ to help improve her overall grade… Then Hemlock starts bedding Jemima (Vonetta McGee 1945 – 2010), then he ends up in bed with his personal trainer ‘George’ (Brenda Venus) and then fights off an open invite from Anna Montaigne (Heidi Brühl 1942 - 1991), the seductive wife of a French climber Jean-Paul! 

Woah!!! Just a second, is it just me or is Hemlock taking on the shape of a one-man shagging machine? I’m just wondering if Clint (during the final edit) began to realise this, weighed it all up and decided that the entire Felicity Tupp sequence of events could be removed. It makes sense to me, but I’d still love to have the definitive answer. 

Given the shape of the dialogue from this missing scene, I really do wonder if we will ever get to see it at all? The opportunity for it to be rediscovered - perhaps for a Blu-ray extra, has probably now long passed. But in all honesty, if I had delivered some of those particular lines, and retrospectively checked them out today, I think I'd probably too want them buried - perhaps deep in some frozen glacier! 

Above: Clint and Auger on location for the Eiger

Below: Possibly the last meeting between Clint and Auger, taken at the 47th Cannes Film Festival in 1994

Below: A rare page from a Spanish publication captures Eastwood and Auger together during the Eiger shoot. 

My kind thanks to our friend Graham Rye for contributing this.

Photo Opportunity #61 Clint in ‘68

Photo Opportunity #61 Clint in ‘68

For the month of May, I went flicking randomly through one of my ‘miscellaneous’ binders of press stills. I landed upon this one that I don’t believe I’ve ever posted here before? Here’s a smashing portrait shot of Clint taken in 1968. Photographed here by legendary photographer, John Engstead. It was around this time that Clint was working with Director Don Siegel for the first time on Coogan’s Bluff. 

Photographer John Engstead John Engstead (22 September 1909 - 15 April 1983[1]) was an American photographer. Engstead was born in California, and began his career in 1926, when he was hired as an office boy by Paramount Pictures' head of studio publicity, Harold Harley.

In 1927, Engstead pleased his boss by arranging a photo session for actress Clara Bow with photographer Otto Dyar using an outdoor setting which was unusual at that time. Engstead's creative direction of photographs of actress Louise Brooks led to a promotion to art supervisor, where he oversaw the production of Paramount's publicity stills.

In 1932, due to a strike by photographers, Engstead assumed the position of studio portrait photographer, despite having never previously photographed anyone. Actor Cary Grant posed for his practice shots. He returned to his job as art supervisor after the strike was resolved.

In 1941, Paramount Pictures fired Engstead, and Harper's Bazaar hired him for freelance advertising and portrait photography assignments. From 1941 to 1949, he took fashion photography assignments from numerous other magazines, including Collier's, Esquire, House Beautiful, Ladies Home Journal, Life, Look, Mademoiselle, McCall's, Vogue, and Women's Home Companion.

In the 1940s, Engstead photographed many celebrities, including Joan Crawford, Bette Davis, Maureen O'Hara and Shirley Temple. Unlike other photographers, he often shot his subjects at home or outdoors, and his portraits of Judy Garland in Carmel, California were particularly successful. During this decade, he built a studio in Los Angeles that became a gathering place for celebrities.

Engstead continued to photograph movie stars and other celebrities through the 1950s (Marilyn Monroe or Marlene Dietrich) and 1960s. He produced promotional material for many television personalities, including Pat Boone, Carmel Quinn, Donna Reed, Ozzie and Harriet, Eve Arden, and Lucille Ball. He also shot cover photos for albums recorded by singers such as Peggy Lee and Connie Francis, as well as society portraits. His work extended into governmental figures in the 1950s, including then-Second Lady Pat Nixon. Engstead closed his studio in 1970 but continued to accept special portrait and television assignments until his death in West Hollywood, California, in 1984 at age 72. 

Light into Ink: A Critical Survey of 50 Film Novelizations (Revised and Updated) [DeLuxe Edition]

THE BOOK OF THE BOOKS OF THE FILM...IS BACK!

Light into Ink: A Critical Survey of 50 Film Novelizations (Revised and Updated) [DeLuxe Edition: Colour Interior by S.M. Guariento. Publisher: Independently published. Hardback: 530 pages, ISBN-13: 979-8345193815 Product Dimensions: 20.96 x 3.66 x 27.94 cm, price £62.00

It was some 5 years ago that I was contacted by author Steve Guariento. Clearly a man with a passion, Steve explained how he had dedicated a great deal of his time in compiling what eventually emerged as a genuinely remarkable book and an authority. When Steve explained it was an overview on the film tie-in or film novelization - he certainly captured my attention. So when Steve contacted me again just recently informing me that he had returned to his ‘bible of books’ to revise and expand it, I was hit with a genuine sense of excitement.      

As most film fans would concur, the humble film ‘tie-in’ paperback, or if you would prefer, novelisation – was pretty much an essential element for movie lovers. Perhaps ‘tie-in’ is a somewhat dated term these days, but it still relates to the same thing - a book whose jacket, packaging, contents, or promotion relates to a feature film or a television show. 

Back in the day, the paperback novelisation had a magnetic effect, usually because it either contained some wonderful film artwork or an iconic photo from the movie. They proved quite irresistible and the newsagent’s rotary stands were often the place to find many treasurers. 

However, it was also a little piece of collecting history that hadn’t really been examined to any great depth – until now.

S.M. Guariento’s book is an excellent examination of 50 such books. The London born author provides a detailed case study of various genres. In his research, Guariento doesn’t skip or avoid and leaves no stone unturned. He examines the evolution of the softback, particularly from its 1950s explosion where the paperback began being a preference over that of the hardback equivalent. It’s an excellent historical journey and it’s a great education in how it all evolved. However, there is no escaping the overriding appeal of their presentation and the genuine pulling power of their lush and varied cover art. 

Guariento provides some glorious memories with the turn of each page, delving into TV titles such as Target’s Doctor Who, Bantam’s Star Trek and Futura’s Space 1999 – all of which contained heart racing cover imagery.   

The book’s subtitle ‘50 Film Novelisations’ can perhaps be easily misinterpreted and arguably undermines this book and its mammoth amount of content.

In terms of subject genres, Guariento hits the sweet spot every single time. In his chapter selections he has chosen very wisely, covering Eastwood, Bond, Planet of the Apes, Horror, Sci-fi, Hammer, Crime, Spy – in fact, everything that is both engaging and appealing to a key audience. Other chapters’ focus more specifically, such as Cult filmmakers (including David Cronenberg and John Carpenter) and the adaptations of their various films. Most importantly, do not be misled into thinking that 50 Film novelisations simply equates to 50 cover illustrations. The book also serves as a spectacular pictorial treasury with hundreds of covers featured - either related within the context of a chapter or shown as different or alternative editions of certain titles. Guariento certainly has this covered. This book is practically a dream.

Guariento has dedicated a whole chapter to Italian Genre Cinema with a very generous sub section handed over to The Man with No Name and Eastwood’s Spaghetti western tie-in novels. It’s arguably the most in-depth study that has ever been afforded to these books. The images are great and plentiful with some that are even new to me – including a stunning 1972 German tie-in for A Fistful of Dollars (which has just elevated itself to the top of my ‘most wanted’ list). But you don’t have to be just an Eastwood fan to appreciate this book, it stands high on its own merits – any film fan will treasure it.

Guariento’s book originally came in two very different versions, one of which was a b/w edition that really didn’t promote the lavish artwork as it probably should. I’m pleased to report that this new updated version is presented in stunning full colour.

Fully revised and updated, this new edition includes a wealth of fresh detail: an expanded history of the form, more data on authors and publishers and a comprehensive index. With close analysis of exclusive content, screenplay comparisons and excerpts from the novels themselves – including some translated into English for the very first time – Light into ink is lavishly illustrated with jacket art, film posters and more. Both exhaustive and informative, Light into ink is an indispensable addition to any film-lover’s bookshelf. Just make sure it’s a sturdy shelf, this beauty is as weighty as a house brick. 

An essential purchase. 

To order see HERE

Photo Opportunity #58, 59 and 60

Photo Opportunity #58, 59 and 60

I figured I owe at least 3 months’ worth of Photo Opportunities. Unfortunately, my health has been an issue over the last few months and I’ve simply had to hold off here for a while. 

However, I like to try and keep things updated, and fortunately I already had some great photos put aside for these posts, so thought I’d make up for a bit of lost time. 

Photo Opportunity #58 Rare behind the scenes shot from Magnum Force

Here’s a great shot I’d been wanting to post for some time. This photo was taken during the ‘way to San Quentin’ sequence from Magnum Force. In the picture Clint is seen studying the script with (possibly) the script supervisor Hope McLachlin (1925-1975), director Ted Post (1918-2013) wearing cap and co-star Felton Perry as Insp. Early Smith. Clint is seen here in the dark blue jacket and the group are standing next to Harry’s car, the 1972 Ford Galaxie 500.

Photo Opportunity #59 Kelly’s Heroes cast shot

Here’s a cracking shot of the Kelly’s Heroes cast taken during a break on location. Primarily, the movie was filmed in Yugoslavia, with a significant portion of the action sequences and exteriors captured in the Croatian village of Vižinada on the Istrian peninsula. So we’re probably somewhere in the right vicinity. 

Photo Opportunity #60 Where Eagles Dare, I’m ready for my close-up

Here’s another great shot of Clint from the classic Where Eagles Dare (the film that just keeps on giving). Obviously taken on location, somewhere in the snow-covered regions of the Austrian Alps. The main locations included Hohenwerfen Castle and the surrounding area. 

Rare Hang ‘em high UK double crown teaser poster

Rare Hang ‘em high UK double crown teaser poster

Thanks to my dear friend, Davy Triumph, I was informed this week about this very rare teaser design for Hang ‘em high. I have to say, I hadn’t even seen it before. It finally sold on Ewbanks today for £80 plus all the add on extras etc. It’s a lot of money for a relatively simple teaser design, but I guess its rarity was always going to add to the overall value. 

Below: The rare Hang ‘em high teaser UK double crown

Below: The standard Hang ‘em high UK double crown

DVDVision English Edition in the works

DVDVision English Edition in the works

Clint Eastwood & Dirty Harry is a 132-page ALL ENGLISH book, limited to 1000 copies only. measuring 7.87 x 10.63 inches, with hardcover or softcover, high quality 150g glossy paper, featuring over 200 high quality pictures, some of them previously unseen. It includes detailed history and reviews of all Clint's cult classics films from A Fistful of Dollars to Unforgiven, with 5 giant features dedicated to the making of each of the 5 Dirty Harry films, Dirty Harry, Magnum Force, The Enforcer, Sudden Impact and Dirty Harry in The Dead Pool. It's a must for film fans and movie buffs. The book also starts with a full blown, no holds barred Clint interview about his early work and primarily the Dirty Harry movies.

Parallel to the French version, and to respond to demand, DVDvision is now planning to be published in an international edition, starting with an all-English version of the Clint Eastwood & Dirty Harry mook as issue 1... And only you can make it happen!

For further information, check it out HERE

                 

Rare Singapore For a Few Dollars More LP

Rare Singapore For a Few Dollars More LP

Here’s a nice little welcome addition I managed to add to my collection of vinyl just recently. It is certainly an LP I have not come across before – especially in this cover design - so thought it may be of interest to vinyl collectors. The LP is an unofficial release which came out of Singapore in Southeast Asia. For A Few Dollars More (L.S. 368) carries no artist name, but is in fact, Hugo Montenegro and His Orchestra.  

Whilst there is no year specified, the same label, ‘Hawk’ did release this album in a slightly different sleeve design - with the content remaining exactly the same. This probably dates to 1967, as there was also a 4 track EP released by Hawk (B.B. 8) which also has the same artwork as the original album press. The EP is dated from 1967.

The design on this new LP is a lot more vibrant and uses a full colour still from the movie. It could also of course be a slightly later re-issue from the early 70’s, but due to the unofficial nature of the label I doubt very much if the exact year of release can ever be determined. 

Anyway, I thought it looked like a very nice example and I didn’t think it would look out of place among the collection. These unofficial releases often have a charm of their own.  

Below: The 1967 EP (B.B. 8) and LP which featured the same artwork