Early last month Nick Dawson kindly asked me to take part in an interview for the terrific FilmInFocus.com site. The interview is now available online as their current Behind the Blog feature. In the rather lengthy interview I talk about why I enjoy writing about movies and how I got interested in blogging. I was extremely surprised that Nick asked me to take part in an interview and I’m grateful that he finds my blog worth reading.
Some observant readers may notice that the interview took place before there was so much navel-gazing going on among my fellow film bloggers. I mention some blogs that have since gone on hiatus in the interview and I don’t address the fact that due to staff cuts I’m no longer writing for Cinedelica.com, which published the only film writing work I was ever paid for.
My blog has been suffering a bit lately due to the fact that I’ve got a lot of personal things I’m dealing with at the moment, including hunting for freelance writing and graphic/web design work, which is extremely hard to come by. The economy is in deep trouble and like many fine folks working in all kinds of professions, I’m having a hard time trying to pay my bills. Hopefully I’ll have more free time for film writing soon but I wanted to mention that last month Cinebeats celebrated its second anniversary. I’m extremely grateful that 1000+ visitors take the time to stop by Cinebeats every day. This is not a vanity project and I don’t expect to get rich writing about movies. I write about movies I like simply because I love talking about the films I enjoy.
Some people play golf to relax and others like to garden or collect stamps. When I’m not taking photos and making art, I like to watch movies and write about them. It brings me a lot of joy when I get an email from someone telling me they’ve watched a film I’ve written about and they appreciate my recommendations. 20 years ago it would have been impossible for me to freely self-publish my thoughts about films and share them with other film enthusiasts all over the world so easily and I’m thankful for the opportunities that blogging has given me. I’ve been writing on and off for 25 years and blogging has been the most rewarding writing experience I’ve had.
I’m also thankful that my fellow film bloggers have been so gracious and encouraging. I’m especially thankful to Dennis Cozzalio who runs the terrific and always entertaining Sergio Leone and the Infield Fly Rule, Brian Darr and his resourceful and informative Hell on Frisco Bay blog and Girish Shambu whose blog has probably given me more delicious food for thought in the past couple of years than any other film blog that I can think of. Dennis, Brian and Girish were some of the first people who took the time to comment on my blog and exchange links back in 2006. Their generosity of spirit and good nature have really helped motivate me to keep blogging and I can’t thank them enough for their support. Here’s to you boys and to another fun and fascinating year of film blogging!
John Phillip Law as the sexy silent super thief, Diabolik.
One of my favorite actors and one of the most beautiful men to ever appear in movies has passed away at the age of 70. It’s mind-boggling to consider how many terrific and entertaining films that John Philip Law appeared in. He may not be a household name and if imdb.com is to be believed, I don’t think he ever won any acting awards but he was always fun to watch and I never get tired of looking at him. He’s really one of cinema’s great male beauties and an important counterculture figure. I will miss him but I’m thankful that I got to enjoy the man in so many wonderful movies.
My Top 10 favorite John Phillip Law films
(numerical order subject to change at anytime!):
1. Diabolik (1968) (Diabolik made my list of 10 Favorite Eurotrash films that I compiled last year.)
2. Barbarella (1968)
John Phillip Law as the blind angel Pygar in Roger Vadim’s surreal and sexy sci-fi fantasy Barbarella (1968)
3. Death Rides a Horse (1967) (This film made my list of Top 10 Spaghetti Westerns)
4. The Love Machine (1971)
5. The Sergeant (1968)
6. Whisper in the Dark (1976)
Dyan Cannon and John Phillip Law having some fun
in the sex-charged Jack Haley Jr. film The Love Machine (1971)
7. The Russians Are Coming, The Russians Are Coming (1966) (I wrote about this film in-depth last year after revisiting it)
8. Skidoo (1968)
9. The Last Movie (1971)
10. The Golden Voyage of Sinbad (1974)
John Phillip Law must deal with Rod Steiger’s unwanted advances in The Sergeant (1968). A fascinating film about a gay military man struggling with his emotions.
Honorable Mention:
The unforgettable ’80s horror fantasy Night Train to Terror (1985)
It’s really a shame that The Love Machine, The Sergeant and Skidoo are not available on DVD yet. Some studios will probably try to cash in on the actor’s death so we may see these films finally find there way onto DVD soon. Skidoo seems to be getting a lot of attention lately so I suspect that it will be released in the near future.
Finally… a must see video clip for The Swinging Lust World of John Phillip Law. This wonderful psychedelic video tribute to John Phillip Law contains brief action clips from many of his best films accompanied by the title song from Ennio Morricone’s brilliant soundtrack for Diabolik. It appears to be a trailer for a longer upcoming film:
UPDATE: The very nice Chris Casey was kind enough to leave a comment on my Myspace Blog letting me know that John Phillip Law had been suffering the effects of terminal cancer, which led to his sudden death. You can find Chris’ comments here.
“It’s all here! The happy fun times. And the crazy turned-on dangerous times.”
If movies have taught me anything at all about life it is this - a lot of young women dream about becoming professional dancers. Some want to be celebrated ballet dancers or Broadway stars. Others dream about becoming high-kicking Rockettes, well-paid strippers or trophy-winning ballroom dancers. In Ted V. Mikels B-movie bonanza Girl in Gold Boots (1968), Michele (Leslie McRae) wants to be a go-go dancer.
Michele is tall, dark and gorgeous. She could be Jennifer Jones’ long lost cousin if she wasn’t so uncomfortable in her own skin. You’d expect to find Michele working behind a makeup counter at Macy’s or modeling swimsuits somewhere but when we’re introduced to her she’s working at a greasy diner with her alcoholic father. When she’s not serving food and pouring cups of black coffee for her customers, Michele is dancing to music on the diner’s jukebox. One sunny day a violent gun-toting thug called Buzz (Tom Pace) walks into the diner and spots our heroine practicing her dance moves. He promises Michele that he’ll be able to make her a star if she travels to L.A. with him. Michele’s a little weary of Buzz but after a fight with her father she leaves the dirty food joint behind and heads west with Buzz in his old white convertible.
On the way to L.A. Michele and Buzz pick up a peacenik biker named ‘Critter’ (Jody Daniels) who likes to write songs on his acoustic guitar. When sparks start to fly between Michele and Critter, Buzz gets angry and tells Michele that she has to make a choice between her budding romance with Critter or going to L.A. with him to become a go-go star. Michele can’t give up on her dancing dreams so she puts her personal feelings for Critter aside and the three misfits continue on to L.A. When they finally reach the big city Buzz’s first stop is at The Haunted House club on Hollywood Boulevard, which is decorated with horror movie props and looks more like some fabulous amusement park ride than an actual dance club. Buzz’ sister Joanie (Bara Byrnes) is the main attraction at The Haunted House club where she and her team of go-go girls dance the night away wearing gold and silver boots while entertaining a mixed crowd of young and middle-aged hipsters as well as sleazy old men.
When Michele sees the girls shaking their stuff in skimpy costumes while the audience cheers them on, she knows that this is the life for her! Later Buzz introduces Michele to his sister and the two girls hit it off right away. Joanie promises Michele that she’ll get her a job at The Haunted House club and proceeds to show her some moves while the management looks on. Even though Michele seems to dance to her own rhythm and appears more than a little awkward at times, everyone in the film is impressed by her dancing skills. Or maybe they just like looking at her curvy body in the skimpy costumes? For whatever the reason, she’s hired right on the spot.
Buzz and Critter also find work at The Haunted House club. Critter takes a janitorial job so he can stay close to Michele and keep an eye on her, while criminal-minded Buzz ends up working for the club owners as a drug pusher. You see, the sad fact is that the swinging Haunted House club is just a front for the management’s drug selling operation. Innocent Michele is unaware of this but she benefits from it on her way to becoming a go-go star. When her mentor Joanie starts to show signs of drug addiction the club owners offer Michele the job of “substitute lead dancer” for the Haunted House club so Joanie can take an unexpected “vacation.” Michele’s a little weary of taking the job at first but she’s also eager to become a dancing star. The sexy new dresses she’s been given as gifts, and the wild parties she’s starting to attend, have offered her a taste of the glamorous life and she clearly wants more.
Critter is smart enough to know that things aren’t what they appear to be at the Haunted House club and after making some extra money by selling some of his songs to the house band, Critter confesses to Michele that he’s a draft dodger and asks her to run away with him. At first Michele refuses to go but when Joanie finally collapses due to her drug use, Michele is forced to face the horrible fact that she’s working at a drug den instead of a legitimate dance cub. Things finally come to a head and Critter ends up in a nasty brawl with the creepy club owners. When it’s all over Michele and Critter leave the Haunted House club together and you hope that they’ll find their fortune and fame somewhere else. Unfortunately all that glitters is not gold in Girl in Gold Boots.
Unlike countless other films about would-be dancers trying to fulfill their dreams, Girl in Gold Boots ends on a low note. Michele gives up her dreams of becoming a professional go-go dancer to become Critter’s “war-bride” after he reenlists in the military. The former draft dodger and go-go girl finish the movie singing a downbeat song that contains the following lines:
“You can dance on the rim of a rainbow. Walk a tightrope across the sky
But you must come down, put your feet on the ground bye and bye.”
As depressing as the ending is, the young couple seems content so I guess the audience is supposed to be happy that they let go of their dreams and joined the war effort. I personally suspect that the future doesn’t hold much promise for Michele and Critter. I’ve always thought that peace loving Critter would probably get killed in Vietnam and Michele would end up back in L.A. working on Hollywood Boulevard as a go-go dancer and strung out on drugs just like her mentor Joanie.
Girl in Gold Boots is obviously not your typical dance movie but that’s why I enjoy it so much. It’s elevated by a terrific jazz influenced score by composer Nicolas Carras who created music for many of Mikels’ best films. The movie also features music by Chris Howard and The Third World and the renowned bongo player Preston Epps, who all make a brief appearance in the movie. The wild dance scenes were shot inside a real Hollywood night spot and they’re creatively edited and full of energy even though the go-go girls seem to have rather amateurish moves. This trashy low-budget dance movie is an entertaining way to spend 90 minutes if you’re looking for something fun to watch that doesn’t require very much from its viewers. Over at IMDb.com audiences have called Girl in Gold Boots “The bane of dancing films everywhere” and “worse than any other bad bad BAD movie you’ve ever seen” but don’t let the negative press discourage you from watching it. Believe me when I tell you that there are far worse movies you could spend 90 minutes with besides Girl in Gold Boots. Ted V. Mikels is one of my favorite American B-movie makers and if you haven’t had the opportunity to experience a Ted V. Mikels film yet do yourself a favor and see Girl in Gold Boots or one of the films Mikels made with Tura Satana such as The Doll Squad (1973) or The Astro-Zombies (1968).
The director is almost 80 years old but he’s still making movies. If you’re interested in buying yourself a copy of Girl in Gold Boots or want to know more about Mikels I highly recommend visiting Ted V. Mikels Official Site. The director currently sells autographed copies of the film on DVD for only $10.95.
My look at Girl in Gold Boots was inspired by Ferdy On Films‘ Invitation to the Dance Movie Blogathon, which ends today. Be sure to stop by the blog and check out all the other dance inspired submissions.
The very groovy Richard Harland Smith over at Turner Movie Classics much admired Movie Morlocks Blog invited me to participate in a sort of “meme” with the following rules attached to it:
) Pick up the nearest book.
2) Open to page 123.
3) Locate the fifth sentence.
4) Post the next three sentences on your blog and in so doing…
5) Tag five people, and acknowledge who tagged you.
I tend to dislike these sorts of things but the meme was easy enough and didn’t require much thinking on my part so I took Richard up and his offer and in the end I was happy to be invited to participate.
At the time that I got Richard’s email the nearest book laying next to me was an autographed hardback copy of Annie Nightingale’s biography Wicked Speed that I bought at a Tower Records store when I was in London in 2000. Annie Nightingale was Britain’s first female DJ and she’s a fascinating woman who has mixed and mingled with many of Britain’s best bands. After writing my recent post about The Mod Musicals of Lance Comfort I’ve had the early days of British pop music and radio on my mind so I had recently been revisiting Nightingale’s book. From the book description:
“Britain’s first female DJ. A suburban schoolgirl whisked into the world of music, whose passion led her to the world of the Beatles, the Yarbirds, the Rolling Stones and the Who. As a young journalist she put herself on the line for young bands - and she’s still at it with Shaun Ryder, Primal Scream and Daft Punk, just to name a few.
Annie Nightingale became one of the hardcore “birds” of London’s growing Sixties pop-art scene. She got married, was a Cosmopolitan columnist, and had kids. She also had parties. But more than anything, she wanted to become a DJ on Radio 1 - hard in the days when the BBC was a male-dominated environment. Yet she won out in the end - and for years was alone in her field.”
Three sentences from page 123 of Wicked Speed:
“I’d be interviewing the Minister of Nuclear Procurement, say, and I’d address him by his first name, which would throw him completely, and ask him if he believed in God. Both Margret Thatcher’s children appeared on the show as guests; Carol was preferable of the two. French and Saunders, who were just starting out at the time, were also guests on Mailbag, in their newest guise as Duranies.”
When I bought Wicked Speed eight years ago I had no idea who Annie Nightingale was but I needed a quick read for the plane trip home and the book description sounded fascinating. I’ve been a fan of sixties era British rock and pop since I was just a kid (the first concert I ever attended was a Rolling Stones’ show when I was only 13 years old). I also briefly worked as a DJ myself in the late ’80s spinning dance music and popular club hits at a local nightspot so I was curious to learn more about “Britain’s first female DJ.”
Annie Nightingale is not a great storyteller and if you’re bothered by run-on sentences you should probably avoid it. The book also lacks an index, which is especially annoying if you’re someone like me who wants easy access to her entertaining stories about interviewing a bored Sean Connery after he had just completed the first James Bond film or driving Scott Walker’s Mini Cooper. But if you enjoy all the name dropping Nightingale does and are interested in what life was like for the first female DJ in Britain, Annie Nightingale’s Wicked Speed is an entertaining and quick read.
I hate the idea of “tagging” anyone but if the following people would like to participate please feel free to!
Over at Ferdy on Film the Invitation to the Dance Movie Blogathon is in full swing and lots of people are sharing their thoughts about their favorite dance moments captured on film and debating the merits of individual dancers. I’m currently writing a longer piece about one of my favorite dance movies that I hope to finish up soon. But in the meantime I thought I’d share one of my favorite dance scenes.
The following clip is from the 1980 Umberto Lenzi film Nightmare City, which was originally shot in 1979 and it features some of the worst dancing I’ve ever seen in any film. Thankfully I’m not alone in my dislike for the dancing showcased in Nightmare City. As the following clip will clearly demonstrate, zombies don’t care for bad dancing either and they proceed to dismember the female offenders and eat them alive. This clip is gory and not for the faint of heart. But if you can withstand the cheap special effects and Stelvio Cipriani’s electronic euro-disco score, you might enjoy it as much as I do!
If movies have taught me anything at all about life it is this - a lot of young women dream about becoming professional dancers. Some want to be celebrated ballet dancers or Broadway stars. Others dream about becoming high-kicking Rockettes, well-paid strippers or trophy-winning ballroom dancers. In Ted V. Mikels B-movie bonanza Girl in Gold Boots (1968), Michele (Leslie McRae) wants to be a go-go dancer. 
At the time that I got Richard’s email the nearest book laying next to me was an autographed hardback copy of Annie Nightingale’s biography 
that I bought at a Tower Records store when I was in London in 2000. Annie Nightingale was Britain’s first female DJ and she’s a fascinating woman who has mixed and mingled with many of Britain’s best bands. After writing my recent post about