
This week’s Recommended DVD Release of the Week is the Trinity Twin Pack from Hen’s Tooth Video which contains the films They Call Me Trinity (1970) and Trinity Is Still My Name (1971). The Trinity movies have been available on DVD for awhile, but this new DVD set features all-new digital transfers remastered from the original Technicolor prints and both films are presented in their correct widescreen ratios for the first time.
As I mentioned back in May, I really enjoy all the Spaghetti Western comedies starring the handsome blue-eyed Italian/German actor Terence Hill (a.k.a. Mario Girotti). Both movies in the Trinity Twin Pack feature Terence Hill along with his longtime co-star Bud Spencer (a.k.a. Carlo Pedersoli) as two unlikely half-brothers who find themselves in all sorts of unusual and very funny situations in the wild and wacky west. The Trinity films parody previous Spaghetti Westerns and seem to really enjoy poking fun at the genre as well as celebrating its eccentricities.
The talented Italian director and cinematographer Enzo Barboni directed and wrote both of the Trinity movies featured in the Trinity Twin Pack and he really knows how to make entertaining slapstick comedies that appeal to all-ages. I first saw the Trinity films when I was just a kid and I still find them funny today. Both of these Trinity movies contain plenty of creative gunplay and exciting action, but the violence and bloodshed found in many Spaghetti Westerns has been replaced by lots of laughs.
To learn more about the films I recommend visiting the official Cinedelic Records site for They Call Me Trinity and for more information about the handsome and funny star of the Trinity films check out Terence Hill’s Official International Website.
The Trinity Twin Pack DVD set is currently available at Amazon and you should be able to find both movies at better online DVD rental sources like Netflix and Greencine.

August Movie Review Roundup . . .
Last month my computer suffered a major meltdown and had to be replaced which really slowed down my writing. I was only able to complete one review for Cinedelica last month and that was for Irvin Kershner’s dark comedy A Fine Madness (1966) which stars a rather young and super cute Sean Connery. I had mixed reactions to the film, but if you’re curious about Kershner’s early work or just want to see Connery in his prime, A Fine Madness is well worth a look.
- My review of A Fine Madness
Read All About It . . .
Adam Ross who runs the terrific DVD Panche blog was nice enough to ask me to be interviewed for his ongoing “Friday Screen Test” and I happily agreed. If you’d like to find out a little more about me you can find my answers to Adam’s questions at his blog.
- My Friday Screen Test
Every Picture Tells a Story . . .
Before my computer suffered a meltdown I was able to send the guys who run the great If Charlie Parker was a Gunslinger, there’d be a whole lot of dead copycats blog a bunch of images that had been languishing on my computer for their “Contributer Week” which I believe is still going strong. If you’re interested in checking out my contributions as well as all other great submissions stop by the blog and give them a look.
-If Charlie Parker was a Gunslinger, there’d be a whole lot of dead copycats

I recently got the chance to watch the terrific William Witney film Darktown Strutters (a.k.a. Get Down and Boogie, 1975) and really enjoyed it. Witney started directing action films and westerns in the ’30s and he’s now mostly remembered for the popular television serials he directed. One of the last films he made was the unusual biker and blaxploitation parody Darktown Strutters, which is undoubtedly one of the most surreal musical comedies made during the seventies. I’ve been interested in seeing this movie for years and I’m glad that I finally got around to watching it.
The film centers around a group of lovely ass-kicking women who ride around the Watts area of Los Angeles on their stylish customized motorbikes. When the mother of the gang’s leader Syreena (Trina Parks) goes missing, the girls find themselves running from hapless law enforcement officers, fighting off the KKK and finally taking down a fast food selling Col. Sanders clone called Louisville Cross in order to find her.
Before Syreena’s mom disappeared she was organizing the construction of an abortion clinic with financial help from Louisville Cross. Unbeknownst to anyone, Cross poses as a benefactor to the black community, but he’s really just a closeted racist who has created a bizarre machine that can clone human beings. He’s kidnapping black leaders with the help of the KKK in order to clone them, and he plans on using these clones to do his evil bidding and in turn wreck havoc on the black community.

Director William Witney uses slapstick humor and lots of cartoonish props to tell his strange tale. The film parodies many clichés found in earlier blaxploitation films, but it’s also a smart and super stylish low-budget comedy that takes a serious jab at white capitalists who often carelessly use the black community for their own good. Darktown Strutters deals with many important issues including racism, sexism, police brutality and abortion, while keeping it’s tongue firmly planted in its cheek at all times. The comedy is often surprisingly dark as well as ridiculously silly, and it’s bound to offend and surprise more than a few viewers.
Trina Parks delivers a unforgettable performance as the biker babe gang leader Syreena. The statuesque Parks stands almost 6 feet tall and it’s easy to believe that this Amazonian queen could knock the hot air out of any creep that gets in her way. The rest of the motorcycle riding ladies are also really good, but they don’t get as much screen time as Ms. Parks.
Other stand out performances include Roger E. Mosley (best known as ‘TC’ from the Magnum, P.I. television series) as the leader of a scooter riding gang who falls hard for Syreena and the great character actor Dick Miller shows up as one of the pitiful keystone cops. The film also features the musical act The Dramatics who get to perform their funky hit single “What You See Is What You Get,” while being held as prisoners in Louisville Cross’ dungeon.
One of the best things about Darktown Strutters is the amazing costume designs by Michael Nicola. I’ve seen a lot of great ‘70s style fashion in many terrific blaxploitation films such as the jaw-dropping designs in Cleopatra Jones (1973), but Nicola’s designs for Darktown Struttersare truly stunning and like most things in this unusual movie, they must be seen to be believed.
The movie is officially out-of-print, but you can still find used copies of the video version of Darktown Strutters on Amazon or selling on eBay.
You can see more images from the movie if you visit my Darktown Strutters still gallery at Flickr.


“We started filming The Apartment with twenty-nine pages of script and Jack Lemmon and I had no idea how the film would end and neither did Billy Wilder, the director. So he just watched our relationship to see how the chemistry would evolve. Everything was evolving. At the time I was hanging with Frank and Dean, learning how to play Gin Rummy (That’s why the Gin game is in The Apartment). Billy Wilder was such a fabulous writer/director that the studio just financed the film without knowing what he would do, but they did know his reputation of creating great films and the studios knew their investment was secure. Billy could do a film on the phone book and studios and actors would stand in line to be part of the project.
The Apartment was great… a wonderful shoot and it was one of the first pictures where we mixed comedy and drama together. And many of the people at the screening seemed confused as to whether it was comedy or drama. I remember Marilyn Monroe was at the screening. She had no makeup on and was wrapped up in a mink coat. In her low whispery voice she said… “The picture is a wonderful examination of the corporate world.” My mouth flew open! She got it!
Jack Lemmon was terrific and such a nice guy. And Jack was a pro in every theatrical sense of the word. Billy was in love with Jack’s talent. The chemistry between the two was a joy to watch. In fact it was such a wonderful experience that I would come to the set on my days off just to observe two masters at work. Billy would have Jack do ten, twelve, seventeen takes of a scene to just watch him improve each scene. But in the process of this character development Billy couldn’t decide whether to let Jack just be brilliant or whether to control him.
We shot the film at United Artists which is where I made a string of hits including Irma la Douce (1963) and The Children’s Hour (1961). One day we were at lunch in the commissary and I was depressed about something. Billy and Jack were at my table, when I blurted out, “Why do people have to be in love with people anyway?” “That’s it! That’s it!” Billy yelled. He got up from the table and went back to the set and rebuilt it with that commissary scene.
Billy Wilder would never shoot a master shot. We never had a rehearsal with a master shot. So we never knew what we were actually doing. For a close up he would say, “Be upset.” If you asked, “Why am I upset Billy?” he would say “Because that’s what I want”.
In the scene from The Apartment, where Jack socks the guy… the brother, to get the shock on my face he cracked a 2 x 4 piece of wood, which startled me and gave Billy the shot he wanted.
Working with Billy was like one long ten-week lesson… and apparently it paid off for me, because I received my second Academy Award nomination, for Best Actress of 1960. I lost to Elizabeth Taylor for Butterfield 8, but The Apartment won best picture.
Working with Jack was “magic time”. His staring power was more and more evident as his career grew. He has left us a legacy of supreme humor, drama and talent, which we will be forever grateful. His genius was so riveting that even today I can close my eyes and be reminded yet again that he is the master of magic himself and a real friend throughout all time.”
- Shirley MacLaine in her own words on shooting The Apartment. To read more about Shirley and her films visit her website @ ShirleyMacLaine.com.
This is my very small non-contribution to the Billy Wilder Blog-A-Thon being hosted at Filmscreed. I love Billy Wilder and I would have put something more substantial together if I had more time, but I just learned about it today and wanted to spread the word. The Apartment (1960) is one of my favorite comedies from the 1960s and arguably one of the best dark comedies ever made.
Billy Wilder wrote some amazing scripts and made a lot of great films. Besides The Apartment, my personal favorite Wilder films are Double Indemnity (1944), Sunset Blvd. (1950), Stalag 17 (1953), The Seven Year Itch (1955), Some Like It Hot (1959), Irma la Douce (1963) and The Fortune Cookie (1966). I personally think Wilder did comedy better then drama, but I really wish he would have made more noir films.
I look forward to reading all the contributions to the Billy Wilder Blog-A-Thon!
Selecting my Favorite DVD Releases of 2006 was no easy task. As a matter of fact, I found it pretty impossible since there were so many great films released last year that I could easily compile a list of 50 impressive film titles. Instead of limiting myself to a mere 20 Favorite DVD Releases I’ve decided to share 30 Favorite DVD Releases of 2006 with you instead, but I’ll post my list in 3 parts over the next week.
The one thing all these films have in common is that they’re all official NTSC Region 1 DVDs and they were all originally released between 1960 and 1979. This list just contains DVD releases from last year and the numerical order means absolutely nothing except that I got the reviews written in the order that they appear.










20 More DVD reviews to come soon!




