Not Available on VHS in the U.S.: Vigilante Force (1976, George Armitage)

The above artwork will look familiar to readers of this site.

For obsessive sorts like myself, it's interesting to note when a film has been released on home video in other regions of the world, but not in the U.S.  George Armitage's Vigilante Force is such a title.  It was never released on home video in the States until the recent MGM MOD DVD-R.  However, it was released by Warner Home Video in the U.K. in the early '80s, at a time when UA properties were distributed there by Warner.  Not sure why CBS / Fox (who handled UA titles Stateside, at the time) never released the title over here.  Aside from the colorful, pulpy key art (I own this obscure one-sheet) I like the prominent placement of the "paperclip" UA logo on the cover and spine, which I don't really recall on U.S. video covers, probably because of the MGM / UA merger.

Dirty Old New York Taxi

This is one installment of a planned multi-part video project devoted to depictions of New York on film from the late '60s to early '80s--mostly '70s--"Fun City" years from the time of Lindsay to Koch.  Music is Bernard Herrmann's "Thank God for the Rain" from the Taxi Driver soundtrack.  For more of these types of images, check out Dirty Old 1970s New York City.

Rubber Duck and Carrol Jo

"Spanning Time"

At a screening of a rare print of Vincent Gallo's Buffalo '66 last night, I realized I was having a strange, but rather glorious first-time cinema experience.  I had the seen the film, in fact, programmed it, during its initial run in 1998, nearly 15 years ago (!).  I probably saw the film first in the NY market in the summer of '98 and then again in the Fall when we booked it in Madison.  Last night was the first time I'd seen it since those couple times I watched it projected in '98.  I don't believe I've had that happen with another film before.  I recall liking the film quite a bit back then, though I was annoyed by Gallo's off-screen antics--calling critics and claiming complete creative ownership of the film, loudly proclaiming his Republican allegiances, etc.  Seeing the film now, in my mid-30s, I appreciated and really loved it even more than I did the first time around.

I was 20 when it was released and saw just about every indie release at the time.  For a cinephile and aspiring filmmaker, this was a rather inspiring, special time.  And, Buffalo '66 was certainly one of those inspiring, exciting films.  But, I, of course, didn't truly recognize nor quite appreciate what a golden age it would prove to be.  And, as that time also encompassed my college years, as well as the death of my father, there's a certain degree of pain and sadness associated with it, not only for the loss of a loved one, but also for the subsequent waning of the idealism and hopefulness that comes with being that age.  I pushed, actively or not, films like Buffalo '66 out of my consciousness for awhile.  Revisiting this one was a revelation for me.

As co-screenwriter Alison Bagnall said in the q & a that followed last night's screening, the script is filled with moments and dialogue that are funny and sad at the same time.  I definitely laughed more watching it now than I recall doing in '98, but I also embraced and felt the melancholy underlying the entire film.  Seeing the recently deceased Ben Gazzara, still appearing fit and formidable, as Gallo's father, was quite moving.  The same goes for seeing the tragic, once-beautiful Jan-Michael Vincent in a small role as a bowling alley proprietor; Vincent had already destroyed his voice box in an auto accident and looked ravaged by years of alcohol and drug abuse, but it was nothing compared to the state he is in now.  Mickey Rourke, who I'd forgotten appeared here, looks somewhere in between his formerly beautiful self and the post-surgery / post-boxing / post-steroids human concoction that he has become.

Major props go to Gallo for doing whatever he did to get these actors, along with the amazing Rosanna Arquette and Angelica Huston (admittedly, something of a weak link here), to agree to act in this oddball, funny / sad, ugly / beautiful (like the aforementioned Coonskin) masterpiece.  This is a '90s film, that unlike so many others that try and fail to, genuinely recalls the best of '70s cinema.  In spite of (or because of?) its auteur's bedeviling mix of vanity and "fuck all" attitude, it retains a vitality and a purity of spirit, along with a refreshing lack of bullshit sentimentality, that are way too rare and precious in any age.

As with all of the films we programmed at my university, we had countless trailers, one-sheets, and stills, which we ordered from the likes of National Screen Service and Consolidated.  We, of course, taped and stapled these things all over the place to promote the screenings.  Afterwards, the posters went to us programmers.  Many adorned my walls over the years, Buffalo '66 being one of those.  When I tired of one, I'd give it to a friend.  How I wish I'd hung onto my Buffalo '66 poster...aside from the fact that it is now quite rare and pricey, it had a gorgeous black and white image of Gallo and co-star Christina Ricci printed on heavyweight paper stock.  Best of all was the treatment of the title on the poster--it was filled with actual, glued-on silver glitter.  But, similar to the baseball cards and comics of my parents' generation, albeit on a much smaller scale, I didn't really value these films or their ephemera as much as I perhaps should have.  I was, and remain, fascinated by things that came before my time, that I was not able to actually "experience" when they were new.  And, so all those great posters that we used the hell out of, have gone to who knows where.

According to my friend, filmmaker Alex Ross Perry, who "presented" the screening last night, it's "possibly the last narrative feature shot entirely on 35mm reversal stock" and, let me tell you, it looked gorgeous.  It's a bloody shame, and then some, that Lionsgate doesn't actually have any 35mm prints circulating anymore (the print, along with the film's brilliant trailer, last night came courtesy of a collector).  I won't watch it in any other format, save for a well-authored Blu-ray (if that comes along).  Alex's own Buffalo '66-inspired cinematic statement, The Color Wheel, opens soon and was the occasion for this screening. 

Something also needs to be said for the very smartly-chosen soundtrack.  I love the pitch-perfect use of Yes's "Heart of the Sunrise." At that point, in '98, I'd burned or sold all the Yes records I adored as a high school geek in favor of punk and indie, but man, did this film make this tune cool and relevant again.  Now, as is typical, I've re-bought the best of those classic Yes LPs in remastered, reissued form.  The trailer, which does not appear on the DVD, is quite piece of art on its own, separate from the film, which it promotes.  I'm guessing it's absent because the Yes song appears throughout and would probably have to be licensed for re-use separately from the film itself, which surely got some sweetheart licensing deals, as evidenced by the special thanks in the credits to Yes, Jon Anderson, King Crimson, et al.

I guess the point of all this is to say that we, or I, should make sure not to undervalue or discard things--movies, albums, books, whatever--that we are able to experience as they are first released, in favor of the things that came before.  I will continue to worship at the figurative altar of my heroes that pre-date me, but I will more actively embrace the impressive works that have come during my adulthood and which prove to stand the test of time.  I guess that means re-looking at things like Dream With the Fishes, The Hanging Garden, Dreamlife of Angels, The Daytrippers, Happiness, and many others.  I hope some of them hold up.

Before Instagram.

Japanese Herald Gallery: White Line Fever

The back cover photo depicts Martin "Sensei Kreese" Kove and a pal beating up Jan-Michael Vincent. Incidentally, Kove is probably the only actor who could challenge James Caan for the title of Baddest Hollywood Jewish Cowboy. Well, except, of course, for Maxwell Henry Aronson aka "Broncho Billy".

Probably coincidental, but this image from the Speed one-sheet
is eerily reminiscent of Jan-Michael's Blue Mule.

Japanese Herald Gallery: The Mechanic

For some reason it just seemed appropriate to post images from this particular movie program today:

Vigilante Force (1976, George Armitage)

"They called it God's Country...until all hell broke loose!"

Style A

Style B

I've been meaning to track Vigilante Force down since I picked up the Style A one-sheet at a poster sale at the Orpheum in Madison, WI about nine years ago.  Directed by Tarantino favorite George Armitage (Miami Blues, Grosse Pointe Blank), this Phenix City Story-influenced actioner has yet to appear on home video in any format.  Top-billed Kris Kristofferson (looking amusingly scraggly in a cop uniform) and Jan-Michael Vincent star as the brothers Arnold who start out on the same side and end up as foes.  It seems that Ben Arnold's (Vincent) small town is being overrun by a group of violent oil workers.  Naturally, Ben calls in his Vietnam-veteran brother Aaron (Kristofferson) to help quell the disorder. Aaron hires a group of mercenaries to put down the trouble makers, but it's not long before Aaron and his gang become corrupted by their newfound authority, setting the stage for a confrontation between the brothers, vigilante force vs. law and order.  

Met with unsurprisingly tepid reviews, the film was also, surprisingly, a flop according to Michael Weldon's Psychotronic Video Guide. Made in a golden age of revenge pics and boasting Kristofferson and Vincent when their respective stars shone the brightest, Vigilante Force would seem to be right in line with Walking Tall, White Line Fever (also with Vincent), Dirty Harry, Fighting Mad, and the other urban Westerns that proliferated on drive-in screens throughout the early part of the decade. This was one of the earliest motion pictures to prominently feature a Vietnam veteran and it must be noted that that character, Kristofferson, is the "bad brother" and his hairy, frequently shirtless appearance is starkly contrasted by his clean-cut "good" brother Vincent.  Not having seen the film, it's hard to know what political statement, if any, is being made by Kristofferson's characterization. 

The film features a rare feature film appearance by Victoria Principal before her Dallas days and Bernadette Peters in one of her earliest roles.  It should also be mentioned that the film was produced by Gene Corman, brother of Roger.  

Director Armitage is anything but prolific, but several of his films--Hit Man, Miami Blues, Grosse Pointe Blanke--have left their mark, particularly on the aforementioned Tarantino, who talks enthusiastically about the audacious--and long lost--movie marketing of his youth and Armitage in a rambling and entertaining interview on Elvis Mitchell's The Treatment.

Vigilante Force features two distinctive poster ad campaigns, which can be seen here in their one-sheet incarnations.  Like many films of the era, particularly exploitation and genre pieces, Vigilante Force's key art is bold and colorful, and based on a drawing or painting rather than photography.  Although the Style A poster foreshadows the "big head syndrome" that would plague film posters and video artwork from the mid-1980s onward, it also includes a spectacular collage, in this case emphasizing the action set pieces of the film. The collage style was very prevalent in the 1970s.  Three of my favorites in this vein are Electra Glide in Blue, Cleopatra Jones and the Casino of Gold, and Duck, You Sucker.  Style B isn't quite as flashy--perhaps this is why it's not the first string poster--but it effectively gets to the heart of the piece...brother against brother, with a woman in the middle, of course.  

After looking at these posters or books such as Trash: The Graphic Genius of Xploitation Posters and Film Posters of the 60s, it's hard not to become at least a little depressed when looking at the latest batch of bland, colorless film posters and DVD covers. While it's true that the film's the thing, some semblance of film artwork surely couldn't hurt.