Hello!

Correspondent Gary Teetzel reminds me that there’ll be another chance for Anglenos to see the new restoration of Edgar Ulmer’s Detour on a big screen: the American Cinematheque will be showing it on December 16, at the beautiful Egyptian Theater on Hollywood Blvd.. The marvelous Arianné Ulmer Cipes will be there; she and host Alan Rode will cut through the fuzzy legend surrounding her father’s film, including all those rumors that it cost next to nothing, was filmed only in front of a rear-projection screen, etc.. Arianné showed me the original PRC budget, and it was actually fairly pricey for that studio — it’s even got a pop song on the soundtrack. The photo is from 2009: L-R are photographer Allan Peach, Arianné Ulmer Cipes, Gary Teetzel, Glenn Erickson and author Bern Herzogenrath. This was at a book promotion at the now-gone store Every Picture Tells a Story; we then went across the street to the Aero theater for a screening of Ulmer’s Ruthless.

Disney fans might want to check out another Gary Teetzel find, a 1940 issue of American Cinematographer that explains Disney’s experimental stereophonic sound process Fantasound, as heard in the avant-garde animation epic Fantasia. Once you’re in, note that the same issue carries an article by cinematographer Gregg Toland about an upcoming film with ‘special’ scenes, Orson Welles’ Citizen Kane.

Oh, and one more article has some advice for Jesús Franco. →

And finally, the new Film Noir Foundation magazine is out and available for download; the FNF home page has the info. This particular issue contains some fine articles, including pieces by Imogen Sara Smith (on Mexican cabaretera noir) and Steve Kronenberg (on Roger Corman’s The Intruder). Another article talks about the 1949 Eagle-Lion noir thriller Trapped, which the FNF has located in 35mm and is in the process of restoring. The Lloyd Bridges & Barbara Petyon- starring counterfeiting saga is a scarce item — like their previous rescues The Man Who Cheated Himself and Woman on the Run, I’ve yet to see it.

Thanks for reading! — Glenn Erickson