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Paramount on Parade

Paramount’s corporate parent, Viacom, seems to have lost all interest in issuing older titles from the Paramount catalog, but happily an independent distributor, Olive Films, has begun licensing titles from that rich and neglected library. The first batch of five is out this week, and it consists (inevitably) of three more-or-less noirs — Lewis Allen’s “Appointment with Danger” (1949/51), Rudolph Mate’s “Union Station” (1950) and William Dieterle’s “Dark City” (1950) — as well as a wildly Freudian science fiction film produced in Franco’s Spain by the versatile Philip Yordan, “Crack in the World” (directed by Andrew Marton, 1965) and Burt Kennedy’s female revenge western “Hannie Caulder” (1971), with Raquel Welch wearing Clint Eastwood’s poncho. Quick reviews and general encouragement here, in my New York Times column.

56 comments to Paramount on Parade

  • Tom Brueggemann

    Terrific news about the licensing from Paramount – an eclectic group to be sure, but there is plenty more to dig into.

    Franco’s Spain indeed accomodated a lot of significant filmmakers – David Lean (Dr Zhivago), Luis Bunuel (Viridiana, Tristana), Sergio Leone (Once Upon a Time in the West), Anthony Mann (El Cid) just to name a handful. Mann if I recall correctly made Madrid his home for a number of years in the 1960s.

  • I share the excitement. I saw some of these titles listed in back of the new Film Comment but hadn’t heard of Olive Films

  • Paramount has a history of sub-licensing its catalogue. A few years ago it was Legend Films, who put out a diverse slate including “Houdini” (Tony Curtis), “The Skull” (the Amicus production with Peter Cushing and Christopher Lee), Jacques Demy’s flower power folk-meets-medieval folk musical “The Pied Piper” and Patrice Leconte’s “The Girl on the Bridge,” and then it stopped.

    Olive has an interesting upcoming slate that includes (perhaps tentatively, but still exciting) Nicholas Ray’s “The Savage Innocents,” Otto Preminger’s “Hurry Sundown” and “Skidoo,” Ingmar Bergman’s “Face to Face” and “Rope of Sand” with Burt Lancaster.

    Olive Films is also a theatrical distributor and they picked up the Belgian/French neo-giallo “Amer,” my favorite genre blast of the last year.

  • joe dante

    Somebody should make the case for Olive to pay some attention to one of Paramount’s rarest and most neglected catalog titles, Roger Vadim’s delirious Technirama “Blood and Roses”, which has only been on video in a fuzzy, cropped EP vhs from years ago. It’d be nice if the missing 13 minutes were restored, but I guess that’d be asking for the moon….

  • Tom Brueggemann

    A selfish (mostly auteurist) list of post-1948 Paramount films I’d like to see released:

    Peking Express – William Dieterle (1951) – remake of Shanghai Express
    Mambo – Robert Rossen (1953) – Italian film, they might not have rights
    The Scarlet Hour – Michael Curtiz (1956)
    The Devil’s Hairpin – Cornel Wilde (1957)
    Short Cut to Hell – James Cagney (1957) – indie production, only film Cagney directed
    Joe Hill – Bo Widerberg (1971) – Swedish film, they might not have rights

  • Barry Putterman

    I made a hurried check of the Olive site and only saw HARLOW, ONCE IS NOT ENOUGH and WHERE LOVE HAS GONE as future Paramount releases. The titles which SeanAx cites sound MUCH more promising.

    The odd thing about Tom’s list is that I can’t remember any of these films playing on television (with the exception of MAMBO once here locally in New York). Some kind of rights problem possibly?

    And one could hardly count the experience of BLOOD AND ROSES in pan and scan on USA Network as actually “seeing” the film.

  • Tom Brueggemann

    Barry –

    Most movies of the level of the ones I mentioned for me a well seem to have never been shown on local TV (Chicago) in the 70s and 80s, or on cable in the 90s (a lot of Paramount post-Universal package films were staples on the HBOs of the world at that point).

    So indeed there could be rights issues with all or most of those.

  • The list I drew from was sent to me by the Olive publicist a couple of months back, when they first announced the deal. That’s why I listed them as “tentative,” as anything is tentative until the official press release comes out and pre-orders are taken.

    Add my vote to “Blood and Roses.” That space of EP Paramount VHS release was yet another failed experiment in budget releases.

  • Johan Andreasson

    Tom, It’s really odd that so many of Bo Widerberg’s films – including his most critically acclaimed, RAVENS END – are not available on DVD. I haven’t seen JOE HILL since the 70s, but liked it at the time and remember it as a Swedish/US co-production, probably filmed in both countries and mostly in English.

  • Barry Putterman

    Or until the actual discs are in your hot little hands.

    Tom, I’m thinking back to those madcap days when TBS was running the post 48 Paramounts in heavy rotation. It was then that I caught up with Dieterle items like SEPTEMBER AFFAIR and
    Curtiz curiosities such as THE VAGABOND KING. However, I waited in vain for the titles you mentioned. They stare back at me in their directors’ filmographies and seemingly laugh “what fools we completists be!”

  • joe dante

    I forgot about DEEP END!
    Paramount’s been sitting on that one for years too.

  • David Boxwell

    We also want:

    Leisen’s NO MAN OF HER OWN (50); SWING HIGH, SWING LOW (37)
    Heisler’s AMONG THE LIVING (41)
    Allen’s DESERT FURY (47)
    Losey’s THE LAWLESS (50)
    Cromwell’s VICTORY (40)
    Marshall’s MURDER, HE SAYS (45)
    Mann’s ABOUT MRS. LESLIE (54)

  • wwolfe

    Was “Union Station” actually filmed in Chicago? The reason I ask is that my favorite scene shows William Holden riding a car up Angel’s Flight, with the camera placed inside the funicular’s car, looking out. This allows us to look into the old wood frame apartment buildings on Bunker Hill, where we see the residents going about their daily chores. Since all those buildings are long gone, and Angel’s Flight itself has been moved a few blocks down the street, it’s a thrill to catch this glimpse of what downtown Los Angeles once was.

  • Tom Brueggemann

    David – the pre-1949 films on your list would mostly or all be part of what Universal controls.

    A lot of them were on AMC during the 80s and 90s.

    The Lawless was on TCM in the last couple years. It was produced by the Pine/Thomas team – they apparently retained the rights to a lot of their films distributed by Paramount, and Alpha DVD has released a bunch of them, but not to my knowledge this title.

    Among the Living I caught on 16mm somewhere in NYC during the 90s (most likely Film Forum); I recall it being described as a major rarity.

    Obviously, availability in recent decades is no solace if you want to see them now and can’t, but at least they are all out there somewhere.

  • wwolf, I believe UNION STATION was shot in New York and LA, with a few shots in Chicago and the Chicago Tunnel Company Railway.

    You’re right Johan, JOE HILL was shot in and around Salt Lake City, New York and Chicago during a almost 18 months long period, and in Sweden as well. The reason why there are so few films by Bo Widerberg available on DVD is probably due to rights issues. The once that are available where produced by SF, the one exception being the Danish/Swedish co-production LUST OCH FÄGRING STOR (ALL THINGS FAIR) from 1995. His earlier films were not produced by SF, but by companies that doesn’t exist any more. But they might still appear. I’ll ask around.

  • Tom Brueggemann

    A bunch of Universal titles (I’d have to check if there are also Paramount ones held by Universal) have been popping up on the Starz Encore stations – Encore Western has a 1951 William Castle effort called Cave of Outlaws on tomorrow, and I’ve been noticing better known (unfortunately) ones on their other outlets – even some, amazingly, in black & white.

  • You know, I dreamed I saw JOE HILL last night…

    Gawd, I crack myself up…

    But seriously, BLOOD AND ROSES would be awfully nice. I’ll believe THE SAVAGE INNOCENTS when I see it. Very glad to have the recalled MOC disc, with the uncut nudity and all…I mean, not BECAUSE of the uncut nudity but…oh, never mind…

  • Barry Putterman

    Glenn, or, as ALF used to say, “I kill me!”

    I actually saw THE SAVAGE INNOCENTS in my hand but it turned out to be a dream. I bought the ITV disc while I was in London, but failed to read the fine print until I got it home. 4:3 aspect ratio. Six and a half pounds out the window Murray!

  • Tom Brueggemann

    Back in the day (mid 70s) I saw a scope 16mm print of Savage Innocents, if I recall correctly from Films Incorporated.

    Be nice to see it back in circulation.

  • I’ve heard from Frank Tarzi, who is the Director of Acquisitions, Publicity and Sales for Olive Films (after 13 years as the Director of Sales and Acquisitions for Kino), who had this to say about some upcoming titles:

    There are some great titles coming to DVD (some BD) from Olive Films in 2010 and 2011. Films from this batch of 27 include three films by Otto Preminger (Such Good Friends, Skidoo, Hurry Sundown), Nicholas Ray’s Savage Innocents, Cy Endfield’s Sands of the Kalahari, Ingmar Bergman’s Face to Face and William Dieterle’s Rope of Sand, just to name a few. We finalized a deal with BAVARIA, which includes Robert Aldrich’s Twilight’s Last Gleaming, Billy Wilder’s Fedora and 3 Rainer Werner Fassbinder titles (Despair, Uncut versions of The Stationmaster’s Wife and I Only Want You To Love Me). We also acquired a large package of films from the Gaumont Studios, which includes the complete Jean-Luc Godard History of Cinema (Histoire(s) du cinéma), Abel Gance’s J’accuse and Claude Chabrol’s Ophelia and as I said before we’ve completed many other negotiations with other MAJOR studios.

    We also have a great collection of new theatrical films which include The Milk of Sorrow (Oscar Nominee for Best Foreign Film), Temptation of St. Tony and Amer.

    Sounds like a serious effort to me. I’m impressed.

  • I’m impressed as well – that’s quite a haul. I hope their presentation is up to par with their ambition.

  • Joe


    After pesting a lot of people re the whereabouts of the Cinema Center titles (some of which are out there, most of which aren’t), I was told that a large part of CC’s library has been absorbed by Paramount. Any truth to that and, if so, do you think Olive might finally be releasing some of CC’s lost titles (Prince’s “Something for Everyone” and Rosenberg’s “The April Fools,” among others)? Share, if you can. -J

    for the information, I was told that Paramount hyas

  • Tom Brueggemann

    Cinema Center Films (distributed by National General) were produced and owned by CBS, which is now of course owned by Viacom (of which Paramount is a part), so they apparently acquired the rights to these titles when they bought CBS.

  • Peter Henne

    Dave, That news took my breath away. So HdC CAN clear U.S. copyright law–I think that’s been a big question all this time, while Gaumont already released in France and licensed to Artificial Eye in the U.K. Eureka had to scuttle its release of THE SAVAGE INNOCENTS after rights issues arose.

    What’s next from these adventurers? Might Olive Films take an interest in Oliveira films?

  • I can’t help but wonder if Olive’s ability to release HISTOIRE(S) unhindered has something to do with the Library of Congress’s recent ruling on the use of clips in essay films and similar educational material:

  • dan

    SANDS OF KALAHARI! now that is indeed great news!

    I’ve heard there is a new restored version of I ONLY WANT YOU TO LOVE ME ready to show in this fall festival circuit. I wonder if by “uncut version” he means that same version.

    Also, SKIDOO. If thats not a moving decleration I dont know what is.

  • Peter Henne

    Interesting, Jaime. Yet those exemptions are for institutional, not-for-profit circulation, correct?

  • andrewbl

    Further to Joe Dante’s mention of DEEP END, the recent restoration is apparently getting a DVD / BluRay release from the BFI in the near future.

    And the excellent out-of-print Masters of Cinema release of THE SAVAGE INNOCENTS – correct aspect ratio, excellent commentary, extensive booklet – is still available directly from the company, here:

  • Rick K.

    The Paramount/Olive Films liaison is indeed another sign of hope that the studio backlog will continue to be tapped for more of its long suppressed (post-’50) riches, though I can’t help but find at least some cause for concern by the new $24.95 SRP where the old 19.95 or 14.95 seemed to suffice. Like the Warner Archive and other “on demand” initiatives, these are bare bones offerings, which don’t make them any less welcome, but do signify that the companies involved are not over-exerting their initiative in resurrecting these titles. The logic here seems to be that the further studios dig into their holdings, the less familiar the terrain for the average DVD consumer … resulting in fewer sales to be tallied, so the markup is required to make the difference. But they MAY just be pricing themselves beyond the range of many who would otherwise be partial to participating on this particular bandwagon. Warner Archive is likewise pushing the applecart with their new line of “remastered” titles @ 24.95. With DVD sales down overall, is now the time to strain it further with premium pricing? Of course it is hoped that these initiatives continue, but within a REASONABLE (ie. established) terrain of pricing to reach/attract its core of supporters. Criterion warrants its premium with the extra care/selection and exclusive supplements they provide … but I’m sure even they must have a certain backlash from their high-end pricing (incidentally, Barnes & Noble are now offering the ENTIRE Criterion line at 50% off, until Aug. 1). The last Paramount licensee (Legend Films) started at $14.95 per title, and is now issuing bundles of 3 for 19.95 of those very same titles. Part of consumer fallout has been the realization that prices will inevitably drop, hence those high initial prices (even at the 19.95 level) are to be viewed with some skepticism and discontent.

    Alas, my one Olive/Paramount purchase was a nostalgic one, CRACK IN THE WORLD, which I viewed last night. I’ve long wondered why this title has been absent in the DVD market, thinking that Paramount must have somehow lost the rights, but its reappearance is most welcome, a very handsome second-tier 60’s sci-fi which makes a fine apocalyptic companion to DAY OF THE TRIFFIDS (that film originally released by Allied Artists in ’63, though sharing a Security Pictures copyright, Yordan’s participation, along with co-stars Kieron Moore and Janette Scott). Whatever the case, one of its many pleasures was a really splendid use of Technicolor, an aspect which had once so stimulated my childhood sensibilities. Whether the DVD fully captured the original “Technicolor experience” remains in question, but there was enough of that unmistakable richness in saturation to rekindle the awe and wonder which made the film so memorable in its most inspired moments (Eugene Lourie’s contributions in particular). It was, I think, something of a Paramount hallmark at the time, for the Technicolor resonance of such diverse releases as the various John Wayne films (esp. DONOVAN’S REEF), Jerry Lewis (esp. NUTTY PROFESSOR) down to the most dubious of guilty pleasures (OH DAD POOR DAD, LAST OF THE SECRET AGENTS?) had a “look” which set them apart. The more I catch up with these films after so many years, the more I’m convinced that Paramount’s Technicolor palette was superior to the rest (except, of course, Fox in the 40s).

    The prospect of a BLOOD AND ROSES release should be worthy even of Criterion consideration, assuming they can get the complete cut alongside the U.S. version. Catch the trailer on Joe Dante’s “Trailers from Hell” website … it’s extremely tantalizing!!

  • Not sure Peter – I’m the farthest thing from a copyright lawyer, but this line – “The Librarian further expanded this exemption to documentary filmmaking and noncommercial videos” – I have to wonder if there’s room for HISTOIRE(S) in there. It’s reasonably a documentary…and certainly Godard is noncommercial if nothing else!

  • David Boxwell

    Olive’s website announces the upcoming release of these dregs on 28 Sep:


  • Barry Putterman

    Well, I more or less welcome all of these new titles (although once very definately was enough). However, like Rick K. I’m a bit baffled by the twenty five dollar price. I suppose that on some basic level of economics the more obscure the title is the more it should be marked up to compensate for fewer sales. But if we project that out to the whole field, Alpha would be charging 30 dollars for all of those poverty row masterworks in their catalog.

    Could Paramount be charging and Olive be accepting to pay huge fees to acquire these mid-range, now mostly forgotten titles? I’ve got to admit that I have no sense what these marketing geniuses value these days. Universal can’t be bothered with the bulk of their film library, but we are getting box sets of short-lived early 60s Revue TV series like “Arrest and Trial,” and “Frontier Circus,” and “Checkmate” which didn’t even find an audience when they were on the air. Of course, I actually bought all of those box sets, so maybe these guys know just what kind of chumps they’re dealing with.

  • Brian Dauth

    I wonder if dvds have a high SRP becasue of the full expectation (based on past buying behaviors) on the part of both manufacturer and consumer that when the inevitable sale/discount is offered, the majority of purchases will occur.

  • Tom Brueggemann

    One of the reasons possibly for the higher retails prices – it seems like this might be following the Warners Archive model and limiting their availability as rentals.

    Netflix, which has a pretty exhaustive library, does not offer any of these titles to my knowledge. Blockbuster, which has a different arrangement with studios (they have a revenue sharing system; Netflix simply buys DVDs at a negotiated price, obviously far lower than retail, but does not share revenue), does offer them, but not as part of a membership plan but I per-viewing download price.

    It seems the new normal for the larger scale releases from the studio vaults may be steering toward forcing those who want them to buy them, rather than rent, and hoping that once they realize they can’t rent, will then reluctantly pay higher prices.

  • Barry — Universal isn’t releasing those Revue TV shows, an indie company named Timeless Media is. Timeless has a deal where they pay for the rights but scrounge up the elements themselves, i.e., 16mm prints or VHS tapes acquired from private collectors. (In certain cases, although not any of the shows you named, they’ve accessed existing tape masters from Universal … and then compressed them egregiously to cram 4-6 hours of content on each disc.) I don’t know why Timeless has focused exclusively on TV shows, but if your dream is for a Joseph Pevney Collection consisting entirely of battered, cut-for-TV 16mm transfers, it could still come true.

    Tom — Lately Netflix has cut way back on acquiring catalog titles, from both the studios and indies, so it’s hard to say whether not carrying these DVDs is Netflix’s idea or Olive’s. I agree with your theory that limiting rental access should drive obsessives like us to buy more copies (and I was told that Frederick Wiseman declined to sell his DVD-rs to rental stores, either for that reason or fear of piracy). But I’m not sure if that works in practice. It’s hard to say without knowing how many copies NF buys of any given DVD but I suspect some indies had come to like the idea of that figure as a guaranteed sale, back before it stopped being a guarantee. Incidentally, the Olive releases do have pages on the Netflix site, so it’s possible they’ll turn up for rent eventually … that’s happened with some Criterions.

    I’m convinced that the Warner Archive is to blame for the $25 MSRP, because it proved conclusively that enough people are willing to pay that (over)price for an obscure catalog title.

  • Barry Putterman

    Stephen, you are probably right in thinking that the Warner Archive success is the big influence here. However, when you think about it, this situation is actually the inverse. Many of those Warner Archive titles have become quite familiar through multiple showings on TCM. Yet, at the same time, that allows one to save the purchase price by recording the film off the air without a major loss in quality in most cases.

    On the other hand, these Paramount films have not been on television for ages and are now almost entirely unknown to the public. The paucity of comments about them here this week is one indication of that. Yet, at the same time, that means that unless you are willing to dive into the bootleg market, buying these DVDs are the only practical way to see the films. So, it will be interesting to see if both situations prove equally successful for the marketers.

    And speaking of the bootleg market, I rather doubt that I would be willing to buy a commercial set consisting entirely of battered, cut-for-TV 16mm transfers since it would actually be a downgrade from what I already have. On the other hand, if we could assume reasonable 35mm transfers, while I might not purchase the Pevney box, contemporaneous sets on Jack Arnold, Hugo Fregonese and George Sherman would be immediate buys. And then, when we get to the 30s and 40s….

  • Tom Brueggemann

    Stephen –

    You indeed may be right that Netflix is cutting back on their archival catalogue, but when recently they took the radical step of working out cheaper deals with Universal, Fox and Warners to delay their releasing new titles by four weeks (which Blockbuster by mail and retail stores did not do), they specifically said that they were doing so to be able to maintain a huge catalogue otherwise, and that this was what the bulk of their business was, not the new films. So that sort of flies in the face of that.

  • Tom — The trade-off Netflix made was allegedly to be able to add more content to their streaming library, not physical media. You’d think they might’ve gotten Universal to throw in a couple hundred copies of the Barbara Stanwyck or Bob Hope sets Dave wrote about a couple months back … but, nope.

  • Alex Hicks

    “The way Carion tells it, Reagan was obsessed with John Ford’s “The Man Who Shot Liberty Valance,” which he keeps showing, in fragments, to a puzzled aide.” (David Denby, “Spy Vs. Spy,” New Yorker, August 2, 2010).

    Sometimes, one must simply bow to the sheer force of massive intellectual authority.

  • Barry Putterman

    This just in! Gordon Douglas and Burt Kennedy fans will be delighted to hear that Warner Archive has just announced the release of the newly remastered edition of YELLOWSTONE KELLY. And, that’s not all! The first 300 copies have been autographed by Clint Walker! Doesn’t say whether the autograph is on the box or on the disc itself, but who are we to quibble. So order now, there are only 300 and there is a limit of one per customer.

  • Mike Grost

    When I saw HANNIE CAULDER (Burt Kennedy) in the 1970’s, thought it had beautiful compositions. Would like to re-see this.
    Have been watching a lot of CHEYENNE on TV, starring Clint Walker. The theme song tells the hero “don’t forget the things you have seen.” Haunting advice.
    Haven’t seen the three noir films in decades.
    UNION STATION is based on a novel by Thomas Walsh. Didn’t like the book or movie (Rudolph Mate is my least favorite noir director). But Walsh wrote some good short stories. Walsh started out as a writer for the pulp magazines. His most famous short story “Sentence of Death” was turned into a good episode of the live TV series STUDIO ONE. It’s out on DVD, probably because it has James Dean in a supporting role. The tale resembles such later Reginald Rose scripts for STUDIO ONE like TWELVE ANGRY MEN and THE DEFENDER, in that it deals with doubts about what looks at first like an open and shut murder case. Maybe there was an influence from Thomas Walsh on Rose. By the way, I like Franklin Schaffner’s original TV version of TWELVE ANGRY MEN much more than Lumet’s film.

  • Mike Grost

    I only saw part of APPOINTMENT WITH DANGER, decades ago on TV. Thought it would turn up again soon… As people say, it instead disappeared for decades!
    Want to see how much or little it fits in with the police procedural/semi-documentary film tradition. Such films usually have three big features:
    Government agents from some agency (here the US Postal Inspectors)
    High technology
    A big finale in some industrial or technological area (think of the oil tanks in WHITE HEAT or the Williamsburg Bridge in THE NAKED CITY).
    Don’t know how APPOINTMENT WITH DANGER fits into all this…

  • Mike Grost

    PS I’m not sure how detective stories fit into the alleged “simple storytelling styles” of a byegone era. Always thought many real detective tales were models of complexity.

  • jean-pierre coursodon

    So, Barry, there’s going to be a rush on YELLOWSTONE KELLY? I didn’t know Gordon Douglas had so many fans — or are they Burt Kennedy fans? Or Clint Walker fans? I got the e-mail from Warner but haven’t opened it yet. Is the Walker autograph for real or just one of your clever gags?

    I wrote a piece on Douglas for POSITIF a few months ago but didn’t get a chance to see YELLOWSTONE KELLY again. It wasn’t all that great in my distant memory. Unlike CHUKA or RIO CONCHOS, his best westerns.

  • jean-pierre coursodon

    Just opened the Warner e-mail. Yes, Walker did sign the 300 copies! “Big man, big land, big adventure!” How can one resist?

  • Barry Putterman

    Jean-Pierre, I got the Warner e-mail and as soon as I saw the news, I knew that I had to inform my colleagues here so that they wouldn’t miss out on this special offer. No details on whether Clint actually wrote his name 300 times or we are dealing with an autographed picture type stamp. Nevertheless, if you want to be the first kid on your block to own one of these fine collector’s item, you MUST act now! Believe me, had I made this story up, the autographs would have been of Edd “Kookie” Byrnes.

    In any event, I’ve delighted to hear that you rate CHUKA so highly since I only have distant meories of that one but do have the DVD laying around here somewhere ripe for reappraisal.

    Mike, “don’t forget the things you have seen” is indeed haunting advice. However, had Cheyenne taken it too literally, many of the plots would have died aborning as he recognized some of the same actors hatching the same nefarious schemes from pervious episodes. Still, it certainly is preferable to “riding along with a heart full of song” the way that Sugarfoot did.

  • That’s funny, I’m supposed to be the TV guy here, and I never noticed that CHEYENNE was crooning about one of my biggest problems as I sidle up toward middle age. Thanks, Mike.

  • Common subjects in the films of William Dieterle:

    Doctor heroes (The Devil’s in Love, Dr. Socrates, The Story of Louis Pasteur, Dr. Ehrlich’s Magic Bullet, Peking Express) nurses (The White Angel)
    Medical research (The Story of Louis Pasteur, Dr. Ehrlich’s Magic Bullet)
    Battles against epidemics (The Devil’s in Love, cholera: Elephant Walk)
    Technological advances (forensics in crime investigation: From Headquarters, printing press: The Hunchback of Notre Dame, telegraph-based world news: A Dispatch from Reuter’s)
    Respect for racial minorities and oppostion to racism (Arabs: The Devil’s in Love, Jews: The Life of Emile Zola, Gypsies: The Hunchback of Notre Dame, Asian translator: A Dispatch from Reuter’s)
    Defence of reactionaries in US Civil War era (slavery apologist Daniel Webster: All That Money Can Buy, white supremacist President Andrew Johnson: Tennessee Johnson)
    Europeans living in the Tropics (North Africa: The Devil’s in Love, Africa: Another Dawn, China: Peking Express, Sri Lanka: Elephant Walk)
    Churches as refuges (The Devil’s in Love, The Hunchback of Notre Dame)
    Large complex buildings, often full of technology (police headquarters: From Headquarters, mansion: Fog over Frisco, Cathedral: The Hunchback of Notre Dame, bungalow: Elephant Walk)
    Safes (From Headquarters, Fog over Frisco, All That Money Can Buy)
    Manipulating news (reporter holds back info: Fog over Frisco, hero refuses to hold info: A Dispatch from Reuter’s)
    Finance (1929 crash: The Crash, bond swindles, financial firm: Fog over Frisco, stock market, crash: A Dispatch from Reuter’s, crooked contracts with farmers, grange: All That Money Can Buy)
    Fund raising (medical research: Dr. Ehrlich’s Magic Bullet, news agency: A Dispatch from Reuter’s)
    Heroes who defend themselves from false charges before legal tribunals (The Devil’s in Love, Dr. Ehrlich’s Magic Bullet, hearing in House of Commons: A Dispatch from Reuter’s, trial before supernatural jury: All That Money Can Buy, impeachment: Tennessee Johnson) related (beggars’ court: The Hunchback of Notre Dame)
    Women who help men in their causes (The Devil’s in Love, Dr. Ehrlich’s Magic Bullet, wife: A Dispatch from Reuter’s)

    Story Structure:
    Strange variations on the whodunit (The Devil’s in Love, From Headquarters, Fog over Frisco)
    Biographical films (The Story of Louis Pasteur, The White Angel, The Life of Emile Zola, Juarez, Dr. Ehrlich’s Magic Bullet, A Dispatch from Reuter’s, Tennessee Johnson)

    Circular environments (airplane gunner, bullring: The Last Flight, night club: Fog over Frisco, lecture platform: Dr. Ehrlich’s Magic Bullet, circular balcony over stairs: All That Money Can Buy, lighthouse spiral steps, arched museum ceiling at end: Portrait of Jennie)

  • Shawn Stone

    Just saw a Tweet from Warner Archive that the autographed copies of YELLOWSTONE KELLY are sold out.