Yet another contribution to Garagehouse Pictures’ exciting Trailer Trauma series, their latest colossal undertaking is a magnificent, lovingly-put-together tribute to ’Seventies action pictures, which veers from badass blaxploitation to messily-dubbed, gimmicky martial arts films and everything in-between, even including big-budget Hollywood classics in amongst all the expected “B” and “Z”-grade trash. Given the sheer quantity of trailers compiled on this three-hour disc, it would once again be nigh-on-impossible to comment on each one individually, so instead let’s just take a look at the many highlights—which, to be honest, includes the lion’s share of the contents! So brace yourselves for another (quote) “unparalleled assortment” of coming attractions as only the Garagehouse gang can deliver!
Beginning with plenty of ballyhoo (e.g., “A macho movie that ricochets off the screen with a double-barrel action-blast!”) and shown under its rather nondescript title of BORN TO KILL (1974), Warren Oates stars in Monte Hellman’s distinctive—and still controversial—COCKFIGHTER, which is quickly followed by Sam Peckinpah’s equally-idiosyncratic BRING ME THE HEAD OF ALFREDO GARCIA (1974), which likewise features another mesmerizing performance from the late, great Mr. Oates. Moving over to the other side of the pond, Rolf Olsen’s no-holds-barred German / Italo crimeslimer BLOODY FRIDAY (1972) also gets its due c/o a rare English-language trailer (“Violence breeds violence!”), as distributed by the film’s U.S. distribution outfit Sunset International; and it’s always great to see a trailer for one of Don Siegel’s best, most-individualistic films, the gripping bank heist-gone-awry drama CHARLEY VARRICK (1973), starring the droll Walter Matthau as the title character, which amounts to one of the actor’s most surprising and atypical roles.
Sure enough, this being the ’Seventies and all, blaxploitation is also well-represented herein via the likes of Duccio Tessari’s THREE TOUGH GUYS (1974)—a film which, incidentally, still remains unavailable on domestic home video—and Gordon Parks, Jr.’s THREE THE HARD WAY (1974), plus a trailer for Sidney J. Furie’s vastly-underappreciated HIT! (1973) which wasn’t featured on Olive Films’ otherwise excellent Blu-ray of the film, as well as Ossie Davis’ GORDON’S WAR (1973), which promises (quote) “War, baby!” In Daryl Duke’s PAYDAY (1973), Rip Torn stars as self-centered country music star Maury Dann (“He’s just a fun-lovin’, free-wheelin’ country boy!”) in a trailer that only hints at the film’s many darker aspects; speaking of which, Daniel Petrie’s somber and criminally-neglected BUSTER AND BILLIE (1974) also shows up in what is yet another film still not available on disc.
Richard Compton’s biker flick ANGELS DIE HARD (1970) keeps things revved-up and roaring right along, followed by a preview for Gordon Douglas’ VIVA KNIEVEL (1977), a “biopic” that is as unsound as some of the great man’s many stunts; further biker bedlam continues with Seymour Robbie’s C.C. AND COMPANY (1970), co-starring Joe Namath, Ann-Margret and William Smith, plus Sutton Roley’s THE LONERS (1972), which was boldly touted as (quote) “This year’s EASY RIDER!” Veering-off into the wild west, Kent Osborne’s CAIN’S WAY (a.k.a. CAIN’S CUT-THROATS, 1970) makes one wish this nasty low-budget oater would get an official home video release, whereas Clint Eastwood’s HIGH PLAINS DRIFTER (1973)—which remains one of his very best, and certainly most-violent—westerns has been readily available in each new format since the dawn of home video. “Bloody” Sam Peckinpah is once again represented with THE BALLAD OF CABLE HOGUE (1970), along with one of his most-overlooked gems, JUNIOR BONNER (1972). Big William Smith turns up once again in an excellent Cinemation Industries trailer for Sean MacGregor’s CAMPER JOHN (a.k.a. GENTLE SAVAGE, 1973), while Steve Sandor is THE NO MERCY MAN (1973) in Daniel Vance’s revenge film.
More blaxploitation follows with Greydon Clark’s BLACK SHAMPOO (1976) in an always-welcome spot from Dimension Pictures (“This stud is no dud! He’s baaad! He’s mean! He’s a lovin’ machine!”), while Robert Hooks is the TROUBLE MAN (1972) in Ivan Dixon’s first-rate film, then Tamara Dobson, the (quote) “Soul sister’s answer to James Bond!” stars in both Jack Starrett’s CLEOPATRA JONES (1973) and Chuck Bail’s follow-up CLEOPATRA JONES AND THE FORTRESS OF GOLD (1975). Next up is a preview for Starrett’s elusive THE GRAVY TRAIN (a.k.a. THE DION BROTHERS, 1974), which not only features one of Terrence Malick’s (credited as “David Whitney”) earliest scripts, but also boasts perfectly-timed comedic performances from Stacy Keach and Frederic Forrest, so it’s great to see this fantastic trailer. Hopefully the film itself will also show up on disc sooner-than-later. In what turns out to be still another title that is sorely missing on home video, Peter Collinson’s unflinching Spanish production OPEN SEASON (1974) also turns up herein, while a quirky, nudity-filled preview for Harry E. Kerwin’s TOMCATS (1977) attempts to sell what is essentially a tough revenge actioner.
Of course, no ’Seventies trailer compilation would be complete without showcasing a number of urban cop films as well, but rather than the usual suspects, Garagehouse instead focuses on some largely-forgotten ones, beginning with Gordon Douglas’ superb true-to-life story of NYC cops David Greenberg and Robert Hantz (as played by Ron Leibman and David Selby, respectively) in THE SUPER COPS (1974); Aram Avakian’s hilarious COPS AND ROBBERS (1973), whose trailer is equally hysterical; Ivan Passer’s first American film, LAW AND DISORDER (1974), which double-barrels Ernest Borgnine and Carroll O’Connor as a couple of wannabe cops; and lastly Peter Hyams’ BUSTING (1973), featuring Elliott Gould and Robert Blake as a pair of vice cops out to bust the kingpin of iniquity, Carl Rizzo (played with slimy aplomb by Allen Garfield).
Switching gears and heading back out onto the open road again, we get trailers for Jonathan Kaplan’s WHITE LINE FEVER (1975), Peter Carter’s Canadian-lensed HIGH-BALLIN’ (1977) and Sam Peckinpah’s troubled CONVOY (1978)—which exploited the ’70s trucker / CB radio craze and whose title was also that of a smash-hit C&W tune—then it’s off to the races with David Cronenberg’s FAST COMPANY (1979, [“Alright teens, queens, guys and blue-jeans! This is it! The world of a drag racer! Fast cars and FAST COMPANY!”]) starring perennial ’Seventies favourites William Smith and Claudia Jennings; more vehicular mayhem is steered your way with William Friedkin’s nail-biting SORCERER (1977), whose haunting, Tangerine Dream-scored and slickly-edited preview is a mini-masterpiece in and of itself; H.B. Halicki’s GONE IN 60 SECONDS (1974) promises (quote) “thrill-a-minute” action, while Fox’s trailer for Walter Hill’s THE DRIVER (1978) is the epitome of cool. Following this, Tangerine Dream’s SORCERER score is once again put to good use in Paramount’s trailer for Walter Hill’s THE WARRIORS (1978). Mixing it up further, there are also hard-to-see U.S. theatrical trailers for Sergio Corbucci’s Terence Hill and Bud Spencer headliner CRIMEBUSTERS (1977), which promises a (quote), “Heck of a non-stop, nonsense joyride!” and then Alain Delon is (quote) “The greatest hero of them all!” in Duccio Tessari’s ZORRO (1975).
Moving on to the incredibly popular martial arts / kung fu films of the era, David Chiang demonstrates his immense talents in Chang Cheh’s TRIPLE IRONS (a.k.a. THE NEW ONE-ARMED SWORDSMAN, 1971) and FIVE MASTERS OF DEATH (a.k.a. FIVE SHAOLIN MASTERS, 1974), both of which were produced by the legendary Shaw Brothers studio, then Angela Mao appears as the DEADLY CHINA DOLL (1973) in an M-G-M trailer. As expected, a number of stimulating sexploitation trailers are also featured for the likes of Stephen’s Gibson’s WILDCAT WOMEN (a.k.a. BLACK LOLITA, 1975)—which promises (quote) “Hot action in color!”—Don Schain’s THE ABDUCTORS (1972), Cesar Gallardo’s HUSTLER SQUAD (1975), Joe Viola’s THE HOT BOX (1972, [“Soiled, spoiled and violated! They wouldn’t take it lying down!”]) and Arthur Marks’ BONNIE’S KIDS (1972). Further miscellaneous trailers include Byron Ross Chudnow’s THE DOBERMAN GANG (1972) and its sequel THE DARING DOBERMANS (1973, [“Nothing can stop these determined and disciplined disciples of crime!”]), Al Adamson’s THE MURDER GANG (a.k.a. BLACK HEAT, 1976), Eddy Matalon’s BLACKOUT (1977), Daryl Duke’s riveting Christmas-themed heist film THE SILENT PARTNER (1978), A.I.P.’s amazing rapid-fire trailer for Fernando Di Leo’s THE ITALIAN CONNECTION (a.k.a. MANHUNT, 1972), and then one for Sergio Sollima’s superb Italocrimer THE FAMILY (a.k.a. VIOLENT CITY, 1972) with Charles Bronson; which, by the way, leads into ones for Michael Winner’s THE MECHANIC (1972) and Walter Hill’s HARD TIMES (1975), two of Bronson’s finest films.
Aside from the disc’s plentiful highlights, Mondo Digital’s Nathanial Thompson and Destructible Man’s Howard S. Berger also provide a wonderful, comprehensive audio commentary, and who, really going the distance during the three-hour runtime, never fail in waxing enthusiastic for each and every film as they discuss many of their release histories, critical receptions, personnel and relate some of their own personal memories of when they first stumbled onto many of these now-classic films; it’s a must-listen, to be sure! All of these 35mm trailers have been (quote) “scanned in 4K and digitally mastered in HD” and are preserved in their original (quote) “worn glory”, so expect to see plenty of speckles, debris, vertical scratches and some faded colour here and there. Despite these inherent flaws, however, the image quality is generally great. The disc also includes numerous trailers for much of Garagehouse Pictures’ other releases. As with their earlier trailer compilations TRAILER TRAUMA, TRAILER TRAUMA 2: DRIVE-IN MONSTERAMA, TRAILER TRAUMA 3: ’80s HORRORTHON and TRAILER TRAUMA PART 4: TELEVISION TRAUMA, it should come as no surprise that their latest Blu-ray is most definitely another must-have! Order it today via DiabolikDVD!
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