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Fox's Frankenstein-inspired police procedural with a sci-fi twist, Second Chance, shouldn't have been written off so quickly...
Second Chance, the Fox channel’s adaptation of Mary Shelley’s classic Frankenstein had, it would be fair to say, a somewhat turbulent production. With the number of episodes reduced from thirteen to eleven before the show even premiered and two late-in-the-day changes from original title The Frankenstein Code, it seemed as if Fox had early reservations about the direction and potential of the project. And the general reaction to Second Chance’s initial few episodes seemingly justified the scepticism. After the first two outings brought in poor numbers, the series was unceremoniously shunted to the infamous ‘Friday Night Death Slot’. The critics weren’t much kinder either, with the overarching feeling being the show lacked in originality, wasn’t particularly exciting and should have been better thought out both in concept and execution.
But despite under-par reviews and unimpressive ratings, there are a number of elements contained in Second Chance that shine through; a few ideas that really work well, engage viewers (the few there are) and display a promise suggesting that with a few tweaks and alterations, this monster could really have come to life. A second season has been ruled out by Fox, and here's why that's a shame.
As Second Chance begins, Jimmy Pritchard is a seventy-five year old man, living in disgrace after losing his job as Sheriff due to being found guilty of malpractice, or as he’d put it, “getting the job done”. Pensioner Jimmy has a penchant for booze and hookers and suffers a strained relationship with his straight-laced FBI agent son, Duval, who resents him due to his prioritisation of work over family and his maverick way of keeping law and order. When Jimmy finds intruders in his son’s home, he’s callously murdered, with the death being framed as suicide. Luckily, the old-timer has a rare genetic precursor and his body is recovered by the reclusive, billionaire genius Otto Goodwin to be the subject of his quest to reanimate a human being into an ‘ideal version’ of their younger self, complete with superhuman capabilities.
That’s more or less where the Frankenstein influence ends and it’s easy to see why the original ‘The Frankenstein Code’ moniker didn’t stick, as Second Chance very quickly reveals itself to be, essentially, a police procedural drama. Once the dust settles on Pritchard’s resurrection, the bulk of the series chronicles the now thirty-five year old solving crimes with his son as they struggle to repair their relationship along the way. The other primary source of plot concerns Otto and his twin Mary, the duo responsible for bringing Jimmy back from the dead. As Mary struggles with terminal cancer, the pair strives to understand the morality behind their breakthrough and begin to develop their own relationships with the ex-Sheriff, both working and personal.
Even its most staunch supporters would struggle to deny that Second Chance has several fundamental flaws, perhaps the most significant of which being the show’s ‘short term’ planning approach. The first episode, for example, is enjoyable enough with intriguing mysteries to keep its audience interested until the end and a magnetising protagonist, however all of the episode’s questions and plot points are neatly tied up and resolved by the end credits, leaving absolutely nothing to hook viewers into returning next week. This approach is highly frustrating, particularly as the ‘who were the intruders that murdered Jimmy?’ mystery could have easily been a season-long arc that motivated the lead character throughout the story, rather than being a cut and dry case contained to episode one.
This trend continues throughout the series’ run with Second Chance adopting a ‘crime of the week’ format and the few long-term story arcs that are introduced are largely restricted to family disputes and domestic tension. There is a welcome exception to this rule however, with the final trio of episodes coming together to deliver a quite stunning finale brimming with suspense and action and it just goes to show that when multi-episode narratives are utilised, Second Chance could really take off.
Other problems with the show include the formulaic and predictable nature of many stories, with Jimmy usually saving the day at the last second despite his son asking him to stop interfering in his cases. The writing itself doesn’t fare much better, with the show’s initial batch of scripts offering very little wit or emotive clout, often feeling very ‘by the numbers’ and without wanting to name names, some of the acting is not what you’d expect from a mainstream production.
As we said however, there are redeeming features present, not least of which is the fantastically grounded performance by lead actor Rob Kazinsky. Aside from memorable turns in Pacific Rim and True Blood, British viewers may best remember Rob for his time in Eastenders playing Sean Slater but the Sussex-born actor has been less prominent in the last two years. As such, it’s good to see the promising talent take on a meaty role such as this, and Kazinsky delivers a very affecting performance as Jimmy Pritchard. Never losing sight of the fact his character is actually a pensioner, the acting is layered with maturity and wisdom and his American accent is flawless. Part detective action-hero, part failed family-man and part seriously confused about not being dead, Kazinsky is an ideal leading man and it’s no exaggeration to say that there are times when his charisma carries the show.
There’s also an argument to be made that whilst Second Chance’s melding together of Frankenstein, cop show and family woes doesn’t quite work together as a cohesive narrative, the series does succeed when considered primarily as a detective-based crime drama with a slight, undead, twist. The featured cases may not have the delicate intricacy of Sherlock or inspire amateur sofa-sleuthing as feverishly as the CSI franchise but each episode’s felony hooks viewers in, keeping bums on seats until the bad guys are behind bars and Pritchard is safely back in his regeneration tank.
The developing relationship between the ex-corpse and his son Duval manages to bring at least a modicum of freshness to the table, and the way Second Chance handles Duval coming to terms with the revival of his father is more or less spot-on. If Pritchard’s son had accepted the news too easily the show would’ve looked foolish and naive, but drag the storyline on for too long and Duval’s reluctance to believe something the audience already knows to be true would have become infuriating. It’s a delicate balance but Second Chance doesn’t over or under-sell the unique scenario the characters find themselves in and ensures the exchanges feel believable without overcooking the conflict.
Unfortunately, however, this doesn’t fix the plot-hole of why Duval doesn’t recognise his 35 year-old father. Otto does offer a flimsy 'it’s the best version of him' explanation, hinting that Jimmy would have looked different when he was originally in his thirties but it’s a feeble attempt to paper over the fact that most sons would recognise their dad as a younger adult.
As alluded to previously, the series’ rigid formula and predictability does become an issue but any potential drop in interest is offset by scripts that improve dramatically as the show progresses, after a shaky few initial offerings. Gwendolyn M. Parker’s work on fourth outing Admissions, for instance, showcases Jimmy and Duval at their horn-locking best and the crime at the centre of the story is genuinely surprising in places. There’s even a hilarious scene involving Jimmy Pritchard’s family and an Ouija board. Despite being a season highlight however, Admissions does suffer from the same issues Second Chance is guilty of as a whole, namely the inductive leaps our detective protagonists sometimes resort to in order to wrap up their case inside the forty minutes running time. The occasionally too obvious and definitely too frequent plot devices provided by the Lookinglass company also irk as the series goes on.
Thankfully Lookinglass don’t just provide a variety of ‘get out of jail’ cards for the show’s writers, they’re also responsible from bringing the magnificent Arthur to life. Arthur is a seemingly omnipotent A.I. created by Otto Goodwin with a charmingly loveable personality, similar to A Hitchhiker’s Guide To The Galaxy’s Marvin but without the physical form and crippling depression. He also is a perfect example of Second Chance’s excellent design work, especially when it comes to the more futuristic technology on display. It really helps sell the show’s more fantastical concepts and builds a believable setting.
And it isn’t only the cinematography that triumphs, the direction and music also impress. The work behind the camera is always solid, noticeably altering to suit Second Chance’s two distinct areas of drama. The crime segments are nice and choppy, lingering on important visual clues for added impact but deliberately obscuring other elements to ramp up the tension, however the Lookinglass scenes take a more serene and streamlined approach. The series’ soundtrack also offers moments of inspiration with John Paesano’s subtle score often punctuated by modern pop tracks such as Gram Rabbit’s piano-led They’re Watching which appears over scenes of a brutal axe murder. The juxtaposition is funnier than it should be.
Realistically, if you’re the type of person to only watch a select few television shows a year, Second Chance isn’t going to be (and probably shouldn’t be) one of them. But for those who gobble up series like a surprise tub of Ben and Jerry’s you forgot was in the freezer, this spin on the Frankenstein story is a decent police procedural with a science fiction twist that isn’t quite as hopeless as the reviews and ratings would have you believe. Indeed, it could be said that Second Chance is a victim of the golden age of television we’re currently experiencing. With fantastic shows appearing continuously on mainstream and cable channels as well as streaming sites and on-demand services, projects like Second Chance receive a negative reception not because they are lacking in quality but because they don’t hold up to the abundance of excellent programming currently available at the touch of a button. Second Chance may not be a great show, but it’s certainly a good one and its lone season deserves to find the viewership that is undoubtedly out there for it somewhere.
Second Chance is currently airing on Universal Channel in the UK.
See related How Moffat’s Jekyll anticipated Doctor Who & Sherlock The Frankenstein Chronicles episode 1 review: A World Without God 25 upcoming Us TV shows: sci-fi, fantasy, horror, thrillers 50 upcoming comic book TV shows, and when to expect them TV Feature Craig Elvy Second Chance 15 Jun 2016 - 06:00 Fox Robert Kazinsky Craig Elvy...
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Fox's Frankenstein-inspired police procedural with a sci-fi twist, Second Chance, shouldn't have been written off so quickly...
Second Chance, the Fox channel’s adaptation of Mary Shelley’s classic Frankenstein had, it would be fair to say, a somewhat turbulent production. With the number of episodes reduced from thirteen to eleven before the show even premiered and two late-in-the-day changes from original title The Frankenstein Code, it seemed as if Fox had early reservations about the direction and potential of the project. And the general reaction to Second Chance’s initial few episodes seemingly justified the scepticism. After the first two outings brought in poor numbers, the series was unceremoniously shunted to the infamous ‘Friday Night Death Slot’. The critics weren’t much kinder either, with the overarching feeling being the show lacked in originality, wasn’t particularly exciting and should have been better thought out both in concept and execution.
But despite under-par reviews and unimpressive ratings, there are a number of elements contained in Second Chance that shine through; a few ideas that really work well, engage viewers (the few there are) and display a promise suggesting that with a few tweaks and alterations, this monster could really have come to life. A second season has been ruled out by Fox, and here's why that's a shame.
As Second Chance begins, Jimmy Pritchard is a seventy-five year old man, living in disgrace after losing his job as Sheriff due to being found guilty of malpractice, or as he’d put it, “getting the job done”. Pensioner Jimmy has a penchant for booze and hookers and suffers a strained relationship with his straight-laced FBI agent son, Duval, who resents him due to his prioritisation of work over family and his maverick way of keeping law and order. When Jimmy finds intruders in his son’s home, he’s callously murdered, with the death being framed as suicide. Luckily, the old-timer has a rare genetic precursor and his body is recovered by the reclusive, billionaire genius Otto Goodwin to be the subject of his quest to reanimate a human being into an ‘ideal version’ of their younger self, complete with superhuman capabilities.
That’s more or less where the Frankenstein influence ends and it’s easy to see why the original ‘The Frankenstein Code’ moniker didn’t stick, as Second Chance very quickly reveals itself to be, essentially, a police procedural drama. Once the dust settles on Pritchard’s resurrection, the bulk of the series chronicles the now thirty-five year old solving crimes with his son as they struggle to repair their relationship along the way. The other primary source of plot concerns Otto and his twin Mary, the duo responsible for bringing Jimmy back from the dead. As Mary struggles with terminal cancer, the pair strives to understand the morality behind their breakthrough and begin to develop their own relationships with the ex-Sheriff, both working and personal.
Even its most staunch supporters would struggle to deny that Second Chance has several fundamental flaws, perhaps the most significant of which being the show’s ‘short term’ planning approach. The first episode, for example, is enjoyable enough with intriguing mysteries to keep its audience interested until the end and a magnetising protagonist, however all of the episode’s questions and plot points are neatly tied up and resolved by the end credits, leaving absolutely nothing to hook viewers into returning next week. This approach is highly frustrating, particularly as the ‘who were the intruders that murdered Jimmy?’ mystery could have easily been a season-long arc that motivated the lead character throughout the story, rather than being a cut and dry case contained to episode one.
This trend continues throughout the series’ run with Second Chance adopting a ‘crime of the week’ format and the few long-term story arcs that are introduced are largely restricted to family disputes and domestic tension. There is a welcome exception to this rule however, with the final trio of episodes coming together to deliver a quite stunning finale brimming with suspense and action and it just goes to show that when multi-episode narratives are utilised, Second Chance could really take off.
Other problems with the show include the formulaic and predictable nature of many stories, with Jimmy usually saving the day at the last second despite his son asking him to stop interfering in his cases. The writing itself doesn’t fare much better, with the show’s initial batch of scripts offering very little wit or emotive clout, often feeling very ‘by the numbers’ and without wanting to name names, some of the acting is not what you’d expect from a mainstream production.
As we said however, there are redeeming features present, not least of which is the fantastically grounded performance by lead actor Rob Kazinsky. Aside from memorable turns in Pacific Rim and True Blood, British viewers may best remember Rob for his time in Eastenders playing Sean Slater but the Sussex-born actor has been less prominent in the last two years. As such, it’s good to see the promising talent take on a meaty role such as this, and Kazinsky delivers a very affecting performance as Jimmy Pritchard. Never losing sight of the fact his character is actually a pensioner, the acting is layered with maturity and wisdom and his American accent is flawless. Part detective action-hero, part failed family-man and part seriously confused about not being dead, Kazinsky is an ideal leading man and it’s no exaggeration to say that there are times when his charisma carries the show.
There’s also an argument to be made that whilst Second Chance’s melding together of Frankenstein, cop show and family woes doesn’t quite work together as a cohesive narrative, the series does succeed when considered primarily as a detective-based crime drama with a slight, undead, twist. The featured cases may not have the delicate intricacy of Sherlock or inspire amateur sofa-sleuthing as feverishly as the CSI franchise but each episode’s felony hooks viewers in, keeping bums on seats until the bad guys are behind bars and Pritchard is safely back in his regeneration tank.
The developing relationship between the ex-corpse and his son Duval manages to bring at least a modicum of freshness to the table, and the way Second Chance handles Duval coming to terms with the revival of his father is more or less spot-on. If Pritchard’s son had accepted the news too easily the show would’ve looked foolish and naive, but drag the storyline on for too long and Duval’s reluctance to believe something the audience already knows to be true would have become infuriating. It’s a delicate balance but Second Chance doesn’t over or under-sell the unique scenario the characters find themselves in and ensures the exchanges feel believable without overcooking the conflict.
Unfortunately, however, this doesn’t fix the plot-hole of why Duval doesn’t recognise his 35 year-old father. Otto does offer a flimsy 'it’s the best version of him' explanation, hinting that Jimmy would have looked different when he was originally in his thirties but it’s a feeble attempt to paper over the fact that most sons would recognise their dad as a younger adult.
As alluded to previously, the series’ rigid formula and predictability does become an issue but any potential drop in interest is offset by scripts that improve dramatically as the show progresses, after a shaky few initial offerings. Gwendolyn M. Parker’s work on fourth outing Admissions, for instance, showcases Jimmy and Duval at their horn-locking best and the crime at the centre of the story is genuinely surprising in places. There’s even a hilarious scene involving Jimmy Pritchard’s family and an Ouija board. Despite being a season highlight however, Admissions does suffer from the same issues Second Chance is guilty of as a whole, namely the inductive leaps our detective protagonists sometimes resort to in order to wrap up their case inside the forty minutes running time. The occasionally too obvious and definitely too frequent plot devices provided by the Lookinglass company also irk as the series goes on.
Thankfully Lookinglass don’t just provide a variety of ‘get out of jail’ cards for the show’s writers, they’re also responsible from bringing the magnificent Arthur to life. Arthur is a seemingly omnipotent A.I. created by Otto Goodwin with a charmingly loveable personality, similar to A Hitchhiker’s Guide To The Galaxy’s Marvin but without the physical form and crippling depression. He also is a perfect example of Second Chance’s excellent design work, especially when it comes to the more futuristic technology on display. It really helps sell the show’s more fantastical concepts and builds a believable setting.
And it isn’t only the cinematography that triumphs, the direction and music also impress. The work behind the camera is always solid, noticeably altering to suit Second Chance’s two distinct areas of drama. The crime segments are nice and choppy, lingering on important visual clues for added impact but deliberately obscuring other elements to ramp up the tension, however the Lookinglass scenes take a more serene and streamlined approach. The series’ soundtrack also offers moments of inspiration with John Paesano’s subtle score often punctuated by modern pop tracks such as Gram Rabbit’s piano-led They’re Watching which appears over scenes of a brutal axe murder. The juxtaposition is funnier than it should be.
Realistically, if you’re the type of person to only watch a select few television shows a year, Second Chance isn’t going to be (and probably shouldn’t be) one of them. But for those who gobble up series like a surprise tub of Ben and Jerry’s you forgot was in the freezer, this spin on the Frankenstein story is a decent police procedural with a science fiction twist that isn’t quite as hopeless as the reviews and ratings would have you believe. Indeed, it could be said that Second Chance is a victim of the golden age of television we’re currently experiencing. With fantastic shows appearing continuously on mainstream and cable channels as well as streaming sites and on-demand services, projects like Second Chance receive a negative reception not because they are lacking in quality but because they don’t hold up to the abundance of excellent programming currently available at the touch of a button. Second Chance may not be a great show, but it’s certainly a good one and its lone season deserves to find the viewership that is undoubtedly out there for it somewhere.
Second Chance is currently airing on Universal Channel in the UK.
See related How Moffat’s Jekyll anticipated Doctor Who & Sherlock The Frankenstein Chronicles episode 1 review: A World Without God 25 upcoming Us TV shows: sci-fi, fantasy, horror, thrillers 50 upcoming comic book TV shows, and when to expect them TV Feature Craig Elvy Second Chance 15 Jun 2016 - 06:00 Fox Robert Kazinsky Craig Elvy...
- 5/8/2016
- Den of Geek
Six world premiere films and a showcase of paintings by Viggo Mortensen are among the highlights of the inaugural Amfm Fest, a mix of film, music and art that will occur in California's Coachella Valley this June 13-16. Full program via the press release below. Cathedral “Cat,” City CA, May 22, 2013 – Veteran festival producers Film 4 Change are poised to launch the latest art, music and film event in the Coachella Valley, the inaugural Amfm Fest, running from June 13 -16, 2013 at the UltraStar Mary Pickford Theater, the Cathedral City Town Square and other select desert venues, Festival Co-Directors Rich Henrich and Robert Galarza announced this week. Henrich and Galarza have also added rock group and now Amfm headliner Gram Rabbit to the extensive programming slate. The Amfm: art, music, film and more Festival is a creation of Film 4 Change, whose mission is to bring communities together through the power of story and...
- 6/3/2013
- by Indiewire
- Indiewire
No budget, no problem. The seams show often in “Dust Up,” an unapologetically silly action comedy that feels as if it was produced entirely from the loose change found on all of Brooklyn’s collective bar tops. Complimenting the jaunty original score and songs from Spindrift and Gram Rabbit are stock soundtrack cues like a soaring eagle, crashing glass, and what sounds like the loudest punches ever recorded for a film, even when delivered by hundred-pound weaklings. Eternally lost in the desert is ex-vet Jack (Aaron Gaffey), who survived war trauma to become a “high desert handyman” with a granite pokerface and an eyepatch that others can’t help but acknowledge is “badass.” A phone call takes him to the doorstep of Ellen (a frankly adorable Amber Benson), who he hopes to assist with her plumbing issues, but also maybe a bit more? The point is moot as Jack soon encounters her husband,...
- 10/26/2012
- by Gabe Toro
- The Playlist
Think about that first mixtape you made for someone you cared about. What was on it? What wasn't? How many hours did you spend coming up with the perfect songs, in the perfect order, parsing the collection with chemist-like precision to make sure there were no subconscious errors or possibilities for misinterpretation?
Defining love musically has never been easy, but the team behind the soundtrack for "Crazy, Stupid, Love." offer their attempt: electronic music and neo-folk singer-songwriters.
Aside from the occasional forays into classic R&B (Doris Troy's "Just One Look") and modern funk (The Bamboos' "On the Sly"), downtempo groups and acoustic male singers dominate the album. Thievery Corporation, seemingly included on one out of every two indie film soundtracks these days, makes two appearances with "The Numbers Game" off 2008's "Radio Retaliation" (featuring go-go pioneer Chuck Brown) and "The Heart's a Lonely Hunter" off 2005's "The Cosmic Game.
Defining love musically has never been easy, but the team behind the soundtrack for "Crazy, Stupid, Love." offer their attempt: electronic music and neo-folk singer-songwriters.
Aside from the occasional forays into classic R&B (Doris Troy's "Just One Look") and modern funk (The Bamboos' "On the Sly"), downtempo groups and acoustic male singers dominate the album. Thievery Corporation, seemingly included on one out of every two indie film soundtracks these days, makes two appearances with "The Numbers Game" off 2008's "Radio Retaliation" (featuring go-go pioneer Chuck Brown) and "The Heart's a Lonely Hunter" off 2005's "The Cosmic Game.
- 7/26/2011
- by Jason Newman
- NextMovie
The latest video in Spindrift's ongoing homage to Spaghetti Western scores from their "Classic Soundtracks Vol. 1," also doubles as a title sequence for the independent modern Western craziness, "Dust Up." The film follows Ella, played by Amber Benson ("Buffy the Vampire Slayer"), along with a Native American hipster, a lizardman, and a generally wild cast of characters, through an action comedy set in the middle of the Mojave desert.
Just when you thought the band couldn't get any stranger than scoring an obscure 60's film by rogue director J.X. Williams, about female aliens bent on turning everyone gay... all right, maybe that is stranger than this, but "Dust Up," featuring Spindrift's western psychedelic soundtrack, looks like it's set to be a freaky cult classic and gory cartoon rolled into one. Working closely with Director Ward Roberts, Spindrift have just finished scoring the entire film in the studio with desert pals Gram Rabbit.
Just when you thought the band couldn't get any stranger than scoring an obscure 60's film by rogue director J.X. Williams, about female aliens bent on turning everyone gay... all right, maybe that is stranger than this, but "Dust Up," featuring Spindrift's western psychedelic soundtrack, looks like it's set to be a freaky cult classic and gory cartoon rolled into one. Working closely with Director Ward Roberts, Spindrift have just finished scoring the entire film in the studio with desert pals Gram Rabbit.
- 7/12/2011
- by Brandon Kim
- ifc.com
The Crazy, Stupid, Love soundtrack. Although few would argue with the assertion that love can indeed be characterised as both ‘crazy’ and ‘stupid’ (er, assuming we’re talking about the libidinous variety, rather than the love one might feel for a treasured family pet – say, a cute li’l wabbit. Aw), the soundtrack to the forthcoming movie with a title constituted of those three words is not so much daft lunatic, instead being more of a safe ‘n’ steady affair.
Directed by the I Love You Phillip Morris pairing of Glenn Ficarra and John Requa, Crazy, Stupid, Love on first inspection appears to be an odd couple bromance, with Steve Carrell as the middle-aged sad sack being giving pick-up tips by Ryan Gosling’s smooth-talking slickster. However the trailer indicates that the dramatic element of the story is at least as prevalent as the humorous one, and the soundtrack provides a further hint of this,...
Directed by the I Love You Phillip Morris pairing of Glenn Ficarra and John Requa, Crazy, Stupid, Love on first inspection appears to be an odd couple bromance, with Steve Carrell as the middle-aged sad sack being giving pick-up tips by Ryan Gosling’s smooth-talking slickster. However the trailer indicates that the dramatic element of the story is at least as prevalent as the humorous one, and the soundtrack provides a further hint of this,...
- 7/7/2011
- by Paul Martin
- Movie-moron.com
Watertower Music has announced a soundtrack release for the upcoming romantic comedy Crazy, Stupid, Love. The album features songs from the movie from artists including Thievery Corporation, The Acorn, Gram Rabbit, Nina Simone, Miike Snow, Goldfrapp, Say Hi, Doris Troy, The Bamboos and The Middle East. None of the original score by Christophe Beck and Nick Urata is included on the album. The soundtrack is set to be released on July 26, 2011 and will be available to download on Amazon. Check out audio clips from the soundtrack below. Crazy, Stupid, Love is directed by Glenn Ficarra and John Requa and stars Steve Carell, Ryan Gosling, Julianne Moore, Emma Stone, Kevin Bacon and Marisa Tomei. The movie will be released on June 29. For updates on the film, visit the official movie website.
Amazon.com Widgets
Here’s the track list of the album:
1. The Numbers Game – Thievery Corporation
2. Almanac – The Acorn
3. Lost...
Amazon.com Widgets
Here’s the track list of the album:
1. The Numbers Game – Thievery Corporation
2. Almanac – The Acorn
3. Lost...
- 7/3/2011
- by filmmusicreporter
- Film Music Reporter
Vigilante director J.X. Williams is best known for his 1965 "found footage" picture, "Peep Show," which made liberal use of scenes from other films in it's assemblage. Williams' story then takes a turn into shadowy late 60's conspiracies, mafia connections and other intrigues fit for the silver screen, before he flees to Zurich where he's spent the last 30-some years in hiding. However, before going rogue, he allegedly made a few other films, all since lost... until recently.
"Hollywood Play-Girls" is his lusty 1966 film, a "Sin-sational story of a private dick hired by a madam to track down a serial killer who has been offing members of her prostitution ring." The film has been missing for decades, but private collector recently came forward with the opening credits. The sequence was without sound, but The J.X. Williams Archive asked La's Spindrift to score it, and they obliged. Here are the credits, with...
"Hollywood Play-Girls" is his lusty 1966 film, a "Sin-sational story of a private dick hired by a madam to track down a serial killer who has been offing members of her prostitution ring." The film has been missing for decades, but private collector recently came forward with the opening credits. The sequence was without sound, but The J.X. Williams Archive asked La's Spindrift to score it, and they obliged. Here are the credits, with...
- 3/2/2011
- by Brandon Kim
- ifc.com
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