Once Upon a Time in The West – Paramount Pictures (4k UHD/Blu-ray Combo)

Theatrical Release Date: Italy, 1968
Director: Sergio Leone
Writers: Dario Argento, Bernardo Bertolucci, Sergio Leone, Sergio Donati
Cast: Henry Fonda, Claudia Cardinale, Jason Robards, Charles Bronson, Gabriele Ferzetti

Release Date: May 14th, 2024
Approximate running times: 165 Minutes 49 Seconds
Aspect Ratio: 2.35:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: PG-13
Sound: DTS-HD 5.1 English, Dolby Digital Mono English, Dolby Digital Mono French, Dolby Digital Mono Spanish, Dolby Digital Mono German, Dolby Digital Mono Japanese
Subtitles: English SDH, English, French, Spanish, Portuguese
Region Coding: Region Free
Retail Price: $39.99

"Set in the dying days of the Old West, a struggle to control water in a dusty desert town embroils three hard-bitten gunmen in an epic clash of greed, honor, and revenge." - synopsis provided by the distributor

Video:

Here’s the information provided about the transfer, "New 4K Restoration of the Extended 165-minute cut of the film."

Once Upon a Time in The West comes on a 66 GB dual layer 4K UHD

Disc Size: 62.1 GB

Feature: 61.6 GB

Though many are disappointed that Once Upon a Time in the West was not released on a 100 GB triple layer instead of a 66 GB dual layer, I find it hard to believe that what is on this 4K UHD disc would look any better with an increased disc size. The grain has been all but removed, and digital noise reduction is rampant throughout, most noticeable in closeups. That said, when it comes to colors, this is one area where this new release is better than Paramount’s 2011 Blu-ray release. Also, because of the glaring problems with this release, I will not be giving the video portion a score.

Once Upon a Time in The West comes on a 50 GB dual layer Blu-ray.

Disc Size: 44 GB

Feature: 38.7 GB

The Blu-ray included as part of this release uses the same source that was used for the 4K UHD’s transfer.

Audio: 4.5/5 (DTS-HD 5.1 English), 4/5 (Dolby Digital Mono English)

This release comes with six audio options, a DTS-HD 5.1 mix in English, a Dolby Digital mono mix in English, a Dolby Digital mono mix in French, a Dolby Digital mono mix in Spanish, a Dolby Digital mono mix in German, and a Dolby Digital mono mix in Japanese. For this release, I only listened to the two English-language tracks. Both audio tracks are in great shape; there are no issues with hiss or distortion. Dialog comes through clearly, everything sounds balanced, ambient sounds are well-represented, and the score and action sequences sound robust. That said, though it is disappointing that the original mono mix was not given a DTS-HD track, the DTS-HD 5.1 track sounds great, and it does a superb job expanding the original mono source. Included are removable English subtitles, removable English SDH, removable Spanish subtitles, removable French subtitles, and removable Portuguese subtitles.

Extras:

There are no extras on the 4K UHD disc.

Extras on the Blu-ray disc include a production image gallery with music from the film playing in the background, , a theatrical trailer (2 minutes 54 seconds, Dolby Digital mono English, no subtitles), a featurette that explores the arrival of the railroads and how they changed the west titled Railroad: Revolutionizing the West  (6 minutes 22 seconds, Dolby Digital stereo English with removable French, Spanish, Portuguese subtitles), a documentary titled An Opera of Violence (28 minutes 50 seconds, Dolby Digital stereo English and Italian with removable English, French, Spanish, Portuguese subtitles), a documentary titled The Wages of Sin (19 minutes 38 seconds, Dolby Digital stereo English and Italian with removable English, French, Spanish, Portuguese subtitles), a documentary titled Something to Do With Death (18 minutes 20 seconds, Dolby Digital stereo English and Italian with removable English, French, Spanish, Portuguese subtitles), a locations Then and Now featurette (4 minutes 30 seconds, Dolby Digital stereo), A Look Back with Leonard Maltin (5 minutes 32 seconds, Dolby Digital stereo English with removable English, French, Spanish, Portuguese subtitles), an audio commentary with  film historians Sir Christopher Frayling and Dr. Seldon Hall, actress Claudia Cardinale and filmmakers John Carpenter, John Milius and Alex Cox, and an audio commentary with Jay Jennings and Tom Betts (The Hosts of the Spaghetti Western Podcast).

The documentaries include interviews with Sergio Leone, cinematographer Tonino Delli Colli, Claudia Cardinale, Bernardo Bertolucci, John Carpenter, John Milius, Alex Cox, and historians Sir Christopher Frayling and Dr. Sheldon Hall.

Other extras include a slipcover (limited to the first pressing).

Summary:

"There were three men in her life. One to take her… one to love her… and one to kill her." - Tagline

Sergio Leone, after completing ‘The Dollars’ trilogy, had grown tired of the western genre, and he had come across a book he wanted to make into a film, The Hoods. Paramount approached Leone to do another western, and he agreed on the condition that he could make his dream project, The Hoods, which would later become Once Upon a Time in America. Clint Eastwood and Sergio Leone had grown apart by the time they made The Good, the Bad, and the Ugly, so Sergio Leone would have to find another strong, silent type to play the lead in Once Upon a Time in the West. Enter Charles Bronson. Sergio Leone had Morricone compose the film score before any shooting started, and Sergio Leone would play the music in the background for the actors. Paramount would offer Sergio Leone the chance to direct The Godfather after the box-office failure of Once Upon a Time in the West. He would pass on the offer instead opting to direct his dream project Once Upon a Time in America.

Once Upon a Time in the West opens with one of the longest opening credits that I have seen so far in any movie. Three gun fighters wait for Harmonica at a train station. The sound design as they wait is remarkable, as the tension builds as water drips on one of the gunfighter’s hats as the windmill creaks away. In an early amusing moment, a fly lands on one of the gunfighter’s beards as he tries to blow it away before finally trapping it in his gun. Harmonica starts to play his namesake as the train pulls away as Leone sets up one of his more awkward standoffs, three against one, that ends in a blaze of bullets. 

Just like The Good, the Bad, and the Ugly, Once Upon a Time in the West opens with multiple character introductions. Besides Harmonica’s introduction, there is a woman named Jill who becomes the owner of a very valuable piece of land after her husband and his children are massacred by a cold-blooded gun for hire named Frank. And the other key introduction is a half-breed outlaw named Cheyenne, who teams up with Harmonica and Jill to take on the men responsible for murdering her family. Though a piece of land is central to the story that unfolds, it culminates with a final showdown between Frank and Harmonica to settle some unfinished business.

Through images, Sergio Leone is able to convey so much in Once Upon a Time in the West, and even though the narrative is thin, he keeps things moving and interesting. Once Upon a Time in the West is Sergio Leone’s love letter to American westerns. It is the most beautifully filmed and masterfully paced film ever made. Sergio Leone is most known for staging his action in long, drawn-out ritualized set pieces, and with Once Upon a Time in the West, he really perfected this approach. Beginning with For a Few Dollars More, Sergio Leone employed the dream sequence as another avenue in which to relay more background about the character and information to the audience. Another Sergio Leone trademark is close-ups of faces and eyes, and in Once Upon a Time in the West, his ultra-close-up of Harmonica as he remembers why he hates Frank so much heightens the mood.

Casting a movie can make or break a movie, and Leone in Once Upon a Time in the West assembles a list of actors. Charles Bronson as Harmonica is reminiscent of Clint Eastwood’s man with no name character, but he still makes the part all his own. Casting Henry Fonda as the movie’s villain, Frank, proved to be an excellent choice. Imagine the audience’s reaction to seeing this American icon kill and murder children. Jason Robards gets plenty of screen time as Cheyenne, a charismatic half-breed who is constantly being caught and rescued. In one of her best performances of her career, Claudia Cardinale plays Jill, the sympathetic one, who will do whatever she needs to find out who killed her family.

Ennio Morricone, for Once Upon a Time in the West, organized the music into motifs, one for each of the four leads. Once Upon a Time in the West is one of Ennio Morricone’s greatest achievements, and the music cue, The Man with a Harmonica, is a haunting piece that stays with you long after the film is over.

Once Upon a Time in the West is more like an opera than a film, as the music more than anything drives the narrative. The final showdown between Frank and Harmonica is one of cinema's most pure and stylized gun fights ever committed to film. Once Upon a Time in the West is Sergio Leone’s most character-driven and intimate film. It is also loaded with exquisite photography and outstanding performances from all the cast. Ultimately, Once Upon a Time in the West is truly a landmark, and we are likely to never see the likes of such a film ever again.

To say that this release is a disappointment would be an understatement. Once Upon a Time in the West is one of cinema’s crown jewels, and it deserves a release that fully exploits what the 4K UHD format is truly capable of.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a VLC player and lossless PNGs.

Written by Michael Den Boer

Sex and Fury – Discotek Media (Blu-ray)

Theatrical Release Date: Japan, 1973
Director: Norifumi Suzuki
Writers: Norifumi Suzuki, Masahiro Kakefuda
Cast: Reiko Ike, Christina Lindberg, Akemi Negishi, Jun Midorikawa

Release Date: May 28th, 2022
Approximate Running Time: 88 Minutes 43 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A
Retail Price: $24.95

"The year is 1905—powerful players from across the globe are all vying for a piece of the pie in Japan’s booming industrial revolution. But none of them can ever hope to gamble like Ochô Inoshika, a petty thief who returns home to fulfill a man’s dying wish. In the process, she discovers that the nation’s would-be leaders have something they’re looking to cover up—her father’s murder. Now that all the major players are seated around the poker table, a vengeful Ocho lies in wait with a killer hand up her sleeve." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about the transfer, "Brand new HD transfer."

Sex and Fury comes on a 25 GB single layer Blu-ray.

Disc Size: 18.7 GB

Feature: 18.6 GB

The source looks excellent; color saturation and black levels are solid, and compression is very good.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in Japanese, and included with this release are removable English subtitles. The audio sounds clean, clear, and balanced. Range-wise, things sound very good. Throughout the film, there are many things related to Japanese culture, and the subtitles provide information about these things when they appear on screen.

Extras:

Extras for this release include a theatrical trailer (3 minutes 15 seconds, Dolby Digital mono Japanese with removable English subtitles), and a slipcover.

A poster and still gallery, bios for Reiko Ike, Christina Lindberg, Norifumi Suzuki and Jun Midorikawa (an Easter Egg extra), production notes titled Toei's Bad Girl Cinema written by Chris D., an audio commentary by Chris D., a Reiko Ike sticker, and a see-through slipcover are among the extras not carried over from Panik Houses' 2005 DVD.

Summary:

Directed by Norifumi Suzuki, whose other notable films are The Lustful Shogun and His 21 Concubines, School of the Holy Beast, The Killing Machine, Star of David: Hunting for Beautiful Girls, and Roaring Fire. He also directed several films in the Girl Boss and Terrifying Girls' High School film series.

As a child, the traumatic event of watching her police officer murdered turned Ochô Inoshika towards a life of crime. Years later, she searches gambling houses looking for her father's killers; her only clues are three cards that hold the key to uncovering their identities. Along the way, she gets involved in a card game that will determine the fate of a young woman who she promised to free from the world of prostitution.

Sex & Fury is the first film in a series of two, followed by Female Yakuza Tale: Inquisition and Torture. Both films star Reiko Ike (Graveyard of Honor) in the role of Ochô Inoshika, a gambler who's also deadly with the sword. Also, Sex & Fury and Female Yakuza Tale: Inquisition and Torture had different directors, content-wise and stylistically; there is not much separation between these two films.

Sex & Fury dives right in with an excellent pre-credits sequence that lays the groundwork for why the protagonist has devoted her life to revenge. From there, the narrative does a phenomenal job of balancing exposition and action, as pacing is never an issue. Another strength of the narrative is how effectively it builds momentum towards a sensational finale that perfectly brings Ochô Inoshika’s journey to a climax.

The main attraction is Reiko Ike’s portrayal of Ochô Inoshika; she delivers a scene-stealing performance that is arguably the best of her career. Though Ochô Inoshika bears all the traits that one has come to expect from Japanese female assassins, the result is a character that actually stands apart from the rest of the pact. Also, not only does Ochô Inoshika ooze sexuality, she is a force who can go toe to toe with any man.

Not to be overlooked is Christina Lindberg’s (Thriller: A Cruel Picture) portrayal of a British spy named Christina. Despite her limited range as an actress, she still delivers a charismatic performance that relies heavily on her physical presence. That said, the rest of the cast are very good in their roles.

Without a doubt, one of Sex & Fury’s most durable assets is Norifumi Suzuki’s stylized visuals, which heighten the mood. A few standout moments include a scene where a bathing Ochô Inoshika is forced to fight assassins in the nude and Christina’s death is one of the most beautiful deaths ever filmed. That said, the scene that stands out more than any other is an elegant ballroom sequence that introduces Christina.

From a production standpoint, there is no area where Sex and Fury does not excel, and then some. There is never a shortage of nudity, depravity, or carnage, with some dark humor thrown in for good measure. The fight scenes are spectacular, especially when it comes to the strategic placement during the nude sword fighting. Another strength is composer Ichirô Araki’s exemplary score, which does an amazing job reinforcing the mood. Ultimately, Sex & Fury is one of Toei’s highwater mark films of the 1970s and a must-see film if you're a fan of Pinky Violence cinema.

Given the prominence of Sex & Fury in Japanese cinema, the absence of contextual extras in this release is disappointing. Sex & Fury receives a solid audio/video presentation from Discotek Media, recommended.

Written by Michael Den Boer

Planet of the Vampires: Limited Edition – Radiance Films (Blu-ray)

Theatrical Release Date: Italy/Spain, 1965
Director: Mario Bava
Writers: Mario Bava, Alberto Bevilacqua, Callisto Cosulich, Antonio Román, Rafael J. Salvia
Writers English Language Version: Louis M. Heyward, Ib Melchior
Cast: Barry Sullivan, Norma Bengell, Ángel Aranda, Evi Marandi, Stelio Candelli

Release Date: May 27th, 2024
Approximate running times: 89 Minutes 28 Seconds (Italian Version), 87 Minutes 32 Seconds (English Version)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: 15 (UK)
Sound: LPCM Mono Italian (Italian Version), LPCM Mono English (English Version)
Subtitles: English (Italian Version), English SDH (English Version)
Region Coding: Region Free
Retail Price: £19.99 (UK)

"In the outer reaches of deep space, the spaceship Galliott answers a distress signal from Aura, an unexplored planet. As the ship attempts to land, members of the crew inexplicably begin to attack one another. This is the start of a terrifying expedition into the unknown, one plagued by paranoia, possession and violent mayhem wrought upon the unsuspecting explorers by the planet’s mysterious inhabitants." - synopsis provided by the distributor

Video: 5/5 (Both Versions)

Here’s the information provided about the transfer, "Planet of the Vampires was scanned in 4K resolution at Fotocinema in Rome in collaboration with CSC Cineteca Nazionale, Titanus and RAICOM. The film was restored in 2K resolution and supplied to Radiance Films as a 2K digital file. The restoration was supervised by Lamberto Bava and supported by Nicolas Winding Refn."

Planet of the Vampires comes on a 50 GB dual layer Blu-ray.

Disc Size: 39.1 GB

Feature: 25.5 GB

This release uses seamless branching for the two versions. The source is in excellent shape; this is easily the best The Planet of the Vampires has ever looked on Blu-ray. This is another solid encode from Fidelity in Motion that looks phenomenal. Colors look vivid, image clarity, contrast, black levels, and compression are solid, and the image always looks organic.

Audio: 4.5/5 (LPCM Mono Italian), 4.25/5 (LPCM Mono English - Gino Marinuzzi Jr.’s Original Score), 4/5 (LPCM Mono English - Kendall Schmidt's Alternate Score)

The Italian version comes with one audio option, a LPCM mono mix in Italian with removable English subtitles. This audio track sounds excellent; dialog comes through clearly, and everything sounds balanced and robust when it should.

The English version comes with one audio option, a LPCM mono mix in English with removable English SDH. For this version, there is an option to watch with Gino Marinuzzi Jr.’s original score or a Kendall Schmidt alternate score created for the English language version. Both of these audio options sound clear, balanced, and robust when they should. That said, there is a faint background hiss on the audio track with Kendall Schmidt’s alternate score.

Extras:

Extras for this release include an image gallery (48 images - stills/home video art/posters/other promotional materials), a theatrical trailer (2 minutes 15 seconds, Dolby Digital mono English, no subtitles), Trailers from Hell with filmmaker Josh Olsen (2 minutes 30 seconds, Dolby Digital stereo English, no subtitles), Trailers from Hell with filmmaker Joe Dante (3 minutes 49 seconds, Dolby Digital stereo English, no subtitles), a reconstruction of the German cut-down Super 8 version; Italian version (17 minutes 10 seconds, 1.85:1 aspect ratio, LPCM mono Italian with removable English subtitles) and English version (17 minutes 10 seconds, 1.85:1 aspect ratio, LPCM mono English, no subtitles), an archival interview with Lamberto Bava (13 minutes 9 seconds, Dolby Digital stereo Italian with removable English subtitles), a critical appraisal of Mario Bava and Planet of the Vampires titled Transmissions from a Haunted World (41 minutes, Dolby Digital stereo English, no subtitles), an archival audio commentary by Tim Lucas, author of Mario Bava: All the Colors of the Dark, reversible cover art, a collection of six exclusive postcards featuring promotional material, removable OBI strip leaving packaging free of certificates and markings, a 20-page booklet featuring a new translation of Renato Pestriniero’s original short story and an 80-page booklet with cast & crew information, an essay titled Gazing Into the Abyss of Deep Space and the Realms of Horror written by Jerome Reuter, an essay titled A World of Endless Night: The Artistry of Planet of the Vampires written by Martyn Conterio, an essay titled The Birth of Alien: Visiting Planet of the Vampires written by Barry Forshaw, an essay titled Planet of the Vampires: Utopian Possibilities written by George Daniel Lea, an essay titled Terror from Space: Lovecraft and Cosmic Horror in Planet of the Vampires written by Kyle Anderson, and information about the transfer.

Summary:

When it comes to Italian cinema, science fiction is the one genre that far too often misses the mark, or when it does work, as in the case of films like Contamination, Beast in Space, or Alien 2: On Earth, it is for all the wrong reasons. This brings us to Mario Bava’s Planet of the Vampires, one of the few times that he would ever venture into the science fiction genre. With his only other foray into this genre being the film The Day the Sky Exploded, he was the cinematographer on that film. First and foremost, what distinguishes Planet of the Vampires from the majority of Italian science-fiction films is Mario Bava's incorporation of film elements typically associated with the horror genre.

The narrative is well constructed, allowing each new revelation an ample amount of time to fully resonate before moving to the moment of terror. And though the characters are not much more than mere props in the grander scheme of things, this ultimately proves not to be a problem since this film's greatest strength is its atmospheric visuals. Some of the most striking moments are the scenes where the first corpses rise from their tombs and the one where the Captain and crew members are trapped on what appears to be an alien spaceship.

As mentioned before, the performances are one of Planet of the Vampires' strongest assets, and they are best described as adequate. Notable cast members include Stelio Candelli (Nude for Satan), Norma Bengell (Hellbenders), Ivan Rassimov (The Strange Vice of Mrs. Wardh, Spirits of Death) and Barry Sullivan (Violent Naples) in the role of Captain Mark Markary. Overall, Planet of the Vampires is one of those rare examples where a film exceeds the sum of its parts, and there is no denying this film’s influence on the science fiction genre. Its influence can be traced to films like Alien.

Planet of the Vampires gets an exceptional release from Radiance Films; the film has never looked or sounded better, and it comes with a wealth of insightful extras, highly recommended.

Written by Michael Den Boer

Common Law Wife/Jennie, Wife/Child: Backwoods Double Feature – Film Masters (Blu-ray)

Theatrical Release Dates: USA, 1961 (Common Law Wife), USA, 1968 (Jennie, Wife/Child)
Directors: Eric Sayers, Larry Buchanan (Common Law Wife), Robert Carl Cohen, James Landis (Jennie, Wife/Child)
Cast: Annabelle Weenick, George Edgley, Max W. Anderson, Lacey Kelly, Bert Masters, Libby Hall, Norman Smith, Dale Berry, Paula Kyle (Common Law Wife), Jack Lester, Beverly Lunsford, Jim Reader, Virginia Wood, Richard Cowl, Davie Allan, Don Epperson (Jennie, Wife/Child)

Release Date: June 25th, 2024
Approximate Running Times: 74 Minutes 41 Seconds (Common Law Wife), 82 Minutes 21 Seconds (Jennie, Wife/Child)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: NR
Sound: DTS-HD Mono English, Dolby Digital Mono English (Both Films)
Subtitles: English SDH (Both Films)
Region Coding: Region Free
Retail Price: $29.95

Common Law Wife: "Wealthy old coot Shugfoot Rainey wants to trade in his over-the-hill mistress for his young niece, "Baby Doll" Jonelle, a pouty-faced stripper from New Orleans. But Rainey's mistress, Linda, has a surprise for both: according to Texas law, she's Shugfoot's COMMON LAW WIFE and has no intention of leaving quietly. Jonelle, however, is so eager to get her greedy mitts on Uncle Rainey's loot that she ups the ante by having a moronic moonshiner put cyanide in Shugfoot's whiskey! All of which lead to the two women eventually squaring off in a surprisingly violent showdown." - synopsis provided by the distributor

Jennie, Wife/Child: "a twenty-year-old is unhappily married to the way-too-old-for-her, Albert Peckingpaw. Jennie is so unhappy she puts the moves on Mario, the hunky hired hand. But when Albert realizes Jennie and Mario have been making' bacon in the barn, he drugs them, chains them in the cellar, and digs their graves. Which is when Lulu Belle, the cheerful "town floozie," unexpectedly pays Albert a visit." - synopsis provided by the distributor

Video: 4/5 (Common Law Wife, And Jennie, Wife/Child)

Here’s the information provided about the transfer, "new 35mm transfers of original source material."

Common Law Wife comes on a 25 GB single layer Blu-ray.

Disc Size: 21.4 GB

Feature: 20.5 GB

Jennie, Wife/Child comes on a 50 GB dual layer Blu-ray.

Disc Size: 36.2 GB

Feature: 22.4 GB

The sources for both films look great; flesh tones look correct, image clarity, contrast, and black levels are strong throughout, compression is very good, and the image always looks organic.

Audio: 3.75/5 (DTS-HD Mono English - Common Law Wife, DTS-HD Mono English - Jennie, Wife/Child)

Common Law Wife and Jennie, Wife/Child each come with two audio options, a DTS-HD mono mix in English and a Dolby Digital mono mix in English. For this review, I only listened to the DTS-HD mono tracks. Both audio tracks sound clean, clear, and balanced. Both films come with removable English SDH.

Extras:

Extras for Common Law Wife include the original 1963 theatrical trailer restored (2 minutes 44 seconds, Dolby Digital mono English, no subtitles), an archival audio commentary with director Larry Buchanan and Nathaniel Thompson with optional English subtitles, and an audio commentary with Millie De Chirico and Ben Cheaves with optional English subtitles.

Extras for Jennie Wife/Child include a new 2024 trailer (2 minutes 6 seconds, Dolby Digital mono English, no subtitles), a documentary titled That's Hicksploitation (50 minutes 30 seconds, Dolby Digital stereo English with removable English SDH), and an audio commentary with Millie De Chirico.

Other extras include a 24-page booklet with an essay titled Backwoods Babes, Mean Old Men and Simple-Minded Studs written by Lisa Petrucci.

Summary:

Pairing Common Law Wife and Jennie, Wife/Child makes sense since both films had a similar path in post-production. Also, both were completed films where another director was brought in to spice things up with new footage.

Common Law Wife: A rich elderly man discards his longtime mistress for his much younger niece.

The film, originally titled "Swamp Rose" and shot in color, was later reshot in black and white. Therefore, the entire film is now presented in black-and-white. Switching from color to black and white and using a double when the actresses who portrayed Baby Doll were unavailable are two reasons why old and new footage do not match.

Common Law Wife is a film about a mistress who has aged out of her position with the man she loves. The scenario is a classic example of a woman scorned. Standing in her way is a gold-digging niece; unfortunately, things do not go as planned when the mistress comes across a law that makes her a common-law wife.

From a production standpoint, Common Law Wife is a film weighed down by its shortcomings. Nothing is more glaring than a poorly constructed narrative that suffers from sluggish pacing. And though it does end with a satisfying bang, it is too little, too late by then. That said, the setup for Common Law Wife should be a lot better than it actually is; the premise is ripe with exploitative possibilities, and the result is something that's closer to a melodrama. 

Jennie, Wife/Child: An older man keeps a very young woman trapped in an unhappy marriage.

Originally titled "Tender Grass," new footage was shot and old scenes were re-edited, changing the film's length to two hours and making it more explicit to spice things up. That said, despite trimming a considerable amount of footage, Jennie, Wife/Child still suffer greatly when it comes to pacing. Also, the most baffling of the new additions are silent film-like title cards that explain some of what's going on.

After a good setup, things quickly go awry as the tone of Jennie, Wife/Child is all over the map. Though it makes an attempt to be an exploitation film, the result is something closer to a kitchen sink melodrama. Also, there are way too many unintentionally funny moments. That said, Beverly Lunsford’s (The Intruder) portrayal of Jennie is this film’s only saving grace.

Two titles from Something Weird Video's archive make their way via a first-rate release from Film Masters that comes with an excellent documentary about Hicksploitation.

Written by Michael Den Boer