Friday the 13th Part 3 3D (1982)

Friday the 13th Part 3 was the first major 3D movie of the 1980s. I, of course, am using the term major in a rather loose sense. But it was bigger budgeted than the two that preceded it--1981's Comin' At Ya! and the 1982 Demi Moore sci-fi horror flick Parasite--and it was the first one to be released by a major studio. It was also the first major hit in 3D in the 1980s. So in a way, it shares those things with 1953's House of Wax. However, that's where the similarities end.

The first of the Part 3 in 3D movies of the era, Friday the 13th Part 3 is generally considered the best of the 3D movies of the 80s. It's also the film that gave Jason his iconic hockey mask (he had a flour sack over his head in the previous film). Having finally watched it in 3D, I will say that the 3D is quite spectacular. The movie, on the other hand, is quite craptacular. I mean, this is the movie Scream referenced with the joke about running up the stairs instead of out the front door. It literally happens in the movie.

I see dead people

The opening five minutes (in 2D) are the end of the previous film. After burying a machete in Jason's arm, that film's final girl leaves. Jason, of course, is not dead, and he promptly gets up and walks off the wound. He heads over to a general store owned by an annoying couple named Harold and Edna, steals some clothes from them and murders them after a set up that feels like it takes forever.

Meantime, another bunch of dumb teens are getting together to go have a quiet weekend in the woods. They are Chris (Dana Kimmel), who is suffering PTSD from an encounter with Jason two years earlier, stoners Chuck and Chili, pregnant Debbie and her show-off boyfriend Andy, annoying prankster Shelly, and his reluctant date Vera. At the cabin they meet up with Chris's horny boyfriend Rick, who can't understand that she doesn't want to have sex due to what happened to her previously. None of these characters except for Final Girl Chris have any personality. They exist merely to be killed off by Jason. Shelly and Vera run afoul of a trio of bikers in a convenience store, who also have no personality but are there to also add to the body count. Death by meat clever, knitting needle, pitchfork, machete, fire poker, electrocution, spear gun, knife, and having one's eyeball popped out of their head ensues. 

The Lucky One

I get that you shouldn't expect too much from a film like this, but it would be nice if there was something to recommend it beyond the 3D. It's my understanding that this is one of the better entries in this series and all I can say about that is that I can't begin to imagine what the lesser entries are like. Most of the acting is non-existent, the characters are just tropes, and frankly, the movie isn't even scary. There's no real suspense to it. The big slaughter happens an hour into the film and is done with in about 10 minutes of screen time. I also understand that the gore effects were tamed to avoid trouble with the MPAA and there's very little nudity in it, too, which I always heard was a big part of these movies.

Instead director Steve Miner put all his eggs in the 3D basket with this one. Like most of the 80s crop of 3D movies, Friday the 13th Part 3 is more interested in what it can throw out of the screen than it is in telling a story. All manner of objects fly towards the audience, and not just implements of death from our hockey masked madman. Wallets, weed joints, popcorn, juggling fruit, and a yoyo coming flying our way along with the fire poker, spear gun, pitchfork, knives, and eyeballs. Some of the effects are pretty impressive while others are just plain stupid. For almost 40 years I heard about the legendary eyeball effect when Rick's head is crushed. Imagine my disappointment at how silly it looked when I finally saw it.

Come on, give me a ride, babe!

Despite the visual assault on the audience, the 3D is surprisingly well shot for this era. I don't know if Shout Factory made alignment corrections or it always looked like this, but the movie doesn't hurt one's eyeballs in quite the same way some of it's contemporaries like Comin' At Ya! do. 3D movies of the 80s had a bad habit of getting their gimmick shots too close to the camera, which made them physically uncomfortable to watch. Though there are some gimmick shots that come way out of the screen in this one, they don't reach the point of ripping your eyeballs out of your head watching them. 

As I've said before, none of the 80s 3D movies are what anyone would call good movies. In 3D they are sometimes fun and that goes for this film, too. I'd never watch it in 2D, though. I suppose if you're going to pick just one 3D movie from the 80s to watch, this is probably the one (though I'm partial to Jaws 3-D myself). Just don't expect anything as good as House of Wax.

3-D Thursday: Revenge of the Creature (1955)

There's several notable things about 1955's Revenge of the Creature: it was the last 3-D movie of the 1950s, the first 3-D sequel to a 3-D movie, the first 3-D movie shown in 3-D on non-cable broadcast, and personally speaking, the first 3-D movie I ever saw.  It was in May of 1982 and it was an anaglyphic broadcast, the first in the Philadelphia region. Though it really didn't work at all, my 11 year old brain was convinced it did. Mercifully, Universal and the 3D Film Archive restored the film and have released it on 3D Blu Ray which works beautifully.

Revenge picks up a year after the original Creature From the Black Lagoon. The Gill Man is still hanging out in the Amazon. Ocean Harbor Oceanarium sends George Johnson (Robert B Williams) and Joe Hayes (John Bromfield) to capture the Gill Man for scientific study. They enlist Lucas (Nestor Paiva), the boat captain from the first film, to take them to the Lagoon. After a near fatal encounter with the Creature, they manage to capture him and take him back to Florida. Once there, he's studied by Animal Psychologist Clete Ferguson (John Agar) and Ichthyology student Helen Dobson (Lori Nelson). He falls for Helen but gets sick of being hit with bull prods so he eventually escapes, wrecking havoc and killing Joe.  His downfall comes when he kidnaps Helen from a seafood house.

Revenge is not quite as good as it's original. The first half has too many comedy bits in it. First there's Lucas, but he's not too much and anyway, I always liked his character. Then we get some humor with a chimp followed by Clint Eastwood in his first role as a dumb lab tech with a rat in his pocket. It's neat to see Eastwood when he was so young, but the scene is disposable. Then we get Flippy the educated Porpoise who serves no purpose to the film outside of filler. Revenge was shot at Marineland in Florida and much like Jaws 3-D acts as a bit of an infomercial for Sea World, so does Revenge for Marineland. Mercifully the second half does away with Flippy and gives us some good Creature chaos with the Gill Man flipping over cars and tossing around college students like they're frisbees. There's also a few callbacks to the original in the second half. If the first half had been as strong as the second, this would have been fully as great as the original Creature. Unfortunately, the filler makes it a lesser entry.

The cast is good, though not quite up to the casting for the first film. John Agar did a bunch of these things back in the 1950s. This might be his best film. Lori Nelson is attractive enough and you can argue if her or Julia Adams is sexier. The scene in the motel room where she gets ready for a shower is surprisingly sexy for the 50s and predates Janet Leigh's ill-fated shower in Psycho by five years. But the triangle between Agar and Bromfield for her affections doesn't quite have the tension that existed between Richard Carlson and Richard Denning in the original. Paiva and Creature actor Rico Browning are the only two major actors to return from the original. Paiva is great as usual and gets the one genuinely funny line in the film when he says "I hope you're not going to blow up my boat, Mr. Johnson. Like my wife, she's not much but she's all I got". Browning, by the way, is the only actor to appear in all three films. He later assistant directed the underwater sequences in Thunderball. This was also the fourth and final 3-D film directed by Jack Arnold. Arnold held the record for directing the most theatrical 3-D films until Robert Rodriguez did five in the current era.

For decades, most people who got to see this in 3D only got to see it in anaglyphic format, whether it was anaglyphic on TV or 16mm. The 16mm print looked better than the TV print, of course, but seeing it as it was originally intended is an eye opener. The 3D Film Archive did a gorgeous job on this. The 3D is absolutely perfect here. Shots that were in reverse 3D for decades have been corrected and the alignment has been corrected shot by shot. It actually looks better on 3D Blu than the original film. The 3D version is included in the Creature Legacy Collection Blu Ray Set. There was some controversy as Universal accidentally released the 3D version in a Side By Side format as opposed to 3D Blu Ray format, but that's been corrected and the new version looks great. The depth is outstanding and the pop-outs memorable, especially when Agar hits the audience with the bull prod, the one effect that worked in the anaglyphic TV version.

One of the complaints about the film is that taking the Creature out of the Amazon removes much of the terror and mystery of the first film. This isn't totally incorrect though I still think the filler in the first half is what really drags the film down. When it's trying to be suspenseful and scary, it works wonderfully. The opening in the Amazon and the Creature's rampage when he escapes from his captivity are marvelous. The motel room scene is pretty creepy, too. All in all, it's at least half a worthy sequel that just slightly misses the mark. But thankfully we can see it the way it was meant to be seen, since this works much better in it's 3-D format than 2-D.

Why 3-D Isn't As Dead As You Think

Once again, another source, Cheddar News on YouTube, has proclaimed the Final Death of 3-D. Of course, they've done so with a ton of misinformation. What's particularly sad about this is the attempt to educate us about 3-D while knowing nothing about it. So let's go through this once again: 3-D is not as dead as you think or the haters want. Sorry to disappoint the haters.

Let's talk a little about the history for 3-D for a moment. The earliest 3-D experiments date back to at least 1915 with the first feature in 3-D being in 1922. The Cheddar News video does correctly attribute these to being in the anaglyphic (red/cyan) format. There was a mini-boom in the 20s, mostly shorts with a couple of features. Why did it go away in the 20s? I would think mostly because the big experimentation was for sound. Sound and the Great Depression put a kibosh on a number of film experiments at the time, including Widescreen.

During the 1930s, polarized 3-D was being developed. One of the earliest polarized films was shown at the 1939 World's Fair in NY, a stop motion film called In Tune With Tomorrow. It was remade the following year in color as New Dimensions. The shorts were done in dual strip polarized 3-D. According to Cheddar, polarized glasses as yellow and brown as opposed to red and blue. What this proves is that the person doing the video hasn't actually seen any 3-D movies, especially polarized ones. Polarized glasses are clear and made of polarizing filters that are at a 90 degree angle to one another. Yellow and brown indeed.

World War II put a hold on further 3-D experimentation until the 1950s. And frankly, 3-D has pretty much been with us in one way or another ever since. Don't believe me? Let's look at the evidence.

It's generally accepted that Bwana Devil kicked off 3-D in the 1950s, but you can actually take it back a year to the Festival of Britain in 1951. A number of 3-D shorts were shot and shown there and almost all of them ended up in America in early 1953 after the success of Bwana Devil. Bwana Devil and 99% of all the 3D movies of the 50s were done in dual strip polarized 3-D. There were a couple of part 3D Burlesque features in anaglyph, but the mainstream stuff was all polarized. How does dual strip polarized 3-D work? It's shot using two cameras, one for each eye. It's then projected through two projectors. The two projectors have to be in perfect synchronization. The screen has to be an actual silver screen to reflect the light back. And the polarizing filters that the image passes through on the projector have to be changed every few days. They also have to be clean of smudges and fingerprints, as do the glasses. In short, projection of dual strip 3-D was a very precise science and if just one thing went wrong, the whole presentation would blow up.

Naturally, projectionists didn't care to be that precise. If they couldn't get it to sync up right away, they'd just let it go. Even one frame out of sync can lead to headaches and nausea. There reports of film being a full 24 frames--one full second--out of sync. To give you an idea of what that might look like, picture watching House of Wax and your left eye sees a medium shot of Vincent Price and your right eye sees a two shot of Price and Charles Bronson. The theater owners would cheap out as well, painting the screen instead of installing a proper silver screen. The projectionist union demanded two projectionists in a booth for 3-D shows, 3 if the magnetic stereo soundtrack was involved. Theater owners fought that, too. The end result was many shoddy presentations which left patron sick. Audiences began avoiding 3-D movies for this reason.

While all this was going on, 20th Century Fox was developing CinemaScope, a widescreen process that only used a single projector and a special lens. Theater owners, projectionists, and eventually audiences preferred this over the precision of 3-D, so many 3-D movies started getting flat showings only. Universal rolled out one last 3-D movie in 1955, Revenge of the Creature, and that as they say was that.

But not quite. As early as 1957, 3-D movies were being successfully reissued. The first new 3-D movie after Revenge of the Creature was also the first one released in 3-D and CinemaScope: September Storm in 1960. September Storm became the last dual strip 3-D movie. The following year, The Mask became the first of the part 3-D releases, with 3 segments in anaglyphic 3-D. This was followed by a pair of Nudie Cuties also in part 3-D in 1962, The Bellboy and the Playgirls and Paradiso. A third Nudie Cutie, Adam and Six Eves, was shot in 3-D but released flat until it made a 3-D Blu Ray debut last year courtesy of the 3-D Film Archive and Kino. 3-D took another four years off before returning with 1966's The Bubble, the first single strip polarized 3-D film. Single strip 3-D was supposed to solve the problems of projection. Each image was printed on the same strip of film, either side by side or over and under. They were then projected--again on a silver screen--through a special beam splitter. The whole thing should have been idiot-proof. Never underestimate the idiocy of the American projectionist, however. I've seen far too many single strip presentations that were sometimes painfully mis-projected: the wrong type of screen, the wrong type of beam splitter, the beam splitter not put on correctly, as well as the film being cut incorrectly by the projectionists all could and did wreak havoc on unsuspecting audiences for literally decades.

Nonetheless, The Bubble begat a system that was used for decades. It was followed by Paul Naschy's La Marca del Hombre Lobo in 1968, released in the US in 1971 as Frankenstein's Bloody Terror. 1969 gave us the infamous porn The Stewardesses, which set off a decade of similar films. There were some mainstream films in the 70s, including the part 3-D horror film The Flesh and Blood Show,  the 1974 gorefest Andy Warhol's Frankenstein,  the 1976 South Korean Kaiju flick A*P*E, and a couple of Kung Fu movies. While not everything was mainstream, 3-D was still alive and kicking for practically the whole decade.

3-D took a 3 year break before returning with Comin' At Ya! in 1981. That film started a new mini-boom that lasted until 1985 and produced 18 movies in 3-D. Maybe not as much as the 50s boom, but 3-D was very front and center for a few years in the 80s. Why did it die this time? I suspect projectionists had something to do with it as well as the simple fact that all 18 movies are actually terrible movies. The 50s had some bad films, too, but by and large the 50s batch was pretty good. There wasn't a single good movie released in 3-D from 1981 to 1985. I know because I've seen most of them. I can't imagine that the few I haven't seen are much better than the ones I have.

Six years went between 1985's Starchaser: The Legend of Orin and 1991's Freddy's Dead: The Final Nightmare, which was another part 3-D anaglyphic affair. But that's not the full story, either since IMAX 3-D was ramping up starting in the mid-1980s and Disney was having a lot of success with Captain EO at their theme parks. In fact, IMAX 3-D (and porn ironically) carried 3-D through the 90s. And it was an IMAX 3-D release, James Cameron's 2003n Titanic documentary Ghosts of the Abyss, coupled with that same year's part 3-D anaglyphic release of Spy Kids 3-D: Game Over that set the current boom in motion. But even before that there were a few more mainstream releases: a terrible 1995 film called Run For Cover with Adam West in it and a 1997 Charles Band horror comedy called The Creeps. Plus there were 3-D made for video horror films in the late 90s like the atrocious Camp Blood. To say nothing of all the theme park attractions in 3-D like T2 3D: Battle Across Time, Shrek 4-D, MuppetVision 3-D, etc.

Ever since Spy Kids 3-D, there hasn't been a year without 3-D movies. Part of the longevity now seems to be the fact that projection is finally Projectionist-proof. Outside of forgetting to turn the 3-D filter for the projector on (I've seen this happen), there's no way the image can be screwed up nowadays. It also helps that there's much better movies being made nowadays as opposed to the batch from the 60s through the 90s. While there's definitely been some stinkers in the past 17 years, there's been plenty of movies like Hugo, Gravity, Life of Pi, the various Marvel and Star Wars movies, etc. that can stand alongside the classics of the 50s. The circular polarized glasses are better, too. More comfortable and you can tilt your head without losing the effect. Of course, Hollywood did itself no favors with some lousy rushed conversions like Clash of the Titans, but now even the conversions look great. Watching The Force Awakens or The Walk, you'd hardly believe they weren't actually shot in 3-D.

Yes, there's not as many 3-D movies as there were 7 or 8 years ago, but there's still some high profile releases. Yes, TV manufacturers stopped making 3-D TVS, but you can still get 3-D projectors for the home. Frankly, bigger is better with 3-D anyhow. There's a huge difference between seeing The Force Awakens in 3-D on a 50 inch TV screen and seeing it on a 100 inch projection screen. And while it is also true that not as many 3-D Blu Rays are being released in America, you can still get many of the big releases from Europe. I've gotten the last half dozen Marvel movies and the last 3 Star Wars movies all from the UK on 3-D Blu Ray, and all region free. On top of that, the 3-D Film Archive is still releasing several titles a year on 3-D Blu Ray. Taza, Son of Cochise will be out from the 3DFA and Kino later this month. And unless Covid-19 kills movie theaters totally forever, there are some high profile releases coming this fall like Black Widow and Wonder Woman 1984.

So no, 3-D is not totally dead. And it really hasn't been totally dead for nearly 70 years. Even when it goes away, it only goes away for a few years before poking back up in some fashion. The longest gap between movies since the 50s has been five, and that was right after Revenge of the Creature. All the other gaps have been an average of 3-4 years. So I have to say it: 3-D, like the Force, will be with us always.

Jaws: The Revenge (1987)

True confessions of a movie junkie: back when I was a teenager, I had an internship at a neighborhood newspaper. I was given a pass to go review Jaws: The Revenge and I was so excited about the prospect, I gave the movie a good review. Looking back, I am likely the only person in the world to have done so. Consider this post me righting a grievous wrong.

Most people who review Jaws The Revenge on their blogs nowadays seem to do so to prove they are intellectually superior to it. The problem is that proving you're intellectually superior to a movie this dumb is like proving you were born with a torso. Even someone with a zero IQ is intellectually superior to Jaws: The Revenge.

The movie starts with yet another Great White Shark invading the waters of Amity Island. It's Christmas time, so there's no swimmers which makes me wonder why the shark would even bother. Oh, that's right: because the Brody family still lives on Amity Island and youngest son Sean is a deputy. Deputy Sean is sent out on the water to move some driftwood and Mr. Whitey pops out of the water to say "Hello, my name is Sharkey Montoya. You killed my father. Prepare to die!" He then eats Sean, an ignoble end to a character who was always kinda treated shoddily in this series and yet who somehow went from being 5 years old in 1975 to 30 just 12 years later.

Oldest son Michael (Lance Guest) convinces mom Ellen (Lorraine Gary, reprising her role from the first two films) to come and stay in Bermuda with him, his wife and his daughter. The weather's better and there's no sharks. She agrees, so Mr. Whitey decides to follow her to Bermuda because he has more Brody family members to kill, you see. Yes, the shark is actually exacting revenge on the family for the death of the first shark in the original movie. I promise you I did not make that up and I am quite sober. In the novelization, the shark is an instrument of vengeance for a voodoo witch doctor who is pissed at Michael. That almost makes sense, unlike what we actually get.

Ellen meets roguish pilot Hoagie--Michael Caine proving he was willing to do anything for money--and is having a good time unaware that Mr. Whitey has arrived. Michael and his partner Jake (Mario Van Peebles) are aware of Mr. Whitey since he's already tried taking a bite out of Michael. Rather than worry Mom, they decide to try to track the shark. Eventually Mr. Whitey tries taking a bite out of Mike's precocious daughter (Judith Barsi), so Ellen steals Michael's boat and goes out on the ocean to do something, but I'm not sure exactly what. I don't think the writers knew what she was supposed to do either. Certainly she didn't know what she was supposed to do. Michael, Hoagie, and Jake go to the rescue. Hoagie swims but stays dry, Jake falls into the shark's mouth and survives, and the shark eventually roars before exploding once it's impaled. How a shark roars then explodes upon being impaled, I don't know.

If I've made the movie sound more entertaining than it actually is, I apologize. It's a bad habit of mine and I really should break it.

The problems with this movie would likely fill a book. For one, it decides to ignore Jaws 3-D (1983). As bad as Jaws 3-D is--and I fully recognize it's a terrible movie even though I love it--Jaws 3-D almost makes some sort of sense. This film is pure nonsense. On top of that, the acting is bad, the dialogue worse, and the shark looks ridiculous. There isn't even a good kill count in the film as only three people get attacked and one of them survives for reasons that make no sense. There's also an awful lot of time spent on the romance between Ellen and Hoagie. That's not necessarily a bad thing since it's actually a portrayal of an older couple falling in love, something surprising for a movie of this genre. However, there's also a lot of time spent on Michael being jealous and suspicious of Hoagie that drags the thing down.  In short, the main plot is stupid and the subplots are boring. Sure, there's some unintentional laughs in the thing but there's an equally large number of cringe-inducing scenes.

Exactly why I liked this film at 16 is something I'll never know. Especially when I had the common sense to hate equally bad movies. Maybe just because it was a Jaws movie and the original is one of my all time favorite movies. At any rate, if you read my review in 1987, I apologize. And for those of you thinking this thing can't possibly be as bad as I'm now saying...it is.

The 3-D Nudie Cuties Collection

In between the Burlesque shorts of the 1950s and the Hardcore porn of the 1970s there was a brief period of time where Nudie Cuties titillated our imaginations. Nudie Cuties followed through on the promise of the Burlesque short by actually showing us naked women, but didn't go as far having anyone have sex like what would follow in their wake. They for all practical purposes were almost innocent in their content and the way they dealt with their subject matter. Perhaps too innocent, which is why they only lasted a few short years before giving way to porn as we know it today. But in that time, a few notable people shot them, including Russ Meyer, H.G. Lewis, and Francis Ford Coppola. Naturally, 3 Nudie Cuties were shot in 3-D in between 1960 and 1962,  The good folks at the 3D Film Archive and Kino Lorber have revived two of them for modern audience perusal.

First up is The Bellboy and the Playgirls, one of two such Nudie Cuties directed by Coppola.* The producers of the film took a 1958 black and white German sex comedy called Sin Began With Eve and told Coppola to shoot some color footage to insert into the film. It was decided to do the finale in 3D, making this one of those part 3D affairs from the 60s and 70s. Most reports say that the 3D footage runs about 20 minutes. It doesn't. It's 14 minutes from beginning to end. Which means we have to endure nearly 80 minutes of some unfunny 2D material.

The film starts off promisingly with a great opening theme. Unfortunately, it's downhill from there. The plot, such as it is, is two-fold. The German footage concerns the trials and tribulations of a theatrical troupe. The director is trying to convince his prudish leading lady (future Bond girl Karin Dor) to do a sex scene on stage by telling her tales of sex through the ages. How exactly that was supposed to convince her, I'm not sure. The color footage concerns George (Don Kenney), the titular bellboy of the Happy Holiday Hotel, who wants to be the House Detective and be popular with women. George is determined to find out what goes on in Room 229 of the hotel, where there are a bunch of naked women, one of them named Madame Wimpepoole  (Playboy bunny June Wilkinson, here credited as June Wilkenson). George assumes she's that type of Madame and all the other girls are Ladies of Ill Refute as Archie Bunker would say. Naturally, the ladies are all lingerie sales models, but George is too stupid to know that. The two plots hang together by way of George, who sneaks over to the theater to observe the director and learn about women then run back to the hotel and screw up.

The problems with this movie are many. It has been accused of being a bait and switch, and not incorrectly. Much of the footage is taken up by George, a character so annoying he makes Jar Jar Binks look like Jonathan Winters. Don Kenney sorta kinda tries as George but his material is hopelessly unfunny. I'm not even convinced it was funny in 1962. Since so much is sucked up by George, there's not a lot of time devoted to exactly why an audience would be watching something like this: the naked women. To make matters worse, the two most high profile women in the thing--Dor and Wilkinson--never even take off their clothes. Dor I can almost forgive given the nature of her character but Coppola blowing getting Wilkinson naked makes me want to smack the man. Wilkinson is frankly the best looking woman in the film. She's also just about the main reason to watch. When the 3D finally shows up, the depth is fairly good and the movie almost lives up to it's potential with a 3 minute segment of just the topless women. Then they bring George back onscreen. Bleh. It doesn't help that some of the 3D footage looks out of focus, no doubt due to either the fact that it was shot on 16mm or it really was out of focus (or both). Watching this, it's hard to believe that a decade later Coppola would go on to direct The Godfather.

Fortunately, there's a second feature to be watched and is it ever a hoot. I won't go so far as to call Adam and Six Eves a good movie, but for this type of movie it's a bona-fide classic. Shot in 1960 using the old NaturalVision rig--previously used on such classics as House of Wax, Bwana Devil, Gog, and Charge at Feather River--Adam and Six Eves was only released flat in 1962. The 3D Nudie Cuties Collection Blu Ray is it's 3D debut. Watching it, I can definitively say 1960s audiences missed out big time.

The movie concerns a fat guy in a Hawaiian shirt prospecting for gold with his wisecracking mule in the desert. He comes across an oasis of beautiful naked women, who do everything under the sun to distract him from his search. He's clueless however, just looking at them with a dopey grin and wondering why they have no clothes on before continuing his search. The donkey comments on everything (no, you didn't misread that). That's literally the plot of the whole thing. But it doesn't matter. If Bellboy and the Playgirls was a bait and switch, this was a bang for the buck if ever there was one. The director wisely focuses his camera on the women, knowing that's what his audience is here for. And my God are the women in this one gorgeous. There's literally someone here for anyone's taste. The prospector's cluelessness is nowhere near as annoying as George and the donkey, while not exactly Triumph the Insult Dog, is actually funny from time to time. Best of all, the movie only runs an hour, so it doesn't overstay it's welcome. To top things off, the 3D in this is spectacular. I mean, it should be considering the camera that was used. But it really looks great. Nice levels of depth and some fun pop outs.

A pair of shorts are also included on the disc, a 1953 Burlesque short called Love For Sale and a study of 3-D Kodachrome nudes from 1951. Both are impressive. It should be noted that Love For Sale was previously available in a cut down anaglyphic version from Something Weird. Seeing it here is a real revelation.

As usual, the 3D Film Archive did a bang up job. The restoration on Adam and Six Eves is perfect. The movie looks like it was made yesterday. Bellboy and the Playgirls doesn't look as good, but they worked with what they had and some of it was never going to look perfect. As a curio and a peek into a time that no longer exists, this is a disc worth getting. Indeed, Adam and Six Eves is worth the price of admission alone. I wish I could say better things about Bellboy and the Playgirls, but that's not the Archive's fault. This disc is literally a case of taking the good with the bad. Fortunately, the good outweighs the bad.

*Coppola's other Nudie Cutie was the 2D release Tonight For Sure. As that film also has Don Kenney in it, this particular reviewer has absolutely no curiosity about watching it. One Don Kenney movie is one too many.

3-D Thursday: 3-D Rarities Vol II

The 3-D Film Archive has done it again. Five years after the incredible 3-D Rarities from the 3D Film Archive and Flicker Alley, we a second installment that's nearly as great as it's predecessor. There may be a little less this time, but what there is, is wonderful.

Vol. II kicks off with A Day in the Country, a 1953 Lippert short. Originally shot in New Jersey in 1941 as Stereo Laffs and intended to beat the Pete Smith short Third Dimensional Murder to the screen, A Day in the Country basically sat on a shelf until Lippert put it out to cash in the 3D craze that was just getting under way. The short was released in anaglyphic format back then, one of the rare anaglyph releases. Narrated by future Stooge Joe Besser, the short is a pleasant if somewhat goofy affair that, like the Smith short, manages to throw everything it can think of out of the screen at you. Incidentally, this is from the only surviving print, a somewhat faded anaglyph. The image might not be the prettiest, but it's the best we'll see on this one.

If you're a little more highbrow than that, the second short should be more up your alley: The Black Swan, a 1951 ballet short shot for the Festival of Britain. It's incredibly well staged in 3D and makes you wonder why more shorts like it weren't done. A couple of other shorts for the Festival of Britain were included on Volume I, so maybe Volume III could complete the collection!*

Hillary Hess narrates the next part, a 20 minute collection of 3-D stills taken from the mid-40s to the late 50s. It's a fascinating look at a time long gone and Hess's narration brings it even more to life. Most fans praise this segment the most and for good reason.

A very odd short done in 1966, Games in Depth, is up next. Shot by the Polaroid company, Apparently intended for Expo '67 but never released until now. It's a mess of different shots set to goofy music, which is pretty bizarre but worth watching at least once.

The prologue to Frankenstein's Bloody Terror follows. I missed my chance to see the film itself in 3-D a few years ago and this two minute prologue really makes me regret that. Following that and rounding out the shorts section is a trailer for the never released clip documentary, The 3-D Movie. It's sad we'll never see this film as it looked like a ton of fun with clips from The Stranger Wore a Gun and Gorilla at Large among other things.

Then comes the centerpiece of the whole thing, the first Mexican 3-D feature, El Corazon y La Espada. Starring Cesar Romero and Katy Jurado, this is a wonderful little swashbuckler about a Spanish nobleman (Romero) out to take back his castle from the Moors. Jurado is the spitfire looking for the formula to turn lead into gold.  Ponce De Leon is also tagging along, looking for the Rose of Youth. There's a lot of sneaking around secret passages, which looks great in 3-D. The sword play won't make it forget Errol Flynn, but the movie is reasonably fun. I've certainly seen worse 3-D movies over the years. The disc allows you to watch it either in Spanish with subtitles or the English dubbed track from the movies 1956 re-release in America as Sword of Granada. A Kickstarter campaign was done to complete the restoration of the film and as it result, it looks spectacular.

The disc finally ends with a selection of 3D stills taken by Harold Lloyd. I've seen at least some of these before since I have a book of Lloyd's stills, but they're even more spectacular here. Harold's granddaughter Suzanne narrates this wonderful look back at a bygone era.

3-D Rarities II is, as I said earlier, nearly as great as the first one. There's less here but it's still great stuff. The only real knock on the disc is that you can't access each short separately like you could the original disc. Nonetheless, this is another must have from the 3-D Film Archive.