Mary Pickford Theater
2018 Archive of Screened Films
Thursday, January 11th at 7:00 p.m.
AUTUMN LEAVES (Columbia – William Goetz Productions, 1956). Directed by Robert Aldrich. Story and Screenplay by Jean Rouverol, Hugo Butler, Jack Jevne, Lewis Meltzer and Robert Blees. With Joan Crawford, Cliff Robertson, Vera Miles, Lorne Greene, Ruth Donnelly. (107 min, black & white, 35mm)
Six years before "What Ever Happened to Baby Jane?" director Robert Aldrich and Joan Crawford collaborated on this edgy melodrama about a middle-aged woman who falls for and marries a young man with a disturbing past. Although Crawford’s presence has inevitably led to it being regarded, and often unfairly dismissed, as camp, the film is a fascinating example of a woman’s picture made by a director primarily known for his unflinching, cynical male-centered dramas. The husband and wife writing team of Hugo Butler and Jean Rouverol were blacklisted at the time of the film’s release and did not receive billing in the onscreen credits. Archival print from the Library’s Copyright Collection.
Thursday, January 25th at 7:00 p.m.
SO DARK THE NIGHT (Darmour / Columbia, 1946). Directed by Joseph H. Lewis. Screenplay by Martin Berkeley and Dwight Babcock, based upon a story by Aubrey Wisberg. With Steven Geray, Micheline Cheirel, Eugene Borden, Ann Codee, Egon Brecher. (71 min, black & white, 35mm)
While on a long overdue vacation, a Parisian detective finds himself investigating the murder of his fiancée. A stylish "B" picture, this rarely seen thriller was directed by noir specialist Joseph H. Lewis (Gun Crazy, The Big Combo), who employed an array of strange camera angles and other deft touches to turn the bucolic French countryside into a menacing backdrop for what is in essence a study in schizophrenia. Screenwriter Aubrey Wisberg’s story had been purchased by Columbia with the intention of making it the fifth entry in the studio’s mystery series "The Whistler," but was eventually produced as a stand-alone picture. Preserved by the Library of Congress from the original nitrate negatives in the AFI/Columbia Collection.
A DAY AT C. B. S. (Columbia, 1948). Directed by Ralph Staub. Narrated by Art Baker. (10 min, black & white, 35mm).
A short from Columbia’s long-running celebrity magazine series "Screen Snapshots" featuring the stars of CBS Radio, including Gene Autry, Harry James, Dinah Shore, the Andrews Sisters, Howard Duff and others.
Wednesday, February 21st at 7:00 p.m.
SCHOOL DAZE (Forty Acres and a Mule / Columbia, 1988). Directed and Written by Spike Lee. With Laurence Fishburne, Giancarlo Esposito, Tisha Campbell, Kyme, Joe Seneca, Art Evans, Ossie Davis. (120 min, color, 35mm) **R-rated
Following the success of his breakthrough feature, the independently made "She’s Gotta Have It," Spike Lee secured the backing of Columbia Pictures for his next film, "School Daze." Billed as a "comedy with music" and set at a historically black college in Atlanta, Georgia, the film is an ambitious exploration of class relations and politics of skin color within the African-American community. Its representation of black college culture and, in particular, Greek letter organizations, is as unique now as it was thirty years ago. Despite mixed reviews, "School Daze" turned out to be one of Columbia’s most profitable releases of the year, producing a best-selling soundtrack album along the way with hits by Tisha Campbell and the DC-based band E.U. Archival print from the Library’s Copyright Collection.
In 2015, the Library of Congress acquired the Jerry Lewis Collection, a trove of moving image materials and manuscripts providing a unique window into the world of a man who spent more than 70 years making people laugh. Lewis passed away in August 2017, and in honor of his remarkable career and in celebration of what would have been his 92nd birthday (March 16), we present two classic comedies from both halves of his film career, his partnership with Dean Martin and his success as a solo actor and director.
Tuesday, March 13th at 7:00 p.m.
THE CADDY (York Pictures / Paramount, 1953). Dir Norman Taurog. Written by Edmund Hartmann (screenplay) and Danny Arnold (story and screenplay). With Dean Martin, Jerry Lewis, Donna Reed, Barbara Bates, Joseph Calleia. (95 min, black & white, 35mm)
Too shy and afraid of crowds, a gifted golfer persuades his fiancée’s brother to enter a tournament while he acts as his coach and caddy. Arguably Martin & Lewis’s funniest comedy presents Jerry, in his usual state of arrested development, as a cross between a devoted servant and a doting spouse to Dean’s womanizing pleasure seeker. The film includes guest appearances by a number of golf pros and features the song "That’s Amore," which would become one of Martin’s biggest hits. Archival print from the Library’s Copyright Collection.
Tuesday, March 27th at 7:00 p.m.
THE LADIES' MAN (York Pictures / Paramount, 1961). Directed and Written by Jerry Lewis. With Jerry Lewis, Helen Traubel, Pat Stanley, Kathleen Freeman, George Raft, Henry James. (106 min, Technicolor, 35mm)
After his girlfriend jilts him, a young man vows to abstain from romance, but is tested when he takes a job at a women-only boarding house. Typical of Lewis’s solo work, the film consists of a series of vignettes constructed around a specific profession and/or location. Martin Scorsese singled out "The Ladies’ Man" as his favorite Jerry Lewis film, and the film’s massive set of the boarding house cross-sectioned to allow the crane-mounted camera to move between floors was copied on a smaller scale by Jean-Luc Godard in "Tout Va Bien" (1972). Archival print from the Library’s Copyright Collection.
Thursday, April 19th at 7:00 p.m.
IN CALIENTE (First National, 1935). Directed by Lloyd Bacon. Written by Jerry Wald & Julius Epstein (screenplay), Ralph Block & Warren Duff (story and adaptation). With Dolores Del Rio, Pat O’Brien, Leo Carrillo, Edward Everett Horton, Glenda Farrell, Phil Regan, Winifred Shaw. (89 min, black & white, 35mm)
CHECK YOUR SOMBRERO (Vitaphone, 1935). Series: Broadway Brevities. Dir Roy Mack. With Armida, Tito Coral, Claire Harris, Sunny O’Shea, The Three Marshalls. (19 min, black & white, 35mm)
A New York theater critic falls in love with a Mexican dancer and incurs the wrath of his gold-digging fiancée. Filmed at the Mexican resort of Agua Caliente, at the time Hollywood’s favorite vacation destination, this breezy musical comedy is a typical product of the "South-of-the-Border craze," initiated with the success of the 1929 film "Rio Rita." The popularity of movie musicals with Latin settings held steady throughout the 1930’s and really took off when Carmen Miranda burst onto the scene in "Down Argentine Way" (1940). The musical numbers created and directed by Busby Berkeley include the memorable "The Lady in Red." Preserved in 2016 by the Packard Campus Film Preservation Lab from the original negatives in the United Artists Collection.
Thursday, May 10th at 7:00 p.m.
711 OCEAN DRIVE (Essaness Pictures / Columbia, 1950). Directed by Joseph M. Newman. Written by Richard English and Francis Swann. With Edmond O’Brien, Joanne Dru, Otto Kruger, Barry Kelley, Dorothy Patrick, Donald Porter, Howard St. John. (102 min, black & white, 35mm).
A telephone company lineman and electronics expert is recruited by the mob to create a vast illegal wire service for betting on horses. A first-rate gangster picture which cleverly utilizes the rags-to-riches narrative popular during the genre’s heyday in the 1930’s, while at the same time maintaining an up-to-date realistic framework with extensive location shooting and a "ripped from the headlines" angle involving the filmmakers themselves – the producers received anonymous threats before the filming had begun and producer Frank Seltzer testified before Estes Kefauver’s U.S. Senate committee on organized crime. Edmond O’Brien provides another superb characterization following his star turn as a man investigating his own murder in the classic "D.O.A." (1949), and Otto Kruger is the standout among the mobsters as the sinister head of the crime syndicate. "711 Ocean Drive" also had the distinction of being one of the first films to be advertised on television, an experiment jointly undertaken by Columbia Pictures and seven TV stations in Southern California. Preserved by the Library of Congress from original negatives in the AFI/Columbia Collection.
Thursday, June 21st at 7:00 p.m.
Screened in conjunction with the Library of Congress exhibition "Baseball Americana."
EIGHT MEN OUT (Sanford/Pillsbury Productions / Orion Pictures, 1988). Directed by John Sayles. Screenplay by John Sayles, from the book Eight Men Out: The Black Sox and the 1919 World Series by Eliot Asinof. With John Cusack, Clifton James, Michael Lerner, Christopher Lloyd, John Mahoney, Charlie Sheen, David Strathairn. (120 min, color, 35mm).
A dramatization of one of the most infamous scandals in baseball’s history when the talented but underpaid Chicago White Sox accepted bribes to deliberately lose the 1919 World Series against the Cincinnati Redlegs. "Eight Men Out" was the realization of a project director John Sayles had been contemplating since the mid-1970’s, when he first wrote a script based on Eliot Asinof’s book (originally published in 1963). The film is as much about baseball as it is about the American society of the late 1910’s, with athletes portrayed as exploited workers falling prey to economic, criminal and legal forces they cannot control. Archival print from the Library’s Copyright Collection.
Thursday, July 19th at 7:00 p.m.
JONATHAN DEMME (1944-2017)
LAST EMBRACE (Taylor-Wigutow Productions / United Artists, 1979). Directed by Jonathan Demme. Screenplay by David Shaber, from the novel The 13th Man by Murray Teigh Bloom. With Roy Scheider, Janet Margolin, John Glover, Sam Levene, Charles Napier. (101 min, color, 35mm, rated R).
As a tribute to the late director Jonathan Demme, who created some of the most intelligent and socially conscious American movies of the 1980’s and ‘90’s, the Pickford Theater presents one of his lesser known works, a Hitchcockian thriller about a government agent who suffers a nervous breakdown following his wife’s murder, and then himself becomes the target of a conspiracy which seemingly involves the agency he works for. Despite Demme’s claim to the contrary ("there are no noticeable homages to anybody in this movie"), "Last Embrace" is a veritable compendium of Hitchcock’s tropes and practices, complete with the obligatory McGuffin, a music score modeled on Bernard Herrmann’s memorable scores for "Psycho," "Vertigo" et al., and even a director’s cameo (as "a man on the train"). Roy Scheider, who later that same year starred in "All That Jazz," does well to conform to the role of a vulnerable man buffeted by events he is struggling to comprehend, and Christopher Walken is terrific as the spymaster with a twinkle in his eye. Archival print from the Library’s Copyright Collection.
Thursday, August 16th at 7:00 p.m.
THE WORLD, THE FLESH AND THE DEVIL (Sol C. Siegel Productions, Inc., Harbel Productions, Inc. / Metro-Goldwyn-Mayer Corp., 1959). Directed by Ranald MacDougall. Screenplay by Ranald MacDougall. Screen story by Ferdinand Reyher. Suggested by the novel The Purple Cloud by Matthew Phipps Shiel (London, 1901). With Harry Belafonte, Inger Stevens, Mel Ferrer. (95 min, black & white, 35mm).
A black mining engineer in Pennsylvania emerges from being trapped in a coal mine for five days, only to discover that the world and its population have been destroyed by nuclear war. Venturing to New York City, he believes he is the sole survivor until he meets a white woman and then later, a white man. Filmed on location in Manhattan, the film attempts to “provide a profound view of race, gender, and post-apocalyptic survival”. Originally titled “The End of the World”, this film, in cooperation with Sol C. Siegel Productions, represents the first production of Harry Belafonte’s independent company Harbel Productions, Inc. Through the direction of Ranald MacDougall and the cinematography of Harold J. Marzorati, New York City emerges as the fourth character in the film, easily projecting devastation, decay, and isolation. Archival print from the Library’s Copyright Collection.
Thursday, September 20th at 7:00 p.m.
THE GREAT GARRICK (Warner Bros., 1937). Directed by James Whale. Written by Ernest Vajda, With Brian Aherne, Olivia de Havilland, Edward Everett Horton, Melville Cooper, Lionel Atwill, Luis Alberni. (95 min, black & white, 35mm).
Upon hearing rumors that the celebrated British actor David Garrick intends to use his guest appearance at the Comédie Française to "teach the French" how to act, the French actors concoct an elaborate ruse to humiliate the pompous Englishman. With its gallery of Anglo-French characters and a theatrical setting, the film was a perfect fit for English stage and movie director James Whale (Frankenstein, The Old Dark House, Showboat), on loan from Universal following the fiasco of his war drama The Road Back (1937), which had been heavily cut and reshot "to cultivate the good will of Germany." A charming light-hearted comedy, The Great Garrick was a change of pace for Whale and is usually referred to as the "last wholly satisfactory film of his career." Preserved in 2016 by the Library of Congress Packard Campus Film Preservation Lab from nitrate negatives in the United Artists Collection.
Thursday, October 4th at 7:00 p.m.
The John W. Kluge Center and the Motion Picture, Broadcasting and Recorded Sound Division at the Library of Congress present a screening of Hospital (1970), preceded by a Q&A with Alan Gevinson, Kluge Staff Fellow 2018, and Kluge Center Director John Haskell.
HOSPITAL (Osti Films / Zipporah Films, 1970). Directed by Frederick Wiseman. (84 min, black & white, 35mm).
Frederick Wiseman’s Emmy-winning observational documentary on New York City’s Metropolitan Hospital goes behind the scenes of an overburdened institution, offering an unblinking look at the various roles the general hospital plays in modern society serving its mostly poor clientele. Without narration or interviews, Wiseman’s embedded camera captures highly dramatic interactions, heroic staff interventions, bureaucratic frustrations, and even bits of absurdist comedy coloring life-and-death situations. "I have a very strong feeling that it gets very close to ‘telling it like it is,’" Patricia Perrier wrote in American Anthropologist. “Hospital” was inducted into the Library of Congress National Film Registry in 1994. Preserved in 2015 by the Library of Congress Packard Campus Film Preservation Lab from 35mm duplicate picture and track negatives in the Zipporah Films Collection.
Reception: 5:30 – 6:30 pm
Q&A: 6:30 – 7:00 pm
Screening: 7:00 – 8:30 pm.
Thursday, October 18th at 7:00 p.m.
ONLY YESTERDAY (Universal, 1933). Directed by John M. Stahl. Screenplay by William Hurlbut, Arthur Richman and George O’Neill, based on the book of the same name by Frederick Lewis Allen. With Margaret Sullavan, John Boles, Edna May Oliver, Billie Burke, Benita Hume, Reginald Denny. (104 min, black & white, 35mm).
A powerful pre-code melodrama chronicling the love of a single mother for the man who had fathered her child and then forgot her. Spanning the period from 1917 and America’s entry into World War I to the stock market crash of 1929, the film was nominally based on a bestselling social history of 1920’s America by the editor of Harper’s Magazine. Unofficially, however, the story was adapted from Austrian author Stefan Zweig’s novella "Letter from an Unknown Woman," which fifteen years later would serve as the source for Max Ophüls’s celebrated film of the same name. "Only Yesterday" marked the film debut of Broadway actress Margaret Sullavan and is undoubtedly one of the finest achievements of director John M. Stahl, "the master of melodrama" best known for a series of sophisticated women’s pictures produced at Universal in the 1930’s. Preserved in 2016 by the Library of Congress Packard Campus Film Preservation Lab from original nitrate negatives in the AFI/Universal Pictures Collection.
Friday, October 26th at 7:00 p.m.
Screened in conjunction with Frankenreads, an international celebration of the 200th anniversary of Mary Shelley's Frankenstein organized by the Keats-Shelley Association of America.
FRANKENSTEIN 1970 (Allied Artists, 1958). Directed by Howard W. Koch. Screenplay by Richard Landau and George Worthing Yates, from an original story by Aubrey Schenck and Charles A. Moses. With Boris Karloff, Tom Duggan, Jana Lund, Donald Barry, Charlotte Austin. (83 min, black & white, CinemaScope, 35mm).
Twenty-seven years after creating Frankenstein’s iconic monster, Boris Karloff appeared as a descendant of Baron Frankenstein himself in this low-budget horror set in a distinctly late 1950’s looking future. Moving with the times, the Baron, hunchbacked and crippled from being tortured by the Nazis during World War 2, now uses an atomic reactor for his experiments and rents the family’s German estate to an American TV crew making a movie about his famous ancestor. Reflecting the writers’ efforts to update the Frankenstein story to the modern era, the film’s publicity trumpeted, "The One… The Only KING OF MONSTERS as the new demon of the atomic age." Archival print from the Library’s Copyright Collection.
Thursday, November 8th at 7:00 p.m.
NATIONAL FILM REGISTRY
Each year, the Librarian of Congress selects 25 films of enduring importance to American culture for inclusion in the National Film Registry. The selection takes into account thousands of titles nominated annually by the public, as well as recommendations of the National Film Preservation Board and the Library’s film curators. Once a film is inducted into the Registry, the Library determines if it has already been preserved, and, if not, seeks to ensure that it eventually will be preserved by the institution or individual holding the best master material. In anticipation of next month’s announcement of a new batch of inductees, the Pickford Theater will screen two classics (see also Nov. 28) already on the Registry as "culturally, historically or aesthetically significant” works, both in new 35mm prints made from the studios’ preservation elements for the Library’s National Film Registry Collection.
MEDIUM COOL (H & J Pictures / Paramount, 1969). Directed and Written by Haskell Wexler. With Robert Forster, Verna Bloom, Peter Bonerz, Marianna Hill, Harold Blankenship. (110 min, Technicolor, 35mm, rated R).
Against the backdrop of the tumultuous 1968 Democratic National Convention in Chicago, a TV news cameraman struggles with his conscience and ambition while pursuing a budding relationship with a single mother and her son. The youth counterculture and antiwar movement of the 1960’s had a significant impact on American cinema, and only at the peak of its influence could a politically charged cinéma vérité drama with a cast of unknowns have been released by a major Hollywood studio. Directed by cinematographer Haskell Wexler, one of the most respected and influential artists in his field, "Medium Cool" skillfully blends fictional storytelling and documentary techniques to paint a visceral portrait of an era of social and political upheaval, or, as critic Vincent Canby put it, "a picture of America in the process of exploding into fragmented bits of hostility, suspicion, fear and violence." Selected for the National Film Registry in 2003. New print acquired as a gift from Paramount Pictures.
Saturday, November 10th at 3:00pm
Screened in conjunction with the symposium on the veterans’ "road back," focusing on the use of poetry, fiction, and creative nonfiction as a means of healing from the trauma of war. Presented by the Library's Poetry and Literature Center, Veterans History Project, and Exhibits Office.
THE ROAD BACK (Universal, 1937). Directed by James Whale. Screenplay by Charles Kenyon and R.C. Sherriff, based on the novel of the same name by Erich Maria Remarque. With John King, Richard Cromwell, Slim Summerville, and Andy Devine. (100 min, black and white, 35mm).
"The Road Back," based on the novel of the same name by Erich Maria Remarque, is considered the sequel to "All Quiet on the Western Front." The film follows a group of German soldiers returning from the trenches of the First World War as they try to reintegrate into civilian life. This screening will present Whale's original production, recently restored by the Library of Congress in association with UCLA Film & Television Archive, Universal Studios, and The Film Foundation. Restoration funding provided by The Film Foundation and the Library of Congress. Screening rights provided by New York University, executor of the Erich Maria Remarque Estate.
Thursday, November 15th at 6:30 p.m.
The Music Division of the Library of Congress presents a screening of the biopic "Howard" (2018). This presentation is part of the 2018-2019 season of Concerts from the Library of Congress. A representative from the film will introduce this special screening.
HOWARD (Stone Circle Pictures, 2018). Directed by Don Hahn. Produced by Don Hahn, Lori Korngiebel, Jonathan Polenz. With Howard Ashman, Sarah Gillespie, Jeffrey Katzenberg, Bill Lauch, Alan Menken, Peter Schneider.(94 min, color, DVD).
This new biopic gives fresh insight into the life and work of Howard Ashman, the lyricist for beloved musicals and films including The Little Mermaid, Aladdin, Beauty and the Beast and Little Shop of Horrors. Behind-the-scenes footage chronicles his work in the months before his untimely death due to complications from AIDS.
Wednesday, November 28th at 7:00 p.m.
NATIONAL FILM REGISTRY
THE LOST WEEKEND (Paramount, 1945). Directed by Billy Wilder. Screenplay by Charles Brackett & Billy Wilder, based on the novel of the same name by Charles R. Jackson. With Ray Milland, Jane Wyman, Phillip Terry, Howard Da Silva, Doris Dowling, Frank Faylen. (101 min, black & white, 35mm).
An uncompromising look at the devastating effects of alcoholism, this landmark social-problem film seamlessly combines documentary realism with expressionistic flourishes to immerse viewers in the harrowing experiences of an aspiring New York writer willing to do almost anything for a drink. Made despite opposition from the studio, the Hays Office, and the liquor industry, "The Lost Weekend" was ranked as one of the best films of the decade, winning Academy Awards for Best Picture, Direction, Screenplay and Actor (Ray Milland), as well as sharing the top prize at the 1946 Cannes Film Festival. Inducted into the National Film Registry in 2011. New print provided by Universal Pictures.
Thursday, November 29th at 6:30 p.m.
The Music Division of the Library of Congress presents a screening of the biopic "Artur Schnabel: No Place of Exile" (2017). This presentation is part of the 2018-2019 season of Concerts from the Library of Congress. The film will be introduced by director Matthew Mishory and producer Markus Pawlik.
ARTUR SCHNABEL: NO PLACE OF EXILE (Light on Shadow, 2017). Directed by Matthew Mishory. Produced by Markus Pawlik. With Markus Pawlik, Dietrich Henschel, Szymanowski String Quartet, Udo Samel. (52 min, color, DVD).
The music and legacy of pianist/composer Artur Schnabel are celebrated in a film documenting the preparation of an all-Schnabel concert featuring pianist Markus Pawlik, baritone Dietrich Henschel and the Szymanowski String Quartet. Schnabel’s origins and history are traced with visits to places he had traveled before being forced to leave Germany, with input from a number of prominent musicians.
Thursday, December 6th at 7:00 p.m.
The Music Division of the Library of Congress presents a screening of "20 Feet From Stardom" (2013). This presentation is part of the 2018-2019 season of Concerts from the Library of Congress.
20 FEET FROM STARDOM (Tremolo Productions, Gil Friesen Productions, 2013). Written and Directed by Morgan Neville. With Darlene Love, Judith Hill, Merry Clayton, Lisa Fischer, Táta Vega, and Jo Lawry. (PG-13, 91 min, color, DVD).
Morgan Neville’s Oscar-winning documentary on the art of the backup singer chronicles the brilliant contributions of African American artists like Darlene Love, Merry Clayton, and Lisa Fischer to legendary pop hits of our time. An homage to the artists behind the voices, the film brings a few of the rock and roll world’s unsung artists into the spotlight.
Thursday, December 13th at 6:30 p.m.
The Music Division of the Library of Congress presents a screening of "'Round Midnight" (1986). This presentation is part of the 2018-2019 season of Concerts from the Library of Congress. The film will be preceded by a book talk by Maxine Gordon, author of Sophisticated Giant: The Life and Legacy of Dexter Gordon.
'ROUND MIDNIGHT (Warner Bros., 1986). Directed by Bertrand Tavernier. Screenplay by David Rayfiel and Bertrand Tavernier. With Dexter Gordon, François Cluzet, Sandra Reaves-Phillips, Lonette McKee, Christine Pascal, Herbie Hancock, John Berry, and Martin Scorsese. Music by Herbie Hancock. (PG, 133 min, color, 35mm).
Jazz saxophone legend Dexter Gordon is the subject of a new autobiography/biography, Sophisticated Giant: The Life and Legacy of Dexter Gordon (University of California Press, 2018). Maxine Gordon finished and compiled the work, and will speak about the book as an introduction to ‘Round Midnight. Now a classic, the film ‘Round Midnight earned Dexter Gordon both a Grammy for the soundtrack and an Academy Award nomination for Best Actor.
Thursday, December 20th at 7:00 p.m.
ROUGE COP (MGM, 1954). Directed by Roy Rowland. Screenplay by Sydney Boehm, from the novel of the same name by William P. McGivern. With Robert Taylor, Janet Leigh, George Raft, Steve Forrest, Anne Francis. (93 min, black & white, 35mm).
Two brothers, one a police detective receiving payoffs from criminals, the other a virtuous rookie patrolman, run afoul of a ruthless mobster. Produced by a studio not known for gritty crime films, this forgotten gem is considered by those who have seen it as "one of the best film noirs of the 1950s, standing alongside such classics as The Big Heat (1953) and The Big Combo (1955)" (Stone Wallace, Film Noir of the Week). Playing against type, Robert Taylor is terrific as the corrupt, arrogant and thoroughly unsympathetic title character, while George Raft, after years of trying to move away from his underworld persona (both on screen and off), returns to the type of role that made him famous and creates one of his most vicious villains. Never released on home video.