I've just received a long letter from Paul Von Someren. It seems he was an ardent collector of 9.5 films until, a few months ago, a burglar relieved him of projector and films. This prompted him to take the plunge into super 8 and he has already built up a large collection in this gauge though still retaining his interest in 9.5.

Among his gripes he feels the excellent quality of Walton films has deteriorated slightly of late. Well, I'm afraid I can't support you in this, Paul, for I have just viewed a batch from Walton House and found them of the usual high standard.

He continues by commenting on the scissor-happy editor at Mountain who has been shortening the American versions of the Columbia titles. I touched on this point myself last month and am pleased to say that I understand the practice has been stopped and future releases will be the full package prints as they appear in America.

On the credit side, Paul has nothing but praise for Disney in common with many other readers. He asks that well worn question why no sound versions of a Mickey Mouse or Donald Duck ? I took this point up with Terry Byrne, Manager of Disney here in England, and found him to have a very sympathetic ear. He agreed with me that while Disney held out, the field would continue to bc wide open to the 'pirates' and the atrocious quality which is associated with this type of print.

It's all a question of the American Masters of Disney husbanding their product very closely - while the award winning shorts are continually being re-released, the cinema heads are strongly against the idea of the exact same version being available for home presentation.

There seems to be less resistance to feature extracts, for these can almost be regarded as 'trailers' to the full cinema version and are not considered as competition for the big screen. It is on this feature clip front that the future is much more rosy. The sound print of the Cinderella clip has, at last, been released in this country; the excellent Peter Pan extract, together with a new clip from Alice In IVonderland, are also now available with full sound track - but more of these next month.

In the meantime, keep those letters coming.

THE LOVE MATCH - Super S B & W Sound. 8 reels /29.50. Derann Film Services, Stourbridge Road, Dudley.

Arthur Askey! At the mention of that name you either have a quiet chuckle to yourself - or feel slightly sick! If you feel a bit sick, then forget this feature; if, on the other hand, you arc partial to the 'busy bee then this is for you.

I liked it it brought back pleasant memories of a type of comedy film which, in this sophisticated age, is no more. No Carry On crudity, no sex-just a cosy domestic comedy which will delight any family audience.

Arthur Askey plays a football-crazy train driver with Thora Hird on top form as his ever-nagging wife. She remarks of Arthur: "He's too old to be picky, and too young to be trusted!"

While he is cheering his team, a cigarette end just happens to fall down the back of his neck; he just happens to lunge forward knocking a rather large meat pie flying through the air; this just happens to hit the referee fair and square in the face. As the Ref scrapes it from his features we recognise him as none other than 'Shh - you know who' - a very youthful William Franklyn, filmed long before he became emotionally involved with a bottle of tonic water!

This assault on the referee results in Arthur being brought before the local magistrate played by Rob Wilton. "Tell that man to stand up," orders Rob - only to realise, of course, that diminutive Arthur is already standing up.

All the old British faces are there, including Patricia Hayes as the 'miss nothing' neighbour and blonde Shirley Eaton as the innocent daughter. A line spoken by the latter somehow typified this homely comedy. The well endowed Miss Eaton, in rather tight sweater, bounces into the kitchen and so innocently asks: "Shall I peel the potatoes mum ?" Could you imagine such sweet obedience from a twenty-year-old in a film made today.

Before moving on, just a last word for Arthur's real-life daughter - Anthea. Do you remember how, a few years back, Arthur would never appear without his darling daughter; such were his efforts to bring her stardom. It never came off and she went the way of so many starlets.

Anyway, it was nice to sec again both her and her busy bee father.

The many shots of old trains in the above feature remind me of a one reeler I have recently seen. From Walton, it's entitled The Smallest Public Railway in the World and shows the behind-the-scenes activities of the Romney, Hythe and Dymchurch Railway. In 1926 Captain Jack Honey started work on this fifteen-inch gauge railway designed to carry passengers and freight. During World War II it was used by the army; now it carries gon,000 passengers during the summer months.

I'm afraid my knowledge of, and interest in, steam trains is rather limited so this film did nothing for me - it is obviously intended for loco enthusiasts, of whom there must be many, judging by the number of train films released by Walton.

On the other hand another film which included many loco scenes captivated me completely - I suspect because it treats them almost as human beings.

THE MAN WHO LOVES GIANTS - F.712. Standard & super 8. 4 reel colour/ sound - £50.96. Walton Sound & Film Services, 87, Richford Street, London.

This is not a particularly new release - it's been available for several months, but I've just had a look at it and find it well worth bringing to your attention

It's a BBC documentary on that well known artist, David Shepherd. If you don't recognise the name I'm sure you will be familiar with his paintings, for they must be about as popular as that rather green looking Oriental lady who looks down from many a mandepiece. Boots' print department must have made a fortune from David Shepherd's elephants! His Wise Old Elephant must be the proud possession of many homes, and this film fills in the background of this twentieth century artist - and it is excellent!

The film opens at Lake Tahoe, Nevada, where an auction of Shepherd's paintings is taking place. The proceeds of the sale are to purchase a helicopter for the game reserve of Zambia to help them close in on poachers; a magnificent gesture, but one well within his means for this artist is no long-haired Bohemian painting away in an attic he lives in a luxurious Elizabethan mansion in the stockbrocker belt. We hear from the artist, Robin Goodwin, who gave Shepherd his first job when he was rejected by art college. It was in these early years that he learnt to be a '9 to 5' artist. The electricity board had to he paid, so it was to hell with artistic temperament and paint like fury.

The Luanga Valley, Africa, is Shepherd's favourite painting location and this film certainly does it proud with some beautiful shots of birds, tree formations and the like - not forgetting those huge old Jumbos. In temperatures of 120 degrees Fahrenheit, we follow Shepherd and his wife as they and two wardens stealthily creep up on a Wise old character. You almost hold your breath as he carefully erects his easel lest this colossal animal should be disturbed - you tend to forget that these are not obedient, circus trained animals, and that a wrong move could bring one charging down on you. For me, this was the best sequence of the film; but the lively editor does not let us dwell too long and cuts us to Johannesberg to see the artist's other great love - locomotives.

Here is one of the few places left in the world where steam locomotives are in normal daily use. You feel Shepherd's desperation as he frantically sketches and paints to record these scenes for posterity. The point is brought home beautifully in a sequence showing many decaying old engines - while on the soundtrack we hear all the hiss and noise of 'living' locos.

So determined was Shepherd to save some of these from the scrap heap that he paid Z3cio0 to British Rail and bought number 75029, a class four locomotive - later to be renamed The Green Knight when cleaned and refitted. Next we join the artist airborn as, crouched in the nose of a jet, he sketches for a Royal Air Force commission an in-flight refuelling operation. Ir was, apparently, in this field of aviation painting that Shep-herd first gained recognition.

The film closes by returning to the Nevada auction as his centrepiece painting, which we saw him complete in ten days, is sold for 12,000 dollars and enough money is raised for that game reserve helicopter.

So - a really first class documentary full of action to suit all tastes. I'm no loco fan but must admit that this film conveyed to me the enthusiasm felt by the admirers of these giants. This was due in no small measure to the narrator none other than that old Westerner - James Stewart, himself a keen conservationist.

If you can't afford the complete film then the two-reel extract retitled The Man Who Loves Elephants (A.808) is the next best thing; I mentioned earlier that my favourite scenes were the elephant stalking. If you prefer the trains, a one reel clip The Man Who Loves Trains (A.807) is also available. But whichever edition you choose - I'm sure you will enjoy it.

INCENSE FOR THE DAMNED - Standard & super 8. 8 reel colour/sound - £56. Derann Film Services, Dudley.

I have been a fervent horror film fan ever since I lied about my age to the old dear in the cash box at the local flea pit way back in 1957 in order that I could get in to see Chris Lee's Dracula. But how things have changed on the horror scene since then. It is no longer enough for a chap to simply sink his teeth into the neck of a beautiful female - he now has to have some deep psychological motivation.

This was brought home to me when I sat back to enjoy this bang-up-to-date feature - the realising he is impotent, finds that the only way to achieve an orgasm is by drinking the girl's blood! This film drops all the usual vampire trappings - garlic around the windows, holy water, crucifixes - and transports us to a new and novel location, Greece.

A young graduate, member of the swinging set, suddenly disappears from the social scene and takes himself off to a remote Greek island. Three colleagues concerned for his welfare go in search, led by Patrick (Avenger) MeNee without his bowler hat.

If you've spent a holiday in Greece you will appreciate the location photography though I'm sure, as you wandered around the ruined temples, you did not stumble across the mutilated body of a girl victim of some ancient ritual to pacify the gods. Richard, played by Patrick Mower, becomes obsessed by the mysterious Crisaus and seems to enjoy her sucking a little of his blood now and again! He is quite undeterred when she is apparently killed by one of his companions.

He returns to Lancaster College, Oxford, and is met by his future father-in-law, Peter Cushing. Though Mr Cushing is given star billing in this film I should think it took only a few days to film his short appearances. Obviously he was written in to guarantee a good box office. Which can be also said for Edward (Callan) Woodward who makes an even briefer appearance as an expert on vampirism.

It is he who brings into the plot the sado-masochism aspect I mentioned earlier. We've all been completely wrong about vampirism. It's nothing to do with over developed molars - it's frigid females and impotent males seeking fulfilment in each others jugular vein! So now you know next time you see Bela Lugosi or Chris Lee leaping about remember what really lurks behind all that cloak waving.

All in all, it's a well made thriller bringing a modern approach to the well worn legends. So, that's this months films which I enjoyed viewing - if I had to select one only I would go for Walton's The Man Who Loves Giants.

Now for the films which I found slightly disappointing. A four-reel feature - Whirlpool was, to me, rather pedestrian with a somewhat predictable plot, despite the attractions of its star, Juliette Greco. A colour horror feature - Equinox - was very poorly produced with a cast of four hammy American teenagers. Finally, a one reel clip from Night of the Big Heat, entitled Creatures from Beyond, was a bit of a let-down for it is advertised as starring Christopher Lee his total appearance in the extract clocks in at around thirty seconds fiat!

Now for coming attractions. At the time of writing I have heard on the grapevine that two-reel clips from the Astaire / Rogers musicals may soon be coming our way watch this space for further news!

Back to Bootlace Cinema 1974