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Atragon (1963) in the PNW
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- Written by: Mortado
- Category: The 1960s in Northwest Cinemas
- Hits: 158
This is a collection of media from the initial runs of "Atragon" (1963) in the Pacific Northwest. Portland got "Battle of the Worlds" (1961) for a second feature while Seattle got "The Lost World of Sinbad" (1963).
Click on images for larger versions.
Atragon (1963)
The legendary empire of the lost continent of Mu reappears, threatening the world with domination. As countries unite to resist, an isolated World War II captain has secretly created the greatest warship ever seen—the Atragon. This powerful submarine may be the surface world’s only defense against Mu’s aggressive plans. Strange occurrences unfold globally, including the disappearance of two engineers and the near-kidnapping of Admiral Kosumi and his goddaughter, Makoto Jinguji. The Mu Empire, which vanished 12,000 years earlier, is responsible for these events and aims to reclaim their supposed colonies by invading the surface world. As tensions rise, Captain Jinguji’s bitter past collides with the present, and the fight becomes personal when Makoto and photographer Susumu Hatanaka are captured by the Muans. Now, the fate of humanity rests on the Atragon’s capabilities and the courage of its crew as they confront the underwater menace and its giant monster guardian, Manda.
Directors: Ishirô Honda, Shûe Matsubayashi
Writers: Shin'ichi Sekizawa, Shunrô Oshikawa, Shigeru Komatsuzaki
Stars: Tadao Takashima, Yôko Fujiyama, Yû Fujiki
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Battle of the Worlds (1961)
The film is a science fiction thriller directed by Antonio Margheriti and starring Claude Rains as Professor Benson, a brilliant but arrogant mathematician who predicts the arrival of a rogue planet called the Outsider. The Outsider threatens to collide with Earth, but instead orbits around it and launches a fleet of flying saucers that attack the human space stations2. Benson devises a way to take control of the alien ships and leads an expedition to the Outsider, where he discovers a dead civilization that was once ruled by a supercomputer.
Director: Antonio Margheriti
Writer: Ennio De Concini
Stars: Claude Rains, Bill Carter, Umberto Orsini
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The Lost World of Sinbad (AKA "Samurai Pirate," 1963)
In this Arabian Nights-inspired tale, a courageous sailor named Luzon (known as Sinbad in the American version) washes up on the shore of a mysterious Middle Eastern island kingdom. There, he becomes embroiled in local politics, court intrigue, and rebellion. Along the way, he encounters a princess-in-distress, an ancient wizard, and a band of rebels. The film combines elements of adventure, magic, and drama, featuring sword-wielding battles, exotic dancers, and a treacherous stone-turning witch. Japanese veteran actor Toshiro Mifune leads the cast, alongside beautiful Japanese belles Mie Hama, Kumi Mizuno, and Akiko Wakabayashi. With a catchy music score by composer Masaru Sato, this handsomely mounted costume fantasy adventure is sure to captivate both adults and children alike.
Director: Senkichi Taniguchi
Writers: Takeshi Kimura, Shin'ichi Sekizawa, Toshio Yasumi
Stars: Toshirô Mifune, Tadao Nakamaru, Mie Hama
Battle of the Worlds (1961) poster
The Lost World of Sinbad (AKA "Samurai Pirate," 1963) poster
Atragon (1963) trailer
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Olga's House of Shame (1964) in the PNW
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- Written by: Administrator
- Category: The 1960s in Northwest Cinemas
- Hits: 97
This is a collection of media from the initial runs of "Olga's House of Shame" (1964) in the Pacific Northwest. It appeared here as "Olga's House of Terror" for some reason. This earlier "roughie" was actually seized by the Portland vice squad, so I have included a few articles on that. If interested, we have an article on the US Congress and cinematic nudity here.
Click on images for larger versions.
Olga's House of Shame (1964)
“Olga’s House of Shame” delves into the dark underbelly of crime and punishment. The narrative unfolds in a desolate mining shack, where the eponymous Olga has established her dominion. Here, she orchestrates a brutal regimen of training, forcing young women into a life of illicit activities. The film portrays Olga’s relentless pursuit of control and her extreme measures to maintain her authority. This film is cheap sexploitation sleaze. As with some other microbudget films, it was shot silent with narration added later.
Director: Joseph P. Mawra
Writers: Joseph P. Mawra, George Weiss
Stars: Audrey Campbell, Judy Young, W.B. Parker
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January 15, 1965 ad (Portland)
January 28, 1965 ad (Portland)
Is it not strange that the seizure of the film came a full two weeks after it opened?
January 29, 1965 article (Portland)
January 29, 1965 article (Portland)
February 3, 1965 article (Portland)
February 4, 1965 article (Portland)
images/1965/0101olgashouse/olga.JPG
Olga's House of Shame (1964) poster
Battle for Nudity: 1965 edition
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- Written by: Mortado
- Category: Articles
- Hits: 175
The discourse surrounding the portrayal of nudity in American cinema during 1965 presents a compelling study of cultural and legislative intersections. This article examines the United States Congress’s engagement with the subject of nudity in films during that year, contextualized within the broader narrative of censorship and artistic expression.
Introduction The year 1965 stands as a watershed moment in the history of film censorship in the United States. It was a time when the nation’s moral compass was being recalibrated amidst a burgeoning counterculture movement, and the cinematic representation of nudity became a focal point of legislative concern.
Historical Backdrop The Motion Picture Production Code, commonly known as the Hays Code, has governed the content of American films since the 1930s. By the mid-1960s, however, its influence was diminishing as societal norms evolved. Congress grappled with the challenge of reconciling the First Amendment rights of filmmakers with prevailing public decency standards.
Legislative Scrutiny In 1965, Congress found itself at the nexus of this cultural shift. Hearings and debates reflected the tension between a desire to maintain moral oversight and the need to acknowledge changing social mores. The legislative body was tasked with evaluating the appropriateness of nudity in film, a subject that had hitherto been self-regulated by the industry.
Judicial Influence The judicial landscape was also shifting. The Supreme Court’s decision in Freedman v. Maryland (1965) underscored the constitutional protection of free expression, ruling that films could not be censored without due process. This ruling weakened the authority of local censorship boards and signaled a move towards greater artistic liberty.
The Demise of the Hays Code The Hays Code’s decline was hastened by the increasing inclusion of nudity in films, which reflected a society in the throes of redefining its cultural boundaries. The code’s inability to adapt to the changing climate rendered it obsolete, prompting the film industry to seek alternative means of self-regulation.
Establishment of the MPAA Rating System The Motion Picture Association of America (MPAA) rating system, established in 1968, was a direct response to the challenges faced in 1965. It represented an industry-led initiative to classify films based on content, including nudity, thereby providing guidance to audiences while respecting the creative freedom of filmmakers.
Conclusion The discourse on nudity in films in 1965 encapsulates a pivotal moment in American cultural history. The U.S. Congress’s involvement in this debate marked a transition from stringent censorship to a more nuanced approach that balanced moral considerations with constitutional freedoms. The legacy of 1965 continues to inform contemporary discussions on film censorship and artistic expression.
This article has endeavored to provide an analysis of the complex interplay between legislative action, judicial decisions, and societal values that shaped the portrayal of nudity in American films during the mid-1960s.
Other 1964 films in the PNW
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- Written by: Mortado
- Category: The 1960s in Northwest Cinemas
- Hits: 255
This is a media collection from other noteworthy films that played the Pacific Northwest in 1964 and some spook show-type stuff. While these don't have enough content to warrant their own pages they should not be dismissed :)
Little Red Riding Hood (AKA "La caperucita roja," 1960)
“La Caperucita Roja” is a 1960 film that offers a whimsical take on the classic fairy tale of Red Riding Hood. The movie infuses the traditional story with humor and fantasy, featuring a cast of charming characters. The protagonist, a young girl known as Little Red Riding Hood, embarks on an adventure filled with unexpected companions, including a loyal dog named Duke and a crafty skunk. These characters add a layer of comedy and delight as they join Red on her journey through the woods, where she encounters the infamous Wolf. The film is a delightful blend of drama and fantasy, appealing to audiences of all ages with its vibrant storytelling and imaginative twists on a beloved narrative. It’s a nostalgic piece that captures the essence of the era while providing a fresh perspective on a tale as old as time.
Director: Roberto Rodríguez, K. Gordon Murray
Writers: Fernando Morales Ortiz, Ricardo Garibay, Charles Perrault
Stars: María Gracia, Manuel 'Loco' Valdés, Santanón
September 13, 1964 ad (Seattle)
September 15, 1964 ad (Seattle)
March 12, 1964 "Insectathon" ad (Seattle)
April 3, 1964 "Insectathon" ad (Seattle)
September 10, 1964 "House of the Living Dead" ad (Portland)
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