Welch rocks and rolls on the derby circuit.
Above is a Japanese poster for the U.S. drama Kansas City Bomber, which starred Raquel Welch, and featured Cornelia Sharpe and a very young Jodie Foster. We won't mince words—this is a bad movie, inspired by the roller derby craze of the 1970s, which back then was simply cheeseball pro wrestling on wheels. As weak as the film is, this role actually fits Welch. After scoring big early with Fantastic Voyage and One Million B.C. it seems as if she spent the rest of her career looking for the right part. This one works. Like her, the skater character she plays is a mother of two trying to make good in a world determined to see her only as an ornament. Welch plays her as warm hearted, a bit emotionally exhausted, but resilient at the core. Yet in the end Kansas City Bomber is still a movie about roller derby, which was lowbrow fakery put over on a gullible public as real. If the script had admitted the sport was staged there might have been room for a good satire, but that didn't happen, and with a fake sport as its subject, generating genuine emotion is difficult. Hey, but it still has Raquel. After premiering in the U.S. in August 1972 Kansas City Bomber opened in Japan today the same year.
Altman and company get gangsta in the heartland.
Auteur and maverick Robert Altman directed several films centered around crime, but perhaps only his 1930s gangster flick Kansas City truly fits the bill as a pulp style effort. The plot tells the tale of Blondie O'Hara, whose petty crook husband Johnny is captured by gangster Seldom Seen and held at a nightclub, prompting Blondie to kidnap the wife of a local politician in an attempt to blackmail him into using his connections to free Johnny. Sounds straightforward, but Altman's approach to this is leisurely and episodic.
Kansas City is generally considered to be a lesser effort from the legendary director, but even if it's not in the class of Short Cuts or M*A*S*H*, it has some points of interest—a slithery jazz score, lots of smoky nightclub scenery, Steve Buscemi warming up for another gangster role in the brilliant Miller's Crossing, Harry Belafonte playing it cool, and Jennifer Jason Leigh giving her actorly all as the drawling, flapperesque Blondie.
Another plus is this killer promo poster. When we saw it we had to watch the movie. But what's the most important reason to watch it? Altman, of course. It's always fun to see what a director does with the 1930s. What's the main drawback? Aside from its narrative quirkiness, we suspect its racial content may be a bit much for those with millennial sensibilities. But don't fault art for holding a mirror to history. When we can't reflect the past in cinema we'll have fallen pretty far. Kansas City premiered in the U.S. today in 1996.
A case of double trouble for wrongly convicted Kansas man.
Speaking of doubles, put this one in the amazing coincidences file. A Kansas man who spent seventeen years in prison was released Monday when a judge admitted that an exact double may have committed the crime for which he was jailed. Richard Jones, the man who was released, appears on the right in both mugshots, while an almost identical man appears on the left. This doppelgangbanger is an ex-convict who lived in Kansas City, Kansas in the vicinity of where several people were robbed at gunpoint in 1999, while Jones lived with his wife and kids across the state line in Kansas City, Missouri. Since Jones was convicted only on eyewitness identification by the victims, and there was no physical, DNA, or fingerprint evidence to link him to the crime, a judge ruled that there was sufficient cause to order his release.
Interestingly, after years of failed legal appeals it was Jones himself who broke the case by finally chatting with inmates in prison, who told him that he bore an uncanny resemblance to an ex-con named Ricky. Just over a year ago Jones contacted the Midwest Innocence Project, and they located a photo of this Ricky character, who it turned out had actually been questioned about the original robbery but had denied involvement. Why his interrogators failed to notice the resemblance to the accused is a mystery that is yet to be unravelled. Maybe Ricky had a perm that day. Anyway, photos were presented to one of the victims of the robbery, two eyewitnesses, and the prosecutor of the case, and none could tell the two men apart. Jones, who maintained his innocence all along, said, “When I saw the picture of my double it all made sense to me.”
The irony is strong with this case. Consider: it was mere proximity to the thief that got Jones sent upstate, but it also turned out to be proximity that led to convicts in the same prison as Jones knowing of Ricky. If Jones had been sentenced to a different prison he'd still be behind bars, which, while he must be thrilled to be breathing the sweet air of freedom, is a thought we imagine keeps him up nights. But that's not the only irony here. Ricky will not be charged with a crime. How can he be? The victims and eyewitnesses can't be relied upon. Absent physical evidence, DNA, or fingerprints there's no way to be sure he was the perpetrator. It could have been Jones, his double. It wasn't. But technically, it could have been. The lesson here is crystal clear—if you hear of someone that looks like you, take the opportunity to commit a heinous crime and you'll get away scot-free.
The best defense is a good offense.
Four robbers knock off a bank in Kansas City with plans to split the money after the heat has cooled. The mastermind behind the job has arranged it so the crooks don't meet before the job, and wear masks during it, thus can't possibly identify each other. But each man has an ace, torn in half to create a unique mate, to match with the second half and confirm his identity when the time comes. It all sounds clever and foolproof, except the mastermind has framed someone for the robbery to throw police off their trail, and when this man is arrested but turned loose from police custody due to lack of evidence, he decides to track down the men who set him up.
This character, played by John Payne, is our anti-hero and looming wrench in theives' works. He quickly picks up the trail of one of the robbers in Mexico, but the police have too. In trying to discover who framed him, Payne could look to these lurking cops as though he's a member of the gang—if they spot him, that is. When Payne sees an opportunity to adopt one of the robber's identities—no difficult task since they've never seen each other—he leaps at it, but this draws him in even deeper. He's now in danger from the men he's playing imposter to, while to the cops he looks like a participant in the robbery.
There are more twists, including a star-crossed romance with Coleen Gray, but we'll stop there. This is a nice, multi-layered film noir, with good performances all around. Considering the risk Payne has to take we aren't sure we fully buy his motivation, but once he's made the decision there's no easy way out, and it's fun to watch him threaten and beat his way up the chain to the top guy. Coleen Gray always adds a nice element to any movie she's in, and Lee Van Cleef is good in a tough guy role. The only serious blemish here may be the silly final minute, but you shouldn't let it ruin the film for you. We recommend giving this one a whirl.
Just because they're kidnappers doesn't mean they're bad people.
This FBI wanted poster was issued for Clarence Vernon Stevens today in 1937, in connection with a kidnapping case dating back to 1933. Clearly, the FBI were having no luck finding their target. In May 1933 Stevens and three accomplices had kidnapped Kansas City rich girl Mary McElroy right out of her bathtub one night and demanded a hefty $60,000 ransom from her father for her safe return. In the end they got $30,000, but they also got caught—all except for Stevens. While his accomplices were tried and sentenced to, respectively death, life, and eight years, police scoured the state for Stevens. Eventually they decided he might have hidden himself somewhere in the Pacific Northwest. The FBI got involved in the search, resulting in the above poster.
Mary McElroy had developed a bond with her kidnappers and lobboed for more lenient sentences for the three that had been caught on the grounds that they had treated her decently. She successfully petitioned Missouri governor Guy Brasfield Park to have the death penalty handed one of her captors commuted to life, explaining in a letter, “Through punishing a guilty man, his victim will be made to suffer equally. [snip] In pleading for Walter McGee's life I am pleading for my own peace of mind.” She was very likely being truthful about her mental state—after the event she suffered from all sorts of mental disorders, problems she attributed to concern for the imprisoned men she now considered friends. We're sure a modern headshrinker would have a more in-depth explanation, something along the lines of PTSD.
Whether McElroy's problems originated from the kidnapping itself or from subsequent anxiety concerning the state punishing them on her behalf, the rest of her life did not go well. She had several nervous breakdowns—as such incidents were called back then—never moved out of her father's house, and became addicted to opium. In January 1949 she committed suicide at age thirty-two by shooting herself in the head with a pistol. She left a note that read, “My four kidnappers are probably the four people on earth who don't consider me an utter fool. You have your death penalty now - so - please - give them a chance. Mary.” But her death brought about no change in her kidnappers' status. One had already been paroled as scheduled, but the other two remained in prison. As for Clarence Vernon Stevens, he was never caught.
Two mobsters meet a messy end on the boulevard of broken dreams.
They were known as the Two Tonys—Brancato and Trombino, a pair of wild mobsters out of Kansas City. In May 1951 they robbed the cash room at the mob-controlled Flamingo Hotel in Las Vegas. They and their three henchmen had been wearing hats, but Tony Brancato lost his mid-robbery, was caught on camera, and from there ended up on the FBI’s most wanted list. Brancato and Trombino were also identified by a mob subordinate who recognized them because he’d been robbed by them in Beverly Hills. The pair were arrested for the Flamingo robbery, but made bail, then promptly headed to Los Angeles. There they shook down a mob bookmaker’s right hand man, which put them on L.A. crime boss Jack Dragna’s most wanted list. But the difference between his list and the FBI’s was that Dragna’s had nothing to do with capture and trial. He ordered the Two Tonys to be killed, and mob shooter Aladena Fratianno, aka Jimmy the Weasel, took on the task. Brancato and Trombino desperately needed money for their legal defense, and Fratianno told them he’d help them take down a high stakes poker game worth $40,000. The Tonys were thrilled and grateful, but the heist was fiction. Instead, in a car on Hollywood Boulevard, Fratianno had two subordinates murder them. The aftermath appears above and below. Today, 1951.
It’s a mostly forgotten flick, but in Prime Cut Lee Marvin reminds us he was one of the all time screen tough guys.
Prime Cut is another one of those movies that falls squarely into the could-not-be-made-today category. Starring Lee Marvin and Gene Hackman, it’s the story of a Chicago mob enforcer sent to Kansas City to make a local meatpacking and prostitution kingpin pay a debt of $500,000. The meat aspect of Hackman’s KC operation is both literal and metaphorical, with his enemies occasionally ending up ground into actual hot dogs, and young girls being sold like cattle. Marvin starts as just a debt collector but soon becomes a white-haired angel of retribution, an avenger intent on righting a few moral wrongs. When Marvin gets that familiar look in his eyes, is there any doubt Hackman and his sleazebag underlings are in seriously deep shit? Prime Cut is an uneven flick with a few jarring 1970s quirks, but we sure enjoyed it. It’s bold, violent, and offensive by today’s standards, but nicely rendered by director Michael Ritchie and cinematographer Gene Polito. Of special note is Sissy Spacek, who makes her first credited film appearance. Prime Cut premiered in New York City today in 1972, but what you see above is the great Japanese promo, with its alternate title Kansas City Prime. If you like 1970s crime thrillers, you’ll certainly appreciate this one.
The headlines that mattered yesteryear.
1929—Stock Market Crashes
Black Thursday, a catastrophic crash on the New York Stock Exchange, occurs when the value of stocks suddenly declines and continues to decline for a month. The event leads to a subsequent crash in world stock prices and precipitates the Great Depression. This after famous economist Irving Fisher had declared that stock prices had reached a permanently high plateau.
1935—Four Gangsters Gunned Down in New Jersey
In Newark, New Jersey, the organized crime figures Dutch Schultz, Abe Landau, Otto Berman, and Bernard "Lulu" Rosencrantz are fatally shot at the Palace Chophouse restaurant. Schultz, who was the target, lingers in the hospital for about a day before dying
. The killings are committed by a group of professional gunmen known as Murder, Inc., and the event becomes known as the Chophouse Massacre.
1950—Al Jolson Dies
Vaudeville and screen performer Al Jolson dies of a heart attack in San Francisco after a trip to Korea to entertain troops causes lung problems. Jolson is best known for his film The Jazz Singer, and for his performances in blackface make-up, which were not considered offensive at the time, but have now come to be seen as a form of racial bigotry.
1926—Houdini Fatally Punched in Stomach
After a performance in Montreal, Hungarian-born magician and escape artist Harry Houdini is approached by a university student named J. Gordon Whitehead, who asks if it is true that Houdini can endure any blow to the stomach. Before Houdini is ready Whitehead strikes him several times, causing internal injuries that lead to the magician's death.
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