Evies Blog

The 2-Disc Little Edition was purchased impulsively on its street date release, after I saw it staring at me on a shelf at a local retailer. Having greatly enjoyed Rabid, The Brood, Videodrome, and Smash, I had long been though-provoking to recognize Stereo and Crimes of the Future. Yet having picked it up for Cronenberg’s two early features, I was watching Snappy Company for the sixth time on Saturday night of that same week.

Phil Adamson (John Saxon) : You know you’re out of your goddamn mind, Johnson. You’re out of your mind, and you’re over-the-hill. First you turn my trailer into a goddamn whorehouse, now it’s an insane asylum!

John Saxon’s villainy as the FastCo oil company glean is hilarious. Aside from the wonderfully written dialogue, his facial expressions and gestures are extraordinary. Lonnie “Lucky Man” Johnson’s (William Smith) team consists of a Western genre family-like trio, with character names such as Billy the Kid, P.J. and Elder; all amazing performances. Gary “The Blacksmith” Sunless (Cedric Smith) is Lonnie’s top competitor. He is neither a one-dimensional friend nor foe. His personal team members, known as Stoner and Meatball, are a comical pair. Stoner is likable and not-such-a-bad guy, while Meatball is a classic A-hole. Candy (Judy Foster) is Miss FastCo, a not-so-dumb blonde with feelings for Billy, and who makes an admirable stand when her self-respect is threatened by her employer’s demands. William Smith and Claudia Jennings are the long-distance relationship lovers that I, on a personal level, have grown strongly attached to. Both, individually and together, add to the film something magical and nostalgic for me that I bag very rare in most movies that I’ve seen. The scenes eager with them makes me feel like a minute boy spending time with a approved aunt and uncle. Mind you, I arrive from a Hispanic middle class background.

The cinematographer is largely to thank for capturing the humor of the film, as well as the documentary-like and animated treatment of the dragsters; not to mention a multitude of highly admirable shots. Also worth mentioning is the work of Art Director Carol Spier, as well as the choices of music that significantly add to this extraordinary diminutive film. I have to say that Posthaste Company has been one of the most enjoyable surprises that I have encountered on DVD so far this year, along with The Passion of Joan of Arc, Flesh + Blood, Humanité, and Diary of a Country Priest.

Buy,Download, Or Stream Fast Company! Click Here

Buy,Download, Or Stream Fast Company! Click Here

Now, about Stereo and Crimes of the Future - after my steal, I got home as rapidly as I could, and saw them first. Alas, they did not fully appeal to me, though Cronenberg’s lovely advance to the storytelling on both, and his very nice camera work, did. I am very cheerful to have finally seen them, and I do intend to redo so again in the immediate future.

Blue Underground along with the personal supervision of Cinematographer Sign Irwin indicate an extraordinary print for a late-Seventies B-movie. The colors and sharpness are outstanding; and the sound is extremely satisfying. David Cronenberg’s commentary is both curious and very comely. His contain enthusiasm on the film, and at the discovery of the restoration of a thought-to-be lost seen is improbable. Comments like: “…it’s very worthy me. And I don’t mediate anybody else could have made this movie the scheme … that I did.” He stumbles at this last comment, probably concerned with sounding egotistical. However, with his style being so positive along with his input into the script, he has justification to construct that statement. Cronenberg also remarks on the commentary: “Worth every penny of it, wasn’t it? ” I quite agree. And am very ecstatic to hear a director elated with his believe work, for a change. This film should appeal to fans of Seventies exploitation and car racing, while bitter and stubborn Cronenberg no-nonsense alarm fans might need some lubing, or repeated viewings, to devour it for what it is and not for what they want it or query it to be.

Billy “The Kid” Brooker (Nicholas Campbell) : You know something, gang? There’s a lot of junk you can set down your pipes, you know what I mean. Now I’m talking about the trustworthy stuff. You gotta pick care of your baby’s engine. So I suggest you go like the pros, and go with FastCo. If you want that power, that performance, and that protection. Yeah. FastCo. This is what all the pro racers exhaust. FastCo Motor Treatment. (Chuckles) . All just.

Stereo and Crimes of the Future are among the best underground films produced in North America in the tedious 60’s/early 70’s, a time when Kenneth Exasperate and Martin Scorsese were also making their first films. Thanks to Blue Underground for releasing those two necessary productions (along with the large Quickly Company in a astounding transfer) in such a classy edition.

May the experiment in telepathy commence…
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