All This and World War II (1976)

Russ Regan, president of both UNI Records and 20th Century Records and vice-president of A&R at Motown, was a recording industry success story. He’s one of the few record executives to have a number one record in the 60s, 70s, 80s and 90s.

He has plenty of moments that place him at the center of rock and roll history, like promoting the first Motown song to go to #1, “Please Mr. Postman” by The Marvelettes. He suggested that The Pendletones change their name to the Beach Boys. He helped produce Sinatra’s “That’s Life.” He helped start the careers of Elton John, Neil Diamond, Barry White and Olivia Newton-John. Four of the films he did music supervisor for — The Poseidon Adventure, The Towering Inferno, Flashdance and Chariots of Fire — won Oscars for best song.

He also had a dream about World War II, an era he grew up in, constantly seeing the horrors of war through newsreels. He wondered, “What if The Beatles provided the soundtrack?” And then he thought on it further and wondered, “What if we did a soundtrack with tons of 1976’s best-selling music artists and made some money?”

Imagine: 20th Century Fox films and newsreels of World War II, scored in a satirical way by The Beatles. Or their songs, at least. Tony Palmer, who directed 200 Motels with Zappa and All You Need Is Love: The Story of Popular Music, would fit it all together (Susan Winslow is also credited as director). And The Bee Gees would record all of the music.

Well, the brothers Gibb did record six songs. Three of them, “Golden Slumbers/Carry That Weight,” “She Came In Through The Bathroom Window” and “Sun King” are in the film, but they also did versions of “Lovely Rita,” “Lucy In The Sky With Diamonds” and “She’s Leaving Home.” We’ll get back to them in a bit.

The album was put together by Lou Reizner, who produced the first two Rod Stewart albums, brought Bowie to America and created the orchestral version of Tommy. And you know, the music is the best thing about this.

Here’s a breakdown of the artists and the songs they covered:

“Magical Mystery Tour” by Ambrosia, who may not be remembered today, but they had some monster hits between 1975 and 1980, including the top 5 hits “How Much I Feel” and “Biggest Part of Me”, and top 20 hits “You’re the Only Woman (You & I)” and “Holdin’ on to Yesterday.” All four original members played on the Alan Parsons Project album, “Tales of Mystery and Imagination,” as Parsons had been the engineer of their first album and producer of their second. It’s also where Bruce Hornsby got his start.

“Lucy in the Sky with Diamonds” by Elton John and Dr. Winston O’Boogie on lead guitar and backing vocals. The esteemed doctor is actually John Lennon.

“I Am the Walrus,” “Let It Be” and “The Long and Winding Road” by Leo Sayer, who was pretty much the mid-70’s soft rock king with songs like “You Make Me Feel Like Dancing” and “When I Need You.”

“She’s Leaving Home” by Roxy Music’s Bryan Ferry, who is no stranger to soundtracks, with “Slave to Love” appearing in 9 1/2 Weeks and Kingsman: The Secret Service, “Crazy Love” in She’s Having a Baby, “More Than This” in Lost In Translation, “Love is the Drug” in Casino and the Baz Luhrman The Great Gatsby, “Same Old Scene” in Times Square and many more.

“Lovely Rita” and “Polythene Pam” are by Roy Wood, a member and co-founder of The Move, Electric Light Orchestra and Wizzard, who are best known for the song “I Wish It Could Be Christmas Everyday.” He also covered ABBA’s “Waterloo” in 1986 with Doctor and the Medics, reaching #45 on the UK charts.

“When I’m Sixty-Four” was covered by Keith Moon, who sadly only lived to see half that age. As for movies, Moon appeared as J.D Clover, the drummer for the Stray Cats — not the later rockabilly band — in That’ll Be the Day and Stardust. He’s also in Sextette.

“Get Back” is by Rod Stewart, whose songs have been in tons of movies. Just off the top of my head, I can pick “(I Know) I’m Losing You” in Zodiac, “Every Picture Tells a Story” in Almost Famous, “Maggie May” in Wes Craven’s Deadly Blessing, “That’s What Friends Are For” in Night Shift, “Love Touch” in Legal Eagles and “Twistin’ the Night Away” in Innerspace.

“Yesterday” was recorded by David Essex, whose “Rock On” was a worldwide success. He’s gone on to act in EastEndersSmashing TimeSilver Dream Racer and other films.

Speaking of ELO, “With a Little Help from My Friends/Nowhere Man” is by Jeff Lynne. Known alternatively as Otis and Clayton Wilbury, he also produced the soundtrack for Xanadu.

“Because” is by Lynsey de Paul. Who, you ask? She represented the UK in the Eurovision contest in 1977 with “Rock Bottom” and her song “Sugar Me” led to her becoming the first British female artist to reach #1 on the charts with a self-written song. She died unexpectantly in 2014, leaving behind plenty of broken hearts like Dudley Moore, Chas Chandler, Roy Wood, Ringo Starr, James Coburn, Bill Kenwright, Dodi Fayed, Sean Connery, George Best, Bernie Taupin and David Frost.

“Michelle” is by Richard Cocciante, a French-Italian singer whose lone English language album “When Love Has Gone Away” made it to #41 on the U.S. Billboard chart. He also recorded several songs for the Italian version of Toy Story.

“We Can Work It Out” by The Four Seasons was a major song on this soundtrack. Along with the Beach Boys, they’re the only American pop group to enjoy substantial chart success before, during and after the  British Invasion.

“The Fool on the Hill” by Helen Reddy? Yep. I always thought she was Canadian, but she was born in Australia. She was the queen of 70’s pop, with 25 singles charting. If you don’t know her, you probably know her song “I Am Woman.” She also appeared as the singing nun in Airport 1975.

“Maxwell’s Silver Hammer” was Frankie Laine’s last chart appearance. He was a big influence on the band and also starred in several Blake Edwards-directed musicals.

“Hey Jude” was covered by The Brothers Johnson, the American funk and R&B band best known for “I’ll Be Good to You”, “Strawberry Letter 23” and “Stomp!”

“Getting Better” is by Status Quo, who in addition to recording “Pictures of Matchstick Men” opened Live Aid with “Rockin’ All Over the World.”

“Help!” is by Henry Gross, a founding member of Sha Na Na who also recorded the song “Shannon.” John Lennon said that this version of the song is closer to what he intended it to sound like.

“Strawberry Fields Forever” was covered by Peter Gabriel, who had left the band Genesis just the year before. His songs are all over popular culture, from seven of them being used on Miami Vice to “In Your Eyes” in Say Anything and even a compilation of songs he wrote for soundtracks entitled Rated PG.

“A Day in the Life” is by Frankie Valli, which is an odd pick that works. Valli is, of course, from the Four Seasons.

“Come Together” is by Tina Turner, who played The Acid Queen in Tommy and, of course, Aunty Entity in Mad Max 3: Beyond Thunderdome.

“You Never Give Me Your Money” is by Wil Malone (who produced the scores for The Verve’s “Bitter Sweet Symphony,” arranged the orchestra for Tommy and composed the music for the movie Death Line. Metalheads know that he produced Iron Maiden’s self-titled album and arranged the strings on Opeth’s Sorceress and Black Sabbath’s “Spiral Architect”) and Reizner.

The last song on the album, “The End” is by The London Symphony Orchestra.

The soundtrack outperformed the movie, reaching #23 on the UK Albums Chart and #48 on the Billboard Top 200. Elton John’s “Lucy in the Sky with Diamonds” went to #1 in the U.S., Ambrosia’s “Magical Mystery Tour” hot #39 and Frankie Laine’s “Maxwell’s Silver Hammer” got to #86. The entire album was re-released in 1979 as The Songs Of John Lennon & Paul McCartney Performed By The World’s Greatest Rock Artists.

The results of the movie? Well, it was in theaters for all of two weeks and has never been released from the vaults of 20th Century Fox. Gonzo Multimedia released a bootleg called The Beatles and World War II in 2016, but this is a revised version with a slightly different soundtrack.

If you’re interested in seeing “Sun King” juxtaposed with kamikaze pilots and “Fool On the Hill” with German leaders at Adolf’s mountain hideaway in Berchtesgaden, this would be the film for you. There’s nothing quite like it, to be perfectly honest. I can see why people hated it — the world was not yet ready for culture jamming mashups in 1976 and probably still hadn’t gotten over the breakup of the Fab Four.

But if you can find this, wow. It’s something.

Intikam Melegi/Kadin Hamlet (1976)

The Angel of Vengeance/The Female Hamlet somehow takes Shakespeare, inverts the gender and was made by film historian Metin Erksan, who directed the movie known as the Turkish ExorcistŞeytan.

Buck Henry selected this to play at the Los Angeles Filmex Film Festival. Instead of taking place inside the royal palace of Elsinore, this Hamlet takes place at a beach. Bet you thought Strange Brew was going to be the weirdest take on this story you’d ever see, huh?

Fatma Girik (Ölüm Peşimizde or Death is Chasing Us) plays the lead and you’ll notice that she has some amazing fashions in this film, like the flowing skull pattern covered gown she sports. Beyond the disco music blaring (Silver Convention’s “Fly Robin Fly” gets lots of play) and the aforementioned astounding clothes, this movie seems to sport a debt to Female Prisoner #701 Scorpion. Just take a look at the poster and tell me if I’m crazy.

If you ever wanted to get more into the works of the Bard, but wanted lots of blood and to only watch 86 minutes of crazy colored 70’s foreign action instead of sitting in a park and watching thespians emote, this is exactly what you’e looking for, even if you never knew that it existed.

SAVAGE CINEMA: Death Machines (1976)

The Savage Cinema set has motorcycles. It has stock cars. It has dynamite coffins. And now, it has death machines. The poster for this movie has always fascinated me and now the time has finally come to see if it lives up to the insane promise of the painting that hawked its wares.

Madame Lee has gathered three martial arts masters, now and forever known as White Death Machine (Ron Marchini, who is also in Omega Cop and Karate Cop), Asian Death Match (Michael Chong, Kinjite: Forbidden Subjects) and Black Death Machine (Joshua Johnson, The Weapons of Death) after she injects them with a mysterious formula that makes them her commandable karate fighting soldiers.

There’s a green-faced cop named Captain Green. A good guy who loses his hand, gets his ass kicked in a bar fight and still gets the girl. Bikers who bother zombie killers when they just want to eat burgers and talk to old men about God. A mysterious mastermind in the shadows. Dudes getting thrown off buildings. And a distributor — yes, our friends at Crown International Pictures — that wanted a science fiction angle for a movie about evil martial artists shot in Stockton, CA.

I have no idea what was in that zombie juice, but it makes street fighters impervious to bullets. This was all a passion project of Paul Kyriazi, who also made Ninja Busters. There’s also a cop named Lt. Clay Forrester, who is no relation to Gene Barry or Trace Beaulieu.

This movie doesn’t make any sense and you’re either going to be bored into oblivion by it or love it like the lover who broke your sixteen-year-old heart and you never quite got over her. There is no in-between.

If you want to see it for yourself, you can do no better than the blu ray release that Vinegar Syndrome has put out. Freshly restored in 4k from its original Techniscope camera negative and featuring brand new interviews with its director and stars? I never thought I’d see the day. You can also check this out on Amazon Prime.

SAVAGE CINEMA: Death Riders (1976)

Let’s roll the dice on that Mill Creek Savage Cinema box set one more time. This time? An American mondo exploration of the Death Riders, a group of stuntmen travelling the country, picking up ladies and blowing one another up real good.

You have to love a movie with the tagline, ” A Motion Picture Dedicated to Those Who Don’t Make It.” Yes, the teenage and twenty-something boys — barely men at this stage in their lives — that make up the Death Riders are carny barnstormers, heading from town to town putting on all manner of stuntwork for audiences that, at times, swarm them with affection. It’s also the only movie that Jim Wilson would direct, although he did serve as the cinematographer for the Chuck Norris movie Good Guys Wear Black.

Oh Crown International Pictures. Oh Mill Creek. When the two of you unite, I get crazy films like this to take my mind off the world and how much it upsets me. Can we just go back to 1976 and put me inside a wooden coffin with no safety measures and explode me in a field to the delight of some kids who are bored on a hot summer night?

Vilmos Zsigmond — yes, the same man who shot McCabe and Mrs. Miller, as well as The Deer Hunter and Close Encounters of the Third Kind — was the director of photography on this. And it was edited by Phil Tucker, who in addition to also cutting The Nude Bomb directed the burst of insanity known as Robot Monster.

You’ll feel like you’re part of the gang, pranking one another, forgetting a girl by the next town and randomly winning $5 for a motocross race out of nowhere. This movie is the mid-70’s, a lived in, dog-earred, threadbare and sun-drenched mess, but so enjoyable all at the same time.

20th Century Oz (1976)

Leave it to Australia — and experimental filmmaker Chris Löfvén — to transform Dorothy into a sixteen-year-old groupie who hits her head when traveling with a rock band. Now, she’s on the road to see the last show of androgynous rock god The Wizard, but a thug — she killed his brother — is chasing her.

The Scarecrow is now Blondie the stoned surfer (Bruce Spence, who was the chopper pilot in The Road Warrior), The Tin Man is a mechanic named Greaseball and The Cowardly Lion is a biker filled with self-hatred named Killer, based on Australian convict Mark Brandon Read, also known as Chopper, who had a movie made about his life in 2000.

While most of the bands on the soundtrack — Jo Jo Zep & The Falcons, Ross Wilson — may be unknown to American audiences, the concert that was used for the close of the film was really one for The Little River Band and AC/DC. In fact, their manager Ned Kelly played one of the bad guys named Truckie.

This film flopped in its native Australia but supposedly did pretty well here. I’d never heard of it, much less knew that a modern musical version of The Wizard of Oz was filmed two years before The Wiz.

Never Too Young To Rock (1976)

This is purely a British film steeped in nostalgia for the short-lived British glam rock movement that spawned the likes of David Bowie, T. Rex (“Bang a Gong“), and Sweet (“Little Willie“), and to a lesser extent — at least for U.S. audiences — Mud (“Tiger Feet“), Slade (“Cum on Feel the Noise“), and Suzi Quatro (of the recent document retrospective, Suzi Q).

Like any Beatles flick or British Invasion film romp starring the likes of Cliff Richard and the Shadows (1966’s Finders Keepers), Herman’s Hermits (1966’s Hold On!), and Freddie and the Dreamers (1967’s The Cookoo Patrol), a rock band on tour finds itself in hijinks — with rock ‘n’ roll under attack by the establishment and a rock ‘n’ roll club in danger of being closed down.

To that end: In a “future” set in late 1970s, the establishment has banned rock ‘n roll from television. So a young rocker (British television acting mainstay Peter Denyer) leads the charge against the ban by organizing the biggest rock groups in England to perform at a benefit concert.

Of course, David Bowie, Marc Bolan (of T. Rex), Sweet, Slade, and Suzi Quatro will have none of this amateur cinematic foolishness, so we have to settle for the lesser “stars” of the glam era with the likes of Mud and the Glitter Band (Gary Glitter’s backing band, out on their own), along with the Rubettes — and guest appearances by Peter Noone of Herman’s Hermits (trying to eek a living in a post-British Invasion world) and Midge Ure (later of Ultra Vox) with his glam band, Slick.

This is the type of film with nary a plot, the “action” consists of the old slap stick standby of a food fight in a roadside diner, and lots — and LOTS — of musical numbers padding out the film for its whopping one hour fifty minute running time. The cast is rounded out by members of, get this, the prestigious Royal Shakespeare Company — and beware the bushy mutton chops and sharply-cut side burns — and of the outdated vaudevillian comedy groans presented by British comedians Freddie Jones and Max Wall (insert sad trombone “wah-wah-wah” sfx here.)

However, if you want to trip down the ’70s glam rock memory lane of your youth, or you if want to first educate yourself on the era with a glam primer, there’s not another film quite like this glittery mess of a train wreck of a film.

To say I love this movie is an understatement.

Overseas readers can stream this via Amazon Prime U.K., but we found you a free, three part upload on You Tube HERE, HERE, and HERE.

About the Author: You can learn more about the writings of R.D Francis on Facebook. He also writes for B&S About Movies.

REPOST: Bobbi Jo and the Outlaw (1976)

EDITOR’S NOTE: Mark Lester makes so many of the movies that we love that we gave him an entire week on the site. This article originally ran on August 1, 2019.

Mark Lester’s IMDB list is filled with drive-in and VHS era gold. There’s Steel ArenaTruck Stop WomenRoller Boogie (with Linda Blair, of course), Class of 1984 and it’s kinda/sorta spiritual sequel Class of 1999FirestarterCommando and Showdown in Little Tokyo.

This American Internation Pictures release was written by Vernon Zimmerman, who has gifted us with just as many demented films as Lester. You can thank him for Teen Witch — Top That! — as well as Fade to Black and Unholy Rollers.

Together, these two titans of, well, movies that only I love joined up to make a modern Bonnie and Clyde redneck film starring former child minister Marjoe Gortner and future Wonder Woman Lynda Carter.

Young country singer and dreamer Bobbie Jo Baker (Carter) runs away from her job as a carhop to ride around in a Ford Mustang with Lyle Wheeler (Gortner), who fancies himself the modern-day Billy the Kid. Gortner was the second choice for the lead after Sylvester Stallone backed out, which would have made the Lyle role seem much more menacing.

Belinda Balaski, who is in nearly every Joe Dante movie, shows up, as does Peggy Stewart (she’s an actress from the cowboy era who was also in the redneck film Black Oak Conspiracy) and Gerrit Graham, who was Beef in Phantom of the Paradise and also made appearances in TerrorVision and Chopping Mall.

You should watch this movie to see Marjoe do mushrooms, but for many, there’s a major other reason to see this movie, called out on the poster. If only they had spelled Lynda Carter’s name correctly…

If you think the world hasn’t changed, just take a look at the main selling point of this film: the opportunity to see Lynda Carter topless.

You can watch this on Amazon Prime.

The Killer Is One of 13 (1976)

Not a lot of nudity and little blood, this giallo is closer to Agatha Christie than Edward Wallace. That said, it does have Paul Naschy in it and it’s directed by Javier Aguirre, who made Count Dracula’s Great Love.

Patty Shepherd (Edge of the Axe) stars as Lisa, who has gathered twelve of her husband’s closest friends and informs them that she believes that one of them is the killer. That said, there are really seventeen suspects when you add in the butler, chauffeur, maid and gardener.

All the phone lines get cut, people start getting killed off and secrets are revealed. There aren’t many Spanish giallo that I can think of, other than Clockwork TerrorThe House That ScreamedBlue Eyes of the Broken DollThe Corruption of Chris Miller and A Dragonfly for Each Corpse. Come to think of it, I know way more of these movies than I thought I did.

You can get this on the new Vinegar Syndrome Forgotten Gialli box set.

To Agistri (1976)

Thanks to Mondo Macabro, I’ve been getting into Greek exploitation a bit lately, which brings me to this Erricos Andreou-directed film that I would have passed up if it weren’t for that most radiant of all giallo queens, Barbara Bouchet. She plays Iro Maras, a rich woman who is sleeping around on her sailboat obsessed husband (Gunther Stoll, What Have You Done to Solange?) with a young playboy named Nikos (Robert Behling, Island of Death).

There’s the old man to kill him during a yacht regatta, but just like the plot of a Carol Baker giallo you may have already seen, the wrong person goes in the drink. Yet that’s not the end, as always, and nobody gets out unscarred.

Jessica Dublin, who as also in Island of Death, makes an appearance. She also shows up in a bunch of Troma fare, like Troma’s War and the second and third Toxic Avenger movies.

So yeah. Greek giallo. I guess you can consider Blind DateMedusaDeath Kiss and Tango 2001 on that list. Man, just read this description of that last one: “Joachim is an impotent man who who secretly films his friend Stathis having sex with girls from the Tango Club. When Stathis kills the lesbian that he catches with his girlfriend, the death is caught on film. Necrophilia soon follows.” If you don’t think I’m not furiously tracking that down after posting this, you don’t know me at all.

You can watch this on YouTube.

Won Ton Ton: The Dog Who Saved Hollywood (1976)

We live in a magical reality, the kind of place where Michael Winner, the same man who made some of the roughest films ever — Death WishDeath Wish 2Death Wish 3The MechanicThe Sentinel — made this movie that’s a kind of, sort of biography of Hollywood star dog Rin Tin Tin.

It was originally called Won Ton Ton, the Dog Who Saved Warner Bros. before Paramount bought the film and, well, the movie had to change its name, right?

Estie Del Ruth (Madeline Kahn) has made her way to Hollywood, followed by a dog named Won Ton Ton. While she has dreams of being a star — and a director who continually and unsuccessfully pitches movies that will be made many years later named Grayson Potchuck (Bruce Dern) tries to help — the truth is that the dog has all the talent.

This is less a film than a collection of vignettes about the Golden Age of Hollywood, such as Ron Leibman’s effeminate take on Rudolph Valentino and Art Carney, Phil Silvers and Teri Garr as players in the tale of Estie and Won Ton Ton.

The draw for me — beyond how strange it is that Winner directed this comedy misfire — is the huge cast of Hollywood legends, many of whom made this movie their final role. Here are as many as I could remember:

Dorothy Lamour: One-time star of the Hope and Crosby Road movies, she shows up here as a visiting film star.

Joan Blondell: Often cast as a gold digger, Blondell’s career stretched back to vaudeville. She’d appear in two more movies after this: The Champ and Grease.

Virginia Mayo: Warner Brothers’ biggest box-office money-maker in the late 1940s, Mayo continued acting until 1997. She was one of the first actresses to be awarded a star on the Walk of Fame.

Henny Youngman: The rapid-fire standup who would always say, “Take my wife…please.”

Rory Calhoun: Readers of this site will definitely know Calhoun, as he reinvented himself in the 80’s, appearing in genre films like Motel HellHell Comes to Frogtown and the first two Angel films.

Aldo Ray: Much like Calhoun, Ray appeared in just about every genre film he could in the later part of his career. Shock ‘Em DeadHuman ExperimentsThe GloveDon’t Go Near the ParkHaunts…I can and will go on.

Nancy Walker: This star of Rhoda would go on to direct an even bigger bomb than this: Can’t Stop the Music, the unreal story of the Village People.

Ethel Merman: Playing Hedda Parsons here, Merman was considered the First Lady of musical comedy.

Rhonda Fleming: Her name in this movie is Rhoda Flaming, which is…par for the course of this film. She was known as the Queen of Technicolor for how well she filmed.

Dean Stockwell: If you only know him from Quantum Leap, I’d recommend you check out his roles in To Live and Die in L.A. and Married to the Mob.

Tab Hunter: Known for his clean-cut, boy next door looks, his later years are marked by interesting turns, such as playing Mary Hartman’s dad on the spin-off Forever Fernwood and appearing Divine in Polyester (1981) and Paul Bartel’s Lust in the Dust.

Dick Haymes: This big band vocalist sang in the session where Bing Crosby and The Andrews Sisters recorded both “There’s No Business Like Show Business” and “Anything You Can Do (I Can Do Better).”

Robert Alda: Yes, he’s Alan’s dad. But you knew that. And you also knew that he played Father Michael in Mario Bava’s House of Exorcism.

Victor Mature: This would be the actor’s last major role; he also shows up in a cameo at the end of Winner’s film Firepower.

Edgar Bergen: As Professor Quicksand, this is one of his few roles not holding one of his trademark partners like Charlie McCarthy or Mortimer Snerd. He’s also in The Phynx, which still blows my mind.

Henry Wilcoxon: You may not know that he was very involved with the films of Cecil B. DeMille, but you do know him as the priest caught in a rainstorm in Caddyshack.

Yvonne DeCarlo: In 1950, the Camera Club of America voted her “Sexnicolor Queen of the Screen.” You know those guys — the pre-Internet creeps that’d hire women to pose for them as they stood around en masse. DeCarlo is better known as Lily Munster, she also appears in the kind of movies that this creep enjoys, namely Satan’s CheerleadersSilent ScreamPlay DeadGuyana: Cult of the DamnedAmerican Gothic and Mirror, Mirror.

There are literally dozens and dozens of stars here, so get ready…

Edward Le Veque (the last surviving member of The Keystone Kops); William Benedict (Whitey of The Bowery Boys); Huntz Hall of The Dead End Kids; silent stars Carmel Myers, Dorothy Gulliver, Maytag repairman Jesse White; comedians Jack Carter and Shecky Greene; Marilyn Monroe rival Barbara Nichols; Variety columnist Army Archerd; Fernando Lamas; Zsa Zsa Gabor; Cyd Charisse, whose legs were once insured for $5 million dollars; Doodles Weaver (who also shows up in plenty of insane movies like The Zodiac Killer); cowboy actor Pedro Gonzalez Gonzalez; Dick Van Dyke Show co-star Morey Amsterdam; Monroe/JFK scandal magnet Peter Lawford; Eddie Foy Jr.; Patricia Morison; The Adventures of Wild Bill Hickok star Guy Madison; John Carradine as a drunk (yes, I realize that this is an easy target; I also realize that I watch at least one movie with Carradine in it a day); Regis Toomey, who is also in another dog of a film C.H.O.M.P.S.; Ann Rutherford (Gone with the Wind); Milton Berle (once perhaps the most famous person in entertainment); Keye Luke (a founding member of the Screen Actors’ Guild as well as the original Brak on Space Ghost and Mr. Wing from Gremlins); Walter Pidgeon (he’d be in one more movie, the Mae West vehicle Sextette); character actors Phil Leeds and Cliff Norton as dogcatchers; Winnie the Pooh’s original voice Sterling Holloway; two of the Ritz brothers; Edward Ashley (Professor Sutherland from Waxwork); Fritz Feld (who is also in The Phynx); George Jessel; Ken Murray; Stepin Fetchit (considered to be the first African-American to have a successful acting career, now seen as an example of how Hollywood treated minorities); Tarzan actor Johnny Weissmuller; Louis Nye; Dennis Morgan; William Demarest (Uncle Charley from My Three Sons); Billy Barty who plays an assistant director; Ricardo Montalban; Jackie Coogan; Roy Rogers’ sidekick Andy Devine; Broderick Crawford (of his many movies, I’ll let on that Harlequin is one of my favorites); Richard Arlan; Jack La Rue; former pro wrestler “Iron” Mike Mazurki; as well as singers Dennis Day, Janet Blair, Jane Connell, Ann Miller, Rudy Vallee and Gloria DeHaven.

When Augustus von Schumacher attended the premiere — he was the dog who played the lead role — he walked in with Mae West. Now that’s how you become a star.

As for the movie — unless you’re someone like me that gets excited about cameos, you’re going to hate it.