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White Fire and the Exquisite Pleasure of the 1980S Video Boom – and How the Writer of a Cult Exploitation Flick Sent a Lord to Jail… by Julian Grainger 7

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White Fire and the Exquisite Pleasure of the 1980S Video Boom – and How the Writer of a Cult Exploitation Flick Sent a Lord to Jail… by Julian Grainger 7 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CONTENTS Cast and Crew 4 White Fire and the Exquisite Pleasure of the 1980s Video Boom – and How the Writer of a Cult Exploitation Flick Sent a Lord to Jail… by Julian Grainger 7 About the Transfer 22 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO2 ARROW VIDEO 3 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CAST Robert Ginty Boris ‘Bo’ Donnelly Fred Williamson Noah Belinda Mayne Ingrid Jess Hahn Sam Mirella Banti Sofia Diana Goodman Olga Smith Gordon Mitchell Yilmaz, mine security chief Benito Stefanelli Barberosa, Sofia’s henchman Ayten Gökçer Sophie De Rey, plastic surgeon Henri Guégan Peter, Bo mercenary Jean-Marie Pallardy Bo and Ingrid’s father Edouard Pallardy Bo as a boy CREW Directed by Jean-Marie Pallardy ARROW VIDEO ARROW VIDEO ARROWScreenplay EdwardVIDEO John Francis Story Jean-Marie Pallardy Executive Producers John L. Coletta and Tony Edwards in association with Chris Davis Co-producers Jean-Marie Pallardy and Alan G. Rainer in association with Sedat Akdemir and Uğur Terzioğlu ARROW VIDEO ARROW VIDEODirector ofARROW Photography Roger Fellous VIDEO Editor Bruno Zincone Musical Direction Jon Lord ARROW VIDEO ARROW VIDEO4 ARROW VIDEO 5 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO WHITE FIRE AND THE EXQUISITE PLEASURE OF THE 1980S VIDEO BOOM – AND HOW THE WRITER OF A CULT EXPLOITATION FLICK SENT A LORD TO JAIL… by Julian Grainger White Fire presses all my buttons: Brian Bysouth’s splendid artwork shows headliner Robert Ginty wielding an enormous chainsaw, Fred Williamson ready for action with his trademark martial-arts posture, lead actress Belinda Mayne armed and about to shoot, plus a watchtower blowing up, more men shooting each other, a jeep full of marauding thugs and a massive earthmover chasing some poor unfortunate. The film has bizarre costumes, cheap sets, a labyrinthine and non-sensical plot and Gordon Mitchell’s wonderful, craggy grimace. This delightfully dotty action-adventure was filmed in English on location in Turkey in the summer of 1983. It had a theatrical release – under the title Vivre pour survivre – in France in August 1984 as well as in Turkey – as Beyaz alev – that same year. Released directly to video in the UK and US as White Fire, it also found a small video release in Italy under the title Fire Commando. Artwork for the French video release added the subtitle “Le Diamant.” ARROW VIDEO ARROW VIDEO ARROW VIDEO Oh those glory glory days of 1980s video! It is perhaps difficult to appreciate after all this time just how limited the British entertainment landscape had been up to this point. Until the advent of Channel 4 in 1982, the UK had a grand total of three terrestrial broadcasters. Film enthusiasts were lucky enough to have excellently curated film seasons on BBC Two, but lovers of exploitation films had access only to the odd title that made it into their local flea pit. At the start of the decade theatrical film production and exhibition was at an all- time low in the UK, and most cinemas were long past their best. High ticket prices gave one the dubious honor of sitting in an often sticky, smoky and frankly odious seat – all of which ARROW VIDEO ARROW VIDEO ARROW VIDEO needed to be overcome to appreciate the cinematic delights on offer. Films released to home video changed all that. Once the starting gun had been fired around 1978, Britain had one of the fastest infiltrations of this new technology into the home anywhere in the world. Video stores seemed to be opening on every corner, in spite of the cost of a VCR coming at a hefty price tag of about £400, a lot of money in those days. But ARROW VIDEO ARROW VIDEO6 ARROW VIDEO 7 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 8 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 9 what a cornucopia of delights! Beyond the new releases, video stores had wildly varying Nana (1983) but this production base was soon being used to launch a series of low- stock: to thumb through hundreds, thousands even, of plastic-covered video sleeves with budget action films such asFinal Executioner (L’ultimo guerriero, 1984) and Throne of their often lurid artwork and enticing synopses was like being in your own, enormous Fire (Il trono di fuoco, 1983) plus a pair of Luigi Cozzi-helmed Hercules films and more. candy store. Films you had barely read about and thought you would never have a chance Cannon’s acquisition of local cinema chains plus its own video label (and deal with larger, to see, films you had never heard of – all at your fingertips. Being able to decide what extant video distributors) meant that a film such asViolent Breed (Razza violenta, 1984, you watched on any given evening and at any given time was an entirely new concept. with Henry Silva, Woody Strode and Carole André) could find its way into literally tens of You could hire three or four films for the weekend and quite literally, watch them at your thousands of video stores worldwide. leisure. In the first half of the 1980s, the industry boomed and its appetite for product was voracious. Companies bought entire back catalogues from distributors; not just feature White Fire is exactly the type of film that could, should and was made during this period. films but exercise videos, comedy shorts on how to learn golf, documentaries, TV films and In what became iconic poster artwork, James Glickenhaus’ 1980 flickThe Exterminator so-on. And there were genuine surprises: Rank (through its Tyburn Entertainment division) showed a masked, muscled man looking down at the camera armed with a flame thrower. released Peter Medak’s until-then never-publicly-screened Ghost in the Noonday Sun The result was that Robert Ginty – who had spent six years as a TV ‘guest star’ – finally (1973), a Treasure Island-inspired comedy-adventure starring Peter Sellers, Spike Milligan, achieved wide public visibility. The actor followed this up with a couple of US-based titles, Anthony Franciosa and Peter Boyle. The Act and The Alchemist (both 1983) but was better paid in a series of far-flung adventure and/or horror films such asGold Raiders (1982, from Thailand) and Scarab (1983, from Pretty soon, this fast-growing market for video releases was feeding back into the Spain). The summer of 1983 saw Ginty in Rome working on David Worth’s science-fiction production. The big studios were reluctant to see their expensive product released to home cheapie Warrior of the Lost World, one of many post-apocalyptic action titles which was video and built in significant delays between the time a film had been shown in cinemas and soon to find its way into virtually every video store on Earth. Once again there was some when it could be viewed in your living room. It’s easy to underestimate the value of video terrific artwork plus a simple concept: ‘The Rider’ (Ginty) must battle the evil Omega Force technologies: however low-budget your film, it was still going to cost tens of thousands of on his computerized motorbike (thank you Knight Rider). For this film, along withStar dollars not only to strike 35mm viewing prints but then also to transport five or six heavy Trek – The Motion Picture (1979)’s Persis Khambatta and English éminence grise Donald cans of celluloid around the country and the world. The cost of shipping VHS and Betamax Pleasence, Ginty was teamed with another triple-threat filmmaker: actor-director-producer units amounted to a fraction of this expense and US distributors were charging video Fred Williamson. After appearing in Robert Altman’s sublime Korean war satire MASH in store owners often between $60 and $90 per tape, whether the film cost $10 million or 1970, the former Oakland Raiders/Kansas City Chiefs football star made a series of action $600,000. And while the big screen was dominated by a handful of enormous film studios titles in the mid-1970s starring himself as self-righteous righter-of-wrongs Jesse Crowder. and their distribution arms (often leaving independent producers unable to find space for Sadly like Ginty, by the late 1970s this wonderfully charismatic actor was increasingly lost their releases), just about every local town had two or more video stores and would take to yet more (minor) TV guest appearances. However, in 1982 Williamson gave a terrific ARROW VIDEO ARROW VIDEOnew releases ARROW just as fast as the video VIDEOdistributors could put them out. Thus, small and performance in the excellent – if troubling – William Lustig-helmed Vigilante, which gave medium-sized producers finally achieved access to a much wider market into which to him renewed street cred, and once more some market ‘name’ value.
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