The Commercial Appeal - Go Memphis
Wrestling documentary ‘Memphis Heat’ returns
They grow up so fast: “Memphis Heat: The True Story of Memphis Wrasslin’” — the definitive documentary celebration of the noholds-barred heyday of local professional wrestling, from Sputnik Monroe in the 1950s to the Andy Kaufman/jerry Lawler feud of the 1980s — turns five next week, and the public is invited to what promises to be a pile driver of a birthday party.
Almost a half-decade to the day after the March 25, 2011, launch of the movie’s theatrical run in a pair of Malco theaters, “Memphis Heat” returns to the big screen Thursday, with 7 and 9 p.m. showings at the Paradiso, 584 S. Mendenhall Road. Regular admission prices apply. (Not coincidentally, Thursday also is “National Sputnik Monroe Day,” named in honor of the wrestler who battled Jim Crow as well as rival Billy Wicks in largely segregated Memphis.)
The “re-premiere” coincides with the belated release of the“memphis Heat” soundtrack album on the Shangri-la Projects record label. “Pressed on 180 grams of twisted steel & bloodspattered vinyl,” the red LP features 17 brawny cuts of all-star Memphis rock-androll, including Adam Woodard’s “Fargo Rock” by the S.A.D. Few and a tribute to longtime “studio wrestling” announcer Lance Russell titled “Banana Nose Blues” by a combo billed as Rug (i.e., Doug Easley and Roy Brewer). Produced by Easley and recorded at Easley-mccain, with mastering by Jeff Powell at Sam Phillips Recording Service, the soundtrack consists of original music created for the movie, with the exception of the River City Tanlines’ body-slamming “Black Knight.” The album art was designed by Ben Powell.
“Because of the record plant that just opened here, we got to do everything from start to finish in Memphis,” said Shangri-la Projects founder Sherman Willmott. He said the vinylonly album will be on sale at the screening, along with the “Memphis Heat” DVD and Memphis author Ron Hall’s book on the subject, Hawks,” the movie screens “Sputnik, Masked Men, & at 7 p.m. Wednesday at TheMidgets: The Early Days atre Memphis, 630 Perkins of Memphis Wrestling.” Extended. Tickets are $15 The LP also is available at each. Shangri-la Records, Goner Taking a cue from Roy Records, Burke’s Book Rogers and Gene Autry, Store, the Booksellers at who starred in films as ficLaurelwood and the Five in tionalized versions of themOne Social Club, or online at selves, Moore play “Larry shangrilaprojects.com. Moore,” who in this case
Willmott and Hall are the is a private security expert producers of the “Memphis hired to protect a glamorous Heat” documentary, which fashion model turned talent was directed by Chad agent, played by Elle AnderSchaffler. In addition to irson. “I tell people the only resistible action footage and way Spike Lee or Woody Alvintage publicity material len would get hired to play documenting the exploits the lead in a movie is if they of such colorful figures as cast the movie themselves, Jackie Fargo, “Superstar” so I follow that philosophy,” Bill Dundee, Handsome said writer-director Moore, Jimmy Valiant and “coco67, a University of Memphis butt” master Bobo Brazil, business professor in his the movie offers something “day job.” of a primer on race, pop Moore said the film was culture and media during shot all over Memphis and a certain era in Memphis the Mid-south and covers and the Mid-south, before an eight-year time period. the hegemony of cable tele“My first movie covered vision displaced regional a 24-hour time span, the orneriness with national second one covered three branding. weeks, the third one about six months, and now this one.” His previous films — all featuring Larry Moore as Larry Moore — include “General Sessions,” “Somerville” and “Cold Steele.” “I’m reliving my childhood favorites through my films,” he added, saying his projects show the influence of such past programs as “Perry Mason,” “The Andy Griffith
MOREFROMMOORE
Dauntless Memphis moviemaker Larry Moore returns next week with his fourth feature film in 15 years, the intriguingly titled “Top Models Are Deadly.”
Described by Moore as a “Peter Gunn”-esque 1950s detective story “done in the classic style of Howard
Album cover art for the “Memphis Heat” soundtrack.
Show” and “The F.B.I.”
Moore said he is hosting the premiere of “Top Models Are Deadly” at Theatre Memphis rather than inside a traditional movie auditorium because the live-performance venue holds some 600 seats, and he needs close to that number to accommodate the many people who worked on his very low-budget film, as well as their family and friends (in addition to whatever unaffiliated audience members might show up). Unfortunately, two of Moore’s more notable cast members won’t be able to attend: The film features the late local actor John Malloy in a supporting role, and also includes a cameo by the late guitar legend Mabon “Teenie” Hodges.
LOCATION, LOCATION
The On Location: Memphis Film & Music Fest is now accepting submissions for its 17th annual festival, to be held Aug. 12-14, primarily at the Malco Studio on the Square.
The festival screens narrative and documentary features and shorts, as well as animated films. Past festival guests have included Isaac Hayes, Morgan Freeman, Holly Hunter, Cybill Shepherd, Robert Townsend, Tom Berenger, director Del Shores and animator Don Hertzfeldt, among others.
For more information or to submit a film, visit filmfreeway.com and search for “On Location: Memphis.”
’ROUNDTHEBEND
executive director of Indiememphis from 2008-2014, is returning to the staff of the Bendfilm
in Bend, Oregon, as “festival programmer.”
The job enables Jambor toremainbasedinmemphis even as he programs festival selections in coordination with Bendfilm director Todd Looby. A co-founder in 1999 of the Sidewalk Moving Picture Festival in Birmingham, Alabama, Jambor was Bendfilm director in 2007, leaving Oregon for the Memphis job.
The job is indicative of a trend — made possible by the pervasiveness and efficiency of the Internet — in which experienced filmmakers and festival managers are recruited to work for festivals in towns where they don’t live. For example, Mississippi’s Oxford Film Festival this year hired out-of-towners as narrative feature programmer, documentary programmer and publicist.
The four-day and increasingly prestigious Bendfilm Festival screens close to 90 narrative feature, documentary and short films annually. Its website is www.bendfilm.org.