Gone with the Pope

"Gone With the Pope" was for years, a kind of cinematic "urban myth." Film fanatics knew it existed, but nobody ever imagined it would ever see the light of day. Well 'Grindhouse Releasing' has performed a miracle here, and this is certainly their finest restoration to date. Poring over 5 hours of film reels from the Mitchell family archive, they painstakingly put the film together in the order of what Duke Mitchell most likely intended, and have created an incredible film of the grindhouse genre. Having an obsessive fascination for Duke's previous film, "Massacre, Mafia Style,' getting to see this was a big deal for this viewer. I had feared that this one couldn't possibly be as good as 'Massacre...' but as it turned out, this one is BETTER. The camera work, the editing, the framing, are all more competent and professional, like a work from a film maker who has learned from past mistakes, and grown more confident in his craft. "Gone With the Pope" looks like it had a higher budget, featuring location shooting in Las Vegas and Rome. This time around Mitchell's character Paul, has a collection of Rolls Royce automobiles and access to a yacht, which he charters with his mobbed up buddies, to Rome, carrying an unprecedented plan to kidnap the Pope, and charge every Catholic on the planet $1 for his release. The writing at times is so powerful and emotional that one has to wonder just how much of the real Duke Mitchell was infused into the fictional character of Paul. His opinions of the Catholic church are intense and controversial, and obviously written from a very personal point of view. At a certain point Paul's buddies all have their own revelations about God and religion, and begin to change their minds about this outlandish and sacreligious plan, but Paul is not so easily swayed, and needs a bit more "proof" that God truly exists. Well he gets that proof at the films climax, which is a real stunner. Watching this film I had to wonder what directors Martin Scorsese and Abel Ferrara thought of it. I imagine they both hold "Gone With the Pope" in high regard, especially the intense religious imagery contained throughout, and of course the strong Italian influence that saturates every frame of this lost, priceless time capsule. Comments that this movie is somehow "boring" are truly mind boggling, as there is so much going on, so much eye popping imagery to behold, so much fascinating dialogue and such a collection of eclectic songs of the era, and of course, the mid 70's fashions and decor are sometimes hypnotic in their own right. Anyone who finds this movie "boring" must have the attention span of a mosquito. The footage of vintage Las Vegas, as well as the gorgeous scenes on the yacht, and of Rome are stunning as well. Filled with memorable and quotable lines and bizarre, hilarious characters. Fans of gangster and mafia movies should seek out this iconic film; it is a true masterpiece of the genre.

Duke Mitchell spent most of his life in nightclubs. As a Singer and an Actor, Duke struggled to showcase his talent. Throughout the movie, it's hard to decipher between Duke Mitchell and the character Paul for whom he portrays. Both men are victims of the life they chose. Each is fighting to survive and are living on the run. Duke would die from lung cancer at the age of 55. Its hard not to remind yourself while watching the movie as Duke smokes countless amounts of cigarettes. Duke's character deals with being a prisoner, having a burden and feeling cheated. He is angry and manipulates many of his close friends. Wanted to be loved, the only real woman in his life is distant and a minor character. The so called "leader of the band" or head gang member, Duke always tries to stay in charge and be one step ahead of everyone else. You could say that Duke lived like this for most of his life. The ending is very powerful as well as unexpected. You need to ask yourself if Duke is running away or running after something. The ending show's his true fear and that he has been running his entire life. He is angry at America, his friends, and even his Faith. For the low budget / grind house picture that it is, Gone with the Pope meant much more to Duke Mitchell then you think. Having accomplished what it did not set out to do, the movie showcases timeless images of Los Angeles and Las Vegas from the 1970's. The wardrobe alone makes this movie worth watching. For an entertaining movie, any grind house fan will not be disappointed. Then again, for a deep hidden message, Duke's final message to the audience is one that many might not be able to witness.

Being a major fan of Duke Mitchell's film Massacre Mafia Style, I couldn't wait to see Gone With the Pope, and I was not disappointed. Seeing the pristine, restored print in a theater was great fun, and Bob Murawski, who won the Academy Award for editing The Hurt Locker, did a great job resurrecting Duke Mitchell's lost masterpiece. Bringing Gone With the Pope to the world has been a passion of Bob's and it shows. Grindhouse Releasing has done some amazing re-releases, especially Cannibal Holocaust, I Drink Your Blood, and now Gone With the Pope is the next hit on their roll.

If you're unfamiliar with the work of Duke Mitchell, just wait until you see Massacre Mafia Style, which Grindhouse will also have on DVD soon, and if Gone With the Pope comes to your neck of the woods, be in, don't be in the way.

I got a chance to view this film on 35mm in Rochester New York with my brother. Bob did a Q&A after the screening to explain how he acquired the film and the editing process. I love gone with the pope. It is very funny, a little bit of violence, very charming and I must say one of best undiscovered films out there. Highly recommend checking it out on 35mm - heads up to Grind house with the 35mm film print. Very clean print and crisp audio. I've seen many of the grind house releases on 35mm and Gone with the Pope is absolutely the best, considering the sources grind house had to work with. If you are a fan of 70'S grind house/mobster type of movies then def check this out on its road show tour on 35mm film.

This is a film that, yes, was technically released for the first time in 2010. But it's also a kind of Grindhouse example of Metropolis, another movie that was restored this year. New footage was found and meticulous care was put to editing something that people had never seen before. One was a testament to man and his inner quest for self-knowledge set against an oppressive world, and the other was Metropolis.

But I jest. This was shot by real (and I mean REALLY) no-budget director Duke Mitchell, who made only one other film in the 1970s, and did shoot the footage for this film (you can tell, all HUGE warts and out-of-focus shots and all). But it was never finished due to lack of funds. Years later (as in two years ago) some former friends and people at the Grindhouse DVD company, got together and took all the footage Mitchell had shot and made a movie as competently as they could.

Frankly, that it turned out as well as it did is something of a miracle because, quite frankly, this stinks. But it stinks in a way that is friendly to fellow bad-movie lovers. The craftsmanship is so terrible, the acting so non-existent, the story so WTF, that I wondered at certain points if Torgo from Manos the Hands of Fate would make an appearance. All I could really gather about anything relating to a "story" was that Paul (also Mitchell) is released from jail, kills some gangsters, and then takes a boat trip with some friends from California to Rome to kidnap the Pope and hold the world hostage: every Catholic pays 1 buck. That's a lot of bucks.

From the dialog that is at best decent street-tough stuff to at worst really racist and sometimes just dull dialog - and the racist stuff especially, as Paul makes wisecracks (and not the subtle kind) to a black prostitute who, somehow, takes it in stride, is hilariously painful to hear spoken - to the cinematography that gives cinematography a bad name (FOCUS, goddamn it, FOCUS!), to the one or two actors such as Paul's wife or Giorgio, who both look like they were picked up from the local deli counter, to the very mixed messages sent about religion (a very *nice* Pope who somehow gets everyone except Paul on his side! and a polemic speech by Paul at one point that rivals ANY of the preachifying in Machete), this is trash cinema at its base level.

It's not a good movie really. If you're looking for things like, say, motivation on the character's part, be it things like killing lots of other people we haven't seen before (sometimes with telephones) or to a random "prank" scene with a huge fat woman getting naked and surprising one of Paul's friend asleep and proceeding to lock her in the room for a good, it's more than absent. It's almost like Mitchell seemed to forget what a movie makes - albeit he is awe-inspiring at making montages, such as one with him and his wife frolicking at a park - and was more transfixed by his own sideburns than anything else. When he tries to get genuine laughs, such as the fat woman scene, it feel so awful that you just recoil in your seat. The movie also disappoints, if in one major way as a Midnight Movie, in not having more craziness with the religious angle. Without saying too much, the film needed to be more like the last scene, which did leave me with a big smile and almost clapping with the rest of the audience.

But for all of the dull moments, and believe you-me there are plenty, and the cringe-worthy performances, it's a very funny movie without knowing that it is. It's also commendable to the editors and producers of this finished version that there are some scenes and transitions that move to a cool beat, maybe in ways Mitchell himself never envisioned. Song selections vary; some are genuinely fantastic, while others go along with the hokey nature of the film. It frustrates and entertains, and it actually has a sense of admiration for the Pope (!) in all his cardboard-performing glory. Then again, his dead-pan is just what's needed on the flip-side of Mitchell's mugging.