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Review by Doug Gibson
Most cult film genre fans know the late Stephen C.
Apostolof as the director of the mid-‘60s
Ed Wood-scripted “nudie-cutie” film “Orgy of the Dead,” with ponderous,
pontificating Criswell, shot in a Hollywood graveyard, with very, very long
poorly choreographed nude dances. Those deeper into cult genre know Apostolof,
later in his career, hired Wood to script, act, and generally just help out in
several more soft-core films the Bulgarian-born director made in the ‘70s.
But Apostolof, who died a generation ago, was a
fascinating, charismatic man with an intensely interesting life story. The
biography, Dad Made Dirty Movies, by Jordon Todorov and Joe Blevins, is a
book that merits more sales success. There is also a film documentary on Apostolof’s life and career.
At the age of 18 Apostolof, a lifelong anti-communist,
was imprisoned by the communist party that then ruled Bulgaria. He eventually managed
to get out of that country, and -- with many
adventures – moved his way through Istanbul, Paris, Canada and eventually to
the United States, where the now-married Apostolof settled in Los Angeles for
decades.
A man of many jobs, Apostolof was interested in
making a semi-autobiographical film detailing, with some license, his
experiences eluding communism. The 1950s were a decade with anti-communist
films. Bigger-budget films included “The Woman on Pier 13” and “I was a
Communist for the FBI.” But there were lower-budget efforts too, including “The
Beast of Budapest” and “Escape from the Iron Curtain,” which starred a young
Theodore Bikel. Apostolof consulted with a friend, Herb Niccols, to write a
screenplay based on Apostolof’s life.
Apostolof formed SCA Productions, managed to get
$47,000 in funds, and made the 60-minute “Journey to Freedom,” which RKO eventually
agreed to distribute.
How good a film is “Journey to Freedom?” Well, I like
it, but I love cult films. I love those low-budget, ragged puppies of movies
made on a wing and a prayer. “Journey to Freedom” is a very personal film. It
details the escape from communism of Stephan Raikin, (Jacques Scott) a mild-mannered
pianist/writer who escapes prison with two friends. Raikin gets a job playing
piano in an Istanbul bar. There he encounters a monster of a man (Tor Johnson)
who hates Bulgarians and beats up Raikin. Alone now, Raikin takes off for Paris
and falls in love with a beautiful woman, Nanette (Michele Montau). Their romance has potential but the communists are still trying to kill Raikin, who is now interested
in working for Voice of America. The pair break up. Raikin makes it to New York
City. Injured there, he falls in love with and marries his nurse, Mary (Eve
Brent). They move to Los Angeles, have a child (played by Apostolof’s real life
child, Polly) and began an idealistic life, in a happy home, going to church,
and Raiking writing for Voice of America. But the Bulgarian secret police won’t
stop pursuing him, and the climax involves one more attempt to ruin the
immigrant dissident’s life.
The plot sounds interesting, but it needs a better
script and budget. Frankly, to encompass the plot, the film needs 30 extra
minutes. But due to budget strains, it’s episodic, with abrupt plot changes,
plot twists that seem contrived, and just passable dialogue. The film has lots
of stock news footage, which is interesting.
The film is either enhanced, or lowered (depending
on the viewer’s opinion) by the unique inclusion of a Bulgarian communist
secret police member who narrates much of the film. This is done to move the
plot along and increase awareness of the ongoing danger facing Raikin. I found
this initially fun although it started to wear out its welcome later. The narration is
very campy, sort of told in an accented “Snidely Whiplash” type of manner.
The crew and cast is a cult genre fan’s delight.
Director Robert Dertano directed ‘50s cheapies “Girl Gang” and “Paris after
Midnight.” He was also an assistant director in “Orgy of the Dead.” The
cameraman was Ed Wood’s favorite, Bill Thompson, who filmed “Plan 9 from Outer
Space.” Tor Johnson does a rare speaking part in Journey to Freedom. He also
had dialogue in “Plan 9 From Outer Space.” Don Marlowe, a former agent of Bela
Lugosi with a rascally reputation, has a small role as a detective. Apostolof has
a small cameo in a scene where he wears a beret.
The cast is not bad. Scott was the son of a British
ambassador. His best role was in the Jack Lemon, June Allyson film “You Can’t
Run Away From It.” Montau was a working actress. Her best role might be “The
Devil at 4 O’Clock,” with Spencer Tracy and Frank Sinatra. The best-known
actress in the film is Brent, who had a very long career. Today her face is recognizable because she was so ubiquitous in TV and films. In the big-budget film,
“The Green Mile,” she had a substantial role. Her career was still young in “Journey
to Freedom” and she bears a resemblance to Shelly Winters.
It’s easy to tag these 1950s anti-communist films as
an element of the McCarthy era. But that’s not really fair for films dealing
with oppression in Europe, such as “Journey to Freedom” or “The Beast of
Budapest.” The treatment of dissidents, even peaceful ones, was uniquely cruel.
My father in law, a labor leader in Hungary who supported the unsuccessful ’56 revolution,
was imprisoned and tortured. Scores of thousands were murdered.
Apostolof was certainly proud of the film. But it
bankrupted him. He only earned a small percentage of his investment back. Yet,
he was resilient, and enjoyed long success making soft-core films with the moniker
A.C. Stephen. His career -- and family life -- make for fascinating reading in “Dad
Made Dirty Movies.”
Currently, “Journey to Freedom” can be viewed (free) on Amazon Prime. It’s part of the streamer MGM+ offerings. It’s definitely worth an hour of your time. And buy his biography. (I think Max or Netflix, etc. could make a fascinating multi-part series of his life, but what do I know?)
Plan9Crunch thanks David Grudt, of Long Beach Calif., for unearthing these several newspaper clippings of the film. From top to bottom, the sources are: South Bend Tribune, South Bend Indiana, Oct. 17, 1957; Anaheim Bulletin, Anaheim California, Jan. 19, 1957; The Bellingham Herald, Bellingham, Washington, Nov. 13, 1957; Los Angeles Evening News, Hollywood, California, Dec. 3, 1957; The LA Times, Thursday, December 1, 1960 (already on TV).
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