So many movies ... so little time ...

On this day in 1986 (in the U.S.), going Greek wasn't all that it was once cracked up to be when audiences were forced to endure the sheer terror of Sorority House Massacre.  Written and directed by Carol Frank, the film starred Angela O'Neill, Nicole Rio, Pamela Ross, and others. 

According to our friends at IMDB.com, here's the plot summary:

"A female college student who recently moved into a sorority is hunted by an escaped psychotic killer who shares a strange telepathic link with her."

-- EZ

So many movies ... so little time ...

On this day in 1993 (in the U.S.), it was guns a'blazin' for the home video release of Hard To Die.  Directed by Jim Wynorski from a story by Mark Thomas McGee and J.B. Rogers, the film starred Gail Thackray, Karen Mayo-Chandler, Deborah Dutch, and others. 

According to our friends at IMDB.com, here's the plot summary:

"Five lingerie models are terrorized by a series of murders in their office building. They suspect the janitor who witnessed past killings, unaware of the real horror awaiting them."

-- EZ

So many movies ... so little time ...

On this day in 2007 (in the Netherlands), Ghost Son enjoyed its initial release on home video.  Written (in part) and directed by Lamberto Bava, the film starred Laura Harring, John Hannah, Pete Postlethwaite, and others. 

According to our friends at IMDB.com, here's the plot summary:

"A widowed newlywed stays on her deceased husband's South African farm, then bears a child who seems to be possessed by the dead man."

-- EZ

From Google.com:

​Key Aspects of the Film:
​

• Plot: Mark (John Hannah) dies in a car crash, but his love for his wife Stacey (Laura Harring) is so strong he returns as a ghost and impregnates her from beyond the grave, leading to a strange, possessed child, notes Marc Fusion.
• Style: Directed by Lamberto Bava (son of Mario Bava), the film has an Italian horror feel, similar to a remake of the 1977 film Shock, says this Mondo-Esoterica review.
• Cast: Stars Laura Harring, John Hannah, and Pete Postlethwaite.
• Reception: Reviews are mixed, with some finding it slow or melodramatic, while others appreciate the atmosphere, the cast's seriousness, and the "creep factor," based on reviews from Rotten Tomatoes page and IMDb page.
• Atmosphere: It relies on tension, supernatural occurrences, and psychological horror rather than typical slasher tropes, as described on this Rotten Tomatoes page. 
  

​The film is noted for its unusual story, focusing intensely on the relationship between the mother and her possessed child.

Ach ... this one hurts, folks ...

As I've mentioned many, many times on SciFiHistory.Net, I grew up in a small town in the middle of nowhere; and the only real escape that a young man had was heading to the corner movie theater on a Friday night to take in a movie.  Honestly, it didn't have to be a good one -- I sat through a great amount of schlock -- because anything -- and I do mean anything -- was just right to take away the boredom of those early days.  Of course, this isn't meant as a sleight to any actor or actress in any way: those were different times, and studios and distributors could release whatever they had in their catalogues to small-town America where audiences would lap it up.

So I got the chance to see a great number of Chuck Norris' early pictures as they were intended: up on the silver screen in the flickering light.  While my friends and I had reasonable arguments about whether or not he could act well enough to carry the drama, there was never any doubt regarding the man's machismo in pushing through the action.  The guy could go toe-to-toe with anyone the studio showcased him against, and it was glorious to watch him 'go to work' in the pursuit of whatever justice looked like in those gloriously simply motion pictures.  He was a regular John Wayne with his fists, and it was a presence that carried whatever script landed in his lap.

So I'd seen the news yesterday about the talent being rushed to a hospital in Hawaii with some undisclosed medical emergency; and like many I feared the worst.  It'll never stop being a bit alarming when you learn your screen heroes are mortal after all: I don't think that's a lesson learned -- and relearned -- whether you're five or fifty-five.  It always serves as a cautionary memo about enjoying the time that's given to you no matter where or when you are because -- like a switch -- the end reaches us all some day.

Our warmest prayers are extended to the family, friends, and fans of Chuck Norris.

May he rest in peace.

​-- EZ

(NEW YORK) March 18, 2026 — The Philip K. Dick Science Fiction Film Festival has announced the award winners for its 13th annual event, which presented films, panels, screenplay competitions, and virtual reality experiences. The event was held from March 13-14 in Manhattan and explored the influence of novelist Philip K. Dick. For more information on this year’s lineup, visit https://www.thephilipkdickfilmfestival.com.

Congratulations to the award winners of The 2026 Philip K. Dick Science Fiction Film Festival:

Best Picture

Past Life
Director Simeon Halligan
United Kingdom
Jason (Aneurin Barnard), a journalist traumatized by his time in the middle east, is dragged to a TV show by his pregnant wife Claira (Pixie Lott). A celebrity Hypnotist (Jeremy Piven), is making audience members experience their glamorous past lives. Skeptical Jason thinks it's all a con, until Tim, the hypnotist, takes Jason under with a click of his fingers, and he experiences the world through the eyes of a 1980s serial killer.

Best Philip K. Dick Feature

Volume 7
Directors Panos Pappas, Despina Charalampous
Greece
In an isolated City-Building marked 7, where human knowledge is preserved in the minds of the gifted and time loops through memory, an ageless man reappears across lifetimes, challenging love, rebellion, and the illusion of escape.

Best Sci-Fi Feature

Projection

Directors Evan Samaras, George Scoufaras
United States
A man is struggling with grief due to the recent death of his father. He copes by beginning to write and envision a reality where he and his father are bonding over their shared passion, filmmaking. The lines between the realities begin to blur until only one remains. Q&A with filmmakers and cast will follow.

Best Supernatural Feature
Pitchfork Retreat
Directors Gregory Van Voorhis, Nicole Van Voorhis
United States
Three people arrive on a private island for a horror writer's retreat where they are each hell-bent on winning a life-changing competition. That is until they tap into their inner demons which causes everything to spiral down on them.

Best Documentary

Saucers, Spooks and Kooks
Director Christopher L Graybill
United States
Saucers, Spooks and Kooks is a journey through the lesser known history of the UFO narrative, exploring its origins, and evolution, which still to this day reverberates in how we look at the current UFO phenomenon.

Best PKD Featurette

The Light of Dead Stars
Director Matthew Camfield 
United Kingdom
A Cerebral, Sci-Fi Thriller, set in a near future cyberpunk dystopia. Agent Link (Gwilym Lloyd) a tired cop obsessed with his investigation of a string of unexplained murders, is thrown in with Jed (Medhi Duman), possessed by some form of entity, parasite, VALIS. Jed's strange consciousness threatens the very existence of Links reality forcing him to face his own existential crisis. Inspired by PKD’s VALIS Experiences.

Best PKD Short
EDGAR: Enhanced Data Gathering Analysis Robot
Director Virginia de Witt
United States
In a near-future desert-scape, a suicidal woman discusses life, love and loss with an AI Android which resembles her estranged father, meanwhile her neighbor focuses on his passion for tap dancing.

Best Fantasy Short
Em & Selma Go Griffin Hunting
Director Alexander Thompson
United States
An allegorical 1930s-set coming-of-age fable about mothers, daughters & the beasts they hunt.

Best Supernatural Short
Hide      
Director Brenden Hubbard 
United States
From the Academy Award winning team behind "Curfew." Still reeling from an incredible loss, a father (Shakey Graves) and daughter cling to a bedtime routine keeping them safe in a town where an unfathomable horror visits its inhabitants night after night.

Best Sci Fi Short
Are You a Human Being?
Director Matthieu Moerlen
France/Switzerland
Lucie and Jean-Michel are grappling with an existential crisis and a computer crash. In this dark comedy blending poetry and artificial intelligence. They search for the meaning of their lives!

Best Dramatic Sci-Fi Short
Karayr (Cave)
Director Neo Apelian 
Jordan
In the aftermath of a biological war that reduced mankind to ape-like cavemen, a lone survivor tries to civilize a caveman. The story is set in a fictional Middle East, and takes place in the wake of a biological war that devolved people back to ape-like cavemen.

Best Animation
The Fortunate Son
Director Daniel Magyar 
Hungary
The Convict is given the chance to regain his freedom by accepting a risky mission about saving the life of US President Gerald Ford 60 years in the past. The mission becomes complicated when the Convict travels through an experimental time machine, uncertain of when or where he will arrive and whether the mission will succeed.  

Best Experimental Sci-Fi
Hollow Earth
Director Chad Adair
United States
An experimental film exploring the notions of time and the apocalypse. Based on T.S. Eliot’s The Hollow Men.

Best Culture in Sci-Fi
Lost in Your Thoughts
Director Marshall Leigh George
Canada
A woman undergoes EMDR therapy and enters a physical manifestation of her memories looking for her lost sister.

Best Isolation in Sci-Fi
Synced
Director Ilaria Serantoni
United States
After purchasing a device that allows her to experience her mother’s memories and emotions, a woman discovers that caregiving is not just an act of duty, but one of connection.

Best Web Series
16 Rachels (Season 2, Episode 1)
Director Keaton Smith
United States
Planet Earth was purchased by one of the wealthiest mining companies in the universe—forcing the entire human race to migrate elsewhere in the cosmos. Emotionally intelligent androids were hired to facilitate mass exodus and prepare Earth for demolition.

Best New Media
UBIK: Ontological Decay and Maintenance of Reality Fields AI
Director Dalibor Barić
Croatia
This experimental docu-fiction essay connects Ubik's "ontological economy" with the idea that existence has a cost of maintenance, and that the characters themselves are the process of preserving the failure in which they live. In the end, Ubik is recognized as an early informatics theology: God is not the creator, but the debugger of reality

Best Short Documentary
The Warped Side of The Universe

Best Student Short
Europa
Director Jacqueline Elyse Rosenthal
United States
In a future where we have exhausted our water on Earth, three astronauts land on Jupiter's moon, Europa, to steal a water sample. When they land, the ocean summons the sole oceanographer on the mission to undergo human nature's ultimate test.

Best Virtual Reality
Chronological Experiments by The Naturalists Group
Director Jon Bernson
United States
A renegade collective of scientists films a pitch video for a group of anonymous investors in this VR mockumentary which explores the tension between the pursuit of truth and the financial power structures that sustain it.

Best Trailer
Saturni
Director Paul B. Frieling
United States
A pregnant artist retreats to a secluded residency run by a mysterious gallery, only to discover that her unborn child is a key to awakening an ancient Saturnian consciousness.

Best PKD Music Video
Crimson and Steel
Director Bruce Hunt
Australia

Best Sci-Fi Music Video
Neoshin Episode III
Director Sebastian Selg
Germany
After the invention of CRYONIC REALITY (CR) by EDEN Association, world leaders chose to discontinue the counting of time in 2073 and proclaimed the final year 2073X. CR is a virtual world of utopia that people can access to escape the bleak reality.

Best Sci-Fi Screenplay
Palo Alto Bang & Burn  
Writer Craig Bettendorf

Best Supernatural Screenplay
Godhood
Writer Walter Maduro

Best Sci-Fi Prototyping
The Age of the Empath
Writer Steve Brown

Best Short Screenplay
Barrier of Meaning
Writer Mike Caravella
​

Contact:

For interview requests, contact Jonathan Carsten at PressReleased1@gmail.com.

About The Philip K. Dick Science Fiction Film Festival:

"The core of my writing is not art but truth." - Philip K. Dick
The Philip K. Dick Science Fiction Film Festival, which launched in 2012 as New York City's first festival of its kind, honors the legacy of novelist Philip K. Dick. His enormously effective works composed of fictional universes, virtual realities, dystopian worlds, and human mutation served as a significant observation into the current state of society. The festival embraces original concepts and alternative approaches to storytelling, and since 2013, additional gatherings have been held in France, Germany, Poland, Rotterdam, and Los Angeles. The event was named one of the “25 Coolest Film Festivals in the World” by MovieMaker Magazine in 2022.

Connect:

Website: https://www.thephilipkdickfilmfestival.com

Facebook: https://www.facebook.com/ThePhilipKDickFilmFestival

X: https://x.com/philipkdickfest

Instagram: https://www.instagram.com/philipkdickfest

So many movies ... so little time ...

On this day in 1977 (in the U.S.), the big cities of Jacksonville and Miami, Florida both hosted theatrical premiere engagements for the groundbreaking Horror/Comedy that was Satan's Cheerleaders.  Written (in part) and directed by Greydon Clark, the film starred Yvonne De Carlo, Kerry Sherman, Alisa Powell, and others. 

According to our friends at IMDB.com, here's the plot summary:

"The cheer-leading squad gets kidnapped by a janitor working for Satanists needing a virgin sacrifice, but one of the cheerleaders is a witch."

-- EZ

So many movies ... so little time ...

On this day in 2021 (in the U.S.), audiences in attendance of the South By Southwest Film Festival (SXSW) were treated to the theatrical premiere of Witch Hunt.  Written and directed by Elle Callahan, the film starred Gideon Adlon, Abigail Cowen, Elizabeth Mitchell, and others. 

According to our friends at IMDB.com, here's the plot summary:

"In a modern America where witches are real and witchcraft is illegal, a sheltered teenager must face her own demons and prejudices as she helps two young witches avoid law enforcement and cross the southern border to asylum in Mexico."

-- EZ

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
Confession time: Hollywood heavyweight Spencer Tracy led a career that, honestly, I never gave much thought to.
 
Now, this isn’t because the actor’s name, talent, or resume escaped my attention because nothing could be further from the truth.  Chiefly, I knew him from his work as the crusading Father Flanagan from 1938’s Boys Town – a picture that seemed to always be playing in television syndication of my youth – and also from his work as Chief Judge Dan Haywood in 1961’s interesting Judgment At Nuremberg.  But all too often I’d seen snippets of him in more conventional and mainstream stuff – i.e. 1949’s Adam’s Rib, 1950’s Father Of The Bride, 1951’s Father’s Little Dividend, etc. – and being a hardcore junkie of SciFi and monster movies back in those days pretty much meant that I didn’t spend time watching all of such features when something deliciously darker was available.  In fact, I’d made serious attempts to get through a few other dramatic projects he was associated with; but when those didn’t make much impression on me I largely tuned his other works out.
 
However, I recently was offered an opportunity to watch and review the Spencer Tracy Collection on behalf of the Warner Archive; so I took this as a sign that the time was right to fill that gap in my own little understanding.  Knowing that he was such a decorated Thespian throughout his career, I trusted that I was in store for something special.  Having completed the task, I will say simply that while I think this assortment is good there was really only one flick that truly struck a bell in me.  Though his acting in all is exceptional, there are reasons why a few of the films just fail to meet the bar of being decidedly commendable here; and I’ll try to break them down one-by-one chronologically (by release date) with a word or two to follow in summation.
​

Fury (1936)
 
From the film’s IMDB.com page citation:
“When a wrongly-accused prisoner barely survives a lynch-mob attack and is presumed dead, he vindictively decides to fake his death and frame the mob for his supposed murder.”
 
Joe Wilson (played by Tracy) lives his life as a perennial optimist, so much so that he’s often mildly derided by those around him for always seeing the good in people.  But on a road trip to finally seal-the-deal with his fiancé Katherine Grant (Sylvia Sidney), he’s pulled over and eventually incarcerated for what amounts to circumstantial evidence tying him to a group of nefarious kidnappers in the national press.  Before all of the facts can get sorted out, the residents of Strand, Illinois decide to take justice into their own hands, form a mob, and burn down the jail with Joe in it, effectively lynching an innocent man in the process.
 
The dirty little secret to all of this is that – by a twist of fate – Wilson survives; and – with the assistance of his two brothers – he sets in motion an even bigger media frenzy by seeing those citizens-turned-vigilantes hauled into court and made to answer for his ‘death.’  Enraged just as much as they were when they believed Joe’s actions had besmirched the reputation of their small town, he even has his brothers convince Katherine to aid in the prosecution.  Indeed, she does; but once she inadvertently learns that her suitor is still alive, she goes to him begging for their to be a return to civility.  Incensed with a desire for revenge, Wilson refuses to concede until he realizes that he’ll find no peace ever unless he can refuse his own fury (hence the title).
 
While the acting is quite good throughout the picture – the American debut for revered director Fritz Lang – what keeps Fury from truly soaring higher is that fact that Wilson – once presumed dead – really is only a supporting player in a picture he otherwise serves best from center stage.  Without one central connection between the script and the audience, Lang (who also worked on the screenplay) really can’t avoid pounding and pounding and pounding the drum to his message about how quickly a society can turn into chaos when passions run untethered by the logic of civil disobedience.  Of course, it’s all handled expertly, but the lack of any real nuance to the events here makes this one feel like the production, too, had its blinders on; and there’s never any real attempt to humanize any of it.
 
Some reading into the film’s production indicates that the studio played a hand in crafting a closing scene, one that kinda/sorta leads to a rather Hollywoodized (happy) ending to the otherwise perpetually downbeat tale.  Tonally, the finale doesn’t quite match what came before, but I’m not entirely certain that there was room for anything else as the script pretty much wrote itself into a gloomy narrative corner.  Regardless of this issue, the title was inducted into the U.S.’s National Film Registry in 1995, the organization tasked with preserving pictures that have demonstrated a lasting artistic appeal.
​

Libeled Lady (1936)
From the film’s IMDB.com page citation:
“When a socialite sues a big paper for libel, the editor responsible calls in the help of his ignored fiancée and a former employee to frame her and make the false story seem true.”
 
Managing newspaper editor Warren Haggerty (Tracy) has two big problems on his hands.  First, it’s his wedding day, and long-time squeeze Gladys Benton (Jean Harlow) is ‘itching for a hitching’ because she’s grown tired to playing second fiddle to her man’s day job.  But – more importantly – the New York Evening Star just opened up itself to a $5M lawsuit alleging libel from a decision Haggerty made too quickly; and now his boss is demanding that a solution that’ll keep the business afloat.  At Haggerty’s insistence, they hire former reporter and man-about-town Bill Chandler (William Powell) to actually seduce their accuser – Connie Allenbury (Myrna Loy) – so that the newspaper can catch her in the act committing the crime they’ve already alleged she’s guilty of.
 
Now, the plot may sound a bit convoluted; and, yes, it is.  This is the stuff that Hollywood did so well back in the day – the delightfully romantic screwball Comedy set against the backdrop of big print and even bigger money.  Given the fact that the picture basically stars Powell and Loy – two names who’d already established themselves as a box office draw for such fare – Libeled Lady feels like this was one more studio effort to capitalize on screen magic.  (FYI: Google.com reports that the two were never romantic in real life but instead shared a platonic friendship for fifty years.)  Honestly, having Lady presented as part of a Spencer Tracy Collection is a bit questionable – to say the least – given the fact that he’s in so little of the flick; but the man makes the most of his time when called upon, so let’s just be thankful for small favors.
 
Regular readers of SciFiHistory.Net might already know that – ahem – yours truly is not fond of screwball Comedies, of which this one definitely qualifies.  The upside here is that the true schtick doesn’t take place until about the midpoint, leaving the rest of this relying on the smart repartee between Powell and … well … just about everyone in here.  On that point, Lady excels to the point of being entertaining just not all that memorable as the actor has turned in elsewhere.  It has chemistry in spades – and some might suggest that the four principle actors were at or near their cinema peak – so even a few cringeworthy moments don’t keep it from firing on all cylinders when needed.
​

Northwest Passage (1940)
From the film’s IMDB.com page citation:
“Langdon Towne and Hunk Marriner join Major Rogers' Rangers as they wipe out an Indian village. They set out for Fort Wentworth, but when they arrive they find no soldiers and none of the supplies they expected.”
 
Shortly after being summarily kicked out of Harvard for insubordination in 1759, budding cartoonist Langdon Towne (Robert Young) returns home feeling guilty over having cast a reputation of shame over the family.  Still, his rebellious nature continues to get the best of him; and – once he privately slanders a local landowner who has the support of the King of England – Towne finds he has no other option but to ‘take it on the lam’ with fellow malcontent Hunk Marriner (Walter Brennan).  Fortunately, it doesn’t take long before Major Robert Rogers (Tracy) rescues the wandering men and gives them a life of purpose: they can serve their community as soldiers in the Rangers on a mission to avenge the death of some colonists at the hands of the Indians and the scheming French in pre-Revolutionary America.
 
Principally, what one has with a feature production like Northwest Passage is a big budget historical epic – a kinda/sorta war movie – that loosely interprets the events of the Rangers’ campaign against the Abenaki Indians.  Given the time, place, and circumstances, directors King Vidor, Jack Conway, and W.S. Van Dyke, the bulk of the story surrounds the Rangers’ efforts to travel both to and from the settlement of St. Francis, leaving little room for much else than some understandably blustery speeches from Tracy’s commander oft times in a Patton-esque delivery.  While interesting and presumably factual accurate, the story suffers mostly from the fact that the characters – though limited – get very little character development, a state of affairs that keeps viewers from caring more about their survival than perhaps they should.
 
I’ve read (online) that Passage was a troubled production, largely owed to the fact that the majority of the screen time is heavily invested in location shooting.  Given the logistics of housing and feeding a huge number of background actors to fill out these multiple regimens, it’s been reported that Metro Goldwyn Mayer went over-budget on the spectacle, so much so that they inevitably pulled the plug on a planned sequel (the film’s opening credits suggest what follows is only part of the story).  As a result, what remains is still a technical accomplished effort – contemporary audiences need understand this was accomplished well before the advent of CGI, meaning this cast of thousands was literally a cast of thousands – and it looks good despite lacking any real beating heart … well … except for Tracy’s verbal bravado.
​

Bad Day At Black Rock (1955)
From the film’s IMDB.com page citation:
“Following World War II, a one-armed stranger arrives in a tiny California desert town but finds the residents hostile and protecting a terrible secret they want to keep hidden, by violent means if necessary.”
 
Back in my college days (too long ago for me to admit just how far), a college professor and I were putting together an independent study course of films for me to watch, research, and review; and I distinctly remember one of the instructor’s suggestions was director John Sturges’ Bad Day At Black Rock (1955).  This being a small college in an equally small Midwestern town well before the advent of streaming, the local video store simply didn’t have a VHS of the flick in supply; so I had to go another direction.  I’m thrilled to say that it featured on this collection – so I’ve seen it – and I wish I had the opportunity back in the 80’s to really dig into it.  It’s absolutely fabulous.
 
John J. Macreedy is a wounded World War II veteran who arrives by train to the small, ‘one horse town’ of Black Rock, Arizona for purposes that appear a bit suspect to the locals.  Once he begins inquiring about a Japanese fellow (Komoko) who is supposed to live in the area, several of the male residents begin to bully the former soldier, hoping to get him to leave.  The problem is that there’s no outbound train until the next morning, and Macreedy remains convinced on completing his personal mission.  Before the night is over, he’ll find that he’s accidentally pulled back the curtain, exposing a town secret that threatens the social order; and he’ll need to make a few friends of these enemies who’ll stand with him when things go south.
 
There’s no way I can be fair to a story like Bad Day in a few paragraphs, so I’ll likely be revisiting this one in my leisure for SciFiHistory.Net.  Chiefly, the story feels very much like something that possibly began life as a Western, but – given the fact that the genre was starting to fade at the box office – it probably got creatively reshuffled a bit into a dense, neo-Noir with only Western undertones remaining.  Whatever the case may be, Bad Day is the kind of story that can mean many things to many people: it’s as much an examination of curious small-town life (not unlike Peyton Place or even David Lynch’s stellar Twin Peaks but without the Fantastical underpinnings) as it is a dissertation on the lives of men where Beta males have no choice but to turn into Alphas went duty calls.  As a deep dive, Bad Day has a helluva lot to say.
 
It’s difficult to do any kind of cross-comparison between these four films because, tonally, they’re really different from one another.  While Fury and Bad Day thematically have similar characters, what each script does with the characters and circumstances are world apart.  Libeled Lady is mostly about the laughs, and Northwest Passage is probably best remembered for its visual impact.  Of the four, however, Bad Day is a cut above – well above, if you ask me – and nothing else even comes close.  The remaining three are a bit too focused on the tropes of their era, making them forgettable except for the slim strong points each retains.
 
Recommended.
 
Generally speaking, theme- or actor-based collections can be a mixed bag; and Warner Archive’s Spencer Tracy Collection is no different.  The four films (listed and reviewed above) definitely still have something to offer for the discriminating viewer; and yet in some cases the lessons learned are somewhat diminished by the years between their original presentation and the modern era.  But Tracy being one of the industry’s most highly regarded talents of the past does give this assortment a better chance at rediscovery, especially for those who haven’t witnessed what the man had to offer.  From Comedy to Drama to History to Crime, he rather effortlessly slipped into character, giving each appearance here something different.  Here’s hoping his name never completely vanishes from film history.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray set of The Spencer Tracy Collection by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

-- EZ
​