Thursday, May 05, 2011

Cult Classic of the Week: Reptilicus (1961/1962)

Reptilicus is a bizarre little movie. It's no wonder that clips of the monster were used as stock footage during the more chaotic moments on The Monkees' television show. Being the only Danish giant monster film, it was quite popular in its home country. I do remember it being shown on TV quite a bit when I was a kid, although I only remember seeing it fully once or twice. I remember it mostly from those clips on The Monkees.

High about the Arctic Circle (in a sunny tree-filled forest), a group of copper miners collect core samples from below the permafrost. The drill bit comes back up with thick leathery flesh caught in the threads... and fresh blood. Scientists from the Danmarks Aquarium are sent to inspect and dig up the fossil--or whatever is down there. They find part of a giant prehistoric reptile's tail. Keeping the sample frozen, they ship it back to the aquarium for study. The freezer door is left open one night, and it's discovered that the thawing tail is still alive and regenerating. Later, two UN representatives join them: a stern US brigadier general and a beautiful female scientist from UNESCO. Just in time, too, as the combination of increased nutrient flow and an electrical storm cause the regeneration to rapidly accelerate...

The real-life drama behind the making of the film is perhaps more entertaining than the movie itself. American producer/director Sid Pink developed the idea for the story, and co-wrote the screenplay with novelist and screenwriter Ib Melchior (who was born in Copenhagen). Pink set up production for the film in and around Copenhagen. The original version was filmed in the Danish language by Danish director Poul Bang and released there in 1961.

Pink directed the English version for American-International Pictures--twice. The first English version was filmed with many of the same actors, none of whom spoke English. They recited their lines in English phonetically. The execs at AIP, particularly Sam Arkoff, hated it. They had the film re-cut, with American voice actors dubbing the lines in English. They still had to match the stilted mouth movements of the Danish actors, however.

Several scenes and parts of scenes were cut for the AIP release, including the infamous Reptilicus flying scene (or this link). It's set at night so the crude nature of the effects work isn't as obvious. Compared to the rest of the creature effects in the movie, the flying scene really isn't that bad. The model for Reptilicus itself appears to be a marionette puppet.

One aspect of the film that was kept is the inclusion of popular Danish comedian Dirch Passer. He plays the night watchman hired on to keep an eye on the frozen Reptilicus tail in the aquarium. His scenes are played for laughs, of course. The officer he talks to at the police station was one of his frequent comedy collaborators.

For the AIP release, Reptilicus' green acid slime spit was added. This takes the form of hand-drawn animation added into scenes where the monster attacks crowds at the beach or on the streets of Copenhagen. Apparently many, many locals were used for the crowd scenes, and members of the Danish military and their equipment were provided for the films use. These scenes and the stock footage are carefully edited together. It's really not bad at all for a lower-budget production. And, as previously noted, it was a source of pride for the Danish people.

Before the monster attacks, the American general accompanies his Danish counterpart and the UNESCO representative for a drive and a night on the town. This part seems almost as if someone slipped a tour package film into this monster movie. For someone who seemed to hate his new assignment at first, the brigadier general now appears to know all about the history, architecture and public sculpture of Copenhagen.

I watched the out-of-print Midnite Movies DVD from MGM. The print used is in decent shape, considering the history of the film. The film was shot in 1.37:1 35mm, so the DVD is full screen and non-anamorphic. You can also watch the 10-minute version. For more details, I recommend the reviews and background at Jabootu's Bad Movie Dimension or The Monster Shack. It's goofy fun, and really inspires the viewer to provide an ongoing MST3K-style commentary.

Update: Thanks to io9 for linking to this review!

Update 2: Shout Factory released a four-movie Sci-Fi Classics disc in September 2013 including Reptilicus, presumably using the same print as the MGM disc.

Update 3: Scream Factory, a sub-label of Shout Factory,  will release a Blu-ray double-feature of Tentacles (1977, also previously released in the Midnite Movies series) and Reptilicus on June 16th, 2015.

Update 4: Reptilicus is the experiment for the first episode of Mystery Science Theater 3000's 11th season, now streaming on Netflix (listed as Season One).


Conan (2011) Theatrical Trailer

The first theatrical trailer for Conan was released into the wilds of the internet yesterday. I'll have more to say about it later after I've watched it a few more times. I will say that, based on just one viewing, I'm slightly more encouraged about the film than before.

There's some talk that this trailer will be attached to Thor when it's released this weekend. If not, it should be.

Loud speakers warning: the video starts playing as soon as the page loads up.

http://movies.yahoo.com/summer-movies/conan-the-barbarian/1809953260

Wednesday, April 27, 2011

Cult Classic of the Week: 18 Bronzemen (1976)

Joseph Kuo was one of the leading independent directors of Hong Kong kung fu movies. Mystery of Chess Boxing, Blazing Temple and 7 Grandmasters are considered his best work. Before those films, one of his early successes was 18 Bronzemen.

Set during the Manchu invasion, 18 Bronzemen opens with an attack on the household of a notable Ming general. The general is killed, and his infant son Shao Long is passed into a family of Ming loyalists, where he begins kung fu training and brutal beatings to give him strength. The Manchu continue to terrorize the surviving Mings, and so the boy is sent to the safety of the Shaolin Temple for further training. Before his training can be considered complete he must pass through the 36 Chambers and face the 18 Bronzemen, or die in the attempt...

This was one of several kung fu films to focus on the Shaolin Temple and the 36 Chambers of testing in particular, two years before Lau Kar-Leung's famous The 36th Chamber of Shaolin. The success of this film would lead to two sequels (well, same actors, different characters...): Return of the 18 Bronzemen and the aforementioned Blazing Temple (8 Masters). Carter Wong (Thunder from Big Trouble in Little China) plays the "big brother" role, the serious student who helps the bumbling Shao Long through his training.

For an independent film of the time, the production quality is fairly high. The sets of the Temple, especially the training areas, are impressive. The town setting must have been filmed at one of the studio backlots, but is very effective, and the teahouse fight scene is really good. Carter Wong's fight scenes are the highlight of the film.

One lingering question: What are the 18 Bronzemen? Automatons? Shaolin masters in gold paint?

The first two-thirds of the movie--involving the Temple and the training--work the best. Once they leave, the film starts to fall apart. It's almost as if it's rushing to move the story along. The editing of some scenes can leave the viewer wondering who people are and what is going on. I think that's a problem both with the dubbing and with cultural differences. When Polly Shang first appears, it is implied that she is disguised as a man and Shao Long is fooled by the disguise, although to the viewer it's obvious that she isn't. I got it, that it's a cultural convention for these types of stories, but the casual viewer might take it literally. There's also one of the worst jump-cuts I've seen in a kung fu film, where the fight between our heroes and the Manchu warlord goes from a city street to a mountain valley in one cut.

Odd story and editing choices aside, the film is worth seeing as a great example of the independent kung fu films outside the major studios (i.e., Shaw Brothers) and the early "old-school" productions.

I watched the Tai Seng/Mei Ah DVD released in 2002 with Mandarin dialogue and English subtitles. It can also be viewed in 10-minute parts on YouTube.

Saturday, April 23, 2011

Upcoming DVD releases

I haven't been keeping up with DVD release news for about five weeks now, so -- wouldn't you know it? -- that's the time when there are some big announcements.
 
Hammer fans can now get the DVD of The Creatures the World Forgot from Sony's Screen Classics Manufactured-On-Demand series. The last of the three prehistoric epics from Hammer (including One Million Years B.C. and When Dinosaurs Ruled the Earth), Creatures... is notable for the near-total lack of dialogue. The story is told through the actions of the characters (no stop-motion dinosaurs, either). It was released on VHS years ago but has only been available recently as a download or streaming rental through Amazon Video on Demand.
 
The Warner Archive continues rolling out great films from the vault through their MOD program. One of the latest releases is the Rankin/Bass-produced film The Last Dinosaur, which has special effects by Tsuburaya Productions. From the IMDB:
Science has announced the discovery of a lost land hidden inside the warm pocket of a dormant volcano under the polar ice cap. Masten Thrust, a billionaire oil tycoon and big-game hunter, is recruited to lead a team there to study the last living dinosaurs. Upon arriving, Thrust and his team find that the hidden world is populated with both dinosaurs and prehistoric humans. While the humans give the explorers a fair bit of trouble, the real danger is the hungry tyrannosaur intent on making lunch out of the Great White Hunter and his crew.
This was originally planned as a theatrical release but was shown in the US as a TV-movie. I only remember vague mentions of this; I don't believe I ever saw it on TV.

Speaking of MOD discs, Sony has made an agreement with Warner Brothers to sell their Screen Classics on Demand from the Warner Archive web store. It makes sense -- Warner Archive has become the MOD powerhouse among the studios and (even better) Warner Archive has regular sales and coupon codes. MGM's own foray into the made-on-demand business had some false starts with Amazon, although it appears that MGM MOD discs are being made available now through Screen Archives Entertainment, the fine folks who bring us Film Score Monthly limited edition soundtrack CDs and other treasures.

Legend Films has released various movies from the Paramount back-catalog, and on May 3rd we get an excellent British horror treat: a Blu-ray double-feature of Hammer's The Man who Could Cheat Death and Amicus Productions' The Skull. Legend released these two on DVD previously. Severin Films has Amicus' The House That Dripped Blood in prep for eventual release.


 
Some of the out-of-print single-disc Midnite Movies from MGM appear to be back this month, albeit in a different form. Cover photos were spotted at DVDPlanet (and apparently available on Amazon). There are at least two four-movie sets. One has Morons From Outer Space/Alien From L.A./The Man From Planet X/The Angry Red Planet, the other includes The Land That Time Forgot/The People That Time Forgot/Panic In Year Zero/The Last Man On Earth (that's a steal at $10). Let's hope MGM/Fox re-packages some of the other OOP Midnite Movies titles. It appears that a few single-movie MM discs are on the way from their MOD program.

Public domain-content provider Film Chest has restored and released Roger Corman's 1963 film The Terror as a Blu-ray/DVD combo pack. The movie was made in a matter of days using the magnificent sets left over from Corman's Poe film The Raven, and extra time left on Boris Karloff's contract. It's impressive considering the circumstances of the shoot. I have a soft spot for The Terror, as I remember it being a staple of Saturday afternoons as a kid. If one of the Corman Poe films were being shown, it was likely to be The Terror -- probably due to its public-domain status. With this high-def release it gets the restoration it deserves.
 
Finally, there has been some buzz about an official DVD release of Godzilla vs. Megalon. As with The Terror, Megalon has been a mainstay of public-domain releases. Nearly every PD video company put out a cheap VHS tape during the '80s and '90s. So far it appears to be speculation. I'm sure there is more to the story, and like many others I hope we see an official release soon.

Tuesday, April 19, 2011

Elisabeth Sladen, RIP

We learned today (thanks to Norbert) that Elisabeth Sladen, who portrayed Sarah Jane Smith on Doctor Who and The Sarah Jane Chronicles, passed away at the age of 63.

There have been a number of obituaries and tributes posted, all of which do more justice than I could. You will find that the thread running though all of them is her graciousness, talent, humor and class, and the genuine affection for her from the fans and those who worked with her.

** Update: these three are some of the more touching tributes on the web **
Newsarama: Elisabeth "Sarah Jane" Sladen, Queen of Companions, RIP

Kasterborous: Elisabeth Sladen

Kasterborous: Goodbye, Sarah Jane Smith
**
http://www.bbc.co.uk/news/entertainment-arts-13137674

http://blogtorwho.blogspot.com/2011/04/elisabeth-sladen-1948-2011.html

http://www.doctorwhonews.net/2011/04/dwn190411204508-elisabeth-sladen-1948.html

http://www.doctorwhonews.net/2011/04/dwn190411134512-elisabeth-sladen.html

http://www.kasterborous.com/2011/04/elisabeth-sladen-rip-1948-2011/ (includes video tributes)

http://tvtropes.org/pmwiki/pmwiki.php/Main/ElisabethSladen

Many Who fans talk about "their" Doctor--the actor they grew up watching. I remember watching Doctor Who on WTTW-11, the PBS station in Chicago. I saw some of the later Jon Pertwee episodes, most of the Tom Baker episodes and Peter Davidson shows, and a handful of the Sylvester McCoy shows. Tom Baker's first episode, "Robot", might have been my first. My favorites were Pertwee and Baker, and Baker was always "my" Doctor. Sarah Jane was almost everyone's favorite Companion.

Elisabeth Sladen and Third Doctor Jon Pertwee
Elisabeth Sladen and Fourth Doctor Tom Baker

Wednesday, April 13, 2011

Rules for a Conan RPG

A few weeks ago, Mrs. Kaiju was chatting with a friend and former colleague. He said that he would be interested if I planned to run a Conan RPG in the future. I haven't talked to him for a while, and I was very flattered that he suggested it.

Our current Freeport campaign will be wrapping up soon, although I'm not sure when I might be able to start up another campaign. He is also starting his own game very soon.

There are several RPG settings that I would like to run. Freeport was one of those, and the Hyborian Age of Conan is at the top of the list. We had great fun in the game(s) that S. ran. I've been putting together background notes for a Conan game since at least 2005, and regularly think about ideas for it. It's the setting that I feel most comfortable with running, particularly for improv riffing and winging it. In my mind, it's as real as any fantasy setting could be.

The uncertain part of my planning has always been what rules system to use. At various points I've considered:

There are four main points that I'm looking for in a rules system:

Rules that play quickly and resolve smoothly. In my experience, the best RPG moments involve the storyline and the interaction of all the players, not necessarily crunching numbers. The suspense of a crucial die roll or card flip is great, and can ratchet up the tension. That's not what I'm referring to here. I'd rather that the rules help facilitate the role-play rather than cause us to spend time looking up obscure rules in several books. I've tried to be better about making a ruling and moving on, and looking it up later, but I still need practice in that area.

Rules that simulate pulp action. Howard's Conan stories are prototypical sword-and-sorcery and firmly rooted in the pulp tradition. Pulp action, in an RPG, should have that over-the-top feeling. "Cinematic" is used often when referring to RPG rules. I think pulp is similar. The PCs should be heroic, in the sense that they are better than the average human in abilities. Pulp generally follows what is often called "gritty", as it's more human-focused than the usual fantasy setting with elves, dwarves, orcs and the like. I'm also very enamored with some of the mechanics from the pulp RPG Spirit of the Century, especially the idea of Aspects. I'd like to use that or something with the same literary style to play up the trappings of the genre.

Give a variable level of "crunch" to those who want it. I would like to use a system that allows players some latitude on how detailed they want their stats and special abilities to be. It should be simple for the players to add extra detail to their characters, as add-ons (feats, special abilities, etc.) beyond the standard, if they wish to do so.

In-print and available or, even better, free? Used copies of out-of-print rulebooks are possible to find, although it can make things complicated. It's much easier if the books or documents required to play are readily available, particularly if the game is currently in print and actively supported by both the publisher and the fan community. Additionally, I do not want players to feel that they need to buy books in order to play. Players may want their own rulebook or player's guide but it shouldn't be necessary. I can make table copies available. Even better if the system is free to download, where as many copies as needed can be printed for all.

Currently l'm considering:

A retro-clone? Swords & Wizardry, Labyrinth Lord, Castles & Crusades, OSRIC... one of the old-school games might give the proper vibe.  Related to this is ZeFRS, the free retro-clone version of TSR's Conan rules.

Shadow, Sword & Spell. I first learned about this system from Zach's posts on RPGBlogII, and I was so impressed by his comments about it that it was number one on my list to investigate at Gen Con last year. It's a human-centric sword-and-sorcery RPG with Howard, Lovecraft, Smith and Leiber as direct influences.

OpenQuest d100. I have experience with Basic Roleplaying as the system behind Call of Cthulhu, and its use in RuneQuest seems like a good system for pulp fantasy. OpenQuest is a project to create an open d100-based fantasy RPG using the RuneQuest SRD along with the best ideas from Chaosium's RuneQuest and Stormbringer.

Crypts & Things. A recent development from the folks that brought us OpenQuest; a Swords & Wizardry variant using house rules, changes and additions to promote a pulp fantasy feel to the game.

Maybe even Action Cards?

Plenty to think about...

Update: I forgot to mention Barbarians of Lemuria in the list above. I haven't read it yet, although it has received great reviews.

Saturday, April 09, 2011

Cult Classic of the Week: House (1977)

This week's review is a step outside my usual random picks. I had wanted to watch House for some time now, and as I was returning one disc to Netflix, I added House to my queue at #1 to get it in time for the weekend.

I've been a fan of Japanese film and pop culture for as long as I can remember. House was a hit sensation in Japan, although somehow I had never read anything about it until it was released on DVD and Blu-ray recently by The Criterion Collection.

I'm not sure if this is the strangest or weirdest film I have ever seen, but it may be in the top five. I'm not qualified to decide if it is the strangest film ever produced (I still haven't seen Jodorowsky's Holy Mountain yet). Somehow, I doubt it.

Here's the synopsis from Criterion:
How to describe Nobuhiko Obayashi’s indescribable 1977 movie House (Hausu)? As a psychedelic ghost tale? A stream-of-consciousness bedtime story? An episode of Scooby-Doo as directed by Mario Bava? Any of the above will do for this hallucinatory head trip about a schoolgirl who travels with six classmates to her ailing aunt’s creaky country home and comes face-to-face with evil spirits, a demonic house cat, a bloodthirsty piano, and other ghoulish visions, all realized by Obayashi via mattes, animation, and collage effects. Equally absurd and nightmarish, House might have been beamed to Earth from some other planet. Never before available on home video in the United States, it’s one of the most exciting cult discoveries in years.
That says it all, really. I especially like the part about being beamed from another planet. I've used that analogy before when talking about some foreign films, and that's how it felt sometimes watching Japanese giant monster films -- or Italian crime dramas, or Russian fairy tale movies -- late at night on out-of-town UHF TV stations. "What is this? Is anyone else seeing what I'm seeing?" It's comforting to see this as a response from someone else.

Is it a love story? Is it a cautionary tale? Is it nothing more than a fun haunted-house romp? I'm still not sure I can answer that. I found the film fascinating to watch, particularly the different camera tricks and special effects used, the music, and the editing. The first half of the movie seemed much more strange and unique. Perhaps, with the distance of time and all of the other films that have used House as inspiration, some of the later elements didn't appear as fresh to me. This is not a criticism of the movie itself, as I feel that a work should be judged in the context of the time it was created.

If you are looking for a unique film experience, enjoy Japanese film (particularly fantasy or horror), or are interested in film-making styles of the 1970s, take a look at House. I highly recommend the recently-created mini-documentary "Constructing a 'House'", featuring Obayashi and his daughter, included on the Criterion disc.


Thursday, April 07, 2011

Link Cleanup

I hope to have a chance this weekend to reorganize some of the site links on the left sidebar, which I've been wanting to change for a while. I will not remove any (and likely add more), only put them in more concise headings. I would also like to add a separate page with a gaming-related blogroll, however it doesn't appear that Blogger lets you drop widgets on a static page. I may have to dig deep for the coding and paste it into the HTML directly.
 
 

Sunday, April 03, 2011

Michael Gough, RIP

Although I'm late in commenting on this, I would be remiss if I did not mention that actor Michael Gough passed away on March 17th.

I'm prompted to do so because many of the news stories online have summed up his career with the phrase "...best know for his performance as Alfred the butler in the Burton/Schumacher Batman films..." That may be true in America and some other international markets, but he's also had a prolific and distinguished acting career on stage, screen and television.

His acting caught the eye of Sir Laurence Olivier, and he was cast in Olivier's film adaptation of Richard III, worked alongside Sir Alec Guinness in The Man in the White Suit and won the Tony Award for Best Actor in 1979. He could move from serious dramatic works to B-movies and back again. He appeared in many British horror films of the era, including his role as Arthur Holmwood in Horror of Dracula, the villainous D'Arcy in Phantom of the Opera, Horrors of the Black Museum, Konga, The Skull, The Curse of the Crimson Altar (The Crimson Cult) with Boris Karloff, Christopher Lee and Barbara Steele, The Legend of Hell House, and Dr. Terror's House of Horrors, among others.

On television, he appeared in Blakes' 7, The Avengers, Brideshead Revisited, Smiley's People, and several times on Doctor Who, most notably as The Celestial Toymaker.

In later years he appeared in the Batman films, Top Secret, Out of Africa, The Serpent and the Rainbow, The Age of Innocence, and Sleepy Hollow, just to name a few.

Thursday, March 31, 2011

Cult Classic of the Week: Eyes Without a Face (1960)

My experience with French cinema is fairly limited. I'm familiar with some of the main themes and leading filmmakers; I've seen some of the New Wave classics, like Breathless and Le Samouraï, and modern ones like Amelie. Still, I feel my knowledge of French film is lacking.

I'm grateful, then, that when I was researching Eyes Without a Face (Les Yeux sans Visage) I found film historian David Kalat's essay for the Criterion Collection DVD. Kalat covers the history of the film and the career of director Georges Franju, and some very good points about the French film industry at the time. It's a short essay, and recommended reading.

Eyes... follows the plans and experiments of a brilliant medical doctor, and his attempts to repair the horribly-scarred face of his daughter (in a car accident when he was driving) by transplanting the faces of unwilling young female donors. She is hidden away in his country house after having "escaped" from the hospital. One of the donors dies from her injuries and is dumped into the river by Dr. Génessier’s assistant. When her body is found, and the doctor is called in to identify the body, presumed to be his daughter, it's his chance to officially declare Christiane dead -- allowing him more time to perfect his transplantation techniques...

There are two points in Kalat's essay that I would like to elaborate on:
The key was in finding the right tone. Feuillade’s genius was in his affectless, matter-of-fact depictions of the wildest, pulpiest lunacy. Franju inverted the equation, while still juxtaposing the fantastique with the mundane, the impossible with the everyday. Franju was on record that “I’m led to give documentary realism the appearance of fiction.” Or, put another way: “Kafka becomes terrifying from the moment it is documentary. In documentary I work the other way round.” Any way you slice it, Franju was fixated on the seam between actuality and fantasy.
Part of what makes Eyes... so effective is this realism. I find the matter-of-fact, realistic style of film-making very compelling and unsettling, particularly for horror and suspense movies. It's the difference between The Blair Witch and Blair Witch 2, as an example. Eyes... doesn't flow in the same way as "horror" films from the time. Only the face transplant scene has any gore, and even then it's very tame by modern standards (looking more like grape jelly to me than blood). The film is much more ethereal with the ever-present darkness, fog and isolation. It adds to the effect of Dr. Génessier’s guilt and obsession. I think this is where we see some of the French film-making style in action.
Edith Scob had worked with Franju on Head Against the Wall in a small but memorable role, and the two became a team: Franju cast her in four more films after this one. Yes, Edith is beautiful and vulnerable, but beyond that she has an intangible air of mystery about her. Franju said of her: “She is a magic person. She gives the unreal reality.”
Scob's character Christiane is the key to the film. She drifts through the film as things happen around her, until the end when she acts, almost as an avenging angel, but gently.

In the U.S. Eyes... was cut slightly, evocatively re-titled The Horror Chamber of Dr. Faustus and run on a double-bill with the U.S./Japanese co-production The Manster.

Eyes Without a Face is available in an excellent special edition DVD from the Criterion Collection. This is the source of Netflix's streaming version, which is the method I used to watch it.


Saturday, March 26, 2011

Happy 80th Birthday, Leonard Nimoy!

Following on from Shatner's 80th this week, Leonard Nimoy turns 80 today. Although he was portrayed poorly with regards to a raise and increased creative influence on the Original Series, I've always liked Nimoy and I'm not alone in that. He projects professionalism in whatever project he is working on, and he's always been good to the fans; a real gentleman. One of my favorite non-Trek projects of his was the 1970s paranormal investigation TV show In Search Of... The credits music used to creep me out. Scary!

In the spirit of birthday wishes and good humor, take a little trip to the Shire for "The Ballad of Bilbo Baggins"...

Tuesday, March 22, 2011

Happy 80th Birthday, William Shatner!

I've been woefully behind on my blog reading and blog posting for over a week now. A double whammy of flu and an important project deadline has keep me from the interwebs. I almost neglected to post something for both William Shatner's birthday and International Talk Like Shatner Day:

VIDEO: Celebrities Honor Talk Like William Shatner Day

80 Reasons Why William Shatner Is Awesome

See Winners & Finalists For Int’l Talk Like William Shatner Day Video Contest

Tuesday, March 15, 2011

Japan Earthquake/Tsunami Relief

Some ways to help:

The Google Crisis Response page for the event lets you donate directly to the Japanese Red Cross.

Several Japanese popular culture writers, including Patrick Macias and August Ragone, are pointing to the Japan Society of New York's relief fund page, where "100% of your generous tax-deductible contributions will go to organization(s) that directly help victims recover".

On that same point, comics and animation writer Mark Evanier links to Operation USA, another organization who uses 100% of the donations for relief efforts.

DriveThruRPG and RPGNow are collecting $5 donations for the Red Cross.

Wednesday, March 09, 2011

The Comics Journal now online and the Frazetta family feud

This week, the new online edition of The Comics Journal went live. It's sad to see another long-running print magazine disappear from the rack, although in this case it's still going in another medium.

I was surprised to see that the lead story for the first online "issue" was a piece on the on-going turmoil between the children of artist Frank Frazetta. I've written about his work here save for the family troubles after his wife's death and his passing. The situation was just too fluid for me to get a handle on although I tried to read the ongoing articles from the Pocano Record website.

I was very glad to read Levin's article "Goodbye To All That" as it's one of the best summations so far of a confusing mess, and I consider it a must-read for anyone interested in Frazetta specifically or even 20th-century illustration in general. I liked the parallel with the Barnes Museum fiasco, the idea of artists' wishes for their works, and I also generally enjoy autobiographical pieces when the subject at hand is contrasted with the feelings and events in the life of the author. On the other hand, I felt, like many others, that it was lacking. The author disclosed his lack of knowledge about his subject and, although Levin seems to have done some good research, it was puzzling to me that a leading comic book industry publication would assign such an article to someone without further knowledge or contacts.

Be sure to check the comments. One can assume that what was expected from some of the readership for this article was a more objective and up-to-date journalistic piece. The tone and voice changed at several points in the article. The most recent event noted was the sale of "Conan the Destroyer" in July 2010. Any word on what has happened with the family or the artwork since then? That may be the reason for the disappointment.

I might also suggest that the author's opinion of Frazetta's work may have discouraged some readers. For myself, I was taken aback by this comment:

"There was no indication that, even in his private moments, Frazetta accessed the quirky, personal corners of the mind that, for me, made art tingle."

Certainly the author is entitled to his opinion, but I'm not sure that the samples shown on the museum website should be representative of the artist's work as a whole. And these qualities were not seen in the published materials consulted for the article?

The books consulted for this piece may also play a role here. The original Ballantine collections are good, but, aside from the documentary DVD (2003), the most recent book in the list was published in 1994. The three volume retrospective from Underwood published from 1998 to 2008 should be the beginning point of any serious look at Frazetta's life and work.

Tuesday, March 08, 2011

del Toro closes down "Mountains of Madness"


Just read on The Digital Bits this evening that Guillermo del Toro has withdrawn from negotiations with Universal Pictures over his production of H.P. Lovecraft's "At the Mountains of Madness". Check the article for details; the short answer is that they didn't want the likely "R" rating.

GDT and Peter Jackson are probably the two A-list director/producers who have the vision and the clout to do justice to "Madness", or any Lovecraft stories. Hopefully he gets another studio to greenlight the project.

Like Bill Hunt at the 'Bits, I'll wish Universal well with their big-budget adaptation of Battleship...

Friday, March 04, 2011

Happy GM's Day!

There aren't many single special days or "holidays" in this gaming hobby of ours -- convention season, Free RPG Day, new product day each week at the local store -- but there is one event that began fairly recently. GM's Day started out through postings on ENWorld and soon spread throughout the online gaming community. The date of GM's Day coalesced around the anniversary of Gary Gygax's passing.
 
Be sure to check out some of the sales at DriveThruRPG/RPGNow this weekend:
 
 
And if you're not a GM, what better time to start than now? 
 

Tuesday, March 01, 2011

Cult Classic of the Week: The X from Outer Space (1967)

[Finally, the first kaiju eiga in this series.]

Shochiku was one of the major studios in Japan. They specialized in the naturalistic style of Yasujiro Ozu and their biggest successes were the Tora-san traveling salesman comedies. In the mid-1960s, most of their production was focused on television. Their motion picture output lagged behind other studios and they didn't take many chances.

Shochiku missed the science-fiction/giant monster boom of the late '50s and the '60s that Toho and Daiei Studios cultivated. Their first foray into the genre, Giant Insect War (a.k.a Genocide) in 1967 was a disappointment. The only insects were a swarm of bees, and they weren't giant bees. Still trying to break into the sci-fi genre, they followed up with Uchu Daikaiju Guilala, known internationally as The X From Outer Space.

In the near-future (a future with space travel and a moonbase, but also mid-60s Volkswagen Beetles), six Mars missions have gone missing. A seventh mission is sent in the most advanced ship available. The crew encounters a UFO near the moon, and the ship's doctor takes ill. They take a side trip to the moonbase to exchange doctors, then continue on towards Mars. The UFO makes a return appearance and fires glowing goo at them which sticks to the ship. The team's German biologist, Lisa, makes a spacewalk with the pilot to retrieve samples, and they turn back to Earth to avoid the UFO. The egg-like sample melts a hole in the laboratory floor, and soon it grows into a monstrous creature which roams the countryside looking for energy sources to absorb. A recently-discovered element on the moon prevents energy absorption. Can the crew of the AAB-Gamma get to the moon and return in time before Tokyo is destroyed?

The X From Outer Space has a certain goofy charm. It will probably appeal more to those who remember growing up watching movies like this on TV. Don't expect logical progression in the story or the best special effects from the era. This was director Kazui Nihonmatsu's first film. He co-wrote it with two novice screenwriters. Some events in the film are explained in quick single lines of dialogue. Other times a scene is set up between the rocket base director and the German nuclear scientist just for the purpose of exposition. Often it seems that something important might have been left on the cutting room floor. There is a love triangle set up between the ship's pilot, the biologist, and Michiko, a crewmember from the moonbase. Initially Michiko is very cold to Lisa, but then all of a sudden they are fast friends. The UFOs are never explained.

The moonbase seems more like a Hilton hotel rather than a working scientific base. The crew arrives just in time for happy hour at the cocktail lounge. Later when the crew returns successfully to Earth, the German nuclear scientist at the rocket base invites everyone to his house for a celebratory party. It's a very social movie. The upbeat theme song, repeated throughout the film, fits the jazzy lounge mood.

It takes 45 minutes for the giant monster Guilala to make its appearance. The movie perks up then, and it's enjoyable kaiju action but not at the level of a Toho or Daiei film. The monster suit is well done and an interesting design. Some of the other miniatures (planes, tanks, etc.) are less effective. Two of the crew members use the rocket base's nuclear fuel as a decoy to lure Guilala away. The chase scene, with a jeep and trailer being followed by the monster, is totally unrealistic (for a giant monster film...) with the changing scale of Guilala's claw, but it fits the bizarre feel of the movie.

American-International picked up the film for U.S. distribution but it went directly into their television syndication package. It would be a mainstay of late-night and Saturday afternoons for years.

Fun and enjoyable films would continue to be made into the 1970s, but the "golden age" of the daikaiju eiga was nearing the end. The last Toho monster film of the '60s directed by Ishiro Honda, Space Ameoba (Kessen Nankai no Daikaiju, a.k.a Yog, Monster from Space) would be released in 1970. Toho's special effects master, Eiji Tsuburaya, had already passed away. Later, Shochiku would release the cult classic Goke: Body Snatcher from Hell. Another of the majors, Nikkatsu Studios, created their one and only kaiju film,  Gappa, The Triphibian Monster (Monster from a Prehistoric Planet), in 1968.



The X From Outer Space was released on a full-frame VHS tape by Orion. It's available in Japan on DVD. I watched the non-anamorphic widescreen Japanese version with the international English dubbing. There is a version out there with the AIP-TV English dub, and I think that might be the preferred way to watch this.



Sunday, February 20, 2011

Another Lulu.com coupon code

Another code, this time for Lulu's "birthday"; 20% off any order, or 25% off an order over $500. The code expires right at midnight tomorrow (Monday).

Enter coupon code HAPPY305 at checkout and receive 20% off your order. The maximum savings for this offer is $100. Enter coupon code BIRTHDAY305 at checkout and receive 25% off your order of $500 or more. The maximum savings for this offer is $500. Sorry, but these offers are only valid in US dollars and cannot be applied to previous orders. You can only use these codes once per account, and unfortunately you can't use these coupons in combination with other coupon codes. These great offers expire on February 21, 2011 at 11:59 PM.
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Thursday, February 17, 2011

Cult Classic of the Week: Horror Express (1972)

On an expedition to Szechuan, China, in 1906, Dr. Saxon (Christopher Lee) finds what he believes to be a missing link -- an ape-man, thousands of years old, frozen in an icy cave. The "fossil", as Saxon describes it, is crated up for a trip back to England. But people begin to die around the crate at the station even before it's loaded onto the Trans-Siberian Express...

"The two of you together... that's fine. But what if one of you is the monster?"
"Monster? We're British, you know."

Peter Cushing is one of my favorite actors, but I haven't studied much about his personal life. Both of his autobiographies are still in print and I plan to read them at some point. Two things I do know about him: 1) So far, I haven't read a disparaging word about him by anyone with whom he worked. He truly was "the gentle man of horror", and 2) he didn't really recover after the 1971 death of his wife Helen.

Horror Express was the first film he made after this loss. According to the DVD liner notes, Cushing informed Bernard Gordon, the producer, that he wouldn't be able to do the film on the same day that he arrived in Spain for shooting. Gordon spoke with Christopher Lee. At the hotel that night, Lee monopolized the conversation between the three men, trying to put Cushing in a good humor and not let him have an opening to voice his concerns. Lee followed up his farewells with "See you at work tomorrow, Peter," and filming began the next day. The two would remain close friends until Cushing's death in 1994.

There isn't much pointless exposition in the film; things happen quickly aboard this train. There are a few leaps of logic here and there. Dr. Saxon's belief that the frozen fossil is now alive and killing people turns on a dime when confronted by Cushing's character Dr. Wells. Overall, however, the story is quite good, taking some cues from John W. Campbell, Jr.'s story "Who Goes There?", also filmed as The Thing From Another World (1951) and The Thing (1982), with an alien creature frozen in the ice and able to move from body to body, stealing memories as it goes.

The script takes the story deadly serious, but there are some great moments that give a nod to, and celebrate, the previous horror films of Cushing and Lee. They seem to be enjoying their time in this production and it shows in their work, particularly their line delivery (as in the quote above). Dr. Wells' assistant has some of the best sarcastic quips. Note also the cuts between scenes of a character cutting steak and the autopsy of the baggage clerk. It could play as a parody of the genre, but the talent involved in front of -- and behind the camera -- raise it more to the level of homage. The duo also shares more screen time together here than in almost any other.

The film was produced by Scotia International, a US-UK production company that made several movies in Spain, mostly westerns. It was a low-budget film even then ($300,000) and some of that shows on the screen at times, but there was also some innovative and creative work done with this production. The makeup for the victims of the monster required custom-made all-white contact lenses. Red plastic lenses with lights inside were fitted over the eyes of the actors playing the characters possessed by the monster, and the lights were activated by a technician on the set.

There are some genuinely creepy shots in the film, and the environment of the characters being isolated on a speeding train rolling through a winter wasteland heightens the effect. The train car sets were left over from the production company's version of Pancho Villa filmed prior to this, with Telly Savalas in the title role. All the scenes set in a particular train car were filmed at once, then the car was redressed as another car for more scenes. The miniature train and its tracks were re-used as well, to spectacular effect in the final scene.

There are two interesting moments that I want to highlight. Dr. Wells is shown having dinner in the dining car with a stowaway (later revealed to be a spy), but also with a faraway look in his eyes. She mentions that her glass is empty, bringing him back into the moment. "Forgive me, my mind was elsewhere." She asks, "What is it?", to which he replies, "Sorry, I can't tell you." We believe that it's the murdered baggage clerk and the monster on the loose that are on his mind, but I can't help but think that it is also Cushing's grief over his wife that shows through in this scene.

Lee's character, Dr. Saxon, develops over the course of the film, although in staggered steps. At the beginning of the film he is stoic, single-minded of purpose in the cause of scientific discovery. In conversations with Countess Pretrovski over the course of the film, we see him develop a soul. He realizes that he "doesn't care as much as he should" about the deaths that have occurred. By the end of the film, when the creature (in the body of a Rasputin-like monk) offers him knowledge, the history of the planet that the creature has acquired over the years, if it is released, Saxon understands that life is more important than scientific discovery.

I watched the out-of-print 1999 Image DVD of the film. Horror Express is in the public domain, and has been the subject of many low-quality VHS tapes and dollar-store DVDs. "Digitally mastered" doesn't mean restored, however. This has been the best presentation so far but the print used has some scratchy moments, and the DVD is in non-anamorphic letterbox. There are three pages of liner notes in the snapper case, and on the disc are text filmographies for both Lee and Cushing. The one real extra is a good one: the isolated music and sound effect audio track. Many European films made at this time did not record audio on set, with the actors (or other voice actors) dubbing in their lines later. Lee, Cushing and Savalas dubbed their own characters for English-speaking markets.

Severin Films is currently restoring a film print for eventual release on DVD and Blu-ray. It can also be found on YouTube (with ads or without) and the Internet Archive in various file formats. Hulu has it but apparently the film cuts off after 59 minutes...

Tuesday, February 15, 2011

Happy (Belated) Birthday, Bruce Timm

I didn't realize until this weekend that February 9th was the fiftieth birthday of comic artist and animation designer Bruce Timm. He has been involved in animation as an artist, writer, director and producer going back to Blackstar in 1981, but he is probably best known (and justifiably so) for his work in character design for Batman: The Animated Series beginning in 1992.

His sparse, angular retro-1960s style is extremely influential in both animation (The Incredibles is one example, also any of the other DC/Warner Brothers animation that has followed Batman) and comic book art. He can create tone, mood and action using a low level of detail, very similar to a couple of my other favorites, Alex Toth and Jack Kirby. I'm not an artist, but I believe this is referred to as "economy of line". Compare this to artists such as Todd McFarland or Jim Lee, who will fill a panel with an abundance of lines and detail to achieve the same effect. I find Timm's work just much more stylish.

Best. Team-Up. Ever.

What I love about his work is that it's timeless and still rooted in history. He know the history of the characters that he draws and uses it to great effect while still bringing a freshness to the work. He's influenced by many of the same things that I find appealing: comic books, movies, movie poster art, animation, monsters, pin-up art, and pulp fiction.

If the Avengers movie is half this entertaining...

Bruce Timm does not appear to have an official site or any real presence on the web despite his popularity. Not surprisingly, there are quite a few pages where his work is posted. A few highlights:

Fifty-one favorite Bruce Timm illustrations
A Halloween-themed post with many of Timm's monster-related art
Gallery at Comic Vine
The ladies of Bruce Timm's art (site NSFW)
Comic Art Fans gallery (some art NSFW)
A site whose name is probably NSFW...

Saturday, February 12, 2011

Making D&D 4e Fun (link)

...not that it isn't fun right now. I'm sure it is. I haven't had the experience of playing the Fourth Edition rules yet but I've read through parts of it. The Dungeon Delve book is a great idea. My only experience of actual play comes from the flamewars discussions about it that I've read online. Some people love it as a great new method of play with low prep and easy player buy-in, others decry it as a complete sell-out to the MMORPG way of play and short attention spans, a betrayal of "role-playing" in favor of "roll-playing".

The situation isn't helped when even WotC doesn't know how to market the line. What is "Dungeons & Dragons" today? Is it the three core books? Is it D&D Essentials? If the Starter Set is intended for people who have never played before, why use the nostalgia factor of the Mentzer Red Box artwork and trade dress?

Beyond these questions, on the actual subject of playing, The Chatty DM recently wrote about a D&D Essentials game that he ran for a group of media professionals working on geek-related TV shows and/or websites (part 1, part 2). Most of them were new to tabletop gaming. It turned out to be one of his best D&D games due to the energy level of the players, his design decisions, and some ideas that he incorporated into the game (one idea from Burning Wheel). It isn't necessarily about the mechanics, it's about play style and having fun.

Tuesday, February 08, 2011

Free Issue of Kobold Quarterly -- Ends Today

The good folks at Kobold Quarterly magazine are offering a free PDF copy of issue 11. The offer ends today. Enter the KQ store, drop issue 11 in your cart, then use the coupon code KQ11Gift. Kobold Quarterly has in many ways taken up the mantle of default RPG print magazine since the demise of Dragon, and is worth checking out. 

Thursday, February 03, 2011

Cult Classic of the Week: The Abominable Dr. Phibes (1971)

Dr. Anton Phibes, genius, holding advanced degrees in theology and music (a world-famous organ player) was presumed dead, killed in an automobile accident. But if that were true, then who is killing the doctors who worked on his deceased wife?

The Abominable Dr. Phibes was Vincent Price's 100th film, and the last film he appeared in for American-International Pictures. Filmed in England, it it is set in the mid- to late-1920s, but there is also a contemporary look to the sets. The art direction of the Art Nouveau sets and the costuming is reminiscent of the Twenties as seen through the prism of the early Seventies, with that Swinging London vibe. I'm not sure if floor-to-ceiling mirrors were in vogue at the time.

Price ends his run with AIP with a bang, and he heavily chews the scenery here, even if the character really doesn't "say" anything, as it were. Phibes takes his revenge on the medical team who treated his wife (what the surgery was for is never mentioned) by using his theological knowledge -- each murder is a meticulously-planned recreation of the Plagues of Egypt.

When Phibes leaves a clue to that effect at the scene of one of the murders, Scotland Yard begins to put the pieces together. This is an interesting part of the editing. We follow Phibes as he plans, carries out, and celebrates each murder, then we cut back to follow the police investigation. I haven't timed it out but the movies feels almost like two separate films in that respect.

Although these are senseless, murderous acts, we feel some sympathy for Dr. Phibes. He seems to be fully in command of the situation, his brilliant mind always several steps ahead of the hapless police. I think that might be the preferred reaction, as it really only works as a black-comedy/horror film. I'm a huge fan of Mr. Price, but I think I still prefer many of his other films over this one. Still, it's only a personal observation, as this is one of the landmark films of the horror genre, and can be seen as a progenitor of the "deathtrap" horror film, eventually leading to the Saw franchise. Two years later, Price starred in another British production, this time for United Artists, Theatre of Blood, with a similar premise: an actor shunned by the critics for a Best Actor Award in his final season has his revenge by killing them in methods based on various Shakespearean plays.

Bonus cult movie fact: The photos of Phibes' wife are of the uncredited actress Caroline Munro.

I watched the MGM Midnite Movies disc with the trailer being the only extra feature. It was later released as a Midnite Movies double-feature with the sequel, Dr. Phibes Lives Again!, and the same double-feature disc was included in the Vincent Price MGM Scream Legends box set.

Wednesday, February 02, 2011

Snow Day Fun -- Simplified D&D for Kids

Kaiju's lair is covered over with snow drifts from our latest snow storm. If you have a snow day like us, and have little ones at home (or even big ones that are little kids at heart), check out Jimm Johnson's simplified rules for Dungeons & Dragons for young children. It seems more like a board game, and he used Dwarven Forge cavern terrain for the dungeon layout. Looks like fun!

Saturday, January 29, 2011

Housekeeping

I have added a few links  to nearly all of the left sidebar categories and trimmed a dead link to Gaming Report. The site was purchased by Scrye Magazine several years ago, then by Comic Buyer's Guide who promptly killed it. Alas, it once was a great one-stop-shop of gaming news.

Here's one of my favorites from the new links. Take a look at this blast from the past. I like to imagine them drinking Manhattans and listening to Xavier Cugat or Esquivel on the hi-fi.

Sunday, January 23, 2011

Howard's Sword Woman and Other Historical Adventures

In the previous post I neglected to mention that the next volume in Del Rey's Robert E. Howard Library is out this coming week.

Sword Woman and Other Historical Adventures collects the majority of Howard's medieval-era historical fiction stories, poems, synopses and fragments. Some of the earlier Celtic hero stories are not part of this collection, so there's a hope that they might be included in a future Del Rey volume (or a collection from the Foundation, at least). A list of contents can be found at REHupa.

From the publisher's description:
The immortal legacy of Robert E. Howard, creator of Conan the Cimmerian, continues with this latest compendium of Howard’s fiction and poetry. These adventures, set in medieval-era Europe and the Near East, are among the most gripping Howard ever wrote, full of pageantry, romance, and battle scenes worthy of Tolstoy himself. Most of all, they feature some of Howard’s most unusual and memorable characters, including Cormac FitzGeoffrey, a half-Irish, half-Norman man of war who follows Richard the Lion-hearted to twelfth-century Palestine—or, as it was known to the Crusaders, Outremer; Diego de Guzman, a Spaniard who visits Cairo in the guise of a Muslim on a mission of revenge; and the legendary sword woman Dark Agnès, who, faced with an arranged marriage to a brutal husband in sixteenth-century France, cuts the ceremony short with a dagger thrust and flees to forge a new identity on the battlefield.

Lavishly illustrated by award-winning artist John Watkiss and featuring miscellanea, informative essays, and a fascinating introduction by acclaimed historical author Scott Oden, Sword Woman and Other Historical Adventures is a must-have for every fan of Robert E. Howard, who, in a career spanning just twelve years, won a place in the pantheon of great American writers.
In particular, I'm most interested in "Blades for France" and the other Dark Agnes stories, and finally reading "The Shadow of the Vulture", about the Siege of Vienna. This is the story with the character Red Sonya of Rogatino, whose name and red hair was the basis for the Marvel Comics character Red Sonja.

I'm not too sure about the cover painting, but the samples I've seen of the interior illustrations look great.

Friday, January 21, 2011

Happy Birthday, Two-Gun Bob!

Saturday marks the 105th anniversary of the birth of pulp writer Robert E. Howard. It has become a tradition on this date for Howard fans to read a favorite story and toast to his shade with a favorite beverage.

It's hard to go wrong with any of the stories, and there should be one to suit your preference: sword and sorcery, hard-boiled detectives, weird horror, historical fiction, boxing, westerns, pirates and sword-wielding puritans. One of my favorites that I often choose for a birthday reading is "Worms of the Earth", a story of Bran Mak Morn, last king of the Picts, and a weapon "to terrible to use, even against Rome". It's available in many publications but I would suggest the text found in Del Rey's Bran Mak Morn: The Last King.

For more information on his life and career, start with the following sites:

I would also recommend Mark Finn's Howard biography, the Locus and World Fantasy Award-nominated Blood and Thunder: The Life and Art of Robert E. Howard. An expanded edition is due this year from the REH Foundation.

Wednesday, January 19, 2011

Cult Classic of the Week: Black Sunday (1960)

Much like Kurosawa, Mario Bava made his early reputation by ghost-directing films for more prominent directors. He started as a cameraman and director of photography. His first major directing jobs came when he directed part of Hercules (1957) and most of Hercules Unchained (1958).  Riccardo Freda tricked Bava into taking over directing duties on Caltiki the Immortal Monster, and the producer rewarded Bava's good work by allowing him to choose his own film for his official directorial debut. That story became The Mask of Satan, better known by the American-International Pictures release title of Black Sunday.

I grew up watching horror and science-fiction movies on TV. I was well-versed with the standards shown in late-night and Saturday afternoons. Black-and white Universal monster films, giant bug movies of the 50's, the color Poe films that Roger Corman made for AIP -- it was a rare treat to catch one of those -- Godzilla (of course) and even the oeuvre of Edward D. Wood, Jr. It wasn't until I discovered a copy of Cult Movies Magazine (either # 5 or 6) in a bookstore around 1991 that I really started reading about and studying this strange and wonderful world of movies outside the mainstream, and that included learning about the works of Mario Bava.

It's surprising just how prolific Bava was. In addition to Black Sunday, highlights of his directing career would include Hercules in the Haunted World (1961), Black Sabbath (1963), the first true Italian giallo Blood and Black Lace (1964), Planet of the Vampires (1965), Kill, Baby...Kill! (1966), Danger: Diabolik (1968), and Baron Blood (1972). The filmography on the DVD suggests that the full extent of his fill-in work still continues to be discovered.

Black Sunday answers the age-old question: If you are a doctor, a professional, and you know that the coffin that you find in a crypt has a window on it so that the corpse will forever see the stone cross standing above it, do you just leave the coffin alone if you accidentally break the cross? What if you reach into the coffin to pull off the mask that has been hammered onto the face and, in doing so, you leave behind enough blood on the broken glass to bring the corpse back to life?

Bava intended to film Nikolai Gogol's story "The Vij", but little remains of the original story. Instead we have family curses, cobwebbed castle corridors, villagers with torches and pitchforks, and witches brought back to life, acting more like traditional vampires. Instead of a stake through the heart, they get a stake in the eye!

The atmosphere of the film is a mix of the Universal Monster and the British Hammer movies: lots of old, dark castle and crypt scenes with unexpected gore. It's a bit of a surprise to see a spiked mask hammered onto the face of a witch (with the resulting blood spurts), or tiny scorpions crawling out of a corpse's empty eye sockets. Tame by today's standards, but shocking enough to be trimmed from the AIP release (and you couldn't use "Satan" in the title, either). Bava's familiarity with the camera is on display here. Even at this early point in his career the shots are composed beautifully, and there is a great 360-degree pan around the crypt in the ruined chapel.

This is the film that started Barbara Steele's career in horror films. She's quite popular as the first real "Scream Queen" of horror movies, but I must admit that I'm not that familiar with her work other than The Pit and the Pendulum.

I watched Image's 1999 DVD release of the original Italian director's cut with English dubbing. It includes three pages of liner notes and an audio commentary by Video Watchdog Magazine's Tim Lucas, who is the foremost authority on Bava and literally wrote the book on him.

Update: Kino Lorber released a new edition of this film on DVD and Blu-ray in September 2012.

Tuesday, January 18, 2011

Cult Classic of the Week: An Introduction

This is one of those new blog features that I mentioned around New Year's Day. My main purpose was to find another way to talk about movies I'm interested in. Also, I wanted a system for making decisions on what movies to watch.

I was inspired to try this because of two items I read recently. At the end of last year, I discovered a fairly new blog on horror and other genre films, From Midnight, With Love. I appreciate The Mike's sense of humor and his writing about film, but my favorite part is his Midnight Movie of the Week posts. A weekly review is a great format and a schedule that I could perhaps keep up with. "Midnight Movie of the Week" is such a perfect title for what I have in mind, but I don't want to steal it.

Second, there was a posting on the Home Theater Forum titled "How do you decide which DVD to watch from your collection?" This might seem like a silly question but I understand exactly what the initial post author means when he asks it. Often when I have the time and the inclination to watch something, I look at the shelves and have "decision paralysis". Usually I'll watch a DVD because it came up in a conversation, or we were reminded of it by a news item (as in the case when we watched Forbidden Planet after Leslie Nielsen passed away), or it's a new DVD that I just purchased. I'm a collector, so I have DVDs of favorites because I enjoy owning them and watching them whenever I like. Deciding which one to watch, however, can be difficult as I tend to revisit some discs and neglect others.

The solution? Leave it up to chance! First, I'll roll a d6 to see if the movie is from my DVD collection or from Netflix. Next, I'll check a list of random letters to choose the title. I used the random letter generator at Random.org to make a list of two-letter character strings in Excel. For the second letter of the string, I chose only the more frequently used letters. I didn't think that any film titles would start with "Zq".

There's a certain amount of fudging that will probably go on. I'll look for the film title that's the closest to the random letters, but it is not an exact science. It will depend on what titles are available, and if that film meets my criteria for a cult classic.

I haven't found a satisfying definition for "cult movie". It's a very subjective term. To paraphrase Judge Stewart, I know it when I see it. The definition that Peary used in his landmark book on the subject was a movie that is taken to heart and championed by segments of the movie audience. That's part of it, certainly, but to me that is incomplete. It may have been true in film studies of the 70s and early 80s, but since then I think that a more specific definition is in order, one that includes the relative obscurity or strangeness of the film. Look at the list of movies from his book and ask yourself what you would consider to be a "cult movie". I Married a Monster from Outer Space? Pink Flamingos? Caged Heat? Definitely cult movies. Singing in the Rain? The Searchers? The Wizard of Oz? I'm not so sure.

There are films in my collection that I love, that are considered classics, but not necessarily "cult classics". For this project, I want to shine a light on more obscure titles, the sort that the average person on the street wouldn't know about. So it's a random choice to a point, but then I might need to move one way or another on the shelf, or in the Netflix Instant search box, to find the right title.

Because of the open-ended nature of this project, I'm hoping to avoid the problem of not being able to finish, as was the case with my 100 Films in 100 Days project. I'll do my best to review a movie each week although it won't disrupt the schedule if I need to catch up later. "Review" might be a strong word for it. They may not be as detailed as my Green Slime DVD review, but I hope to cover some history and my own general impressions about the movies that I watch. I might entertain requests, too.

Saturday, January 15, 2011

Arrrrr! Treasure from Lulu.com

Another code, this time a pirate treasure theme (maybe a chance to buy a Freeport book) with 20% off any order:

Enter coupon code TREASURE305 at checkout and receive 20% off your order. The maximum savings for this coupon is $100. Offer good towards print costs only - shipping and tax amounts are excluded. You can only use the code once per account, and you can't use this coupon in combination with other coupon codes. This great offer ends on January, 17 2011 at 11:59 PM so try not to procrastinate!

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Thursday, January 06, 2011

Best DVDs of 2010

I didn't personally see enough of the films or DVDs/Blu-rays released last year to competently comment on the best of the year. I'll leave that to the professionals:

Adam Jahnke's "The Best Discs of 2010"

Adam Jahnke's Best and Worst Films of 2010

DVD Savant Picks the Most Impressive Discs of 2010

2010: The Year They Finally Got Blu-ray Right

And a bonus: DVD Savant's 2011 DVD Wish List

After a couple of years with few real gems, it's heartening to see so many great discs released in the year that streaming video was labeled "the death of the disc".

To any "Best of 2010" DVD list I would add Vampire Circus and The Green Slime (Stuart Galbraith IV's review), but that's just me.

Tuesday, January 04, 2011

A phrase for the New Year

With the start of the new year, I thought about writing a recap of last year with some ideas for this one, but I could probably write the same post that I did last year at this time without many changes. I do have a few ideas for new blog features that I'm still thinking through.

Instead, I would like to point you towards a posting from Fred Hicks (via Stargazer's World) with a simple but profound message: Play More. Run More. Share More.

Tuesday, December 28, 2010

Yet another Lulu coupon

I missed the 25% off coupon from Christmas Day, but here's another:

Enter coupon code WINTER305 at checkout and receive 25% off your book order. The maximum savings for this coupon is $50. Offer good towards print costs only - shipping and tax amounts are excluded. You can only use the code once per account, and you can't use this coupon in combination with other coupon codes. This great offer ends on January, 5 2011 at 11:59 PM.