Film. Motion or still. Those who make film with a passion. Those who make music with a passion. Those who drink good vodka. Those who find common sense not so common anymore. Lighting location and studio for CageXXI Enterprises, Inc. Collecting live shows from Zeppelin, Gary Numan, TOOL, Blondie, DEVO, Cheap Trick, any Aussie punk and so on... the tradelist continues to grow and in strange directions I might add. Finally, being a big horror fan, both in literature and film alike.....Here are some pieces and parts from my past which are still cherished today including adverts just for the kid in you. And so the love for film and horror begins...For thousands of kids growing up in the Metro Detroit area in the late '60's to the early '80's, Saturday afternoons at 1:00 were a time for TV monsters, ghouls, ghosts and diabolical doctors. However, most of all it was time for Sir Graves Ghastley. In darkened living rooms, bedrooms and basements all across Michigan, Ohio and Canada; Detroits own vampire implored us weekly to turn out the lights, pull down the shade, draw the drapes and find that safe spot in front of the telly to watch shear horror. And watch we did~ For 15 years we watched Sir Graves Ghastley on local CBS affiliate station WJBK 2 in Detroit for all the monster mayhem he could possibly let loose on young viewers eyes and senses. Our vampire, Cleveland born Lawson Deming quickly became a local household name and local television legend and will simply not be forgotten. From 1967 to 1983, we were given the finest of movie scares and that will never be forgotten. Thank you Lawson for giving your all and making some of us a part of the film industry due to your love of the horror film, the studio, and the program you loved so much. One day I will create a program in memory of childhood frights and I've just the crew to put such material together.... Here, you may try any door you like. Feel free. No promises what may await you in the shadows.
I'd like to meet:
Those that follow in the world of black and white. And those that follow in colour as well. Simply some of my favorites in no particular order.
Noting the importance of certain actors as well as directors, one must never dismiss the importance of Hammer Horror and when and where it began. These films and those involved issued a resurgence of the monster in each of us and their work will never be forgotten. Thank you Hammer Horror for giving the art and the gothic stories a new and fresh twist and for making our dreams even darker. Sit back and enjoy the British method of monster making. Enrique Carreras and William Hinds founded Hammer Films in 1932, but it was their respective sons, James and Anthony, who would make its name with the production of Nigel Kneale's BBC series, The Quatermass Xperiment (d. Val Guest, 1955). The success of this film encouraged the young producers to seek out another fantasy production, and the out of copyright Frankenstein seemed an obvious choice.
The resulting film, The Curse of Frankenstein (d. Terence Fisher, 1957), was the most important horror film since Universal's Dracula (US, d. Tod Browning, 1931). Its contemporary impact was immense; it was the first horror film in colour, and its critical reception was savage. Nonetheless, the public flocked to see it, and Hammer followed it up with its natural successor, Dracula (d. Terence Fisher, 1958).Fisher's direction and Jimmy Sangster's scripts were the driving force behind Hammer's initial flourishing. Fisher's eye for gothic romanticism and the overtly sexual themes he implied with his visuals broke new ground, and his productions of The Mummy (1959), The Curse of the Werewolf (1960) and his masterpiece, Dracula, are now widely considered superior to the 'classic' Universal movies.
If Fisher was the artist, Sangster epitomised the company's acute commercial awareness, writing Taste of Fear (d. Seth Holt, 1960), a Psycho (US, d. Alfred Hitchcock, 1960) rip-off intended to cash in on that film's box office success. This initiated a series of black and white psychological dramas that ran parallel to Hammer's gothic output, including Maniac (d. Michael Carreras, 1962) and Paranoiac (d. Freddie Francis, 1962) and finishing with The Nanny (d. Seth Holt, 1965).Hammer's early success would not have been possible without Peter Cushing and Christopher Lee, the pre-eminent horror film actors of their generation. Their revolutionary performances are most evident during Dracula, in which Lee's innately sexual presence contrasts superbly with Cushing's austere demeanour, and this natural opposition allowed Hammer to use them as ciphers for changing social values throughout their careers.Interestingly, Hammer wore its Englishness on its sleeve, and by the mid-60s was explicitly locating its gothic horror in idealised Victorian towns, using its quaint country house studio at Bray as the backdrop. The Reptile, Plague of the Zombies (both d. John Gilling, 1966) and The Witches (d. Cyril Frankel, 1966) all possess distinct national traits, but unfortunately, the relatively poor box office of these productions in comparison with Fisher's Dracula - Prince of Darkness (d. Terence Fisher, 1966) led to the company sticking to its Dracula and Frankenstein staples until the early '70s.In 1968 the studio received the Queen's Award to Industry, and began to draft in new directors like Peter Sasdy and Brian Clemens to revive the company product and continue its success. Sasdy's output is particularly impressive, with his features Taste the Blood of Dracula (1969) and Hands of the Ripper (1971) standing up well against Fisher's best work. Hammer's other tactic in this period was to introduce sex, as was becoming popular in the work of European horror directors like Jean Rollin and Jess Franco. Roy Ward Baker helmed the first of what would become the 'Karnstein trilogy', The Vampire Lovers (1970). These films also instigated the second great wave of Hammer stars, which included Ingrid Pitt, Valerie Leon and Linda Hayden, all of whom were more flagrantly sexual than Hammer's '60s actresses, such as Barbara Shelly and Jacqueline Pearce.However, this policy was unsustainable, and by the mid-70s the combined force of US films such as Night of the Living Dead (d. George Romero, 1968) and The Texas Chainsaw Massacre (d. Tobe Hooper, 1974) had pointed the way forward for horror. Even in Britain, the work of Michael Reeves, N. J. Warren and, particularly, Pete Walker destined Hammer to an early grave.Despite ceasing horror film production with To the Devil a Daughter (d. Peter Sykes, 1976), the studio resurrected itself in the early 1980s with the TV series Hammer House of Horror (ITV, 1980-81), featuring several directors and writers synonymous with the company. The demands of small screen production revived much of the atmosphere of Hammer's early period at Bray, and the resultant success of many of these episodes, both artistically and commercially, led to the subsequent Hammer House of Mystery and Suspense.
Peter Cushing Filmography:1. THE MAN IN THE IRON MASK (1939)
2. A CHUMP AT OXFORD (1940)
3. LADDIE (1940)
4. VIGIL IN THE NIGHT (1940)
5. THEY DARE NOT LOVE (1941)
6. HAMLET (1948)
7. MOULIN ROUGE (1952)
8. THE BLACK KNIGHT (1954)
9. THE END OF THE AFFAIR (1955)
10. ALEXANDER THE GREAT (1956)
11. MAGIC FIRE (1956)
12. TIME WITHOUT PITY (1956)
13. THE ABOMINABLE SNOWMAN OF THE HIMALAYAS
* aka: ABOMINABLE SNOWMAN (1957)
14. THE CURSE OF FRANKENSTEIN (1957)
15. HORROR OF DRACULA/DRACULA (1958)
16. REVENGE OF FRANKENSTEIN (1958)
17. THE HOUND OF THE BASKERVILLES (1959)
18. JOHN PAUL JONES (1959)
19. MANIA (1959)
* aka: THE FLESH AND THE FIENDS
* aka: THE PSYCHO KILLERS
20. THE MUMMY (1959)
21. THE BRIDES OF DRACULA (1960)
22. THE RISK (1960)
23. SWORD OF SHERWOOD FOREST (1960)
24. TROUBLE IN THE SKY/CONE OF SILENCE (1960)
25. CASH ON DEMAND (1961)
26. THE NAKED EDGE (1961)
27. THE MAN WHO FINALLY DIED (1962)
28. NIGHT CREATURES/CAPTAIN CLEGG (1962)
29. EVIL OF FRANKENSTEIN (1964)
30. THE GORGON (1964)
31. DR. TERROR'S HOUSE OF HORRORS (1965)
32. DR. WHO AND THE DALEKS (1965)
33. SHE (1965)
34. THE SKULL (1965)
35. DALEKSùINVASION EARTH 2150 A.D. (1966)
36. ISLAND OF TERROR (1966)
37. FRANKENSTEIN CREATED WOMAN (1967)
38. BLOOD BEAST TERROR (1968)
39. CORRUPTION (1968)
40. TORTURE GARDEN (1968)
41. FRANKENSTEIN MUST BE DESTROYED! (1970)
42. SCREAM AND SCREAM AGAIN (1970)
43. THE HOUSE THAT DRIPPED BLOOD (1971)
44. THE VAMPIRE LOVERS (1971)
45. ASYLUM/HOUSE OF CRAZIES (1972)
46. DR. PHIBES RISES AGAIN (1972)
47. DRACULA A.D. 1972/DRACULA TODAY (1972)
48. HORROR EXPRESS (1972)
* aka: PANICO EN EL TRANSIBERIANO
* aka: PANIC ON THE TRANS-SIBERIAN EXPRESS
49. I, MONSTER (1972)
50. NOTHING BUT THE NIGHT (1972)
* aka:THE DEVIL'S UNDEAD
* aka:THE RESURRECTION SYNDICATE
51. TALES FROM THE CRYPT (1972)
52. TWINS OF EVIL (1972)
53. AND NOW THE SCREAMING STARTS! (1973)
54. COUNT DRACULA AND HIS VAMPIRE BRIDE (1973)
* aka: THE SATANIC RITES OF DRACULA
55. THE CREEPING FLESH (1973)
56. FROM BEYOND THE GRAVE/CREATURES (1973)
57. THE BEAST MUST DIE/BLACK WEREWOLF (1974)
58. FRANKENSTEIN & THE MONSTER FROM HELL (1974)
59. LA GRANDE TROUILLE (1974)
60. MADHOUSE (1974)
61. DRACULA AND THE 7 GOLDEN VAMPIRES (1975)
62. THE GHOUL (1975)
63. SHOCK WAVES/DEATH CORPS (1975)
64. AT THE EARTH'S CORE (1976)
65. CALL HIM MR. SHATTER/SHATTER (1976)
66. DIRTY KNIGHT'S WORK (1976)
* aka: A CHOICE OF WEAPONS
* aka: TRIAL BY COMBAT
67. DIE STANDARTE (1977)
68. STAR WARS (1977)
69. THE UNCANNY (1977)
70. ARABIAN ADVENTURE (1979)
71. MONSTER ISLAND (1981)
72. SWORD OF THE VALIANT (1982)
73. HOUSE OF THE LONG SHADOWS (1983)
74. TOP SECRET! (1984)
75. BIGGLES: ADVENTURES IN TIME (1986)
Hammer's legacy as the most consistent, durable and successful horror film production company of all time is testament not just to the quality of the personnel involved, but also to their tendency to adapt to whatever was the current trend, be it Psycho rip-offs, sexploitation or kung-fu vampires. Cushing and Lee. Simply two of my favorite creators of the macabre without question. Christopher Lee Filmography:
May Day (2006)
The Last Unicorn (2006)
Benjamin's Struggle (2006)
Corpse Bride (2005) (voice)
Charlie and the Chocolate Factory (2005)
Star Wars: Episode III - Revenge of the Sith (2005)
The Last Unicorn (2005)
Crimson Rivers 2: Angels of the Apocolypse/Les Rivières pourpres 2 - Les anges de l'apocolypse (2004)
Star Wars: Episode II - Attack of the Clones (2002)
The Lord of the Rings: The Two Towers (2002)
Cries in the Night: Orlof 2001 (2001)
The Lord of the Rings: The Fellowship of the Ring (2001)
The Rocky Interactive Horror Show (1999) (voice)
Sleepy Hollow (1999)
Jinnah (1998)
Tale of the Mummy (1998)
Soul Music (1996)
The Stupids (1996)
A Feast at Midnight (1994)
Funny Man (1994)
Police Academy: Mission to Moscow (1994)
Jackpot (1992)
Journey of Honor (1992)
Curse III: Blood Sacrifice (1991)
Incident at Victoria Falls (1991)
Honeymoon Academy (1990)
The Rainbow Thief (1990)
Gremlins 2: The New Batch (1990)
L'Avaro (1989)
La Chute des aigles (1989)
Murder Story (1989)
La Révolution française (1989)
The Return of the Musketeers (1989)
Dark Mission (Operación cocaína) (1988)
Jocks (1987)
Shaka Zulu (1987)
Mio min Mio (1987)
The Girl (1986)
Mask of Murder (1985)
Howling II (1985)
The Rosebud Beach Hotel (1984)
House of the Long Shadows (1983)
New Magic (1983)
The Return of Captain Invincible (1983)
The Last Unicorn (1982) (voice)
Safari 3000 (1982)
Desperate Moves (1981)
The Salamander (1981)
An Eye for an Eye (1981)
Serial (1980)
Fade to Black (1980) (uncredited)
Arabian Adventure (1979)
Jaguar Lives! (1979)
Nutcracker Fantasy (1979)
1941 (1979)
Bear Island (1979)
The Passage (1979)
Circle of Iron (1979)
Caravans (1978)
Return from Witch Mountain (1978)
End of the World (1977)
Meatcleaver Massacre (1977)
Starship Invasions (1977)
Dracula père et fils (1977)
Airport '77 (1977)
Albino (1976)
The Keeper (1976)
To the Devil a Daughter (1976)
Diagnosis: Murder (1975)
Killer Force (1975)
Vem var Dracula? (1975)
Dark Places (1974)
The Satanic Rites of Dracula (1974)
The Four Musketeers (1974)
The Man with the Golden Gun (1974)
Le Boucher, la star et l'orpheline (1973)
The Creeping Flesh (1973)
The Wicker Man (1973)
The Three Musketeers (1973)
Death Line (1972)
Horror Express (1972)
Nothing But the Night (1972)
Dracula A.D. 1972 (1972)
Hannie Caulder (1971)
I, Monster (1971)
The House That Dripped Blood (1970)
Julius Caesar (1970)
One More Time (1970) (uncredited)
Taste the Blood of Dracula (1970)
El Umbracle (1970)
Vampir-Cuadecuc (1970)
Scars of Dracula (1970)
The Private Life of Sherlock Holmes (1970)
El Conde Drácula (1970)
La Isla de la muerte (1969)
Night of the Blood Monster (1969)
The Oblong Box (1969)
Scream and Scream Again (1969)
The Magic Christian (1969)
Die Folterkammer des Dr. Fu Man Chu (1969)
Curse of the Crimson Altar (1968)
Dracula Has Risen from the Grave (1968)
The Blood of Fu Manchu (1968)
The Face of Eve (1968)
The Devil Rides Out (1968)
Five Golden Dragons (1967)
Night of the Big Heat (1967)
Die Schlangengrube und das Pendel (1967)
Theatre of Death (1967)
The Vengeance of Fu Manchu (1967)
Victims of Terror (1967)
The Brides of Fu Manchu (1966)
Psycho-Circus (1966)
Rasputin: The Mad Monk (1966)
Dracula: Prince of Darkness (1966)
Sfida al diavolo (1965)
Dr. Terror's House of Horrors (1965)
The Skull (1965)
The Face of Fu Manchu (1965)
She (1965)
Il Castello dei morti vivi (1964)
The Gorgon (1964)
The Devil-Ship Pirates (1964)
La Frusta e il corpo (1963)
La Maldición de los Karnstein (1963)
La Vergine di Norimberga (1963)
The Longest Day (1962) (uncredited)
Sherlock Holmes und das Halsband des Todes (1962)
Doctor from Seven Dials (1962)
The Pirates of Blood River (1962)
Das Rätsel der roten Orchidee (1962)
Ercole al centro della terra (1961)
Das Geheimnis der gelben Narzissen (1961)
The Hands of Orlac (1961)
Les Mains d'Orlac (1961)
Taste of Fear (1961)
The Devil's Agent (1961)
The Terror of the Tongs (1961)
The City of the Dead (1960)
The Two Faces of Dr. Jekyll (1960)
Beat Girl (1960)
Tempi duri per i vampiri (1959)
Too Hot to Handle (1959)
The Man Who Could Cheat Death (1959)
The Treasure of San Teresa (1959)
The Mummy (1959)
The Hound of the Baskervilles (1959)
The Truth About Women (1958)
The Battle of the V.1 (1958)
Dracula (1958)
A Tale of Two Cities (1958)
Amère victoire (1957)
The Traitor (1957)
The Curse of Frankenstein (1957)
Fortune Is a Woman (1957)
Ill Met by Moonlight (1957)
Alias John Preston (1956)
The Battle of the River Plate (1956)
Beyond Mombasa (1956)
Port Afrique (1956)
Private's Progress (1956)
Crossroads (1955)
Final Column (1955)
Man in Demand (1955)
Police Dog (1955)
Storm Over the Nile (1955)
The Cockleshell Heroes (1955)
The Dark Avenger (1955)
That Lady (1955)
Destination Milan (1954)
Innocents in Paris (1952) (uncredited)
Moulin Rouge (1952) (uncredited)
Top Secret (1952)
Babes in Bagdad (1952)
Paul Temple Returns (1952)
The Crimson Pirate (1952)
Valley of Eagles (1951)
Captain Horatio Hornblower (1951)
Prelude to Fame (1950)
They Were Not Divided (1950)
Trottie True (1949)
Penny and the Pownall Case (1948)
Scott of the Antarctic (1948)
Saraband for Dead Lovers (1948)
Hamlet (1948) (uncredited)
My Brother's Keeper (1948)
Song of Tomorrow (1948)
One Night with You (1948)
Corridor of Mirrors (1948)
| View Show | Create Your Own.. By the late 1970's, horror cinema was at its zenith in my eyes. Fantastic ghost stories, thrillers, apocalyptic doom and European horror films on the rise. Even science fiction horror of vessels stranded in deep space left their mark. However, in 1979 came a remodeling, a remake, a retelling of a wonderful tale. WERNER HERZOG'S mind numbing retelling of a F.W Murnau classic from 1922. Nosferatu. Herzog managed a breathtaking film entitled Nosferatu The Vampyre...or the European title, Phantom Der Nacht. Mind you, shot in both German and English dialogue. A feat unto itself. Starring Klaus Kinski, Isabelle Adjani and Bruno Ganz. Somber and dread have never appeared more beautiful.It’s worth stressing that Herzog’s film is, apart from some time-lapse photography and one brief sequence right at the end, devoid of technical trickery. Its remarkably effective atmosphere of dread comes through imaginative setting, ingenious staging, costumes, make-up, musical accompaniment and acting - the basic tools of the trade.The atmosphere commences with the credits in which Florian Fricke’s music plays over shots of dried-out human mummies in a cellar. The doubt begins over just what we are looking at. Surely these can’t be real we think. We should know better. The foreboding comes in the small details too – notice the man in a black cloak standing motionless with his back to us on a bridge just after the credits. He is easy to miss but even if you do, he fills the frame subliminally with an absence, or blackness at its heart. One of the most memorable moments in the film consists simply of looming clouds darkening the sky. It occurs when Harker is on his way to Dracula’s castle, when he has stopped at the Borgo pass. As Wagner sets a mood of dark creation on the soundtrack, Harker turns to watch as blue-grey clouds come from behind the mountain and gradually engulf the clear sky. From that moment on, there is no way back for Harker. he and the viewer are in the realm of the vampire. In his commentary, Herzog says he might shoot the scene differently now, to which I can only respond I’m glad he made it when he did. Herzog and Kinski of course took their cue from Max Schreck’s portrayal of the role in FW Murnau’s 1922 film, Nosferatu, not least in the use of extended rodent-like incisors instead of the more usual canines. Herzog says of Kinski’s count: ‘It took fifty years to find a vampire to rival the one Murnau created, and I say no one in the next fifty years will be able to play Nosferatu like Kinski has done. This is not a prophecy, rather an absolute certitude.’ Well, it’s nearly three decades and counting since he made the film, and all the signs are that he is absolutely right. The conditions no longer exist for this kind of production to be possible, and with a movie industry now over-reliant on (usually badly unconvincing) computer generated effects, Kinski’s performance may well go down as the last great movie vampire. Following in Euro filmmaking, this next man needs very little introduction as the maestro of Giallo and gothic imagery. Mario Bava. Mario Bava was born on July 31, 1914, in San Remo, Italy. The son of cinematographer/special effects designer Eugenio Bava, young Mario grew up surrounded by film. So strong was his father's influence on him that Mario gave up his initial desire to be a painter to pursue a career as a cinematographer. He got his break in the 1930s, assisting his father initially, and then branching off as a distinguished cinematographer in his own right. By the 1950s, Bava's innovative lighting techniques and his genius at creating realistic special effects on a shoestring cemented him as one of Italy's top film technicians. Hired by his friend, director Riccardo Freda, to provide the lighting and special effects for I VAMPIRI (1956, aka THE DEVIL'S COMMANDMENT), he ended up directing half of the film in a mere two days after Freda had a disagreement with the producers. Historically significant as the first Italian horror film of the sound era, the film was a commercial flop. It was Freda's contention that Italian audiences didn't like the idea of an Italian horror film, so he hid behind the psuedonym Robert Hampton when he directed the tongue-in-cheek CALTIKI -- IL MOSTRO IMMORTALE (1959, aka CALTIKI, THE IMMORTAL MONSTER).
Once again, Bava (credited as John Foam, "foam" being the English translation of "bava") was called upon to complete the film, which he also lit and provided the gruesome special effects for, when Freda walked. As a result of rescuing yet another troubled production, Jacques Tourneur's spectacle THE GIANTS OF MARATHON (1959), Bava was given the opportunity of directing any film he chose, so long as it didn't cost too much money. Inspired by the recent success of Terence Fisher's Hammer production of DRACULA (1958, aka HORROR OF DRACULA) with Christopher Lee and Peter Cushing, Bava decided to make a horror film of his own. The result was LA MASCHERA DEL DEMONIO (1960, aka BLACK SUNDAY/MASK OF SATAN), a film that stood as a perfect synthesis of the Germanic expressionism of the silent era horror films (and its imitative Universal cycle in the 30s and 40s), and the more emboldened expression of violence and sensuality of the Hammer films -- this aspect, combined with Bava's peculiar sense of irony and dark imagination, helped to make LA MASCHERA into a worldwide success with audiences. Bava's subsequent films encompassed everything from gothic horrors (LA FRUSTA E IL CORPO) and pop art fantasies (DIABOLIK) to spaghetti westerns (LA STRADA PER FORT ALAMO) and action epics (GLI INVASORI). No matter what the subject matter, Bava's obsession with key themes like the deceptive nature of appearances and the destructive capacity of human nature shone through, and his wholly distinctive visual style endeared him to a generation of film fans. For all of that, his name remains essentially unknown. Based on the testimony of his collaborators, this is perhaps not very surprising. Bava's own view of his talent was colored by a lack of confidence, and his basic shyness prevented him from taking advantage of opportunities which would have made his name more internationally known. In his film SEI DONNE PER L'ASSASSINO (1964), he created and defined the "giallo" -- a form of the thriller which concentrates on violent death as opposed to prosaic police procedural. ("Giallo", Italian for "yellow", refers to the yellow covers of the Italian crime novels of the era). This film alone has had a tremendous influence on the work of Dario Argento, Lucio Fulci and John Carpenter. Sadly, Bava was not appreciated during his lifetime, and the unfortunate outcome of two pet projects (LISA E IL DIAVOLO, 1972, and CANI ARRABBIATI, 1974) soured his enthusiasm for filmmaking during the latter part of the 1970s. Enlisted by protegee Dario Argento to provide some key effects for his hallucinatory nightmare classic INFERNO (1980), Bava went uncredited on the final print, though Argento has often spoken of his contribution with much gratitude. Sadly, the film proved to be the last on which he ever worked. On April 25, 1980, Mario Bava died of a heart attack at the age of 65. A mere three days later, Bava's better known Anglo counterpart Alfred Hitchcock also passed away. Just as much as Hitchcock, Bava's films have had a tremendous influence on the development of the modern horror/thriller film, yet his genius is only just beginning to be recognized. A few particular Bava films well worth finding and viewing are noted below.
| View Show | Create Your Own Mario Bave Filmography:The Mask of Satan (La Maschera del Demonio) 1960
Hercules at the Center of the Earth (Ercole Al Centro Della Terra) 1961
Erik The Conqueror (Gli Invasori) 1961
The Girl Who Knew Too Much (La Ragazza Che Sapeva Troppo) 1962
Black Sabbath (I Tre volti Della Paura) 1963
The Whip And The Body (La Frusta E Il Corpo) 1963
Six Women For The Murderer (Sei DOnne Per I'Assassino) 1964
Road To Fort Alamo (La Strada Per Forte Alamo) 1964
Planet of the Vampires (Terrore Nello Spazio) 1965
Savage Gringo (Rindo Del Nebraska) 1966
Dr. Goldfoot and the Girl Bombs (Le Spie Vengonoo Dal Semi-Freddo) 1966
Knives of the Avenger (I Coltelli Del Vedicatore) 1966
Kill, Baby...Kill! (Operazione Paura) 1966
Danger Diabolik (Diabolik) 1967
Hatchet for the Honeymoon (Il Rosso Segno Della Follia) 1968
Four Times That Night (Quanta Volte...Quella Notte) 1969
Five Dolls For An August Moon (5 Bambole Per La Luna D'Agosto) 1970
Roy Colt & Winchester Jack (Roy Colt & Winchester Jack) 1970
Bay Of Blood (Reazione A Catena) 1971
Baron Blood (Gli Orrori Del Castello Di Norimberga) 1972
Lisa and the Devil (Lisa E Il Diavolo) 1972
Rabid Dogs (Cani Arrabbiati) 1974
Shock (Schock) 1977
The Venus Of Ille (La Vernere D'Ille)Feel free to leave a coffee, a smoke and a comment here...
Music:
Bowie,Cure,TRex,Siouxsie and the Banshees,Pretenders,Bauhaus,The Saints,Lime Spiders,Radio Birdman,The Faces,Cheap Trick,Gary Numan,Devo,Blondie,Detroit Cobras. Vinyl still spins in Detroit,needle still drops and will continue too until the grooves of acetate no longer exist. Pieces and parts from the collection collected over the years with more being added as we speak. Rock, soul, R&B, Electronic, Goth/Punk...Too many genres to list and I get rather tired of genres themselves. Let the music speak for itself. Not the critic who tries to classify. Here are a few of my favorites and will always stay as such.
***PLAY SOME F*CKING STOOGES PLAY SOME F*CKING STOOGES PLAY SOME F*CKING STOOGES***
Movies:
FILM NOIR, CLASSIC HORROR, HAMMER HORROR, SEXPLOITATION, HORRORSPLOITATION, OCCULTSPLOITATION AND POSSESSION, GIALLO, EUROSLEAZE, CHEESY SCI FI AND SOFT CORE SLEAZE. THAT SUM IT UP? AND PORN.
Television:
..Because of the obvious threat to untold numbers of citizens due to the crisis that is even now developing, this radio station will remain on the air day and night. This station and hundreds of other radio and TV stations throughout this part of the country are pooling their resources through an emergency network hook-up to keep you informed of all developments. At this hour, we repeat, these are the facts as we know them. There is an epidemic of mass murder being committed by a virtual army of unidentified assassins. The murders are taking place in villages and cities, in rural homes and suburbs with no apparent pattern nor reason for the slayings. It seems to be a sudden general explosion of mass homicide. We have some descriptions of the assassins. Eyewitnesses say they are ordinary-looking people. Some say they appear to be in a kind of trance. Others describe them as being misshapen monsters. At this point, there's no really authentic way for us to say who or what to look for and guard yourself against.
Books:
Yes, I read. Vachhs ~ Hornby ~ Koontz ~ Matheson. Various trade magazines, occasional music rags and every issue of Rue Morgue I can get my hands on... Often you may find me deep within old trade paperbacks from Ray Bradbury and the like. Top favorites as of late would be Flood and Shella from Vachhs, Sole Survivor from Koontz and Hell House from Matheson.
Heroes:
Let me get back to you on that one...Film Makers and Photographers.
Artists.
Musicians that make you sit for hours with headphones on.
The fine people and friends I refer to as the "select few".
Authors.
Dedicated individuals.
Those who question authority.
My old man...who's somewhere in the heavens. Images that follow from Heroes in the world of cinematography~ Films should never be remade as the original images speak for themselves. Here are some that speak twice over
Be it illustrators, photographers, painters or cinematographers, no one can ever leave out the art of the composer. The soundtracks that layer the image and back it with just as much power. The auditory sense. Try to imagine missing the affect of Morricone, Bruno Nicolai or Lalo Schifrin. I can only suggest you do your homework on some of these composers and musicians who have gone above and beyond to create another layer....another element to films you certainly enjoy. Here are only a few that line my shelves for one reason or another. Spanning from Giallo to Horror, Exploitation to Western and Drama to Action....These soundtracks speak for themselves. Try Carpenter's The Fog...or possibly Profondo Rosso from Goblin. Keep the lights low and find out what you've been missing. To the brilliant musicians and composers~ I certainly hope you have and own gems of your own or that the above mentioned may lead you down the aisles of a used Vinyl store.....down to the soundtrack bins. Now that I've been pulling out vinyl, discs and the sort, below are some pieces that may not fit within a soundtrack category but are amazing sounds regardless. ~They will be included below. ----------------- ----------------- Lounge, Ghetto Funk and Soul Grooves, Jazz, Library sounds and tracks and so many other genres yet to cover. Open your mind and open your ears to sounds not familiar. Not yet. Enjoy and find a used Vinyl Store as nothing tops the rich, warm sound of acetate. Dig in.~ From Soundtracks and compilations to the women who forever graced the emulsion. These Eurogirls brought so much to the screen and who better to begin with then Edwige Fenech. --- SINCE THIS SPACE IS DEDICATED TO EUROGIRLS AND FILM, LET US BEGIN --- From films that stand proud in the genre of Giallo, those of which that most often came from the Euro cinema of the late 60's and 70's. These films pushed the boundaries of thriller, action, sleaze and impact film making. Beautiful scenery shot on location, inner city streets and amazing beauties that graced the screen of these violent thrillers. Perfect examples are The Case Of The Scorpion's Tail, Who Saw Her Die, The Black Belly of The Tarantula, The Fifth Cord, The Strange Vice Of Mrs. Wardh, The Bird With The Crystal Plumage, The Iguana With The Tongue Of Fire, The Forbidden Photos of a Lady Above Suspicion, All The Colours of the Dark....and yet so many more. For you, the women that made it all happen. BARBARA BOUCHET, SUSAN SCOTT, DAGMAR LASSANDER, ROSALBA NERI, EDWIGE FENNECH, ANITA STRINDBERG, SUZY KENDALL, and yet so many others unmentioned but never forgotten.
