Film Writing Nov. 2016 – April 2017

It’s been awhile. Work obligations, as well as personal projects and other responsibilities, have taken precedence over updating my blogs. Of course, you can always find me on my Tumblr as well as Twitter & Facebook. Before I let another month get away, I thought I’d finally share an update to the film writing I’ve done for the last 6 months.

I’ve broken topics up into 4 categories (Horror Cinema, British Cinema, Japanese Cinema and Other) since I tend to focus on 3 subjects more than any others. Hopefully, it will make it easier for readers to find what they’re looking for. As always, I write about film every week for FilmStruck’s Streamline blog and you can find my latest updates here: http://streamline.filmstruck.com/author/cinebeats/

ROSEMARY'S BABY (1968)

Rosemary’s Baby (1968)

Horror Cinema:
Devil’ Advocate: Rosemary’s Baby (1968)
Venomous Snakes & Poison Ants: Picnic at Hanging Rock (1975)
A Double Dose of Boris Karloff
The Devil Made me Do It: La Main Du Diablo (1943)
An Actor’s Revenge: Theatre of Blood (1973)

LONELINESS OF THE LONG DISTANCE RUNNER, THE (1962)

The Loneliness of the Long Distance Runner (1962)

British Cinema:
Angry Cinema: The British New Wave
Losey Let Loose: The Criminal (1960)
Margaret Lockwood is The Wicked Lady (1945)
Equal Shares For All: The League of Gentlemen (1960)

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Belladonna of Sadness (1973)

Japanese Cinema:
– Screen Sorcery: Belladonna of Sadness (1973)
Nippon Noir: Celebrate #noirvember with FilmStruck
Everyone’s Gone Crazy: Violent Cop (1989)
Tokyo Gone Gagaga: Otaku (1994) The film is actually an international production directed by French filmmaker Chris Marker but the focus is on Japan

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Red Desert (1964)

Other:
Surveying the Red Desert (1964)
My Melancholy Valentine: Dans Paris (2006)
There Are No Safe Spaces: An Arturo Ripstein Double Feature
Adventure in Istanbul: Topkapi (1964)
Joan Bennett: Fritz Lang’s Muse
Stranger Than Fiction: The Baron of Arizona (1949)
Creative Collaboration: Jane B. par Agnès V. (1988)
Adolescent Adventure: The World of Henry Orient (1964)
The Search for Common Ground: A Separation (2011)
Strokes of Genius: Moulin Rouge (1952)
The Future is Now: Remembrance of Things to Come (2001)

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Six Months of Movie Morlocks: May – Oct. 2016

It’s been an interesting, busy and to be honest, an extremely stressful year due to some ongoing medical issues I’m dealing with that you can read more about here: Vertigo: Hitchcock was wrong.

In turn, I’ve been terribly lax about updating the blog but due to looming work related developments that I’ll be sharing soon, I thought it was time to finally play catch up with Cinebeats’ readers. What follows are links to some of the most interesting (in my estimation) writing I’ve done for TCM’s Movie Morlocks blog during the past six months.

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Spotlight on AIP with Roger Corman
Mistress of Menace: Barbara Steele in The Pit and the Pendulum (1961)
Sexual Revolution on Campus – Three in the Attic (1968)
Robert Fuest & His Abominable Creations
Revisiting The Terror (1963) on Blu-ray
TCM Star of the Month: Olivia de Havilland @ 100
Summer Reading Suggestions

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The Whole World is Watching: Medium Cool (1969)
Poster Gallery: Remembering Jack Davis 1924-2016
Fay Wray: The Clairvoyant (1934)
Roddy McDowall: Celebrity Photographer
Angie Dickinson in Cry Terror! (1958)
A Grand & Moving Thing: The King and I (1956)

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Offbeat Otto: Tell Me That You Love Me, Junie Moon (1970)
52 Films By Women: #52FilmsByWomen
Out of the Closet: Tab Hunter Confidential (2015)
My Visit to the Francis Ford Coppola Winery
Paranormal Police Procedural: Nothing But the Night (1972)
The Amazing, Amazing Mr. X (1948)

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October & November at the Movie Morlocks

SORCERORSLinks to my posts at the TCM’s Movie Morlocks October – November.

Ghost Stories: THE TIME OF THEIR LIVES (1946)
Excerpt: “THE TIME OF THEIR LIVES is often referred to as an “Abbott and Costello movie for people who don’t like Abbott and Costello” but as a fan of the comic duo I find that proclamation a bit off base. The film does distinguish itself from the popular formula pictures they made during this period that often contained well-honed routines and the two funny men don’t exchange much direct dialogue but it still contains the same kind of slapstick humor and fast-paced jokes that made them one of the most beloved comedy teams in Hollywood during the 1940s.”

Freak Shows: Come one, come all to the Scariest Show On Earth!
Excerpt: “The award-winning horror anthology’s latest incarnation is called FREAK SHOW and it’s set in Florida during the 1950s at a circus sideshow where strange goings-on take place in and outside of the Big Top. The show’s creators, Ryan Murphy and Brad Falchuck, have admitted in recent interviews that they found inspiration for the new season in two classic horror films, Tod Browning’s FREAKS (1932) and Herk Harvey’s CARNIVAL OF SOULS (1962) but circuses and carnivals have long been a staple of horror cinema and director Tod Browning used the sideshow as a setting for numerous uncanny films before he made FREAKS. With Shocktober upon us it seems as good a time as any to showcase some of my favorite horrific or just plain odd and unusual films with scary clowns and sideshow performers that paved the way for AMERICAN HORROR STORY: FREAK SHOW.”

Aaahoo! She-Wolf of London (1946)
Excerpt: “What I really appreciate about this short 61 minute movie is its unique female protagonists as well as its low-key shocks that only register after you’ve had time to digest the film’s streamlined plot. The four most interesting characters in SHE-WOLF OF LONDON, include Phyllis, her aunt Martha as well as her female cousin and the quietly lurking housekeeper Hannah (Eily Malyon). The men in the movie are merely romantic love interests, victims of the werewolf (the beast doesn’t kill any women) or hapless police investigators who do very little to move the plot along, which must have puzzled some viewers who were expecting the men to take control of the situation and save the day. In most Universal monster movies that’s exactly what they’d typically do but this isn’t a typical monster movie.”

Mummy Dearest
Excerpt: “Hammer Films produced four Mummy movies between 1959 and 1971 and this coming Saturday (Oct. 25th) TCM is airing one of my favorites, Seth Holt’s BLOOD FROM THE MUMMY’S TOMB (1971). This unabashedly sexy horror extravaganza was the last Mummy movie produced by the ‘Studio that Dripped Blood’ and thanks to a great cast and some creative directing choices it turned out to be one of their best. But before it reached the screen the production was plagued by some serious setbacks that seemed to resemble the effects of a ‘mummy’s curse’ that’s often associated with doomed adventure seekers and tomb raiders. Was it just circumstance and bad luck or did something supernatural interfere with the making of the film? Read on to find out!”

Halloween Viewing Recommendations with a Feminine Touch
Excerpt: “…I decided to ask some of my favorite female film journalists who also happen to be fellow horror devotees to join me in recommending one movie from TCM’s Halloween line-up for your viewing pleasure. I think you’ll enjoy our enthusiastic endorsements but you might want to approach them with caution. A few contain minor spoilers along with some surprising scares but I hope that won’t stop you from joining us in celebrating Halloween with TCM. Demonic monsters, scary chauffeurs and axe-wielding killers are just a few of the shocking thrills that await you!”

Mind Over Matter: THE SORCERERS (1967)
Excerpt: “Since Michael Reeves unfortunate death in 1969 at the age of 25, the British director’s life has become the stuff of cinematic legend. His reputation as a sort of Byronic hero who challenged the British film establishment was secured when he died much too young due to an accidental drug overdose leaving behind just a handful of low-budget horror films that attained cult status in subsequent years. His distinct talent and the ephemeral nature of his work have led many of Reeve’s colleagues and admirers to speculate on the direction his career might have taken if he had lived longer and it’s not uncommon to see his name mentioned along with better known British filmmakers who also dealt with controversial material including Michael Powell and Ken Russell. Reeves’ bone-chilling WITCHFINDER GENERAL (1969), which explored the brutality of the witch hunts in England during the 17th century, is often cited as one of the greatest and most gruesome horror films produced during the 1960s but his most intimate and introspective film might be THE SORCERERS (1967).”

Artist, Activist & Star-Maker: Photographer Eliot Elisofon
Excerpt: “When I first started writing about Hollywood glamor photography here at the Movie Morlocks, one of the photographers I was particularly keen on featuring was Eliot Elisofon. His captivating images of numerous Hollywood stars have mesmerized me for decades but back in 2010 there was very little information about the man available online. This year that changed significantly thanks to the Smithsonian museum, which launched the first retrospective of Elisofon’s photography at the National Museum of African Art.”

10 Things You Might Not Know About Rod Taylor
Excerpt: “I’ve always liked Rod Taylor. The broad shouldered, barrel-chested actor with a booming voice is intimidating on screen but there’s a warmth in his smile that’s undeniably inviting. He was universally good in every film genre he took part in and made the challenging transition from serious drama to action movies, thrillers and romantic comedies seem effortless. He was at home in military fatigues or a three piece suit and that breadth and depth of character makes him extremely fun to watch. Tonight TCM viewers can tune in and catch Taylor in a few of his best films including THE BIRDS (1963), THE TIME MACHINE (1960), DARK OF THE SUN (1968), SUNDAY IN NEW YORK (1963) and HOTEL (1967) so it seemed like a good time to share some of the interesting facts I recently discovered about him after reading Rod Taylor: An Aussie in Hollywood.”