Monday, February 11, 2008

Introducing Ann Carter... and Two Watchdogs

Our next issue is now at the printer, which means it's time for all the teasing to come to an end and for your curiosity to be rewarded.

The much-anticipated main feature in VW 137 is the first career-length interview ever granted by 1940s child actress Ann Carter, best known for her performance as little Amy Reed in Val Lewton's classic THE CURSE OF THE CAT PEOPLE (1944) — conducted by award-winning film historian Tom Weaver. The photo above, showing Ann with two dogs that appear to have padded out of a stage production of PETER PAN, is a rare promotional shot taken on the set of the film... and just the beginning of a bounty of rare images soon to be unveiled in VIDEO WATCHDOG.

Ann talked to Tom quite a bit about her signature role, and about working with the film's two directors, but did you also know that she also worked with the likes of Katharine Hepburn, Humphrey Bogart, Edgar G. Ulmer, Lillian Gish, Paul Muni, Veronica Lake, John Farrow, Fred Zinnemann, and Joseph Losey, just to name a few? Hers is an amazing story, not just because she happened to appear in so many classics of the 1940s, but because of the unusual details of her personal life, including the reason why she had to abandon her acting career in 1951. She also responds to the long-circulating rumor that she was killed in an automobile accident in 1978!
We've gone all out with this issue, one of the very best we've done in our 18-year history. Our coverage includes not only Tom's interview, but a total assortment of more than 40 rare (and many never-before-published) photos from Ann's personal collection, and an appreciative introductory essay by Yours Truly. Plus all of our usual features — the reviews, the columns by Ramsey Campbell and Douglas E. Winter, the Letterbox, and more.
The photo above is my way of announcing that there are two Ann Carter issues of VIDEO WATCHDOG coming your way: the regular edition that will be sent to our subscribers and newsstands, and also a VW SIGNATURE EDITION, with unique outside and inside covers, each copy of which will be personally autographed by Ann herself on the front in silver pen — the first fan autographs she has signed in half a century! The VW SIGNATURE EDITION (#2, following our Donnie Dunagan SE #1 of 2004) goes on advance sale today. It will be strictly limited to only 200 copies, so if you count yourself as one of Amy's friends... claim your copy now, while supplies last!
I know you're eager to see the breathtaking covers that Charlie Largent has designed for these two editions (and I mean that; he's outdone himself), and also to see what else is set for the issue, so here's what you've been waiting for — a direct link to our website's "Coming Soon" page, where you'll find both covers, a clickable preview of the interior, and an FAQ about the VW SIGNATURE EDITION #2.
And yes, copies of the VW SIGNATURE EDITION #1 -- personally signed by SON OF FRANKENSTEIN's Donnie Dunagan (also the voice of Bambi) -- are still available!

Friday, February 08, 2008

More Eddie Constantine... from Criterion!

I was taken by surprise last night, while watching Agnes Varda's CLEO FROM 5 TO 7 (1961) for the first time, to find Eddie Constantine and some other luminaries of the French New Wave making cameo appearances in a charming little film-within-the-film. Criterion's new disc of CLEO, included in their quietly wondrous box set 4 BY AGNES VARDA, includes the entire short film -- Les Fiancés du Pont Macdonald -- as one of the supplements, along with commentary by the director.

In the film, shot in the style of a silent comedy, two young lovers have a sentimental parting on the Macdonald bridge -- a place, we're told, that's no longer extant. The lovers, seen here, are played by none other than Jean-Luc Godard and Anna Karina. Varda recalls that she was inspired to make this little film because she resented Godard's habit of always wearing sunglasses because she thought his eyes were beautiful. In her film, after the lovers part, Godard dons his "lunettes noirs" and watches his beloved skip away... but everything that was white about her a moment ago -- her dress, her shoes, her hair, even her skin -- has turned black, when seen through his dusky lenses. (David Cronenberg told me, during the filming of VIDEODROME, that he couldn't remember an earlier example of a film that contrasted subjective realities, but here it is -- twenty years earlier -- in a comic context.)

Anna skips merrily down to the quay where she trips on a hose, attracting the attention of Eddie Constantine, who is rinsing off the stonework of the landing. Eddie's in blackface and charmed by "meeting cute" with this temporarily ebony goddess. He raises his hose into frame for a double entendre.

Godard witnesses this from afar and removes his glasses to dash to Anna's rescue. Everything is white again (except Eddie), and an ambulance driven by Jean-Claude Brialy arrives to assist the fallen girl.

I don't think Anna Karina has ever been more beautiful than when she sits up from her pratfall, batting her eyelashes. Godard intervenes before the handsome doctors, stealing peeks up her dress, can spirit her away, and the short concludes with the two lovers returning atop the bridge and kissing in celebration after the repentant Godard throws his "damned sun-glasses" into the Seine.

Without his glasses, Godard looks remarkably like the later British actor Robert Powell and the sequence indeed plays like one of the stylistic vignettes from Ken Russell's MAHLER (which starred Powell) or LISZTOMANIA, made in the mid-1970s. It is a treat to see how wonderfully well all of the participants adapted to this antiquated manner of filmmaking, with Godard especially evoking comparisons to the likes of Buster Keaton (no small compliment, of course), and Agnes Varda also conforming to filmmaking techniques quite unlike her own with such studied success. I had assumed, while watching CLEO FROM 5 TO 7, that Varda must have filmed this short while Godard, Karina and Constantine were working together on ALPHAVILLE, but no... both CLEO and this short date from 1961, so this was in fact the first collaboration of Team Alphaville.
CLEO FROM 5 TO 7 chronicles, in real time (actually closer to "from 5 to 6:30"), roughly two hours in the life of a pampered, alienated yé-yé singer (Corinne Marchand) awaiting test results from a cancer exam. Dreading the worst, she embarks on a walk through Paris and we discover, with her, just how much a person and their outlook on life can change in such a short time. Criterion's disc includes a wonderful 35m documentary by Varda that reunites her with the film's cast and crew, and it's a wonderful chaser to a lovely and surprisingly profound experience.
The disc also includes Varda's early experimental short L'opera mouffe (1956), which reminded me of work in the short form that David Lynch would only achieve after a passing of twenty years or more. It also rewrites all the film history books I have ever read, moving back the advent of full frontal female nudity on the screen by approximately a decade. It's powerful, sensual, deeply felt work.

Thursday, February 07, 2008

On Reading Sax Rohmer's YELLOW SHADOWS

As a boy, I collected Sax Rohmer's Fu Manchu novels in paperback yet never read them; I liked them for their association value, and for their evocative cover art. Much later, about ten years ago, I became interested in Rohmer's work anew and read a few titles. I started with BAT-WING -- not one of his better titles, but it was enough to make me want to read another, and the next ones were good enough to dedicate me to his work wholly: I began haunting eBay and didn't stop until I had acquired all his work in hardcover.

I read a dozen or so his novels and story collections -- finding his black magic novels BROOD OF THE WITCH-QUEEN and GREY FACE superior to the rest, and delighting at discovering the roots of Chandu and Dr. Strange in THE DREAM DETECTIVE -- before deciding that I needed a change, but the books have remained on display in my attic, where the limited space of my downstairs floors dictates I must hoard my fiction. While paying a visit to the attic the other night, a title on my Rohmer shelf jumped out at me and I simply had to read it, there and then. It was his 1925 novel YELLOW SHADOWS.

It turned out to be a Limehouse (Chinatown) variation on a locked room mystery, in which a playwright enamored of a young actress finds himself embroiled in the murder of a London Tong leader, who is discovered dead -- but still breathing, a macabre side-effect of the exotic poison used on him -- in a sealed room of his Limehouse mansion. The story wears its melodramatic stripes proudly, but there is enough of striking atmospheric value herein to make me think this might still be adapted into an entertaining film. There is an exotic femme fatale named Suzee Lo Chee who is described in ways that recalled to me the Myrna Loy of THIRTEEN WOMEN, which wasn't made until 1932 -- seven years later. To my surprise, the big scare of the book involves a character who, feeling increasingly nervous in his cottage rooms on a stormy night, suddenly throws open the curtains of the room to view the extent of the bad weather and discovers the huge, pock-marked face of a Chinese stalker mashed hideously against the outer glass, looking in. This was almost 40 years before Richard Matheson wrote the same scare into his classic TWILIGHT ZONE episode, "Nightmare at 20,000 Feet." (I wonder -- did Matheson read YELLOW SHADOWS?)

After much accumulation of romance and incident, YELLOW SHADOWS ends -- abruptly, I felt, as does much of Rohmer's work that was originally written on tight deadlines for pulp magazine and newspaper serialization -- with one of the primary characters receiving an anonymous package, whose enclosure of a single jade earring identifies the sender as Suzee Lo Chee. The note invites the British lawman to return to China someday, confirming that he now has friends there. I find this ending hopeful and significant.

Whenever anyone bothers to write about Rohmer today, it's rare to find anyone able to look sufficiently past their own smug, "politically correct" times to consider him as anything other than a racist -- a writer who sensationalized the Chinese immigrant influx of his day as a malevolent, subhuman force intruding upon the purity and tradition of Great Britain in the early 20th century. While Rohmer certainly did exploit the phrase "Yellow Peril" in his earliest Fu Manchu stories, he did not originate it -- and though he described the arch-enemy of Sir Dennis Nayland Smith as an obscene caricature of every dogface's worst nightmare about the Far East, Rohmer was anything but a white supremacist. Even the most demonizing of his yarns offer tantalizing descriptions that present us with a man torn by Orientalia, a little concerned about its rising presence in his country's midst but also rapturously tempted to succumb to it.

In YELLOW SHADOWS (whose title incidentally refers to the yellowish hue of the heavy night fogs in Limehouse -- the author apologizes in advance for any other interpretation in a brief foreword), he uses the telling phrase "attractive yet repellent" in reference to the Chinese. Mind you, this is 1925: Rohmer is not using the word "repellent" as a synonym for "loathsome," but to indicate their resistance to his interest, their inscrutability. He finds them fascinating but alienating. His characters reach out to them at times, but often find that, however one may be drawn to their beauties and mysteries, they carry with them a persistent and unemotive reminder that the Western ways do not exist for them. Rohmer respects them and their right to their own cultures and traditions, which makes me to see him as more of an anti-Imperialist than a racist. Racism works from a position of power to denigrate and disempower, and this is not at all what is at work in his novels. Rohmer's Asian characters are formidable, knowing and sophisticated. They often are in possession of answers to eternal questions that the English have yet to learn to ask of themselves. Rohmer's stance in relation to them is not that of a racist, but that of a fetishist.

It's important for readers to remember that China and Great Britain were great and geographically opposed empires, meeting for the first time on Britain's home turf. Chinese immigrants were a fairly new element in Britain during Rohmer's day, often forced by poverty to dwell in the less respectable areas of town, and this lowly social standing, and the language barrier, fostered mutual feelings of distrust and secrecy. Even at their most open and communicative, the two peoples were only beginning to interact with, to conform to one another. Rohmer's writing and personal habits show him to have been actually progressive -- in contrast to the xenophobia otherwise common among the native classes -- in terms of being sincerely interested in the exoticism and strangeness of the Asian people. Cay Van Ash's biography MASTER OF VILLAINY tells stories of how Rohmer would sometimes disappear from home for days to live among Chinese immigrants in boarding houses, observing them, coming to a better understanding of them. Fu Manchu himself becomes a more recognizably human character over the course of the 14 different books Rohmer wrote about him, which is perhaps why some readers find the later books in the series lacking.

The primary Chinese characters in YELLOW SHADOWS are wealthy, fascinating, and more sophisticated and at ease with the ways of the world than their authoritative but sometimes fumbling English counterparts. Much of the book's subtext concerns establishing a trust -- not between nations (that's still impossible!), but between people of different nations -- each respecting the other's right to its own traditions, beliefs and sacred secrets. Rohmer's interest was clearly as sexual as it was aesthetical. His British and Asian characters not only work together toward common goals, while mutually respecting the laws and codes of their respective empires, they also kiss.

Rohmer was a superior stylist to, say, Edgar Wallace -- a more cinematic storyteller, too -- but it's true that his work doesn't have the subtlety that the open-minded now demand from such subject matter. Our world is a lot smaller today, and we take international relations so much for granted that they have lost their former charge of magic and exoticism. For Sax Rohmer, when Western man met Eastern woman, the air crackled with electricity as surely as it did when Adam first encountered Eve. Without early thinkers and dramatists as dedicated as Rohmer to seeking common ground between East and West -- and for a grass roots readership, no less -- it might have taken our world a good deal longer to find an in-between. It's important to read him, and to read past the early Fu Manchu novels, to get at the true heart of his infatuated, mystified, and outreaching body of work.

Wednesday, February 06, 2008

Carlos Aured (1937-2008)

The website European Film Review is reporting the death of Spanish filmmaker Carlos Aured (Alonso), who evidently succumbed to a heart attack on February 3.

Aured is best-known to readers of this blog as the director of several significant Paul Naschy titles, all made in his most important year, 1973. They were HORROR RISES FROM THE TOMB (El Espanto surge de la tomba, 1973; recently released on DVD by BFI Eclipse), CURSE OF THE DEVIL (El Retorno de Walpurgis, available on DVD from Anchor Bay Entertainment), THE BLUE EYES OF THE BROKEN DOLL aka HOUSE OF PSYCHOTIC WOMEN (Los Ojos azules de la muñeca rota, coming from BCI Eclipse on March 25) and THE MUMMY'S REVENGE (La Venganza de la Momia).
After this, as Naschy notes with regret in his autobiography MEMOIRS OF A WOLFMAN, something happened to destroy their working relationship. Under contract to Profilmes, Naschy was told that he would be making another picture with Aured and to call him for more details. When Naschy phoned, Aured "coldly and categorically" informed him that there was no role in the picture suitable for him. "I was absolutely stunned," Naschy writes, "and quickly phoned up the producer... but there was nothing he could do about it: Carlos Aured had already signed the contracts and had the upper hand." (p. 121) Perhaps Aured had sound reasons, perhaps he was wary of limiting himself by being branded "a Naschy director," but the Spanish genre cinema didn't offer many options. When Naschy took over the direction of his own projects, the Spanish horror cinema fell on even tighter times and Aured -- like Jess Franco and others -- retreated into soft- and hardcore sex programming, the best-known of which is 1982's Apocalipsis sexual, starring Lina Romay and transexual actress Ajita Wilson.
Aured (who got his start as an assistant to director Leon Klimovsky) was perhaps not as important a collaborator to Naschy as, say, Javier Aguirre; however, all of his horror films reflect a mastery of gothic atmosphere and contain some compelling set-pieces. HORROR RISES FROM THE TOMB, particularly, is remembered as one of Naschy's best outings and is cited by Naschy himself as a "really emblematic title." It was Aured's first feature and, aside from some naked overreliance on the zoom, it's an effective fusion of horror and eroticism that manages to straddle the different centuries of its storyline with more grace than some other, higher profile horror pictures. The filmmakers had studied Mario Bava's La maschera del demonio well, and the picture gave Helga Liné one of her most popular genre roles. THE BLUE EYES OF THE BROKEN DOLL was hailed by many fans for offering Naschy one of his more offbeat roles, and there's nary a character in the picture who isn't offbeat (the most memorable is Diana Lorys as the sister with the metal hand). THE MUMMY'S REVENGE (reviewed here on September 6, 2006) was an arrestingly brutal twist on the Mummy legends with impressive atmosphere, and CURSE OF THE DEVIL is one of Naschy's best "Waldemar Daninsky" films, slickly produced and boasting one of the actor's best werewolf makeups.
BCI Eclipse's DVD of HORROR RISES FROM THE TOMB features an audio commentary that reunites the long-alienated Aured and Naschy. Despite its rough edges, it was an important document for that reason alone, and now it seems doubly important to anyone with a love for Spanish horror.

Tuesday, February 05, 2008


Notebook in hand, your friendly blogger observes Steve Johnson as he applies gore to the body of Barry Convex. From my first day on the VIDEODROME set, December 1981.
Photo (c) Donna Lucas

Going to the Mobius Home Video Forum today, I was surprised to find a thread in progress noting that David Cronenberg's VIDEODROME made its bow in 600 North American theaters 25 years ago, yesterday. People were being asked for their recollections, with a "cough, cough" aimed in my particular direction. Having taken the time to post a lengthy reply, I feel I should post it here as well, for the benefit of my daily visitors and also to help me keep track of it in the future:

I'm amazed to see this thread because, just last night (on the anniversary, as it were), I finished proofreading my book on VIDEODROME for Millipede Press. Today I have to attend to some photo captions and then I should be done, except for signing off on the changes to the text once they've been made.

I'm very pleased with the way the book is turning out, and I feel grateful toward my younger self for the extent and vigor of his curiosity. Piers Handling of the Academy of Canadian Cinema read an early draft of this material and said it was the best production history of a Canadian film he'd ever read; I don't think there's any question that it's better now, with one foot in 1981, 82 and 83 and the other in 2008.

I have a lot of memories connected to this film, including being present for James Woods' first bullet squib shot -- he was scared at first, but jubilant afterwards and cheerfully showed us the red mark caused by its concussion on his chest -- and laughing a lot at his on-set humor and antics.

I saw Les Carlson in his long underwear while his bullet squibs were being removed. He kept putting off our interview all day, then finally agreed to talk with me as he was having the squibs taken off at the end of a long day. The next morning, the production manager got in my face because Les had billed her overtime because of my interview! In fact, the production manager came close to throwing me off the set the very first day because, although I arrived with Cronenberg's approval, he had failed to get the production's permission for me to be there, and everything was top, top secret.

I remember Rick Baker talking on the set about the difficulties of having to be a business manager for EFX as well as an artist. He spoke to me more than once about wanting to retire, when he had enough money, and spend his life sculpting animals. I always heard reggae playing in his workshop, but in our last interview, he confided to me that he didn't really care for reggae, that it was his concession to the guys in EFX, whose average age was 20. I remember standing next to Rick one day, seeing that he was about a head shorter than me, and realizing that this was the guy who had played King Kong opposite Jessica Lange. Kong's hotel room was in the penthouse of the tallest building in Toronto and I stood with him on the balcony overlooking the city.

I remember being under the stage, pulling the cable that tore Barry Convex's upper lip as he had his memorable death scene. We were all wearing garbage bags to protect our clothes from the overrun of Karo blood and it was like being in a submarine. A pretty crew member sitting next to me began to strip and stopped when she got down to a T-shirt that said "Courage, My Love." Needless to say, I've never forgotten her and she's in the book.

I remember telling Cronenberg at the wrap party in March, as Elvis Costello sang in the background (on tape), that Philip K. Dick had just died.

I remember feeling a visceral reaction to my first viewing of the movie, partly engendered by the lower frequencies of Howard Shore's amazing score, and going to Cronenberg's house for dinner after my screening. David seemed nervous at first -- but relieved when I shook his hand and called him "Maestro." I was elated and, I'm sure, cursed more than was appropriate over dinner. I was young and in rarified air.

The movie itself is a miracle. It was shot by the seat of everyone's pants, without a firm middle or end, had a series of disastrous previews as it was being cut together, and somehow came together as what it is in the editing room. It bears little resemblance to any script I read. I love the movie but don't feel it is the perfect expression of what Cronenberg was going after; the time and money simply weren't there. VIDEODROME succeeds on the strength and vision of its ideas rather than how they coalesce into a story. As always, always happened on Cronenberg's films, some of the best scripted stuff got left out for some reason or other.

I later visited the sets of DEAD ZONE and THE FLY but with their escalating budgets and higher profile prima donna stars and various related/unrelated tensions, some of which were my own fault, they were not on the whole as pleasurable to visit. Overlooking the film's failure at the boxoffice, and the failure of my work to surface in any faithful version till sometime later this year, I regard VIDEODROME as one of my life's happiest adventures.

Millipede Press will be publishing my book on VIDEODROME in the spring.

Sunday, February 03, 2008

Cet YouTube est dangereux...

Anna et Eddie dans le jardin d'IBM: Jean-Luc Godard's ALPHAVILLE (1965).

Here's my Sunday menu to a fistful of Eddie Constantine fun over at YouTube:

A link to a 7:32 Eddie Constantine tribute that features a good deal of wonderful poster art and a soundtrack of 2 & 1/2 of Eddie's songs. He sings well... in fact, now I understand why he was never a member of the Rat Pack: he would have shown the others up as a bunch of poseurs.

A cool trailer for the 1959 actioner HOT MONEY GIRL, which pitted Eddie against Christopher Lee and even more closely against Dawn Addams. I want to see it!

A clip from S.O.S. PACIFIC (also 1959) that shows Eddie conferring with CURSE OF THE WEREWOLF's Clifford Evans before showing the gumption that may lead mankind to survival. I want to see it too!

More fun from correspondent Torsten Dewi, who writes: "I have just uploaded a clip of what must be Eddie Constantine's weirdest appearance as Lemmy Caution. He guest starred in two episodes of the positively avantgarde Austrian crime comedy KOTTAN ERMITTELT in the early 80's. He's not dubbed - but it's obvious that his German dialog comes from cue cards." Now I want to see the rest!

And here's the best quality ALPHAVILLE trailer you'll find on YouTube. It's been too long since I last saw this film, and our reunion is imminent. After watching this trailer again, I realized how much more to my liking this world would be if there was no story of Adam & Eve, if everything had begun with Anna & Eddie.

Ciao for now, bébé!

Saturday, February 02, 2008

Get Ready for Eddie

For the 32 years I spent researching and writing MARIO BAVA ALL THE COLORS OF THE DARK, Italian cinema stood immoveably at the very core of my being; I thought about Italy and Italian art and culture incessantly. When I finished writing the book, I felt a surprisingly sudden shift of that internal, emotional center toward French cinema and pop culture. Actually, France was always a part of my inner landscape; I've always been a devotée of Fantomas and Judex and Arsene Lupin, Robbe-Grillet and Sarraute, Truffaut and Godard, Franju and Rollin, with a special place in my heart reserved for Eric Rohmer's films, but it was only within the past two or three years that I fell unexpectedly and violently in love with the music of Serge Gainsbourg (I'm listening to COULEUR CAFE as I write this) and, more recently, with the films of someone who promises to become another of my grand obsessions, Eddie Constantine.

Constantine -- a California native of vaguely reptilian complexion who talked like a Brooklyn native but found success as a singing protégé of Edith Piaf in Paris -- is best known to American viewers as the star of Jean-Luc Godard's ALPHAVILLE (1965), in which he plays a hard-boiled G-man with the unlikely name of Lemmy Caution. The transgressive irony of Constantine's being cast in an "art film", especially as Caution, was generally lost on Americans -- who generally didn't know that, before ALPHAVILLE, he had played the role in seven other pulp dramas (it would be wrong to call them "B-movies") primarily shown abroad. These films do exist in English dubbed versions -- POISON IVY (1953), DANGEROUS AGENT (1953), DAMES DON'T CARE (1954), DIAMOND MACHINE (1956), WOMEN ARE LIKE THAT (1960), LADIES MAN (1962) and YOUR TURN, DARLING (1963) -- but only because they filtered into circulation from 16mm prints struck for Canadian TV syndication. Most of them remain fairly hard to see in English.

Lemmy Caution was actually the creation of British thriller novelist Peter Cheyney, who featured him in more than a dozen novels and even more short stories (beginning with 1936's THIS MAN IS DANGEROUS), but Constantine laid claim to the name in much the same way that Dick Miller became Walter Paisley. He reprised the role in several projects after ALPHAVILLE and also starred in more than 100 other pictures, playing various shades of his two-fisted, whisky-chugging Caution persona, most of them going by the name "Eddie." He also played John R. Coryell's famous detective Nick Carter twice in the 1960s.
The first time I laid eyes on Eddie Constantine -- and this is when I was a kid -- I thought he would make a great Ben Grimm if they ever made a film of THE FANTASTIC FOUR. He had a granite look about him in middle age especially and, in ALPHAVILLE, he's fairly expressionless -- but in the earlier Lemmy Caution films, which are prototypical of the Bond films in many ways, he flashes one of the most ingratiating smile you'll ever see. French artists made the most of this happy-go-lucky, bon vivant smile when designing the posters for his movies, whether the art depicted him as leering at the ladies, hoisting a glass, or knocking a stooge for a loop in a billiards hall. I've been daydreaming of late about taking down all the posters currently on display in my house and replacing them with affiches showing Eddie revelling in the good life. They would probably impart a cheerier, healthier atmosphere than my current array of monster, severed head and drug delirium art.
I own only a few Eddie Constantine movies in English, and I've moved on from them into a couple of three-film DVD box sets that I ordered from EDDIE CONSTANTINE COLLECTION VOLUME 1 - LEMMY CAUTION and EDDIE CONSTANTINE COLLECTION VOLUME 2 (in which two of the three films are Lemmies). These are German releases from Tobis, now notorious for withholding English subtitles or audio, but they do feature the original French audio tracks. French gives me only slightly less trouble than Italian, but I find I can navigate my way through the dialogue fairly well if I play the movies with the optional French subtitles activated. In the earliest of the Lemmy Caution films, LA MOME DE VERT-DE-GRIS (POISON IVY), I was pleased to find Eddie communicating with his FBI contacts in English, which made it that much easier to enjoy. Adding to the pleasure is the presence in the cast of Jess Franco stalwart Howard Vernon, looking younger than I've ever seen him as a white-tuxedoed baddie. And forget Veronica Lake and Gloria Grahame: the femme fatale of both this film and its follow-up LES FEMMES S'EN BALANCENT (DAMES DON'T CARE) -- Dominique Wilms -- scores a TKO against them both as "bad girl" pulp cover art incarnate. She's so impressive, she even knocked Eddie Constantine off his own movie poster for what I assume was the first and only time.
The films are low-budget but shot with economic style and imagination. LA MOME DE VERT-DE-GRIS features a remarkable scene that shows a pilot forced at gunpoint to land his plane on its belly in a desolate location, and the entire scene is pulled off entirely with camera set-ups and camera movement -- without the plane so much as moving. It also contains a scene where Lemmy is tied to a rope and dragged behind a moving yacht, which possibly inspired or influenced Ian Fleming's writing of such a scene in his novel LIVE AND LET DIE, published the year after the film's release. With only one exception, when he happened to be visiting a hospital, whenever Lemmy enters a new place, he either calls out for a whisky ("A big one!") or just helps himself -- even at FBI Headquarters, where he cuts past all the Miss Moneypenny horseshit in the reception area and makes like a masher with his superior's pretty receptionist. With all that Lemmy imbibes, he should be staggering through these movies like a Barrymore, but he never gets worse than happy, never oversteps his personal charm, and always comes out on top in every fight.
Five of the initial seven Lemmy Caution films were scripted and directed by Bernard Borderie, also known for his series of "Angélique" films starring Michele Mercier. With each new Borderie film that I see, the more convinced I am that his work should be better-known -- starting with Jess Franco fans, because much of the style found in Franco's early classical work (not to mention some of its casting choices) appears to have had its roots in the popular 1950s entertainments crafted by Borderie and contemporaries such as Henri Decoin.
I mention Decoin in particular because of his attachment to a movie called NATHALIE, AGENT SECRET (1959), which I first encountered -- and have only ever encountered -- as a trailer bearing the English title ATOMIC AGENT. I saw this trailer projected in 35mm at one of the countless kiddie matinees I attended, and I've never forgotten its quirky energy or the pride with which it listed the names of actors of whom I'd never heard: Martine Carol (who of course was Max Ophuls' LOLA MONTES), Howard Vernon, Dario Moreno (who I discovered only today, like Eddie Constantine, was also a recording star). Perhaps those names and faces resonated with me then because, on some level, I knew they would occupy an important place in my later life. If any of my readers happen to be in possession of NATHALIE, AGENT SECRET -- or better yet, ATOMIC AGENT -- would you please reward my efforts here by sending me a copy?
So what is it about Eddie Constantine that I find so compelling, so relevant, so fulfilling? Part of it is the way he projects a sense of comfort about his standing as a man of the world; he has no time for anything other than grabbing all the pleasure he can between Mission and Mission Accomplished. He may look like a thug but he carries himself with more than a measure of rugged grace. I also admire that he was an American who looks at home in Europe, which is the me I always aspired to be but haven't succeeded in becoming, except in the work I produce. I once saw someone on television who offered a valid definition of a writer: "A writer is someone who spends his entire life wondering why he isn't somewhere else." That, I suppose, is why, when I see Eddie Constantine on the screen, everything suddenly seems blessedly and uncomplicatedly right with the world.
Even though sometimes I can't understand a word he's saying.

Wednesday, January 30, 2008

A Fieldsian Footnote

Mssrs. Mark Clark and Dan Craft -- two affably-disposed correspondents -- surprised me this morning with electronic epistles, both of them disclosing, with perfect independence of each other, that one of the features included in the R2 W.C. Fields box set -- SIX OF A KIND (1934), previously mentioned by me as exclusive to that set -- was also given an R1 release as part of a single-disc, three film Burns & Allen collection from Universal, which also includes HERE COMES COOKIE and LOVE IN BLOOM. The other two pictures were made in 1935.

How could I have failed to note this? I don't know... probably had too much to drink.

As it happens, I addressed my tawny peepers to the film in question last night and -- mother of pearl! -- I can't recall a drearier 59 minutes since I last had to drag my canoe single-handed through the brush to the banks of Lake Titicaca. Fields has only a supporting role in this one, which is more of a tepid Charlie Ruggles or Burns & Allen picture, tedious at half the length, but he manages to spank it to life for about five minutes in a graceful physical humor skit as "Honest John," a drunken no-account sheriff who tries with misleading alacrity to line up a billiards shot in the local pool hall. Thanks to the exigencies of YouTube, you can see this choice cut here and tell the rest to go to Philadelphia. Incidentally, Fields' co-star in this scene is Tammany Young, who played his stooge in a number of pictures before his early death in 1936.

Mr. Clark opines: "Fields is overdue for another comeback. It's true that Fields' occasional racial humor can sometimes be cringe-inducing (especially in something like MISSISSIPPI), [but] on balance I think our modern, touchy-feely, PC world could use a comedian who's willing to kick a baby in the ass."

To which I say, "Who could possibly disagree?"

Monday, January 28, 2008


Cinemax HD hosted the first high-definition broadcast of Terence Fisher's DRACULA aka HORROR OF DRACULA (1958) early this morning -- at 5:15am eastern time. It wasn't the recently restored version shown in the UK -- HORROR OF DRACULA is still the onscreen title -- and the source element didn't quite have that IB Technicolor quality I still cherish from a boyhood screening, when I was captivated by the bluish hue of the smoke wisping off the candle in Harker's room; the smoke was only grayish here, but the stained glass windows in the room burned brightly.

Nevertheless, it was a full aperture, non-widescreen broadcast, which meant that the top of Christopher Lee's head was in frame for his classic library close-up -- which will make even the DVD-R I burn from this telecast superior to the official Warner Home Video DVD release -- and it was also colorful and sharp as a tack. Valerie Gaunt's staking included the shot of the old woman in the coffin, and Carol Marsh's staking had one shot of blood burbling up as the stake was hammered in. Nothing was added back into the disintegration scene at the end, but I could see more detail in Dracula's ashen remains than ever before. I can also testify that this is one of those vintage films that benefits greatly from HD clarity -- when Donna passed through the room and saw a scene out of sequence, she guessed that I was watching something from 1971 or '72.

The best TV presentation of this title I've seen to date, this is going to join a select number of titles I can't bear not to have on HD and will keep protected on my hard drive -- until I can find some way of transferring HD quality to disc, or until something better comes along.

A Bigger Box o' Fields

As frequenters of this blog and readers of my magazine should be well aware by now, there are literally hundreds of good reasons why every DVD devotée ought to invest in a region-free player. Pictured here is one of the latest, a beautifully designed British import from Universal that collects no less than 17 films starring early sound era comedian W.C. Fields.

I suspect that Fields is not well-known to young people today, but when I was a young, rebellious longhair of the original Woodstock era, fond of playing my Blue Cheer and Electric Prunes albums so that the poor people without stereos in Indiana could hear them, Fields was a hero of mine -- even at a time when I had seen none of his films, even though he would have been the first grown-up on the block to tell me to turn that goddam racket down. I can't recall where or how I first became aware of Fields, but impressionists like Rich Little probably had something to do with it; twenty (and twenty-five) years after his death in 1946, Fields' distinctive carnival-barker speaking voice remained prime fodder for voice men. (Richard Dawson and Ed McMahon were also, and remain, devout Fields devotées.) But I do remember that one of my four bedroom walls was dominated by a poster of his likeness, from MY LITTLE CHICKADEE (1940 -- though I did not know its origin then), peering scurrilously over a tightly clutched fistful of playing cards. The phrase "close to the vest" incarnate. I don't know why this image spoke to me so directly at that age and that time, but it did -- and I was not alone.

My investigation into Fields properly began with a book by Richard J. Anobile (I think it was DRAT!) and an entertaining record album of sound bytes from Fields' movies, narrated by Gary Owens of LAUGH-IN fame. I listened to that album till I wore it out, at which point I no longer needed it because Fields' unabashedly baroque way of speaking had thoroughly infected my gray matter. I got my first-ever A+ on an English paper when my class was assigned to conduct an imaginary interview with someone from history. I chose Fields and not only wrote a longer paper than was needed (because the old so-and-so just wouldn't shut up), but I couldn't stop laughing as I wrote it.

Q: Mr. Fields, you have had a long career and now stand at the very pinnacle of your...
A: Pinochle, yes pinochle! A delightful game, I do not mind telling you, at which I have had the good fortune to be Tri-state Champion. Why, it's taken me all over the world! I'm reminded of a time when I was but a hardy towhead in a woolskin cap, romping through the hinterlands of Afghanistan. It was just me and Jake, my trusty yak. He could sniff out truffles in half a tick..

And so on and so forth (how easily it all comes back). Evidently my English teacher, Mrs. Rose, had taken my little paper so deeply into the cockles of her heart that she not only accorded it with the aforementioned nonpariel gradation, but she impressed its shining example upon her fellow instructors, several of whom sought me out that day in the groves of academe to tender their heartiest congratulations. I thank you.

There is a streak of the Rabelaisian in Fields' carny-speak and, in retrospect, I can see how my infection with it may have played a role in my becoming a writer. Fields was a writer himself and took a hand in most of his film scripts.

During those early months of my Fields obsession, my attentions were rewarded -- sort of -- by TV GUIDE's announcement that Channel 16 would be hosting a week of W.C. Fields movies in their late night slot. Unfortunately, I was in Cincinnati and Channel 16 was in Dayton, Ohio; close enough to have their listings in our TV GUIDE but not always close enough to receive. Even on the clearest nights, the picture could be faint and snowy, unless I wrapped my calves and forearms in aluminium foil and stood to the right of my little television in the attitude of a flamingo. Even though I often couldn't see what was going on, I tuned in to every single broadcast -- just to hear the soundtracks in their complete and uninterrupted form, which had been edited down on the Gary Owens album to just the bon mots, so to speak. My perseverance was rewarded: the clearest night's reception I had that week was for IT'S A GIFT (1934), commonly acknowledged as Fields' masterpiece, which allowed me to see not only the classic "Carl LaFong" routine -- a highlight of the album -- but the even greater build-up to it, as Fields (unable to sleep in the same room with yappy wife Kathleen Howard) absconds to the outdoor swing for the peaceful repose that never comes.

Within the same year, my local theater hosted AN EVENING WITH W.C. FIELDS, which turned out to be THE BANK DICK (1940) and a selection of his early short films. A friend, whom I had also managed to infect with my record album, and I were there for the first showing with sleighbells on. The highlight of the show, for me, was THE FATAL GLASS OF BEER, which I proceeded to quote thereafter for weeks on end. That year, for my last Halloween as an active participant, I went about dressed as Fields -- in a bathrobe and plastic bowler hat, twirling a cane and sporting a fake nose artfully contrived of Silly Putty. As people gave me candy, I looked in my bag with "Godfrey Daniels" recoil and asked them entreatingly, "Haven't you anything stronger?"

So my love of Fields runs deep, but I had fallen out of touch with it. After ordering the 17-film import set, I found out that Universal had previously released two five-picture box sets, which had somehow escaped my notice -- good thing, too. The pair of them will set you back over $120 at, which is the sort of bitter pill that would discourage even the most stout-hearted Fieldsian from setting out to bag the bigger game.

When I heard about this import set (less than £55 from, I knew I had to have it because, even after all these years, I had never managed to see most of Fields' early Paramounts in anything like watchable quality. Culled from Fields' stints at Paramount and Universal, the import box arranges its contents in non-chronologic, even higglety-pigglety order, most of them doubled-up on single discs while IT'S A GIFT and another title are stand-alones. ALICE IN WONDERLAND (1933) and MRS. WIGGS OF THE CABBAGE PATCH (1934), which would have filled those gaps ideally, were for some reason not included -- though they are listed as part of the contents on the sales page for the set. Perhaps those pictures were omitted because Fields appears only briefly in them, but that wouldn't explain how FOLLOW THE BOYS (1944), in which he also appears only briefly, got included. Should this set ever surface in the USA, Universal really should reconsider and include ALICE and MRS. WIGGS for the simple reason that they're part of Fields' Paramount story.

The complete contents of the import set are: THE BIG BROADCAST OF 1938 (1938), THE BANK DICK (1940), YOU CAN'T CHEAT AN HONEST MAN (1939), MY LITTLE CHICKADEE (1940), MAN ON THE FLYING TRAPEZE (1935), THE OLD FASHIONED WAY (1934), YOU'RE TELLING ME! (1934), SIX OF A KIND (1934), INTERNATIONAL HOUSE (1933), MILLION DOLLAR LEGS (1932), IF I HAD A MILLION (1932), MISSISSIPPI (1935), POPPY (1936), NEVER GIVE A SUCKER AN EVEN BREAK (1941), IT'S A GIFT (1934), TILLIE AND GUS (1933) and FOLLOW THE BOYS (1944). The titles in orange are included in Universal's R1 W.C. FIELDS COMEDY COLLECTION VOLUME 1, the titles in blue are included in VOLUME 2. (THE BIG BROADCAST OF 1938 was released domestically by Universal as half of a "Bob Hope Tribute Collection" disc, paired with COLLEGE SWING.)

I dove right into the middle of the set with IT'S A GIFT for starters, then went back to the beginning and continued with Disc 1: THE OLD FASHIONED WAY (1934) and POPPY (1936). While IT'S A GIFT retains its wonder as a necklace of all-time-great Fields bits, and for former opera singer Kathleen Howard's near operatic, non-stop nagging, I had more appreciation for THE OLD FASHIONED WAY as a film and was delighted by Fields' underplayed emotion at the end of the picture. I am supplementing my viewing with James Curtis' 2003 biography of Fields, which informed me of how ill the Great Man was during the filming of POPPY and impressed me all the more with how much he was still able to contribute to it. All the stories are basically the same Depression-era fantasy about people, surviving on little more than their sly wit, who achieve wealth or at least safe harbor through extreme trial and error by the final reel -- and Fields isn't always likeable. Watching YOU CAN'T CHEAT AN HONEST MAN (1939) last night, I was startled to hear Fields' Larson E. Whipsnade refer to Eddie "Rochester" Anderson as a "pickaninny", to his black carnival workers as "Ubangis," and to a black-faced Charlie McCarthy as an "eggplant." When something goes wrong, he yells about there being "a Ubangi in the fuel supply" -- a sort of "Godfrey Daniels" twist on the old expression "a nigger in a woodpile." It erred one too many times on the wrong side of propriety for my liking... but the lady with the snake allergy nearly made up for it.

This is a flat-out lovely set and I'm having a ball with it. Every transfer is lovely and silvery. Fields' juggling routine in THE OLD FASHIONED WAY, the only record on film of the skill upon which he built his theatrical reputation, is still awe-inspiring; I can easily imagine some young person seeing it today (if not on this import set, then on YouTube) and being inspired to innovate some kind of 21st century reinvention of the forgotten art.

Suffice to say, my little plum, if you have the wherewithal and can afford to get into the game, by all means go to and have their croupier deal you these 17 cards... er, discs. I promise you will hold each and every one of them very tightly to your vest.

Saturday, January 26, 2008

My Alibi: I Was Revisiting CLOVERFIELD

I went back to see CLOVERFIELD again this afternoon with a couple of friends. We got to talking about how long it had been since the last time we'd been to a monster movie matinee, and I traced my last back to the early 1970s, when I saw things like DRACULA A.D. 1972 and THE RETURN OF COUNT YORGA at Cincinnati's RKO Albee Theater. After this second viewing, I'm still very impressed by the film's sense of vision, its technical achievements, and its commercial assimilation of the best ideas in CANNIBAL HOLOCAUST, but this time I noticed Jason Cerbone (THE SOPRANOS) and Chris Mulkey (TWIN PEAKS) appear fleetingly onscreen; recognizing them, as they flashed by, served to mitigate some of the documentary-like tension and realism of the piece for me. All the other faces in the film were new to me, which is something I feel was as important to the film's particular impact as any of its deliberate contrivances. I still believe that CLOVERFIELD marks a whole new ballgame for the giant monster movie, but only time will tell if it's also the death knell for what monster movies used to be. I also feel that its brevity (72 minutes, minus the end titles), its urgency and confusion, and its almost complete lack of any sense of loss (those lead characters who perish do so offscreen) ultimately deprive it of the gravitas and sorrow that a true counterbalance to GOJIRA should have. This faux-realist "found footage" approach is pretty darned captivating, but when push comes to shove, drama still does it best.

Consequently, my second viewing of CLOVERFIELD felt less like the apocalyptic arrival I described in my previous column and more like a bracingly tense, disconcerting, out-of-control entertainment -- which, of course, is all it really needs to be. The end credits music, which is definitely worth staying seated for, may be partly responsible: it's a wonderful amalgam of Max Steiner- and Akira Ifukube-like themes that bring all our classic giant monster memories back home to roost, including everything from the Mothra twins to the Giant Claw. Delightful as it is, these associations help to dissipate the grim mood the film has worked so hard to achieve. Mind you, most people will want that before they step back out into the mall. Me, I'm different.

On another note: a free sampling of contents from the current February 2008 issue of SIGHT & SOUND is now posted at their website, including my review of Roland West's early talkie ALIBI (Kino on Video).

Thursday, January 24, 2008

"Run! Run! Run! Run!"

Seeing CLOVERFIELD has put me in an unusual position: I'm a little wary of saying anything about it. That's partly because I felt such unabashed enthusiasm and emotion for it -- it made me feel a monster movie again the way I felt them as a very young child (something uncommon in my adult experience, to say the least) -- and partly because I know the party stuff at the beginning is going to seem twice as long the next time I see it.

I know it has its faults, but they're fairly minor when one considers how well it reflects its time and America's post-9/11 mind-set of confusion and powerlessness. Time may well prove it to be, as Steve Bissette has already pronounced on his MYRANT blog, the American counterbalance to Japan's trauma-purging GOJIRA. The way the Japanese characters of GOJIRA regard its monster with almost reverent awe, and the noble ways in which they accept death, respect their dead, and band together for reconstruction, are not found in CLOVERFIELD, which is more of a disorienting whirl of action and chaos and military might, in which the characters -- already technologically distanced from reality -- haven't the social or spiritual reservoirs to cope with such a catastrophe.

I can't think of anything that the film borrows that it doesn't improve upon: the "found footage" origins and harrowing dropped camera realism of CANNIBAL HOLOCAUST, the grainy camcorded textures of THE BLAIR WITCH PROJECT, every storytelling trick that Brian DePalma has called into service between SNAKE EYES and REDACTED. And it succeeds at reinventing the giant monster movie in ways that the American GODZILLA didn't (with the same tools at its disposal -- it's the movie that used the dropped camcorder view of the monster's attack as a throwaway shot!), as well as incorporating 9/11 imagery in more visceral ways than Spielberg's WAR OF THE WORLDS or indeed the pre-9/11 INDEPENDENCE DAY. It's like the great idea that all of these movies had but failed to fully grasp, so archetypally perfect that one can easily imagine all the parodies to come. All the more reason to see it now, before its impact can be diminished.

In my heart of hearts, I have a creeping suspicion that CLOVERFIELD may be the most important horror movie (or horrifying movie) I've seen in a long time, maybe since THE EXORCIST or TAXI DRIVER or CANNIBAL HOLOCAUST, because it gave me the same apocalyptic feeling those films did when I first saw them -- a sense that movies, as I knew them, would never be the same again.

Wednesday, January 23, 2008

A Resting Place for Vampira

I get a lot of e-mail from publicists and other people with various causes they would like this blog to promote and, generally, I turn a blind eye to all of them. But I feel that Gabrielle Geiselman's attempt to raise a memorial fund for her late friend (and ours) Maila "Vampira" Nurmi is such a worthy one, I've swiped it from the Classic Horror Film Boards to repost here. Click to enlarge and read the details, and please contribute whatever you can -- if her work or example has inspired you in any way.

Tuesday, January 22, 2008

Rondo VI: VW & Co. Receive 9 Nominations!

The final ballot for the Sixth Annual Rondo Hatton Classic Horror Awards has been posted, and I'm proud to announce that VIDEO WATCHDOG and its contributors have received a total of nine (9) nominations this year. In the order in which they appear on the ballot, our nominations are:

-- MARIO BAVA COLLECTION VOLUMES 1 and 2 (Anchor Bay Entertainment), five new commentaries by Tim Lucas
(Furthermore, ABE's MARIO BAVA COLLECTION VOLUMES 1 and 2 have been nominated for Best Classic DVD Collection.)


-- VIDEO WATCHDOG, published by Tim & Donna Lucas

BEST MAGAZINE ARTICLE OF 2007 (Voters may pick two)
-- 'Edgar Wallace: Your Pocket Guide to the Rialto Krimi Series,' by Kim Newman, VIDEO WATCHDOG #134. A film-by-film, 30-page look at the German crime mysteries (krimi), from 1959-71.

-- 'In Remembrance of Freddie Francis,' by Ted Newsom, VIDEO WATCHDOG #130. A eulogy for the Hammer director.

-- 'THESE ARE THE DAMNED: The Restored Director's Cut Examined,' by Tim Lucas, VIDEO WATCHDOG #133. 'Old school' VW approach dissects ever excised scene, shows what was restored and makes a new case for this once-butchered film.

-- 'THE WILD WILD WEST: Second Season,' by David J. Schow, VIDEO WATCHDOG #132. Karloff and Victor Buono are among the guest stars in this episode by episode recap.

-- VIDEO WATCHDOG #134, cover (pictured) by Charlie Largent

-- Video WatchBlog by Tim Lucas (you're reading it!)

There are also four special "write-in" categories for WRITER OF THE YEAR, ARTIST OF THE YEAR, MONSTER KID OF THE YEAR, and THE MONSTER KID HALL OF FAME.

You can access the ballot and instructions for the very simple voting procedure by going to the Rondo page here. There are 27 categories in all and it's a fun, tighter, more comprehensive ballot this year. While it's not necessary to vote in every category, it is advisable to check the Rondo RULES page before casting your ballot to ensure that your selections are properly counted. If our work has pleased you this past year, we ask that you remember us with your vote. But the important thing is to participate, and to vote for those nominees whose work you feel is most deserving of recognition.

Donna joins me in sending our heartiest congratulations to VW contributors Kim Newman, Ted Newsom and David J. Schow for their Best Article nominations, and to charmin' Charlie Largent for his Best Cover nomination!

Friday, January 18, 2008

A 21st Century CAMILLE 2000

Danièle Gaubert as the tragic heroine of CAMILLE 2000.
I first saw Radley Metzger's CAMILLE 2000 (1969), his erotic haute couture retelling of Alexandre Dumas' "La Dame aux Cammelias", in the late 1990s when First Run Features brought it to VHS. Since I reviewed the film in VIDEO WATCHDOG #48, it has become a personal favorite, its appeal rooted not only in the remarkably touching (and, sadly, prescient) performance of Danièle Gaubert -- who succumbed to cancer in 1987 at the age of 44 -- but in the hauntingly lyrical and spacious beat score by Piero Piccioni, surely one of the most visionary Eurocult soundtracks ever. As much as I've embraced this film in the years since, I have deliberately watched it sparingly because the First Run Features transfer looks so stale; I hoped that someday there would be a DVD release that would put some gloss back into it. So, last week, when I read on the Mobius Home Video Forum about a new German release (from E-M-S) called KAMELIENDAME 2000, with an English audio option, I pounced on it.

Marguerite (Gaubert) warns Armand (Nino Castelnuovo) not to fall in love with her.

The disc is not perfect, but it is anamorphic (a great leap forward in itself); it doesn't have the digital sharpness of an internegative transfer, but for a 35mm-sourced transfer, its film-like qualities are quite acceptable.

The lovers admire themselves in the 360° mirror surrounding Marguerite's circular bed.

Seeing the film again for the first time in a year or two, in this enriched presentation, I was more deeply impressed by Metzger's ability to combine the arch artificial look of Italian pop cinema of this period and a dimension of genuine tragedy. He uses the décor -- color cubes, clear inflatable sofas, mirrored walls -- in a Fitzgeraldian sense, much as Fitzgerald used the flapper era to reflect a hellbound emptiness at the core of the youth culture of his day, and he explores it to a more satisfying and moving degree than any filmed adaptation of Fitzgerald (or Dumas' original story, including George Cukor's CAMILLE) has achieved to date.

Armand goes to Marguerite's friend Prudence (Eleanora Rossi-Drago) for advice in a scene found only in the German version.

The E-M-S disc features the German version of the picture, which features some unexpected variations. If one selects the English viewing option, the film is preceded by a card in German (not too helpful for some of us!) that reads, in translation, "Dear Film-friend: We apologize for the fact that some scenes in this English language version are worded in German. These scenes were cut from the English edition." The presentation includes four instances where German dialogue has been inserted into the English version, most of them less than 10-15 seconds in length. The exception is a 1m 30s scene that occurs between 63:33-65:04, in which Armand (Nino Castelnuovo) visits Prudence (Eleanora Rossi-Drago) in her dress shop to discuss his problems with Marguerite (Gaubert). Most startling of all is the discovery that the German version has a different, less satisfying ending. The US ending is included as a supplementary item, evidently ported from the FRF DVD.

It's incredible to me that Roger Ebert, of all people, could have detested this movie, especially in the same year that he wrote BEYOND THE VALLEY OF THE DOLLS; if your jaw hasn't dropped in awhile, you should read his hideously condescending dismissal of it. As for me, I'm not certain whether CAMILLE 2000 is Metzger's best film -- THE LICKERISH QUARTET, which I haven't seen in many years, enjoys that reputation -- but I feel confident in saying that it's a masterpiece of its kind, an erotic film invested with taste, sophistication, and real emotion.

To the best of my knowledge, the E-M-S disc is presently available to US customers only from I ordered the disc and had it in my hands inside a week, so I can recommend as a source absolutely. [Update 1/27/08: It is also now available from Xploited Cinema.] A more complete review will appear in a future issue of VIDEO WATCHDOG.

Thursday, January 17, 2008


I was able to see Dario Argento's THE MOTHER OF TEARS yesterday and came away with the usual mixed feelings. As I expected, it's not in the same league with SUSPIRIA (1977) or INFERNO (1980) -- its dazzling precursors in the "Three Mothers" trilogy; its visual look is so subdued that it doesn't seem a close relative at all. The new title is better than the Italian one ("The Third Mother") but so bad, it makes me wish Argento would retitle the other two THE MOTHER OF SIGHS and THE MOTHER OF DARKNESS in retrospect, which, were it his franchise, George Lucas would have done before this film even went into production.

Argento has opted to work with a youngish cinematographer (Frederic Fasano, SCARLET DIVA) and production design team (Francesca Bocca, Valentina Ferroni) rather than with the likes of Luciano Tovoli and Giuseppe Bassan, whose visionary skills imbued the earlier films with their all-important sense that "magic is all around us." But the return to alchemical themes alone gives the film an edge that Argento's work hasn't had in decades. In terms of the classic horror setpieces that floated the first two, the third one doesn't really have anything comparable to offer; the terrific stills which have circulated online capture the most arresting imagery for about as long as it appears onscreen. When he allows the horror to linger, it begins to look silly. There's an Asian witch in this movie who is all punked out and supposed to be frightening, but she just looks like a fan emulating an old Nina Hagen album cover.

I'm mostly disappointed that Argento's staging of horror sequences has lost its former sense of beauty so entirely. It has been gone for a long time, and it was only present in parts of THE STENDHAL SYNDROME because Giuseppe Rotunno put it there. The murder scenes included here, especially one involving vaginal impalement, are so ugly and disgustingly misogynistic that they are difficult to watch, and impossible to enjoy from any standpoint of aesthetic pleasure, which is the very hallmark of the first two films in this trilogy. If you recall the slow passages involving Varelli in INFERNO, this whole film is like that, more or less, with a haggard-looking Asia Argento in the foreground, doing a lot of stupid things -- like escaping from a friend's apartment when Satanists break in, then making a call back to the apartment (which she's just visited for the first time!), waking up her friend to tell her to clear out, unaware that the stopped ringing of the telephone will alert the Satanists to her presence and seal her doom. Daria Nicolodi, fairly unrecognizable (Asia weeps when looking at photos of her younger self), is in the movie but only as a Tinker Bell special effect with dialogue like "Run!" and "Go now!"

Speaking of dialogue, we are treated to some more of that lovably loopy Argento dialogue, as in this scene where Asia goes for help to Guglielmo De Witt (Philippe Leroy), "a renowned Belgian thinker." She is greeted (actually barred) at the door by his wary young assistant.

Asia: Would it be possible to see Guglielmo De Witt?
Assistant: He's very busy. Who should I tell him is calling?
Asia: He wouldn't recognize my name.
Assistant: Oh well, come on in.

Jace Anderson and Adam Gierash, the American screenwriters writers of the Nu Image flicks SPIDERS, CROCODILE and RATS, got a lot of PR for writing this movie, and maybe they're the principal reasons why it feels more like an OMEN or EXORCIST sequel than what it really is, but there is no mistaking the auttore of that dialogue.

Moran Atias is an uninspiring Mater Lacrimarum, last in this chain of all-too-mortal immortals, this time with fake boobs, but given the chemical similarity of tears and saline, this may make more sense than I am willing to concede. (Thanks to Richard Harland Smith for that observation.) Her big line is "Who wants to eat the girl?" -- and the "girl" is forty if she's a day. A tight budget hampers what was clearly intended to depict a fullscale breakdown of morality andd society in the streets of Rome, which is conveyed in little two-or-three-person vignettes of beatings which reminded me of the Ludovico Treatment films in A CLOCKWORK ORANGE. For all that, the only misstep that actually made me howl in pain is that the man behind the wheel during the obligatory taxi ride scene was not Fulvio Mingozzi. It would have meant so much to have him there.

But mixed feelings means that some of the movie is good, too. Viewers who are well versed in Italian genre film history -- surely all Video WatchBlog readers -- will be hugely entertained by the way Argento weaves familiar imagery from other filmographies into his wicked tapestry. There are a pair of lovers bound together in barbed wire, as in Mario Bava's ERIK THE CONQUEROR, tormented people in shackles as in NIGHTMARE CASTLE, and people getting disembowelled à la Lucio Fulci. Best of all, Mater Lachrimarum is given a domicile that is the logical but wonderfully unexpected successor to the Tanz Akademie of SUSPIRIA and the Riverside Drive apartment building in INFERNO: she lives in Rome in "Villa Graps" from Bava's KILL, BABY... KILL! The unexpected introduction of this beloved location, in my mind the ground zero of Italian horror geography, made me want to stand and applaud (even though this villa has been around for centuries, so Varelli couldn't possibly have built it) . There is some interesting reconjuring of the Italian gothic golden age to be found in Lamberto Bava's recent THE TORTURER too, but Argento really nails it and proves that it could all live again if enough people cared. In fact, the only Maestro that Argento doesn't quite nail is his man in the mirror.

Dario Argento has announced that his next movie -- starring Ray Liotta, Vincent Gallo, and you guessed it, Asia Argento -- is going to be called GIALLO. That's right: an American production with a one-word Italian title, a word known to very few Americans, which till recently still rated an explanatory footnote in most reviews aimed at the genre's cognoscenti. It strikes me as funny but also a little tragic, and makes me wonder if Sergio Leone, had he lived, would be announcing a new movie called SPAGHETTI WESTERN. But if a "reboot" is what it takes for Argento to bring back the magic, more power to him.

Wednesday, January 16, 2008

In Work Mode

Donna tells me that VW associate editor John Charles dropped her a line yesterday. He said that he assumed, because I hadn't blogged since Saturday, that I was deep in my editorial duties. Indeed I am.

Sorry for the silence. I had intended to blog about Kent Jones' very fine documentary VAL LEWTON: THE MAN IN THE SHADOWS on Monday, but the day got away from me. I have more writing yet to do for the next issue of VIDEO WATCHDOG, as well as editing everyone else's work, and this is going to be a major, major issue. We're not ready to announce the subject of our feature article/interview, but I can tell you this much -- VW #137 will be the second issue in our history (the first since #112's Donnie Dunagan interview by Tom Weaver) to be released in standard format as well as a limited Signature Edition. Stay tuned for more details.

This is also one of those home improvement weeks, plus our TV is dying and needs to be replaced. (Please, no advice/recommendations -- we know what we want and we're already on the case, not that this makes it any easier.)

It's doubtful I'll have more to post here until next week, but you never know. In the meantime, I have added to the Bava book blog in the past few days...