Tuesday, April 22, 2008
Monday, April 21, 2008
The legendary Phyllis Hyman was my first choice to sing the song and working with her is one of the highlights of my musical career. I personally auditioned and sang the song to her while she was having breakfast in her manager’s office. After agreeing to sing the song, she arrived at the studio and, without any rehearsal and only having heard the song sung once at the breakfast audition, sang the song in one perfect take.
Saturday, April 19, 2008
Earlier this week, I revisited Chris Marker's classic LA JETÉE as preparation for my next SIGHT & SOUND column, which is about a series of new Chris Marker titles from First Run Icarus Films, and noticed a "Bill Klein" in the cast list -- if it's indeed the same fellow, as seems likely, it's quite appropriate casting for a film so dependent on exquisite photography. (I just checked the IMDb and they report he played one of the men from the future.) Furthermore, GreenCine Daily reveals that today is M. Klein's 80th birthday, and I certainly wish him Many Happy Returns.
Incidentally, also in the cast of LA JETÉE is Ligia Borowczyk, the wife of Walerian Borowczyk, playing one of the women from the future. Her presence reminds us that Chris Marker and Walerian Borowczyk had previously collaborated on a short sf-themed film titled LES ASTRONAUTES in 1959, in which Ligia and at least one other cast member of LA JETÉE were featured. You can actually see this remarkable 14m film on YouTube (click to see Part One and Part Two), but let us hope that a proper release of this collaboration will be among the other Marker and Marker-related shorts forthcoming from First Run Icarus Films...
Update 4/20: Someone signing himself "Bill" reports that LES ASTRONAUTES is included as an extra in the Cult Epics DVD release of Borowczyk's GOTO, ISLAND OF LOVE. It has also subsequently been learned over at GreenCine Daily that William Klein was indeed the Bill Klein of LA JETÉE, and that his wife Janine also appeared in the film as one of the people from the future. Even more interesting to me, Klein was the American narrator of the English version of Marker's classic short -- his track is included on the Criterion DVD. It only remains to be discovered how much, if any, input he had into the film's still photography.
Thursday, April 17, 2008
Wednesday, April 16, 2008
Monday, April 14, 2008
I was still a struggling young writer and could not afford the special blend that Irma had especially made, but I found Chock Full o' Nuts to be a pretty reasonable substitute -- at least it was then -- and stayed a faithful customer for many years. ("Better coffee a millionaire's money can't buy!," right?) But when special coffees began to infiltrate our local supermarkets in the 1980s, Donna and I went after them like sharks after chum. We're partial to chocolate, vanilla and hazelnut, also to robust flavors like Columbian and Kona; I like an occasional espresso, while Donna favors some desserty variants that don't do much for me, like caramel nut and chocolate raspberry. At the moment we find ourselves favoring Starbuck's Kenya and Breakfast Blends, and a new brand of coffee called Zavida that started showing up in our local stores last year; it comes in resealable silver foil bags -- very sensible, and the coffee in those bags tastes impressively rich and full-bodied from the first bean to the last. (I'm not too keen on their French Roast, though -- nor anyone's French Roast, for that matter.) And I do mean "bean" -- I prefer to grind my own, whenever possible.
Some recent sales on eBay have made me aware that America's coffee makers are missing out on just the sort of idea that inspires consumer loyalty. A few weeks ago, I discovered an eBay seller who was auctioning a series of celebrity figurines that were originally obtained as free giveaways in cans of an Italian brand of coffee called Mokalux. (I would have thought Mokalux was a French brand, considering the celebrities to whom they gave the premium treatment, but this website indicates they were an Italian company -- and have been since 1920.) Imagine the pleasure of opening a can of coffee and finding this little fellow swimming around inside the beans or flakes...
Sacha Guitry. Actor, writer, producer, playwright, a true creature of the theatre.
Yves Montand. The handsome star of THE WAGES OF FEAR and Z caught either at the height of song or in the headlights of an oncoming car.
and last but not least (you knew this was coming)...
Sunday, April 13, 2008
A stage actor from the time of his graduation, Eppler made his screen debut in the early 1950s under his birth name of Heinz Dieter Eppler. Though the Edgar Wallace krimis didn't really come into vogue until Rialto Film began producing them in 1959, Eppler was already an old hand at Wallace by then, having played the role of Sgt. Carter in an earlier TV movie for SDR: Franz Peter Wirth's Der Hexer (1956), based on Wallace's novel THE GAUNT STRANGER. After attracting further attention as the lover of a decapitated and re-capitated stripper (!) in Viktor Trivas' Die Nackte und der Satan (US: THE HEAD, 1959), Eppler made a proud addition to the repertory cast of Rialto's Wallace series, first appearing as Joshua Broad in Der Frosch mit der maske (US: THE FELLOWSHIP OF THE FROG, 1959).
The Wallace-krimis demanded memorable faces, and Eppler had a great one. His burly build, combined with his virile features, wavy hair and piercing eyes, made him the ideal henchman, maniac, tradesman or nobleman. During the 1960s, he appeared in a variety of sizeable roles in such well-remembered German productions as (let's stick to the American titles) THE HEAD, THE TERRIBLE PEOPLE, THE STRANGLER OF BLACKMOOR CASTLE, THE WHITE SPIDER, THE SINISTER MONK, THE DEATH RAY MIRROR OF DR. MABUSE, and Jess Franco's LUCKY THE INSCRUTABLE. He was a particular favorite of director Harald Reinl, who cast him several times in later projects, including a 1966 remake of Fritz Lang's Die Niebelungen and also in Die Schlangengrube und das pendel (1967), the Christopher Lee vehicle variously known as CASTLE OF THE WALKING DEAD and THE TORTURE CHAMBER OF DR. SADISM.
One of the stranger turns of Eppler's career was his star turn as the chief bloodsucker of Roberto Mauri's La strage dei vampiri (SLAUGHTER OF THE VAMPIRES aka CURSE OF THE BLOOD GHOULS, 1963). His characterization was a throwback to the tuxedoed Bela Lugosi model of the 1930s, while also charged with the violence and eroticism that Christopher Lee had brought to Count Dracula in HORROR OF DRACULA (1957); in some ways, this blending of influences, combined with Eppler's well-fed physique and the general romanticism of the piece, anticipates Paul Naschy's stylish 1973 stab at the Un-dead: COUNT DRACULA'S GREAT LOVE.
Eppler, married since the age of 20 to the same woman -- Magdalene Schnaitmann -- and the father of five children, remained active in films and television series until 2001, when he retired from acting. This Das Neue Blatt news story from January 7th appears to paint a bittersweet portrait of his later years, which found him and his wife still together after 61 years but increasingly dependent upon their children, as a couple of bad falls consigned him to a wheelchair, and his wife began suffering from Alzheimer's disease. It's a humbling, sobering, yet heart-warming glimpse into the private life of an actor who contributed a great deal to post-war German cinema, and to international popular cinema, as a skilled actor and an unforgettable face.
In other words, as a movie star.
Friday, April 11, 2008
Tuesday, April 08, 2008
The eighth episode of that fourth season, "Get Out of Town," I found especially interesting because it features a henchman character named Stanley, clearly modelled on the persona made popular by the late Rondo Hatton in various Universal horror and mystery programmers, including THE PEARL OF DEATH and HOUSE OF HORRORS. Hatton died with his last picture, 1946's THE BRUTE MAN, still awaiting release -- the victim of a bone-distorting pituitary disease called acromegaly, which had also been responsible for his distorted features.
"Get Out of Town" begins with Mike Barnett entering his apartment, only to be quickly overcome by a gigantic hand that chloroforms him.
No information about the later life of Fred Lightner is yet available, but it seems likely from these photos that he would not have had much longer to live. The point is not whether Rondo Hatton and Fred Lightner really were exposed to mustard gas, or if they -- like many others -- became acromegalic through some other internal process. The real point is that, until now, Rondo Hatton has always been a singular case study among actors, but this sighting of Fred Lightner proves that at least one other, authentically disfigured actor followed in his footsteps to play the sort of character he made infamous.
Monday, April 07, 2008
"Making movies is very hard work, and it's not fun... I eat my work, I drink it, and breathe it -- even dream it at night. But it's supposed to be fun for you, not us. Or scary, or inspiring, or even, once in a hundred times, profound.
"There are shining times, surely -- sitting [on] a good horse at five in the morning, waiting for the first shooting light in Montana, or Mexico, or the Spanish Guadarramas. Struggling with a scene all morning, and arguing through lunch about it, and then suddenly finding the way in, like opening a locked door. Exploring Shakespeare with a camera. Yes, there are wonderful things in it, my whole life, for instance. But it counts too much to be 'fun,' and if you can't understand that, I can't explain it to you."
-- Charlton Heston, IN THE ARENA (New York, NY: Simon & Schuster), pp. 141-142. Copyright (c) 1995 by Agamemnon Films, all rights reserved.
Turner Classic Movies (TCM) will honor the life and career of legendary actor Charlton Heston, who died Sunday at the age of 84. This Friday, April 11, the network will present a 15-hour marathon of memorable Heston performances, including his Oscar®-winning role in Ben-Hur (1959). Also featured will be two opportunities to watch an in-depth conversation between Heston and TCM host Robert Osborne in the TCM original special Private Screenings: Charlton Heston.
“Charlton Heston was a towering man both in person and on screen,” said Osborne. “He was also one of the nicest, most courteous gentlemen I ever met. He will forever stand tall among those rare few we know as genuine Movie Stars.”
3:30 p.m. THE BUCCANEER (1958) – co-starring Yul Brynner and Claire Bloom.
5:30 p.m. THE HAWAIIANS (1970) – co-starring Geraldine Chaplin and John Philip Law.
8 p.m. Private Screenings: Charlton Heston (hour-long career interview)
9 p.m. BEN-HUR (1959) – co-starring Jack Hawkins and Stephen Boyd.
1 a.m. KHARTOUM (1966) – co-starring Lawrence Olivier and Richard Johnson.
3:30 a.m. MAJOR DUNDEE (1965, pictured) – co-starring Richard Harris, Jim Hutton and James Coburn.
I still have my copy of IN THE ARENA -- signed with a flourish that looks downright presidential. Like many, I was opposed to most of Mr. Heston's politics (it shouldn't be overlooked that he was an important civil rights crusader in the 1950s and '60s), but I was greatly disappointed by the way he was treated over the years by people, like Michael Moore, who share views closer to my own. I liked him -- as an actor, as an activist (for speaking out on behalf of what he believed in), for the way he used his clout to get TOUCH OF EVIL made and MAJOR DUNDEE finished; he was also a very good writer. I also liked him for the way he handled my mother.
Thursday, April 03, 2008
Wednesday, April 02, 2008
Thanks to David for alerting me and for sharing with the rest of us.
Tuesday, April 01, 2008
This just in from Joe Dante, who is finally claiming the above title (impressed upon him by movie reviewers for so many years) for an upcoming series of retrospective screenings.** Prepare yourself for at least one "Holy $%#@!" booking:
April 9 + 10 MONDO CANE and ZULU
It's hard to imagine today the impact this tawdry but fascinating Italian "shockumentary" had on the world in 1962, when the bizarre customs of people in other lands seemed both exotic and horrifying to Western eyes. Its smash success spawned a whole genre of mostly phony Mondo movies, each outdoing the other for pure sleaze, which lasted into the 80s and paved the way for something much more upsetting: Reality TV.
Cy Enfield's ZULU is simply one of the great historical epics ever--100 stuff-upper-lip British soldiers battle 4000 Zulu warriors in a beautifully staged reenactment of the 1879 Battle of Roarke's Drift. John Barry should have won (but didn't) an Oscar for his brilliant score. The cast, led by producer Stanley Baker, is terrific, but the great Nigel Green steals the show as the consummate side-whiskered, mustached Victorian Sergeant-Major. With Jack Hawkins, James Booth, Patrick Magee and a very young Michael Caine, whose work here got him THE IPCRESS FILE.
April 11 + 12 HOLLYWOOD BOULEVARD and TRUCK TURNER
We called it "Day For Nothing" when we made it (shot in ten days around footage from 12 other movies on a bet with Roger Corman). One of the last of New World Pictures' popular "three girl" drive-in movies where pretty girls doff their duds and chase around non-permitted LA locations. The late great Candice Rialson plays a version of herself as a naive Indiana girl trying to make it in scuzzy 70s Hollywood. Pulled from 42nd Street after two days, it seems to have survived as a cult movie. It's certainly an accurate record of what it was like to make a New World Picture. Producer Jon Davison, co-director Allan Arkush and co-star Dick Miller are scheduled to appear.
TRUCK TURNER, which came out late in the blaxploitation game, got lost in the Hollywood shuffle but it's as dazzling a piece of action filmmaking as the 70s had to offer. Isaac Hayes is a bounty hunter on the trail of a big-time pimp whose vengeful, bitch-slapping squeeze is played by Star Trek's Nichelle Nichols! Along for the violent ride are Yaphet Kotto, Alan Weeks, Scatman Crothers, Sam Laws and Dick Miller. One of the overlooked gems of the decade.
April 13, 14, 15 THE SADIST and THE PRIVATE FILES OF J EDGAR HOOVER
Fairway-International was a tiny company specializing in grade-C drive-in movies like WILD GUITAR and EEGAH! But from such unlikely soil springs a chilling surprise! James Landis' intense 1963 drive-in classic is based on the same true crime story as BADLANDS-- the serial killing exploits of Charles Starkweather and his underage girlfriend. Brutally unfolding in Real Time over 94 taut minutes, mad killer Arch Hall Jr. terrorizes our small cast in a junkyard -- maybe the best-photographed junkyard ever, courtesy of the great Vilmos Zsigmond, who will appear in person on the 15th.
THE PRIVATE FILES OF J EDGAR HOOVER - Tabloid genius Larry Cohen brings his guerilla style Sam Fuller-lite approach to this 1977 ripped-from-the-headlines pop-culture AIP comic book about the near fifty-year reign of America's "top cop", who dug up the dirt on famous personalities through six turbulent administrations. It's gutsy and disreputable and Broderick Crawford 's finest hour. Eat your heart out, Oliver Stone!
April 16 + 17 THE SECRET INVASION and TOMB OF LIGEIA
This scenic WWII epic, shot in Yugoslavia in 1964, is one of Roger Corman's least-seen yet most accomplished films, with essentially the same plot as THE DIRTY DOZEN -- which wasn't made until three years later! Stewart Granger, Mickey Rooney, Edd Byrnes, Henry Silva and Raf Vallone are felons recruited for a mission to rescue an Italian general from behind enemy lines. Roger used this story idea in his first movie, FIVE GUNS WEST. I haven't seen this since it came out!
TOMB OF LIGEIA was the last of Corman's popular series of Edgar Allan Poe adaptations, but unlike the others it has many beautiful English countryside exteriors and mostly departs from the stylized stage-bound unreality of its forebears. Robert Towne (CHINATOWN) wrote the script in a more romantic vein, thinking Richard Chamberlain would play the lead--but AIP intervened and sure enough, Vincent Price took over.
April 18 + 19 WRONG IS RIGHT and Mystery Movie
When Richard Brooks' star-studded adaptation of Charles McCarry's spy novel The Better Angels came out in 1982 it was roundly dismissed as a confused jumble. From the hindsight of 2008, it looks like the STRANGELOVE of its era. So many aspects of this film have come true, it's up there with NETWORK as a predictor of the future, our sorry present. Sean Connery stars as a globe-trotting tv reporter who's tracking a terrorist dealing nuclear weapons in the mideast. Along the way we meet a President who goes to war to boost his ratings, a (Condi-like) Vice President, CIA and FBI figures who are so broadly caricatured they seemed divorced from reality in 1982-- but who closely resemble figures we now see on the news every day! Suffice it to say the climax involves the World Trade Center. One of the all-star ensemble will join us--John Saxon!
Plus another movie in the same vein TBA with guest.
April 20 + 21 BLOOD ON SATAN'S CLAW and HORROR EXPRESS
Piers Haggard's atmospheric and beautifully photographed (Dick Bush) entry in the burn-the-witches genre benefits from a prolonged sense of dread, literate dialog and an unusually convincing period flavor -- sort of a Masterpiece Theater horror film. When hairy patches of "satan's skin" start cropping up on the bodies of nubile 17th century teenagers, local judge Patrick Wymark gets to the bottom of things, starting with voluptuous teen temptress Linda Hayden's. Less well known than the same studio's earlier WITCHFINDER GENERAL, but equally effective, with more emphasis on the supernatural. Great score by Marc Wilkinson.
I love train movies. HORROR EXPRESS was made because the producers had access to the train models from NICHOLAS AND ALEXANDRA. One of my very favorite vehicles (get it?) for Christopher Lee and Peter Cushing, this Spanish-made extravaganza (also known as Panic on the Trans-Siberian Express) has it all -- good characters, lots of wry humor, a mad monk, a mysterious countess, a prehistoric fossilized monster alien, eyeballs in a jar, Telly Savalas as a bellicose Cossack (it's 1906) and a surprisingly complex science fiction plot. And I left out the zombies! Seriously, this one of my top favorites of all time.
April 22 THE MOVIE ORGY
This the first, one nite only public showing in many years of my first project. In 1968 when "camp" was king, Jon Davison and I put together a counterculture compendium of 16mm bits and pieces (tv show openings, commercials, parts of features, old serials etc.), physically spliced them in ironic juxtapositions and ran the result at the Philadelphia College of Art interspersed with parts of a Bela Lugosi serial. The reaction was phenomenal. This led to THE MOVIE ORGY, a 7-hour marathon of old movie clips and stuff with a crowd-pleasing anti-war, anti-military, anti-establishment slant that played the Fillmore East and on college campuses all over the country for years -- always the one print, viewed through a haze of beer and controlled substances. We called it a 2001-splice odyssey. We kept adding and subtracting material over time so this, alas, is not the original version-- it's the later cutdown, running a mere 4 hours and 19 minutes! But it's still a pop time capsule that will bring many a nostalgic chuckle from baby boomers and dazed expressions of WTF?! from anyone else.
Admission to THE MOVIE ORGY is FREE, so buy plenty of concession stand items!
Saturday, March 29, 2008
Well beyond what I have contributed, Sam's "experiment in invention and discovery" always offers bracing and original insights into pop music history and culture and it's become a favorite bookmark spot of mine. Becoming an active participant and getting Sam's responses back has only made its appeal more infectious.
About Sam's current posting, I don't think I was aware that he, like me, had submitted a proposal to the 33&1/3 people. My CROWN OF CREATION manuscript is certainly burning a hole in my pocket. What do you think, WatchBloggers? Should VW launch a complementary series of books examining important rock albums?
Friday, March 28, 2008
Not all of our website's usual functions will be operational during this changeover period. Most will. Should you wish to place an order, and find some function or other of the temp page unaccomodating to your needs, you can reach us by phone (1-800-275-8395) or the usual e-mail links.
Thursday, March 27, 2008
Some weeks back, I was reading posts on the Classic Horror Film Board and found reference to Aleksandr Ptushko's THE NEW GULLIVER being available on disc from a German-based DVD importer called PeterShop. I went to http://www.petershop.com/ and promptly placed an order for THE NEW GULLIVER as well as a half-dozen other Russian horror-fantasy rarities, some of which were on the Ruscico label but not as yet available from the US-based http://www.ruscico.com/ website.
Unfortunately, after placing my order, I received an e-mail from PeterShop telling me that THE NEW GULLIVER was no longer available. They said I could request a replacement title of equal value or a refund, which I did. My shipment of the other titles, including Russian discs of BURATINO and THE CHILDREN OF CAPTAIN GRANT (both 1930s films featuring special effects by the young Ptushko), arrived in good time, so I can recommend PeterShop whole-heartedly.
One of the Ruscico oddities I ordered was a 1979 film called THE SAVAGE HUNT OF KING STACH (pronounced "Stack"). I had never heard of it before, but I took the plunge because the PeterShop ordering page claimed that it had "been assigned a most honorable place in history, next to CAT'S EYE, NIGHT OF THE LIVING DEAD and a masterpiece of national sub-horror, the animation HAZELNUT TREE." Now, I don't personally consider CAT'S EYE on an equal level with NIGHT OF THE LIVING DEAD, but nevertheless I was intrigued... and the hyperbole was grounded by a half-dozen prizes and citations awarded to the film at various international festivals.
The disc is packaged in cover art that I didn't find very tantalizing, so it has been sitting here unwatched since it arrived, but last night -- needing some Dog Byte material -- I watched it on a whim... and surprise, surprise: I think it's one of the great unheralded horror films of the 1970s. I was prompted to write a full-length review for VIDEO WATCHDOG #139 (now going into production). To bait your interest in that review, and in the film, here is an excerpt:
"Boris Plotnikov stars as Bielarecki, a young ethnographer who, at the end of the 19th century, requests the hospitality of Marsh Firs, an isolated castle in the Northwest marshlands, while he conducts research into the myths and legends of the region. He discovers from the castle's young and tragic owner, Nadzieja Jankowska (Yelena Dimotrova), that the place is haunted by two ghosts─the Little Man of Marsh Firs and the Lady in Blue─and that her family line was accursed centuries ago when ancestor Roman Jankowska denied the hand of his daughter to King Stach, whose ghost now rides with those of thirteen horsemen to drag Jankowska offspring and their servants to death in the surrounding marshes... This winner of numerous international film festival prizes could be described as THE HOUSE WITH LAUGHING WINDOWS meets TOMBS OF THE BLIND DEAD, with grace notes of THE HOUND OF THE BASKERVILLES, LISA AND THE DEVIL and DON'T LOOK NOW."
Purely for compositional purposes, I've cropped the frame grab seen above from its standard presentation on disc, which, for the record, does feature English audio and subtitle options. (I think it may work better in English than in Russian.) The director, Valery Rubinchik, claims in a supplementary interview that he made THE SAVAGE HUNT OF KING STACH not with the intention of making a horror film, but a film whose inherent fears and mysteries made it truer to real life. Regardless of his intentions, he made a real gooseflesh-raiser, though it more properly belongs to the realm of fantasy rather than horror. It's one of those movies that force its reviewers to recount a long list of haunting images, so I recommend you try to see them for yourself.
480 pages of the best art and stories ever published by Harvey Entertainment Inc. 110 stories. 64 pages in full color. Edited by Leslie Cabarga, with an terrific intro by the ever-able Jerry Beck and a foreword by Mark Arnold.
HOT STUFF. I bought it, and I love it.
Wednesday, March 26, 2008
Built in 1907, it was the seventh house we were shown by our realtor and we knew it was for us right away -- we loved its woodwork, its staircase, its tiled fireplaces, its apartment-sized attic, but, being two not-very-handy people, its most attractive feature may have been that the walls didn't need repainting nor repapering. Believe it or not, all these years later, the walls remain as they were on the day we moved in. It's not that we can't bear to have them painted or repapered; we just can't get at them anymore.
Before coming here, we were being driven mad by downstairs neighbors in a four-apartment building in an area slipping down the steep slope to disaster. We both remember clearly the day when we took the bus from that apartment here to our future house, with broom and mop and bucket in tow, and prepared the empty three-level place for our occupancy. We kept our two cats, Godot and Kaboodle, shut inside the bathroom of our apartment as the movers emptied its other three rooms of furniture; when I let them out, they dug their claws into the finished wooden floor as if thinking that the law of gravity had been repealed and sent all our furniture skyward, with them to follow presently. I got them into a pet carrier and brought them here by taxi, while Donna traveled here with the movers. Opening the pet carrier, Godot and Kaboodle stepped out hesitantly... but then a wonderful expression seemed to bloom on their faces as they understood how much their territory had been enlarged. That day we met neighbors who remain our dear friends, though they have since moved away, and we attended the weddings of their 7-year-old girl and 2-year-old boy. As a kid, with the exception of one family I lived with for a year, I lived only in apartments and it was a wonderment to discover the pleasures of living in a house. After so many years of being harrassed by neighbors' high drama and overloud and inconsiderate music, it became a source of great pleasure simply to sit in my own yard and listen to the sounds of nature, church bells, or people working on their cars a block away. Our back yard remains our special retreat, weather permitting, the closest thing your hardworking Watchdog team ever gets to vacation time.
Our once-empty house is far more cluttered and disorderly these days, and we groan to ourselves a good deal about the lack of wall space to display our art, posters and books, not to mention the absence of an actual shower. (Funnily enough, the possibility of wake-up and before-bed showers every day has always been one of Wonderfest's many attractions for us.) In the past few years, we've been able to make a number of needed improvements to the property (we're now talking about having a shower built in our basement), but we've accumulated so much stuff in the past quarter-century, our large walls have become covered and our once-spacious attic is cluttered with boxed books and movies. We're outgrowing the place and don't anticipate living here another twenty-five years; we do anticipate that, when Moving Day comes (probably moving days), it (or they) will loom large among days of infamy.
We've been blessed with good neighbors over the years -- some of whom remain, but many of whom have either moved or passed on. We've known and loved their pets, as well. Aside from Pat, who lives on the other side of us and has lived in her house for all but one of her 70+ years, Donna and I are bemused to find ourselves now the elders of our immediate area. Having married in our teens, we have obviously lived here longer than we ever before lived in any one place, and I personally leave this house so seldom that it sometimes seems like my space station, my submarine, my dream-within-a-dream. We've had no children, but it was here that VIDEO WATCHDOG was conceived in 1989; since moving here, we've given birth to 140+ magazine projects, numerous books (four in 1985 alone) and novels and screenplays and comics scripts, assorted unpublished novels and non-fiction, a calendar, and 664 blog entries -- 664 being the inversion of our house number, as serendipity would sweetly have it. This is a good house for entrepreneurs: the couple that lived here before us not only raised a family here, they ran a dental lab from the basement. We once found some false teeth inside a basement wall, reminding me of a scene in Roman Polanski's THE TENANT.
Anyway, the silver anniversary of one's home and hearth is a sentimantal occasion, and one probably not often achieved in today's transient world. "Home is a name, a word," Charles Dickens wrote in MARTIN CHUZZLEWIT; "it is a strong one; stronger than magician ever spoke, or spirit ever answered to, in the strongest conjuration." Like Dickens, I had an unsteady childhood, fraught with constant moving from place to place, so I share his fondness for the almost mythic conceptual stature of a constant home and hearth. "Home" is much more than the skin that covers our own skin -- that much is a house. "Home" is what we call the walls and roof that give oneness to all that we hold most dear and close to ourselves; it's where we externalize our interior selves in the form of décor and furnishings and comforts; it's the walls of muscle we erect between the outside world and the atria and ventricles of our true selves. We invite friends in.
Absolutely, it's where the heart is.
Tuesday, March 25, 2008
My home viewing has been wildly scattered of late, random "want to" viewing always being more of an enticement to my weak will than regimented "have to" viewing. Over this past Easter weekend, I had the opportunity to show Agnès Varda's CLEO FROM 5 TO 7 to some visiting friends and it was a pleasure to experience it on that deeper, secondary viewing level. Seeing it again made me more astonished by the sheer choreography of Jean Rabier's extraordinary cinematography, always sinuous, vivant, multi-layered, and faceted with mirrored and other reflections and the occasional serendipitous accident. I'm also still proceeding through Tobis' EDDIE CONSTANTINE COLLECTION box sets from Germany and had a wonderful time with John Berry's Je suis un sentimental (1955, in VOLUME 2) in particular, which features extraordinary black-and-white film noir cinematography. Checking the IMDb, I found out that its cameraman -- Jacques Lemare -- had not only shot La môme vert de gris and Les femmes s'en balancent, two of the best Constantine features from the first volume, but Jean Renoir's THE RULES OF THE GAME as well. Unfortunately, unlike the more gracious first volume, the second Constantine set cheaps out by not including French subtitles, which unfortunately makes it harder for me to follow the dialogue and, therefore, get my money's worth.
My recent reading has been just as scattered, but one book that has held my interest this past week is Mark Evanier's much-anticipated KIRBY: KING OF COMICS, a magnificently produced coffee table book about the art of the late Jack "King" Kirby. Wrapped in a dustjacket whose pulpy finish suggests a more durable form of comicbook paper, it achieves new heights of accuracy in reproducing comic art, the off-whites of cardstock noticeably augmented with the brighter whites of whited-out corrections. On some pages, you can see the brushwork in the inking. More than a handsome pictorial tribute to one of the great conceptual artists of the 20th century (and arguably the most fecund of its myth-makers), Evanier's book purposefully and gracefully walks the tightrope between dispassionate history and heartfelt personal insights, the latter drawn from the author's many years of working as Kirby's assistant and befriending the artist and his family. Evanier is reportedly still toiling on a larger, more obsessive exegesis on the subject, which fans are awaiting as they have awaited nothing since the coming of Galactus, but don't mistake this one for a mere appetizer. For anyone who loves comics, it's an eye-wowing, heart-in-the-throat reading experience that renders to the King his overdue and rightful due.