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.