Monday, May 12, 2008
I did not want the day to pass without wishing you a Happy Birthday. It seems that a month never passes that doesn't produce some never-before-seen movie from your infinite past; it is a continuing process of discovery and delight for so many of us. The new DVD releases of EUGENIE and CECILIA are very beautiful indeed. This year I became a big fan of Eddie Constantine's films, many of which are hard to see in America, and seeing the early films he made with Bernard Borderie and others has given me new insights into the movies he made with you.
I hope that both you and Lina know that your work is loved a great deal by many people all around the world. Although its subject matter is often strange or extreme, it nevertheless makes us feel affectionate toward you both. We all wish we could be with you this evening, toasting your talent and your continued health on this happy occasion! But though we may be scattered all around the globe, you are in our thoughts today and we will still be toasting to you and your generous gift to cinema! I hope this letter finds you in good spirits and engaged in the creation of new work.
Warm regards from your friend and fan,
While it's not perfect, I greatly enjoyed the new film version of IRON MAN with Robert Downey, Jr.; it's probably my favorite of Marvel Entertainment's filmed origin stories to date, and it promises to become one of their most successful movie franchises. One of its few disappointments is that Gene Colan's name is missing from its long list of creative credits because, for me and many other Marvel readers of my generation, Gene "The Dean" Colan was Iron Man. He gave a once clunky character a dimension of streamlined gladiatorial majesty that went significantly beyond even what Jack Kirby had summoned to earlier TALES OF SUSPENSE covers, a dimension that somehow made the armor transparent enough to suggest the spirit of Tony Stark striving within it. That aspect of Iron Man is often visible in the screen character's body language and, whenever I see it, it's clearly stamped Gene Colan -- everywhere except on the screen.
My reason for going into all this is that I awoke today to internet reports that Mr. Colan is not well; his liver is failing him. Writer Clifford Meth, with the approval of Gene's wife Adrienne, is organizing a fund-raising auction over at his Everyone's Wrong and I'm Right blog and seeking auctionable signed books, art and other goods from any professional willing to contribute. I know that quite a few professionals in different branches of the entertainment world read this blog regularly, so I'm doing what I can to get the word out. If you can, please contribute work. If you can't, please follow the auction and bid.
My best wishes to Gene Colan, and my thanks for many years of some of the most exciting comic art I've ever marvelled to. (I loved his blue Stilt Man in DAREDEVIL, too...)
Sunday, May 11, 2008
The episode finds Robbie Douglas (Don Grady) unable to focus on his studies due to the pheromonious allure of fellow student Janee Holmes (Mimsy). Father Steve Douglas (Fred MacMurray) insists that Robbie stay at home over the weekend until he finishes writing a theme for his history class, a project that threatens him with missing out on a pre-arranged date at the lake with Janee. Above, we see the girl of Robbie's dreams meeting Bub, a role essayed by William Frawley for the show's first six seasons.
Saturday, May 10, 2008
Wednesday, May 07, 2008
Our first Blu-ray discs are coming! We’ve picked a little over a dozen titles from the collection for Blu-ray treatment, and we’ll begin rolling them out in October. These new editions will feature glorious high-definition picture and sound, all the supplemental content of the DVD releases, and they will be priced to match our standard-def editions.
Here’s what’s in the pipeline:
The Third Man
The Man Who Fell to Earth
The Last Emperor
The 400 Blows
The Complete Monterey Pop
For All Mankind
The Wages of Fear
Alongside our DVD and Blu-ray box sets of The Last Emperor, we’ll also be putting out the theatrical version as a stand-alone release in both formats, priced at $39.95. Our Blu-ray release of Walkabout will be an all-new edition, featuring new supplements as well as a new transfer; we will also release an updated anamorphic DVD of Nicolas Roeg’s outback masterpiece at the same time.
Exciting news on the one hand, but alarming news on the other, as Criterion collectors will be compelled to double-dip on numerous titles. It seems a purely commercial step to add the likes of THE COMPLETE MONTEREY POP and GIMME SHELTER to a list of initial Blu-ray offerings, as both were originally shot in 16mm and are not likely to add much to their original issues in video quality. That said, Criterion should sell a bunch of them.
Signing up for Criterion's newsletter at their website will entitle you, as a subscriber, to the following special deal: $10 off any order of $60 or more placed at criterion.com through Monday, May 26.
Thanks to VW's Sam Umland for the tip.
Postscript 5/8/08: Reader Aleck Bennett makes a couple of good points...
"Just a quick note on the CC BD offerings: while I agree that the COMPLETE MONTEREY POP and GIMME SHELTER 16mm elements probably wouldn't benefit tremendously from the higher resolution BD offers, I do think that they'll both show improvements in these releases. The higher storage capability, combined with much more efficient codecs (standard-def's MPEG-2 is a notoriously 'lossy' and inefficient codec) will allow for less noticeable compression, leading to a more pleasing viewing experience. Maybe not by *much*, given the 16mm origins, but I'm hoping it'll be noticeable... However, where I think the BD releases will surely shine is in the audio department, given BD's support of lossless audio formats. While the sound mixes used on the standard-def DVDs are pretty nifty, uncompressed versions of the 5.1 mixes should be a real treat. Assuming, of course, that they'll be offering uncompressed versions of the 5.1 mixes!"
Monday, May 05, 2008
Thursday, May 01, 2008
Now I'll let you in on a little secret. This past weekend, while feeling very frightened and frazzled at the prospect of losing my oldest continuous friend to a recently discovered mass of malignance, I took a silent vow that I would discontinue this blog if he didn't come out of his nine-hour surgery alive. Over this long and suspenseful weekend, I happened to see somewhere -- borrowed from the Cox & Forkum Editorial Cartoons site -- a cartoon of William Shakespeare sitting in front of a computer keyboard, his hand hovering tentatively above the keys. In a thought balloon were the words, "To Blog or Not to Blog... That is the Question." It gave me the feeling that something apocalyptic was in the air, something extending well beyond me to include other bloggers, as well. Could the End of Blogging Days be upon us? So soon?
Fortunately, my friend -- the Best Man at my wedding 33 years ago -- did survive his operation. His wife tells me that his squash-sized tumor had weeded through the musculature of one of his thighs, which had to be sliced through and repaired with muscle from his abdominal wall; this will require him to wear a knee brace from now on, but the mass was extracted before it could infect any of his organs -- so it's a more than fair trade-off. It was cleanly removed, and I'm grateful to be able to look forward to talking and laughing with him for whatever time is now naturally left to us.
But Monday, the day of my friend's operation, did not come and go without its losses. Two of my fellow film bloggers -- Matt Zoller Seitz of The House Next Door and Raymond Young of Flickhead -- announced around that time that their blogging days were over. Matt announced his decision to give up print journalism entirely (including his gig as a reviewer for THE NEW YORK TIMES, an even bigger step) to pursue filmmaking in an interview with his succeeding House blogmeister Keith Uhlich, while Ray simply said "Adios, amigo" with no further explanation.
As film bloggers go, Matt and Ray were major players; I visited their sites regularly, read most of their postings, and I will miss the distinct personalities they brought to the blogosphere. I had an attachment to Flickhead because I saw it as an incarnation of Ray's late, lamented fanzine MAGICK THEATRE, and in my early months of starting to read The House Next Door, I felt myself drawn closer to Matt by my discovery of his first feature, HOME (introduced to me by occasional VW contributor David White), and shortly thereafter by his blog's stunning report of his wife Jennifer's fatal aneurysm, just two years ago (nearly to the day)... as she was performing tasks at her computer. The impact of that posting was all the proof any of us needed that blogs do indeed form communities of the heart, not just of the head, and that the rending pain and disorientation felt by one blogger could be sent down the wire to be shared by everyone who read their work or shared their particular discipline. It was not long after acknowledging the second anniversary of Jennifer's passing with this touching short film that Matt made his announcement, so it is hard not to imagine that it had something to do with prompting his decision.
While I feel jubilant for both Matt and Ray, in that their decisions suggest a newly determined re-engagement of life and all its outgoing possibilities, it will take awhile to lose the habit of wondering what they might be thinking about this and that. At the same time, there is something about the very nature of cyberspace that allows such disappearances to heal over quickly, like the metallic skin of the T-1000. We feel a sense of disappointment that their words won't be there for us tomorrow or the next day or the next day, but regardless of the high quality of their work, the void they leave behind will likely not be felt for long. What Matt and Ray introduced into the blogosphere is still there, and, should it be taken down, something else by someone else will fill its place. Ether minus ether remains ether; you cannot subtract from it.
Come this October, I will have been doing Video WatchBlog for three years. That's three years in which I have initiated no new novel or screenplay project. This blog's numbers are not great in the great scheme of blogs, but they are respectable for a film blog, especially so for a film blog devoted to such outré films and things as I discuss. Last week, Video WatchBlog scored its highest number of daily hits ever when the NEVER SAY NEVER AGAIN song posting more than doubled my usual daily average of 14-1500 hits. This proved to me that there is a larger audience out there, interested in things that interest me, that generally do not come here because the larger number of our interests do not coincide. They come here for a day or two, then disappear when our headline topic changes. In fact, this blog tends to attract wider response when it covers things like Bond, contemporary music (my Bob Dylan posts were BIG), comics, erotica -- things other than the horror and fantasy cinema that embody my core historian interests. I sense that large numbers of people aren't as turned on by horror and fantasy cinema as they used to be, at least not in a serious and lasting way as I was, and probably you were, but today's fans don't have the Universal films of the Golden Age and the Hammer and Eurocult films of the Silver Age in theaters to help turn them on. What they do have, that we didn't have back in the day, is a lot of information sources of unequal volume and value vying for their attention -- most of them in the form of blogs.
All around us, our growing indifference to the world outside our computer screens is causing newspapers with over a century of experience and tradition to topple, venerable bookstores to close, magazines to fold, literature to die. The vox populi has found a soapbox for itself, but here's the bitter truth: anyone with the talent to have earned publication in print -- like Matt and Ray -- is likely to find that blogging, while attractive in the short run, really isn't built for the long run. It starts out as a fun thing, but soon enough you realize that it's not a job, it just feels like one; it's not a career, because it doesn't help you to make the hand-to-hand, face-to-face connections that are necessary to anyone's professional advancement. What it is, blogging, is a daily deal with the Devil to keep producing, to track your numbers and referrals, and to stay abreast of the birth and death dates in the IMDb and all the other blogs kept in your personal blogroll. It's no way to live... but, by and large, neither is the way we live.
As this world of ours continues to place all its hopes for information and community like so many eggs into this ether basket, people ought to know what I am not ashamed to admit: that, sooner or later, it becomes the secret wish of all bloggers to stop blogging. The instant gratification of this format is nice, but it only lasts for an instant. It wouldn't surprise me if all the blogs I check each day -- rather than reading some of the acknowledged great writers whose works I've never read, finishing Thomas Pynchon's most recent book, or starting in on Alexander Theroux's new and forbiddingly long novel -- disappeared off the face of the net within the next year or two. One thing I can promise you about published writers, and generally about any writer of quality: once they have tasted publication, they are in it for keeps, and they will swim upstream toward maintaining that livelihood as long as there is breath left in them. As for Matt Zoller Seitz, to whom I send my best wishes and highest hopes, he's jumping into another stream with stronger rapids -- filmmaking -- but it's still a form of writing and, these days, perhaps the ultimate form of publication.
No, I'm not resigning this blog yet, but, like the wretch who lives in a small room containing nothing but a chair, a table and a loaded revolver, it's something I contemplate every day. For better or worse, so far, other contemplations have won the upper hand.
Donna tells me it's a beautiful day -- 77° outside. So I think that's enough blogging for today.
Tuesday, April 29, 2008
Overwork and a serious health scare related to a dear friend (I'm relieved to say that his surgery appears to have been a success) have taken the wind out of me, and consequently my blogging sails, of late. I've just finished the bulk of my work on VIDEO WATCHDOG #140, so this is my week between issues to concentrate on viewing and reviewing for the next issue or two. I'm currently working on a lengthy review of the long-awaited DVD premiere of the Peter Cushing-Christopher Lee classic THE SKULL (finally on DVD in its original Techniscope screen ratio) and making my way through Flicker Alley's extraordinary box set GEORGES MELIES - FIRST WIZARD OF THE CINEMA, as well as attending to some shorter reviews. One of these will be devoted to the first volume of cartoons from the PINK PANTHER spin-off series THE INSPECTOR, for which I have discovered a heretofore unsuspected love. Cartoons with titles like "Cirrhosis of the Louvre" and "Napoleon Blown-Apart" -- what's not to love?
For those who are wondering, copies of VIDEO WATCHDOG #139 -- our exciting DOCTOR WHO issue -- were shipped out last Thursday and Saturday to our subscribers and retailers. First class subscribers will either have them now, or very soon.
Finally, in case you (like me) had to miss the first public screening of Joe Dante's THE MOVIE ORGY last week at the New Beverly Cinema, there is primo vicarious info to be had from Glenn Erickson's DVD Savant, the blogs Sergio Leone and the Infield Fly Rule and Mr. Peel's Sardine Liqueur, and also from this Variety report by Peter Debruge. Everyone is describing it as a tremendous and privileged cinephilic experience, and talking up the "Dante's Inferno" retrospective screenings in general as one of the great cultural events of the year. Atta boy, Joe!
Friday, April 25, 2008
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.