Monday, October 27, 2008
Friday, October 24, 2008
Tuesday, October 21, 2008
Monday, October 20, 2008
For all that, I've had letters on the subject in the past, which is why I took care to predicate the term with "so-called" in VIDEODROME. Even though I don't take the term as nergatively as some, I would hope this gesture shows a dawning sensitivity on my part to how other people perceive it and a resolve to use it with greater care and awareness.
Saturday, October 18, 2008
Friday, October 17, 2008
Monday, October 13, 2008
As an admirer of Alan Ball's previous HBO series SIX FEET UNDER, I was somewhat underwhelmed by the September 7 debut episode of his new vampire-themed series TRUEBLOOD on that same network. The initial promotional use of imaginary commercials for vampire-related products didn't help, weakly echoing SIX FEET UNDER's own initial (and thankfully abandoned) use of tongue-in-cheek TV commercials for undertaker accessories. However, partly because it has such a great timeslot, I've stuck with the show -- based on Charlaine Harris's "Sookie Stackhouse" novels -- and have enthusiastically warmed to its well-thought-out imagining of a near-future world in which vampires and the living attempt to coexist.
With last night's episode "Cold Ground," TRUEBLOOD reached a climax of sorts with its most effective episode to date, full of genuine panic, pathos (at its most multi-leveled as Sookie cries while eating the remains of the last pecan pie made by her murdered grandmother) and passion (as she consecrates her advent into unsupervised adulthood by donning a nightgown any Hammer heroine would envy and racing to an intuited rendezvous with Vampire Bill, whom she finally allows to penetrate her orally with the vulnerable words "I want you to"). This episode, directed by Nick Gomez, achieved a level of greatness within its genre that made the sometimes awkward path it took to reach this high point seem more special and interesting in retrospect.
I've never been a particular fan of the Anne Rice approach to vampire fiction, or the rock star/leather duster-wearer variety of vampire that has cluttered the movies in their wake. I haven't read anything by Charlaine Harris either, but I'm beginning to think that TRUEBLOOD may be the most important addition to vampire cinema -- if television can be termed cinema -- since Count Yorga laughed at the crucifix wielded by his adversary. As the author of two vampire novels myself, I have my own ideas of what the subgenre should and should not be, and it pleases me to no end that another body of work has finally come forward that seems to share my ideals and wants to move the genre in a more correct direction.
TRUEBLOOD functions as social satire and metaphor, with the introduction of a Japanese brand of bottled synthetic blood called Trueblood allowing vampires to "mainstream" by nurturing themselves from product rather than victims, and the outsider nature of the bloodsuckers serving dual purpose as an illustration of antiquated biases against gays. In an especially clever subplot, vampire blood is being sold as an underground street drug called V, which is doled out on blotters and expands the consciousness and physical powers of the user like a combined hit of acid and Viagra. (Note: Kim Newman informs me that this same idea was explored in his novella ANDY WARHOL'S DRACULA, published two years before the first Sookie Stackhouse novel.) But what I find most consistently intriguing about the show is Stephen Moyer's nuanced portrayal of the 173-year-old vampire Bill Compton, a non-survivor of the Civil War, who speaks with a dead-accurate sense of Southern manners that convincingly embodies the sense of a character who has lived entire lifetimes and who, despite the obscenity of his condition, is struggling to preserve within his own demeanor a sense of values that make his pained existence somehow liveable. He may be the best vampire character to come along since Barnabas Collins, and the way he seems to speak from another era recalls the chills raised by Chris Sarandon in the 1992 Lovecraft adaptation, THE RESURRECTED. Bill's sometimes unbearably tense romantic link with the plucky and so-far-inexplicably-telepathic heroine Sookie (consistently good work by Anna Paquin) makes sense because, as damned as their relationship would seem to be, it's underscored by a mutual and specifically regional moral rigor that gives Sookie the peace of mind she craves (the thoughts of vampires cannot be overheard), and Bill the mirror he is otherwise denied in undeath.
The executive story editor on TRUEBLOOD is Chris Offutt, whom I credit -- rightly or wrongly -- with some of the brushstrokes I'm appreciating so much in Moyer's rich characterization. In his bourbon-voiced courtliness and subdued volatility, Vampire Bill Compton reminds me a lot of Chris's dad, the sci-fi/sword & sorcery/pulp porn scribe Andrew J. Offutt. Andy was the first professional writer I ever met, and very kind to me when I was a youngster; in fact, he contributed an amusing article surveying the then-current horror movie scene to the second issue of a film-related fanzine that I published in the early 1970s. I remember meeting Chris when he was just a kid at various Midwestcons as the eldest in a procession of youngsters that fandom knew as the "Offuttspring," trailing their pretty mom Jody like so many quail. He has since gone on to enviable success and respect as a literary (as opposed to genre) novelist and short story writer, and I was pleased and surprised to find someone with his credentials and knowledge of the South affiliated with this program. I don't know if this perceived nod to his dad is deliberate or subconscious or just a natural emanation of Chris's life experience, but there's a lot of the Andy Offutt I remember in Vampire Bill.
This is a show rich in characterization, inventiveness and incident, and I hope it can stay on track after so powerfully forking the road of Sookie's humanity. Even if it stumbles after this, these early episodes of TRUEBLOOD will continue to represent vampire cinema at its most clever and progressive.
Friday, October 10, 2008
Wednesday, October 08, 2008
Tuesday, October 07, 2008
Monday, October 06, 2008
Wednesday, October 01, 2008
Words: "Sway" by the Rolling Stones, written by Mick Jagger and Keith Richards, from the album STICKY FINGERS (1971).
Sunday, September 28, 2008
The PHILIPPINE DAILY INQUIRER has reported the death of Filipino exploitation master Cirio H. Santiago, best-known as the line producer of New World Pictures' popular WIP quartet of THE BIG DOLL HOUSE, WOMEN IN CAGES, THE HOT BOX and THE BIG BIRD CAGE (the first and last of which were directed by Jack Hill). As a director, Santiago was also responsible for such legendary '70s drive-in fare as T.N.T. JACKSON (scripted by Dick Miller), COVER GIRL MODELS, FLY ME, VAMPIRE HOOKERS and FIGHTING MAD. The DAILY INQUIRER report, written by Marinel Cruz, reads as follows:
Filmmaker and producer Cirio Santiago, who award-winning Hollywood director Quentin Tarantino considers a big influence and inspiration, died Friday night of complications from lung cancer. He was 72.
Santiago, who was diagnosed early this year, was pronounced dead at 11:50 p.m. at Makati Medical Center. His doctors declared respiratory failure as the immediate cause, his sister Digna, an official of the Film Development Council of the Philippines, told the Inquirer by phone on Saturday.
Like Cirio, Digna is a film producer for the family-owned Premiere Productions.
At the time of his death, Cirio was chair of the Laguna Lake Development Authority.
Cirio’s son Cyril died of testicular cancer six months ago, said Digna. “Cirio became very depressed.”
She said her brother was taken by ambulance to the hospital on Sept. 18 after he complained of difficulty breathing. “His family learned of his condition in March, after his son, Cyril, was buried,” Digna said. “He didn’t even tell us, probably because he didn’t like too much attention.”
He is survived by wife Annabelle; children Christopher, Cathy, Claudine and Cirio Jr.; and siblings Digna and Danilo.
Cirio was cremated on Friday. A Mass will be held tomorrow, 10 a.m., at Santuario de San Antonio in Forbes Park, Makati.
Cirio, who also used the screen name Leonard Hermes, was chair emeritus of Premiere Productions. In 1995, he was president of the Philippine Film Development Fund.
In 1960, he was one of the Ten Outstanding Young Men (TOYM) of the Philippines, for Movies.
Among Cirio’s better-known films were T. N. T. JACKSON (1975) and FIREHAWK (1993). In the 1980s, he made low-budget Vietnam war movies, working with American producer Roger Corman and directors Jonathan Demme and Carl Franklin.
Several of these B-movies have become cult favorites, cited by such “renegade” Hollywood filmmakers as Tarantino. During his first visit to the country last year, Tarantino sought a meeting with his two “idols,” Cirio, and Filipino director, Eddie Romero. Tarantino proudly announced that he had based some of the characters in his iconic film, KILL BILL, on those in Cirio’s earlier movies.
At the time of his death, Cirio was filming ROAD WARRIORS [sic, actually ROAD RAIDERS], produced by US-based 147 Productions, as the sequel to his  sci-fi flick STRYKER. He was to receive a Lifetime Achievement Award from the Film Academy of the Philippines next month.
Among Santiago's other productions were THE BLOOD DRINKERS, EBONY IVORY AND JADE, UP FROM THE DEPTHS, BLOODFIST I and II, and DEMON OF PARADISE. Thanks to Joe Dante for sharing this news with me.