achyutktelang blogspot

  • Subscribe to our RSS feed.
  • Twitter
  • StumbleUpon
  • Reddit
  • Facebook
  • Digg

вівторок, 29 грудня 2009 р.

Top Ten of the Decade - 2000-2010

Posted on 18:01 by jackichain

I had a good time this decade! Sin and sensation abounded and alternated with austere sanctimoniousness. My old boss escaped from prison in Brazil, I got divorced, had scandalous affairs, became enlightened, disillusioned, dizzy, co-starred in AA THE MUSICAL, found true love and the glory of chemical psychiatry, watched a crane fall onto my friend's bar, flaming death from the sky, a dog is born, job I worked, ocean I slept and then took a nap in between, and seen pictures.

The films here mesh beauty and ugly, truth and illusion, and generally have actors I like or love or sometimes generally can't stand! Most of these entries come with a quote from an older blog, unless I never wrote about it before, and a lot of times if I really, really dig a film, I don't write about it, as if afraid I'd dim the magic of it for myself or perhaps just realized I was or am simply not up to the task. Truly great movies make commentary seem almost superfluous, don't they, Paul Bettany?

1. DOGVILLE (2003)
Directed by Lars Von Trier

"A condemnation of the hypocrisy of the New Testament by way of Nietzsche's Genealogy of Morals. One needs a certain amount of pop culture history to understand this chthonic purging, as if no cinema after D.W. Griffith exists. Lillian Gish turned out to be Jesus in disguise, and after all her frenzied prayers didn't save her virgin honor, she decided to burn the world down. It's Frances Farmer having her revenge on Seattle, as Kurt Cobain once prayed for. Nicole Kidman here represents all the vengeful icons ever idolized to the point where their unwashed fans ripped their clothes. I left the theater feeling like a century's worth of crud had been laser-surgically removed from my eyes." (Popmatters, 03)


 4. MULHOLLAND DR. (2001)
Directed by David Lynch

If it's too weird, just remember: it's all the same soul, ever-dividing and re-aligning itself. If the cowboy looks at you twice, you're done and whatever contract you take out on someone is really always on yourself, bro. Lynch actually illustrates the impossible-to-illustrate process of multiple life/death Buddhist reincarnation. We eventually become the recipient of all our kindness or cruelty, the way the Moebius strip connects two sides into one endless road, and that whatever we do, it's already happened.  Just as we can see the future, the future can see us. Somewhere far ahead on the timeline, we're watching it all happen as ghost shadows on the wall.


3. THE HEADLESS WOMAN (2008)
Directed by Lucretia Martel

In THE HEADLESS WOMAN, the (possible) amnesiac is Veronica (Maria Onetto), a dentist in a small Argentine town. Wherever she goes people know just who she is, or seem to, and someone seems to be cleaning up her past behind her as she goes. Her amnesia begins when she hits her head on the roof of her car after running over... something, either a dog or a small boy - she can't trust herself to remember, and as the film goes on, we don't know what her game is --is she playing dumb, in a fugue state, pretending she's got amnesia in case anyone's watching. What first looks like a cop digging up bodies on the side of the road turns out to be a plumber digging up a clogged pipe; the droning dissonance of pop songs on the radio seem halfway to being haunting ghost voices in her head, they almost seem to accuse her. In one of the greatest scenes she hides out in a bathroom in the hospital and neither she nor we quite realize the nurses barging in are not after her at all. The only thing we do know: director-writer Lucretia Martel is a friggin' genius. (more)

4. ETERNAL SUNSHINE OF THE SPOTLESS MIND (2005)
Directed by Michel Gondry
"When the shattering of the mirrors comes, at first it feels glorious and freeing. Later we come home damaged by defeat, or torn by obsessive fall-out from petty triumphs. What is this ego shattering moment for you? What is it that splinters your sense of self and time so that for the rest of your life you long to gaze into those shattered shards just one more time? Maybe it’s the moment you finally got a chance to tell the one you truly love how you feel and she wasn’t into you. Or maybe you realize that the girl you thought you were in love with years ago, you really weren’t. It was just that she was so gorgeous, and so damaged, and looked like she would fade so fast. " (Acidemic, 2006)

5. THERE WILL BE BLOOD (2007)
Directed by Paul Thomas Anderson

 "Men who have grown soft with unearned privilege will probably not like Lewis in THERE WILL BE BLOOD and are probably the reason Brolin's not even nominated. The return of the true king is never welcomed by the pretender to the throne. The haters thought this sort of moustached hombre long vanished. Now he's back, covered in the dirt used to bury him, but his eyes are burning through the dust with the fire of a thousand Bronsons!" (BLAD, 2/08)

6. THE HURT LOCKER (2008)
Directed by Kathryn Bigelow

Bigelow's unflinching feminine eye for what war is shows how much damage the male psyche--man's need to prove himself against real physical danger--has suffered over the years trying to be "nice" in the long twisted, never-ending, ever-more draconian and litigious wake of early 80s PC thuggery and "bare life" fearmongering. No pain, no gain, goes the slogan --but while women are born into a cycle of menstruation and the agony of birth,  what do men get to do? No wonder they've grown anti-dirt. But our James here has passed this by; he's materialized from a breed of men that seem unfazed by the dubious comforts of peacetime (as brilliantly portrayed in a simple shot of James powerless in the face of a gigantic supermarket cereal aisle). (3/7/10 - more here)

7. AMER (2009)
Directed by Hélène Cattet and Bruno Forzani

Until mon Amer there's always been a weird dissonance, a grinding disagreement, between the iconography of experimental film and narrative film, even in Europe, where art doesn't have to be framed and velvet roped the way it does here. A mirror to this twin dissonance might be found between the Jungian anima and the Mulveyan male gaze, between Jess Franco's 1967 Succubus, let's say, and Lucretia Martel's The Headless Woman. But Amer brings to this twin dissonance (experimental vs. narrative / male fantasies about what girls dream vs. female artist's impressions of girls dreaming about men) a twin serpent DNA lover's frequency that harmonizes all those dissonant tones, and the resulting unified field harmony expands wider and wider until it envelops and entrains other dissonances, widening its wave until even the most ideal sympathetic response to the film is swamped and carried off ever outward into space until the floor rises up to meet you like a hugging tree.

8. THE HOLY GIRL (2004)
Directed by Lucretia Martel

Another one I never wrote about. I know a film's good when I can't even begin to write about it. Ahead of its time and ably capturing a sense of intimacy and texture that is totally Argentine in a way America needs to learn for itself, or become Catholic in mind as well as deed. Imagine Altman-style seamless ensemble overlap and a Bressonian feel of gloriously unglorious martyrdom. Her THE HEADLESS WOMAN might even be better, but is harder to love.

9. PUNCH DRUNK LOVE (2002)
Directed by Paul Thomas Anderson

"The pinks and blues and whites and deep black silhouettes are all the sort of stuff many directors use to hide the flimsy material within, but in PUNCH-DRUNK's case, it is the material, the style shapes and frames and focuses and blurs until we recognize that pure art is the way to shift attention from the banal blinders-on crawl of drab social reality into the liquid present, where life is a continually moving, breathing changing force expressing itself constantly through the air, the stars and the sea and every random song select or spin of the roulette wheel. So when you see PUNCH-DRUNK LOVE even stone cold sober you can follow Anderson's breadcrumb trail right into that same candy colored universe of egoless nonjudgmental acceptance of all life as it is right here right now. In short, watching this movie gets you totally "TOASTED" on art, love, and a dizzying array of overlapping dialogue by the seven sisters, who make the witches of MACBETH seem like Girls Gone Wild." (9/09)

10. SCIENCE OF SLEEP (2006)
Directed by Michel Gondry

"Mark my words, this film will one day be regarded as highly as CITIZEN KANE and LA DOLCE VITA and PERSONA as a benchmark in art cinema, that is to say, art cinema that is accessible to the layperson and trenchant regarding genuine issues of its days and it elevates one's perceptions even as it captures the way we really think, the way we see, etc., in short Gondry has re-created and perfected "instantaneous cinema" in a manner that takes the dreams of the 1960s New Wave and art house movements and fully realizes them, even if it is in the painful service of a struggling artist in Paris longing for the intellectual girl next door, not quite fathoming the extent of his own worth, and so forth. Still, one day SLEEP, along with the tremendous ETERNAL SUNSHINE OF THE SPOTLESS MIND, will be regarded as one of the true masterpieces of the new century." (BLAD, 10/2007)

------------------------------------------
And what about Wes Anderson's underrated DARJEELING LIMITED? Sofia Coppola's LOST IN TRANSLATION and Jody Hill's OBSERVE AND REPORT? And of course, Quentin and of course, BIRTH, maybe even THE WRESTLER.

But my best-of decade films had to reflect not just a freedom from bourgeois morality and unconscious status quo obedience, not just a sense of love and spiritual awakening, but deep and perfect artistry and a sublime mix of style and substance. What films leave you shaking with awakened sense of love and purpose, or of healing -- without being dull or didactic, or 'family ensemble'-driven? Of having some long unresolved inner issue suddenly solved and healed over by the power of cinema? These films showed us things we needed to see, and they rock, They've made the '10s a safer place to be unsafe in.
Read More
Posted in | No comments

середа, 16 грудня 2009 р.

Acid Sight/Sound Symphonies: FANTASIA (1940 - rereleased in 1969), 2001: A SPACE ODYSSEY (1968) and YELLOW SUBMARINE (1968)

Posted on 07:39 by jackichain
T to B: Fantasia, 2001
Walt Disney was determined to not just blow minds and thrill art lovers with his 1940 epic animated classical music film FANTASIA, but to bring what critic James Agee referred to as "middlebrow highbrow" culture to an America on the edge of war. It didn't... but yet, when re-released in 1969, it caught on with a new kind of American at the edge of war, the stoned draft dodger. As Wikipedia notes:
Fantasia did not make a profit until its 1969 re-release. By then, Fantasia had become immensely popular among teenagers and college students, some of whom would reportedly take drugs such as marijuana and LSD to "better experience" the film.[4] Disney promoted the film using a psychedelic-styled poster. The re-release was a major success, especially with the psychedelic young adult crowd, many of whom would come lie down in the front row of the theater and experience the film from there.
You know how Disney used to do with their best titles... and still does with their DVDs: letting them go in and out circulation, then re-releasing them (with "timeless" hype of the "now more than ever" variety). Acid similarly comes and goes from the American popular imagination, and in 1969 it was still "cool" the way cocaine was in the late 1970's, or ecstasy in the early 1990s, something even "normal" people want to try (they read about in Newsweek or heard about it at their Wednesday bridge game). Naturally Disney and acid came together --seeing a good Disney film with "mind expanded" was to truly appreciate its abstract beauty, so the bridge partners said. The idea of acid cinema had reached a nice peak with 2001: A SPACE ODYSSEY and YELLOW SUBMARINE the year before. Whether any of these films were intended for drug use or not, all three were ideal for a cinematic trip.

Imagine that you're used to seeing television on a small black and white TV in a room crowded with cigarette smoke-- you've been watching TV like that for 20 years nonstop--and now you're in a New York multiplex with 3-D surround digital sound. Everything about the experience of viewing is now a complete sensory overload--your inner blinders quickly scurry to adjust their levels but until they do you're suddenly in a wild and wondrous place. The sheer miracle of a moving picture, the miracle of the people around you, is enough to delight you beyond all endurance. You gush with gratitude at being able to process all this information in a setting where you feel safe without feeling lonely, where it's dark enough to be free and don't have to talk to people or make eye contact while you endeavor to catalog your newfound wealth of sensory information.

Your natural tendency to be hypnotized by a glowing screen keeps your loosened mind from wandering (usually) into bad trip panic attack territory, which is important, since your mind is so open and unguarded, one nasty image can get right inside your head and warp your soul forever. Of course, it's good in that sense to avoid films with lots of guns and violence and negativity or a heavy emotional plot that your unprovoked laughter will disrupt. So what you needed in the acid heyday of 1967-70 were long, slow panoramas filled with soothing, positive music and flowery images, expressions of love or else total blankness. Living is easy with eyes closed! But when your eyes are suddenly open, you need a break from all the lonely people, their beady, needy eyes imploring you, their hungry ghost carny people hands darting in and out of food-stained sleeves. Flowers and sunshine were like the balm to that illness.

Fitting the bill perfectly for supplying the positives without the negatives, right at the start of the acid spike in 1966 was a surfer movie called THE ENDLESS SUMMER. As Laker34 notes on the IMDB user comments "See this film because it is not violent." Rather than a drama it was a meditation, a music picture show in the best sense... waves, man, it was about the waves.


Then came YELLOW SUBMARINE and 2001 A SPACE ODYSSEY in 1968. With these films, the cinema was now safe for heads (as they were known at the time). The posters for 2001 even came right out and labeled it as "the ultimate trip." While YELLOW SUBMARINE said it all, a psychedelic journey with Beatles and the safety of a little hideaway beneath the waves. It even had a total selfless love ending, when John asks the defeated Blue Meanies to join the celebration. Was this not the lesson we as people most needed and could most easily grasp when high out of our gourds? That to reject or fail to love even one person, no matter how bad they smelled or how hard they cracked our skull with their baton, was to render the whole thing worthless? That's the lesson we didn't learn though, only Lennon and Gandhi and King learned it, and look what it got them! That kind of selfless love is a bullet magnet, speeding you up to God like you'd speed a candle out of a gas-filled kitchen. We the gas learned to reign in our smell, to hide in pockets behind the stove and wait for our chance. In short, though we still wanted to love everybody, we shut up about it.


Kubrick's formalist dehumanizing motifs reflect that "shutting up about it" and once that's taken into account it's all suddenly revealed to be just the cynical armor of an existential humanist, one unafraid to stand in the bathroom mirror and watch the stranger through the glass age into newborn baby. While 2001 sent many a conventional sci fi narrative lover out the door in boredom, many of them had read about the drugs and they knew it was their fault if they didn't 'get it' -- they probably just weren't high enough. The truly high and hip fell into the movie like it was a black pool and the sober people would see them float up out of their chairs and vanish into the screen, enviously. Here was a movie man's killer instincts were depicted as entwined with alien genetic manipulation, and the concept of outer and inner space were colliding, and withered old age was turning naturally again to embryonic, and these straight edges were dozing in the aisles just because absolutely nothing was happening for whole minutes at a time. Both things happening at once, in the same universal mind. Truth or illusion!


It was all stuff only the heads could totally grasp and the idea of classical music piping through space kept the whole thing at enough of a measured pace that no dosed human watching it was likely to get a panic attack, until the whole heavy breathing out in space rescuing Dr. Poole part at least, and even there it seemed Kubrick had slowed down the action deliberately so the heads could sneak out for a smoke. Heads may have been distracted, but they knew that it all meant something, had something to do with birthdays. And circles. It wasn't a story of dudes in space but the story of human evolution carried from start to finish - not a circle but a straight line up from the caves and into the eighth dimension. And the obsidian obelisk is like a great big tab, man!

Kubrick's use of classical music connects the abstract imagery to the equally sleep-inducing FANTASIA, re-released the following year. Here too, those straight folk trapped by expectations of conventional narrative were flummoxed into submission while the enlightened presumably blossomed out their crown chakras.

As we've seen in our film thus far, the idea of the theater as a place of reflection and spectacle (rather than narrative absorption) was big in the late 1960s as a result of the newfound "midnight movie" crowd, those going in with altered consciousness or just looking to see if they could catch a contact high. It was in the papers, so even if you'd never done a single drug, for example, you knew that 2001's big ending was "trippy" and you consoled yourself that maybe if you were high you'd get it. If you weren't high, and didn't get it, both FANTASIA and 2001 could be as intense and moving as a trip through a crowded art museum with relatives who have to spend several minutes before every picture, and your feet hurt. "Yeah yeah, pretty, but can we go?" Andrew Sarris famously issued two reviews of 2001: The first review--sober and full of high expectations--is grouchy and disbelieving. Sarris' second viewing came after he'd "ingested a substance" resulting in a complete conversion. At least he was critic enough to admit it and write the second one. And both together really illuminate the power of set and setting.

Now, later, on DVD, it's easy to forward through the draggy stretches of Kubrick's film, or pluck the good segments of FANTASIA (Night on Bald Mountain, the Sorcerer's Apprentice, Rite of Spring) out and fold them in with pre-code Betty Boop and wartime Bugs for a night of weird but blissfully centaur-free animation.

So why is FANTASIA so dull to the sober? We must inevitably look at the Disney juggernaut itself. Was Walt a humanist or propaganda merchant? Nazi collaborator or Hero of California? Either way that Wonderful World of Walt Disney TV show--that ran all through the 70s on Sunday nights on ABC--was excruciating. It was boring and brown with faded outdoor photography color, but it was all that was on and we kids slogged through it just to make the night before going back to school last longer. Sometimes Walt would show some nature documentaries (ala Mutual of Omaha's Wild Kingdom), but mostly it was apple-cheeked youngsters learning drab conformist lessons from folksy trackers. Occasionally the youngster would run from a bear, snake or wolf, and sometimes I'd stay up just to see if he got eaten--the attack played up in the commercials and kept to the last minute just to keep us antsy JAWS fans in front of the endless commercial. That ultra-square sense of what constitutes entertainment suffuses FANTASIA. However, in the right mood it can be as brilliant and riveting as watching a snail... crawl along the edge... of a straight... razor... and surviving... to the stern Teutonic strings of a little fellow named Richard Wagner... We start with a soft timpani roll, Mr. Stawkowski... if you please...
Read More
Posted in lsd, obelisk, Space, Stanley Kubrick, tabs, Walt Disney | No comments

понеділок, 14 грудня 2009 р.

Great Acid Movies #11: NAKED LUNCH (1991)

Posted on 07:30 by jackichain


The year of 1991 was a scary one to be a recently graduated, unemployed alcoholic writer: there was a terrible recession, political turmoil, and worst of all was George Bush Sr's CAMP (California Against Marijuana Production) robbing Northern California of its income and making all hip Americans miserable. At least we had fascist action movies to soothe our angry hearts, and the beat canon staple Naked Lunch being adapted into a movie... wait, what? How in the hell could a non-XXX film version be anything but an embarrassment, even with David Cronenberg as the director?

But then we learned in the trades that even Burroughs approved of the final script. And so, as Nirvana prepared to descend from Seattle and lovingly fog our panes with layers of heavenly grunge, and CAMP failed, as evil always does, our LUNCH--a mescalin salad of disturbing  hallucinatory creatures, sublimely deadpan comic croutons, and a Burroughs-biographical dressing ala JUNKY or EXTERMINATOR--was served. Replete with creepy, slightly "wrong" (probably intentionally so) renditions of Kerouac and Ginsberg, the memoir aspect didn't succumb to gushy bourgeois period piece hero worship like so many druggy cult figure bios/memoirs of the past and future (THE DOORS, FACTORY GIRL, etc) and wasn't the core of the film. So what was?

What was, what wasn't... the point is Cronenberg had made a good adaptation of a very weird and purposely disturbing, non-narrative book, one originally (apparently) aimed at the ever-dwindling demographic of gay autoerotic asphyxiation devotees. But clearing out all the post-hanging orgasms for the movie there's still enough in LUNCH to, if not quite blow our minds, at least penetrate the frontal lobes; and, if it doesn't quite have us doubled over in laughter, at least it's wryly aware of just what hipster cool is really all about, the whistling-in-the-dark surfer on the swamp of madness deadpan that all brave psychedelic explorers need to not wind up in the bughouse.

Maybe it's because he's Canadian?? When Americans and Brits try to adapt druggy literature they tend to shout and overemphasize too much and the result is a lot like Terry Gilliam's FEAR AND LOATHING IN LAS VEGAS or BASKETBALL DIARIES. But Candian Cronenberg understates, and stays loose without being flippant, the trippy lines come out like a bare whisper out of the corner of his actors' mouths. You pass him the money in a handshake and follow him through the Moroccan marketplace to a quiet tent, your paranoid ears tuned to the the hiss and crackle of black centipede meat as you whisk past the vendors' twirling spits. Whatever he gives you to eat, quick, you eat it! The monsters may come and may go, but if you don't freak out no one will notice you're crazy.

Casting is everything and Cronenberg's great deadpan style would still add up to little more than half a film if not for Judy Davis as Sally Bowles. She has such incredibly dry, cool hipster rapport with Peter Weller's bug-eyed Bill that Hollywood matched them up again in a film called THE NEW AGE shortly thereafter. Davis blazed along in many great films of that year. She was the indie artistic mature goddess of 1991-92: nurse/succubus/enabler to a Faulkneresque drunk in BARTON FINK ('91); a droll and saucy George Sand chasing Chopin for IMPROMPTU (1991) and most famously as the jaundiced object of Liam Neeson's unwanted affection in HUSBANDS AND WIVES ('92). She was the older, more gravitas-engorged Parker Posey of her day. For a brief while she shone in enough nervy, sexy, intelligent roles to cause many a prematurely disillusioned young writing student to fall in love with her. She alone seemed to nail the ideal antithetical mix of sexuality and brains, insanity and maternity, canny courage and vulnerable confusion. She was quiet but no doormat, and--best of all--she was nonjudgmental. You could drink, shoot up, shoot her, cheat on her with a rentboy, she could care less and expected the same allowances for her dalliances. In fact in one of those weird coincidences of cinema, there's a lot of similarity in her two roles of 1999, BARTON FINK and NAKED LUNCH. In each she's a writer connected to an older male writer and desired by a younger rival. Both films feature hallucinations and fearsome black insectoid typewriters sat before by our young writers in hotel rooms in foreign lands (Isn't Hollywood America's interzone?). Each has interesting use of beaches, weirdo muse figures, surreal expressionist digressions, Kafka-esque elipses, etc.


Top: Lunch, Bottom: Fink
 Back to Peter Weller: before LUNCH he was the lead in BUCKAROO BANZAI and his ADVENTURES ACROSS THE EIGHT DIMENSION (1984). There's only one scene from that film everyone remembers: Buckaroo is in a club, jamming with his band and Ellen Barkin is crying at a table in the darkened back of the room but he stops the music because he can tell someone out there is sad, and he says his famous line: "You know, no matter where you go... there you are." The quote stuck in all our brains, though a lot of us felt the film was a little too sure of its future cult status to make us want to embrace it the way, say, a younger generation has embraced DONNIE DARKO. But that wasn't Weller's fault --he played it perfectly. You could barely tell he was even acting, and that was why the moment landed. If that ambiguous "there you are" was a quantum entanglement butterfly wing, NAKED LUNCH would be the tsunami that roared ashore seven years later. They knew he was perfect because he was handsome and relaxed yet possessed of the thousand yard stare of the war vet or martial artist, and that thousand yard stare is what you need in the Interzone. You need to be level-headed and whistling a mellow happy tune even as the people around you on the street devolve into creatures so comically obscene you can hardly stop from pissing your pants with deranged laughter. Cool must be maintained or else mounting panic amplifies like feedback and that's the whole idea behind the title, taken from something Kerouac said to Burroughs about how when you're dosed on mescaline and trying to eat dinner with your parents, and your food is squirming on the fork as if alive, and you can't freak out. You must smile and say nothing and eat as if all is well, trusting that the thing squirming on end of your fork isn't really a tiny tentacled monster clinging for dear life to the tines. Although some say the title was supposed to be NAKED LUST and Ginsberg typed it wrong from Bill's illegible notes, I like to think it's this meaning. For the true hallucination is not that people are monstrous, but that they aren't. Stripped temporarily of all the social indoctrination and laziness by which we filter our sensory input down to the bare minimum, we finally see the world as it really is. The lunch i exposed as the still twitching evidence of animal and/or plant slaughter, trails of life and energy still clinging to the (barely) inanimate matter.


And the weirder things get, the cooler one plays it, for one doesn't want to be shipped off to the bughouse or to make a public spectacle or otherwise end up pinned to the ground and frisked just because your foaming at the mouth and raving at everyone on the street to hide their drugs because cops are coming out of the cracks in the sidewalk.



Depicting hallucinations has always been a tricky issue in cinema. It's not that typewriters turn into actual insects on drugs, it's just that they almost do, their true insect nature is revealed. And when you're alone and hoping the acid you took will lead you to write some brilliant poetry and the letters start squiggling and trying to escape the page as soon as you type them, the typewriter seems more and more alive and shiny with arthropodical imperviousness. Fictionalization naturally ensues. On good hallucinogens one is allowed to see all the nuts and bolts of vision and how we're still hard-wired to identify insects camouflaged in trees that might sting our hands or perhaps provide food. I could go on and on about how if we learned to eat insects all our problems would be solved, that it's a jive corporate mind fuck that makes eating slaughtered mammals acceptable but bugs disgusting. If aliens saw what we eat they'd think we were cannibals! Why bother eating your own kingdom when rival larval arthropods are so much more deserving. That's why when people have the DTs or are twitching on cheap meth they see bugs everywhere. We're hardwired to be seeing bugs everywhere because we're hardwired for outdoor, forest living. Bugs are meant to be everywhere. So while our symbolic stencil kit tells us the thing we see on our desk is a typewriter, if acid dissolves that stencil symbol kit, just what is that thing?



Then there's the gay aspect. NAKED LUNCH scores extra eerie frisson if you're a sexually frustrated straight male in 1991, a time when queerness wasn't yet PC police-protected and thus allowed to carry a creepy closeted charge, even to the extent of casting the uncanny Mr. Julian Sands as the first character to use the word 'queer' and get it out in the open. You remember when he was Elisabeth Shue's deranged Russian pimp in LEAVING LAS VEGAS? In 1991, being gay was still much more controversial than it is now, and the brave thing about LUNCH is how it gradually "outs" its protagonist, from flinching at Ginsberg's suggestion that he and Bill "join" Jack and Judy Davis in an orgy (like he's ashamed he's in the same sexual set as this Rick Moranis-ish poet) to conveying disgust at the advances of Julian Sands, to waking up quietly contented and happy next to Kiki, a pretty Moroccan boy hustler. Without trumpets and a big fuss, through this gradual process, LUNCH brings queerness into the acid cinema canon without raising a single hackle. The way it does this is first by shocking the audience--with the gay come-ons which are creepy and rejected--then retreating back to heterosexuality (with Judy Davis), and then, once we're completely confused, setting Bill up with lil' Kiki. By that point in the film you're too dislocated to be able to muster any knee-jerk homophobic horror. You're just glad Bill's finally found a friend.

Lastly, there's the late, great Roy Scheider as Dr. Benway. When near the end he rips off his disguise and shouts "Benway!" with a roar of delight, you know you're seeing a fuckin' great movie, it may have taken the whole film to get there, but there's no denying it now.

In structure, NAKED LUNCH bears similarity to the sacred ritual myths of initiation and creative evolution. In that sense Scheider is like Prospero in THE TEMPEST or Sarastro THE MAGIC FLUTE, or even the little girl hologram in RESIDENT EVIL, letting you know you're ready for the next level, the higher initiation; and every time the serpent takes another swallow of its own tail, the circle gets just that much smaller, i.e. wider.

Bill's very nature reflects the inextricable union of life and death: he works as an exterminator, but gets high on his own bug powder. Both Cronenberg and Burroughs are unafraid to look death in the eye and see it as merely temporary (like life), the tunnel portion of an endlessly looped carnival ride. The topography is changed just a little after each journey into the Stygian darkness, but memories of past events warp to accommodate new information. And then Benway appears with a trial prescription like Glenda the Good Witch, with a new pair of rubier slippers to celebrate your completing the first level of Oz. But each pair has a price: like Moira Shearer you can't stop easing on down the yellow bricks. For every bridge deeper into the Oz Interzone another universe of possibility dies behind you. What Buckaroo Banzai didn't realize about the 8th dimension is that you don't need a fast car driving into a rock to get there, you just need a taste of Dr. Benway's patented black centipede syrup, and a deadpan facade. Wherever you go, there you are, but then, also there you aren't... so best look like you intended to be... wherever it is... from the beginning. That's what you call 'turning pro.'
Read More
Posted in David Cronenberg, Judy Davis, Naked Lunch, Peter Weller, William S. Burroughs | No comments

неділя, 6 грудня 2009 р.

MAD MEN Substitute: THE CARPETBAGGERS (1964, d. Edward Dmytryk)

Posted on 18:21 by jackichain


While Mad Men is out of season, get your hot angry period piece businessman fix with Edward Dmytryk's adaptation of the Harold Robbins' bodice-ripper, THE CARPETBAGGERS (1964). Age has been kind to this loose adaptation of the Howard Hughes mythos. It keeps all the juicy bedroom camp alive in long, well-structured scenes that should have been studied by Scorsese and DiCaprio before they made the far less virile AVIATOR. While Scorsese's film made Hughes into a saint too fine, broken and dreamy for this world, the fictionalized Jonas Cord (George Peppard) is a misogynistic chick magnet. His marriage to the Winthrop heiress is scrapped when he finds out she's a clingy conventional hausfrau. His true love is his hot stepmom (Caroll Baker) who was his lover before his richer dad stole her away and married her. Amoral and manipulative a pair of hot-to-trot relatives as you're likely to find this side of the 80s, they're like Tony and Cesca in the last reel of SCARFACE ("I can't tell whether I love you or hate you"/ "Both"). Meanwhile, Alan Ladd hangs onto his hat as western hero Nevada Smith (the cowboy outlaw turned millionaire kid's bodyguard/pal, ala William Demarest in THE LADY EVE or Rock Hudson in WRITTEN ON THE WIND, or Viggo in EASTERN PROMISES), and Leif Erikson rants nicely as Joanas Sr., who yells at his tomcat progeny: "A man's judged by what's in his head, not in his bed!"

As I mentioned in an old post, THE CARPETBAGGERS makes a great unofficial sequel to GIANT, with Jett Rink changing into Jonas Cord, and Caroll Baker growing up and over to Hollywood to pursue her dream in pictures, and Dmytryk knows Baker's method hotness is the film's best asset, and so gives her room to breathe and lounge. Meanwhile, Monica, the clingy Winthrop heiress (Elizabeth Ashley) sounds exactly like Kate Jackson, and through it all George Peppard is a real pleasant surprise as a taciturn, ruthless hedonist businessman workaholic with daddy issues. Such a role might warrant over-playing in less capable hands, but Dmytryk and Peppard are smart enough to never let Jonas smile or betray a hint of emotion other than simmering hatred.  His voice is marvelously tinged with nasal reverb, like he's always either freshly buzzed or really hungover, or has a cold, or all three, like I used to have when seeing him in Breakfast at Tiffany's screenings Sunday afternoons in Tribecca circa 1997. 


I was too much of a boy to watch Dallas and Dynasty and all that back in the 1970s-80s, but  now I love the CARPETBAGGERS, and to me, the nymphomaniac stepmom is clearly the good guy. Actually sex itself is the good guy. Those who wield sex wantonly gain the world and lose the soul they never even had, a more than reasonable exchange when your life doesn't extend past the credits.

And yeah, it has that 60s Mad Men panache as well. What was once misogynistic becomes quaint and inspiring in our post-modern age for it reminds us we are not like that now. Even the most sordid sexual expression can become socially acceptable through the prophylactic rose-tinted windshield screen of time. As CARPETBAGGERS is itself set thirty years before it was made (in the swingin' 30s), our windshield here is double-tinted. Baker's boozy harridan becomes less a sex object through all this filtration and more of a third-wave martyr. Oh the things she could have done with a guest spot on the O.C.!

Of course it all ends happily, and I shan't reveal any more. But know that the DVD is in splendidly refurbished colors and it all glows with nice dark red wallpaper and tastefully dusky furniture and none of the usual suffocating bouquets and endless white marble that chokes so many other rich folk films. So when you have that yen for martinis, suits, gowns and a complete absence of political correctness, pick up CARPETBAGGERS the way you'd pick up a Kantian dissertation on 60s soap operas for the beach. Raunchier than Sirk, not neutered like Tashlin, not smothered in chintz and expensive perfume. It's about ballsy men, and deep oak and mahogany surfaces, and women who are allowed to make the kind of prolonged, sexually aggressive eye contact that would send a 21st century boy or 19th century girl blushing from the coffee bar. Edward Cullen would probably explode into CGI dust if Baker so much as batted an eyelash his way. Here's wishing there were a dozen more as good... or as bad... as Baker.
Read More
Posted in Caroll Baker, Edward Dmytryk, George Peppard, Harold Robbins, Howard Hughes, Jonas Cord | No comments

пʼятниця, 4 грудня 2009 р.

Idiot's Delight (1939)

Posted on 19:26 by jackichain
Who are the idiots?
There must be some word.
I want them all.
I want all the idiots."
--Riffs' leader if "idiots" was substituted for "warriors" (THE WARRIORS, 1979)

And that's just what MGM does here. "Warrior's Delight" would be a much better title, because all the local soldiers at this Alpine border want to do is bomb some stuff, and stranded traveler Burgess Meredith gets all self-righteous about it: "Ten thousand tons of flaming death and none of you want to stop dancing!" Why doesn't someone shut that pacifist up, you ask, mootly, at the screen? Gable and Shearer are trying to play screwball and the soldiers are trying to dance with Gable's devoted dancing blondes, and the pacifist wants to rain on the parade.

The best thing about this play/movie is how transparently it reveals anti-war modernist tracts to be self-defeating. Now that an annoying sanctimonious tub-thumper like Burgess' pacifist has expressed all these humanist sentiments, humanist sentiments are suddenly very uncool. Once you hate the haters, you just switched sides.

Two big MGM stars were Greta Garbo and Norma Shearer. Both having been MGM top talent since the silent age, Garbo was basically retired by 1939 (though she came back the same year in NINOTCHKA), but Shearer was only slightly the less for wear, a little paunchy maybe, but bravely, brazenly--for endless pages of campy but gleefully nihilistic dialogue--willing to alternately satirize, celebrate and lovingly impersonate Garbo, at times coming off like a drag queen, other times like a legit and loving sociopath who "vonts to be alone." And then, when you're just about ready to press stop, Clark Gable busts loose in his big number, mocking both Fred Astaire and the whole concept of song and dance men in his hilarious "Puttin' on the Ritz." It's worth watching just for his facial expressions, which are pure Groucho Marx impersonating Maurice Chevalier in MONKEY BUSINESS.

Edward Arnold is pretty ballsy as the ruthless arms magnate (Shearer's his arm candy). He explodes in a big burst of anger when she's cynical about his genius at sewing death. "If someone's going to be so petty as to take up arms they deserve to die! I help humanity by getting rid of them!" Or something like that. No argument from me, brother! Probably not from MGM either, with scrappy little Burgess Meredith's hysterical outbursts. The self-appointed "prophet" spreading brotherly love and peace, he's the lynch pin by which to measure and hang the rest of the cast. Gable and Shearer's doomed couple ultimately transcend it all since they're not too terribly afraid of death. That's what true love is, after all, a kind of painful form of living death, in and of itself, like enlightenment, and death is just another station on the endless spinning dial.

In short, there's far worse examples of that Barton Fink feeling than this adapted pacifist play! Simmering with cross purposes, it fairly begs to get a post-modern de-adaptation by the Wooster Group. I can see Kate Valk acing the Garbo by way of Shearer MGM elocution accent, and Willem Da Foe a psychotically chipper Gable, acting out love scenes in front of a screening of some confiscated Third Reich Alpine nature documentary footage and psychedelic bomber shadow explosion lightshows. And the conscience represented by Burgess Meredith in the film could be one of Godard's deadpan commie sermons playing on an old reel-to-reel, before it's finally replaced by the smooth no worries shine of Compakt Disk.
Read More
Posted in Barton Fink, Clark Gable, Edward Arnold, Greta Garbo, Kate Valk, MGM, Norma Shearer | No comments

The Brotherhood of Melted Wings: THE DAWN PATROL (1938)

Posted on 08:41 by jackichain

Say a prayer for the dead already / and salute those next to die!" -- Lucy Westerna, reciting an old airman's drinking song (DRACULA, 1931)
A bad LSD trip can leave you traumatized for weeks, cut off from a general populace who cannot see beyond their collective fog of assured continuity to understand why you're so pallid. The blinders that obscure the constant threat of death for them are, for you, broken; the rays of the black void shine into your soul even if you close your eyes and look away. For those poor fools around you it's business as usual; they are glazed-eyed consumers on their endless rotation from cubicle to couch to bed. You sit outside it all, screaming inside, clawing softly at the fleshy disguise you call a face as if its a prison you might escape. A feeling of lost futility overwhelms your every thought and gesture...

But lo! THE DAWN PATROL is waiting!

In soothing black and white the doomed airmen await their time to die up in the air over the blackened trenches of WWI, they understand your existential anguish! Are they not, in their way, the living dead? Look at the way the pilot up top resembles a corpse right out of a Joe Kubert WEIRD WAR TALES cover. (left) You can feel both the beating of modernism's horrified, hideous heart and smell the dread of the next war, already in progress, which America was eyeballing with the remorse of a redacted father. 


Though helmed by "ladies' choice" director Edmund Goulding (GRAND HOTEL, DARK VICTORY), DAWN PATROL is all men and--manlier still--a remake of an early sound Howard Hawks film. I've no qualm with this version as Goulding is just fine at capturing camaraderie of either gender, and always had a great fatalistic streak -- you can feel death and despair being ever pushed back, every gesture of his actors like drowning souls struggling through the La Brea tar pits. Like Hawks he keeps shots at a medium level to allow us to feel part of the action, part of the brotherhood of airmen, who treat their captured German pilots with respect, giving them drinks and food before the MPs take them away. And of course our airmen agonize over all the fresh young recruits, most of whom are shot down during their first soiree. What's most important in a film like this, since it's almost all male actors, is that the actors be first rate and with Basil Rathbone as the C.O., bravely taking the heat from righteous pilot Errol Flynn and drunken wingman David Niven, you got a deck stacked for easy grifting.


And drinking, man is there a lot of well-deserved drinking, and after a bad trip, honey, if you don't have a drink or something to put your lights out you're going to be hallucinating ghost fingers ripping your soul apart all night. But you do have drinks, and they're apparently free, since the bar is your HQ. DAWN PATROL puts you in that same pleasant zone, that land where you too belong to something cooler than yourself and the bartender is a personal friend.



The big existential question for these pilots isn't how or why, but when? The answer is always the same: very soon. Eckhart Tolle (or was it Ram Dass?) writes of working with death row inmates and how they would have big breakthroughs when death was looming, turning to the glory of the eternal now like instant messiahs. But then, if, say, the convict got off the short list and were put back in the general population, they'd get cocky and forget the eternal now, becoming hungry ghosts bartering for smokes once more.

Hawks and Hemingway understood it: they knew they had to be cozied up to death to write worth a damn. Like it or not, having survived the horrors of a bad acid trip, you're now in that same league as Hemingway and Hawks surviving the horrors of war. And knocking back a few with THE DAWN PATROL can be like starving for days as a stow away in a filthy crate on a boat only to learn you've got a pre-paid royal suite with a fully-stocked bar. You wouldn't appreciate the glory of the bar without first enduring the fear and filth. Every Icarus needs his wings melted before he can be of any mythic use, you just don't get to find that out until your wings burn, and you know Marlene's not to blame if you never got a chance to practice your roll. 
Read More
Posted in airmen, Basil Rathbone, David Niven, death, Dracula, Edmund Goulding, Errol Flynn, Joe Kubert, WW1 | No comments
Новіші публікації Старіші публікації Головна сторінка
Підписатися на: Дописи (Atom)

Popular Posts

  • Happy Birthday Cheryl Ladd!
    Today, it's Cheryl Ladd's birthday. Happy birthday to an underrated actress, sparkling beauty, sultry singer, and first-class Angel!...
  • John Monk Saunders' Flying Death Drive: THE LAST FLIGHT, EAGLE AND THE HAWK, ACE OF ACES, DAWN PATROL (vs. DRACULA)
    If you want to scoop deep into the real murky moral ambiguity of war, the heart of the heart of darkness, take to the air and hunt the pre-c...
  • CinemArchetype 20 - The 3 Sisters
    Three sisters --- immovable power.. the magic number...the trinity. A solid bloc of womanhood where sisters can't help but become witche...
  • The Animus Variations (CinemArchetype #3) - the Daemon Lover
    "He gives the woman spiritual firmness, an invisible inner support that compensates for her outer softness." ~ Man and His Symbol...
  • Are You Lonesome, Automaton: Terminator and Halloween vs. Hugo
    I am a mechanical man And I do the best I can Because I have my Family    -- Charles Manson ("Mechanical Man") Was it chance I saw...
  • Bitches Be Trippin': TOAD ROAD, A FIELD IN ENGLAND
    I've always taken a hard line stance that idiots (and minors, of course) shouldn't use drugs. Drugs should only be taken by artists,...
  • 22 Films that prove 1933 was the greatest year for classic movies.
    Everyone cites 1939, year of Oz , Wind , and Grapes, as the best year in the history of movies, but not Acidemic. Here we know the best year...
  • Queen of Daze: PJ Soles in ROCK AND ROLL HIGH SCHOOL (1979)
      Part of the PJ Soles Blogathon on Day of the Woman The blowing up of one's school was a sacred fantasy to us, the sugar-crazed kids in...
  • CinemArchetype #5: The Human Sacrifice
    " To the primitive mind, good and evil, life and death are in the nature of materialistic qualities capable of transference or expulsi...
  • Two hearts stab as one: Brian De Palma + Dario Argento (a Reptile Dysfunction)
    The critics say they're indebted to Hitchcock for their tropes, obsessions and subjects, but what I really see in Italian horror directo...

Categories

  • . Akim Tamiroff
  • 1930s
  • 1932
  • 1933
  • 1941
  • 1967
  • 1968
  • 1969
  • 1970s
  • 1970s dads
  • 1980s
  • 2001
  • 2012
  • 33.3
  • 70s
  • 70s Dads
  • 9 1/2 weeks
  • 9 monkeys
  • aa
  • Aaron Spelling
  • abbi jacobson
  • ABC
  • Abel Ferrara
  • abortion
  • abstraction
  • abuse
  • acid
  • acting
  • Action
  • actor's studio
  • actresses
  • Adam Roarke
  • Adam Sandler
  • Adam Wingard
  • Addiction
  • Adrian Pasdar
  • Adrienne Barbeau
  • adult
  • Adult Books
  • adultery
  • African
  • African American
  • After school special
  • Ahab
  • AIP
  • air-mail
  • airmen
  • airplanes
  • Akira
  • Akira Kurosawa
  • Al Jolson
  • Al Santos
  • alain robbe-grillet
  • Alan Arkush
  • Alan Ladd
  • albert finney
  • Albert Maysles
  • Alchemy
  • alcohol
  • Alcoholics Anonymous
  • Alcoholism
  • Alec Baldwin
  • Alexander Payne
  • Alexandra Breckenridge
  • Alexandra Hay
  • Alfred Hitchcock
  • Ali Larter
  • Alice in Wonderland
  • Alien
  • alien abduction
  • Alien conspiracy
  • alienation
  • aliens
  • Allegory
  • Allen Jenkins
  • Altamont
  • Amanda Warren
  • Ambiguity
  • America
  • American
  • American Horror Story
  • Amnesia
  • amok
  • amok animals
  • amos poe
  • amy allan
  • Anarchy
  • ancient rome
  • androids
  • Andrzej Zulawski
  • Andy Serkis
  • Angelina Jolie
  • Angelo Rossitto
  • Anima psychosis
  • animals
  • Animus
  • Anita Loos
  • Anita Pallenberg
  • Ann Revere
  • Anna Carlisle
  • Anna Christie
  • anna karina
  • Anna May Wong
  • Anna Paquin
  • Anna Sten
  • Anne Francis
  • Anne Hathaway
  • annet mahendru
  • Antichrist
  • Anton Grot
  • Antonioni
  • anxiety
  • apocalypse
  • April Fools
  • Aquarius
  • Arabs
  • Archetpyal
  • archetypal
  • Archetypal Psychology
  • archetype
  • Argentina
  • Argento
  • Armageddon
  • Arnold Schwarzenegger
  • Arous
  • art
  • art scene
  • Arthur Hunnicutt
  • asa butterfield
  • Asexuality
  • asherah
  • ashley cahill
  • Asia Argento
  • astronaut
  • audio mimesis
  • Aurora
  • Automaton
  • Ava Gardner
  • Avengers
  • aviation
  • awesome horror
  • Ayahuasca
  • ayuhuasca
  • Aziz Anzari
  • Baader-Meinhof
  • Baby Doll
  • Backwoods
  • Bad
  • bad faith
  • balls
  • ballyhoo
  • BAM
  • Barbara Crampton
  • Barbara Hershey
  • Barbara Stanwyck
  • Baroque
  • Barry Shear
  • bars
  • Barton Fink
  • Basil Rathbone
  • basquiat
  • Batman
  • Batman Returns
  • Baudrillard
  • bawdy
  • beaches
  • Beards
  • beatles
  • Beatrice Dalle
  • Beckett
  • Bela Lugosi
  • Bella
  • Ben Hecht
  • Benicio Del Toro
  • bergman
  • Bertolt Brecht
  • Best of decade
  • Bette Davis
  • Betty Blue
  • bi-polar
  • Big Liebowski
  • Big Red One
  • Big Sur
  • Bikers
  • Bill Clinton
  • Bill Gunn
  • billie piper
  • Bing Crosby
  • Biography
  • birth
  • bisexual
  • Black
  • Black Cat
  • black comedy
  • Black Dahlia
  • Black Metal
  • Black Star
  • blackface
  • Blacklist
  • blade runner
  • blank generation
  • blaxploitation
  • Bleeding Skull
  • Blind Dead
  • Bloggers
  • Blondes
  • blood
  • blue meanings
  • Blueberry
  • Bob Geldoff
  • bob guccione
  • Bob Hope
  • Bohemian Grove
  • Bombshell
  • Bon Rafelson
  • bondage
  • Bonnie Brown
  • boondoggle
  • bootleggers
  • bootlegging
  • Boris Karloff
  • bourgeois
  • bowery
  • Brad Pitt
  • Bradley Cooper
  • Brain
  • brain damage
  • brainwashing
  • Bramwell Fletcher
  • Brazil
  • Brecht
  • Breillat
  • Brenda Wiley
  • Bret Easton Ellis
  • Brian Cox
  • Brian De Palma
  • Brian Donlevy
  • Brian Glazer
  • Brian Wilson
  • Bright Lights
  • Brit Marling
  • British
  • broad city
  • Broderick Crawford
  • Brooke Shields
  • Bruce Lee
  • Bruce McCall
  • Bruce Willis
  • Bruno Forzani
  • Bruno Ve Sota
  • Buddha
  • Buddhalution
  • Buddhism
  • Bueno Aires
  • Buenos Aires
  • Bugs Bunny
  • Burl Ives
  • Burma
  • Burns and Allen
  • Burt Lancaster
  • burt reynolds
  • Busby Berkeley
  • Busby Berkley
  • Buster Crabbe
  • Cabin Fever
  • Caligula
  • camille paglia
  • camp
  • Camping
  • Canada
  • Canadian
  • Candace Hilligoss
  • Candice DeLong
  • Cannibalism
  • Cannibals
  • capital crime
  • Capitalism
  • Cappucine
  • Carey Mulligan
  • Carlos
  • Carmen Sternwood
  • Carmilla
  • Carol Channing
  • Carole Lombard
  • Caroll Baker
  • Carrie
  • carrie white burns in hell
  • Carroll Baker
  • Cartoons
  • Cary Grant
  • Casablanca
  • Casey Anthony
  • casinos
  • Cassavettes
  • castavet
  • castration
  • Cat Women
  • Cate Blanchett
  • catherine deneuve
  • Catherine Keener
  • Catherine Mary Stewart
  • Catherine Zeta Jones
  • Catholicism
  • Catholics
  • Cecil B. DeMille
  • Cesca
  • CGI
  • Channing Tatum
  • Charles Bickford
  • Charles Coburn
  • Charles Dickens
  • Charles Farrell
  • Charles Haid
  • Charles Kaufman
  • Charles Laughton
  • Charles MacArthur
  • Charles Manson
  • Charlie Bronson
  • Charlie McCarthy
  • Charlie Sheen
  • Charlies' Angels
  • Charlize Theron
  • Charlotte Gainsbourg
  • Charlotte Rampling
  • Cheap Trick
  • Cheech and Chong
  • Cher
  • Cherie Curie
  • Cheryl Ladd
  • chick flick
  • childhood
  • children
  • Children's Hospital
  • Children's liberation movement
  • Chile
  • Chloe
  • Chloe Grace Moretz
  • Chris Hemsworth
  • Chris Nolan
  • Chrisopher Lloyd
  • Chrisopher Walken
  • Christ
  • Christendom
  • Christian Bale
  • Christianity
  • Christina Rosetti
  • Christmas
  • Christophe Waltz
  • Christopher Jones
  • Christopher Lee
  • Christopher Nolan
  • chronicle
  • chthonic
  • Chuck Norris
  • cia
  • Cibo Matto
  • Cinematography
  • Cinq au sept
  • citizen kane
  • City Gardens
  • Civil War
  • Claire Denis
  • Clara Bow
  • Clarence Brown
  • Clarence Muse
  • Clark Gable
  • classic horror
  • Classism
  • Claude Raines
  • Claude Rains
  • Claudette Colbert
  • Cliff Robertson
  • Clint Eastwood
  • clitorectomy
  • cocaine
  • cockblocking
  • Cocoa Cola
  • Cocteau
  • Coen brothers
  • Coffy
  • Coke Ennyday
  • Cold War
  • Colin Farrell
  • Colin Firth
  • collagen
  • colonialism
  • Colorado
  • Columbia
  • Comedy
  • Comedy horror
  • Communism
  • computer games
  • Conan
  • conan barbarian
  • Confederacy
  • conflict diamonds
  • Conrad Veidt
  • conservativism
  • conspiracy
  • Constance Bennett
  • controversy
  • Coppola
  • Copyright issues
  • Cormac McCarthy
  • Cornell Woolrich
  • Corruption
  • Counterculture
  • Country Joe
  • Cpnspiracy
  • crack
  • Craig Robinson
  • crank
  • crazy
  • Creepshow
  • Crestwood
  • Crime
  • criterion
  • Critics
  • Cryogenics
  • Crypto-fascism
  • crystal skull
  • Cul-de-sac
  • cults
  • cultural theory
  • Curtis Harrington
  • Cyd Charise
  • Czech new wave
  • daimonic reality
  • Dakota Fanning
  • Dan Curtis
  • Dance
  • Dance marathon
  • dancing
  • Daniel Ekeroth
  • Daniel McBride
  • Daniel Plainview
  • Daniel Radcliffe
  • Danny Trejo
  • Dario Argento
  • Darionioni Nuovo
  • Dark Secret of Harvest Home
  • Dark Shadows
  • Darwin
  • Dashiell Hammett
  • Daughter Italian Ripp London Ralph Bates Susan Brodrick
  • Daughter of Horror
  • Dave Chapelle
  • David Brandon
  • David Cronenberg
  • David Cross
  • David Del Valle
  • David Fincher
  • David Hemmings
  • David Icke
  • David Letterman
  • David Lynch
  • David Niven
  • David O Russell
  • Dazed and Confused
  • DC Comics
  • Dead
  • dead files
  • Deadgirl
  • Deadly Women
  • Dean Martin
  • Dean Stockwell
  • death
  • death drive
  • death fetishist
  • Deborah Kerr
  • decadence
  • decapitation
  • Defection
  • Dellamorte Dellamore
  • Delphine Seyrig
  • Dementia
  • Demi Moore
  • Demons
  • denise richards
  • Denmark
  • dennis hopper
  • Depression
  • Desert
  • Detective Magazines
  • Detectives
  • detournement
  • Devil
  • Devil Commands
  • devouring other
  • Diablo Cody
  • Diane Keaton
  • diane selwyn
  • Diane Varsi
  • DIaspora
  • Dick Foran
  • Dick Powell
  • Dinah Shore
  • dinners
  • Dino De Laurentiis
  • Dino De Laurentis
  • dinosaurs
  • disaster
  • disillusionment
  • Disney
  • DMT
  • DNA
  • Dogme 95
  • dogs
  • Dogville
  • Dolores Del Rio
  • Dolores Fuller
  • Dolph Lundgren
  • Domestic violence
  • Dominique Strauss-Kahn
  • Dominique Swain
  • Domino Harvey
  • Don Coscarelli
  • Don Rickles
  • Donal Cammell
  • Donald Pleasance
  • Dopey
  • Dorothy Lamour
  • dostoyevsky
  • Douglas Fairbanks
  • Douglas Fairbanks Jr.
  • downtown
  • Dracula
  • dreams
  • Drew Barrymore
  • drinking
  • drinking games
  • Drug addiction
  • drugs
  • Drunken Monkey
  • Duane Jones
  • duff gardens
  • Duke Ellington
  • Dustin Hoffman
  • Dusting Hoffman
  • DW Griffith
  • dwarfs
  • Dyatlov Pass
  • Dylan
  • Dylan Baker
  • Dylan McDermott
  • dystopia
  • Eagles
  • East Germany
  • ecological horror
  • Ed Dorado
  • ed wood
  • eddie nugent
  • Edgar Allen Poe
  • Edgar Bergen
  • Edgar Ramirez
  • Edgar wright
  • Edmund Goulding
  • Edmund Lowe
  • education
  • Edward Arnold
  • Edward Dmytryk
  • Edward Everett Horton
  • Edwige Fenech
  • Ego
  • Egypt
  • Egyptology
  • eisa gonzalez
  • el rey
  • Eli Wallach
  • Eliza Dushku
  • Elizabeth Hurley
  • Elizabeth Taylor
  • Ellen Burstyn
  • Ellen Page
  • Elliot Gould
  • Elliot Nugent
  • Elm Street
  • Elvis
  • Elvis Presley
  • EMA
  • Emily Blunt
  • Emily Watson
  • Emir Kusturica
  • Emma Roberts
  • emperor
  • Endless Love
  • England
  • Enlightenment
  • Ennio Morricone
  • ennui
  • ensemble
  • environmentalism
  • Eric Jonrosh
  • Eric Romer
  • Erich Kuersten
  • Erich von Stroheim
  • Errol Flynn
  • escorts
  • Espionage
  • Eugene O'Neill
  • Europe
  • European
  • Eva Green
  • Eva Mendes
  • Evan Peters
  • Evil
  • evolution
  • excess
  • Existenitalism
  • existential
  • Existentialism
  • Exorcist
  • exotica
  • Experience
  • experimental
  • Exploitation
  • Eyes of Laura Mars
  • Facebook
  • Fairuza Balk
  • fairy tale
  • fairy tales
  • Fakery
  • family drama
  • family dynamics
  • fantasy
  • Fanu
  • farce
  • Farrah Fawcett
  • fascism
  • Fashion
  • Fassbinder
  • Fate
  • fatherhood
  • Fay Adler
  • Fay Wray
  • Faye Dunaway
  • Female Convict Scorpion
  • feminism
  • Fernando De Leo
  • Ferris Bueller
  • Fight Club
  • Film Critics
  • Film Forum
  • Film Noir
  • film preservation
  • Film Theory
  • films
  • Final Destination
  • first national
  • Five Stairsteps
  • five to seven
  • Florence
  • Florence and the Machines
  • Flower Power
  • Folk
  • folk music
  • fool
  • Ford Beebe
  • Forest
  • France
  • Frances Dee
  • Francis Ford Coppola
  • Franco Nero
  • Franco Zeffirelli
  • Francois Dorleac
  • Frank Morgan
  • Frank Sinatra
  • frankenstein
  • Frankenstenia
  • Franklin Pangborn
  • freaks
  • Fred Ward
  • Freddy Kruger
  • Frederic March
  • free love
  • freebase
  • French
  • french girls
  • French New Wave
  • french revolution
  • freud
  • Freudian
  • Fritz Lang
  • Fritz Lieber
  • frostbite
  • Fulci
  • Fundamentalism Christianity
  • fury
  • Fuzzy Night
  • gaby hoffmann
  • Gale Sondergaard
  • gambling
  • Gang violence
  • gangster
  • Gangsters
  • Gary Cooper
  • Gary Morris
  • Gary Oldman
  • Gaspar Noe
  • Gender
  • gender issues
  • gender reassignment surgery
  • Gene Evans
  • Gene Kelly
  • Gene Tierney
  • George Bernard Shaw
  • George C. Scott
  • George Chakris
  • George Clooney
  • george harrison
  • george lazenby
  • George Peppard
  • George Reed
  • George Romero
  • George Sanders
  • George Zucco
  • Georgina Reilly
  • German Expressionism
  • Germans
  • Germany
  • ghost america
  • ghosts
  • Ghoulardi
  • giallo
  • giant spider
  • Giant Spiders
  • Gig Young
  • gigolo
  • gillian robespierre
  • gin
  • Ginger Rogers
  • ginger snaps
  • giorgio moroder
  • Giovanni Lombardo Radice
  • girl power
  • Girls
  • Glasgow
  • Glenda Farrell
  • Glenda Jackson
  • Globalization
  • Gloria Stuart
  • Go Ask Alice
  • God
  • Godard
  • Godfather
  • Godzilla
  • Golden Turkey
  • Golem
  • Gone With the Wind
  • Gonzo
  • Goodfellas
  • Gore
  • Gore Vidal
  • Gort
  • Goth
  • Gothic
  • Government
  • Graveyard
  • gravity
  • Great Britain
  • great depression
  • greed
  • greenwich village
  • Gregory Peck
  • Gregory Ratoff
  • Greta Garbo
  • greys
  • Grindhouse
  • Grizzly Adams
  • Groucho Marx
  • Guggenheim
  • guide
  • gunfights
  • Guns
  • Guru
  • guy debord
  • Gwenyth Paltrow
  • Gwili Andre
  • H.G. Welles
  • habitat
  • Haight-Ashbury
  • HAL 9000
  • Hal Holbrook
  • Halloween
  • hallucinations
  • Hammer
  • handheld horror
  • Hanging Man
  • Happiness
  • Harlem
  • Harold Robbins
  • Harrison Ford
  • Harry Hamlin
  • Harry Nilsson
  • Harvey Keitel
  • haters
  • haunted house
  • hauntings
  • Hazel Court
  • Heather Graham
  • heaven
  • Heckler
  • Helen Hayes
  • Helena Bonham Carter
  • Helene Cattet
  • Hell
  • Hell's Angels
  • henri clouzot
  • Henry Fonda
  • Henry Hill
  • Herbert Marshall
  • Herk Harvey
  • heroin
  • Herschel Gordon Lewis
  • High School
  • highway safety
  • hillbillies
  • Hills Have Eyes
  • Hinduism
  • hippies
  • Hipster
  • hit girl
  • Hitler
  • holidays
  • Hollywood
  • Hollywood Haunted Babylon
  • hollywood sewing circle
  • Hollywood USA
  • Homophobia
  • homosexuality
  • hope lange
  • horror
  • Horror Demons Monsters Hippies Sex
  • Horror films
  • horror screenwriter
  • Horror terror
  • horses
  • hospitals
  • Howard Hawks
  • Howard Hughes
  • Hubris
  • Hugh Herbert
  • Hugh Jackman
  • Hugo Weang
  • Humphrey Bogart
  • Hundustani
  • Hunger
  • hungry charlie's
  • Hunter S. Thompson
  • Huntsman
  • Hurt Locker
  • Hypnotism
  • Hypocrisy
  • Hysteria
  • Ian McKellen
  • Ice Age
  • IFC
  • ilana glazer
  • Ilsa She-Wolf of the SS
  • imitators
  • immortality
  • imperialism
  • In Bruges
  • incest
  • incompetence
  • indecent
  • Indiana Jones
  • Indie
  • Inept
  • infringement
  • Ingrid Bergman
  • Inishmore
  • initiation
  • Insanity
  • Internet
  • intolerance
  • intoxication
  • Isabelle Adjani
  • Italian
  • Italian-American
  • Italy
  • J. Edgar Hoover
  • jack arnold
  • Jack Benny
  • Jack Hill
  • Jack Nicholson
  • Jack Nitzsche
  • Jack Torrance
  • Jackie Coogan
  • Jackie Earle Haley
  • Jackie Gleason
  • jacobean
  • Jacques Dutronc
  • jake gyllenhaal
  • james bond
  • James Caan
  • James Cagney
  • James Cameron
  • James Coburn
  • James Davidson
  • James Deen
  • James Fox
  • James Franco
  • james huberty
  • James Mason
  • James McHattie
  • James Taylor
  • James Toback
  • James Watkins
  • James Whale
  • jamie dornan
  • Jamie Lee Curtis
  • Jan De Bont
  • Jane Asher
  • Jane Birkin
  • Jane Campion
  • Jane Fonda
  • Janet Leigh
  • Janice Rule
  • janos
  • Japan
  • Japanese
  • Jaqueline MacInnes Wood
  • Jason Patric
  • Jason Reitman
  • Javier Bardem
  • Jay Baruchel
  • Jazz
  • Jean Claude Van Damme
  • Jean Harlow
  • Jean Luc Godard
  • Jean Michel Gondry
  • Jeff Bridges
  • Jeff Goldblum
  • Jeff Morrow
  • Jemima Kirke
  • Jennifer
  • jennifer connelly
  • Jennifer Jones
  • Jennifer Lawrence
  • Jennifer's Body
  • jenny slate
  • Jeremy Renner
  • Jerry Lewis
  • Jess Franco
  • Jesse Eisenberg
  • Jessica Alba
  • Jill Banner
  • Jim Breuer
  • Jim Crow
  • Jimi Hendrix
  • jimi page
  • Jimmy Page
  • Joan Blondell
  • Joan Collins
  • joan crawford
  • Joan Jett
  • Joan of Arc
  • Joanne Woodward
  • Joe Cocker
  • Joe E. Brown
  • Joe Kubert
  • joe massot
  • Joe Pesci
  • joel mccrea
  • Joel Schumacher
  • john agar
  • John Barrymore
  • John Bonham
  • John Carpenter
  • John Carradine
  • John Cusack
  • John Cusak
  • John Ford
  • John Garfield
  • John Gilbert
  • John Goodman
  • John Heard
  • John Huston
  • john lennon
  • john lurie
  • John Malkovich
  • john monk saunders
  • John Parker
  • John Phillip Law
  • John Sebastian
  • John Stahl
  • John Wayne
  • Johnny Depp
  • joint
  • Joker
  • Jon Beller
  • Jon Voight
  • Jonas Cord
  • Josef Von Sternberg
  • Joseph Campbell
  • Joseph McCarthy
  • Josh Brolin
  • josh hartnett
  • Joshn Brolin
  • Jude Law
  • Judi Bowker
  • judi dench
  • Judy Davis
  • Judy Garland
  • Julia Roberts
  • Julian Barett
  • Julianne Moor
  • Julie Bishop
  • Julie Harris
  • Juliette Lewis
  • Jung
  • Jungian
  • jungle
  • junk
  • Juno Temple
  • Jurgen Prochnow
  • Justin Timberlake
  • Juvenile Delnquency
  • kali
  • karate
  • Karen Morely
  • Karina Longworth
  • Karl Malden
  • Karyn Kusama
  • Kate Bosworth
  • Kate Jackson
  • Kate Valk
  • Kate Winslet
  • Kathryn Bigelow
  • katniss
  • Katrina Bowden
  • Kay Francis
  • Keira Knightley
  • Keith Richards
  • Kelli Maroney
  • Ken Russell
  • Kenneth Anger
  • Ketamine
  • Kevin Smith
  • KGB
  • kiefer sutherland
  • Kiele Sanchez
  • Kiera Knightley
  • Killer Whale
  • Kim Morgan
  • Kim Novak
  • Kimberly Linn
  • Kirsten Dunst
  • Klaus Kinski
  • Klute
  • Kristen Stewart
  • Kristen Wiig
  • Kristina Lokken
  • Kubrick
  • Kurt Russell
  • La Cava
  • la nouvelle justine
  • lacan
  • lacanian
  • Lake Bell
  • Lambda
  • Lana del Rey
  • Lana Turner
  • Lance Rock
  • language barriers
  • Lars Von Trier
  • Las Vegas
  • last year at marienbad
  • Laura La Plante
  • Lauren Bacall
  • Laurence Olivier
  • Le Tigre
  • Led Zeppelin
  • Lee Marvin
  • Lee Tracy
  • legalize it
  • Lena Dunham
  • Leni Riefenstahl
  • Leo Carrillo
  • Leo Di Caprio
  • Leonardo Dicaprio
  • Les Grossman
  • lesbian
  • Lesbian Sex
  • Lesbianism
  • Lesbians
  • Leslie Nielsen
  • Let's Scare Jessica to Death
  • lewd
  • Lewis Carroll
  • Liam Neeson
  • Lili Taylor
  • Lililan Gish
  • Lily Damita
  • limousines
  • Linda Fiorentino
  • lindsay lohan
  • Lionel Atwill
  • Lionel Barrymore
  • Lionel Stander
  • liquid karma
  • Lisa Houle
  • Liz
  • lizard queen
  • llewyn davis
  • Lohengrin
  • Lolita
  • Lon Chaney Jr.
  • Lon Chaney Sr.
  • London
  • Lord Lhus
  • Lord of the Rings
  • Loretta Yong
  • loretta young
  • Lorne Michaels
  • Lorraine Warren
  • Los Angeles
  • Lotte Lenya
  • louise fazenda
  • Love
  • lsd
  • Lubitsch
  • Luc Besson
  • Lucien Prival
  • Lucille Ball
  • Lucio Fulci
  • Lucretia Martel
  • luis bunuel
  • Luke Jordan
  • Lupe Velez
  • lycanthrope
  • lydia lunch
  • lynch mobs
  • Lynn Lowry
  • M. Night Shyamalan
  • Macbeth
  • Mad Men
  • Madge Evans
  • Madness
  • Mae West
  • Mafia
  • magic
  • Magnificent Ambersons
  • Mako
  • malcolm lowry
  • malcolm mcdowell
  • Mamas and the Papas
  • Mandy Moore
  • Manhattan
  • Manny Farber
  • Manson
  • mantis aliens
  • Marg Helgenberger
  • Maria Montez
  • Marian Marsh
  • Marianne Faithfull
  • Marie Antoinette
  • marijuana
  • Marilyn Monroe
  • Mario Bava
  • Mark Frost
  • Marki Bey
  • Marlene Clark
  • marlene dietrch
  • Marlene Dietrich
  • marlon brando
  • Marni Nixon
  • Marnie
  • Marquis de Sade
  • Martial Arts
  • Martin McDonagh
  • Martin Ransohoff
  • Martin Scorsese
  • Martine Beswick
  • martyrdom
  • Marvel
  • Marwencol
  • Mary Astor
  • Mary Shelly
  • Mary Woronov
  • masculinity
  • Masochism
  • masonic
  • masons
  • Matador
  • Matango
  • Materialism
  • matriarchy
  • Matt Dillon
  • Matthew Wilder
  • Maureen O'Hara
  • Max Ophuls
  • Max Rosenblum
  • Maya Deren
  • Maya Rudolph
  • McGowan
  • media studies
  • medical
  • Megan Fox
  • Meghan Wright
  • Meiko Kaji
  • Melies
  • Melissa Sue Anderson
  • melodrama
  • memoir
  • memory
  • Mercedes de Acosta
  • Mesa of Lost Women
  • mescaline
  • meta
  • metaphysics
  • metatextuality
  • meth
  • Mexican Mud Band
  • MGM
  • mia farrow
  • Michael Blodgett
  • Michael Caine
  • Michael Cera
  • Michael Corleone
  • michael fassbender
  • Michael Lang
  • Michael Madsen
  • Michael Mann
  • Michael Myers
  • Michael Remar
  • Michael Shannon
  • Michael Smiley
  • Michele Soavi
  • Mick Jagger
  • mick lasalle
  • mid-life crisis
  • Mike Hammer
  • Mike Myers
  • Military
  • Milla Jovovich
  • Milla Jovovitch
  • Mimsy Farmer
  • mind control
  • minnie castavet
  • Minotaur
  • miranda frost
  • Miriam Hopkins
  • Misandry
  • miscegenation
  • Mischa Auer
  • misogynist
  • misogyny
  • Mitt Romney
  • MK Ultra
  • Mobsters
  • Moby Dick
  • Moira Shearer
  • Monarch
  • Monica Lewinsky
  • Monica Vitti
  • Monkees
  • monkeys
  • Monogram
  • monster
  • monsters
  • Monte Hellman
  • Monterey Pop
  • Montgomery Clift
  • morality
  • morphine
  • Mortimer Snerd
  • Mothra
  • Muhammed Ali
  • Mummies
  • Murder
  • murder comedy
  • mushrooms
  • music video
  • Musical
  • musicals
  • Mutations
  • Myrna Loy
  • Mystery
  • mysticism
  • Myth
  • Nabokov
  • Naked
  • Naked Lunch
  • nancy allen
  • Nancy Grace
  • Nancy Loomis
  • Natalie Portman
  • Natasha Henstridge
  • Native Americans
  • nature
  • nautical
  • Nazis
  • Near Death Experiences
  • Neil La Bute
  • Neile Adams
  • nerve profiles
  • netflix
  • new earth army
  • New York City
  • Nic Cage
  • Nicholas Ray
  • Nicholas Roeg
  • Nick Gilder
  • Nick Redfern
  • Nicolas Cage
  • Nicolas Winding Refn
  • Nicole Kidman
  • Nietzsche
  • Nigeria
  • no girlfriends
  • Noel Francis
  • Nora von Waldstätten
  • Nordic
  • Nordics
  • Norma Shearer
  • Nostradamus
  • nouvelle vague
  • Novelists
  • Nude
  • Nudity
  • NYC
  • nymphomania
  • Obama
  • obelisk
  • obituary
  • obscenity
  • Obsession
  • occult
  • ocean
  • Oh Calcutta
  • Oliver Assayas
  • Oliver Stone
  • Olivier Assayas
  • olympiad
  • Omar Bradley
  • ona munsen
  • Ontario
  • opera
  • opium
  • Orca
  • orgy
  • orientalism
  • Orson Welles
  • Oscarbait
  • Otis Redding
  • Otto Preminger
  • overacting
  • overdose
  • Owen Wilson
  • ozone
  • Pacific Northwest
  • Paddy Chayefsky
  • Paganism
  • palpatine
  • Pam Grier
  • Paranoia
  • Parenting
  • Paris
  • Paris Hilton
  • Party
  • pastiche
  • Pastorale
  • Patriarchy
  • Patricia Arquette
  • Patricia Ellis
  • Patrick Harpur
  • Patriotism
  • Patton
  • Paul Garratt
  • Paul McCartney
  • Paul Newman
  • Paul Robeson
  • Paul Ryan
  • Paul Schrader
  • Paul Thomas Anderson
  • Paul Walker
  • Paula E. Shepherd
  • Paula Prentiss
  • Paulette Goddard
  • Paulina Porizkova
  • Pedophiles
  • Pedro Almodovar
  • Peggy Hopkins Joyce
  • Penelope Cruz
  • Penitentiary
  • penny dreadful
  • penthouse
  • People Next Door
  • Performance
  • permeability
  • Pert Kelton
  • perversion
  • Peter
  • Peter Bogdanovich
  • Peter Brandt
  • Peter Cushing
  • Peter Fernando
  • peter fonda
  • Peter Lorre
  • Peter O'Toole
  • Peter Sellers
  • Peter Weller
  • petit-bourgeois
  • Peyote
  • Phil Hartman
  • Phillip Baker Hall
  • Phillip Seymour Hoffman
  • picnic at hanging rock
  • Pink Floyd
  • Pirates
  • PJ Harvey
  • PJ Soles
  • plague
  • Platonic love affairs
  • poetry
  • Poison Gas
  • Poland
  • Police
  • Political Anal father
  • Political Analogy
  • Politicians
  • Politics
  • Popeye
  • Poppers
  • poppies
  • Population control
  • porn
  • pornography
  • Portia Doubleday
  • post-apocalyptic
  • Post-code
  • Post-Modernism
  • pot
  • power
  • PRC
  • pre-code
  • pregnancy
  • President
  • Preston Sturges
  • pretentiousness
  • preversion
  • Prince Prospero
  • Production Code
  • prohibition
  • prometheus
  • promiscuity
  • prostitution
  • protests
  • pscyhe
  • psychedelia
  • psychedelic
  • psychedelics
  • psychic twins
  • Psychology
  • Psychopaths
  • psychotronic
  • psycology
  • Public Domain
  • Punch-Drunk Love
  • quatermass
  • Quentin Tarantino
  • Race
  • Rachel Weisz
  • racism
  • Radley Metzger
  • Ralph Bellamy
  • Ralph Meeker
  • Ramones
  • randy moore
  • Randy Newman
  • Raoul Walsh
  • Rape
  • Rapture
  • Raquel Welch
  • Rare
  • Ravenna
  • Ravi Shankar
  • Ray Bolger
  • Ray Milland
  • Raymond Chandler
  • reality
  • Rebekah del Rio
  • recuperation
  • red cross
  • Redheads
  • Rednecks
  • Reece Shearmith
  • Regicide
  • Reincarnation
  • remake
  • remarriage
  • Renny Harlin
  • repression
  • reptile cortex
  • Reptilians
  • Republicans
  • Repulsion
  • retro
  • Revolt
  • Rhada Mitchell
  • Ricardo Cortez
  • richard barthelmess
  • Richard Basehart
  • Richard Burton
  • Richard Dix
  • Richard Gere
  • Richard Harris
  • richard hell
  • Richard Kelly
  • Richard Linklater
  • Richard Matheson
  • Richard Nixon
  • Richard Pryor
  • Richard Rush
  • ridley scott
  • riots
  • ritual
  • RKO
  • RNC
  • Rob Zombie
  • Rober De Niro
  • Robert Altman
  • Robert De Niro
  • Robert e. howard
  • Robert Evans
  • Robert Mitchum
  • Robert Montgomery
  • Robert Pattinson
  • Robert Plant
  • robert rodiguez
  • Robert Ryan
  • Robert Siodmak
  • Robert Wagner
  • Robert Wise
  • Robots
  • rock
  • rodeo
  • roger corman
  • Roger Ebert
  • Roger Vadim
  • Roger Waters
  • Roger Wnslet
  • Roland Emmerich
  • Rolling Stones
  • Roman Coppola
  • Roman Polanski
  • Romance
  • rome 78
  • Romero
  • Romy Schneider
  • roost
  • Rory Cochrane
  • Rosamund Pike
  • Rosemary
  • Roswell
  • roy abramsohn
  • roy batty
  • roy scheider
  • royalties
  • Rubber
  • Rudy Vallee
  • Rudyard Kipling
  • Runaways
  • Rural
  • Russ Meyer
  • Russia
  • Russian spies
  • Russians
  • Rutger Hauer
  • Ruth Chatterton
  • ruth gordon
  • rutledge
  • Ryan Gosling
  • sacrifice
  • sacrificial
  • sadcore
  • Sadism
  • sadomasochism
  • Saint Francis
  • Salem
  • salieri
  • Sam Fuller
  • Sam Neill
  • Sam Peckinpah
  • Samuel Fuller
  • San Pedro
  • sandahl bergman
  • Sandra Bullock
  • Sandra McCoy
  • Sarah Anne Jones
  • Sarah Michelle Gellar
  • Sarah Silverman
  • Sartre
  • Satan
  • Satanic Panic
  • Satanism
  • satire
  • satyriasis
  • sauron
  • Scarface
  • Scarlett Johansson
  • scary
  • Schizophrenia
  • schlock
  • Science
  • Science Fiction
  • scopophilia
  • Scotland
  • Scottie Schwartz
  • Scream Factory
  • Screwball
  • sean connery
  • Sebastián Silva
  • Seduction
  • self-reflexivity
  • Self-Styled Siren
  • serials
  • Seth Rogen
  • seventies
  • seventies dads
  • severin
  • severine
  • sex
  • sex comedy
  • sex crimes
  • sexism
  • sexual abuse
  • Sexual Assault
  • sexual awakening
  • sexual discrimination
  • sexual seduction
  • Sexuality
  • sexy 30s actresses
  • Shakespeare
  • Shaman
  • Shark Week
  • Sharknado
  • Sharks
  • Sharni Vinson
  • Sharon Stone
  • Sharon Tate
  • Sheep
  • Shelly Winters
  • Sherri Moon Zombie
  • Shining
  • Shirley Ross
  • Shout
  • Shrinks
  • Sick
  • Sig Rumann
  • Sigmund Freud
  • signal corps
  • Sil
  • silent
  • Simon and Garfunkel
  • Simon Callow
  • Simon Pegg Nick Frost
  • simpsons
  • Sin
  • sissy spacek
  • Situationists
  • sixties
  • sizzle
  • skeeviness
  • slacker
  • slam dancing
  • slasher
  • slavery
  • Sleaze
  • Sleepy
  • Slow Ride
  • smoking
  • snow
  • Snow White
  • sobriety
  • Social Message
  • social psychology
  • Society of Enjoyment
  • Sofia Coppola
  • soldier of fortune
  • Sonny Tufts
  • sophie marceau
  • soundwaves
  • South Ameri
  • South America
  • Southern Gothic
  • Southland Tales
  • Space
  • Species
  • spider baby
  • Spiderman
  • spirits
  • Spooky Behavior
  • sprituality
  • Stacey Nelkin
  • Stacie Ponder
  • Stacy Keach
  • Stagefright
  • Stanley Cavell
  • Stanley Kubrick
  • star wars
  • starship troopers
  • Starvation
  • steampunk
  • Stendahl
  • Stepford Wives
  • stephen king
  • steve de schavi
  • Steven Shaviro
  • Steven Soderbergh
  • Steven Spielberg
  • stock market
  • Stoner
  • Stoners
  • stop motion
  • Street Fighter
  • Strip Clubs
  • structuralism
  • submarines
  • Substitute
  • subtext
  • suburbia
  • Subversion
  • Succubus
  • Sue Lyon
  • suicide
  • Sunset Gun
  • Superheroes
  • supermodel
  • Supernatural
  • surfing
  • surrealism
  • Susan Doukas
  • susan foster kane
  • Susan Strasberg
  • Suspiria
  • Suzy Kendall
  • Svengali
  • Swedish
  • Swingers
  • Swinging
  • Sydney Pollack
  • Syfy
  • Sylvester Stallone
  • Sylvia Sidney
  • symbolism
  • syracuse
  • Syracuse University
  • tabs
  • Taissa Farmiga
  • Talia Shire
  • Talk Radio
  • tangerine dream
  • Tara Reid
  • tarantual
  • Targets
  • Tarzan
  • teachers
  • ted wilde
  • teenagers
  • telekinesis
  • Templars
  • Tenebrous Kate
  • Tennesse Williams
  • Terence Malick
  • Terence McKenna
  • Terminator
  • Termite Art
  • Terror
  • Terrorism
  • Terrorists
  • Terry Gilliam
  • Terry Southern
  • Texas
  • Thai
  • That's the Way it Is
  • THC
  • The Big Sleep
  • The Grey
  • the sentinel
  • the thing
  • Theater
  • Thelma Todd
  • theory
  • Theresa Russell
  • Third World
  • Thor
  • Ti West
  • Tibetan
  • Tiffany Bolling
  • Tim Burton
  • Time Dilation
  • Times Square
  • Timothy Carey
  • timothy dalton
  • Timothy Leary
  • titan
  • Titanic
  • Tokyo
  • Tom Atkins
  • Tom Cruise
  • Tom Fergus
  • Tom Hardy
  • Tommy Lee Wallace
  • Tony Clifton
  • Tony Montana
  • Tony Scott
  • Tor Johnson
  • Toshiro Mifune
  • totem
  • Tourists
  • Track 29
  • transgendered
  • Treasure Island
  • Trick R Treat
  • Trilby
  • trip
  • tripping
  • trippy
  • Tristana
  • tropics
  • trucks
  • true crime
  • trumpet
  • TV
  • TV Movie
  • Twilight
  • Udo Kier
  • UFOs
  • UHF
  • Ulysses
  • unborn
  • Uncle Tom's Cabin
  • unconscious
  • undead
  • unions
  • Universal
  • ursula andress
  • Uwe Boll
  • V for Vendetta
  • Vacation
  • Vagina Dentata
  • Val Lewton
  • Valerie and her week of wonders
  • Valerie Leon
  • values
  • vamipires
  • Vampira
  • vampire
  • vampires
  • Vanessa Howard
  • varney
  • Vegetarianism
  • Venice
  • Ventriloquism
  • venus flytrap
  • venus in furs
  • Vera Farmiga's sister
  • Veronica Lake
  • vertigo
  • VHS
  • vice
  • Victorian
  • Victory Jory
  • vietnam
  • Viggo Mortenson
  • Vince Gallo
  • Vincent Cassel
  • Vincent Price
  • Vincente Minnelli
  • Ving Rhames
  • vintage
  • vintage TV
  • violence
  • Violence cocaine
  • Violet
  • Virginia Bruce
  • Virginity
  • Voiceovers
  • voodoo
  • W. Somerset Maugham
  • W.C. Fields
  • W.S. Anderson
  • Wagner
  • Wall Street Protesters
  • Wallace Beery
  • Wallace Shawn
  • Walt Disney
  • walter barrymore
  • Walter Hill
  • Walter Houston
  • walter huston
  • Walter Pigeon
  • Waltons
  • War
  • Warner
  • Warren Beatty
  • Warren Oates
  • Warren William
  • warriors
  • Wartime
  • Wasps
  • Watergate
  • WC Fields
  • weed
  • Weimar
  • Weldon
  • werewolves
  • Werner Herzog
  • Wes Anderson
  • Wes Craven
  • westerns
  • white slavery
  • Whitney Cummings
  • Who
  • Wicker Man
  • Wilder
  • Wilderness
  • Willem Dafoe
  • William Beaudine
  • William Bendix
  • william castle
  • William Faulkner
  • William friedkin
  • William Girdler
  • William Hickey
  • William Hurt
  • William Peter Blatty
  • William Powell
  • William S. Burroughs
  • William Shatner
  • Willie Best
  • Winona Ryder
  • Winter
  • Witchcraft
  • Witches
  • Wizard of Oz
  • wonderwall
  • Woods
  • Woodstock
  • Woody Allen
  • Woody Harrelson
  • Woolf
  • world war I
  • World War One
  • World War Two
  • Worst Movie
  • Wrong Turn
  • wrongslayer
  • WW1
  • WW2
  • XXX
  • Youth
  • Yvonne Furneaux
  • Z-Man
  • Zach Galiafinakis
  • Zach Snyder
  • Zen
  • zeppelin
  • Zionists
  • Zizek
  • zombies
  • Zoolander

Blog Archive

  • ►  2014 (37)
    • ►  липня (5)
    • ►  червня (4)
    • ►  травня (6)
    • ►  квітня (6)
    • ►  березня (5)
    • ►  лютого (6)
    • ►  січня (5)
  • ►  2013 (70)
    • ►  грудня (7)
    • ►  листопада (5)
    • ►  жовтня (6)
    • ►  вересня (7)
    • ►  серпня (4)
    • ►  липня (4)
    • ►  червня (4)
    • ►  травня (5)
    • ►  квітня (7)
    • ►  березня (7)
    • ►  лютого (3)
    • ►  січня (11)
  • ►  2012 (93)
    • ►  грудня (8)
    • ►  листопада (10)
    • ►  жовтня (9)
    • ►  вересня (6)
    • ►  серпня (6)
    • ►  липня (6)
    • ►  червня (6)
    • ►  травня (6)
    • ►  квітня (10)
    • ►  березня (7)
    • ►  лютого (9)
    • ►  січня (10)
  • ►  2011 (134)
    • ►  грудня (9)
    • ►  листопада (10)
    • ►  жовтня (8)
    • ►  вересня (11)
    • ►  серпня (9)
    • ►  липня (9)
    • ►  червня (13)
    • ►  травня (13)
    • ►  квітня (16)
    • ►  березня (16)
    • ►  лютого (12)
    • ►  січня (8)
  • ►  2010 (118)
    • ►  грудня (7)
    • ►  листопада (10)
    • ►  жовтня (10)
    • ►  вересня (11)
    • ►  серпня (16)
    • ►  липня (8)
    • ►  червня (11)
    • ►  травня (12)
    • ►  квітня (7)
    • ►  березня (10)
    • ►  лютого (9)
    • ►  січня (7)
  • ▼  2009 (48)
    • ▼  грудня (6)
      • Top Ten of the Decade - 2000-2010
      • Acid Sight/Sound Symphonies: FANTASIA (1940 - rer...
      • Great Acid Movies #11: NAKED LUNCH (1991)
      • MAD MEN Substitute: THE CARPETBAGGERS (1964, d. Ed...
      • Idiot's Delight (1939)
      • The Brotherhood of Melted Wings: THE DAWN PATROL (...
    • ►  листопада (6)
    • ►  жовтня (9)
    • ►  вересня (5)
    • ►  серпня (13)
    • ►  липня (9)
На платформі Blogger.

Про мене

jackichain
Дивитися мій повний профіль