Typically, I have a superstition about listening to a film score prior to seeing the film in question. But, there is that temptation of listening to something with the purest mindset, uninhibited with the eventual marriage of imagery. Such is the case with Daft Punk's score for TRON LEGACY, of which I have been quite excited about since learning the news of this collaboration. Seemed perfect.
My impressions of the score...
First of all, I read a review (I know, why bother?) which basically said that this orchestrated score gives us very little of what we love about Daft Punk. Well, that person is clearly of the moronic persuasion and it seems they've missed the point. Composing a film score is certainly new ground for Daft Punk and if the likes of Danny Elfman and Mark Mothersbaugh can do so successfully, why can't these Frenchmen?
So, I popped the disc in (TRON-style, yo!) and while I dug the sound of the first track, "Overture," it was the second track, "The Grid" (featuring narration by the great Jeff Bridges), which literally gave me chills and immersed me in the TRON experience instantly. I am so ready for this film! Daft Punk has succeeded here by tapping into the TRON vibe (without stealing from Wendy Carlos' score to the original TRON) and, above all else, accomplishing what every film score should by transporting your imagination to another world, one that is beautifully filled with strains of triumph, romance and despair.
The style they're known for can be heard on both "End Of Line" and "Derezzed" (with the former supplying some welcome ATARI-era gaming sounds). Throughout, I'm impressed with how much this album brings to mind the pulsating, electronic drive of John Carpenter's earliest scores. In fact, I'd describe it as Carpenter meets Vangelis, backed by a full orchestra. Beautiful work indeed and, best of all, it does the trick.
Yet another bevy of movie tie-ins from my collection. This time, the focus is primarily on "behind-the-scenes" journals, retrospective film studies, scrapbooks, storybooks and a few odds n' ends thrown into the mix.
And, yes... there will be a fifth installment. Stay tuned!
It's been ages since I've posted anything here on the blog and even longer since I did one of these videos. So, without further ado, there's the third installment in the increasingly popular series (Oops, I got this mixed up with the TWILIGHT franchise). Enjoy? Yes, enjoy.
Another bevy of vintage and contemporary film-related tie-ins presented in the form of paperbacks, oversized paperbacks, hardbacks, comic book adaptations (Marvel, DC) and those wonderful Fotonovels (with some wannabes thrown in, too). Also, there are a slew of spin-off paperbacks ("The Amityville Horror" continuations, "Dirty Harry" action stories and further installments of "The Omen" series) included here, as well.
Part IV is in the works and I refuse to give any spoilers here!
You'll just have to wait it out.
Could be another several months, or hours.
I won't tell!
As mentioned in a previous post, I recently secured some well-kept programming guides for HBO and Cinemax. Here are some scanned highlights from the November, 1981 issue. Enjoy!
Don't forget, 1981 audiences, you can enjoy HBO 24-hours a day on weekends!
I recently purchased a slew of HBO/Cinemax guides (ranging from 1981 to 1985) and, just last night, was perusing through these little slices of nostalgia. More on the guides in a later post, but I've been on this high all day, thinking about how things used to be, how each film was regarded as an event, although not superficial. And, whenever I think of early-to-mid era HBO, I think of John G. Avildsen's comedic gem, NEIGHBORS. A classic and a shame that more people don't regard it as such. Also a shame that it has yet to see a resurgence on DVD. Odd, considering that it is John Belushi's final work and you'd think that would be merit enough.
By the time NEIGHBORS came out, I already idolized Belushi, much in the same way that I idolized his fellow SNL alums, Dan Aykroyd, Chevy Chase and Bill Murray, even though I hadn't seen... er, uh... wasn't yet permitted to see much of their work. (I was almost five years of age, at the time.) With Belushi, I had only seen CONTINENTAL DIVIDE, since it was PG and on cable. I watched it several times and thought it was hysterical, despite the fact that it wasn't all that funny. Clearly, I didn't know any better. My only other exposure, at that point, was the first Blues Brothers album, "Briefcase Full Of Blues," that my father owned, which I begged him to play constantly. (Of course, my folks didn't trust me with the "real" record player... you know, the one in the family room and not the 45-friendly Sesame Street model that I had in my bedroom.)
When Belushi passed away, I clearly remember being both saddened and confused. Up until that point, I hadn't experienced anyone's death, nevermind a celebrity. I couldn't believe such a thing was possible. One of the reasons I found it hard to believe, was that NEIGHBORS had been released not long before and the memory of it's publicity was fresh in my mind. "Nah, can't be. He's still making movies," I thought.
Anyhow, the following TV spot really creeped me out (as well as the two posters for the film), even though it shouldn't have. But, then, anything remotely related to TWILIGHT ZONE creeped me out. Oh, well. Here's the spot already...
A comic nightmare. Ah, I love it!
While searching for that promo, I came across an appearance Belushi and Aykroyd did to promote the film on THE TODAY SHOW...
Nice dig by Belushi on Gene Shalit's "hairstyle". Also of note, the project in development that they're discussing is SPIES LIKE US, which was later made in 1985 with Chevy Chase in Belushi's role and John Landis directing (as was originally intended).
Subsequently, here's another interview clip, this time it's Chevy Chase on THE TOMORROW SHOW with Tom Snyder. Significant because Chase takes a shot at Rex Reed for taking a shot at Belushi in his review of NEIGHBORS...
Great dig on Reed's "performance" in MYRA BRECKINRIDGE!
P.S.
Piss on Shalit for questioning Steve Martin's version of PENNIES FROM HEAVEN. That film is brilliant.
BODY DOUBLE is one of my favorite films, mostly because it's a Brian De Palma film, but also because it's the De Palma film that few seem to care about.
It also contains one of my favorite Pino Donaggio scores, which brings me to this remix of the main theme which I found on YouTube. (Initially, I was going to post this on Facebook, but I gotta be careful not to "offend" some of the lamenheimers whom I once considered cool. Don't get me started on the rant.) The visuals in this video suck and it drives me nuts, but the music is the reason to watch(?), so, whatever.
Critically, De Palma took a bit of a swan dive with this one, following his SCARFACE (which the critics loathed at the time), but when I finally was of age to see this, I couldn't believe this film was as lambasted as it had been. Although, I know why it was, that still doesn't make it okay. Critics could not get over the whole Hitchcock influence thing. And, by the time BODY DOUBLE came around, I think they were sick of it. Too bad, as this is a very clever take on REAR WINDOW and a total blast from the '80s.
Another remix...
And, of course, I couldn't leave out Frankie (seems the volume always gets cranked up during this particular scene)...
The above music video is actually the second made for "Relax." This is not a direct port from the film, rather the rare companion music video which is also directed by De Palma. Very cool tie-in, since this incorporates a certain character from the film. Would have been a nice addition to the special edition DVD.
This past Saturday night, I had the pleasure of attending a screening of GONE WITH THE POPE, Duke Mitchell's previously incomplete, final film. And, yes, I dug it. But, truthfully, there was no way I wouldn't. If the film was an hour and a half of Mitchell going up and down an escalator, I would proclaim it to be greatness.
But, more on that later.
I became a fan of Duke Mitchell, by way of being a Bela Lugosi fan first. My initiation was the infamous cult oddity, BELA LUGOSI MEETS A BROOKLYN GORILLA, which I first saw as THE BOYS FROM BROOKLYN in either 1985 or '86 on a long-since-defunct Oregon-based local channel which exhibited tons of public domain classic features along with occasional episodes of PERRY MASON. It was this channel (22 on the dial, but I don't remember the call letters), where I first saw Lon Chaney's PHANTOM OF THE OPERA, George A. Romero's NIGHT OF THE LIVING DEAD and my first Lugosi film (and, that of the East Side Kids, as well), SPOOKS RUN WILD.
I genuinely like BELA LUGOSI MEETS A BROOKLYN GORILLA. 'Deed I do! Masquerading as a spooktacular horror film (think Abbott & Costello or Mantan Moreland), this 1952 Jack Broder production is essentially a starring vehicle for the comedy duo of Mitchell and Sammy Petrillo, considered here as the poor man's Dean Martin and Jerry Lewis for the drive-in circuit.
The audacity of aping (no pun intended) the Martin & Lewis dynamic with a "devil may care" approach, I've always found fascinating. And seeing Petrillo's uncanny mimicry of Lewis is pretty surreal the first time around. I couldn't believe this was a real film. How could they get away with it? Well, they only did once, thanks to Lewis, but that's another story.
As for Mitchell's performance, I admired that he didn't steal from Martin and really did his own thing. Sure, he was cool and had an amazing voice, but that's where the similarities end, I think. Not that they should be compared, but Mitchell's voice was so amazing that he, dare I say, tops Dino. Mitchell's range took crooning to a whole 'nother level, really. As much as I love Martin, Frank Sinatra, Tony Bennett, Mel Torme, et al, Mitchell seemed to be in a different, advanced class. To this day, I find his style difficult to describe, almost as if he combined operatics with conventional lounge singing. A deep, interesting, soulful vibe. At first, I thought "He's dubbed". Well, yeah, he is lip-synching ...to himself. It wasn't until years later, when I came across one of his records, a 45 of the theme from THE CARELESS YEARS (a film, which I still have yet to see), that I put two and two together.
Fast forward to 1991, when upon the introduction of Hollywood Video in my hometown of Corvallis, Oregon, I rented a film based on it's sheer exploitation value entitled, THE EXECUTIONER. (I should also point out that it was distributed by Video Gems, one of the great, early VHS companies, which specialized in obscure, exploitation fare. Their brand had a major impact on my decision to pick it up. I rented as many Video Gems cassettes as I could find. Ah, I miss them so!) Looking at the big box, I didn't realize that the Duke Mitchell credited as writer/director could be the guy I knew and actually didn't think twice about it since his acting was credited to Dominic Miceli (his real name). It wasn't until I started watching the film, when I realized... "Hey, wait a minute!" Could this be the same guy? Good luck trying to find any information. This was pre-IMDB, pre-internet, pre-everything, really, and my only references were video/movie guides (Maltin, Ebert, Crisp... ACK... cetera) which never seemed to (and, probably still don't) mention this film. So, I was left to draw my own conclusion, which wasn't difficult once I heard his voice. Wow. Yes, this was an enjoyable, unapologetic mob picture, but the fact that this has Mitchell all over it, elevates it quite a bit. A few years later (my first week in Texas, actually), I was lucky enough to find a copy for purchase at a Wherehouse Music that was selling out their VHS rental library. Nevermind the fact that all their tapes were severely butchered cutboxes, for a mere five bucks, I finally had my own copy of Duke Mitchell's ultra-obscure THE EXECUTIONER and I was happy.
Fast forward again to 1998, when I was lucky enough to catch a midnite screening of Lucio Fulci's THE BEYOND, exhibited by Quentin Tarantino's Rolling Thunder Pictures and Grindhouse Releasing.
Not only was I going to finally see Fulci on the big screen, but there was a slew of classic exploitation trailers prior to the feature. CANNIBAL FEROX, DEEP RED, DETROIT 9000 and THE EVIL DEAD were all on display. Oh, and one more... MASSACRE MAFIA STYLE. To put it mildly, I nearly shat myself. Here was the trailer to the film I always knew as THE EXECUTIONER and I thought I was the only one, besides those involved, who knew of it. The crowd was going nuts watching, what was essentially, a reworking of the film's opening scene and I couldn't believe it. It's always a good feeling when you're in on the joke, and everyone else is just... there.
So, what did this really mean? Was this film available in another version I was unaware of? Nope. That was the film's original title, but didn't exist on video as anything other than THE EXECUTIONER and no one had released it, in the United States, besides Video Gems. Years later, Grindhouse Releasing (teases that they are) added the trailer to some of their DVD releases, but alas, still no word of a DVD release. It wasn't until Mitchell's son, Jeffrey, took it upon himself to get the ball rolling, just last year, on the first legitimate release -- a limited edition 2-disc affair known as "The Family Edition".
Produced, with great care, by John R. Hand in association with Jeffrey Mitchell, I am so pleased to have this DVD. To be fair, the film's presentation isn't pristine, rather the way we (anyone privy to the Video Gems release) have always known it. Having said that, it's important to note that it is better than that prior VHS, simply because there are no technical flaws. After going through two copies on my own (that Wherehouse VHS is nearly unwatchable now) I can honestly say that, for me, this DVD is a sigh of relief. No more tracking issues, Hi-Fi drop-outs or any other artifacts due to several rewinds and replays. I'm not sure if Hand and company tracked down the initial Video Gems master (removing the "A Joseph R. Juliano Presentation" logo from the beginning and restoring the MASSACRE MAFIA STYLE title card), but it definitely looks like that's the case. Or, they at least managed to find a reliable, mint copy. Whatever the case, I'm just happy to have a clear version that I don't have to worry about. No more "which VCR will track it better?" and so forth.
The real reason to pick this DVD up is for the plethora of bonus content. The DVD serves as a tremendous retrospective of Duke Mitchell's career -- one that was not dominated by film, rather a passion for music and the continuous performance of such. Mitchell was a true entertainer and here we get a rare and welcome glimpse into his legacy.
I cannot go on enough about how much care has been put into this package and, for the measly price of $30 (a true independent release and a limited one of 500 copies), it is well worth it. The exclusive LIKE FATHER, LIKE SON documentary is worth the price alone. Not to mention, there's a recording of an entire Duke Mitchell live performance, in addition to individual tracks (by both Duke and Jeffrey... think "Jacknife," folks), PDF files of the film's script (multiple drafts), a trailer to the upcoming release of Duke's tribute to Jimmy Durante and so much more. Apparently, Grindhouse is preparing a remastered version of the film, which some may want to wait for, but most likely, you won't see any of this supplemental material on their disc. As a completist, I look forward to their version, but for the feature presentation only. But, when Jeffrey Mitchell deemed his release as "The Family Edition," he really meant it. This is the real deal.
Back to GONE WITH THE POPE. Until a few years ago, I had no idea there was another Duke Mitchell film out there. When I first saw the trailer (or, should I say "teaser") back in 2005 on the Grindhouse DVD for CANNIBAL HOLOCAUST, I was both excited and mystified. Another Mitchell movie?! How could this be? Simple. It was never completed. Thanks to Jeffrey Mitchell, who had kept all the film elements, notes, et cetera, it was passed to the Grindhouse boys (Bob Murawski and Sage Stallone) to live another life in a completed state, that is, if they could get it there. A long-time coming, Murawski has stated that the process took nearly 15 years. (Read about it HERE.)
So, when I found out that the film was truly getting released, again I was both excited and mystified. Was this really about to happen? Finally?! Having since seen the finished product, I can say that it was definitely a surreal experience. An experience that, if it were related to me 10 years ago, I'd never believe. "Guess what, Nate? There's this film that Duke Mitchell started shooting in 1975, yet he never completed and it will be painstakingly remastered and assembled for your theatrical viewing pleasure in 2010!" "Bullshit!," I most likely would have said... "Yer bluffin'!"
If I've learned anything about cinema, it's certainly to expect the unexpected, whether it be good or bad. Thankfully, this is quite a good thing. GONE WITH THE POPE was everything I'd hoped it would be and more. First off, it looks amazing, almost like a contemporary film based in the '70s. And, the plot is both fun and original. As always, Mitchell's passion and incredible presence overtake the film's constraints (whether it be budget or the less-impressive performances of his co-stars) and proves to be a marvel to watch. Witnessing a Mitchell monologue is a real poetic treat, and he has quite a few definite gems here.
As for being his final film, it really does smack of a swan song and is relatively bittersweet at times. All the signature Mitchell elements are present along with touches by Jeffrey (a brief performance towards the beginning and additions to the film's soundtrack, the amazing "Jacknife" included), which make the film very special.
GONE WITH THE POPE may not be groundbreaking or everyone's cup of tea but, as these things go, I think it's rather swell. Like MASSACRE MAFIA STYLE and BELA LUGOSI MEETS A BROOKLYN GORILLA, we have yet another catchy-titled Mitchell extravaganza which has to been seen to be believed. Purely by happenstance, an astounding trilogy when you think about it.
I had no idea that this was on the horizon until a friend linked the trailer on his site. It seems Kino has outdone themselves once more with yet another, but ultimately quite impressive, restoration of Fritz Lang's masterpiece, METROPOLIS.
A few years ago, Kino delivered an astounding restoration of the film on DVD. Preserving the correct film speed would have been miraculous enough, but the frame-by-frame clean-up is superb, making that version the definitive one... until now.
Somehow, Kino has managed to track down over twenty minutes of lost footage, presumably from two recently discovered prints. And, the good news is, we'll be able to indulge in it's wonder quite soon.
I was hoping to showcase the trailer here, but embedding has since been disabled, so please check it out HERE.
I've been resisting the format for quite some time, but finally caved upon viewing the cover for the Blu-ray edition of Peter Yates' THE DEEP.
THE DEEP is a favorite of mine, since I'm already obsessed with JAWS and this was the second Peter Benchley novel to be adapted to film. Oh, and that Jacqueline Bisset scene... you know the one.
Anyhow, I've owned it on VHS and DVD, but was shocked to see that the Blu-ray contained two sought out special features (the DVD and earlier Laserdisc had absolutely nothing): The CBS network special, THE MAKING OF THE DEEP (hosted by Robert Shaw) and select scenes from the 3-Hour television version. WHAT?! I must see these extras! So, the next step was purchasing a player and I went on the cheap with the $78 Magnavox bare-bones player at Wal-Mart. BD players don't get any cheaper and, for what it's worth, this is an exceptional player. The downfall is that it isn't BD Live enabled, but at this point, I don't care about that.
Happy to say that the extras on THE DEEP were well worth it, for me anyway. Although, there still is no theatrical trailer available and it would be nice to have the option to incorporate the televised scenes into the theatrical cut. These scenes are great, especially the prologue (featuring Cameron Mitchell!) and they add to the story.
So, now I was truly curious as to what other obscure films were floating around on BD with such rare features. As of yet, I haven't discovered a film to rival THE DEEP in this arena. Most films contain the same extras as their DVD counterparts. But, I've since discovered that there are quite a few exceptions to this rule. If BD is the superior format, why don't most companies do a better job in rivaling the extras of the earlier DVD? Makes no sense that films like THE AMITYVILLE HORROR, CARRIE, COMMANDO, THE GRADUATE, TOTAL RECALL and countless others don't live up to this. ROBOCOP has been issued twice on BD, but both versions are the 'R' rated release. Why would I want that? Oh, and thanks to Fox for retaining all the special features for PREDATOR 2, but none of which, aside from the trailer, for the original PREDATOR. That makes a lot of sense. People do care more about the sequel. (Insert fart sound here.)
I agree that BD is amazing, but studios need to live up to the format's potential. For the most part, I'm only purchasing titles that have the same extras, if not more, and still holding on to my DVDs. For the undemanding, in terms of extra content, BD might be the right choice, but I want those special features that I'm used to. Why downgrade, when we should be upgrading?
I like the idea of former 2-disc DVD releases fitting onto a single Blu-ray disc. (A great example is the release for DONNIE DARKO, which incorporates both prior DVD releases onto one disc, and retains the supplemental content of both.)
As much as I am impressed, I know that the completist in me will always have DVD.
As you may or may not know, I have frequented ye olde Texas Frightmare Weekend every year since it's 2006 inception. Year after year, I've seen this operation grow to greater and greater proportion, but I wasn't the only fan who recognized it's growing potential. Last year, a group of local filmmakers, led by writer/director Joe Francis, turned this annual event into an opportunistic film venture aptly titled...
THE TEXAS FRIGHTMARE MASSACRE!
The filmmakers made it known that portions of the film would be shot on location during the 2009 event (and some fans were given the chance to participate in one form or another), so it was no surprise to see the finished film premiering at this year's convention. I was interested to see what Francis and Co. had come up with and especially interested to see how they incorporated the event into their storyline (and also, how they would be able to feature some of the main guests, if at all).
The film is cleverly divided into subsequent storylines that eventually intersect with the event. The first storyline involves Lyle (Joe Francis) and Eugene (Chad Pallett), a pair of slacker buds who, inspired by a rather enticing commercial, decide to enlist as security officers for a major hotel (in this case, the Sherat... er, uh... Adamston Grand). How does one prepare for such a job? By growing impressive mustaches, of course!
Right off the bat, the film establishes itself as not only an appreciation of horror films and the conventions that celebrate them, but also as a satiric nod, ripe with sly and subversive humor. Enter "The Boss," played by Hunter Barnett, an R. Lee Ermey type who slings hilarious insults at Lyle and Eugene during their training. Whether scripted or impromptu, the comedic chemistry between Francis, Barnett and Pallett is a wonder to watch. Perhaps, the most entertaining interaction is when complications ensue after "The Boss" demands to be called "sir," to which Lyle and Eugene mistake as "sire".
So, where does the massacre stuff come into play? It begins with the interwoven story of boyfriend/girlfriend Todd (David Ayers) and Mary (Melanie Smith), who are already set on attending the Texas Frightmare Weekend at the Adamston, when they receive news that they must bring along Mary's stepbrother, Max (Allen Reed), whom they both despise. Max is your typical giddy fanboy who often can't control himself and in turn irritates Mary and especially Todd. The irritation hits it's peak when they first arrive at their destination, resulting in a "parting of ways" for the trio.
Left on his own, Max basks in the glory of the convention, while attracting the suspecting eye of "The Boss". Undettered, Max is set on meeting his idol, Parrish Randall, independent horror extraordinaire. A staple of Texas Frightmare Weekend, Randall's appearance here garners some appreciative laughs, especially considering his negative portrayal which is definitely all in good fun. Needless to say, Max's chance meeting with his idol doesn't live up to his expectations, resulting in Randall and friends laughing at Max's clumsiness.
Rejected and humiliated, Max makes his way to his hotel room, a room he shares with, but is not welcomed by, Todd and Mary. Intruding, in a round-a-bout way, on one of the couples sex acts, Max is punished once again by Todd's raging bullish tactics... to the point where Max eventually retaliates. Unbeknownst to Mary, Max feverishly murders Todd in the bathroom and dons Todd's signature mask, a horse head. What happens next is an homage to John Carpenter's HALLOWEEN, where Max, now under the guise of Todd, begins to charm Mary who is waiting anxiously on the bed. Choosing to bound and gag her, rather than kill her, Max has officially spun off the deep end and so begins his Travis Bickle-like murdering spree.
Spurred by their boss' suspicion, newly appointed security officers (armed with broom, plunger and walkie talkies), Lyle and Eugene attempt to solve the deaths in bumbling Clouseau-like fashion. But, that's where I'm going to stop. Sorry, no further plot details. No way will I divulge as to whether or not there is more bloodshed, or more horse head mask wearing, or whether there may be a gratuitous, sudsy shower scene. Nope. You shant get such juice from me. You'll just have to see the movie for yourself.
In closing, blending horror with humor is not often easy, but Francis does quite well here by essentially constructing a comedy which cleverly allows the horror to seep in at a welcome pace. It might help to be a horror convention fanatic like me, but regardless, there is plenty to enjoy here. If you want blood, you've got it. If you want laughs, you've got 'em. And, if you want tits, you'll definitely get 'em!
Favorite quote:
"You have holsters to use instead of your armpits. The video should have covered that."
Yes, folks! Here it is!
The tie-in movie for the movie tie-in phenom!
Expect a sequel.
(Please rate... er, uh... "like" the video, favorite it, get to know it well, send it to your friends and family, take out an ad in your local trade paper, discuss it in high class &/or high dollar meetings, create a drinking game, drop a tantalizing mention during your next social gathering, create a drinking game for those who don't drink using sand or something, flaunt it while you got it, et cetera!)
ALIEN - Alan Dean Foster [Warner, 1979] BATTLE FOR THE PLANET OF THE APES - David Gerrold [Award, 1973] BLACK SUNDAY - Thomas Harris [Bantam, 1977] CHILD'S PLAY 2 - Matthew J. Costello [Jove, 1990] DOG DAY AFTERNOON - Patrick Mann [Dell, 1975] THE EXORCIST III: LEGION - William Peter Blatty [Pocket, 1990] FLASH GORDON - Arthur Byron Cover [Jove, 1980] FLETCH - Gregory McDonald [Avon, 1985] THE PEOPLE THAT TIME FORGOT - Edgar Rice Burroughs [Ace, 1977] THE SWARM - Arthur Herzog [Signet, 1978]
STAR TREK: THE MOTION PICTURE - Gene Roddenberry [Pocket, 1979] STAR TREK: THE MOTION PICTURE - Gene Roddenberry (Re-issue w/Alternate cover) [Pocket, 1987] STAR TREK (II): THE WRATH OF KHAN - Vonda N. McIntyre [Pocket, 1982] STAR TREK (II): THE WRATH OF KHAN - Vonda N. McIntyre (Alternate cover) [Pocket, 1982] STAR TREK III: THE SEARCH FOR SPOCK - Vonda N. McIntyre [Pocket, 1984] STAR TREK IV: THE VOYAGE HOME - Vonda N. McIntyre [Pocket, 1986] STAR TREK V: THE FINAL FRONTIER - J.M. Dillard [Pocket, 1989] STAR TREK VI: THE UNDISCOVERED COUNTRY - J.M. Dillard [Pocket, 1992]
And, some titles that've been seen here before, but now tied with their paperback brethren.
DARK STAR - Alan Dean Foster [Ballantine, 1975] DARK STAR - Alan Dean Foster (Re-issue w/Alternate artwork) [Del Rey, 1978] ESCAPE FROM NEW YORK - Mike McQuay [Bantam, 1981] ESCAPE FROM NEW YORK - Mike McQuay (Re-issue w/Alternate artwork) [Bantam Spectra, 1985] HALLOWEEN - Curtis Richards [Bantam, 1979] HALLOWEEN - Curtis Richards (Alternate cover w/Poster artwork) [Bantam, 1979] HALLOWEEN II - Jack Martin (Dennis Etchison) [Zebra, 1981] HALLOWEEN III: SEASON OF THE WITCH - Jack Martin (Dennis Etchison) [Jove, 1982] THE FOG - Dennis Etchison [Bantam, 1980] THE THING - Alan Dean Foster [Bantam, 1982]
THE TERMINATOR - Randall Frakes & Bill Wisher [Bantam Spectra, 1991] TERMINATOR 2: JUDGMENT DAY - Randall Frakes [Bantam Spectra, 1991] TERMINATOR 3: RISE OF THE MACHINES - David Hagberg [Tor, 2003]
Note: Title description contains the actual publishing date of the exact printing in my collection and doesn't necessarily reflect the initial date of either the novel or film.
Perhaps the greatest filmed adaptation of George Orwell's novel. Every once in a while, I find myself drawn to this beautiful montage by YouTube user ZioZambe, composed of scenes from Michael Radford's film set to "Who Put The Weight Of The World On My Shoulders?" by Oasis.
THE PHANTOM OF THE OPERA - Gaston Leroux [Warner, 1986] * PLATOON LEADER - James R. McDonough [Bantam, 1988] POLTERGEIST II: THE OTHER SIDE - James Kahn [Ballantine, 1986] PRETTY IN PINK - H.B. Gilmour [Bantam, 1986] ** PROPHECY - David Seltzer [Ballantine, 1979] THE RAVEN - Eunice Sudak [Lancer, 1963] THE REINCARNATION OF PETER PROUD - Max Ehrlich [Bantam, 1975] ROLLERBALL - William Harrison [Warner, 1975] ROMANCING THE STONE - Joan Wilder (Catherine Lanigan) [Avon, 1984] RUMBLE FISH - S.E. Hinton [Dell, 1983]
'SALEM'S LOT - Stephen King [Signet, 1979] SCANNERS - Leon Whiteson [Tower, 1981] THE SEARCHERS - Alan Le May [Popular Library, 1962] SERPICO - Peter Maas [Bantam, 1976] SGT. PEPPER'S LONELY HEARTS CLUB BAND - Henry Edwards [Pocket, 1978] THE SHINING - Stephen King [Signet, 1980] SWAMP THING - David Houston & Len Wein [Tor, 1982] TAXI DRIVER - Richard Elman [Bantam, 1976] *** THE TERMINATOR - Randall Frakes & Bill Wisher [Bantam Spectra, 1991] THUNDERBOLT AND LIGHTFOOT - Joe Millard [Award, 1974]
THE TOWER - Richard Martin Stern [Warner, 1974] **** TRON - Brian Daley [Del Rey, 1982] 2001: A SPACE ODYSSEY - Arthur C. Clarke [Signet, 1982] VIDEODROME - Jack Martin (Dennis Ethison) [Zebra, 1983] VISITING HOURS - Kent Rembo [Pinnacle, 1982] THE WARRIORS - Sol Yorick [Dell, 1979] THE WEREWOLF VS. (THE) VAMPIRE WOMAN - Arthur N. Scarm [Guild-Hartford, 1972] THE WICKER MAN - Robin Hardy & Anthony Shaffer [Pocket, 1979] WOLFEN - Whitley Strieber [Bantam, 1981] ZARDOZ - John Boorman with Bill Stair [Signet, 1974]
THE OMEN - David Seltzer [Signet, 1976] DAMIEN: OMEN II - Joseph Howard [Signet, 1978] THE FINAL CONFLICT - Gordon McGill [Signet, 1981] And, the written sequels which were never filmed (but, should have been)... OMEN IV: ARMAGEDDON 2000 - Gordon McGill [Signet, 1982] OMEN V: THE ABOMINATION - Gordon McGill [Signet, 1985]
And, yet, there's more on the way...
Note: Title description contains the actual publishing date of the exact printing in my collection and doesn't necessarily reflect the initial date of either the novel or film.
* So, this book came out 61 years after the Lon Chaney film, but it's got him on the cover, so I'm counting it!
** Based on the initial screenplay and includes the original and most appropriate ending where Duckie gets the girl. Due to the complaints of test audiences, the ending was re-shot so that the rich guy would get the girl. That B.S. occurs enough in real life, why do we need it on the silver screen, too?!
*** Apparently, John Hinckley, Jr. had a copy of this paperback in his jail cell, during the time he wrote "fan" letters to Jodie Foster.
**** Irwin Allen's production of THE TOWERING INFERNO was based on two novels, the second of which is THE GLASS INFERNO by Thomas N. Scortia & Frank M. Robinson.
ALFIE - Bill Naughton [Ballantine, 1966] AMERICAN GRAFFITI - George Lucas, Gloria Katz & Willard Huyck [Ballantine, 1974] THE AMITYVILLE HORROR - Jay Anson [Bantam, 1978] * BENEATH THE PLANET OF THE APES - Michael Avallone [Bantam, 1974] THE BLACK HOLE - Alan Dean Foster [Del Rey, 1979] BLADE RUNNER - Philip K. Dick [Del Rey, 1982] BLOW OUT - Neal Williams [Bantam, 1981] THE BLUES BROTHERS - "Miami Mitch" Glazer [Jove, 1980] THE BOOGENS - Charles E. Sellier, Jr. & Robert Weverka [Bantam, 1981] BUCKAROO BANZAI - Earl Mac Rauch [Pocket, 1984]
THE CANNONBALL RUN - Michael Avallone [Leisure, 1981] CARRIE - Stephen King [Signet, 1976] CLOSE ENCOUNTERS OF THE THIRD KIND - Steven Spielberg [Dell, 1978] CONAN THE BARBARIAN - L. Sprague De Camp & Lin Carter [Bantam, 1982] CORVETTE SUMMER - Wayland Drew [Signet, 1978] DAMNATION ALLEY - Roger Zelazny [Berkley Medallion, 1977] DEAD & BURIED - Chelsea Quinn Yarbro [Warner, 1980] DELIVERANCE - James Dickey [Dell, 1973] DIRTY MARY, CRAZY LARRY - Richard Unekis [Manor, 1974] DRACULA - Bram Stoker (Abridged w/Lugosi artwork) [Scholastic, 1971] **
DRACULA - Bram Stoker [Jove, 1979] EMMANUELLE II: THE JOYS OF A WOMAN - Emmanuelle Arsan [Ballantine, 1976] ENTER THE DRAGON - Mike Roote [Award, 1973] ESCAPE FROM NEW YORK - Mike McQuay (Re-issue w/Alternate artwork) [Bantam Spectra, 1985] THE EXORCIST - William Peter Blatty [Bantam, 1974] FADE TO BLACK - Ron Renauld [Pinnacle, 1980] FINAL EXAM - Geoffrey Meyer [Pinnacle, 1981] FRIDAY THE 13TH, PART 3 - Simon Hawke (Re-issue w/poster artwork) [Signet, 1988] GOIN' COCONUTS - Vic Crume [Dell, 1979] THE GRADUATE - Charles Webb [Signet, 1967]
HOUNDS OF DRACULA - Ken Johnson [Signet, 1977] HOW TO MURDER YOUR WIFE - Henry Williams [Dell, 1965] IN SEARCH OF DRACULA - Raymond T. McNally & Radu Florescu [Warner, 1973] *** INCUBUS - Ray Russell [Dell, 1981] INVASION OF THE BODY SNATCHERS - Jack Finney [Dell, 1979] IT'S ALIVE! - Richard Woodley [Ballantine, 1977] LAST TANGO IN PARIS - Robert Alley [Dell, 1973] THE LEGACY - John Coyne [Berkley, 1979] LIFEFORCE - Colin Wilson [Warner, 1985] LOGAN'S RUN - William F. Nolan & George Clayton Johnson [Bantam, 1976]
MAD MAX BEYOND THUNDERDOME - Joan D. Vinge [Warner, 1985] THE MEN'S CLUB - Leonard Michaels [Avon, 1986] MONTY PYTHON'S LIFE OF BRIAN - Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones & Michael Palin [Ace, 1979] NIGHTWING - Martin Cruz Smith [Jove, 1979] ODE TO BILLY JOE - Herman Raucher [Dell, 1976] THE OMEGA MAN (I AM LEGEND) - Richard Matheson [Berkley Medallion, 1971] ONE FLEW OVER THE CUCKOO'S NEST - Ken Kesey [Signet, 1975] ORCA - Arthur Herzog [Pocket, 1977] OUTLAND - Alan Dean Foster [Warner, 1981] THE OUTSIDERS - S.E. Hinton [Dell, 1983]
You best believe there's more on the way!
Note: Title description contains the actual publishing date of the exact printing in my collection and doesn't necessarily reflect the initial date of either the novel or film.
* Technically, this is a pre-movie tie-in with "Coming as an American International Picture" printed on the back cover. The film released the following year.
** So, this book came out 40 years after the Lugosi film, but it's got him on the cover, so I'm counting it!
*** Hey, how'd that get in there?! Okay, another slip. The book was published in '73, but the film wasn't made until '75. So, it doesn't count.
+ UPDATE: April 8, 2010 + THE SPACE VAMPIRES - Colin Wilson [Pocket, 1976] Since I already posted the movie tie-in version (LIFEFORCE), I thought it would be fun to include the original novel, as well.
I'm a mood-oriented cinema junkie, with a mean lean towards exploitation fare.
My eclectic tastes encompass all genres and eras. I appreciate films for what they are and place no real distinction between the average mainstream film and the "dirt-under-the-fingernails" no budget opus.
Entertainment is entertainment.
Posts
