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.
ROCKY - Julia Sorel [Ballantine, 1977] THE LORDS OF FLATBUSH - Leonore Fleischer [Scholastic, 1977] PARADISE ALLEY - Sylvester Stallone [Berkley, 1978] F.I.S.T. - Joe Eszterhas [Dell, 1978] SYLVESTER STALLONE'S OFFICIAL ROCKY SCRAPBOOK - Sylvester Stallone [Tempo Star, 1977] FIRST BLOOD - David Morrell [Fawcett Crest, 1985] ROCKY IV - Sylvester Stallone [Ballantine, 1985] OVER THE TOP - Joel Don Humphreys [St. Martin's Press, 1987]
THE MECHANIC - John Lewis Carlino [Signet, 1972] THE STONE KILLER - John Gardner [Award, 1973] DEATH WISH - Brian Garfield [Fawcett Crest, 1974] NEVADA PASS - Alistair MacLean (German Language) [Heyne, 1985]
JAWS - Peter Benchley [Bantam, 1975] THE DEEP - Peter Benchley [Bantam, 1977] THE ISLAND - Peter Benchley [Bantam, 1980] JAWS 2 - Hank Searls [Bantam, 1978] JAWS 2 - Hank Searls (Alternate Cover) [Bantam, 1978] JAWS THE REVENGE - Hank Searls [Berkley, 1987]
STAR WARS - George Lucas [Del Rey, 1977] THE EMPIRE STRIKES BACK - Donald F. Glut [Del Rey, 1980] RETURN OF THE JEDI - James Kahn [Del Rey, 1983] RAIDERS OF THE LOST ARK - Campbell Black [Ballantine, 1981] INDIANA JONES AND THE TEMPLE OF DOOM - James Kahn [Ballantine, 1984] INDIANA JONES AND THE LAST CRUSADE - Rob MacGregor [Ballantine, 1989] SUPERMAN: LAST SON OF KRYPTON - Elliot S. Maggin [Warner, 1978] SUPERMAN: MIRACLE MONDAY - Elliot S. Maggin [Warner, 1980] SUPERMAN III - William Kotzwinkle [Warner, 1983] SUPERGIRL - Norma Fox Mazer [Warner, 1984]
BEYOND AND BACK - Ralph Wilkerson [Bantam, 1978] BEYOND DEATH'S DOOR - Maurice Rawlings [Bantam, 1979] SATURDAY NIGHT FEVER - H.B. Gilmour [Bantam, 1977] STAYING ALIVE - Leonore Fleisher [Pocket, 1983] WILLARD - Stephen Gilbert [Lancer, 1971] BEN - Gilbert A. Ralston [Bantam, 1972] THE NIGHTMARES ON ELM STREET 1, 2 & 3: THE CONTINUING STORY - Jeffrey Cooper [St. Martin's Press, 1987] THE NIGHTMARES ON ELM STREET 4 & 5 - Joseph Locke [St. Martin's Press, 1989] ON HER MAJESTY'S SECRET SERVICE - Ian Fleming [Signet, 1969] LICENCE TO KILL - John Gardner [Charter, 1989]
More to come!
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.
I miss the days of movie tie-in memorabilia, not that it doesn't exist today, but it's just not the same. Nowadays, it's all about bangin' you over the head with an abundance of crap. (i.e. anything from the TWILIGHT series, HARRY POTTER or the emo-fueled resurgence of THE NIGHTMARE BEFORE CHRISTMAS.)
Theatrical promo items have been lacking for years. Gone are the days of the 40x60 heavy card stock posters, insert posters, half sheets and lobby cards. Gone also is the movie program. Some theaters offered these to patrons depending on the marketing of the film. Basically, you could buy your bucket o' caffeine, bucket o' eventual kernel slivers that embed themselves neatly between your teeth and gums (Sorry, not a popcorn fan, unless we're talking about the Jill Schoelen kind) and a program. Patterned after the Playbill, it served as a nice memento for when movie-going used to be an experience.
Along with programs, you'd be hard pressed to find those official movie magazines or poster books. I don't follow comic books, so I'm not sure if comic book adaptations still make the rounds or not, but they were quite the big thing, courtesy of Marvel and DC, in the '70s and '80s.
Production diaries were a big thing in paperback, back then...
Then you had those awesome Fotonovels...
Fotonovels made a slight return in 1999, with titles like THE BLAIR WITCH PROJECT and CHARLIE'S ANGELS, but soon vanished once again. I say they should be brought back, but not for current fare... let's go back and adapt classic films. A Fotonovel for CHINATOWN, anyone?
As for movie tie-in paperbacks, don't get me started. Too late! I already started. Here's a taste...
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] ESCAPE FROM NEW YORK - Mike McQuay [Bantam, 1981] DARK STAR - Alan Dean Foster [Ballentine, 1975] THE FOG - Dennis Etchison [Bantam, 1980] THE THING - Alan Dean Foster [Bantam, 1982]
So, I just saw HOT TUB TIME MACHINE, which I thought would be fun and it is. But... while they're spot on in some respects, there are far too many inaccuracies here for a time-traveling comedy. I know, I should let this stuff slide a bit and if I pick and prod too much, I might not enjoy it.
But, it's a bit distracting when there's a poster for RAMBO III on the wall in '86, or characters from that era referencing 21 JUMP STREET. Especially annoying when you consider that, in some instances, royalty fees could have been avoided had the filmmakers done their research. (i.e. Paying for the inclusion of "I Just Died In Your Arms" by The Cutting Crew, a 1987 song that is heard playing on an '86-era radio.)
There's more mistakes, but I can't remember or perhaps didn't notice them. Not a huge deal, but it's a bit lazy and it seems to be a constant issue with period films. (AMERICAN GRAFFITI had a couple post 1962 songs on it's soundtrack.) The worst or, I should say, best example of this is AUSTIN POWERS: GOLDMEMBER. A film which bases itself in 1975 shouldn't include a Viagra joke from anyone who isn't privy to the future. Wait, the inconsistent honor really should go to BEOWULF with Christopher Lambert. Sure, it's a fantasy film, but it amazes me how many times I've had to point out to viewers that PA systems and jacket zippers were actually quite uncommon in the middle ages. Oy.
I don't get it. With HOT TUB TIME MACHINE, if it's not inaccuracy, it's missed opportunity. How can you pay homage to one John Cusack film, SIXTEEN CANDLES, and completely miss the boat on a nod to ...BETTER OFF DEAD? After all, this is a ski resort. I guess they didn't get the K-12 memo? Or, since this is an MGM/UA film, why not reference the most obvious '80s sex-on-the-slopes comedy, HOT DOG... THE MOVIE, which MGM/UA already owns? Double oy.
Aside from all that, while it may not be epic or ground-breaking, HOT TUB TIME MACHINE is a fun concept which makes for a fun ride. Besides, any film starring both Chevy Chase and Crispin Glover can't be all bad!
"Hello, 1988? We were wondering if you had any posters to help dress our 1986 set with..."
I love PIRANHA, PART TWO: THE SPAWNING. There. I said it. And, I don't care what people think.
I had the DVD rotating in the disc changer and awakened to it at around 2am last night. I should have been gathering winks for my next day at work, but I found myself watching the entire film for the umpteenth time.
This is, of course, James Cameron's first film as director, and certainly the most lambasted. So many stories as to why. The production, alone, is the stuff of legend, so I won't get into any of that here.
For years, horror nuts like me only had the truncated U.S. version to watch on home video, via Embassy Home Entertainment, which was fine, until I saw the film on television with additional scenes and others in the correct order. A revelation for sure and it made for a stronger storyline, making sense where it didn't completely make sense before. Perhaps the truncated version is the one everyone has seen and hates. I dunno. But, even in that crude 84 minute version, I still love it. Not nearly as much as Joe Dante's original, which I spent many summer days and nights watching.
Fast forward to 2002, when Columbia TriStar decided to release it to DVD... I was stoked! Of course, I despised the horrible DVD cover art, but nonetheless, I had to have it. To my surprise, Columbia TriStar managed to unearth the complete, unedited international version with all those missing scenes (and the nude diver sequence presented as a prologue to the main credits). Goodbye 84 minutes and hello 93!
It puzzles me why people hate the film as much as they do. Perhaps, it's simply the comparison of these humble beginnings to what Cameron would later do in his career. This film delivers the goods and has "exploitation good time" written all over it. Flying piranha, folks! How could you hate any film with flying piranha?! Some say the concept is absurd, I say it's genius. And, why not? The first PIRANHA already introduced the idea of scientifically-engineered fresh water beasties.
The performances aren't too shabby, either. You've got the always awesome Lance Henriksen as chief of police. Nearly all his scenes are hilarious whenever he patronizes someone, particularly the captain who simply won't turn on his damned radio. "Turn on your radio, you jackass!" Priceless.
Tricia O'Neil is the true lead here and I always hoped she would do more, of course, PIRANHA II doesn't exactly scream street cred. She reminds me of a cross between Kay Lenz and Adrienne Barbeau. Can't go wrong there! (Note: Cameron later gave her a small role in TITANIC.)
And, the score by "Steve Powder" ...er, uh... Stelvio Cipriani is superb. An original score that doesn't borrow from Pino Donaggio's PIRANHA score, yet exists on it's own, beautifully. A nice companion piece to his earlier score for TENTACLES, by the way.
Henriksen will be attending this year's Texas Frightmare Weekend, and I'll be bringing my soundtrack album along for him to sign. I hope he appreciates my geekdom!
The other day, a friend and I were discussing '70s disco act Cerrone. He told me how he had been catching up on some of Cerrone's current work and how the artist had been chooglin' along ever since his career-defining single, "Supernature" from his third album, hit huge back in 1978.
Well, I had no idea. None at all. In fact, all this time, having not researched Cerrone, I thought he was another one hit wonder.
I first discovered "Supernature" on one of those bargain bin disco compilation cassettes (you know, the $3.99 specials) in the late '80s. I instantly dug the track for it's Goblin-esque driving synth sound and, more importantly, it's macabre storyline: mutated creatures (the supernature crowd), evolving throughout time and eventually rising from the contaminated muck to exact revenge on the cause, mankind. Now, why this wasn't tied to a film, is beyond me. Very Dr. Moreau-ish. Reminds me of THE TWILIGHT PEOPLE and especially the army test site sequence from Joe Dante's PIRANHA.
Anyhow, I finally got around to looking up the original promotional video on YouTube and here it is:
Total cheese and ultimately a disappointment compared to one's imaginative visions inspired by the lyrics. Seems to be a frequent problem with videos, although nowadays, they're all too literal and not in a good way.
Of course, I wouldn't want to see "Supernature" adapted to film today. The concept would have worked well in it's time, but a current attempt, I think, would fall flat. It certainly wouldn't feature practical creature effects. Also, it would probably be too preachy, hence dispensing of any exploitable aspects.
But, since this is all "what if?" fodder, I thought I'd throw together a little mock movie poster of my own for the movie that should have been. (You like?)
Next up, is a promo from the film's showcase on The CBS Late Movie. (I truly miss those late nite treats!)
And, finally, the Super 8 version, which I've always wanted to see. It may not be top notch quality, but it is super rare (and, it includes some alternate footage and music). Enjoy!
Part One (Note: Quite annoying, the video cuts out at the 4:15 mark and restarts, not resumes, at the 4:45 mark, so my advice is to pause the video initially allowing it to fully load, then forward to 4:45.)
So, I recently befriended... er, uh... beFacebooked comedian Frank Conniff (TV's Frank of MYSTERY SCIENCE THEATER 3000, CARTOON DUMP and CINEMATIC TITANIC fame) and over the past couple of weeks, I've been constantly amused by Frank's daily statuses. And, today's is particularly great.
Frank Conniff "is sad to report that due to a combination of daylight savings time and last night's airing on cable of the movie version of THE MOD SQUAD, I lost three hours."
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.
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