tag:blogger.com,1999:blog-358128392024-03-14T02:54:51.069+00:00CiNEZiLLA - Falling asleep to movies since 1970Movies and stuff.CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.comBlogger565125truetag:blogger.com,1999:blog-35812839.post-42219639149072085992019-12-16T10:16:00.000+00:002019-12-16T10:16:00.200+00:00Disney Star Wars and the Kiss of Life Trope... (Spoilers!)<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm 0cm 0.0001pt;">
<span lang="EN-US">Here’s a first… a Star Wars post here. <o:p></o:p></span></div>
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<span lang="EN-US">So, really should be doing something much more important, but whist watching my daily dose of the Fandom Menace roundup, this dawned upon me. <o:p></o:p></span></div>
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<span lang="EN-US">If the spoilers are correct, and <i>Star Wars The Rise of Skywalker</i> rumors are true… <u>and said, spoilers from here on out, so it’s your call… </u>if the spoiler that Ray meeting her demise during a final battle, and Kylo Ren giving her his lifeforce through a kiss that resurrects her, well then what we end up with is just a age old Disney trope of man saving woman. If so then that totally collides with everything that Kathleen Kennedy has been claiming for the last years that “the force is female” because what is less female than a male savior? <o:p></o:p></span></div>
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<span lang="EN-US">The Kylo/Ray kiss of life simmers down to Snow White being brought back to life by Prince Charming, it’s Sleeping Beauty being brought back to life by Prince Charming, it’s Rey being brought back to life by Kylo Ren.<o:p></o:p></span></div>
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<span lang="EN-US">It’s an appalling way to bring back Rey, and it’s a totally ass way to redeem Kylo by him offering up his life for Rey after the immensely abusive relationship they have been holding on to – fight-fight-chase-chase-fight-fight, spit and hate, spit and hate… ad verbatim. It all comes crashing down in a soggy mess as Disney falls into the oft debated “male savior” and “kiss of life” trope that in all honesty doesn’t make sense in a universe governed by “force is female” and a character (Rey) that without any training has been able to pull off fates of force in one moment that other force characters had to learn through three movie story arcs… <o:p></o:p></span></div>
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<span lang="EN-US">Despite the story being set in a galaxy far far away, a long long time ago, gender issues that have been told to be force strong turned out to be… meh, the same old gender play that Disney has been pushing for all eternity.<o:p></o:p></span></div>
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<span lang="EN-US">Go figure.<o:p></o:p></span></div>
<br />CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-54980737538378335652019-07-19T21:19:00.002+00:002021-07-05T12:20:25.276+00:00The Burning consciousness of awareness… <div class="separator" style="clear: both; text-align: center;">
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Sex is part of genre cinema. It’s part of the formula, life and death in that crazy mix. Tits’ and Ass and violent deaths sell tickets. As far as science and the neurological part goes, the nudity gets the young adolescent audiences aroused only to shake them to their core as the next emotion is the counter, death. With the arousal in the system, the fight of flight reaction hits harder and strikes better. I know this to be fact, as I’ve talked several neuroscientists about this specific detail of horror genre and how it affects the amygdala. Yeah, nudity and death walk hand in hand in the horror genre.</div>
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As an almost fifty-year-old man still enjoying horror, still watching teenagers get snuffed after shagging, or scorned women avenging their sexual abuse, or phallic monster stalking the maiden, or vaginal orifice consuming male protagonists and on and on and on not forgetting the darker more psychologic horrors or arthouse horror or that don’t shy from explicitness either. Well, you get the picture, sex is still a huge part of genre, and for the most part we can watch it for what it is, part of the formula, I and you, we all go along for the ride because it’s formula and part of the way certain horror tales are told. <o:p></o:p><br />
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But then something happens. And said thing taints the films that once where mere fun. The movie that comes under scrutiny today is Tony Maylam’s classic summer camp slaughter fest <i>The Burning</i>. <i>The Burning</i> plays by the book. An instigating set up complete with initial attack, although this initial attack – which is supposed to set the threat – is a genesis story of the antagonist, and how a prank goes terribly wrong leaving him horrifically burned. The piece is full of hormonal teenagers. Horny, but still not quite there as they lust for each other throughout the piece. Well, the men objectify the women, the women try to stay away from the creepiest of the men. and those who do have sex pay for it with their lives, by default the women first in a weird unconscious take on slut shaming. We get to know the male and female fractions, we take part of their antics, the hierarchy of the groups, we start to identify with characters and invest in them, intellectually foreseeing how the story is going to unfold. The protagonists do their thing, the antagonist does his thing, subjective camera angles and all that jazz and special effects maestro Tom Savini goes to work with some spectacular eighties shock and gore.<br />
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Classic. But then there’s the taint. The Harvey Weinstein sex abuse and violent attacks and rape of women in vulnerable situations in hotel rooms. As I watch <i>The Burning</i> tonight, I start to feel uneasy with the objectification of the young women of the piece. A woman is attacked and murdered in her home, behind the locked door where the looming antagonist blocks her only path of escape. The first fifteen minute set up of the summer camp and characters are all tits and ass of women. Objectifying studies of behinds, with comments of how much they “want that ass”, running in slow motion as breasts shake, a woman takes a shower and a young man spies on her naked body… later as the film gets into its “stalker phase” a male character verbally abuses his girlfriend when she refuses him sex, later a second character forcefully and sexually threatens his “girlfriend” into being intimacy with him. Sure it’s all part of placing the good protagonists and the camper antagonists (not the killer) on polarised ends of the scale, but hen it hits me, the fact that Harvey Weinstein created, wrote and produced this film, most likely shadow directing behind Mayhem, and the question arises, can I really watch this film in the same way that we watch genre considering the court case against Weinstein for being a sexual predator and abuser of women?<br />
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Are we actually watching Weinstein living out his dream of objectification, misogyny and hatred of women beyond being sexual entities there for his desire in this genre classic? <br />
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Do we need to reassess movies when we know facts of those who created/acted in them and what happened? Can we watch <i>The Burning</i> and not see the power games, sexual threat and predatory behaviour of Harvey Weinstein being put on screen? Is he acting them out because it’s a genre piece? </div>
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Amongst the women accusing Weinstein there are women claiming incidents as far back as the 80’s, and according to an article on the AV Club, one incident of abuse is known during the production of <i>The Burning</i>.<a href="applewebdata://693F2A40-DC60-4509-ABD3-2798234E9C74#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span style="font-size: 12pt;">[1]</span></span></span></a>So again, we have to question can we still watch <i>The Burning</i> without seeing the possible predatory traits of Harvey Weinstein tainting the sexual content on screen, which according to formula is part of the game, an intellectual and psychological stimulator and trigger, but here come off as the creepy voyeurism and power play of a sexual predator. Can we watch <i>The Burning</i> without that gnawing at our consciousness now that we’re aware of his deeds?<o:p></o:p></div>
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<a href="applewebdata://693F2A40-DC60-4509-ABD3-2798234E9C74#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference" style="vertical-align: super;"><span class="MsoFootnoteReference" style="vertical-align: super;"><span style="font-size: 12pt;">[1]</span></span></span></a>https://www.avclub.com/new-investigation-confirms-harvey-weinstein-always-seem-1823402996<span lang="SV"><o:p></o:p></span></div>
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-53763393607846439162019-07-13T10:20:00.006+00:002019-07-13T10:32:36.213+00:00Here we Roeg again... Who saw them try?<a href="https://1.bp.blogspot.com/-bxkqtbjFlT0/XSmwHmZEudI/AAAAAAAAOx0/JRwh0fEFy5k036EkGuAAmpF9sCDgzwVggCLcBGAs/s1600/ROEG.jpg"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><img border="0" src="https://1.bp.blogspot.com/-bxkqtbjFlT0/XSmwHmZEudI/AAAAAAAAOx0/JRwh0fEFy5k036EkGuAAmpF9sCDgzwVggCLcBGAs/s320/ROEG.jpg" /></span></a><br />
<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">A few days back The Guardian's resident film-scribe Peter Bradshaw wrote a piece paying tribute to Nic Roeg's eerie masterpiece <i>Don't Look Now</i> from 1973, as it's been restored and re-released with a short theatrical run along side that.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Now off the bat, I have to point out that I agree with everything that Bradshaw points out in his text, of how the film is a psychological study of the human psyche processing loss, grief and quest for closure. How Venice is as much a part of the entity of the film as it location of the film, how the film holds its place as part of horror canon, and how it's spiralling roots lead right into fodder such as Trier's <i>Antichrist</i>, and Ari Aster's <i>Midsommer</i>. (Still on my watch list btw...)</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><i>Don't Look Now</i> is the melancholic and uncomfortable tale of how the loss of a child drives a married protagonists John and Laura, (Donald Sutherland and Julie Christie) into a confusion of love / hate / psychosis. A film that uses it misty and eerie location as a metaphoric backdrop, where a ghostly apparition in a red rain coat haunts the narrow streets and foggy nooks of Venice killing people as it forcefully slashes at them with a razorblade. How Eros and Thanatos meet in bed for a cinematic moment. Because Bradshaw is correct to point out that the infamous sex scene, or rather sex-post coitus scene as it intercuts both the act and the slow decent back into sadness as they dress after their act, was an addition to DuMaurier's original story by Roeg. Something that showcases Roeg's male genius and benefitted the film immensely as its still one of those moments still discussed by cineastes and scholars with equal passion.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">But...</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">It's beyond me that there's not a single nod, comment or referent to Aldo Lado's giallo <i>Who Saw Her Die?</i> which was released in 1972, a year ahead of <i>Don't Look Now</i>. I've been down this road many times previously, but it's one that's of importance in my constant struggle with the high-brow/low-brow paradox. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Key connections between the two are too many to be coincidental. Lado's film, as Roeg’s films focuses on a married couple struggling to come to terms with the horror, shock, heartbreak and grief of losing a child. But they discover something darker, hidden behind the tragedy that shook their worlds.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Franco and Elizabeth (George Lazenby and Anita Strindberg), find their young daughter violently murdered and dumped in a Venetian canal. (The kid is played by Nicoletta Elmi for anyone with a weird love/hate thing for Italian child actors, as most of us who watch that fare do). John and Laura’s daughter is found immersed in water too, although in a pond after an accidental death. Where John and Laura lose themselves in work and socializing(-ish), Franco / Elizabeth also become obsessed elsewhere, as they learn of a similar murder in France leading them to start investigating the parallels between the two cases. Both films have a lot of action taking place in the foggy, dim lights of Venice canals and back alleys. A strange figure, almost ghostly, lurks the shadows, taunting us as an audience and the protagonist on screen. Slowly and deliberately confusingly, both films displace pieces of the narrative puzzle to lure us down wrong alleys to the surprise last act twist/reveal that comes with the genre. They do differ in their conclusion, but this is perhaps the widest distance between the two films, although they will both leave you with a what the fuck frown on your forehead.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">The psychological turmoil of the protagonists is the same, the location and atmosphere is the same, the fluid cinematography of Franco Di Giacomo versus Anthony B Richmond, the way Graeme Clifford clings to his edits like Angela Curi previously did. Roeg's Pino Donnagio score to counter Ennio Morricone’s superior one of Lado's movie. The similarities are too many to ignore, it's almost a doppelgänger movie, but elevated out of the low-brow pinfold, hence never questioned, but accepted as original.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">But it all culminates, or climaxes with pun intended, in the final proof of Sex and Death entwined. Lazenby and Strindberg fucking, intercut with post-coital crying over the death of their child, Eros and Thanatos unified in a spectacular way. Roeg lifted this right out of Who Saw Her Die? flipped it spatially timewise as the sex is intercut with flash forward to the apathy of post sex,and got the credit of genius when it's all Aldo Lado’s brilliance at work, because Lado’s collision of emotions is a immensly powerful one.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">If nothing else, it's arguable that Lado's Who Saw Her Die? deserves more than to be a curiosity left for cinephiles and Giallo fans alone. It needs to be rediscovered and put in place within the canon of horror film history, something that very little outside American, British and/or the major studios actually seem to qualify as. My torch song is that the fibres of "canon" that stretched out into the nooks and crannies of the horror genre, as deep as they/we need to go, deserve to be lifted forth and acknowledged, as it's no rocket science behind the fact that without <i>Who Saw Her Die?</i>,there would have been no <i>Don't Look Now</i> as part of the "checklist of horror film canon". First then do we look into the possibility of DuMaurier's source material being an influence on Aldo Lado.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Bradshaws article here.</span><br />
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<a href="https://www.theguardian.com/film/2019/jul/05/dont-look-now-review-roeg-horror-julie-christie-donald-sutherland"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">https://www.theguardian.com/film/2019/jul/05/dont-look-now-review-roeg-horror-julie-christie-donald-sutherland</span></a><br />
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-29149855450454751662019-03-26T14:40:00.003+00:002021-07-05T12:18:57.057+00:00Walkabout. Conflicts with the HighBrow/LowBrow Paradox<div style="text-align: justify;">
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<a href="https://1.bp.blogspot.com/-EP9fcO3pEEQ/XJo6aMpun6I/AAAAAAAAOvg/BjYdk9YBM508Gil7oAXlqKiPebobvBqtACLcBGAs/s1600/Walkabout.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><img border="0" data-original-height="670" data-original-width="1089" height="245" src="https://1.bp.blogspot.com/-EP9fcO3pEEQ/XJo6aMpun6I/AAAAAAAAOvg/BjYdk9YBM508Gil7oAXlqKiPebobvBqtACLcBGAs/s400/Walkabout.jpg" width="400" /></span></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">I find myself continually confronting and struggling with what I call the HighBrow/LowBrow Paradox. There’s really nothing much to question about it really. It’s an annoyance, and a constant conflicting area I’d attribute to amateurish journalism, pseudo-pretentiousness, intellectual wannabeism and academic bullying. Let’s not forget ignorance too.</span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">If you caught an image on film are you not a filmmaker? And just explain to me why an American Pie film deserves a franchise whilst independent filmmakers throughout times have struggled to make a single follow up to minor successes? Why Cult filmmakers CONSTANTLY are revealed/discovered/known to have only been making “that kind of film”, so they could afford to make the films they wanted to? </span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">Highbrow is defined as highly cultural or educated, a person of intellectual or erudite tastes. Highbrow’s usually have money, snobbish. Lowbrow is unsophisticated, uncultivated, cheap. A dictionary definition of low-brow is partially “a person who is un-interested in intellectual pursuits”… I fucking challenge you to say that in the same sentence as Jean Rollin, Jess Franco, Lucio Fulci, Ed Wood Jr, Doris Wishman, Roberta Findlay and many, many others. They were filmmakers, ergo artists, and they were trapped in their economical circle of production hell, so why the need to deem films into two fields divided by an intellectual crevice that splits art and trash… a you and me, us and them, a rift to judge artistic value. Hence the HighBrow/LowBrow Paradox</span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">The HighBrow/LowBrow Paradox is the space where the low-budget films I watch and love get mocked, guilt tripped, questioned and shamefully referred to as low-brow cinema clashes with the highbrow films I watch and love are credited for, even though they many cases lifted the conceived moment from low-brow cinema. </span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">Where high-brow cinema gets away with anything, and low-brow cinema is scolded/ridiculed for same narrative trait. </span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">When a “lowbrow” film zooms a lot to avoid the cost of breaks and resetting of camera and lights for close-up shots are called “lazy/sloppy camerawork” but when “highbrow” does same move it becomes an “innovation/a genius approach”. </span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">When a “lowbrow” film becomes exploitative/filth because it features nudity, whilst a “highbrow” film is artistic/celebratory. </span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">Where a corporeality of the flesh, of bodily fluids, of self-mutilation and suicide are mocked as childish tools in films deemed “lowbrow”, but when used by acknowledged filmmakers of the “highbrow” earns them the status of hailed auteurs. </span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">We could seriously simmer it down to the simple question if we should think of Bertolucci as a rapist, or Meir Zarchi as a rapist, and then question how said films where received, perceived and played a part in said field of cinema. What is highbrow, what is lowbrow and why does there need to be a border? </span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large; line-height: 32px;">Never forget, Nick Roeg’s <i>Don’t Look Now</i>basically ripped off Aldo Lado’s <i>Who Saw Her Die</i>, complete with alienated non-linear, ex-spatial sex scene and mystic Venice location. Period, full stop, end of discussion! Then let me ask which of the two films you are more famillar with… </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">Then we come to the clash in focus this time, the case of Nick Roeg’s <i>Walkabout</i>. A highly rated, loved, critically appraised tale of two city originated children who end up walking the desert of the Australian outback and learn how to survive the ordeal with the help of an aboriginal boy (David Gulpilil) who they meet along the way. He’s on his Walkabout, a traditional ritual where young men are cast out of their tribe to live off the what the outback provides, hence the title Walkabout, which in a metaphoric way is what Girl (Jenny Agutter) and Boy (Luc Roeg) experience too. </span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">No question about it, it’s a beautiful, atmospheric and very much child of its time piece of cinema. It heled usher in the “new wave” of Australian cinema and uses an somewhat unconventional juxtapositioning of imagery to clash modern/indigenous similarities though out.</span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">But…</span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">There is a total of (at least) twelve animals killed on screen for narrative purposes of depicting survival in the outback. Amongst that lot, three water buffalo, three decently sized lizards and two kangaroos and a bunny wabbit. I’m not bringing any question of morale to the fact of killing to eat or not, or even killing for film, this is just a fact of the images preserved on celluloid. The first time, it’s validated as a fact of survival, and in the narrative, it’s warranted. But it just keeps going on and on, more and more animals are killed, slaughtered and chucked on the fire for dinner ending up in the pretty large number of twelve dead animals.</span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">I would though, like to question how many times Nick Roeg had to endure the same ordeal of questioning Ruggero Deodato gets after each in presence screening of <i>Cannibal Holocaust</i>“Why did you have to kill the animals?” Whereas I in <i>Walkabout</i>can appreciate the animal deaths as being an ethnographical study of the native Aboriginal saving the present, (even though the present kills him later, for lack of reflected love it may seem in the film, but in the novel the Aboriginal boy dies from influenza that he’s not immune against), which it does and it gets the metaphoric job done. Even the three water-buffalo that are killed adhere to a native vs modern as they kill for fun premise. But then again this is not what <i>Walkabout</i>is famous for, as <i>Cannibal Holocaust</i>if famous for its animal deaths, despite them being half the number compared to <i>Walkabout</i>. <i>Cannibal Holocaust</i>is only famous for its animal deaths and very rarely does the question of morale that fuelled the film get heard over the complaints of animal deaths. (Long story told short; Deodato wanted to comment on his art being censored whilst capitalist TV stations made money showing death on the news etc. I feel he does an excellent job of that with <i>Cannibal Holocuast</i>with its immense cynical tale) Although the difference is that Deodato’s animal deaths (at least key deaths) all take place on the secondary format of the found footage, hence becoming a storytelling tool to sell the authenticity of the films violent and harrowing final act. Through the authentic animal deaths, the illusion of the staged human deaths is complete, as the trial for manslaughter would prove only days after the film premiered in Milan on 8</span><sup><span style="line-height: 26px;">th</span></sup><span style="line-height: 32px;">of Feb, 1980. I don’t see how the many deaths of Roeg’s film actually do anything but spin off a contextual concept that parallels the sensationalism of the mondo-genre using savagery images of native man in his setting, just like Deodato does with <i>Cannibal Holocaust</i>a year later. Are they really that different when it all comes around?</span></span></div>
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<a href="https://1.bp.blogspot.com/-ba7WIeULYrY/XJo6aGAHZaI/AAAAAAAAOvk/YrEG1oYjd8M0aID_gnAGc0Y-bABsiRaaACLcBGAs/s1600/WALK2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><img border="0" data-original-height="593" data-original-width="297" height="400" src="https://1.bp.blogspot.com/-ba7WIeULYrY/XJo6aGAHZaI/AAAAAAAAOvk/YrEG1oYjd8M0aID_gnAGc0Y-bABsiRaaACLcBGAs/s400/WALK2.jpg" width="200" /></span></a><span style="font-family: "times" , "times new roman" , serif; font-size: large; line-height: 32px;">But perhaps more disturbing than the animal deaths, is the adolescent nudity. There are at least three times where Jenny Agutter is objectified and placed under Mulvay’s “male gaze”. This once again made me question the HighBrow/LowBrow Paradox. After a few days in the desert girl and boy stumble upon a small watering hole. Girl, obviously stuck in the role the patriarch has designated her with, sets about washing their clothes, whilst he plays action games with his toys. After their clothes have dried we see Girl putting on her underwear and this is shot in a close-up excluding anything by her underwear as they are pulled up her lower legs. I’d argue that this is purely eroticizing the underwear and her body, even though we don’t see more than her calves. In contemporary times, it echoes Japanese burunsera and school girl fetishist imagery. Of which there is much in<i>Walkabout</i>, and Agutter’s tiny school girl dress versus compositions of shots to be honest. Later, Girl goes swimming. She has no swimsuit so she obviously goes swimming naked, as the camera lingers gently observing her, as a romantic score by John Barry plays on the soundtrack. Naked as she twists, turns as the camera observes her every move. If not sexualising/objectifying her, why did it end up being the image on most of the posters? It seriously made me think of Kelly Brock and Riley Steel’s overtly drawn out underwater nude acrobatics in Alexandre Aja’s <i>Piranha 3D</i>but the difference being that that moment is drawn out to make a point of the conventions of nudity in genre film that Aja’s taking the piss out of with the film. For fun go check that scene explained in the parent’s guide on IMDB, because the swimming scene in <i>Walkabout</i>is naked in a way that should have earned it a “Severe” rating along the lines of the parent guide for Franco’s <i>Female Vampire</i>which has descriptions that read like fan fiction erotica. Seriously, someone took the time to write a parent’s guide for Jess Franco’s <i>Female Vampire</i>?<o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">It’s possible that this was the weak-ass critique that Roeg was aiming for. A “Oh, look how you’ve exploited the aboriginal people and look, it’s all the same as how we’ve exploited women keeping her constrained to stereotypical roles in the patriarchal structure…” But I seriously think that would be pushing it, wouldn’t it? I think it’s a clear case of dirty auteurism.</span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">What we have here is a classic highbrow/lowbrow paradox. Roeg’s objectification of a young 16 year old girl is accepted because of the intellectual makeshift excuse of being art, of being at one with nature, of finding her freedom in its submitting Agutter to the male gaze. And I’d argue it’s a perverted one too as that underwear fetish will support, the several scenes where she’s semi naked, which of a couple are kind of innocent, but there are moments where it’s very sexually loaded and Agutter’s acting is of as in panic as she knows she’s being stalked perhaps going to be assaulted… I will though argue that the final scene, which features nudity from all three of the main cast works as a metaphor for freedom and is narratively legitimized. The adult Girl still stuck in the hegemonic structure, did have that one moment of freedom where all were treated as equal, and that’s the closing shot. Unfortunately, it’s only a safe place she can resort to when her hubby comes home with more small talk of how he’s doing at work with his career whilst she’s chained to the stove.</span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">So you have objectification, of underwear, nudity and then a threatening victimisation of nudity all in one film… although still art. So, I question once again, why do we need the polarizing fractions to define art vs trash, objectification is objectification in any way right? </span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">It’s almost like asking if a <i>Serbian Film</i>would have been considered highbrow if Michael Haneke directed it. Exactly as it is, no changes to anything, but pretend that Haneke had directed it… how would it have been received?</span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large; line-height: 32px;">A great exploration into how HighBrow/LowBrow works is to spend some time reading Parents guides on IMDB for an instance. You will pretty soon find that “highbrow” films will waste characters explaining that nudity “is not in a sexual way”, “non-sexual” and so on, even scenes warning of violence too. Whilst “lowbrow” films will have “woman seen in underwear”, “it’s insinuated two people had sex” etc etc… anything to throw dirt down the ladder of intellectualism to taint the smut of lowbrow perverse deeds. Watch Walkabout, observe the mating ritual scene and then tell me that this is nudity in a “non-sexual way”.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="line-height: 32px;">Yeah Right.</span><span style="line-height: 32px;"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: "times" , "times new roman" , serif; font-size: large; line-height: 32px;">Don’t judge. Enjoy and treat all film as equal is my recommendation. A story is a story no matter who tells it, the experience the same.</span></span></div>
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-66481746247909131522018-06-16T13:41:00.003+00:002018-06-16T13:42:40.379+00:00Cries and Whispers<div class="separator" style="clear: both; text-align: center;">
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<b>Viskningar och Rop</b></div>
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(Cries and Whispers)</div>
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Dir: Ingmar Bergman</div>
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1972, 91min</div>
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<span lang="EN-US">In just a few weeks it will be what would have been Ingmar Bergman’s one hundredth birthday, hence grand celebrations here in Sweden all this year, and for me a chance opportunity to rediscover a filmmaker I’ve not been too fond of until these past years. But growing into Bergmanmania, I found my own way of reading him, as I’ve been exploring the Bergman through the perspective of a horror fan and his film through horror/genre aesthetics. <o:p></o:p></span></div>
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<span lang="EN-US">Three sisters, Maria (Liv Ullman), Agnes (Ingrid Thulin) and Karin (Harriet Andersson), and maid Anna (Kari Sylwan) are gathered together as Karin faces death. As Karin goes through the throws of her last day in life from an unmentioned painful slow death, the sisters reminisce of life and their relationships.<o:p></o:p></span></div>
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<span lang="EN-US">Cries and Whispers is a tour de force of Bergman filmmaking. It’s a no-holds barred, ruthless spiral of death and emotions with some of Bergman’s most haunting and disturbing images.<o:p></o:p></span></div>
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<span lang="EN-US">The silence. That’s what strikes me with this film. The silence. At times there’s almost no ambience at all, to such an extent that it’s nauseating. The silence lies like a wet blanket upon your senses only to be yanked off as screams are hurled at your eyes and ears. The titles Cries and Whispers is perhaps the most fitting title ever to describe a movie, because that’s EXACTLY what this movie is; Cries and Whispers. <o:p></o:p></span></div>
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<span lang="EN-US">This is also the movie where genital mutilation is featured (Again a deliberate provocation by Bergman to shock and disgust his audiences). One of the sisters, Agnes (Thulin) so shut off from her emotions shoves a shard of glass up her vagina and then invites her husband into bed only to feel something and to provoke a reaction from her husband. In a way it’s a first resistance against the patriarchy that oppresses the women of this movie, because it’s only after she’s stripped of all the bondage of clothing that she’s free to rebell and break away form the “tangle of lies” that she repetitively speaks. The tangle of lies being confirming to the patriarchal structure, something that Agnes breaks out of along the way. As the film reaches its end, it’s still only Agnes who’s had a change in character. She’s gone from the passive cold stern older sister to the active one who wants to stay in a loving bond with Maria.<o:p></o:p></span></div>
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<span lang="EN-US">Bergman’s obsession with ghosts, a clear Strindbergian influence of his, the ghosts and otherworldly presence is present again. (He also points out in one of his notebooks that the character Agnes is a homage to Strindberg’s A Dream Play and it’s lead character Agnes), Even though Karin is dead, and this is no spoiler, it’s inevitable, she strangely gives an impression of being alive as she cries and asks to talk to each of her sisters, and if you want to take it even further, she actually tries to bite Maria, which we all know is the characteristics of a ghoul, to feed of human flesh after death. Which also leads me to point out that the fade to black between scenes, is fade to red, symbolic for both life and death.<o:p></o:p></span></div>
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<span lang="EN-US">Noteworthy, the sisters read to Karin from Dickens The Pickwick Papers. A chapter where Pickwick meets his companion Sam Weller. Now Sam and Pickwick have at times been compared to Sancho Panza and Don Quixote, which can be read as a metaphor for mental illness, and in an intertextual way, this links into Harriet Andersson’s character Karin in Såsom I en spegel (Through a Glass Darkly) 1961 both by name and by the symptom of suffering from persistent disillusions. <o:p></o:p></span></div>
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<span lang="EN-US">I also think that there’s a vague hint of lesbianism in here. The way Anna tends to Karin and the imagery that it ends up in a stylistic image that leads the thoughts to</span><span lang="EN-US" style="background-color: white; color: #333333;">17th-century </span>Madonna imagery.</div>
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With all that said… try to comprehend that this movie was co-financed by Roger Corman and distributed at the drive in’s through his New World releasing… WHAT ON EARTH did those poor drive in patrons make of this piece of dark, depressing Scandinavian art cinema? </div>
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<br />CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-80838665038293259802018-06-12T09:43:00.002+00:002018-06-12T09:47:05.538+00:00. . . A N T I C H R I S T . . . <div style="border: 0px; caret-color: rgb(153, 170, 187); font-family: TiemposTextWeb-Regular, Georgia, serif; font-size: 16px; line-height: inherit; margin-bottom: 0.625em; outline: 0px; padding: 0px; vertical-align: baseline;">
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. . . C H A O S R E I G N S . . . </div>
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. . . A L L W O M E N A R E B A D . . .</div>
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Lars Von T said in interviews that with this horror film, just like his attempt at making a musical, Dancer in the Dark, he failed. And he couldn't be more right. He failed miserably. As far as horror films go this is simply a high-brow wank of genre conventions jumbled up in a vague juxtapositioning as Von T gives Tarkovsky his best hand job.</div>
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Bear with me this is most likely going to get rantat, but it will conclude with thoughts on Antichrist and the Gospel of Lars von T.</div>
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T R U E !</div>
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The reason it's a high-brow wank is because that's where it was pigeonholed when elitist critics “once again” decided what was horror and not. Honest to god true story, the largest public service TV channel in Sweden ordered an eight-part series that was to focus on horror ten years ago based SINGULARLY on the basis that St. Lars Von T was making a horror film. So scared shitless that they were gonna miss out the cultural elite of SVT commissioned this series and when they had no fucking clue where to start they lifted some rocks where they found someone that pointed down some deeper rabbit hole that led them further past the stink of fetid death right to me. From the first fucking meeting, I was treat as a piece of shit… but a piece of shit they needed to get the job done. Naturally all the sweet stuff I was catfished with like “yeah sure you can do the Japanese episode and sure you get to go to japan” was nothing but sales pitch and all I got was shafted, milked of my insights and then kicked to the curb as the trash I obviously was to them. (I wrote the best fucking script ever to the Japan show, containing interviews with Koji Suzuki, Hideshi Hino and Jan Fukuda, if you know your genre stuff you’ll be able to recon out the three segments that those interviews gave.</div>
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But horror was a losers game except for a few (the common big five according to film history canon) and now Meister Lars Von T was getting his depression series horror film out to the masses and they had to get onboard to show that they knew the genre. Enough to make an eight-episode exploration of horror.</div>
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But the people working with it didn’t’ really want too, seen as horror was a silly thing, and they were all form the intellectual department…</div>
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…an example, one “in charge person” skated into the office in his tight-tight bike shorts on rollerblades, swirled a couple of times around the office desks blurting out “I watched horror film last night and it was the worst movie I’ve ever seen. I can’t understand why people watch garbage like that. You people are such immature nerds!” In most cases I’d take that as a compliment being called an immature nerd, but blurted out by a sweaty bloke in a bike helmet wearing spandex shorts on fucking rollerblades… that’s just pushing it.</div>
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Anyways as to not detour too far off course, I got intellectually milked, the show got the episodes done, they got the backslaps, I went back to selling my soul to mindless commercial tv and a smashing depression feeling mentally dehydrated, used and abused… waiting or the next punter to venture into my well of misery dangling a piece of lucrative “we need you” bait in front of me.</div>
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But they never got the Lars Von T interview that the whole fucking show was supposed to wrap around and lead up to! He declined and rose in my awe even more.</div>
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T H E G O S P E L O F S A I N T L A R S V O N T . . .</div>
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Where Antichrist may not be much of a horror film, it must be watched as a piece psychological drama, where I feel that one can place all of Von T’s films. Because as a psychological drama about two people falling deeper and deeper into the abyss of psychosis, Antichrist is fucking amazing, profoundly dark and absolutely relentless.</div>
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YES, it’s a nasty piece of film and it is so because this is his depression movie, the one that he wrote after learning that his father wasn’t his real father as the old man lay on his deathbed (I think it was, could have been his mother though) It threw him into a depression and he questioned his whole existence. And above all he questioned what his mother had told him was truth, and hence also her. Out of that depression and time spent in hospital due to same depression, he crafted what ended up being Antichrist.</div>
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Of course all women are bad. Nature is woman, and woman is bad, woman is selfish, and woman would sacrifice her own child for a perfect orgasm. That's Antichrist in a nutshell.</div>
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The Gospel of St Lars von Trier is that he can show you anything in the name of “art”, whilst I’m absolutely a hundred percent certain that he’s fully aware of the fact that everything he does the high-brow audiences will lap up and intellectualize upon whilst the sleaze-gore-pain-and-suffering horror genre fans can appreciate the story with it’s at times quite familiar themes, motifs and imagery. Like Bergman, Lars Von Trier is one of those few directors who can, and does, titillate high-brow and low-brow audiences at the same time. This skill is one that is tremendously advanced in filmmaking, you have to have the right amount of diamonds and shit, dirt and gold, art and trash. Bergman never really got out of the trash/exploitation groove. His first movies where marketed as part of the Swedish sin, and his final theatrical film StateSide was screened at the drive ins as part of Roger Cormans New Line Distribution. </div>
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It's the same with Von T. although he's deliberately flirting with the "low-brow" crowd with is use of alternative actors like Michael Elphick and Me-Me Lai in serial killer drama The Element of Crime 1984, Udo Kier in plots for drama that balanced between surreal horror and psychological drama with Epidemic and the breakthrough Europa, that also starred Ernst Hugo Järegård and Max Von Sydow (as the narrator, but still Max), the provocation of the story in Breaking the Waves, the sexual content and authentic fucking in Idioterna. It keeps on like that film after film, bringing in elements of the fantastic film history with the traditional art cinema mixed through Von T's provocative auteurism, Diamonds and Shit, Art and Trash... as the high-brow lap it up because it's art and the low-brow seek it out because it's got all those alternative elements that we love in them. Deconstruction of the human psyche, deterioration of mental health, sex, death, torture, creepy shit in the woods, genital mutilation, fucking, panic, fear, chaos reigns.</div>
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Lars Von Trier might just be the last living cinematic genius alive today. </div>
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E P I L O G U E</div>
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Yes, Lars Von T is still fucking laughing about how everyone gobbled up Dogme as he made films that looked like shit on a micro budget. He’s just unleashed a serial killer movie upon us, and at the end of the day, I might have been treat like shit during that job, but I also got to spend three days with H R Giger and make friends with John Ajvide Lindqvist, so in the words of Lars von T, one has to take the bad with the good.</div>
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/J.</div>
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-23639490889971252932018-05-27T16:12:00.002+00:002018-06-12T09:05:46.626+00:00It Stains the Sands Red<div class="separator" style="clear: both; text-align: center;">
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<b>It Stains the Sands Red</b></div>
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<span lang="EN-GB">Just revisited this one again, and I feel that I need to post some thoughts that I initially posted on Letterboxd about this one.</span></div>
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<span style="text-align: center;">Well, not really spoilers, but sort of if you have seen other films by the same director that I'm gonna talk about...</span></div>
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<span lang="EN-GB">I thought I had an idea of what I might be getting myself into as I started to watch this one, but to tell you the truth I was surprised to find a really good piece of apocalyptic storytelling here. A shot of freshness that brings back hope for a genre that’s overstayed it’s welcome and sunk into repeat mode making it stand out amongst zombie films.<o:p></o:p></span></div>
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<span lang="EN-GB"> </span><a href="https://1.bp.blogspot.com/-j1_h6636mpI/WwrXTq3giiI/AAAAAAAAOtY/9WpBZb6UZLA1ZpoCGCqSKhzBWe3Ua9JzwCLcBGAs/s1600/istsr0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="237" data-original-width="474" height="200" src="https://1.bp.blogspot.com/-j1_h6636mpI/WwrXTq3giiI/AAAAAAAAOtY/9WpBZb6UZLA1ZpoCGCqSKhzBWe3Ua9JzwCLcBGAs/s400/istsr0.jpg" width="400" /></a></div>
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<span lang="EN-GB">Although despite bringing a bunch of zombie flick tropes which kind of are required of the genre with it, It Stains the Sands Red also brings a bunch of interesting things to the zombie-apocalypse-table that I’m surprised nobody ever did previously. Big fucking kudos to the filmmakers for doing so, as some will be put completely off the movie when it get’s into menstrual bleeding and lack of tampon panic and that what follows. It’s a slice of life as a woman in the zombie apocalypse unlike anything that you've seen before.<o:p></o:p></span></div>
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<span lang="EN-GB">Basically the premise goes something like this, Molly (Brittany Allen), a Vegas stripper with an appetite for cocaine, finds herself stranded in the middle of the desert on her way to an airstrip that could be a possible escape from the budding apocalypse. Left with no other choice to but walk, she sets off right through the desert in direction of the airstrip... But a lone zombie targets her, and shuffles along right after her, through the sands.<o:p></o:p></span></div>
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<span lang="EN-GB"><a href="https://2.bp.blogspot.com/-isVmGjDlUn0/WwrXTt_6EvI/AAAAAAAAOtU/iNuLnhKOPpIvgfk25cBtdWTTwKL7ZF9yQCLcBGAs/s1600/it-stains-the-sands-red.jpg" imageanchor="1" style="font-family: -webkit-standard; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="546" data-original-width="1000" height="217" src="https://2.bp.blogspot.com/-isVmGjDlUn0/WwrXTt_6EvI/AAAAAAAAOtU/iNuLnhKOPpIvgfk25cBtdWTTwKL7ZF9yQCLcBGAs/s400/it-stains-the-sands-red.jpg" width="400" /></a><br />Don’t expect a gun-toting female lead in the vein of Resident Evil; this is the anti-thesis of Alice. Think of it as a The Battery meets Swiss Army Man meets The Road kind of thing.<o:p></o:p></span></div>
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<span lang="EN-GB">It’s a much more down to earth approach to classic zombie apocalyptic horror, you won’t get the classic bullet to head and squirty-squirty action. It get’s there, but it takes it’s time and trust me there are moments that will make you cringe and it’s not the menstruation thing. I realized I had my fingers stuck in my ears during the build up to one specific moment and with PlotDigger (that’s Meg and Ryan Nicholson) providing special effects, you know the red stuff is going to flow (no pun intended). But perhaps above all this this is all about making amends, changing one’s persona, becoming a better person. That’s basically the story here, but set in the apocalypse, with zombies - and it works like a charm. It’s amazing what a chunk of flashbacky-backstory and a bit of character development can do to elevate a movie from ok to brilliant.<o:p></o:p></span></div>
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<span lang="EN-GB">Background riff; I quite enjoyed Colin Minihan’s cheap but cheery, Grave Encounters flicks (written/directed with his brother Stuart Ortiz, who co-wrote this one too, as The Vucious Brothers), but I totally hated Extraterrestrial. If you’ve seen that one then lets just leave it at shit ending, waste of characters, totally wrong kind of way to deceive the audience. Not my cup of tea at all. I like investing my time in characters and getting to know them, getting into their head and finding what makes the tick. Well, I’d say that Minihan and Ortiz fucking nail it this time. There’s a splendid character arc, character development and I’m left with a big fucking grin on my face as I, despite the open-ish ending, know that things are all going to be alright because Molly has got her shit together and is up for anything. So take my money and sign me up for a sequel right now.<o:p></o:p></span></div>
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<span lang="EN-GB"> </span><a href="https://4.bp.blogspot.com/-bMD4fRXwaQw/WwrYGaaWjTI/AAAAAAAAOt8/L8p0QhMl73oHMwMsSJw-uNAgjke-C-NzgCLcBGAs/s1600/It-Stains-The-Sands-Red-2017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://4.bp.blogspot.com/-bMD4fRXwaQw/WwrYGaaWjTI/AAAAAAAAOt8/L8p0QhMl73oHMwMsSJw-uNAgjke-C-NzgCLcBGAs/s400/It-Stains-The-Sands-Red-2017.jpg" width="400" /></a></div>
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<span lang="EN-GB">I think this one just made my top ten of the year selection. Something about it just hit the right spot. I love horror that can make me laugh at its absurdity (without being knowingly comedic), be creepy, gross and also emotional. That’s when you get the real magic. Molly has a fantastic story arc and at the end of the movie I think I’m kinda in love with Molly and this flick.<o:p></o:p></span></div>
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<span lang="EN-GB">I have to admit it, this is a fine little indie gem that I'm sure I'm gonna revisit even more times along the way, because you can't ever beat solid storytelling, fun characters and zombie a go-go.<o:p></o:p></span></div>
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-11310892774934698092018-02-27T17:47:00.000+00:002018-02-27T18:02:57.483+00:00THE KIDNAPPING OF MARIO BAVA'S RABID DOGS.<div class="separator" style="clear: both; text-align: left;">
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<span style="text-align: justify;"><a href="https://2.bp.blogspot.com/-secY96OOjMY/WpWaRfXce_I/AAAAAAAAOtA/psP2q2QwpCUcF9HYlPgtTpu5SSVQXlZsQCLcBGAs/s1600/RabidDogs-image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="400" data-original-width="790" height="202" src="https://2.bp.blogspot.com/-secY96OOjMY/WpWaRfXce_I/AAAAAAAAOtA/psP2q2QwpCUcF9HYlPgtTpu5SSVQXlZsQCLcBGAs/s400/RabidDogs-image.jpg" width="400" /></a></span></div>
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<span style="text-align: justify;">I know that I've seen at least two different version of this film and to be brutally honest I’m
seriously</span></div>
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<span style="text-align: justify;">thinking that the first one is the superior cut, the one I watched at
the Cinematek tonight isn’t that one. (Although the Cinematek screening a good half dozen Bava films is something you never can complain about, this is about the several version of Rabid Dogs, not their selection.)</span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Mario Bava’s
magnificent chamber-piece thriller, that more or less all takes place inside a
moving automobile full of people kidnapped after a bunch of bank robbers need
to make a hasty escape. Sweaty, frustrated, dirty and grimey, it’s a
masterpiece of tension building drama as the movie torments its characters in
one way and another until the last moment twist that knocked me on my ass the
first time I saw it back in the nineties… In the cut that I feel to be the
better.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Believe it
or not, there’s a whopping FIVE different edits of this film, and the </span>story goes
like this.<br />
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I<span style="text-align: justify;">n 1973 Mario Bava looking to recoup his failing audiences shifted focus and
set his sights on the Poliziotteschi genre in his own special way. But being
super low budget the production hit trouble along the way. Amongst the tales
told, leading man Riccardo Cucciolla was a last-minute replacement when the
original leading man Al Lettieri kept turning up late and drunk to set. Running
out of funds during the short three-week shoot, cinematographer Emillio
Varriano was fired and Bava stepped in to shot the film to meet ends, and then
producer Roberto Loyola went bankrupt seeing the movie being shelved as his
company folded. BUT despite all that, Bava was basically wrapped. All that was
missing was some footage of helicopters searching for the suspects in their
getaway car, and a pre-credit sequence… I’ll get back to that in a moment.</span></div>
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<a href="https://1.bp.blogspot.com/-FdgqFQ5Sfwk/WpWXf1O6g4I/AAAAAAAAOsg/HSFavwv0kWQ2rBLZ0bef_BiXiADg-wRtQCLcBGAs/s1600/SemaforoROsso.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="532" data-original-width="709" height="300" src="https://1.bp.blogspot.com/-FdgqFQ5Sfwk/WpWXf1O6g4I/AAAAAAAAOsg/HSFavwv0kWQ2rBLZ0bef_BiXiADg-wRtQCLcBGAs/s400/SemaforoROsso.jpg" width="400" /></a></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Several
years later Peter Blumenstock of Luccertola Media upped funding for leading
lady Lea Lander’s company Spera Cinemtographica, and the first ever version was
assembled (with the help of editor Carlo Reali’s rough cut) under the name
Semaforo Rosso (Red Traffic Light) a version which had its initial screening at
the Milan film market in ’95, and later at the 14th BIFF in ’96. This version
had some video footage inserted to make up for the lost shots.<o:p></o:p></span></div>
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<a href="https://1.bp.blogspot.com/-cj3OTvZHb_Q/WpWWcVgMHZI/AAAAAAAAOsI/tHoMlnBOBVA-8ppOSnInkQdFMyE21IbLACLcBGAs/s1600/Luccertola_RABIDDOGS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="534" data-original-width="709" height="301" src="https://1.bp.blogspot.com/-cj3OTvZHb_Q/WpWWcVgMHZI/AAAAAAAAOsI/tHoMlnBOBVA-8ppOSnInkQdFMyE21IbLACLcBGAs/s400/Luccertola_RABIDDOGS.jpg" width="400" /></a></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">As a
strictly limited 2000 pcs release, Blumenstock’s Luccertola Media released the
film on DVD in 1998 without the video inserts of the Spera version but with an
added new opening that teases with a crying woman as the credits roll,
according to Bava’s notes on the film. (Supposedly Blumenstock’a at the time
girlfriend). This version also has the original ending compete, an original
ending that shows Cucciolla talking to Mrs Girotto, telling her that he has her
son, and that he want’s three billion lire if they ever are to see him again.
He hangs up and walks back to the car, opens the boot to reveal that the boy
now locked in the boot of the car as the credits start roll. Perfection.<o:p></o:p></span></div>
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<a href="https://1.bp.blogspot.com/-c-JAg0i9td0/WpWWdC7EKXI/AAAAAAAAOsQ/mLJvJ2LtkTwEk77I6mMTGYToPHYJyd2AQCLcBGAs/s1600/RABID%2BDOG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="397" data-original-width="709" height="223" src="https://1.bp.blogspot.com/-c-JAg0i9td0/WpWWdC7EKXI/AAAAAAAAOsQ/mLJvJ2LtkTwEk77I6mMTGYToPHYJyd2AQCLcBGAs/s400/RABID%2BDOG.jpg" width="400" /></a> </div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Then… <span style="mso-spacerun: yes;"> </span>Five damned versions later* and in something I’m
only guessing was to reclaim the rights to the project or something bullshity
like that, Lamberto Bava and son Roy Bava shoot new footage and have that
inserted into the film, rename it KIDNAPPED and that’s the version that
everyone seems to prefer… but not me. This version has new credits, new footage
– that certainly doesn’t match up the original footage it’s cut against – and </span> for some god only knows why reason, Bava/Leone
decided that the superbly swanky Cirpirani
score had to go and rescored the movie. I cannot understand that move at all,
because the phenomenally well-fitting brooding score that fits like hand in
glove to Rabid Dogs is gone and exchanged for a swanky piece of crap that’s honestly
an embarrassment for Cipriani as it sounds like a late Sunday night TV-movie
reject score. And don’t get me started on that god-awful song that crowns the defilement
of Mario Bava’s masterpiece.</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">They also redubbed
it whilst they were at it.<o:p></o:p></span></div>
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<a href="https://4.bp.blogspot.com/-POYMYn90008/WpWWbWpZqOI/AAAAAAAAOr8/11tG996WMBo2pc_EO8EGWwLM0OhKXb4IACLcBGAs/s1600/Kidnapped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="399" data-original-width="709" height="225" src="https://4.bp.blogspot.com/-POYMYn90008/WpWWbWpZqOI/AAAAAAAAOr8/11tG996WMBo2pc_EO8EGWwLM0OhKXb4IACLcBGAs/s400/Kidnapped.jpg" width="400" /></a></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Kidnapped
version has several cutaways to the 2001 version of Mrs Girotto talking on the
phone, asking about her kidnapped son. She has a couple of scenes of her shot, against
a police investigator, who does F-all but sit behind his desk for a quick cut
away, and later with Cucciolla when he calls in his demands during the final
scene. That’s also where the Kidnapped version ends. On a conventional shot of
her clasping her mouth in shock as the end credit roll. Its immensely annoying as
neither her clothes or furnishing in her house match the time period, the
footage painfully shows the time difference in 35mm in 1973 compared to 35mm in
2001. It Does Not Work! It takes from the movie and the whole surprise of the
shock ending is diminished when we don’t get the profound nihilism of Cucciolla
who despite all he’s been though has the we bairn shoved in the boot of his
car. In a disturbing way he comes off as the dark anti-hero of Rabid Dogs, something
that’s eradicated in the sad-mom ending of Kidnapped.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Look, IT
DOES NOT MATCH: (Click and see)</span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><a href="https://1.bp.blogspot.com/-rc4zYc8h1z0/WpWY4SRmXBI/AAAAAAAAOs0/04nEqd3odaEWZJ7QFM0qIVO0R8lTO_qoACLcBGAs/s1600/End_ings.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="399" data-original-width="1417" height="112" src="https://1.bp.blogspot.com/-rc4zYc8h1z0/WpWY4SRmXBI/AAAAAAAAOs0/04nEqd3odaEWZJ7QFM0qIVO0R8lTO_qoACLcBGAs/s400/End_ings.jpg" width="400" /></a></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p>classic grainy 35mm vs. new crisp 35mm. </o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Of course
taste is a matter of opinion, and everyone had the right to their own decision,
but this is my take and choice on the many version of Mario Bava’s posthumous Rabid
Dogs. Just for the sake on argument, the Luccertola version runs 1:36:38, the "arrow" Rabid Dogs version 1:31:55 and the Kidnapped version 1:31:35.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><a href="https://1.bp.blogspot.com/-OeVkrZBWqHk/WpWXg_Y2DdI/AAAAAAAAOsk/nYqonBpObrA2c1uc4sD3HPQLtM23UfSNQCLcBGAs/s1600/original%2Bending.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="646" data-original-width="868" height="297" src="https://1.bp.blogspot.com/-OeVkrZBWqHk/WpWXg_Y2DdI/AAAAAAAAOsk/nYqonBpObrA2c1uc4sD3HPQLtM23UfSNQCLcBGAs/s400/original%2Bending.jpg" width="400" /></a></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><i>- original ending</i></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span><a href="https://3.bp.blogspot.com/-D-0IPbi5iII/WpWWcxV2kNI/AAAAAAAAOsM/voIJqCN9wh0ysCiULztRnsCGKunQBTUsQCLcBGAs/s1600/NeWeNding.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="397" data-original-width="709" height="223" src="https://3.bp.blogspot.com/-D-0IPbi5iII/WpWWcxV2kNI/AAAAAAAAOsM/voIJqCN9wh0ysCiULztRnsCGKunQBTUsQCLcBGAs/s400/NeWeNding.jpg" width="400" /></a></div>
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<i>- new ending</i></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">*Yes, five versions, counting the Spera verison of ’95, the Luccertola version
of ’98, the German Astro release in 2001, Alberto Leone’s version and then the
Leone/Bava version edited by Mauro Bonnani in 2001, the version Bava edited in
the way he “felt” his father would have wanted it.</span></div>
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<o:p></o:p></span>
<br />
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-37139088084404756232018-02-16T18:30:00.002+00:002018-02-16T19:44:48.898+00:00In the Presence of a Clown<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
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<br />
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</div>
<a href="https://1.bp.blogspot.com/-5BbAV7r4Bks/Wocik5I6JUI/AAAAAAAAOrk/koPC4TqrZkAS-MqlJw5inrr6D-lyB1hEQCLcBGAs/s1600/MV5BMTExNmJhNjUtYTY3YS00OGMxLWJiZGQtYmI3ZDA5Njc2NTc3XkEyXkFqcGdeQXVyNjExODE1MDc%2540._V1_UY268_CR4%252C0%252C182%252C268_AL_.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" data-original-height="268" data-original-width="182" height="320" src="https://1.bp.blogspot.com/-5BbAV7r4Bks/Wocik5I6JUI/AAAAAAAAOrk/koPC4TqrZkAS-MqlJw5inrr6D-lyB1hEQCLcBGAs/s320/MV5BMTExNmJhNjUtYTY3YS00OGMxLWJiZGQtYmI3ZDA5Njc2NTc3XkEyXkFqcGdeQXVyNjExODE1MDc%2540._V1_UY268_CR4%252C0%252C182%252C268_AL_.jpg" width="216" /></a><span style="clear: left; display: inline; font-family: inherit; margin-bottom: 1em; margin-right: 1em; text-align: justify;"></span><b style="font-family: inherit; text-align: justify;"></b><br />
<b style="font-family: inherit; text-align: justify;"><b style="font-family: inherit;">Larmar och gör sig till</b></b><br />
<span style="font-family: inherit; text-align: justify;">(In the Presence of a Clown)</span><br />
<div style="border: 0px; line-height: inherit; margin-bottom: 0.625em; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="font-family: inherit;">Dir: Ingmar Bergman</span><br />
<span style="font-family: inherit;">1996, 119 min.</span></div>
<div style="border: 0px; line-height: inherit; margin-bottom: 0.625em; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="font-family: inherit;"><br /></span></div>
<div style="border: 0px; line-height: inherit; margin-bottom: 0.625em; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="font-family: inherit;">Remember that Stephen King book about a creepy clown and references to sinking and floating... and a couple of fart jokes for good reference? Well this is Bergman’s version of that. Well not really, but I did think about IT as I watched and also found a nod to HP Lovecraft too but oh yeah, King never fucked Death in the ass in his version did he?</span></div>
<div style="border: 0px; line-height: inherit; margin-bottom: 0.625em; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="font-family: inherit;">I’ve mentioned Bergman’s passion for screwing around with format and his meta use of media’s in his films, this is definitely no exception even though it’s a play shot for tv... a play shot for tv. A play shot for tv about the screening of a film. A play shot for tv about the screening of a film that becomes an impromptu performance. A play shot for tv about the screening of a film that becomes an impromptu performance that’s all about a musician. A play shot for tv about the screening of a film that becomes an impromptu performance about a musician and a literary character. A play shot for tv about the screening of a film that becomes an impromptu performance about a musician and a literary character watched by characters from Nattvardsgästerna. A play shot for tv about the screening of a film that becomes an impromptu performance about a musician and a literary character watched by characters from Nattvardsgästerna and his own mother Karin Bergman...</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<a href="https://3.bp.blogspot.com/-pOk93qtKqRU/WociSOoNiWI/AAAAAAAAOrY/FfLjtKNB0MkbAIOI-FnM2TlyAC9OUXzAACLcBGAs/s1600/larmar-och-gor-sig-till-1280-jpg.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-family: inherit;"><img border="0" data-original-height="558" data-original-width="992" height="225" src="https://3.bp.blogspot.com/-pOk93qtKqRU/WociSOoNiWI/AAAAAAAAOrY/FfLjtKNB0MkbAIOI-FnM2TlyAC9OUXzAACLcBGAs/s400/larmar-och-gor-sig-till-1280-jpg.jpeg" width="400" /></span></a></div>
<div style="border: 0px; line-height: inherit; margin-bottom: 0.625em; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="font-family: inherit;">Still keeping up? As you see it’s Bergman’s inception, a meta referent to practically all media’s as hand. And it’s spectacular one too as it tells its tale of Engineer Åkerblom (Börje Ahlstedt) and his dream of inventing and touring with the worlds first ever synchronized talking cinematograph. Along follow his fiancé Pauline Thibault (Marie Richardson) and his [asylum] friend Oswald Vogler (Erland Josephson).</span></div>
<div style="border: 0px; line-height: inherit; margin-bottom: 0.625em; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="font-family: inherit;">As almost always it’s self referent too, and Bergman can be seen in the hallway of the mental institute. There’s a couple of detailed descriptions of grotesqueries and the metaphoric clown, or death I’d say, lurking in the shadows, teasingly summoned by Schubert’s "Der Leiermann".</span></div>
<div class="separator" style="clear: both; text-align: justify;">
<a href="https://1.bp.blogspot.com/-BRDxj7zE-Eg/WociSCirpyI/AAAAAAAAOrc/TnMBit1mYwogLYwPbJv3BZSpI_46NJsDwCLcBGAs/s1600/larmarochgorsigtill4-988x556.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-family: inherit;"><img border="0" data-original-height="556" data-original-width="988" height="225" src="https://1.bp.blogspot.com/-BRDxj7zE-Eg/WociSCirpyI/AAAAAAAAOrc/TnMBit1mYwogLYwPbJv3BZSpI_46NJsDwCLcBGAs/s400/larmarochgorsigtill4-988x556.jpg" width="400" /></span></a></div>
<div style="border: 0px; line-height: inherit; margin-bottom: 0.625em; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="font-family: inherit;">Then as the film moves into its second half and one realizes what a hell of a cast he has here! A cast of almost all the big names of the Royal Dramaic Theatre... and they’re all here for a play shot for tv about the screening of a film that becomes an impromptu performance about a musician and a literary character watched by characters from Nattvardsgästerna and his own mother Karin Bergman.</span></div>
<div style="border: 0px; line-height: inherit; margin-bottom: 0.625em; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">
<span style="font-family: inherit;">If you’re lucky to be living in Schwedenland, well then you can check this out and the short “making of” on Svt’s open archive. Easily worth the three hours watch.</span></div>
CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-59964334943603153112018-02-13T06:15:00.002+00:002018-02-13T06:15:23.599+00:00THE HUMAN CENTIPODYes, I still co-host and produce the genre podcast THE HUMAN CENTIPOD<br />
<br />
Together with the legendary Fred, we talk about stuff, genrefare and the alternative history of film, and I guarantee that for each episode, you'll have learned something that you didn't know when you hit play.<br />
<br />
There's almost thirty episodes in the archive.<br />
<br />
We're on <a href="https://itunes.apple.com/se/podcast/the-human-centipod/id723767851?mt=2" target="_blank">iTunes</a>.<br />
And <a href="https://soundcloud.com/thehumancentipod" target="_blank">SoundCloud</a><br />
<br />
And we've got a new show coming out tonight.<br />
<br />
Please join us if you'd like.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-_rDeE8R9VvY/WoKB2d11dII/AAAAAAAAOrI/cAywBRctJmguJPeDhk9Nk_ZqiyCEbxd0gCLcBGAs/s1600/Puff-WIH_new.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="355" data-original-width="355" height="320" src="https://4.bp.blogspot.com/-_rDeE8R9VvY/WoKB2d11dII/AAAAAAAAOrI/cAywBRctJmguJPeDhk9Nk_ZqiyCEbxd0gCLcBGAs/s320/Puff-WIH_new.jpg" width="320" /></a></div>
<br />CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-90595957689175179152018-02-12T16:57:00.003+00:002018-02-12T16:58:30.299+00:00Shame<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-lxnjHQWfvYk/WoHHD9mzQ_I/AAAAAAAAOqk/jVgGgpT-79AhJpWRSmqPBl4PDf6wjBY-ACLcBGAs/s1600/p5784_p_v8_aa.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="960" height="320" src="https://4.bp.blogspot.com/-lxnjHQWfvYk/WoHHD9mzQ_I/AAAAAAAAOqk/jVgGgpT-79AhJpWRSmqPBl4PDf6wjBY-ACLcBGAs/s320/p5784_p_v8_aa.jpg" width="212" /></a></div>
<b style="text-align: justify;">Skammen</b><br />
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">(Shame)</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Dir: Ingmar Bergman, </span><br />
<span lang="EN-US" style="mso-ansi-language: EN-US;">1968, 103min</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Growing up
in the eighties as part of the Douglas Copeland coined term, Generation X, you
know that he hit something right on the head when he wrote that passage describing
a generation of kids fearing each sudden bright burst of light and every
shrilling siren drill as The End, as they instinctively died with the fearful
knowledge that it was the sign of the Cold War Atomic Bomb apocalypse galloping
in. That’s a difficult fear to explain to generations further on down the line
where we find a cynic generation of kids raised on screaming YouTube superstars,
revenge porn on Instagram and live suicide, streaming on Facebook …<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">But it certainly
seems like we’re back there again knocking on the door of the apocalypse, and there’s
an obvious reason that stuff that I guess we could best label “anti-nostalgia horror”,
(because there’s no warm feelings about them at all), are popping up on the
radar again. Specifically, trauma inducing television fare that we all saw,
because every bloody country lived in the same fear and screened these damned
things to keep us scared shitless. Suff like Nicholas Meyers 1983 TV movie The
Day After followed by 1984 BBC television drama Threads (just released on
Bluray by Severin films), one of the most harrowing and realistic UK TV movies
to ever portray life after the big bomb. And I remember that bastard thing and
there was another one that was in serial format which saw the few survivors
roaming the moors in images that looked like the places I grew up roaming… Traumatizing
is the word, that terrifying sensation when you can emotionally relate to the
horror on screen, and it’s not make-believe monsters, but a scenario that could
become real at any time!<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">With all
that set up I’d like to point your attention at the movie in focus here today. Ingmar
Bergman’s Shame, (Skammen) from 1968, his final black and white movie (The Rite
was for TV). Now this idea of mine of watching Bergman as horror might come off
as far-fetched, but it certainly isn’t. I’ve been pondering this for so many
years that when I watch these films I see it clear as day right in front of me
on the screen.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">I say that
Bergman IS horror, after all the definition of Horror as described by the
Cambridge English Dictionary is <i>“an extremely strong feeling of fear and shock,
or the frightening and shocking character of something”</i>, of which you’ll find
elements of in almost of his work.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span><a href="https://3.bp.blogspot.com/-5UFjMU0zZuQ/WoHHEwiZS_I/AAAAAAAAOqo/zYcuovdHJIYwNLUVrCnqT4f4dxK0fy6AgCLcBGAs/s1600/skammen_11_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="445" data-original-width="585" height="303" src="https://3.bp.blogspot.com/-5UFjMU0zZuQ/WoHHEwiZS_I/AAAAAAAAOqo/zYcuovdHJIYwNLUVrCnqT4f4dxK0fy6AgCLcBGAs/s400/skammen_11_0.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">The Hour of
the Wolf was a no-brainer, it’s visuals of horror shock and fever dream images
are undoubtedly fear inducing material, but let’s get down to real horror.
Horror so real that you can feel it fucking punching you from the dark shadows
of the screen, which is how I experienced The Shame. The pending doom of
annihilation.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">The Shame
tells the tale of a couple, Jan and Eva Rosenberg (Sydow and Ullman), who just
like Johan and Alma in The Hour of the Wolf have isolated themselves on an
island. Or so we’re led to believe. They lead their smalltime life of
self-sufficiency with small gardens and chickens. They are in the midst of life
and like most of Bergman’s couples have indifferences in the relationship that
surface and cause conflict between the two. But the real trouble starts when
the peace and quiet is shattered by an invasion. The war has been closing in on
the small island. Their friends are drafted, to fight an unwinnable war. And
then finally one night it hits an airstrike, complete with paratroopers who get
stuck in the trees.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><o:p> </o:p></span><a href="https://3.bp.blogspot.com/-OZOPAo7SksI/WoHHE92YYeI/AAAAAAAAOqs/xOF2M0r5sl4J4nJcHx4cwINATgu4YDd6wCLcBGAs/s1600/skammen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="310" data-original-width="470" height="263" src="https://3.bp.blogspot.com/-OZOPAo7SksI/WoHHE92YYeI/AAAAAAAAOqs/xOF2M0r5sl4J4nJcHx4cwINATgu4YDd6wCLcBGAs/s400/skammen.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Horror
stomps in in the shape of the invasion, death (animals lay dead in their
pasture), destruction and the enemy army, who harass the couple fording them to
make statements (that later will be faked to pro-invader propaganda). The
leader of the invading/opposing army is former town mayor Colonel Jacobi (Gunnar
Björnstrand) who helps them off the hook with the unspoken but obvious favor of
being intimate with Eva something he continues misusing after the occupation. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
</div>
<div style="text-align: justify;">
Another
area that one should really look into when it comes to Bergman is the real of
Eros and Thanatos as Shame really wanders the fine line between life and death.
The first scene is of nudity, and the final scene is of death. It’s also in the
relationship between Eva and Jan and the way they discuss a possible child or
not. Life and death. And there’s Jaccobi who clearly feeds off the sexual occupation
of Eva, the conquest of his power, but in the end, it’s the same sex, his abuse
of power versus the frustration and hate that the pendulum movement have created
that sees him defeated.</div>
<span lang="EN-US" style="mso-ansi-language: EN-US;"></span><br />
<div style="text-align: justify;">
<span lang="EN-US" style="mso-ansi-language: EN-US;"><a href="https://2.bp.blogspot.com/-nX8lpcs8lkg/WoHHBIDJqXI/AAAAAAAAOqg/kas8cb4P5C44d7BO_AoEL5oqp6KBrhHmACLcBGAs/s1600/ba24dbbb9b9751e7ecc07b3ef8df9f4c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="768" data-original-width="1018" height="301" src="https://2.bp.blogspot.com/-nX8lpcs8lkg/WoHHBIDJqXI/AAAAAAAAOqg/kas8cb4P5C44d7BO_AoEL5oqp6KBrhHmACLcBGAs/s400/ba24dbbb9b9751e7ecc07b3ef8df9f4c.jpg" width="400" /></a></span></div>
<span lang="EN-US" style="mso-ansi-language: EN-US;">
<div style="text-align: justify;">
But perhaps the most disturbing thing with Shame is the emotional recognition
of the powerlessness that Jan and Eva end up in, and the understanding of the
terrible acts they do, are acts primarily done to survive. And the price is a
high one to pay at the atrocious and terribly bleak finale. A bleakness that is
horrifically close to the reality of today as Jan and Eva push their boat over
the corpses of drowned misfortunate refugees in the cold waters of the sea they
are escaping over. This movie is unlike something like Hour of the Wolf with it’s
horror fantastic, a harrowing piece of horror realism, and that’s why it’s more
disturbing than most of Bergman’s straight forays into horror themed film, as
horror in reality will always be more terrifying than fantastic horror which we
primarily use for escapism.</div>
<o:p></o:p></span><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-91272346965707758602018-02-06T10:47:00.001+00:002018-02-07T08:47:13.204+00:00The Hour of the Wolf<div class="separator" style="clear: both; text-align: justify;">
<a href="https://2.bp.blogspot.com/-aEkM_Yp0_ok/WnmHDh2Qv8I/AAAAAAAAOqA/Xf-tFnBgivAxHxf9MfJXHdsACMVTeO6ZwCLcBGAs/s1600/ABA_2185.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="880" data-original-width="636" height="320" src="https://2.bp.blogspot.com/-aEkM_Yp0_ok/WnmHDh2Qv8I/AAAAAAAAOqA/Xf-tFnBgivAxHxf9MfJXHdsACMVTeO6ZwCLcBGAs/s320/ABA_2185.jpg" width="231" /></a><b>Vargtimmen</b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">(The Hour of the Wolf)</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Dir: Ingmar Bergman, 1968, 90min.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The first
time I watched Vargtimmen, or Hour of the Wolf, it was as if lightning struck. That’s
where the seed to me thinking of Bergman as horror was born. Yes, obviously
because it’s considered his horror film, but also because he mastered the emotions,
atmosphere and visuals of that genre so elegantly. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This is my
third re-watch of Vargtimmen, and with the fresh read of the short story (which
was part of the course I’m on), the movie doesn’t gain any extra points. It
builds brilliantly and it has that fanatic crescendo ending with the faux necrophilia
and fuckery with the human psyche.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span><a href="https://2.bp.blogspot.com/-tW3B2ua_fio/WnmHLZFuisI/AAAAAAAAOqI/xHNEHkMrakUxzqW1vZfwQ0RFNn8D8TeJgCLcBGAs/s1600/images.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="177" data-original-width="236" height="300" src="https://2.bp.blogspot.com/-tW3B2ua_fio/WnmHLZFuisI/AAAAAAAAOqI/xHNEHkMrakUxzqW1vZfwQ0RFNn8D8TeJgCLcBGAs/s400/images.jpeg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Johan (Max
Von Sydow), an artist and his pregnant wife Alma (Liv Ullman) spend the summer
on a small remote island. Soon the idea of an idyllic summer becomes something
completely different as Johan starts acting strange – that Bergmaninan
theme of psychosis. The first half of the piece is more or less about
establishing characters, the second a nightmarish fever-dream that could
challenge many Gothic horrors when it comes to creepy visuals and themes.
Seriously. It does. I watched Black Sunday just a few nights ago, and at times
the images and atmos are very similar.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I'm not
going to get into any form of analysis, I'm quite sure viewers will all find
different things and meanings in this film but I will mention GUILT! Bergman
uses guilt like a magician in Hour of the Wolf, because like I said, this is
horror of the human psyche, Johan has a lot of things in his life that he feels
guilty for. Dark things that are tormenting him profoundly. Tormenting him
to such an extent that he looses his mind and goes bat shit bonkers. Hence the
reason for Bergman finally, and I mean FINALLY showing us his visions of insanity.
Unlike the films where we’ve head about the void, the spider-god and other
terrors that torment his characters, The Hour of the Wolf takes us there… because
he’s set up the rules for this specific film. <span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">"The hour between night and dawn. The hour when most people die,
when sleep is deepest, when nightmares are most real. It is the hour when
the sleepless are haunted by their deepest fears, when ghosts and demons are
most powerful, the hour of the wolf is also the hour when most children are
born."</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span><a href="https://2.bp.blogspot.com/-xR4s8zpBjtY/WnmHKXJF9UI/AAAAAAAAOqE/suH0dy2044wIM3-J9RPytR2he7EMfcT2wCLcBGAs/s1600/Unknown.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="195" data-original-width="259" height="301" src="https://2.bp.blogspot.com/-xR4s8zpBjtY/WnmHKXJF9UI/AAAAAAAAOqE/suH0dy2044wIM3-J9RPytR2he7EMfcT2wCLcBGAs/s400/Unknown.jpeg" width="400" /></a></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">There's a
scene early on where Johan shows his secret sketches to Alma. We never see them
but the way Johan describes the terrifying beings he's sketched, it's clear
that he's been observing something terrible. It’s a classic moment of tell don’t
show, the best way to fill the viewers mind with images way better than
anything a special effects studio could come up with. Perhaps it doesn’t really
pay off in the film, but does oh so mindboggling in the novel. Bergman would
use this kind of approach in several other works, amongst them Persona when
Alma (Bibi Andersson) tells Elisabeth (Liv Ullman) of shocking sexual adventures
she’s had…<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">But what differs
the two is that the novel is really a damned straight up horror story complete
with equivoque descriptions and Lovecraftian “vague enough to put images in
your head descriptions” of monsters and the deadly void. (Seriously I’d highly recommend
reading the short, it’s only a few pages and would take you like half an hour
or summat.)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The last
half of the film is horror and boy are horror themes used. Murder, ghosts and
even a flirt with necrophilia – as Ingrid Thulin lies naked upon a table top.
Bergman pulls the old "based on true events" trick as this one
starts, making us believe that the story is of the night when Johan Borg
suddenly went missing one night as noted in his diaries, and his wife Alma's
retelling of the events to Bergman. It’s basically the same way Texas
Chainsaw opens…</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span><a href="https://2.bp.blogspot.com/-byNeXbWrQf4/WnmHSLp_Z-I/AAAAAAAAOqM/XkFBkK2Pe3wNLM3ZTml_BUQwtTsohRMtgCLcBGAs/s1600/vargtimmen2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="384" data-original-width="512" height="300" src="https://2.bp.blogspot.com/-byNeXbWrQf4/WnmHSLp_Z-I/AAAAAAAAOqM/XkFBkK2Pe3wNLM3ZTml_BUQwtTsohRMtgCLcBGAs/s400/vargtimmen2.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">A couple of
meta references are here, there’s more of them than you’d expect in someone
like Bergman’s work) and I’m starting to spot them frequently In his stuff.
First off during the opening credits, carpentry and set-building can be heard.
All of this ends when Bergman is heard shouting, Silence! Action! And the movie
starts. Secondly the music from The Magic Flute. Music that was of deep
importance to Bergman. During the night at Baron Von Merken's (Erland
Josephson) castle they watch a rendition of Mozart's The Magic Flute. A few
years later Bergman would direct his award winning and academy award nominated
version. Thirdly, Bach's Partita, which he uses in The Hour of the Wolf and
also used in Shame (Skammen) and The Passion of Anna (En Passion) the two films
that followed Hour of the Wolf. All three films are commonly referred to as the
Angst trilogy. One of the subtler ones is the doodling on Johan's diary, it's a
chessboard. A referent to The Seventh Seal (Det Sjunde Inseglet). <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Hour of the
Wolf, weird, dark and definitely one of Bergman's movies that gets the closest
to the horror genre. A definitive recommendation if you like your horror
suggestive, surreal and downbeat.<o:p></o:p></span></div>
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<br /></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-6682247500889777952018-02-05T18:51:00.000+00:002018-02-05T18:51:32.117+00:00To Joy<!--[if gte mso 9]><xml>
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<!--StartFragment-->
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-6PSVQR09Oao/WninW1SsRFI/AAAAAAAAOpo/icjlQi02dm8YVMOQireXjxqIwZczGnjYwCLcBGAs/s1600/Till-Gladje.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="950" data-original-width="686" height="320" src="https://4.bp.blogspot.com/-6PSVQR09Oao/WninW1SsRFI/AAAAAAAAOpo/icjlQi02dm8YVMOQireXjxqIwZczGnjYwCLcBGAs/s320/Till-Gladje.jpg" width="231" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB"><b>Till Glädje</b></span></div>
<div class="MsoNormal">
<span lang="EN-GB">(To Joy)</span></div>
<div class="MsoNormal">
Dir: Ingmar Bergman, 1950, 98min</div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB">I’ve
pointed to Bergman as horror, and I still stand by that, but you can also watch
his films as profound black comedies too. Comedies with a pulsating vein of
irony and cynicism fueled by that infamous Bergman darkness. Such is the case
with To Joy, his 1950 melodrama about Stig and Marta, what most likely would
have been a tale of struggle and ordeal destined to land in happiness and “To
Joy”... but not on Bergman’s watch.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The young
couple both play in the Helsingborg symphonic orchestra. They quickly fall for
each other, get married and have kids. But Stig’s drive to become a famous
soloist and his repulsive narcissism drive a wedge into the heart of their
relationship bringing a new set of hurdles for their life to cope with. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"> </span><a href="https://3.bp.blogspot.com/-9N00YgRTiT0/WninVx0qq7I/AAAAAAAAOpk/hozzYqNzvO0ZvQINFutjpq4WHcoE4Hd6gCLcBGAs/s1600/c68ec2f7eb79aaac3a2d9eb5539f8e48--ingmar-bergman-film-quotes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="411" data-original-width="540" height="303" src="https://3.bp.blogspot.com/-9N00YgRTiT0/WninVx0qq7I/AAAAAAAAOpk/hozzYqNzvO0ZvQINFutjpq4WHcoE4Hd6gCLcBGAs/s400/c68ec2f7eb79aaac3a2d9eb5539f8e48--ingmar-bergman-film-quotes.jpg" width="400" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB">Despite the
obvious classical piece To Joy (Beethoven) that bookends the movie if day that
this is Bergman being a devious mischief maker in his excellence. There’s
nothing joyful about this movie at all. Quite the opposite. It’s filled with
sadness, depression, frustration and death. We start off with a key death, only
to track backwards as the tale it told to us. A death gives Stig his initial
place on true orchestra and then later his shot at being a soloist star. But
life has nothing good install for one who doesn’t open their eyes. Stig’s
malcontent is his own soul tearing spirit and it will cost him
everything. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">In a lack
of better words, there’s a pre-Kundera-ish darkness thing going on here and
Bergman in his unrelenting God position (over his characters) smashes down hard
in the very instance that light slips into the piece, the very moment Stig is
content, at the very moment that should climax the build to a happy end we were
hoping for... but as already know from the first five minutes of the film,
that’s not going to happen.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"> </span><a href="https://2.bp.blogspot.com/-MmjvC9ZSWr0/WninUGThwGI/AAAAAAAAOpg/qz6xlX4pAZomGUOeIZ8nU0OnBC3AnJ4-wCLcBGAs/s1600/d0f75d0ade60034fbfcc530723f04596--ingmar-bergman-.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="177" data-original-width="236" height="300" src="https://2.bp.blogspot.com/-MmjvC9ZSWr0/WninUGThwGI/AAAAAAAAOpg/qz6xlX4pAZomGUOeIZ8nU0OnBC3AnJ4-wCLcBGAs/s400/d0f75d0ade60034fbfcc530723f04596--ingmar-bergman-.jpg" width="400" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB">Stig and
Marta act something like a prototype for the married couple in years to come in
Scenes from a Marriage but in a completely different context, I’d single out
Nelly (Margot Carlsson) as a succubus. Watch the way she moves in comparison to
everyone else. She flows in, sneaks in the corners of rooms, hiding in the
shadows, slipping from victim to victim, ditching them when she’s drained
them dry.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment-->CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-4775387066947977832018-02-03T20:30:00.003+00:002021-07-02T11:07:25.380+00:00THE LAND ROVER OF DEATH (Busting decade old rumors - again!)<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-FMhUIihm_L8/WnYIIufPTSI/AAAAAAAAOos/46PDdGCDB8orTnaqvDNnJTFiRe_aBaiBQCLcBGAs/s1600/27786567_10156378562874416_2078128240_o.jpg" style="margin-left: 1em; margin-right: 1em; text-align: justify;"><span style="color: black;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://4.bp.blogspot.com/-FMhUIihm_L8/WnYIIufPTSI/AAAAAAAAOos/46PDdGCDB8orTnaqvDNnJTFiRe_aBaiBQCLcBGAs/s400/27786567_10156378562874416_2078128240_o.jpg" width="400" /></span></a></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
1979 Meistro Lucio Fulci travels to the Caribbean to shot parts of what will become the epic <i>Zombie 2</i>. Scenes of the cast (Ian McCulloch, Tisa Farrow, Richard Johnsson, Al Cliver and Auretta Gay) land roving around the island<span style="font-family: inherit;"> in a </span><span itemprop="alternativeHeadline" style="border: 0px; font-family: inherit; line-height: 1rem; margin: 0px; outline: 0px; padding: 0px;">1979 Series III 109 Land Rover Station Wagon</span><span itemprop="alternativeHeadline" style="border: 0px; line-height: 1rem; margin: 0px; outline: 0px; padding: 0px;"><span style="font-family: inherit;"> are taken along with the last the climactic </span><span>exteriors</span><span><span style="font-family: inherit;"> of the gang running around both indoors and outdoors</span></span></span><span> before burning the make shift church/</span><span>hospital to the ground.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But the following year someone sneaks back and does it all again, and not even with an entirely new cast. Ian McCulloch and Dakar both return to the scene of the crime for more undead fun both in the caribbean and back in the studios in Italy. The culprit, or perhaps genius here, isn't director Marino Girolami, but producer Fabrizio De Angelis who realizes that the zombie craze isn't quite over yet. Mixing part cannibal flick and part zombie flick he quickly reuses parts of the sets and locations of Fulci's <i>Zombie 2</i> for his new flick <i>Zombie Holocaust</i>. And why the hell not, after all he's the producer of both movies, and a bloody good bunch of the stable of trash we refer to as Italian genre classics.</div>
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So back to modern day and the tenacious stories that where ok twenty-five years ago when we only knew shit our mates told us, print info dudes wrote in fanzines and the few books that gave a damn about cheap genre fare. And this time it's the one where people keep repeating that <i>Zombie Holocaust </i>uses a load of footage from Fulci's <i>Zombie 2</i>. Really people, it's not much harder that just watching the damned movies instead of repeating old made up shite nobody actually has confirmed but just said at one point in time to make themselves seem in the know and whoops, make believe once again becomes fact!</div>
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But we do know for a fact that <i>Zombie</i> and <i>Zombie Holocaust</i> where shot on the same location and yes, there are a lot of similarities in the a lot of the scenes of the final act. But there's no stealing of footage... You should recognize the flappy doors where in <i>Zombie</i>, zombies shuffle in (before meeting the blast of Al Cliver's shotgun) and in <i>Zombie Holocaust</i> you'll recall how the Cannibals pop in, and out of those windows. And there's a reason they both look the same and I'd say it's a safe bet that those interiors are all shot back in Italy. In the Elios Studios in Rome to be precise. </div>
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<a href="https://1.bp.blogspot.com/-KztwV5YhB0w/WnYIJ-8PHUI/AAAAAAAAOo0/PKKeiSS2zf45s0HEPpUZuQI2CNc8dVybACLcBGAs/s1600/WINDOW_ZOMBIEFLESH.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: black;"><img border="0" data-original-height="439" data-original-width="709" height="247" src="https://1.bp.blogspot.com/-KztwV5YhB0w/WnYIJ-8PHUI/AAAAAAAAOo0/PKKeiSS2zf45s0HEPpUZuQI2CNc8dVybACLcBGAs/s400/WINDOW_ZOMBIEFLESH.jpg" width="400" /></span></a></div>
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Flappy window in <i>Zombie 2</i>.</div>
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<a href="https://1.bp.blogspot.com/-NFwzaqvPDPc/WnYIJzaWgvI/AAAAAAAAOo4/jBC40Tcmu4gZYUCnGoyOyFexsMJgQMGdwCLcBGAs/s1600/WINDOW_ZOMBIEHOLOCAUST.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: black;"><img border="0" data-original-height="439" data-original-width="709" height="247" src="https://1.bp.blogspot.com/-NFwzaqvPDPc/WnYIJzaWgvI/AAAAAAAAOo4/jBC40Tcmu4gZYUCnGoyOyFexsMJgQMGdwCLcBGAs/s400/WINDOW_ZOMBIEHOLOCAUST.jpg" width="400" /></span></a></div>
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Flappy window in <i>Zombie Holocaust</i>.</div>
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<a href="https://2.bp.blogspot.com/-5IwKwJ1VE_Q/WnYIJrKh_-I/AAAAAAAAOow/YcoCRgCN0xsj_mms0492Jyi9nJ2e8mJ4QCLcBGAs/s1600/WINDOW_ZOMBIEHOLOCAUST2.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: black;"><img border="0" data-original-height="438" data-original-width="709" height="246" src="https://2.bp.blogspot.com/-5IwKwJ1VE_Q/WnYIJrKh_-I/AAAAAAAAOow/YcoCRgCN0xsj_mms0492Jyi9nJ2e8mJ4QCLcBGAs/s400/WINDOW_ZOMBIEHOLOCAUST2.jpg" width="400" /></span></a></div>
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Flappy window in <i>Zombie Holocaust</i> version 2, where you can see the same locking mechanism as in Zombie... because it's all part of a set at the Elios Studios where basically every damned piece of Italian genre fare worth its name shot interiors. </div>
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But with the interiors being so damned familiar, logically because they are the same sets, there's a persistent tale which would lead us to believe the final fiery climax and the church in flames is lifted from <i>Zombie 2</i> too because it's the same church that's burnin'. But... just like the infamous four second head-crush missing from ALL prints of Bianchi's Burial Ground but the Japanese VHS, it's not true. Sorry, but it's just not, Neither the Head-crush or the church burning. It's two completely separate buildings and I'll show you.</div>
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<a href="https://4.bp.blogspot.com/-ALe7L3yNqu0/WnYIIuCB0JI/AAAAAAAAOoo/zspzMbduBdg6AZDXx8fbMyp1XU_gN4WJACLcBGAs/s1600/CHURCH_ZOMBIEFLESH.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: black;"><img border="0" data-original-height="430" data-original-width="709" height="242" src="https://4.bp.blogspot.com/-ALe7L3yNqu0/WnYIIuCB0JI/AAAAAAAAOoo/zspzMbduBdg6AZDXx8fbMyp1XU_gN4WJACLcBGAs/s400/CHURCH_ZOMBIEFLESH.jpg" width="400" /></span></a></div>
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Burning Church, two words I love to see together, but this time to point out that in <i>Zombie 2</i> the church is in fact a burning red church...</div>
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<a href="https://3.bp.blogspot.com/-3okqIyxKX8o/WnYIItny8QI/AAAAAAAAOok/wW5kCiFnZJYqlnU7qlWFnnj3sEsIQlvvQCLcBGAs/s1600/CHURCH_ZOMBIEHOLOCAUST.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: black;"><img border="0" data-original-height="438" data-original-width="709" height="246" src="https://3.bp.blogspot.com/-3okqIyxKX8o/WnYIItny8QI/AAAAAAAAOok/wW5kCiFnZJYqlnU7qlWFnnj3sEsIQlvvQCLcBGAs/s400/CHURCH_ZOMBIEHOLOCAUST.jpg" width="400" /></span></a></div>
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...whilst the burning church in <i>Zombie Holocaust</i> is a burning white church. So can we let that one go now please. </div>
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We'll aslo fast forward past the obvious similarities in the stories of both because they are only similar because De Angelis needed a script quickly. </div>
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Instead let's end this by talking about that footage which is reused... and I'll show you that even there we're deceived to believe more than actually is true...</div>
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In <i>Zombie</i> the team roam around in their <span>1979 Series III 109 Land Rover Station Wagon happily driving through the landscape where they make two trips. One to the wooden Church where they drop off Dr Menard and then venture on towards his residence. Easy. The light blue Land Rover with registration plate 402-532 gets a decent spin in the last hour of the film. It's introduced in a quick shot just before the hour, an easy master shot of the jeep driving left through the shot behind some palm trees. We get the recap story told that puts the legendary "The boat can leave now. Tell the crew" quote into place before seeing some superb camera work by Sergio Salvati as he follows a flying herron from the sky pans down to meet the jeep in the distance. A donkey wanders into frame and the jeep shoots past and to the left of frame where [Vincenzo] Tomassi effectively edits his way through more exposiotinal dialogue before they end up at the Church. I'll be referring to that shot as the donkey-shot form here on. Dr Menard gets out and the gang continue to the Menard residence. We stay with Menard and Lucas (Dakar) and the first cut back to the gang sees them driving on the right side of the screen parallell to a river, this is what I'll call the river-shot. After the zombie attack at the Menard residence they get back into the Land Rover and take off along a beach with the jungle to the right of them, the sea to the left (Cliver's arm sticking out the back window) in what we'll call the beach-shot. The last time we see the light blue Land Rover, it's crashed into the jungle after swerving off the road to avoid hitting a zombie. Our friends wander into the conquistador cemetery for some iconic moments of Fulci terror before the last act rolls out. </span></div>
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<a href="https://4.bp.blogspot.com/-YAFrbqiTsRo/WnYZ_JHBdlI/AAAAAAAAOpU/dTbsqsjvbDoRtsCVBXTj0122pOwtHgPpwCLcBGAs/s1600/PARK_ZOMBIE.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: black;"><img border="0" data-original-height="627" data-original-width="709" height="352" src="https://4.bp.blogspot.com/-YAFrbqiTsRo/WnYZ_JHBdlI/AAAAAAAAOpU/dTbsqsjvbDoRtsCVBXTj0122pOwtHgPpwCLcBGAs/s400/PARK_ZOMBIE.jpg" width="400" /></span></a></div>
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McCulloch and Cliver park the Land Rover in <i>Zombie 2</i>.</div>
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<span>In <i>Zombie Holocaust</i>, the Land Rover action is already at the 25 min mark, </span><span>we can clearly see it's Fulci's 402-532 light blue Land Rover, </span><span>and the scene starts with Salvati's splendid pan down to the "Donkey-shot" but cuts away just before passing the donkey. Zombie Holocaust editor Alberto Moriani, just like Tomassi, cuts to expositional dialogue inside the jeep before cutting back to the "river-shot", </span><span>after which he cuts to more dialogue before cutting to a shot that's all cinematographer Fausto Zuccoli and Girolami's film. A shot which is very much like the beach-shot but it's not. Also if you pay attention, I mean really pay attention, you'll see that the car changes color. It's no longer Fulci's right blue 402-532, it's now Girolami's dark blue jeep with the registration plate 90081.</span></div>
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<a href="https://3.bp.blogspot.com/-VbAciAodLF8/WnYZ_FTDL4I/AAAAAAAAOpQ/kfn1sIt-ZLYCYdyf8uElV-Ky9gBjMTfQQCLcBGAs/s1600/PARK_ZOMBIEHOLOCAUST.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: black;"><img border="0" data-original-height="531" data-original-width="709" height="298" src="https://3.bp.blogspot.com/-VbAciAodLF8/WnYZ_FTDL4I/AAAAAAAAOpQ/kfn1sIt-ZLYCYdyf8uElV-Ky9gBjMTfQQCLcBGAs/s400/PARK_ZOMBIEHOLOCAUST.jpg" width="400" /></span></a></div>
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McCulloch, Andrea Delli Colli and Peter O'Neal say hiya to Dr. Butcher, Donald O'Brien.</div>
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<span>So to break this down and stick to facts, there's actually only two shots from Fulci's <i>Zombie 2 </i>lifted into Girolami's <i>Zombie Holocaust -</i> the donkey-shot and the river-shot. Two shots and never let anyone tell you otherwise ever again.</span></div>
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<span>Thanks for being patient and bearing with me on this busting of yet another decades old rumor. </span></div>
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<span>Now go check out the infamous <a href="http://cinezilla.blogspot.se/2011/06/burial-ground-nights-of-terror-4.html" target="_blank">BURIAL GROUND-GATE</a> debacle, thats just as fun.</span></div>
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<span>I promise.</span></div>
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<span>:)</span></div>
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<gdiv id="ginger-floatingG-container" style="left: 0px; position: absolute; top: 0px;"><gdiv class="ginger-floatingG ginger-floatingG-closed" style="display: none;"><gdiv class="ginger-floatingG-disabled-main"><gdiv class="ginger-floatingG-bar-tool-tooltip">Enable Ginger</gdiv></gdiv><gdiv class="ginger-floatingG-offline-main"><gdiv class="ginger-floatingG-bar-tool-tooltip"><em>Cannot connect to Ginger</em> Check your internet connection<br /> or reload the browser</gdiv></gdiv><gdiv class="ginger-floatingG-enabled-main"><gdiv class="ginger-floatingG-bar"><gdiv class="ginger-floatingG-bar-tool ginger-floatingG-bar-tool-disable"><ga></ga><gdiv class="ginger-floatingG-bar-tool-tooltip">Disable in this text field</gdiv></gdiv><gdiv class="ginger-floatingG-bar-tool"><ga class="ginger-floatingG-bar-tool-edit">Edit</ga><gdiv class="ginger-floatingG-bar-tool-tooltip">Edit in Ginger</gdiv></gdiv><gdiv class="ginger-floatingG-bar-tool ginger-floatingG-bar-tool-mistakes"><ga><span class="ginger-floatingG-bar-tool-mistakes-count"></span></ga><gdiv class="ginger-floatingG-bar-tool-tooltip">Edit in Ginger</gdiv></gdiv></gdiv></gdiv><gdiv class="ginger-floatingG-contentPopup"><gdiv class="ginger-floatingG-contentPopup-wrap"><ga class="ginger-floatingG-contentPopup-close">×</ga><gdiv class="ginger-floatingG-contentPopup-frame"><iframe scrolling="no"></iframe></gdiv></gdiv></gdiv></gdiv></gdiv>CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com2tag:blogger.com,1999:blog-35812839.post-19963472356689781942018-01-28T15:13:00.002+00:002018-01-28T15:13:55.924+00:00Winter Light<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-H-xH0nYR26k/Wm3nWpjVv_I/AAAAAAAAOoA/-daGuWf5GOEKumRAFEAgWLTq6DpD0GjhACLcBGAs/s1600/movieposters.2038.net.jpeg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1014" data-original-width="724" height="320" src="https://3.bp.blogspot.com/-H-xH0nYR26k/Wm3nWpjVv_I/AAAAAAAAOoA/-daGuWf5GOEKumRAFEAgWLTq6DpD0GjhACLcBGAs/s320/movieposters.2038.net.jpeg" width="228" /></a></div>
<b>Nattvardsgästerna</b><br />
(Winter Light / The Communicants)<br />
Dir: Ingmar Bergman, 1963, 81min.<br />
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You know those harrowing genre films where the characters are put through hell and then just get back up to do it all-over again? Well, looking at “Bergman as Horror”, this film is equivalent to those films. Like a soul tearing Groundhog Day, as Ingrid Thulin and Gunnar Björnstrand dance the dance of deconstruction and devastation in Bergman's Nattvardsgästerna, only to get back up, dust off the dirt and go through all the emotions again and again.</div>
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Pastor Tomas (Björnstrand) is in crisis as he's come to the insight that he's lost his faith. Schoolteacher Märta (Thulin) is in love with Pastor Thomas who in turn is reluctant to acknowledge her gentle courtship. At the same time that there is an element of affection between the two, there is a vibrant vein of rage and animosity. </div>
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In his own words Bergman described this film as "consciously boring", but I honestly find it hard to agree with his description, because even though it certainly is a very low-key piece it's not boring at any point at all because it is like watching two people in an freezing cold ice-hole, desperately trying to keep their heads over the waters surface.</div>
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<a href="https://3.bp.blogspot.com/-IlQ1fnLXC74/Wm3nXpwgC4I/AAAAAAAAOoE/TCuPqxjg1HUf_FGRQhJww0WYpbIQtTMewCLcBGAs/s1600/natt_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="213" data-original-width="325" height="209" src="https://3.bp.blogspot.com/-IlQ1fnLXC74/Wm3nXpwgC4I/AAAAAAAAOoE/TCuPqxjg1HUf_FGRQhJww0WYpbIQtTMewCLcBGAs/s320/natt_4.jpg" width="320" /></a></div>
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It's a Bergmanesque quality where he showcases the dark demons of regular humans in the turmoil of life, dealing with guilt, loss of faith, rejection and suicide. But also the listlessness of humans in darkness going through the motions and never really making that change that they need to do to break free from their torment. </div>
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Pastor Tomas is so absorbed in his selfpity that he can’t grasp Märta’s affection, which is growing sour by the hour. Looking at it from a Horror stand point, it’s all about that loss of faith, the projection of self hate, and being so disillusioned with his own struggle, that Tomas can’t help the suicidal Johan Persson (Max Von Sydow), but more or less drives him to his fatal demise at the wrong end of a shotgun. </div>
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<a href="https://1.bp.blogspot.com/-AcyTouenn8I/Wm3oD9x4pII/AAAAAAAAOoU/zMqILIDlSWo6Q_EfKDGFqCxUVcJHHCP_QCLcBGAs/s1600/tumblr_ns5v59qbov1qmemvwo1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="376" data-original-width="500" height="240" src="https://1.bp.blogspot.com/-AcyTouenn8I/Wm3oD9x4pII/AAAAAAAAOoU/zMqILIDlSWo6Q_EfKDGFqCxUVcJHHCP_QCLcBGAs/s320/tumblr_ns5v59qbov1qmemvwo1_500.jpg" width="320" /></a></div>
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They become caught in a pointless loop of tediousness and an emotional tug of war as the power struggle between Tomas and Märta is fought out and shifts positioning over and over again. Tomas asks “My God, Why have thee abandoned me?” It’s sort of Key, because the film is about that struggle, the struggle to receive a sign, to reassure one self that there is something else after this life… but we all know there is only the great void nothingness in the aftermath of death.</div>
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<a href="https://1.bp.blogspot.com/-jhVbn92bZFg/Wm3nT0HcytI/AAAAAAAAOn4/CWVHZFi6XwEYiP8weO4ThTlGm4P6mHsTACLcBGAs/s1600/82564d26f698ab2c07c941efe6645ff0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="551" data-original-width="736" height="239" src="https://1.bp.blogspot.com/-jhVbn92bZFg/Wm3nT0HcytI/AAAAAAAAOn4/CWVHZFi6XwEYiP8weO4ThTlGm4P6mHsTACLcBGAs/s320/82564d26f698ab2c07c941efe6645ff0.jpg" width="320" /></a></div>
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The Spider God makes an appearance once again. It’s a depiction of the loss of God that Tomas gives when trying to comfort suicidal Johan Persson. Instead of lying, Tomas tells the truth and reveals that there is no god, there is no after life, there is really no real point to life… and God is a Spider monster, which acts as a trigger for the already doomsday petrified Persson. SO basically when telling the truth, the darkness is replaced by deeper evil. People die and are hurt. Whilst the façade, the charade of everyday life in the small society, is upheld life goes on as it has in the hours before we joined Tomas and Märta, and as it will after we leave them. </div>
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Märta's letter to Tomas. One can read shitloads of interpretations about that letter... but nobody ever mentions the fact that Ingrid Thulin breaks the fourth wall, stares us down and never blinks once... That's eerie. </div>
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<a href="https://4.bp.blogspot.com/-K9-nQJ5zcNs/Wm3nTxPIYmI/AAAAAAAAOn8/9vFQECPSI3kpTDomb_A7its5p5yJKptXQCLcBGAs/s1600/0283167c61b8ede37f6f9f22acca7338.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="960" height="240" src="https://4.bp.blogspot.com/-K9-nQJ5zcNs/Wm3nTxPIYmI/AAAAAAAAOn8/9vFQECPSI3kpTDomb_A7its5p5yJKptXQCLcBGAs/s320/0283167c61b8ede37f6f9f22acca7338.jpg" width="320" /></a></div>
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A bleak ambiguous Bergman ending, that for the time it was made, didn’t play by the rules of convention. There’s no romantic wedding at the end, merely a repetitious loop of spiralling slow painful angst-ridden deconstruction set into motion once again.</div>
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// OR if you want something more uplifting, Tomas realizes that the loss of his wife and the hatred/self pity that this brought with it has made him loose his faith. Why would his God do this to him? But when he realizes that love is also Märta, he rekindles his love, and though that love he finds meaning to everything, and that meaning allows him to realize that all has been a test of his faith. God has tested him and lead him to Märta. He will go on loving Märta, and they will become a couple and he will continue to preach the world of the Lord, and that’s why he holds a sermon for an empty church at the end of the film. He’s reconnected with his faith. //</div>
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But not really… its all dark and devastating… they will keep on pushing and pulling until they end their time… </div>
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Actually, whilst watching this I did find myself thinking, this is in many ways the bloody exorcist but without the possessed teenage girl. Keep that in mind when you watch it. It is there. The loss of faith, and the Spider God…</div>
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-67052033260757549132018-01-27T10:44:00.001+00:002018-01-27T11:20:09.649+00:00Through a Glass Darkly<div class="separator" style="clear: both; text-align: center;">
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<a href="https://4.bp.blogspot.com/-s1lq9aE1iQE/WmxgMMw6v4I/AAAAAAAAOno/xaVgUk52sbEDNBsO8xG8150ey5liHik7wCLcBGAs/s1600/Sa%25CC%258Asom_i_en_spegel.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="288" data-original-width="200" src="https://4.bp.blogspot.com/-s1lq9aE1iQE/WmxgMMw6v4I/AAAAAAAAOno/xaVgUk52sbEDNBsO8xG8150ey5liHik7wCLcBGAs/s1600/Sa%25CC%258Asom_i_en_spegel.jpg" /></a></div>
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<b>Såsom i en spegel</b><br />
(Through a Glass Darkly)</div>
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Dir: Ingmar Bergman</div>
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Sweden, 1961, 91min.</div>
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This year Ingmar Bergman would have had his 100th birthday. So obviously there's a celebratory aura though out the film universe as everyone is rewatching his films and looking at them in new light, as even yours truly is in mid process of doing. And in doing that I discovered a point of view that I've been pushing around the dark corners of my mind for quite some time, and that ended up to me deciding to share them here...<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I'm currently doing a film studies course on Bergman. An advanced one, with a lot of lecturers/ professors/ film
scholars that I admire and a lot of really fucking smart people in the class,
so needless to say I feel like the dumbest person in the room. BUT then I
realized the way to overcome that feeling was to use my advanced excellence and
knowledge of the horror genre and watch everything connected to Bergman through
the filter of <i>"It's a horror movie!"</i><o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">"Bam"
that's the ticket! Self-esteem semi-reinstalled, and back on track. </span>So here we
go and some semi-sorta-out of the box ideas that sort of spoil stuff if you've
not seen this one before...</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Four people
at a desolate summerhouse try to come to terms with facts that have lead them,
basically, to the end of the road. Patriarch David (Gunnar Björnstrand) is a
struggling author back from a long trip to Switzerland, Karin (Harriet
Andersson) has just been released from hospital where she's been treated for
mental issues [schizophrenia], her husband Martin (Max von Sydow) is a doctor
and misses the intimacy of his wife, and her younger brother Minus (Lars
Passgård) yearns for his fathers recognition. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Bergman’s
Through a Glass Darkly, the first of his Fårö films, and commonly pigeonholed
as the "[Religious] Trilogy", (religious in the common theme of the
silence of God, basically the loss of faith). It was also the second of his
films to grab him an Academy Award for best foreign film. As in so many other
cases when it comes to Bergman, a dark and brooding piece of film dealing with traditional
Bergman themes, those being guilt, remorse, fear of death to name a few, as it
tells the story of Karin's spiralling decent into madness... with the nasty
twist that she's fully aware of her decaying mental state.<span style="mso-spacerun: yes;"> </span>I'm not going to waste your time with the
classic interpretations and give account of the themes of Bergman, as that's
all already out there in endless writings and texts. Instead I'm going to
present you a few ideas from the angle I've chose to watch these films and look
at his works from. Because, if you choose to do as I have, and watch his works
through the positioning as a horror buff watching a horror film this one is
filled with stuff that makes it look, and feel, very much like a
"Possession" film... <o:p></o:p></span><br />
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The obvious
first, <i>Possession</i>: <span style="mso-spacerun: yes;"> </span>Karin hears voices
from the murky attic room, she hears voices in the wall, she talks to them and
has a bit of an erotic fidgeting there too. She slips in and out of her mental
illness, or possession in this case, through out the film and slowly tries to
draw younger brother Minus into that realm too. During the course of the film
we learn that Karin's mother, David's wife also died due to a mental sickness
similar, if not the same as Karin's, and at the end of the film we kind of come
to some sort of insight that even Minus is aware of the two mental realms he
finds he's wandered between. The possession is passed on, the entity that has
held Karin’s mother in it’s hold, now has Karin in a tight grip.<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"> <o:p></o:p></span></div>
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<span style="text-align: justify;"><i>Sex</i></span><span style="text-align: justify;"><i>:</i> In her
normal state Karin has no sex drive at all, and despite Martin's fumbling
frustrated attempts she's not interested at all... but on the possessed side
she's a fierce hellcat. She has that erotic-ish moment in the attic, taunts
Minus when she finds his girlie mags and later tries to seduce him - perhaps
even having sex with him if you want to break another taboo whilst we're at it.
And if so, it's possible that the possession is sexually transmitted, sort of
like in It Follows (2014) a few years back, Polanski's Repulsion (1965) is
never far from the mind's eye at times either.</span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The <i>Spider
God</i>: If you go into this film with the standing point that I did, you can't
watch the climax without feeling that any minute now the stop motion monster is
going to shuffle out of the wardrobe in the attic just like the brains in
Arthur Crabtree’s stellar sci-fi horror Fiend Without a Face from 1958. EVERYTHING
builds up to that moment, and it's a stunning moment in whatever way you chose
to watch it. Karin meet's God, and he turns out to be a spider, that we never
see, but to Karin it’s certainly there, and to us too, because as horror buffs
we’ve seen relentless amount of films that are all bout atmosphere and mood
that never really show us anything, yet we sill believe the horror being told. Bergman
would elaborate on the Spider God in his next film, Nattvardsgästerna 1963.)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">We won't
get into metaphors and symbolism as we'd be here for ever, (although I might do
that at some point in time) but I do hope that this entertained you and perhaps
even made you want to go back and either watch the film for the first time or
re-watch it though my chosen perspective, and I hope you'll tag along as I
rewatch Bergman as horror.<o:p></o:p></span></div>
CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-86845159234185212972017-06-03T17:20:00.005+00:002017-06-03T17:54:15.623+00:00DRUNK WITH CARNAGE - JEAN ROLLIN MIXTAPEI'm off to France for two weeks of nonstop work. I always get Rollin-emotional when going to France. I just filled my playlists for the fortnight and decided to put the Rollin mix-tape I put together in 2011 on soundcloud for all of you who remember it, never caught it the fist time around, or just happen to stumble past this cemetery of a blog occasionally.<br />
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Enjoy, </div>
<div class="separator" style="clear: both; text-align: left;">
/Jason.</div>
<br />
<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/325877607&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe>CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-2056976405168549202016-11-18T15:50:00.002+00:002016-11-18T15:51:22.231+00:00Atroz<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-7Wso1m1tjS0/WC8iCBku59I/AAAAAAAAOlc/GchDLud1vO4h6UYETBqdoKvOCIdD5QSTACEw/s1600/alternative-poster-2.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-7Wso1m1tjS0/WC8iCBku59I/AAAAAAAAOlc/GchDLud1vO4h6UYETBqdoKvOCIdD5QSTACEw/s320/alternative-poster-2.jpg" width="213" /></a></div>
<b style="text-align: center;">Atroz</b><br />
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Directed by: Lex Ortega</div>
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Mexico, 2015</div>
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Found Footage</div>
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79min</div>
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<br /></div>
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Every year a movie (or two) seeps out of the underground
bearing with it a pungent odour and reputation of being so dark and evil that
it's a test of endurance to watch.<o:p></o:p></div>
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Or so they say. <o:p></o:p></div>
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I rarely find these films to be as shocking or provocative
as they are made up to be. Well, dark and grim, but not as shocking and
disturbing as cover blurbs and early critic quotes would have it be. Perhaps I
have a complete lack of empathy for people and things outside of my circle. Or
perhaps I’ve just ended up being way to analytical in my viewing and rarely
letting stuff get under my skin… That's just the way it is right now it seems. I’ll
have to look into that.<o:p></o:p></div>
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<o:p> </o:p><a href="https://3.bp.blogspot.com/-ADvfO0Vwfyo/WC8h53KGgQI/AAAAAAAAOlQ/1dSyi5MkXKMUiWXQpJuOBWY4URk_pIPXgCEw/s1600/20-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="225" src="https://3.bp.blogspot.com/-ADvfO0Vwfyo/WC8h53KGgQI/AAAAAAAAOlQ/1dSyi5MkXKMUiWXQpJuOBWY4URk_pIPXgCEw/s400/20-2.jpg" width="400" /></a></div>
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Not saying that Atroz isn’t shocking and grim, because it
is. It will turn many viewers inside out and kick them in the bollocks, having
them question why the hell they wanted to watch this flick in the first point. But
what I find truly exciting is when extreme cinema uses its extremeness as a
storytelling tool. A device to crack open your head and push the buttons that
make you react, in many cases sending you a message that is much deeper than freaking
out audiences with cool effects.<o:p></o:p></div>
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<o:p> </o:p><a href="https://2.bp.blogspot.com/-Hc5xyRJK2e8/WC8h5xxVe4I/AAAAAAAAOlM/woZXazraABQhAjdJFRIqA_OM3G9ujfD0ACEw/s1600/07-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="225" src="https://2.bp.blogspot.com/-Hc5xyRJK2e8/WC8h5xxVe4I/AAAAAAAAOlM/woZXazraABQhAjdJFRIqA_OM3G9ujfD0ACEw/s400/07-2.jpg" width="400" /></a></div>
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To the point. Mexican violence and sleaze fest Atroz is a
found footage flick - something of a trait with underground extreme cinema,
because it's cheap - but Lex Ortega brings a twist. It's understandable why
Ruggero Deodato's name is slapped on as an executive producer, something Ortega
wears, and should, as a badge of honour. <o:p></o:p></div>
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<br /></div>
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The violence is rough, brutal, sadistic and elaborately
shoved in your face. Many of the underground checklist traits are crossed off
as we go down the spiral staircase; body fluids, torture, genital mutilation,
rape, sodomy, incest and murder. One scene has a camera mounted to the
fist that's delivering blows to a transvestites face, another has a razor blade
fixed barbed wire wrapped dildo going up and inside an anus. <o:p></o:p></div>
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<o:p> </o:p><a href="https://2.bp.blogspot.com/-LghdMOuhNSk/WC8h749Y2SI/AAAAAAAAOlU/sDPqS-ZzM3gDt947aLCDkjR_v9yyO55gQCEw/s1600/atroz_tiff_2k113347-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="210" src="https://2.bp.blogspot.com/-LghdMOuhNSk/WC8h749Y2SI/AAAAAAAAOlU/sDPqS-ZzM3gDt947aLCDkjR_v9yyO55gQCEw/s400/atroz_tiff_2k113347-2.jpg" width="400" /></a></div>
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There are certainly an amount of cringe worthy moments, but
it's still the message, the reason for being, that interests me, because this
certainly isn't the first underground film to be shot in found footage style
and depict a series of atrocities during the course of the movie.<o:p></o:p></div>
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<br /></div>
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Much like fellow Mexican, Emilio Rocha Minter and his We Are
The Flesh, which also smashes through taboos like a bull in a china
store, Atroz uses it’s provocative and extreme cinema approach to tell a story
outside of the violence, a story that’s bigger than the image you are seeing on
screen. Where I read FLESH as being a comment on the atrocities we don’t see
but take place behind closed doors, Atroz is about the eternal circle of
violence.<o:p></o:p></div>
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<o:p> </o:p><a href="https://4.bp.blogspot.com/-rPSt90awZTg/WC8h8Anh3BI/AAAAAAAAOlY/VlpmOVy5HU4sttZm1awUflYiLvDtO3fCACEw/s1600/atroz_tiff_2k134183-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="210" src="https://4.bp.blogspot.com/-rPSt90awZTg/WC8h8Anh3BI/AAAAAAAAOlY/VlpmOVy5HU4sttZm1awUflYiLvDtO3fCACEw/s400/atroz_tiff_2k134183-2.jpg" width="400" /></a></div>
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At the start of the Atroz we are on the scene of
a car accident. Two men are in custody for the accident that has left one young
woman dead in the middle of the street.<span style="mso-spacerun: yes;">
</span>In their car, a police inspector finds a DV camera with some highly
incriminating evidence documenting atrocities performed by the two men. The
found footage material acts as exposition for the crimes of the two men, but it
also tells the story of how the violent behaviour was born, how the monster was
created if you want. Atroz is a film about violence. How violence births
violence. How violence is unstoppable, how everybody is powerless in the face
of violence. It’s a full circle treatment. It’s could also be read as a comment
on how the police instead of solving crime, work in unconventional ways.
Unconventional ways that give birth to even more violence. In it’s
unconventional way, it’s justice, through violence. Or is it…Perhaps Lex Ortega
only wants to freak you out with period blood, asphyxiation sex and deadly
dildos from hell, but I don’t think so. I recon that he’s trying to make a
comment on violence in Mexico, a violence that takes place behind closed doors,
a violence that even the authorities that supposed to protect us are a part of
but he’s disguised it all as an underground found footage film that’s being
hailed as the most brutal film to come out of Mexico so far.<o:p></o:p></div>
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-23804006943368080792016-10-11T21:47:00.001+00:002016-10-11T22:09:37.294+00:00ALUCARDA<span style="clear: left; display: inline; font-family: inherit; margin-bottom: 1em; margin-right: 1em; text-align: justify;"></span><br />
<a href="https://3.bp.blogspot.com/-60nhIYbTeKo/V_1BNymijQI/AAAAAAAAOkU/mZgo-WneZsgbGwa4hXQ0nqqV235efcvrACLcB/s1600/_Alucarda.jpg" imageanchor="1" style="clear: left; display: inline; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="https://3.bp.blogspot.com/-60nhIYbTeKo/V_1BNymijQI/AAAAAAAAOkU/mZgo-WneZsgbGwa4hXQ0nqqV235efcvrACLcB/s1600/_Alucarda.jpg" /></a><b style="font-family: inherit; text-align: justify;">Alucarda</b><br />
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<span style="font-family: inherit;"><b><i>Original
Title: Alucarda, la hijas de las tinieblas</i></b><o:p></o:p></span></div>
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<span style="font-family: inherit;"><b><i>Aka:
Sisters of Satan</i></b><o:p></o:p></span></div>
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<span style="font-family: inherit;"><i>Directed
by: Juan López Moctezuma</i><o:p></o:p></span></div>
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<span style="font-family: inherit;"><i>Mexico,
1978</i><o:p></o:p></span></div>
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<span style="font-family: inherit;"><i>Satanism
/ Occult / Possession, 85min</i><o:p></o:p></span></div>
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<span style="font-family: inherit;"><i>Distributed
by: Mondo Macabro</i><o:p></o:p></span></div>
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<span style="font-family: inherit;"><o:p><br /></o:p></span></div>
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<span style="font-family: inherit;"><o:p><br /></o:p></span>
<span style="font-family: inherit;"><o:p><br /></o:p></span></div>
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<o:p style="font-family: inherit;"><br /></o:p>
<o:p style="font-family: inherit;"><br /></o:p><o:p style="font-family: inherit;">Contributing pieces on non-mainstream fare</o:p><o:p style="font-family: inherit;"> for film festivals, magazines, podcasts and other channels of cultural enlightement, like my mini-tour introductions of Cannibal Holocaust in both </o:p><span style="font-family: inherit;">Gothenburg and Stockholm for the Swedish Film Institute, is partially what I do as I preach the gospel of the alternative history of film. Being part of Stockholm's Monsters of Film Festival, I wrote a piece on Emiliano Rocha Minter's Tenemos de carne (We Are the Flesh)... which got me thinking of stuff that must of, or most likely, inspired and influenced Minter in his murky provocative decent into sex and death. Naturally, </span><i style="font-family: inherit;">Juan López Moctezuma’s </i><span style="font-family: inherit;">movies came to mind. More than others, </span><b style="font-family: inherit;">Alucarda, </b><span style="font-family: inherit;">because </span><b style="font-family: inherit;">Alucarda</b><span style="font-family: inherit;"> is one of, if not
the best, demonic possession movie ever made. It’s creepy, disturbing, gory,
loads of fun and holds extremely high production values that all add up to make
it one of the most entertaining movies to come out of Mexico during the
seventies.</span></div>
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<span style="font-family: inherit;">I would be wrong to slot this film
into the nunsploitation genre, even if this would seem fitting. There’s
certainly a whole lot of nuns engaging in battle with the evil forces at bay, it also takes place in an orphanage/church where daily prayers and religious
artefacts fill every scene. But there’s none of the backroom sleaze activity
from the nuns that usually characterize the nunsploitation genre going on. It’s not
the nuns that are sinful, but the unfortunate young women it focuses on, if you find taking
your kit off and falling to lesbian desires to be sinful that is. What we've got here is a good old
possession movie, where the devil corrupts the minds of young innocent women in
his quest to dominate and enslave the world, with a healthy dose of exploitation traits along the way.<o:p></o:p></span></div>
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<span style="font-family: inherit;">The mood,
tone and atmosphere of this movie is firmly set from the very start of the
film. A young mother [<i>Tina Romero</i> in a double role as she later plays
the grown up Alucarda too] gives birth to a little girl who get's named
Alucarda. The child is quickly rushed off by a strange old woman, leaving the mother to face
the strange entity that's lurking in the strange crypt like place she
has chosen to give birth in…<o:p></o:p></span></div>
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<span style="font-family: inherit;">Many
years later, Justine [<i>Susana Kamini</i>, who starred in all of <i>Moctezuma’s</i>
movies but the last one] arrives at an orphanage where Sister Angélica [Tina
French] greets her and shows Justine her new home. Justine is introduced to her
roommate Alucarda [<i>Tina Romero</i> again] who comes right out and gives the impression of being quite eccentric and intense as she shows Justine her
collection of secrets she’s found out in the woods surrounding the
orphanage. In reality it’s all bits of twigs, dead beetles’ and small
pebbles, but it sets her naïve character trait that will be necessary to build
the Alucarda persona. Our impression of this peculiar young
girl, is exactly the same as the other girls in the orphanage have, and we realize that Alucarda
is a loner without any real friends. Which is why she from this first meeting attaches herself to
Justine so determinately, the new girl is a clean slate and holds no
prejudice towards Alucarda.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><o:p> </o:p></span><a href="https://1.bp.blogspot.com/-vSZ_OT9hv6Y/V_1dR6eR9WI/AAAAAAAAOkw/5mgeKVzF_OwTQmwwkMHYat2NytK2aWa6wCLcB/s1600/alucarda5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="295" src="https://1.bp.blogspot.com/-vSZ_OT9hv6Y/V_1dR6eR9WI/AAAAAAAAOkw/5mgeKVzF_OwTQmwwkMHYat2NytK2aWa6wCLcB/s400/alucarda5.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">They two
friends run out into the woods to find more secrets and run into hunchbacked
Gypsy [<i>Claudio Brook</i> who you may recall from <i>Guillermo Del Toro’s</i>
<b>Cronos</b> 1993, <i>Robert Fuest’s</i> satanic gem <b>The Devil’s Rain </b>1975
or one of the many <i>Luis Buñuel</i> movies he starred in. He also held the
lead role in <i>Moctezuma’s</i> <b>The Mansion of Madness (<i>La mansión de la
locura</i>)</b> 1973, and just like Romero, he too holds double roles in Alucarda, as
you soon will see.] Anyhow, the gypsy hunchback tries to sell the girls more
“Secrets”, but his secrets are much more sinister than simple woodland titbits,
and after running away from the creepy hunchback they find themselves in the
crypt, looking much like the abandoned chapel from the opening birth sequence. Filled with
adolescent curiosity they initiate a blood rite promising to be BFF’s and open
one of the graves that they find there (possibly Alucarda’s mothers?) freeing the
demonic forces that arise. The audio is ferocious, as the feeling it evokes is as if the sound producer grabbed a mike and started growling and
snarling into it right on top of the soundtrack. At first it is quite annoying,
but the longer it goes on, the more profoundly it disturbed me, getting under my skin. This trick
is used throughout the rest of the movie, acting as a haunting audio key to
indicate that satanic forces are at work and with them being overdubbed in this crude way, it's almost indicating that they are even larger than the movies
narrative.<o:p></o:p></span></div>
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<span style="font-family: inherit;">From here
on the movie goes deep into surreal bizarro land, the dark forces are free and the possessions are rolling in like fog over a bay at night. Safely back at the
orphanage, the girls undress and engage in a blood pact, swearing to stay friends for ever, to never walk the earth with out each other, and guess who shows up to
interfere, and lure them further into the darkness? Yes it’s the hunchback.
Inducting them into the pleasures of Satanism and blood rituals the heavens
open up and blood pours from the skies. The Hunchback takes the girls with him to the gypsy camp where a full-fledged satanic ritual is in progress.
Nothing is held back as the naked participants engage in a huge orgy as Justine
and Alucarda watch on in anticipation until the horned one makes his impressive
entrance welcoming the girls into his dark world. At the same time Sister Angelica
prays for Justine, calling upon the saviour the hardest she can, crying
blood, sweating blood, levitating and begging the lord for Justine’s salvation.
And would you believe it, in some kind of synchronized dance/possession Sister
Angelica and the gypsy high priestess fight it out ever so elegantly, leaving
Sister Angelica a crying mess but successful, and the high priestess dead in a
pool of blood. The entire sequence is further propelled in surrealism as the
earlier mentioned growling and snarling on the audio is right
there adding to the visual wildness on screen.<o:p></o:p></span></div>
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<o:p><span style="font-family: inherit;"> </span></o:p><a href="https://2.bp.blogspot.com/-173Tg_--2mA/V_1BOTRocAI/AAAAAAAAOkg/qZq3xIRyHIUHbZkJsOEMBVIKvh3DExQGACLcB/s1600/alucarda6.jpg" imageanchor="1" style="font-family: inherit; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="295" src="https://2.bp.blogspot.com/-173Tg_--2mA/V_1BOTRocAI/AAAAAAAAOkg/qZq3xIRyHIUHbZkJsOEMBVIKvh3DExQGACLcB/s400/alucarda6.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">Back at
school the girls taunt their nun teachers and recite long passages of biblical
texts only to blaspheme them and evoke the name of Beelzebub. The nuns are
terrified and call in Mother Superior [<i>Birgitta Segerskog</i> most probably a
Swede who I cant’ find anything more info on] who after talks with Father
Lázaro [<i>David Silva</i> who also starred in several <i>Moctezuma</i> and <i>Alejandro
Jodorowsky</i> movies] decides that the two girls need to be exorcised. He brings all his religious gusto to the exorcism session where the girls are tied
up to crosses and stripped bare. I've never quite understood why the
church always have to tear the clothes of the poor women going though
exorcisms, but that’s what they always do and it brings a creepy feeling
of hypocrisy as the nuns are all wrapped up in their habits whilst the poor young girls are exposed. Finally the monks get to see some skin, but you need
that nudity in there or it wouldn’t be called exploitation cinema would it.</span></div>
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<span style="font-family: inherit;">The local
doctor, Dr. Oszek [<i>Brook</i> in his second part] arrives just in time to
witness Justine perish at the hands of the Father Lázaro - or is it the evil forces
that take her life as they have other plans for Justine. He damns Father Lázaro
and the church for this outrageous act, but Father Lázaro defends himself by
claiming that the girls are possessed by the devil and need to be set free,
hence drastic action is demanded. Dr. Oszek takes Alucarda and his blind
daughter out of the school and back to the safety of his own home. But have no
fear for the movie is defiantly not over yet... As Sister Angelica prays by
Justine’s body it starts to twitch, and the movie cranks it up to a higher
level as it begins the build towards the coming fifteen minutes of climax that
makes this one of the most amazing movies of cult cinema ever. Demons are fought, bathes in blood ar taken, Nuns have their throats torn out, fireballs are
thrown, Monks are engulfed in flames, crucifixes burn, Alucarda brings hell to
the ordinary world in an inferno of damnation. It’s good vs. evil in a battle
older than mankind, and it is all shown in full visual manifestations that will blow your mind.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><o:p> </o:p><a href="https://3.bp.blogspot.com/-IqEv1jmKdFA/V_1BN6j0_9I/AAAAAAAAOkc/v_hLhi07gb8po_YcF-dzXVF9FlLhlBA-ACLcB/s1600/alucarda10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="295" src="https://3.bp.blogspot.com/-IqEv1jmKdFA/V_1BN6j0_9I/AAAAAAAAOkc/v_hLhi07gb8po_YcF-dzXVF9FlLhlBA-ACLcB/s400/alucarda10.jpg" width="400" /></a></span></div>
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<span style="font-family: inherit;">Watching <b>Alucarda</b> one
could easily feel that this movie, kind of like Italian nunsploitation
flicks, is anti clerical and a clear protest against the church, exposing their sinister sides and dark secrets, but I feel that the movie
really is more for than against when it all comes around. For even though the clergy do kill Justine
(in some ways she’s all ready lost due to the possession) Father Làzaro is
right. The girls are possessed by the devil, and even the goody two shoes Dr.
Oszek joins the church in the fight against the demons once his daughter is
threatened. It’s great to see how easily we are lead on, just how easy we are to manipulate, how gullible we really are. As <i>Moctezuma</i> has spent time building the
characters of Justine and Alucarda as young, naïve and innocent, we obviously
take sides with them during the movie, hence directing us to root for the
antagonists if you like. Yes antagonists. Justine and Alucarda are the evil
forces of the movie. The church; Sister Angelica, Father Lázaro and Dr.
Oszek are actually the protagonists. Talk about mind-fucking your audience! It’s a wonderful trick when it works and <i>Moctezuma</i>
pulls it off with bravura, as we really don’t want the girls to be punished, we want
them to come out victorious against the forces of the church, we also turn our cheek to face the dark side.<o:p></o:p></span></div>
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<span style="font-family: inherit;">Finding his inspiration in Irish
author <i>Sheridan Le Fanu’s</i> <b>Carmilla</b> text, <i>Moctezuma</i> and his
co writers, among them his wife <i>Yolanda</i>, come up with a splendid story. <i>Moctezuma</i> makes the source material his own in every way possible using it more as an inspiration and not a template. Although the gothic
setting is preserved, the vampire element of <b>Carmilla</b> is abandoned;
keeping the core - yearning for companionship and the extent you will go to for
this camaraderie. Not forgetting the controversial, at least in 1872 when <i>Fanu</i>
wrote it, homoeroticism, especially the lesbian girl on girl elements. Exploring
daring themes and using them in your text isn’t simply a ploy of seventies -
eighties exploitation cinema; it’s been used since mankind started putting
words on paper, and for some unexplained reason it provokes the heck out of
certain people. Justine's name is also a reference to <i>De Sade’s</i> <b>Justine</b>
text, where the themes of good and evil, opposing oneself against the accepted
traditions, the corruption of the church and a young woman's coming of age, are
key elements.<o:p></o:p></span></div>
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<o:p><span style="font-family: inherit;"> </span></o:p><a href="https://2.bp.blogspot.com/-Pi_oMUSU7dA/V_1dTISo6eI/AAAAAAAAOk0/janf0Ako-fIOk1Xv_PTZbnbb6PJSHgC2ACLcB/s1600/alucarda11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="295" src="https://2.bp.blogspot.com/-Pi_oMUSU7dA/V_1dTISo6eI/AAAAAAAAOk0/janf0Ako-fIOk1Xv_PTZbnbb6PJSHgC2ACLcB/s400/alucarda11.jpg" width="400" /></a></div>
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<span style="font-family: inherit;"><b>Alucarda</b> is a fascinating movie, the acting
is splendid, the story is highly entertaining, <i>Xavier Cruz's</i>
cinematography is marvellous, the compositions are magnificent. At some times
it’s almost like watching a theatrical presentation of the material. The movie
is disturbing in many ways, one of the most effective is reminiscent of <i>Tobe
Hooper’s</i> 1974 classic <b>The Texas Chain Saw Massacre</b>, and that’s the
deafening audio track, screaming girls and growling demons make up a truly
disturbing soundtrack. It’s a bold and innovative gamble that the sound crew
and editors have taken, but in it’s own strange way it works in favour of the
movie. <i>Romero</i> and <i>Kamini</i> scream as if their lives really where on
the line, and the demonic growling placed up front make it impossible to escape
the threat presented.<o:p></o:p></span></div>
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<span style="font-family: inherit;">I'm quite sure that the reason why the movie feels theatrical is because of <i>Moctezuma’s</i> background in theatre and radio. After working with radio, creating <b>Panoama de Jazz </b>in
1959, a show which aired for almost 35 years, <i>Moctezuma</i> set his eyes on
the area that had always inspired and enticed him, Cinema. His road there went
via several TV shows, a number of short movies and his assistant work with
theatre legend <i>Seki Sano</i>.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><i>Seki Sano</i> was an exiled Japanese director and
writer of theatre who spent time in prison after being accused of spreading
socialist ideas through his work. <i>Sano</i> spent some years in the then USSR
where he associated and worked with the likes of <i>Stanislavski</i> and <i>Meyerhold</i>,
before moving on to America. But even there his “radical and socialist” ideas
where criticized and he ventured further south ending up in Mexico during 1939.
Here he would become somewhat of a key figure for the next generation of
belligerent players on the Mexican scene. It is probably during his time as an
assistant to <i>Sano</i> that <i>Moctezuma</i> picked up his method of writing,
acting, directing and the theatrical grandeur that comes with his movies. It's
also during this time that he befriended the Chilean multiartist and creative
shaman <i>Alejandro Jodorowsky</i>.<o:p></o:p></span></div>
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<span style="font-family: inherit;">Teaming
up with his new friend <i>Jodorowsky</i>, <i>Moctezuma</i> worked with him on <b>Fando
y lis</b> 1967 and the midnight classic <b>El Topo</b> 1970. He received producer credits on both. It was merely a question of time before <i>Moctezuma</i> would direct his own full length feature, and in 1973 <i>he</i> wrote
and directed <b>The Mansion of Madness</b> loosely based on <i>Edgar Allen
Poe’s</i> <b>The System of Doctor Tarr and Professor Fether</b>. Just like
<i>Jodorowsky, Moctezuma </i>regarded his art passionately and held it close to
himself on a personal level which saw him refuse compromising with his
principles and, again just like <i>Jodorowsky</i>, become quite rigid in his filmmaking, which is
one of the reasons why he only directed a handfull movies during his career. It’s
all about quality and not quantity for visual directors of <i>Mocetezuma's</i>
stature.<o:p></o:p></span></div>
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<span style="font-family: inherit;">But those
five movies he left us with still hold up as the surreal art house horror crossovers that
they where intended to be. Themes, style and elements of the fantastic played
for real in some of the most fascinating movies you will ever see... <b>Alucarda</b> being at the top of the class!</span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">NOW IF WE ONLY COULD GET IT ON BLURAY SO WE CAN MELT OUR BRAINS WITH SOME MAGNIFICENT MEXICAN PSYCHOTRONICA IN H.D., EVERYTHING WOULD BE GREAT!</span></div>
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<span style="font-family: inherit;"><b><i>Image:</i></b><o:p></o:p></span></div>
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<span style="font-family: inherit;">Full
screen 4:3, which presumably is the OAR.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b><i>Audio:</i></b><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Dolby
Digital Stereo with English or Spanish dialogue options.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><b><i>Extras:</i></b><o:p></o:p></span></div>
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<span style="font-family: inherit;"><b>Juan
Lopez Moctezuma – A Cultured Maverick:</b> A short documentary on the director and his movies,
Theatrical Trailer, a gallery of stills and photos. Interview with <i>Guillermo
del Toro</i> on the legacy of <i>Moctezuma</i>. There’s also a text interview
with <i>Moctezuma</i> and cast and crew biographies.<o:p></o:p></span></div>
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-7175206783556027952015-02-25T14:33:00.004+00:002015-02-25T14:36:05.560+00:00DYKE HARD<div class="" style="clear: both; text-align: justify;">
<a href="http://2.bp.blogspot.com/-lz1r3FTff9k/VO3cp4gUu6I/AAAAAAAAOik/G2v7i_boMOQ/s1600/_poster-dykehard.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-lz1r3FTff9k/VO3cp4gUu6I/AAAAAAAAOik/G2v7i_boMOQ/s1600/_poster-dykehard.jpg" /></a><b>DYKE HARD</b><br />
<i>Directed by: Bitte Andersson</i><br />
<i>Comedy/Musical/Good Times, 82 min</i><br />
<i>Sweden, 2014</i><br />
<i>Distributed by Njutafilms</i></div>
<div style="text-align: justify;">
<br />
From the
land of ice and snow comes a hot smorgasbord of delights as <i>Bitte Andersson’s</i>
<b>DYKE HARD</b> finally leaves production and takes the bold step onto the big
screen. Well, late last year really, as it played the Stockholm Film Festival 2014 and a few weeks ago the Berlin Film Festival, but now it's being released theatrically! Yes, I call this a smorgasbord because it is a smorgasbord of
everything you love with low budget, b-film cinema. <b>DYKE HARD</b> has elements of musical,
women in prison, horror, raw action complete with ninjas and fight scenes, road
movie, roller derby thugs, hot pursuits, awkward sex, high school drama, bikers,
cyborg assassins from the future, latex glove licking glory holes and <i>Lloyd
Kaufman</i> in bondage gear! Yes it basically has everything thrown at it in a
fantastic queer mix making it an eclectic melting pot of genre, storytelling
and passion. <b>DYKE HARD</b> showcases Andersson’s passion for genre, a passion for
queer culture and definitely a passion for filmmaking, which shines through
every single scene. I often rant on about the passion of filmmaking and this is
one such example where despite all odds the filmmaker pushes on with full
belief in their piece. It shows. I live just behind the short strip of tarmac
that many of the road movie/biker scenes where shot on, and knowing just how
short that strip is makes a clear case of the magic of cinema coming to life
even if it is through small means. </div>
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<a href="http://2.bp.blogspot.com/-vCe6Zv54ABo/VO3a_dgJ05I/AAAAAAAAOiI/bAMnzN0wwT0/s1600/Dyke_Hard_04_Alexi_Carpentieri.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="http://2.bp.blogspot.com/-vCe6Zv54ABo/VO3a_dgJ05I/AAAAAAAAOiI/bAMnzN0wwT0/s1600/Dyke_Hard_04_Alexi_Carpentieri.tif" height="214" width="320" /></a></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Rock band
Dyke Hard, consisting of Peggy, Scotty and Bandido, are dumped by lead singer
Riff. Instead of moping, they pick up Thai boxer Dawn, enter a Battle of the
Bands competition and set off towards the Big City determined on wining and
putting Riff in her place. At the same time Riff, ever hungry for fame and
fortune, teams up with super villain Moira totally intent on to destroy Dyke
Hard.<span style="mso-spacerun: yes;"> The roads lead to a grand show down where truths are revealed and the balance is be restored... or will it? You'll have to watch it to find out!</span><o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-9A0i5aeMylM/VO3bBR7IcvI/AAAAAAAAOic/MHe5QZPR6aA/s1600/Dyke_Hard_06_Stephanie_Wiegner.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="http://1.bp.blogspot.com/-9A0i5aeMylM/VO3bBR7IcvI/AAAAAAAAOic/MHe5QZPR6aA/s1600/Dyke_Hard_06_Stephanie_Wiegner.tif" height="213" width="320" /></a></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Director and
multi-artist, <i>Bitte Andersson</i>, has patiently carried this child of labour for a
very long time and the final result is kick in the nuts /punch to the tits hilarious.
Low budget genre blender <b>DYKE HARD</b> is the disabled love child of b-film cinema.
It’s <i>John Waters</i>, it’s <i>Troma</i>, it’s <i>Rocky Horror Picture Show</i>, it’s transgender,
it’s cinema of transgression, I wish I could put some lesbian female filmmakers
in here too, but that’s a gaping hole (no pun intended) in my cinema knowledge,
it’s filled with dorky gags, catchy tunes – I promise you you’ll be humming the
<i>“Le le le le lesbian”</i> theme all day (soundtrack available on spotify) – there’s
loads of nods and references to stuff you grew up loving and even has a
work-out-shape-up-get-ready-to-fight training montage! <o:p></o:p></span></div>
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<a href="http://3.bp.blogspot.com/-JBloNdYGpDc/VO3a-TpvDXI/AAAAAAAAOh8/-qz2ayKU4Xc/s1600/Dyke_Hard_02_Nicklas_Dennermalm.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="http://3.bp.blogspot.com/-JBloNdYGpDc/VO3a-TpvDXI/AAAAAAAAOh8/-qz2ayKU4Xc/s1600/Dyke_Hard_02_Nicklas_Dennermalm.tif" height="213" width="320" /></a></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Was the
wait worth the wait? Has <i>Bitte Andersson</i> done the right thing in keeping this piece of
independent art on the rails, slowly crafting and polishing it year by year?
Yes, she has, patience pays off, and with that said it should also be said that she has created
something unique to the history of Swedish film, an adorable abomination destined
to become a cult classic! <o:p></o:p></span></div>
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Long live
the underground, and watch your back, because it’s coming to jerk you off! </div>
<br /><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">
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<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><b>DYKE HARD</b> hits cinemas on the 6<sup>th</sup> of March 2015. </span></div>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">
<o:p></o:p></span>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><iframe allowfullscreen="" frameborder="0" height="300" src="https://www.youtube.com/embed/eKDZx-0EQyg" width="400"></iframe></span></div>
CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-37906086801025325762014-12-28T12:34:00.002+00:002014-12-28T12:47:45.543+00:00THE LIST... the take on the films of 2104<div class="MsoNormal">
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">End of the
year, end of the watch list! I’ve been busy as hell this year and a lot of
valuable video time has gone to waste… I only managed to catch a couple of
hundred movies in 2014 which may be the least films I’ve seen I aeons. But I’ve
finally gone trough all my notes and lists of stuff watched and now it’s time
to pick out the pearls amongst the mass of stuff enjoyed through out the year.
I’ll start out with a couple of runner-ups.<span style="mso-spacerun: yes;">
</span>Stuff that was good, but didn’t really make the cut because I told myself
that I had to make a list that was a top ten not the usual 20plus titles… Ok,
it will be twenty plus at the end of this, but clearly broken into runner ups, disappointments
and the top ten. Are you sitting comfy? Here we go:<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Lets start
off with a few titles that didn’t make the top ten cut, BUT definitely where on
the list and fought bravely for being slotted into the top ten.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Guest</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Adam
Wingard and Simon Barrett just get better and better for each movie they make.
They often find a great way to bring a good quirk to their stories and create
some solid characters to empathize with along the way. The Guest is no
exception. A family in the vacuum of loosing their son tries to go about their
everyday life whist falling apart at the seams when a guy walks in off the
street and claims that he knew their dead son… and so begins the making things
better part of the story, or does it? <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">In my book
The Guest is a horror version of Pasolini’s Teorema – which also inspired
Takashi Miike’s mind-blowing Visitor Q – this time the mysterious Guest [Dan
Stevens from Downtown Abbey in a great breakout performance] arrives at the
“dysfunctional” home makes friends with them all on personal levels bringing
insight and leading them to better places…<span style="mso-spacerun: yes;">
</span>but in The Guest we end up with a neat twist that Wingard and Barrett
bring to the piece. The Guest is a lot more than just a mysterious visitor
there to help them out, and once his secret is out of the bag all hell breaks
loose. Great supporting cast with Maika Monroe, Brendan Mayer, Leland Orser and
a fantastic soundtrack that made me dig out my old Front 242, DAF, Sisters of
Mercy and Love and Rocket’s LP’s.<o:p></o:p></span></div>
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<a href="http://4.bp.blogspot.com/-u8Sqnt_VyM8/VJ_1eJz6UJI/AAAAAAAAOfk/ldmtU2QCle0/s1600/_ORIGINS.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://4.bp.blogspot.com/-u8Sqnt_VyM8/VJ_1eJz6UJI/AAAAAAAAOfk/ldmtU2QCle0/s1600/_ORIGINS.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">I Origins</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Ok, so
technically not a horror movie – and I do tend to primarily watch genre cinema
-<span style="mso-spacerun: yes;"> </span>also with me being a total atheist
this is an odd movie to make the cut. </span>It’s
basically about the age-old Science Vs. God debate told through the life of
molecular biologist Ian [Michael Pitt] and the shit that happens to him. But, the
story arc and final moment really pulled it all together in an excellent way.
To be honest I Origins invites you have to think things over. Sure, it’s a way
bit to long, but it’s a fantasy and a pretty charming movie no matter what you
believe in. It kind of got to me in a stupid silly way and made me think, “this
is a film I can watch with the wife”. Although in hindsight I’m pretty
convinced that she’d find it boring and dumb, and perhaps the movie shouldn’t
have been on here either, but damn it man, it did move me and that’s something that
you can’t ignore as it’s a key part to the magic of cinema.</div>
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<a href="http://2.bp.blogspot.com/-a_tS2z0Ovg4/VJ_1cX77DcI/AAAAAAAAOfM/mPd5KlOft_I/s1600/_EXIST.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://2.bp.blogspot.com/-a_tS2z0Ovg4/VJ_1cX77DcI/AAAAAAAAOfM/mPd5KlOft_I/s1600/_EXIST.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Exists</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Weirdly I
usually say that I’m not much of a fan of Found footage… But then again each
year I seem to be watching a fair deal of found footage… Some is good some is
real crap. Then there’s Bigfoot and found footage… kind of like peanut butter
and jelly sandwiches, they just go soooo well together. Now Bigfoot and found
footage have almost been done to death this year. Bobcat gave it a good shot
with Willow Creek, and Existence started out with a Bigfoot theme, but none
match up the grandness of Eduardo Sánchez Exists. Perhaps no shock considering
that Sánchez and Daniel Myrick more or less made the found footage genre what
it is with the magnificent Blair Witch Project fifteen years ago.<span style="mso-spacerun: yes;"> </span>Basically it plays out just like most found
footage Bigfoot flicks do, a bunch of kids venture into the woods with handheld
cameras to shoot a faux documentary and end up getting much more than they
bargained for, but Sánchez pulls it off so well that it becomes a real rush of
adrenaline as they struggle for survival in the tight confinement of that cabin
in the woods, and brings a twist to it that makes everything that has happened
justified!<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<a href="http://1.bp.blogspot.com/-BtgY-q25lhI/VJ_1iCmVpkI/AAAAAAAAOgg/YiKUkzp1ZeA/s1600/_TUSK.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://1.bp.blogspot.com/-BtgY-q25lhI/VJ_1iCmVpkI/AAAAAAAAOgg/YiKUkzp1ZeA/s1600/_TUSK.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">TUSK</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">A cynical
hipster podcast host [Justin Long] takes a trip up to Canada in search of a
story about an unfortunate YouTube phenomenon star, whom he obviously intends
to taunt even further on his show. Although fate intervenes and Wallace finds
himself caught up in a completely different kind of nightmare as he encounters
Michael Parks Howard Howe instead. If you thought that Kevin Smith’s TUSK was a
bad movie then my analysis is that you completely missed that this is a Kevin
Smith film. Much more than the excellent Red State, TUSK is a Kevin Smith film
and personally I’d even go as far as saying that it’s part of the world that the
entire back catalogue of early independent gem’s belong to. I totally would
have bought Jay and Silent Bob loitering outside the Canadian quickie mart
where Smith & Depp’s daughters – subjects of the next installation of this
promised Canadian horror trilogy – stand behind the counter in a neat nod at
Clerks. Filled with the wittiness and fast dialogue that I seek out Smith’s
films for, TUSK is undoubtedly the horror version of what goes on in Smith’s
ViewAskewniverse. Perhaps Depp over did it, but when doesn’t he? Then again in
the universe I place it in, it’s ok and I’m eagerly looking forward to the
other parts of the series.</span></div>
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<a href="http://4.bp.blogspot.com/-freV7gO-99I/VJ_1csc4EWI/AAAAAAAAOfQ/MJUhQnvucOU/s1600/_FOLLOWS.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://4.bp.blogspot.com/-freV7gO-99I/VJ_1csc4EWI/AAAAAAAAOfQ/MJUhQnvucOU/s1600/_FOLLOWS.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">It Follows.</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">It Follows
is basically about a sexually transmitted disease that works like the curse
from The Ring or a deadly game of tag. Once you are smitten an entity that can
take on the form of any other human being will follow you until it catches up
with you and kills you. After what at first seems like an innocent sexual
encounter, Jay [Maika Monroe – in he second great part along side The Guest
this year] becomes the prime target of the entity and spends the rest of the
film trying to avoid the stalking entity that is following her. David Robert
Mitchell’s It Follows a fantastic low-key body-horrorish ominous movie to say
the least. Music, cinematography and a lot of the vibe of It Follows simply
oozes the same atmosphere as those created by Carpenter and Cronenberg in their
early eighties flicks. A highly entertaining alternative to the all in horror
shock and gore fests.<o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-SUtpoTar8HU/VJ_1ZLf1fyI/AAAAAAAAOeg/-7x424LOBYM/s1600/_ASABOVE.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://1.bp.blogspot.com/-SUtpoTar8HU/VJ_1ZLf1fyI/AAAAAAAAOeg/-7x424LOBYM/s1600/_ASABOVE.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
<div style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">As Above, so Below</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">… more found
footage… This one was like Indiana Jones or Lara Croft in deeper shit that
they’ve ever been. Not the most original idea ever, but hey use the Paris catacombs,
mystic cults, ancient secrets and I’m there. It’s claustrophobic, intense and
damned entertaining, this year’s version of The Descent. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<a href="http://2.bp.blogspot.com/-16hrm1wElJk/VJ_1bgu4aEI/AAAAAAAAOfE/wylRVc6oMBo/s1600/_DANZA.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-16hrm1wElJk/VJ_1bgu4aEI/AAAAAAAAOfE/wylRVc6oMBo/s1600/_DANZA.jpg" /></a><b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Dance of Reality.</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Alejandro
Jodorowsky. Love him. Love his films. Just the basic fact that at the grand age
of eighty-five he still has the power to bring his surreal magic to the screen
is mind-blowing. Much like his other works The Dance of Reality mixes a surreal
imagery, Jodorowsky philosophy and the somewhat dark kind of melancholy his
films always have to a metaphorical autobiography told in only the way
Alejandro Jodorowsky could tell it.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-HWB_zvDVkog/VJ_1dytEuPI/AAAAAAAAOfg/lPCIHRvMGoQ/s1600/_OCULUS.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://2.bp.blogspot.com/-HWB_zvDVkog/VJ_1dytEuPI/AAAAAAAAOfg/lPCIHRvMGoQ/s1600/_OCULUS.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Oculus</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Mike
Flanagan’s follow up to the magnificent Absentia. I was craving this flick since
I heard that Karen Gillian, who fell into a pretty dull loop on Doctor Who but
who really made good here in this, was gong to be in it. Trying to prove that
her brother was innocent of murder he’s convicted for, Kaylie [Gillian] tries
to lure out the supernatural force she believes to be guilty out of an old
possessed mirror. Ironically it’s sees Gillian in completely different take on time
travel and parallel universes. Here it’s the dark tone, grim use of parallel
worlds and mind fuckery – kind of in the same tone that the original nightmare
on Elm Street was when you never really knew what was real and not - that will
keep you on the edge of your seat. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Paranormal Activity: The Marked Ones</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Again…
found footage, and the fifth part of a franchise that should have been put to
rest way back. Also a movie that a lot of people hated, BUT Christopher Landon’s entry actualy brought a
freshness to the story and manages to wrap up some of the loose ends that the
serial has left in its wake… even the very first smash hit episode.<span style="mso-spacerun: yes;"> </span>Well played sir. Now let’s just let it all
rest as this part bookends it all together nice and tight.<o:p></o:p></span></div>
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<a href="http://2.bp.blogspot.com/-69zrygqWwoo/VJ_1dlWkTFI/AAAAAAAAOfc/nMNQ6QDRWhE/s1600/_LFO.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://2.bp.blogspot.com/-69zrygqWwoo/VJ_1dlWkTFI/AAAAAAAAOfc/nMNQ6QDRWhE/s1600/_LFO.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">LFO – The Movie</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">A Swedish
sci-fi dark comedy hybrid unlike anything else ever made over here. A bloke who
is experimenting with mind controlling audio waves on an amateur level suddenly
realises that he’s actually succeeded in his tampering. Becoming something of a modern prometheus, he quickly starts to misuse his ned found power… but playing God always
has a price. Possibly a tad on the long side, but funny as hell, truly impressive and really
well made, showing that indie cinema in Sweden is thriving. (Oh, and I know a
great last moment gag that cold have been added to leave the audience with a last
laugh)<o:p></o:p></span></div>
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<a href="http://3.bp.blogspot.com/-zql2PxP5g5Y/VJ_1Zte8kWI/AAAAAAAAOek/5B2TTVlFn-o/s1600/_BABADOOK.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://3.bp.blogspot.com/-zql2PxP5g5Y/VJ_1Zte8kWI/AAAAAAAAOek/5B2TTVlFn-o/s1600/_BABADOOK.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Babadook</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I can’t say
that The Babadook stood up to all the hype of being the best horror film of the
year, but it had some really good moments and it’s definitely a cool flick.
Although the thing that bugged the hell out of me is that this movie is all
about frail and emaciated mom [Essie Davis] and her struggle with the Babadook
when it should have been about that kid that nobody wants’ to play with because
he’s weird… To me it’s obvious that the kid has autism! It’s never said or
discussed, and probably not even part of the narrative or backstory even. But
that for me was an area that I definitely would have dug into for something
unique instead of being a new take on the otherwise rather traditional “haunted
totem entering an unfortunate victims world” story that it basically is. But it
works and it looks great and if you aren’t part of that Babadook popup book
kick-starter then shame on you. Anyways it’s a movie I will be revisiting at
some point and I’ll definitely be looking forward to see what Jennifer Kent
comes up with next. <o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-wWLbLgwIJks/VJ_1dM0saLI/AAAAAAAAOfU/-HESj51sWiw/s1600/_GODZILLA.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://1.bp.blogspot.com/-wWLbLgwIJks/VJ_1dM0saLI/AAAAAAAAOfU/-HESj51sWiw/s1600/_GODZILLA.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Godzilla</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Yeah, now
you would expect me to put Godzilla on the big ass top ten list. But never mind
how much I enjoyed Gareth Edwards big ass take on Gojira, it never really
rocked it that bad as I wished it to. Good movie, great effects, but you know
what… not enough Kaiju! For me the Kaiju part of Kaiju is watching apparent men
in rubber suits break miniature models up, and there’s only one real REAL Kaiju
felling scene in Edwards Godzilla, and that’s when the lead family’s kid
watches Godzilla fight Muto in the oil refinery on the news cast. A big ass
wide shot of mayhem. That’s the ticket. But I’ll still go check out the sequel
and cant hardly wait for TOHO to bring out their new adaptation of the king of
monsters. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[more of my
thoughts on <b><a href="http://cinezilla.blogspot.se/2014/05/godzilla.html" target="_blank">Godzilla</a></b> here]<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Before I
unleash the unravelling of my personal top ten films of 2014, let’s take a
moment to mention a few disappointments… and why they where disappointments. <o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-l0q-IQRZCR8/VJ_1hzopPSI/AAAAAAAAOgY/QUwkEvuxCSU/s1600/_STRANGE.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://1.bp.blogspot.com/-l0q-IQRZCR8/VJ_1hzopPSI/AAAAAAAAOgY/QUwkEvuxCSU/s1600/_STRANGE.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Strange Tears of your Body’s tears</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I really
wanted this to be better. I really did. Yes, it has some moments that are
totally fantastic, like the old woman and the hole in the ceiling – OMFG!
Moving away from the Giallo territory and into a darker Suspria/Inferno kind of
real, the movie could have been epic. But what I found to be a real let-down
was that the final act see’s the fantastic visuals left behind only to become
the simplistic style that Cattet/Forzani used in their early short films. It
kind of made me feel as they lost interest and simply just wrapped it all up
quickly. I’m not saying that they did, but that’s how I felt when seeing The
Strange tears of Your Body’s tears. Perhaps a bit harsh being on the
disappointment side of the list, but you know the more I think of it the more
that last act bugs me, because it was all so perfect up to that point.<o:p></o:p></span></div>
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<a href="http://2.bp.blogspot.com/-29XI1ONlafs/VJ_1ewHE3QI/AAAAAAAAOfw/ow-qRlXCxlQ/s1600/_SACRAMENT.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://2.bp.blogspot.com/-29XI1ONlafs/VJ_1ewHE3QI/AAAAAAAAOfw/ow-qRlXCxlQ/s1600/_SACRAMENT.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Sacrament</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">So yeah, Ti
West’s The Sacrament. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">A
documentary crew ventures into the jungle to rescue the camera mans sister from
a religious cult lead by the mysterious “Father” [Gene Jones]. Said and done,
let the rescue operation set off and let’s watch it all go to hell…<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I loved the
way West set this one up. The VICE Documentary team approach was brilliant, and
I watch a lot of VICE documentaries so I can easily say that he checked off all
the boxes there. Acting is great, Jones makes a fantastic subtle menacing
leader, Joe Swanberg and AJ Bowen do their thing on the dot, but the thing that
I feel lets it all down completely is that it’s all been done before! Yes
several times. Rene Cardona Jr. made his dramatization of the Jonesville
Massacre, Guyana Cult of the Damned merely a few months after it actually
happened back in 1978 so why didn’t West do something more with it? Sure great
acting and he certainly creates that kind of tense atmosphere that I love in
West’s films… but he brings nothing to it what so ever. Instead it’s almost
like an updated version of all those earlier adaptations all the way through
but shot with a found footage perk… and when the found footage material ends up
looking just like the actual shaky news team footage of the actual incident it
kind of just get’s boring. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">[More of me
on <b><a href="http://cinezilla.blogspot.se/2014/05/the-sacrament.html" target="_blank">The Sacrament </a></b>here]<o:p></o:p></span></div>
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<a href="http://2.bp.blogspot.com/-RoANnXevZAY/VJ_1gnwR7gI/AAAAAAAAOgI/pzvx8B4ZQgo/s1600/_ANNABELLE.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://2.bp.blogspot.com/-RoANnXevZAY/VJ_1gnwR7gI/AAAAAAAAOgI/pzvx8B4ZQgo/s1600/_ANNABELLE.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Annabelle</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Zzz…. For
real, I watched this movie, at half past two at night, as I spent the night in
an abandoned museum. A museum with a so-called 100% ghost… but nothing scary
happened, neither in the museum with it’s guaranteed haunt or this lame sleeper
of a movie. Damn it my washing basket is creepier than this one was. Perhaps
all those French riots at the initial screenings where due to the fact that the
audience got so fucking bored that punching their seat neighbor was more rewarding
that the movie. Re-watch The Conjuring instead and read Gerald Brittle’s The
Demonologist if you want more of Ed and Lorrain Warren themed horror.<o:p></o:p></span></div>
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<a href="http://3.bp.blogspot.com/-VcKo85A435Y/VJ_1g549T2I/AAAAAAAAOgM/82sIYHbQfaA/s1600/_SOUL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://3.bp.blogspot.com/-VcKo85A435Y/VJ_1g549T2I/AAAAAAAAOgM/82sIYHbQfaA/s1600/_SOUL.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Soulmate.</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I’m always
interested in seeing what female genre directors come up with, because in a way
some of the greatest horror films, the real creepy and emotional ones – which
horror really should be about, any one can gross you out with a few blood props
– are made by women. So going into Axelle Carolyn’s debut feature and hearing
that she’s married to Neil Marshall – who’s The Decent is a pretty sturdy piece
of feminist horror – made me really enthusiastic… but that enthusiasm wore off
pretty quick.<span style="mso-spacerun: yes;"> </span>The biggest let down was
that Soulmate built a great atmosphere around the story of harrowed, depressed
and clearly suicidal Audrey [Anna Walton] taking to isolation in an attempt to
find herself anew after the tragic death of her husband. After a few dark gloomy
nights isolated from everything and everyone but the nosey not to close neighbor
Theresa [Tanya Myers] she realizes that she’s rented a house inhabited by a
ghost… But that interesting subplot of the dead husband – and all the possibilities
of messing around with the great storytelling tool of guilt got dropped along
the way and the whole thing ended up turning into a silly Mills and Boon love
story that even made Jerry Zucker’s Ghost look like a horror film. Total waste
of a well crafted first act only to be tossed away completely. An opportunity
completely wasted in my opinion.<o:p></o:p></span></div>
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<a href="http://4.bp.blogspot.com/-Ry0aAiZtzrU/VJ_1bDinnEI/AAAAAAAAOfA/q5exZeQEsK0/s1600/_COLD.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://4.bp.blogspot.com/-Ry0aAiZtzrU/VJ_1bDinnEI/AAAAAAAAOfA/q5exZeQEsK0/s1600/_COLD.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Cold in July.</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jim Mickle,
he’s made some pretty cool movies so far, and Cold in July unfortunately may be
his least interesting one. Apparently Cold in July was the movie he wanted to
make straight after Mulberry Street, but it ended up in development hell and he
made Stakeland and We Are What We Are in-between instead. So with leverage to
his name, he got to make the movie he wanted to make finally. Cold in July. But
I found it rather blunt and without any kind of character development at all,
not really all that exciting either… and to be totally honest, Michael C Hall
really is a pretty dull actor. Everything I see him in he plays the exact same
kind of character. But with that said, Mickle also mentioned that this is his
homage to cool eighties stuff like Denis Hoppers The Hot Spot and in that
context, with the great supporting cast of Don Johnson and Sam Shephard, Cold
in July makes an entertaining movie but nowhere near the grandeur of his other
pieces as it left me kind of “meh” and somewhat disappointed. <o:p></o:p></span></div>
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<a href="http://4.bp.blogspot.com/-KMwBH6UO6zg/VJ_1iiOA_DI/AAAAAAAAOgs/UixmMeT2-2k/s1600/_VHS.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://4.bp.blogspot.com/-KMwBH6UO6zg/VJ_1iiOA_DI/AAAAAAAAOgs/UixmMeT2-2k/s1600/_VHS.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">V/H/S Viral</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The first
one was a fun gimmick, but I hated the wraparound. The second one had a solid wraparound and one of the most intense segments ever to be found in an anthology horror
with Gareth Evans tour de force Safe Heaven. Somewhere along the way it had to
run out of steam and I kind of think that this third installment brings it to
that point. Nacho Vidalongo’s Parallel Monsters make it all worth the while,
Benson & Moorhead’s Bonestorm is fun but just like all skateboard video’s
it goes on for way to long… I wanted the intensity to be out there over the
top, but the wraparound was a real disappointment and in a lot of ways it’s just
running on routine. Let me know when they make a V/H/S with all female
directors instead, and I’ll give it another shot. Until then I think that
Anthology movies have just about overstayed their welcome. That goes for <b style="mso-bidi-font-weight: normal;">ABC’s of Death 2</b> too. With that said both
films are certainly popcorn flicks, a few cool moments, some laughs and a
decent way to waste a few hours without investing in characters or story.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Okay, so
that’s the runner-ups and the disappointments out of the way. Here we go with
the top ten films of 2014:<o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-l0UPVnNAgg8/VJ_1cAoDxAI/AAAAAAAAOfI/jAjUQP8HC3k/s1600/_DUNE.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://1.bp.blogspot.com/-l0UPVnNAgg8/VJ_1cAoDxAI/AAAAAAAAOfI/jAjUQP8HC3k/s1600/_DUNE.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">10. Jodorowsky’s Dune</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Nicholas
Winding Refn once told how he spent an evening with Alejandro Jodorowsky as he
talked him through the storyboarded visuals that where intended to be
Jodorowsky’s adaption of Frank Herbert’s Dune… Then Frank Pavich made the
ultimate documentary version of Jodorowsky talking us through his vision. Need
I say anymore? A visual gem and an epic documentary about the greatest sci-fi
movie never made.<o:p></o:p></span></div>
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<a href="http://3.bp.blogspot.com/-loRYS1bdk8I/VJ_1hG7G7qI/AAAAAAAAOgQ/6L43RwHRy2M/s1600/_SPRING.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://3.bp.blogspot.com/-loRYS1bdk8I/VJ_1hG7G7qI/AAAAAAAAOgQ/6L43RwHRy2M/s1600/_SPRING.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">9. Spring</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I caught
this at a “secret invites only “ hush-hush screening one night a few months ago. Wrapped
up in so much secrecy that I had Eyes Wide Shut flashbacks in my head I went in
with no expectations what so ever. Moorhead and Benson impressed me with their
low key Resolution a few years back so sure I’m game for a movie that they
described as “Love-Horror-Cthulhu-kinda thing” </span>Yes, that’s exactly what it was.
Evan [Lou Taylor Pucci] bails on his miserable life in the states and heads off
to Italy for some time out. In a small seaside village he encounters the
mysterious Louise [Nadia Hilker] and becomes obsessed with her. But she’s
merely playing with him and gradually her dark secret starts to become exposed…
a secret that Evan never could have seen coming.</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">“Love-horror-Cthulu-kinda
thing” is a perfect description of Spring. A movie that takes it’s time to tell
it’s tale, builds a great suspense and pays off in the finale. </span>But it’s also a
story about the characters, and that’s what I really liked about it. It would
have been so easy to go all Lovecraft and creepy and over-the-toppy, it plays
it cool as hell and slowly shifts into the secrets of the mystic. Top Notch and
a movie I can’t wait to see again. Oh, did I mention the tentacles?</div>
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<a href="http://3.bp.blogspot.com/--LfknQYNYuk/VJ_1ZDEOxjI/AAAAAAAAOec/t-uLnvU_hQo/s1600/_ALLELUIA.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://3.bp.blogspot.com/--LfknQYNYuk/VJ_1ZDEOxjI/AAAAAAAAOec/t-uLnvU_hQo/s1600/_ALLELUIA.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">8. Alléluia</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gloria
[Lola Dueñas], who washes corpses at the morgue, lives alone with her young
daughter. Her friend convinces her to go out on a date after surveying the
online date service she’s subscribed to.<span style="mso-spacerun: yes;">
</span>Off the bat we’re shown that Michel [Laurent Lucas] has got issues and
we expect the worst. But despite this Gloria goes on her date and falls madly
in love with Michel… so much that she accepts all his faults and becomes
manically possessive as they take us on a trip of darkness, despair and death. This is a dark decent into the human mind and a story of deadly obession with all the quirks that you'd expect from DuWelz.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Okay, so I
was honoured to be on the Méliès jury during the Twentieth Lund International
Fantastic Film Festival this year, and amongst the contending films that the
jury and I got to watch and decide which one we wanted to send to the grand
finale in Sitges was Fabrice Du Welz's Alléluia. Amongst the bunch of films we
got to watch, this one and another where the two that made us sit for almost
two days and debate back and forth which of them where the better film. At the
end of our deliberation we came to the decision that both where fantastic films
and that they both could win. We ended up sending Alléluia due to the fact that
the character arcs where superb. Going from one end of the spectra as frail
victim to powerful aggressor and shifting the characters positioning completely
along the way made this a fantastic and truly disturbing piece of genre cinema.
<o:p></o:p></span></div>
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<a href="http://2.bp.blogspot.com/-8BjDfNX19S8/VJ_1hgL2VYI/AAAAAAAAOgU/ssiM65dYhlE/s1600/_STARRY.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://2.bp.blogspot.com/-8BjDfNX19S8/VJ_1hgL2VYI/AAAAAAAAOgU/ssiM65dYhlE/s1600/_STARRY.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
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<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">7. Starry Eyes</span></b></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Oh Fucking
Yes. The programmer and El Generalisima of Stockholm based genre festival
Monsters of Film told me that this was one of her favourite films early this
year. It took me forever to finally check it out, and boy what a great movie! Sarah
[Alex Essoe] dreams of stardom and celebrity in Hollywood, but hanging out with
her hipster friends and pushing chips at a quick food joint isn’t getting her
anywhere. When she goes to a casting for Astraeus Pictures new film “The Silver
Scream” she find’s a possibility to break out… but success has its price!<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Starry Eyes
is a female Faust-tale with a fantastic spin to it. Remember a few years back when
retro-eighties style horror was all the range? Remember great classics like
Micheal Winner’s The Sentinel? Well I found Starry Eyes to be very much in the
vein of seventies occult movies and it definitely felt like one of them. I
loved the way the story moves forth in a “less is more” approach only to
deliver the goods in the final act. Dark, brooding and diabolically delicious. <o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-Fr8Ap2A5vmI/VJ_1iIjjy3I/AAAAAAAAOgo/npwAKX_K8mo/s1600/_SWEEtMEMORY.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://1.bp.blogspot.com/-Fr8Ap2A5vmI/VJ_1iIjjy3I/AAAAAAAAOgo/npwAKX_K8mo/s1600/_SWEEtMEMORY.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
<div style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">6. A Record of Sweet Murder</span></b></b></div>
</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Kôji
Shirashi kicked ass with the tour de force Grotesque a few years back. Here
he’s teamed up for a South Korean co-production about a serial killer who
kidnaps a journalist only to tell her the story of how he through secret hidden
messages has discovered a way to bring their dead childhood friend back to
life. Two things really stand out with A Record of Sweet Murder. First was that
the initial third of the movie, it mainly uses the South Korean cast and the
feeling is primarily that of the great South Korean thrillers of later years. In
the second act two Japanese actors enter the narrative and the movie becomes
very much a bad-ass Japanese toned piece only to see the two distinct styles
fuse together as it pushes forth to the violent climax. The second being that
just like that detail a lot of critics missed with Grotesque – the arc sshowing
the two characters finding happiness despite their terrifying ordeal – is also
present in A Record of Sweet Murder. Shirashi is masterful in his way of
writing dark grim stories with a strong positive reliever at the end, without
them being silly traditional quick fixes, that is. He takes his characters to
hell and back and leaves them in good places as a reward for the torment they
have experienced. <o:p></o:p></span></div>
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<a href="http://3.bp.blogspot.com/-lcSxii29X6o/VJ_1a3FYe1I/AAAAAAAAOe4/JWjHtdpJWoo/s1600/_CANAL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://3.bp.blogspot.com/-lcSxii29X6o/VJ_1a3FYe1I/AAAAAAAAOe4/JWjHtdpJWoo/s1600/_CANAL.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
<div style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">5. The Canal</span></b></b></div>
</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">With
Alléluia out of the way, let’s talk about the second film that gave us such a
hard time making a jury decision. FUCKING HELL! Before I went in to see this
film I had the pleasure of talking with writer/director Ivan Kavanagh and
imagined that I kind of knew what sort of film this would be. He also
introduced the movie by saying that it was inspired by the ghost stories his
granddad used to tell him as a child… see, you kind of have an idea what you’re
about to see. But wrong. The Canal tells the story of cinema archivist
David [Rupert Evans] who starts to suspect his wife Alice [Hannah
Hoekstra] is being unfaithful to him. Slowly but surely his suspicions get the
better of him and he follows Alice one night… and so begins the nightmare! It
had me jumping, it had me squirming and it definitely managed to push buttons
that I thought where hardened to death ages ago. Unpredictable at times, and
sometimes you catch up with it only to be side-tracked by the sneaky narrative
which builds up to an amazingly mind fucking finale. Kavanah’s The Canal is unarguably
the most frightening and cunning film in decades. <o:p></o:p></span></div>
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<a href="http://3.bp.blogspot.com/-eWWiVJEUuEg/VJ_1fpnBU-I/AAAAAAAAOf4/jbiNgD6_kQI/s1600/_SAMURAI.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://3.bp.blogspot.com/-eWWiVJEUuEg/VJ_1fpnBU-I/AAAAAAAAOf4/jbiNgD6_kQI/s1600/_SAMURAI.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
<div style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">4. Der Samurai</span></b></b></div>
</div>
<div class="MsoNormal">
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">YES! Till
Kleinert’s low-key, brooding, alternative take on genre horror Der Samurai is a
great film. Telling the story of a small village cop who finds himself face to
face with a cross dressing menace wreaking havoc in the small village filled
with all its prejudice and uptight mentality. The first time I watched this
film it left me with the biggest smile on my face. Even so the first two times
I watched it with an audience at festivals. Brooding, smart and a great way to
discuss sexual identity without being right in your face in the traditional way
that often tends to be with films that want to discuss these kind of topics.
Great acting, splendid visuals and a movie so fantastic that we ended up buying
the rights for Sweden for the distribution company I’m part of. Easily one of
the best films during 2014 and a movie I saw a half dozen times without it
loosing any of its potency throughout the viewings. I actually liked it so much that we bought the Swedish rights for our distribution company Last Exit Entertainment, so keep your eyes open for a superb swedish release with interviews commentary tracks and loads of extras coming at the end of January.<o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-T2KE4P8JxpM/VJ_1aBsLMSI/AAAAAAAAOe0/71h1wZ2rh7A/s1600/_BATTERY.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://1.bp.blogspot.com/-T2KE4P8JxpM/VJ_1aBsLMSI/AAAAAAAAOe0/71h1wZ2rh7A/s1600/_BATTERY.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
<div style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">3. The Battery</span></b></b></div>
</div>
<div class="MsoNormal">
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Ben [Jeremy
Gardner] and Mickey [Adam Cronheim] are two blokes moving from spot A. to …
well wherever the road takes them as long as they stay one step ahead of the
living dead. Fantastic little low-budget zombie film that just goes to show
that low budget doesn’t mean that it has to look like shit. Great characters,
solid acting, cool soundtrack, great simple story – staying alive and how to go
about it<span style="mso-spacerun: yes;"> </span>- without all the bullshit conventions
that Zombie horror has grown into. Imagine the walking dead goes hipster, and
then you have The Battery, the most interesting take on the zombie apocalypse
this year. <o:p></o:p></span></div>
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<div class="MsoNormal">
<a href="http://4.bp.blogspot.com/-dr-7qbhbmyY/VJ_1gRN0MtI/AAAAAAAAOgE/4sMeIoisq8I/s1600/_SKIN.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://4.bp.blogspot.com/-dr-7qbhbmyY/VJ_1gRN0MtI/AAAAAAAAOgE/4sMeIoisq8I/s1600/_SKIN.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
<div style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">2. Under the Skin</span></b></b></div>
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<div class="MsoNormal">
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Low key
Sci-fi shot guerrilla style with amateur actors… oh, did I mention that Scarlet
Johansen was in it? Johansen is an alien life form (one of three) walking the
streets of Glasgow, Scotland, preying on horny men she brings back to her flat
only to have them submerge into a dark matter. Weird? Yes it is, and the whole
movie is weird and almost meditative without ever getting dull. Johansen is
magnificent, the cinematography is fantastic and the story mind-blowing. The eerie score by Mica Levi
stayed in my head for days along with that truly disturbing and shocking climax
that made it a superb unexpected and fascinating piece of cinema.<o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-LL0GSqma0bw/VJ_1aQr-SYI/AAAAAAAAOew/8b2WVGKv7X4/s1600/_BLUE.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" src="http://1.bp.blogspot.com/-LL0GSqma0bw/VJ_1aQr-SYI/AAAAAAAAOew/8b2WVGKv7X4/s1600/_BLUE.jpg" /></a><b style="mso-bidi-font-weight: normal;"></b><br />
<div style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">1. Blue Ruin</span></b></b></div>
</div>
<div class="MsoNormal">
<div style="text-align: justify;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Hands down
my favourite film this year. Technically not a horror film, but a damned fine
study of the human psyche and how violence merely breeds more violence and that
just end up being shit for everyone! Dwight, [Macon Blair in a stellar
performance] a down and out recluse, has a story to tell. Not being a man of
conflict he took to the road and hiding since a terrible incident shattered the
life he had previously. But when the man responsible for all the pain and
anguish is released from prison, Dwight sees his chance to settle the score and
take his revenge… The sheer power of this movie as Dwight goes from amateur
assassin to rage driven machine of death, albeit with a clear vision of justice,
is magnificent. This is an avenger to feel for, suffer with and cheer on. Which
make the best kind of avenging protagonists ever. This is humanity at work, the
kind of motivations and driving forces that make us shake our heads and wonder
what led to this. The kind of characters who the neighbours say “Oh but he was
such a calm and good guy” about, the kind of movie making that stands out and
leaves dints in the otherwise pretty bland niche of revenge movies. This one is
a gem, a gem that totally floored me completely.<o:p></o:p></span></div>
</div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jeremy
Sauliner previously made the splatter comedy Murder Party, a rather silly but
entertaining piece, so for him to follow Murder Party with this outstanding
piece, easily makes him my top director to keep tabs (yeah, he’s already at it
with Green Room which sounds to be great too) on and with that said I sincerely
urge you to go check out Blue Ruin, the best genre film of 2014. <o:p></o:p></span></div>
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CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-3383234464945924852014-06-24T18:28:00.002+00:002014-06-24T18:28:43.660+00:00Faust 2.0 <!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="text-align: justify;">
<i>Directed by: Robert Selin/ Nicolas Debot / Johannes Pinter /
Allan Gustafsson / Micke Engström<o:p></o:p></i></div>
<div class="MsoNormal" style="text-align: justify;">
<i>Horror/anthology, 79 min<o:p></o:p></i></div>
<div class="MsoNormal" style="text-align: justify;">
<i>Sweden, 2014<o:p></o:p></i></div>
<div class="MsoNormal" style="text-align: justify;">
<i>Distributed by: Njuta Films</i></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
</div>
<div style="text-align: justify;">
Almost every review you read on contemporary Swedish
horror film will start by telling you how rare Swedish horror is. How there really
isn’t a genre scene over here, how the scene is almost non existing… But that’s
wrong! Its really just bullshit written by people who don’t know their head
from their ass, because if they actually did bother to yank their head out of
their constrained collective bungholes, they would see that Swedish horror has
never been more alive than it is today. Yeah, sure, a lot of them are still
really low budget, kind of on the cheap side and have a general confusion of
keeping the story tight, but mark my word. Someday soon someone will check all
the right boxes and Swedish horror will make its mark once again. Sure, it may
have been something of a rarity say fixe, six, seven years ago, but now there’s
almost an avalanche of horror flicks from Sweden rumbling dangerously down the
slope. And that is a great thing, because with the heightened competition,
filmmakers who want to get into the genre scene are being forced to up their
game and show some balls, storytelling skills and how to use their craftsmanship!
We’ve already seen some really great examples of ferocious, delicious and
minimalistic masterpieces this past decade and I don’t really see it stopping
any time soon. Just fucking bring it!</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
I’m not going to waste your time with listing horror films that have come out
of Sweden since <i>Thomas Alfredsson’s</i> <b>Låt den rätte komma in<i> (Let the Right one
In)</i></b> 2008, but instead I’m gonna barge right into <b>Faust 2.0</b> and give you the low
down on this spanking new anthology horror which is set to be released
domestically within a near future!</div>
<br /><o:p></o:p>
<div class="MsoNormal" style="text-align: justify;">
It’s a simple bang on the nail set-up, the Devil is
bemoaning the simplicity of men and women of today, and how easy it is to claim
their souls… with a simple “terms of acceptance”! You know that endless list of
conditions that you never read every time you update or install an application
or program for your smartphone or computer and cant be bothered to read but
just rapidly and instinctively hit the Yes button.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
</div>
<div style="text-align: justify;">
<b>Faust 2.0</b> is basic anthology horror done by the book, sharing
five stories, strung together by Old Nick himself (voiced by <i>Per Ragnar</i>) and
his deceptive plan to destroy the world through our obsession with our smartphones
and their applications. Although with that said I would have enjoyed a bigger
and more visual wraparound in the vein of Amicus horrors wraparounds instead of
the brief, but still effective approach taken here.</div>
<!--[endif]--><o:p></o:p><br />
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As always, anthology horror is a mixed bag, and with mixed
bags you find good and bad. I’m not here to spoil anything or even rate the
individual pieces. Instead I can appreciate the work put into this piece of
genuinely independent cinema. Again, the more people make movies, the more the game intensifies and people have to sharpen up. It's called natural selection, competition is good, and we won't fall into the <i>Bergman</i> trap a second time. (As in, everyone hailed <i>Bergman</i> and forgot all about the other really amazing filmmakers we had like <i>Widerberg, Mattsson, Halldof </i>to name a few<i>.</i>...) <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
The five stories are <i>Robert Selin’s</i> <b>Bad News</b> about a young
journalist in search of the perfect scoop – about the serial killer holding
Stockholm in an iron grip of fear – and discovers that she’s closer to that
scoop than she ever could have imagined.<span style="mso-spacerun: yes;"> </span><i>Johannes Pinter’s</i> <b>Inspirappition</b> about an author with a serious case of
writers block about to get more inspiration and insight into an alternative
life than he ever could have dreamt about. <i>Nicolas Debot’s</i> <b>See Alice</b> about the
dangers of online dating and fucking strangers in your hotel room. <i>Allan
Gustafsson’s</i> <b>Moral Call</b> featuring Ghosts, guilt and cooperate dirty work, and
the final piece <i>Micke Engström’s</i> <b>Nättrollets Diskreta Charm</b> (basically the
Discrete charm of the net troll) telling the story of a heartbroken woman who
get’s help to reclaim her life but ends up with much more than she bargained
for…<o:p></o:p></div>
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<br /></div>
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As you see all stories have the anthology trait, last moment
sardonic twist, a generally dark comedic tone to them all, and all woven
together by the presence of that damned app the unfortunate cast all find on their smartphones.
Being smartphones and constant updates, I really dig the collective title of
<b>Faust 2.0</b>, as all short entries indeed are using the same premise of Goethe’s
Faust, where a soul is sold in favor of gaining something the protagonist
desires. And you never sell your soul to the devil and liv to brag about it, so
<b>Faust 2.0</b> is a smart title. Well-done lads, especially since I know what the
working title was.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
In a nutshell; <b>Faust 2.0</b> is a rewarding showcase of low-key
horror, from a bunch of lads who obviously know what they are doing - and what
they can’t do on a limited budget. One could ask where the female indie
directors are in all this, because it would have been cool to see a woman’s
take on short form anthology horror once the hade the rules of their stories
decided – sell your soul, pay the price. Faust 2.0 is a collective piece, where
story is up front and the moral of mankind is questioned on more than one
occasion. <span style="mso-spacerun: yes;"> </span>What do you desire and what
price would you pay for it? There’s something for everyone here, you get
intrigue, jump scares, ghosts, drills to the head, explosions, vampires,
demons, serial killers and a few occasions of nudity if you’re seeking that
too.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Oh, and some really fucking great shots of Stockholm looking
beautiful at night!.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
You can keep up to date with Faust 2.0 and check out some
behind the scenes stuff on their facebook page here. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
https://www.facebook.com/fausttwopointzero<o:p></o:p></div>
<!--EndFragment-->CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com1tag:blogger.com,1999:blog-35812839.post-60459248517001799162014-05-17T08:08:00.001+00:002014-05-17T08:08:37.063+00:00Museo del horror
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<a href="http://4.bp.blogspot.com/-ohkt6caTwTM/U3cXst7JFII/AAAAAAAAOcE/j7XJ2c8k7m8/s1600/MUSEUMOFHORROR1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-ohkt6caTwTM/U3cXst7JFII/AAAAAAAAOcE/j7XJ2c8k7m8/s1600/MUSEUMOFHORROR1.jpg" height="300" width="400" /></a></div>
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<a href="http://1.bp.blogspot.com/-7UR0_jz1utk/U3cY-tW76rI/AAAAAAAAOdo/qXHrGuNm3i4/s1600/_MUSEO.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-7UR0_jz1utk/U3cY-tW76rI/AAAAAAAAOdo/qXHrGuNm3i4/s1600/_MUSEO.jpg" /></a></div>
<b>Museo del horror</b><br />
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<o:p></o:p></div>
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<i>Directed by: Rafael Baledón<o:p></o:p></i></div>
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<i>Horror, 1964<o:p></o:p></i></div>
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<i>Mexico, 84min</i><o:p></o:p></div>
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<br /></div>
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Classic! Yeah, <i>Rafael Baledón’s</i> <b>Museo del horror</b> is
undoubtedly a genuine piece of classic Mexican horror fare! This movie has it
all, and one I sincerely recommend you to seek out if you like old gothic
creepiness done with a Latin flair. <o:p></o:p></div>
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<br /></div>
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In the wake of the surprise success that <i>Chano Ureta’s</i> <b>El
monstro Resucitado <i>(The Resurrected Monster)</i></b> 1953, one of the very first mad
doctor/Frankenstein movies with exploitative scenes et all, and <b>La Besta and La
Bruja <i>(The Witch)</i></b> kind of a <b>Les Yuex sans visage <i>(Eyes Without a Face) </i></b>1960, predecessor, atmospherically laden
gothic horror with mad scientists threatening the world, became the name of the
game for Mexican low budget filmmakers. Amongst them the likes of <i>Chano Urueta,
Fernando Mendez, Federico Curiel, Miguel M. Delgado</i> and <i>Rafael Baledón.</i><o:p></o:p></div>
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<a href="http://2.bp.blogspot.com/-Hf2gOIJbclw/U3cXt6sZaxI/AAAAAAAAOcU/6pH-1kFg_dY/s1600/MUSEUMOFHORROR3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Hf2gOIJbclw/U3cXt6sZaxI/AAAAAAAAOcU/6pH-1kFg_dY/s1600/MUSEUMOFHORROR3.jpg" height="300" width="400" /></a>Where <i>Mendez, p</i>ossibly the finest of all Mexican horror filmmakers, would make a career for himself with films like
<a href="http://cinezilla.blogspot.se/2012/01/living-coffin.html" target="_blank"><b>El grito de la muerte </b><i style="font-weight: bold;">(The Living Coffin)</i></a>,<b> <a href="http://cinezilla.blogspot.se/2010/04/black-pit-of-dr-m.html" target="_blank">Misterios de ultratumba (Black Pit of Dr. M)</a></b>, both 1959, and his seminal goth pieces <b>El ataúd del vampiro <i>(The
Return of the Vampire)</i></b><i> </i>1958 and <b>El vampiro <i>(The Vampire)</i></b> 1957, so would also
Rafael Baledón, with a mixture of dramas, action and comedy movies. Although
it’s perhaps his horror themed movies like<b> El hombre y el monstruo <i>(The Man and
the Monster)</i></b> 1959, <b>Orlak, el infierno de Frankenstein <i>(The Hell of Frankestein)</i></b><i>
</i>1960 and <b>La malediction de la Llorna <i>(The Crying Woman)</i></b> 1963 that he will be
best remembered for. But without a doubt, I’ll be adding <b>Museo del horror</b> to
that list as of now.</div>
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<o:p></o:p></div>
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<a href="http://1.bp.blogspot.com/-JES_elDOojU/U3cXuKvfq5I/AAAAAAAAOcY/EKBSCMOaEI4/s1600/MUSEUMOFHORROR4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-JES_elDOojU/U3cXuKvfq5I/AAAAAAAAOcY/EKBSCMOaEI4/s1600/MUSEUMOFHORROR4.jpg" height="300" width="400" /></a>Supposedly <i>Baledón</i> once wanted to be a doctor, but due to
lack of funding, he started working with films instead. He started out as an
actor as he built a name for himself as a director. Although he continued directing,
he also worked as an actor through out his career. Perhaps this is something of
a key to the solid performances he get’s out of his cast, and the desire to be
a doctor his eye for details when it comes to the medical atrocities and
graphic moments of the grotesque he mastered in his string of horror stories.</div>
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<o:p></o:p></div>
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<b>Museo del horror</b> is gothic horror, with a dash of German
Expressionism, Mexican style, and done to perfection I must say. This is a
movie that is nothing less than a masterpiece!<o:p></o:p></div>
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<a href="http://2.bp.blogspot.com/-KGnCxE-z66g/U3cXssJ9lZI/AAAAAAAAOcI/_pgYNYPVEAM/s1600/MUSEUMOFHORROR10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-KGnCxE-z66g/U3cXssJ9lZI/AAAAAAAAOcI/_pgYNYPVEAM/s1600/MUSEUMOFHORROR10.jpg" height="300" width="400" /></a>A young woman walks dark shadowy streets. The shadows are
bold and stern, menacing. As she walks through the park, she’s kidnapped. Sparing
time, this is all done during the title sequence. The masked figure that
snatched her, takes her to his underground lair where she has molten wax poured
onto her screaming face… Pretty strong for 1964! The Police are stood clueless
as to where the young women of the city are disappearing. A classic newspaper
headline zoom-in explains that at least three young women have disappeared previously.
The manager of a wax museum, Luis [<i>Joaquin Cordero</i>, who you may recall from
<i>Julián Soler’s</i> <b><a href="http://cinezilla.blogspot.se/2014/01/panico.html" target="_blank">Pánico</a></b>] guides tourists around his exhibit of female Opera
characters and ecstatically explains about two empty places where the missing
pieces are to be created by his own hands within a near future. At the same
time the police are trying to figure out the latest kidnapping, and just a few
blocks away from them Dr Raúl [<i>Julio Alemán</i>] is performing some odd kind of
experiment. No slow sludge, here Baledón moves at fast pace and establishes a
grand gallery of characters that will be the leads of this piece. Within a few
minutes we’ll see Dr Raúl lift a head out of formaldehyde in a true moment of Mexican
shock cinema, and Baledón proves that he’s going for the jugular with this one.</div>
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<o:p></o:p></div>
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<a href="http://4.bp.blogspot.com/-QnN6qh1burk/U3cXtTI1rNI/AAAAAAAAOcQ/drbcHziY2ag/s1600/MUSEUMOFHORROR2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-QnN6qh1burk/U3cXtTI1rNI/AAAAAAAAOcQ/drbcHziY2ag/s1600/MUSEUMOFHORROR2.jpg" height="300" width="400" /></a>Basically <b>Museo del horror</b> plays out of a love triangle, between Dr.
Raúl, Luis and Marta [<i>Patricia Conde</i>], with an investigation plot with horror
themes at the core. Museo del horror sees Police Commissioner [<i>David Reynoso</i>] searching
for the kidnapper. Not only a kidnapper, but also a murderer, as the same
assailant is killing off those who know his true identity by shooting them with
poisonous darts!</div>
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<o:p></o:p></div>
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<a href="http://1.bp.blogspot.com/-UdkUwTqqQLc/U3cXwO2SEKI/AAAAAAAAOcs/cjDBdpClM9g/s1600/MUSEUMOFHORROR9.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-UdkUwTqqQLc/U3cXwO2SEKI/AAAAAAAAOcs/cjDBdpClM9g/s1600/MUSEUMOFHORROR9.jpg" height="300" width="400" /></a>Marta has a superb nightmare at the half point mark, showing
her profound fear of the dead being reanimated – ironic as we all know what fiendish
Dr. Raul – with a constant craving for fresh corpses to use in his “research”
is up, Professor Abramov [<i>Carlos López Moctezuma</i> who also starred in <i>Rene
Cardona’s</i> Luchadora Horror <a href="http://cinezilla.blogspot.se/2012/12/night-of-bloody-apes.html" target="_blank"><b>La horipilante<span style="mso-spacerun: yes;"> </span>beastia humana <i>(Night of the Bloody Apes)</i></b><i> </i></a>1969] has spent the majority
of the movie tampering away with his secret taxidermy, and Luis with his wax
sculpting… we know that in this genre, this will all lead to something
terrible!</div>
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<o:p></o:p></div>
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<a href="http://2.bp.blogspot.com/-lNXYZtTn6ws/U3cXtGOSZEI/AAAAAAAAOcM/awA05-OxSdo/s1600/MUSEUMOFHORROR12.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-lNXYZtTn6ws/U3cXtGOSZEI/AAAAAAAAOcM/awA05-OxSdo/s1600/MUSEUMOFHORROR12.jpg" height="300" width="400" /></a>One doom-ridden night, Marta’s mother has a sudden fatal
encounter with one of the “secret killer’s” deadly darts as she realizes his
identity! Seconds later, the fiend tries to kidnap Marta. Saved by the police
at the nick of time Marta tells them that the kidnapper looked like a mummy!
The cops round up a bunch of suspects, as in Dr Raúl and Professor Abramov,
whilst Marta goes to Luis at the wax museum to tell him the of dreadful news as
the movie kicks into the last act and its baleful climax.</div>
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<o:p></o:p></div>
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<a href="http://3.bp.blogspot.com/-FP55HO68ODo/U3cXvczKd3I/AAAAAAAAOck/PXHe2KDodcw/s1600/MUSEUMOFHORROR7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-FP55HO68ODo/U3cXvczKd3I/AAAAAAAAOck/PXHe2KDodcw/s1600/MUSEUMOFHORROR7.jpg" height="300" width="400" /></a>Screenwriter <i>José María Fernández Unsáin</i> was undoubtedly
penning a free adaptation of<i> André De Toth’s</i> <b>House of Wax</b>, possibly a dash of
<i>Gaston Leroux’s</i> <b>Phantom of the Opera</b>, and using that classic Mexpoitation trait
of the mad scientist… well actually several in this case! But nevertheless, Museum
of Horror is a splendid piece of Mexican horror. Full of great gothic
atmosphere, creepy secret laboratories, loads of sinister characters and a
whole bunch of fantastically grim moments of terror. <span style="mso-spacerun: yes;"> </span>A masterpiece of thrilling and fascinating
Mexican horror not to be missed!</div>
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<o:p></o:p></div>
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<br /></div>
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<!--EndFragment-->CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0tag:blogger.com,1999:blog-35812839.post-13708742376200492732014-05-15T17:12:00.002+00:002014-05-15T17:12:23.289+00:00GODZILLA<!--[if gte mso 9]><xml>
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<a href="http://1.bp.blogspot.com/-oXlJIp5RMDg/U3T1VWWHKGI/AAAAAAAAOb0/Non_prujFkU/s1600/_GOD.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-oXlJIp5RMDg/U3T1VWWHKGI/AAAAAAAAOb0/Non_prujFkU/s1600/_GOD.jpg" /></a><b>GODZILLA</b></div>
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<o:p></o:p></div>
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<div style="text-align: left;">
<i>Directed by: Gareth Edwards<o:p></o:p></i></div>
</div>
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<i>USA/Japan, 2014<o:p></o:p></i></div>
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<i>Kaiju/Godzilla, 123 min<o:p></o:p></i></div>
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<br /></div>
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Blah, blah, blah, <i>Gareth Edwards</i>. Blah, blah, blah,
<b><a href="http://cinezilla.blogspot.se/2010/11/monsters.html" target="_blank">Monsters</a></b>, blah, blah, blah, amazing debut movie. Blah, Blah, blah what to do
with the legacy of Godzilla. You know all that, so let’s not waste time, and chill. I won't spoil anything for you if you haven't seen it yet.<o:p></o:p></div>
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<br /></div>
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FINALLY, it hit the screens, the most anticipated monster
movie this year, or the last three years if you have been waiting as long as I
have. So there we where my blogging buddies Fred from <b><a href="http://fredanderson.typepad.com/my-blog/2014/05/godzilla-gareth-edwards-2014.html" target="_blank">Ex-Ninja</a></b> and Jocke from
<b><a href="http://rubbermonsterfetishism.blogspot.se/2014/05/godzilla-2014.html" target="_blank">Rubbermonsterfetischism</a></b> (who also reviewed <b>GODZILLA</b> today), fidgeting,
worrying, fretting, trying not to focus on the negatives we’d heard before
hand, but remind each other of the positives we’d heard too. If you’re a
listener to the Podcast that Fred and I run, <b><a href="https://soundcloud.com/thehumancentipod" target="_blank">The Human Centipod</a></b>, then you know
all our backstory with Godzilla, and just what our hopes where for this one and
what we where expecting. <o:p></o:p></div>
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<a href="http://1.bp.blogspot.com/-4JpVYpGt6vw/U3T0NSdZTRI/AAAAAAAAObY/J3udh3lJwz4/s1600/GOD1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-4JpVYpGt6vw/U3T0NSdZTRI/AAAAAAAAObY/J3udh3lJwz4/s1600/GOD1.jpg" height="205" width="400" /></a></div>
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Well it wasn’t quite what I was expecting. I wanted monster
movie mayhem non-stop, instead I got semi interesting drama with monster movie
mayhem in it. But, that’s all right, because even though I feel that there was
to little Godzilla in the movie, the monster mayhem was absolutely foot
stomping, building crushing fantastic and gorgeous in every possible way. It
took its time getting there, but boy does it pay off. It’s a genuine goose bump
moment when she finally shows herself and a damn mighty scene that will stay
with you for a long time. I shit you not, if I'd have had my kids with me at the screening, I would have fucking teared up at sharing the moment with them. At the same time, this is probably on of the most
serious Godzilla movies made, on par with stuff like <b><i>Godzilla Vs Destroyah</i></b>,
because it’s a big bad, dark toned movie without place for goofy standoffs,
corky dialogue, and as Joachim would say, "The cheapest, poorest western actors
possibly available, to play the Americans".<o:p></o:p></div>
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<a href="http://2.bp.blogspot.com/-20eglrb-avg/U3T0NZ5-mTI/AAAAAAAAObs/ZV0RbE3Xxng/s1600/GOD2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-20eglrb-avg/U3T0NZ5-mTI/AAAAAAAAObs/ZV0RbE3Xxng/s1600/GOD2.jpg" height="205" width="400" /></a></div>
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But despite a cast of really good actors, <i>Bryan Cranston</i>,
five minutes of <i>Juliette Binoche, Aaron Taylor-Johnson Elizabeth Olsen</i>, the
characters where still really paper thin. No real character development, no
real character arcs, no attention grabbing multifaceted dimension… but wait…
This is a GODZILLA movie, there has never really been any dimension,
development, or arcs for that matter, in any Godzilla movies. But still, in the
world of Godzilla, character dimension is huge, because it’s all found in the
title character, GODZILLA! So where I could waste precious time yapping about
the lack of all this I’d rather focus on the real character of the piece,
Gojira! </div>
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<b><br /></b></div>
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Straight up, She’s a beauty in <i>Gareth Edwards</i> <b>GODZILLA</b>. Big, strong, forceful, and as both
Jocke and Fred pointed out, her face looks like that of a bear. I don’t think
this is by chance, as the plot somewhat focuses on Godzilla being a mystic
force of nature, risen from the depths of the ocean, as to quote <i>Ken Watanabe’s</i>
Dr. Ichiro Serizawa character “Set the balance right!” A strange force attacks
nature and mankind, that’s the MUTOs, and Mother Nature sorts things out… or
should we say Mother Bear. Because just like a Mother Bear protecting her
offspring, that is the exact thing Godzilla does here! She steps out from her
hiding and beats the crap out of our antagonists in her genetic
programmed “defend the kids” instincts. She’s also where all emotions lay, as Godzilla
is the one I root for, Godzilla is the one I feel for, Godzilla is the one I
cheer as that last scene closes the movie. Yeah, this one has some really
iconic moments to be honest, and it’s a movie that will slot in amongst the top
29 Godzilla movies.</div>
<a href="http://3.bp.blogspot.com/-8zYzWw4bnQE/U3T0NYBImFI/AAAAAAAAObU/5JixhsQD9yQ/s1600/GOD3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-8zYzWw4bnQE/U3T0NYBImFI/AAAAAAAAObU/5JixhsQD9yQ/s1600/GOD3.jpg" height="205" width="400" /></a><o:p></o:p><br />
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I’d heard it was a slow build and a somewhat tedious first
act, but it never really felt neither slow nor tedious. Obviously it was thanks
to the plot, not to be confused with characters, because the plot does keep
stuff moving forth, and it adds and evolves the Godzilla universe, and it
works. Again not the most spectacular plot, but as said, this is a Godzilla
movie, no need to complicate it, and we’re only here for one thing, and one
thing alone. The plot uses our history to shed light on events; it uses our
history to explain the story of Godzilla. And one cannot help but think that
certain scenes are taping into our horror of current events like the Fukashima
disaster, the tsunamis and earthquakes of the last couple of years, and to some
extent 9/11. Perhaps a rhetorical fantasy for something to come save us as we
destroy our world</div>
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<o:p></o:p></div>
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<br /></div>
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No matter how serious they try to cloak Godzilla, there’s
always going to be a Kaiju playfulness to it, and that shines through here too.
Even though it is dark and somewhat “bleakish” at times, there are fun moments
where Edwards staying true to the “less is more” form that he used on Monsters
shows huge destruction scenes, but has them shown as parts of news broadcasts.
Framing and visually they come off as the signature wide-angle distant shots
that make rubber suit monster model chaos Kaiju. The MUTO monster is grand, and
looks nothing like those plastic toys that surfaced online a few months back. These
are slick organic ruthless Kaiju beasts that solidly earn their place in the
Godzilla universe. <o:p></o:p></div>
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<a href="http://3.bp.blogspot.com/-IYryO3AGsoE/U3T0OM1GSfI/AAAAAAAAObc/XeMFcv05iNo/s1600/GOD4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-IYryO3AGsoE/U3T0OM1GSfI/AAAAAAAAObc/XeMFcv05iNo/s1600/GOD4.jpg" height="205" width="400" /></a><i>Gareth Edwards </i>has done us good. He’s presented us with a
cool Godzilla flick that actually does fit nicely into the universe as created
by TOHO. Screw <i>Emmerich</i> and, that which shall not be named, because that’s not
a Godzilla movie. It’s a farce, a mockery to all that we Kaiju fans love, a
parody on what they though was a Godzilla movie, it’s the Crocs of Kaiju! There,
got it out of my system. <i>Edwards</i> has made a movie that delivers on all fronts,
it is everything that a Godzilla movie should be. This one is going to be a new
starting point, and I can’t wait for the sequel (in my mind it will happen) and
just like Fred says, that sequel will be filled with more monsters, more
Godzilla, more mayhem! Until then we have Edwards to thank for bringing that
darkness back and also bringing a new life to a monster that never dies!
Godzilla is KING OF THE MONSTERS and we love her!</div>
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<o:p></o:p></div>
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<br /></div>
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Go see <b>GODZILLA</b> at the cinemas now, because this movie needs
to be a hit and spawn a multitude of sequels so that we can keep shooting up
our Kaiju fixes for a long time to come.<o:p></o:p></div>
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<br /></div>
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</div>
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(And please, please, please, despite my complaining that the
movie was a tad to long, and took a bit to long to show the monsters, please
release a longer bluray so that we get to see the deleted Akira Takarada
scenes.)</div>
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<!--EndFragment-->CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com2tag:blogger.com,1999:blog-35812839.post-26595284967629008262014-05-13T09:56:00.002+00:002014-05-13T10:22:37.444+00:00R.I.P. H.R. GIGERIn 2009 I spent three intense days in the company of H.R. Giger. It was a surreal, scary and fascinating time, and I received an amazing insight into his art. I'm profoundly saddened to hear of his passing and recall that he told me with sorrow that he didn't dream of flying through the worlds where he found his inspiration in the same way that he used to.<br />
<br />
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<a href="http://3.bp.blogspot.com/-8jIv8LxdaNg/U3HsIyq5mEI/AAAAAAAAObA/lN1yyF3gW4w/s1600/181619_10150151207984416_2081350_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-8jIv8LxdaNg/U3HsIyq5mEI/AAAAAAAAObA/lN1yyF3gW4w/s1600/181619_10150151207984416_2081350_n.jpg" height="400" width="397" /></a></div>
I can't really put into words what I feel right now. I had to take some time and process this news as it reached me earlier today. It's still kind of hard to take in.<br />
<br />
Giger, a man who's biomechanoid art had scared me senseless as a child, spellbound me as young man, captivated and moved me as an adult, who had a reputation of not liking journalists, reluctant to do interviews and didn't green light my visit until the very last moment. Really, as in talking to his agent just a couple of hours before I was supposed to fly out. Terrified I waited outside the museum in Frankfurt where the exhibit of his work was to be shown, as I tried to calm down and be as professional as I could ahead of meeting him. Going over all worst case scenarios, how to react if he was as the reputation claimed. My phone rang, his assistant told me, <i>"Giger is here, He wants to walk you through the exhibit, NOW!"</i>. Forcing my panic attack to crawl back into it's void, I grabbed my stuff and set off to what I expected to be a fear full meeting. Instead, I was greeted with open arms. H.R. Giger was the complete opposite of everything he was supposedly said to be. Instead I found a charming, shy, confident man, mourning the slow loss of the outlandish worlds he once used to dream of. A gentle, kind man, who put up with me and my array of questions for those days, and took me on a trip through these outlandish worlds guided by his own story. We shared stories of art, film, H.P. Lovecraft, ill health, our passion for cats and skulls, and I at one point, I helped him clean his fountain that stood in the back yard of his Zürich house from leaves that had clogged it up. It was a meeting that was unlike any before or since, and I will hold it as a high point of my life forever.<br />
<br />
For me it was more a meeting with an artist, more than the creator of Alien. Alien is merely a blimp on a fascinating timeline, a detail in the worlds Giger used to soar through during his nocturnal flights.<br />
<br />
I sincerely hope that he now flies in those worlds that he so longed for once again.<br />
<div>
<br /></div>
My thoughts obviously go out to his wife and close friends in this sad time.<br />
<br />
R.I.P. H.R. Giger.<br />
<br />
<br />
<br />
I'll add this <a href="http://cinezilla.blogspot.se/2010/05/in-realm-of-hr-giger.html" target="_blank">LINK</a> here if you want to read more about my time with H.R. Giger.CiNEZiLLAhttp://www.blogger.com/profile/06776853636620227783noreply@blogger.com0