Saturday, November 10, 2007

Why Cinema Is Sublime #1

From the main titles of FRANKENSTEIN'S CASTLE OF FREAKS (1974).

Wednesday, November 07, 2007

Guess Who's Day It Is?

That's right: The cutiful and charmbling publisher of VIDEO WATCHDOG, gifted designer of MARIO BAVA ALL THE COLORS OF THE DARK, that friendly voice on the telephone, sworn enemy of all Big Business weasels, the hardest working woman in film fandom, computer genius, quilter extraordinaire, Monkees connoisseur, Oz collector, Hoops and Yoyo fan, Titanic devotée, den mother of the Old Dark Clubhouse at Wonderfest, mother to three cats, enabler of all my dreams, dedicatee of my two novels and THE VIDEO WATCHDOG BOOK, the best friend anyone could ever have (many will support me in this) and my beloved wif (no, I didn't forget the "e") -- Donna Marie Goldschmidt Lucas -- was born on this day [cough, cough] years ago!

As Bobby wrote and Ricky sang, "Bow down to her on Sunday, salute her when her birthday comes..."

And that seems just about the right thing to do.

Monday, November 05, 2007

Tomorrow TCM Becomes Channel D

David McCallum and Robert Vaughn as Illya Kuryakin and Napoleon Solo, the Men from U.N.C.L.E.

At the risk of making you think this is TCM Week here at Video WatchBlog, I feel it's my responsibility to report that Turner Classic Movies is devoting tomorrow morning and afternoon to a complete retrospective of MAN FROM U.N.C.L.E. movies. Yes, it's true that the entire series is coming out later this month on DVD, but there are reasons why you should watch/record at least some of these, because the "whole enchilada" box set isn't quite as whole as you might think.

Here's a breakdown of the features TCM is showing, complete with eastern time zone showtimes, with some helpful annotations. I've asterisked (*) the ones of particular import.

* 6:00 TO TRAP A SPY - This is a color feature-length expansion of the series' first episode, "The Vulcan Affair," which was telecast in black-and-white. And the episode included in the series box set will likewise be cut down from this longer version and in black-and-white. Featuring William Marshall, Pat Crowley, and Fritz Weaver. Directed by Don Medford, who helmed "The Judgment," the history-making final two-parter of THE FUGITIVE.

7:45 ONE OF OUR SPIES IS MISSING - Adapted from the Season Two two-parter, "The Bridge of Lions Affair," guest-starring Vera Miles and Maurice Evans. Directed by E. Darrell Hallenbeck, a veteran of TV's THE TWILIGHT ZONE.

* 9:30 ONE SPY TOO MANY - Don't miss this feature-length edit of Season Two's two-part opener "The Alexander the Great Affair," featuring Rip Torn. Many fans regard this "affair" as the series' highpoint; it's certainly one of them, and Gerald Fried's score is the most infectiously rocking the program ever had. Directed by Joseph (COLOSSUS: THE FORBIN PROJECT) Sargent.

* 11:15 THE SPY WITH MY FACE - Color expansion of Season 1, Episode 8: "The Double Affair," featuring Senta Berger, another episode telecast only in black-and-white. Directed by John (ONE STEP BEYOND) Newland.

12:45 THE KARATE KILLERS - Composite of the Season Three two-parter "The Five Daughters Affair," which sports one of the finest casts the show ever assembled: Joan Crawford, Telly Salavas, Herbert Lom, Curd Jurgens, Terry-Thomas, Kim Darby and Diane McBain. Directed by Barry (WILD IN THE STREETS) Shear.

2:30 THE SPY IN THE GREEN HAT - Feature-length composite of the Season Three two-parter "The Concrete Overcoat Affair," starring Janet Leigh and THE GIRL WHO KNEW TOO MUCH star Leticia Roman. Also directed by Joseph Sargent.

4:15 The HELICOPTER SPIES - Consolidation of Season Four's "The Prince of Darkness Affair" two-parter, featuring Carol Lynley, Bradford Dillmann, and Lola Albright. Directed by Boris (THE OMEGA MAN) Sagal.

6:00 HOW TO STEAL THE WORLD - Feature version of the two-parter that closed the series, "The Seven Wonders of the World Affair," guest-starring Barry Sullivan, Leslie Nielsen, and Eleanor Parker. Directed by Sutton (CHOSEN SURVIVORS) Roley.


Terence Fisher's FRANKENSTEIN CREATED WOMAN (1967) had its HD premiere last night on Monsters HD. I've seen the movie countless times over the years, as I have all of the Hammer Frankenstein films starring Peter Cushing. I've always liked it, but have always harbored an odd ambivalence about the place it occupies in the series; sometimes it's up, sometimes it's down in my estimation. I tend to agree with David Pirie's assessment (in A HERITAGE OF HORROR) that it's the most poetical and successfully metaphysical of the series, and it contains arguably the most understated finale anyone will ever find in the genre, but there is a lingering feeling that it is ill-served by some rough edges and narrative obliqueness.
Seeing the film in HD certainly raised it in my estimation, as also happened when I saw Hammer's EVIL OF FRANKENSTEIN (1964) in high definition a couple of years ago on Universal HD. Seen in HD, FRANKENSTEIN CREATED WOMAN becomes a far slyer, more tactile film and not without purpose. For example, all of the wine poured in the movie (apart from the Baron's celebratory champagne) is a very thin, transparent red -- unconvincing, like cherry Kool-Aid. I made a note to myself every time it appeared onscreen: "Looks fake, I shouldn't be noticing that." However, when Karl (KISS OF THE VAMPIRE's Barry Norman) -- the second of the young pre-A CLOCKWORK ORANGE thugs -- is sitting in the tavern, rattled by the murder of his friend, he hears the ghostly voice of Hans (Robert Morris, for whose guillotine death he was partly responsible) and nervously knocks over a glass of the same pale red wine positioned in front of him... and there's a change of camera angle as the wine flows out of the glass over the white tablecloth and looks unmistakably as thick and red as blood, the Kool-Aid having been replaced with what looks like real wine, perhaps mixed with a bit of Kensington Gore! I don't think it was Fisher's intention that I be distracted by the unconvincing wine earlier in the film, but by making those earlier glasses and decanters of wine look so watery, this shock cut more pointedly communicates the idea that blood will soon be spilled. And consequently, we no longer have to see that blood spilled when it is. The image has been planted; we can supply the rest.
The killing of Karl -- which shows Christina (Susan Denberg) emerging from the backroom of the tavern with a cleaver, Karl falling to the floor, and the downswing of the cleaver cutting to Christina chopping wood -- has always looked in deteriorated quality compared to the surrounding footage, and it's like that in the HD presentation as well. What I don't know is whether the original negative of this footage was somehow lost and so had to be recreated from a coarser element, or if the change in quality was done for more, shall we say, Brechtian purposes -- to add to our sense of disturbance about the scene by altering the look of the image in unexpected fashion.
There are also scenes early on, when Hans first visits Christina's bedroom, for example, where the pinecone-shaped spears of her bedposts occupy a compositional focus. Hans actually caresses one of these and scratches at it absent-mindedly while talking to the girl he loves, subtly drawing our attention to it. The camera dwells on these ornamental spears again when Anton, the leader of the thugs, is led there by the remade/remodeled Christina. And it wasn't until seeing this HD version that I ever noticed this thread, or that one of the movie's key shocks -- the revelation that Christina has stolen Hans' severed head from its burial place and mounted it on a similar spear-like protrusion atop a decorative mirror, in order to converse with it -- was, in effect, its pay-off.
It's this sort of delicate mastery, this ability to lead the eye by the nose (so to speak) that is the essence of Terence Fisher's genius; this, and also his profound interest in people. Seeing the film again, I was struck with admiration for the way the film delved into the lives of its characters, not only into their superficial relationships but also into their social classes, their aspirations, the causes for their inclinations toward good and evil, and also their psychological motivations. And, also for the first time, I understood the essence of that dumbfoundingly abrupt ending, which is dumbfounding precisely because it is true to the essence of the main surviving character: Baron Frankenstein himself (Peter Cushing). What engages us about this film and its story is precisely its human element, and it is this element for which Frankenstein has neither time nor appreciation.
When Christina requests a mirror following her miraculous restorative surgery, the Baron refuses it, having no concept of the young woman's starvation for any kind of vanity; he tells her that she doesn't need the mirror because she has his word that the scar tissue has healed perfectly and goes back to the work that separates him from all human contact and understanding. It is left to his "muddle-head" assistant Dr. Hertz (Thorley Walters) to bring her the mirror, to dote on her, to kiss her like a grandfather -- to do all the things essential to a child's well-being that Frankenstein himself has been blinded to by his work. He's a great man, as Dr. Hertz takes care to tell her, but, as he fails to say, he's also a miserable human being.
When the film ends with his work once again in failure, it fails this time because there is something in the shattered, duplex, human element of Christina (who contains her own soul as well as that of her dead lover) that cannot permit it to succeed. The finale has no resonance because Frankenstein cannot understand what has happened and is unwilling/unable to bend to that human understanding; all he can do is shrug his shoulders and return to his drawing board. This is the first premonition the series gives us of the character's final downfall in FRANKENSTEIN AND THE MONSTER FROM HELL (1974). His projects are doomed to failure because he is, himself, only the shell of a man without the soul.

Sunday, November 04, 2007

Monday is WHISTLER Day on TCM

Attention, Turner Classic Movies subscribers! Tomorrow -- Monday, November 5 -- TCM will be running five movies in Columbia's classic B-movie mystery series "The Whistler" between 6:00am and 1:30pm eastern time. If you've never seen them, you don't want to miss them; if you have seen them, you'll want to get your video recorders up and running, because there's no indication yet that these gripping noir confections are destined for an official release.

The films in question are THE WHISTLER (1944, directed by William Castle) at 6:00am; THE POWER OF THE WHISTLER (1945, directed by Lew Landers and based on Cornell Woolrich's novel THE BLACK CURTAIN) at 7:15am; THE VOICE OF THE WHISTLER (1945, directed by Castle) at 8:30am; THE MYSTERIOUS INTRUDER (1946, also directed by Castle) at 9:45am; THE SECRET OF THE WHISTLER (1946, directed by George THE RETURN OF DR. X Sherman) at 11:00am; and THE RETURN OF THE WHISTLER (1948, directed by Ross Lederman) at 12:15. All but the final title star Richard Dix, who plays a different role in each, sometimes delivering work on par with his excellent portrayal of Captain Will Stone in Val Lewton's THE GHOST SHIP (1943).

Missing from the lineup are one of the series' highlights, THE MARK OF THE WHISTLER (1944, directed by Castle and based on Woolrich's story "Dormant Account"), and THE THIRTEENTH HOUR (1947, directed by William Clemens), Dix's final appearance in the franchise. A victim of serial heart ailments, he died in 1949 at the age of 56.

Some of us have been looking forward to this day since TCM started running pictures from their newly acquired Columbia film package back in January. For newcomers to the subject, there's a nice Wikipedia entry on "The Whistler" that you can read here. I also once posted some notes on the series here at Video WatchBlog.

LG Blu-ray Renders Spidey Powerless

Prospective buyers of Sony's Blu-ray release SPIDER-MAN - THE HIGH DEFINITION TRILOGY (or their individual packaging of SPIDER-MAN 3 in Blu-ray) should be aware -- as I wasn't -- that the LG BH100 Hybrid Blu-ray/HD player is not presently set up to accept these discs.

I was alerted to the problem last night, when I loaded SPIDER-MAN 3 into my LG BH100 only to discover that the animated menu screens looked sluggish and my remote control powerless to navigate the screen options or to access the movie. I reloaded the player with SPIDER-MAN 2 and experienced the same problem. Having accidentally ordered two copies of the set from, I decided to unwrap the set I plan to return, assuming that the first set was a defective pressing... but the discs in the second set wouldn't play either.
Online perusal has turned up this thread on the AV Science Forum, which explains that this is a firmware problem and that LG is working on a solution.
PS: Donna and I were able to use the link to download a firmware update which, burned to disc, was able to effect changes to our LG BH100 that allowed SPIDER-MAN 3 to play. Evidently these changes may also affect the unit's audio performance, but LG has promised an update to the update by the middle of the month that should correct this residual fault.

Sunday Sermon: The 2007 Weblog Awards

I received an e-mail today from an acquaintence informing me that his blog had been nominated in one of the categories of The 2007 Weblog Awards and asking for my vote. I had never heard of the Weblog Awards before, but, as a fellow blogger, the notion certainly caught my interest.

I followed the link to look over the nominees and categories and couldn't believe what I found. This award, which aspires at least by name to represent weblogs as a whole, has no Film category. Their Video category pertains only to blogs that show videos. They do offer a Culture category, under which I found only two film-related nominees: Kyle Smith Online (blog of the film critic for THE NEW YORK POST -- which, as often as not, exists to link to his reviews on the NYP site) and Self-Styled Siren (10 posts since August 20, one of them entitled "The Siren is a Finalist for the 2007 Weblog Awards").

There are also ten sub-categories nominating the "Best of the Rest" culling additional nominees from the "Top 8,751+ blogs." Video WatchBlog is not among them, and I honestly don't know which implication is more sobering: that Video WatchBlog literally isn't in the "Top 8,751+" blogs or that it's not generally considered among the best of those Top 8,751 plus.

Sour grapes? I'll admit to one or two, because I take my work on this blog as seriously as I take any work that I do, but what I'm mostly feeling is bemused... by this award's concept of excellence. I speak not only on behalf of Video WatchBlog; not one of the several blogs that constitute my own daily bread, not one of the three upon which I bestowed the Thoughtful Blogger Award, are represented on these polls either.

It's kind of like the Grammys, all over again.

"To God, there is no zero. I still exist." -- Scott Carey