1930S, 1940s, 1950s, 1960s, 1970s, 1980s, 1990s, Action Adventure, Adventure, Art house, book, BOOK REVIEW, books, CLASSIC, crime drama, cult, fantasy, film, FILM HISTORY, FILM NOIR, genre, ghosts, gore, Horror, international, Italian, McFarland, monsters, Mystery, rare, review, reviews, SPAGHETTI WESTERN, studio history, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, VAMPIRES, Western, wierd

Riccardo Freda: The Life and Works of a Born Filmmaker

Riccardo Freda: The Life and Works of a Born Filmmaker
Roberto Curti Price: $45.00 40 photos, notes, filmography, bibliography, index
376pp. softcover (7 x 10)McFarland  2017                                                http://www.mcfarlandbooks.com/book-2.php?id=978-1-4766-6970-0

Like many American film fans, my knowledge of director Ricardo Freda was mostly limited to his
Horror films I Vampiri /THE DEVIL’S COMMANDMENT (Titanus,1957),Caltiki il mostro immortale /CALTIKI,THE IMMORTAL MONSTER(Lux,1959),L’orrible segreto del Dr. Hichcock /THE HORRIBLE DOCTOR HITCHCOCK(Panda,1962) and Lo specttro /THE GHOST (Panda,1963).

• However, Freda had a career in cinema that lasted from 1937 (Lasciate ogni speranza /LEAVE ALL HOPE ,Juventus Film) until 1994 (La fille de d’Artagnan /REVENGE OF THE MUSKETEERS ,Canal+ )starting and ending his career as a writer.

• Writer Roberto Curti of Cortona Italy has done a remarkable job tracking down an amazing amount of information on Freda’s life and career.His love for the subject comes though with his very detailed synopses of these rarely seen (outside of certain countries), providing the history behind many of them, production facts, and their success or failure in various territories as well as changes made to them .

Curti uses Freda’s memoir Divoratori di celluloide (Emme Edizioni (1981),164 pages)as a starting point ,but also researching though film magazines and newspapers from several countries, as well as tracking down and watching the titles from the director’s long career. Curti points out that the director could often be petty and recall incidents that might not always match the facts.Curti’s interviews and research sometimes contradicts what Freda put into his book.

• Still ,the Egyptian born Italian director lived La Dolce Vita, being an extravagant personal spender and gambler as well as womanizer. It is ironic that he despised films like Fellini’s La Dolce Vita (Riama,1960) as well as the entire neo-realist movement of films like Ladri di biciclette/THE BICYCLE THIEF(Ente Nazionale,1948).

He was more a storyteller who felt that film should be escapist,and take us out of reality. Not only did he have those skills, he was also able to make limited budgets look richer than they were, due to his understanding of film editing and camera placement ,as well as working with innovators like the great Mario Bava. Indeed, the short tempered Freda walked off the set of a I Vampiri ,leavinng it to be  finished by Bava. We see throughout the book that Freda had a habit of walking off set, much to the detriment of his films and career.  I Vampiri has an important place in Italian horror films ,as it was the country’s first true sound horror film (the first Italian horror film may have been Il monstro di Frankenstein(1920) a now sadly lost silent picture).

Freda had prior to I Vampiri had done a lot of regional comedies ( he cared little for the comics in many of his films ,but put in many physical gags inspired by the likes of Buster Keaton ,historical dramas and swashbucklers . Indeed ,his love of classic novels and adventure tales seemed to have merged into Caccia all’umo /LES MISERABLES( Lux,1952) ,making it more of an action thriller!

His swashbucklers seemed to have broken new ground in storytelling in Italy, being more inspired by American filmmakers than the home grown artisans. His love of tracking shots to get a lot of detail within a long take was developed during this period .Having reviewed the Italian historical drama La cena delle beffe / THE JESTER’s SUPPER* (Società Italiana Cines,1942 ,not by Freda, but by a contemporary),I would love to see more these  rarely motion pictures                (see review at https://scarletthefilmmagazine.wordpress.com/2017/05/07/the-jesters-supper-dvd/ ) .

Freda also was one of the first to leap into the sword and sandal films ,even telling an earlier version of the tale of SPARTACUS(Spartaco(API,1953),released in the U.S. by RKO as SINS OF ROME ). He hopped from genre to genre with various budgets and varying success. Comedy (at which he seemed to have a lot of success),drama ,spy thrillers ,Krimi( he faced off and WON against the antagonistic Klaus Kinski) ,swashbucklers,historicals, and of course horror.

His indifference to some parts of the movies he made show with some sloppy work (in ROGER LA HONTE( Comptoir Francais du Film Production ,1966,one of his later films with a decent budget, he allows a major stunt to show clearly that a “woman” passenger is actually a stunt man since his trousers are clearly visible ),as well as his indifference to actors (he was notorious for using doubles when actors gave him any grief). Yet in staging ,he often surpassed the budget with strong imagery and tracking shots that convey a lot of information .Plus several actors who worked with him praised the director .

Curti’s book makes me want to revisit several of Freda’s films and seek out some of his rarities. Curti has done what any film researcher should do, and that is evaluate and place into historical context the work of the subject.

McFarland is to be commended once again for putting out such a detailed volume about a filmmaker not as well known as perhaps he should be. Each film has b&w illustrations of the film posters or on set photographs, The graphics are sharp and easy to see.

This is a MUST HAVE for lovers of film, especially for those who love Euro-Cinema.

Highly Recommended.

Kevin G Shinnick

 

                  "Acquista il libro o ti farò del male ..."

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WAX MASK (blu ray)

7737_tnTHE WAX MASK(aka M.D.C. – Maschera di cera ,Italian 1997) (Blu Ray) release date Jan 31st,,2017 by One 7 Movies .$29.95 .color 94 minutes.      https://www.amazon.com/Wax-Mask-Blu-ray-Robert-Hossein/dp/B01N40CACQ/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1485396004&sr=1-1&keywords=wax+mask

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THE WAX MASK is a wonderful throwback to the Italian Gothic Horrors of the 1960s, mixed in with considerably more graphic gore and nudity as was more permissible in 1997 when this film was made.

1999: DARIO ARGENTO, FILM DIRECTOR

                       DARIO ARGENTO

Dario Argento, the reigning king of Euro Horror ,had tried for a year to raise funds to produce a film to be directed by Lucio Fulci. Fulci , who had his own niche in gory Italian horror (ZOMBI 2, aka ZOMBIE ,1979) ,had fallen out favor ,due to lending his name to projects that he was not involved with ,as well as Fulci being ill at various times from the early 1980s .

 

At first, they had thought of an update of THE MUMMY (Universal,1932) before deciding on a semi remake of HOUSE OF WAX(WB,1953, itself a remake of the 1933 WB classic MYSTERY OF THE WAX MUSEUM) .Fulci wrote a screenplay ,but more delays occurred due to Argento’s THE STENDAHL SYNDROME (1996.)

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 Mystery Of The Wax Museum (WB ,1933)
Fulci passed away March 13,1996 from diabetes . Argento had the script reworked by Daniele Stroppa (who had worked on the screenplays for two of Fulci’s later films ,HOUSE OF CLOCKS(1989) and VOICE FROM BEYOND (1991) .How much the scripts  vary is unknown by this reviewer .
However ,to quote an interview with Massimo F Lavagnini (printed in DRACULINA # 24)
Fulci said:

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…. I think we start shooting in September. About the story, I can say it isn’t a carbon copy of the original HOUSE OF WAX, which obviously inspired us. Our story is settled in 1915 in Torino. The protagonist is a frustrated artist who kills and becomes a monster, because of the faults of society. …………..We have seven or eight ultra-violent scenes . *

 

 

 

Sergio Stivaletti, who had handled effects for Argento on PHENOMENA(1985,aka Creepers) ,OPERA(1987) and THE STENDAHL SYNDROME, as well as DEMONS(1985) and CEMETERY MAN (1994),stepped into the director’s chair . Having directed second unit for Argento, Bava, and Soavi, he had picked up a few pointers on how to director horror with style. Supposedly, Stivaletti, who had been preparing the films effects, had only two weeks’ prep time. If so, it makes the film even more impressive.

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The film opens December 31,1900 in Paris (why does every room in Paris seem to look out upon the Eiffel Tower in movies?). However, the new year brings the discovery of a gruesome double homicide, and the police find that the only witness is a frightened 12 year old girl.the-wax-mask-1

 

The film then jumps 12 years ahead to Rome. At a brothel, Luca (Daniele Auber, who also works in effects, later winning an Emmy in 2002 for Outstanding Makeup for a Miniseries, Movie or a Special (Prosthetic)) bets others there that he can spend the night in a newly opened Wax Museum which recreates some of history’s most notorious killings. The idea of spending the night in a spooky place seems to be lifted from CASTLE OF BLOOD(DANZA MACABRA,1964),showing that the filmmakers know their classic horror films. Sadly, it does not end well for Luca,who supposedly dies frightened to death.

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Museum owner Boris Volkoff (the name a nod to Boris Karloff?)(portrayed by French actor Robert Hossein (THE BURGLARS/Le Casse,Columbia 1971)plans a series of new exhibits to exploit the press that the unfortunate death brings to the museum .

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Volkoff, however, has a dark secret -he and his assistant Alex (Umberto Balli,who seems to have only done one other film)are creating their lifelike figures by capturing people and then injecting them to keep them alive and immobile under the wax!

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Volkoff hires Sonia (Romina Mondello, later in Harry Alan TowersDEATH, DECEIT, & DESTINY ABOARD THE ORIENT EXPRESS (2001)) to create costumes for the figures. Sonia however, happens to be young girl from the film’s opening, and the violent tableaux’s bring buried memories of her parents murder back. Luckily , Inspector Lavin (Aldo Massasso,later in Argento’s PHANTOM OF THE OPERA (1998) and SLEEPLESS( Non ho sonno ,2001))who had investigated the murders of Sonia’s parents is in Rome . With the help of Andrea( Riccardo Serventi Longhi,who appeared in the t.v. film CAVE OF THE GOLDEN ROSE 4 aka Fantaghio 4,1994,for Lamberto Bava) they start to see if they can uncover the mystery of the wax museum .

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The ending is wildly delirious, and lurches into TERMINATOR (Hemdale,1984) territory. Up to then ,however, it is a gory tribute to older horror films with some marvelous effects (though the early CGI, in particular, the fire effects ,were not effective even when the film first came out).

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Reviews were for the most part positive  like this one :

(Variety April 20, 1997 )
Gothic horror is alive and kicking in “Wax Mask,” a luridly entertaining return to the style of Britain’s Hammer productions of the ’60s)

 

and the film appears to have done decent business throughout most of the world, but only garnering a token home video release via Image Entertainment a few years later.mv5bmje1odeyodc0ov5bml5banbnxkftztcwnde1mdkymq-_v1_uy268_cr60182268_al_
The French-Italian co-production looks stunning. From costumes to set designs, the film looks so much more expensive than it’s reported $1.25 million budget (though some estimates put it as high as $3 million). Adding to the sweep and grandeur is the magnificent orchestral score( with choir ) by Maurizio Abeni (who would also compose for Stivaletti’s THE THREE FACES OF TERROR (I tre volti del terrore,2004 ) . The English dubbing is good ,though some of the dialogue is a bit clunky.

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The original VHS/DVD releases back in 2000 had very muddy colors and a dark print ,and though Dolby mixed the sound was very flat .

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Now One 7 Movies (whose DVD release of JESTER’S SUPPER we reviewed back in 2015 https://www.facebook.com/SCARLETreviews/posts/1584658468439774 ) have released WAX MASK in a glorious 1080p version in 1.85.1 (original aspect ratio) blu ray .The Dolby Digital 5.1 sound really lets the score fill your room ,and the sound effects are quite effective. Most impressive are the truly vibrant and rich colors and the clean almost three dimensional photography by Sergio Salvati (who shot many of Fulci’s as well as many Empire films produced by Charles Band). I cannot say how marvelous the transfer is and it puts many a major studios release to shame.
Extras on the disc includewax-mask-00-jpgcgi
Backstage Scenes– some raw video behind the scene footage shot during the making of the film . It is a fun look at the cast and crew working and relaxing during the production. In Italian.

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Special Effects Scenes– the effects team working on the practical on set effects used throughout the film .At one point they get a package from Tom Savini ,and look through his makeup book GRAND ILLUSIONS(Imagine,1983).Producer Argento watches fascinated as they test a mechanical robot arm . In Italian .

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If you are a fan of Italian Horror, this is a must get disc for you. Many fans may have head of the film but up to now may never have seen it. Now is your chance to scoop this film up.
Recommended!

-Kevin G Shinnick

*- DRACULINA issue 24 appears to be sold out but you can always see if some valuable issues turn up by visiting http://www.draculina.com/draculina2.htmldraculina-24

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ANY WAY I CAN: 50 YEARS IN SHOW BUSINESS by John Gay with Jennifer Gay Summers

SCARLET THE FILM MAGAZINE BOOK REVIEW

ANY WAY I CAN: 50 YEARS IN SHOW BUSINESS by John Gay with Jennifer Gay Summers

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$19.95 BEAR MANOR MEDIA 240 pages

Available via

http://www.jennifergaysummers.com/book.php

or
Available at BEAR MANOR MEDIA

 http://www.bearmanormedia.com/any-way-i-can-50-years-in-show-business-by-john-gay-with-jennifer-gay-summers

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Many people know the actors who star in their favorite shows and movies, and others know the directors. The person who is most forgotten is the writer, the person who basically creates the world in which the stories take place.

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One of these artists is screen, teleplay, and stage play writer John Gay. Now Mr. Gay, with the assist of one of his children, daughter Jennifer Gay Summers, has put out his autobiography.jennifer-gay-summers1

 

And what a fascinating life it is. The California born Mr. Gay talks about the lure of acting and how it drew him across country (after serving our country in WWII ) to become an actor. Working in summer stock, he soon gained a great deal of experience as well as meeting his partner and wife Barbara “Bobbie” Meyer.

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Venturing to New York, their attempts at gaining acting work led them to entering the new media of television ,broadcasting live several nights a week from the top of the New Amsterdam Theatre (the former home of the Ziegfeld Follies and now the House of Mouse where the hit musical ALADDIN currently resides).o

 

The show, APARTMENT 3C had only two actors (the husband and wife team) and due to the low budgets, Gay had to also write the shows himself! The program became the second show broadcast from fledgling station WOR in 1949. A modest hit, it gave John Gay not only an extra avenue for revenue but a career for which he would greatly excel.brewster_fig35

Their second show ,MR & MRS MYSTERY had a larger budget (they were allowed to hire other actors ) and Mr. Gay was able to parlay those into other writing assignments for the Golden Age of Television (KRAFT TELEVISON THEATRE ,PLAYHOUSE 90 )and crossing paths with such greats as Rod Sterling and Sidney Lumet.wor_tv_xmtr_room_color

 

His first screenwriting assignment was for the Burt Lancaster /Clark Gable submarine drama RUN SILENT RUN DEEP (1958/UA). His second screenplay earned him an Oscar nomination (along with co-writer Terrence Rattigan) for SEPARATE TABLES (1958/UA).h

 

From there he was now a full-fledged screenwriter, working with the likes of Vincente Minnelli (twice, neither of which were happy experiences) as well as actors like Rod Steiger (twice, in two gems well worth seeking out (NO WAY TO TREAT A LADY (1968 Paramount) and HENNESSY (AIP 1976)) and Paul Newman (SOMETIMES A GREAT NOTION 1971/Universal).gd

 

He nearly worked with science fiction great Ray Bradbury on the troubled production of WHITE HUNTER BLACK HEART, which remained unmade until Clint Eastwood and different writers turned it in a feature.

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In the 1970s, when television really began turning out movies of the week and adaptations of classics, Mr. Gay seemed to have been involved with almost every great production. Many of my well-remembered favorites had a title mentioning John Gay as the Adaptor or Teleplay By credit. KILL ME IF YOU CAN (NBC,1977) had Alan Alda embody killer Caryl Chessman ; Anthony Hopkins as THE HUNCHBACK OF NOTRE DAME (CBS HALLMARK ,1982) ; LES MISERABLES (CBS HALLMARK 1978) and so many others. Plus he did superior TV remakes of mystery classics DIAL M FOR MURDER (ABC, 1981) WITNESS FOR THE PROSECUTION (CBS HALLMARK 1982), and SHADOW OF A DOUBT (NBC HALLMARK 1991). The list goes on and on .f

 

 

He took his skill as a story teller to the stage, having VINCENT PRICE remind people what a brilliant and versatile actor he truly was in DIVERSIONS & DELIGHTS, a play about Oscar Wilde. Price took the play all over the world, doing well everywhere but NYC (when the New York Times critics could still kill a show).

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Mr. Gay is a wonderful writer, telling his life story with wit, good grace and honesty. Indeed, it is one of the few books that I have read lately that I wish had been longer (Mr. Gay dismisses his work on the troubled George Pal science fiction film THE POWER (MGM, 1968) with just a line or two).b

Having turned 92 this past April,2016 , we are pleased that he and his daughter have shared his wonderful story with us. I have been careful not to give too much away so that you can discover the wonderful life of John Gay within the pages of ANY WAY I CAN.a

 

RECOMMENDED.

Kevin G Shinnick

Full Disclosure: I have been in contact with the author and his charming daughter for several years now as I attempted and finally successfully directed the first NYC Equity Production of DIVERSIONS & DELIGHTS in 35 years. The chapters 40 and 43 deal with this wonderful gem of a play.

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originally published March 30,2015  SCARLET THE FILM MAGAZINE Facebook page

 https://www.facebook.com/SCARLETreviews/posts/1568872943351660

Please feel free to “like”,follow, and share  .

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NINE YEARS ON

NINE YEARS ON

It is hard for me to grasp still but that it has been nine years since writer, playwright, editor, publisher, actor, and friend RICHARD VALLEY passed away.

richard-valley

What I wrote quickly then
http://scarletstreet.yuku.com/topic/4623/SADDEST-NEWS-I-VE-HAD-TO-POST-HERE?page=1#.V_47YvkrLIU

kevin g shinnick
SADDEST NEWS I VE HAD TO POST HERE-

Posts: 15257
Oct 12 07 11:37 AM

RICHARD VALLEY, SCARLET STREET EDITOR, has passed away at age 58.

He leaves behind a beloved mother, and his love of over a quarter century,
Tommy Amorosi.

scarlet-st-1

Since then, many other fanzines have ceased publications, many other friends in the genre have gone on to join him in the great beyond, and many of the issues that were important to him have become political fodder once again.

To me, though, it is a personal loss of a man who was a great true and loyal friend who could irritate the hell out of me and then move one with his extreme generosity and kindness.

I have been lucky to have had four truly great friends in my existence, and though now two have departed, I still cherish them all.

I hope that each and every one of you is fortunate enough to know or have known such a shining presence in your life.
-Kevin G Shinnickscarlet-issue-55

Feel free to share any memories that you have of Richard and SCARLET STREET.

I hope you enjoy the https://scarletthefilmmagazine.wordpress.com/    and share it with your friends.

richard-valley

BIG THANKS to JOHN C STOSKOPF for preserving SCARLET STREET and painstakingly scanning them to post them online for people to enjoy the work of Richard and so many contributors.  http://scarletstreetmagazine.blogspot.com/

https://scarletthefilmmagazine.wordpress.com/2015/10/13/remembering-where-we-come-from-rest-in-peace-richard-valley/?preview_id=2richardvalley

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FASCINATION The Celluloid Dreams Of Jean Rollin

FASCINATION
The Celluloid Dreams Of Jean Rollin (paperback, HeadPress) 268 Pages.

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http://www.headpress.com/ShowProduct.aspx?ID=143 £15.99
In the U.S.:
https://www.amazon.com/Fascination-Celluloid-Dreams-Jean-Rollin/dp/1909394238/ref=sr_1_4?s=books&ie=UTF8&qid=1469925570&sr=1-4&keywords=fascination    $19.99
Fascination 1

Jean Rollin was a surrealist filmmaker who became identified with the horror genre. While his films do indeed deal with vampires and the undead in various forms, they also have a lyrical dreamlike quality with imagery that would make Bunuel (with whom he once almost worked) proud. A vampire comes out of a grandfather clock forever frozen at midnight, a woman plays piano within a cemetery, recurring images of figures isolated on an empty beach, these are some of the haunting sights that are mixed in with a sense of loneliness for the preternatural figures within the films.

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Before big budget films like INTERVIEW WITH A VAMPIRE (WB,1994), Rollin was mixing poetry, beauty along with violence and the need to kill the one you love to survive. Sadly, due to the violent reaction to his first full length feature*, Le Viol du Vampire (RAPE OF THE VAMPIRE, Les Films/ABC,1967), his films were considered not worth proper study and failed as both art house films as well as horror. Considering that that first feature was actually two separate films put together, the duality of his films (both art and horror, the use of twins, lookalikes, and parallel storylines) seemed organic for most of the remainder of his career.

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I first heard of Rollin when I saw a full color photo of his wild poster for his third film, Le Frisson des Vampires/THE SHIVER OF THE VAMPIRES (Les Films/1970). It was a wild image, sexy, art deco-ish, and different from most of the film posters that I had ever seen before. I recall that at the time the book was dismissive of Rollin’s films, calling them dull.

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The first of his films that I actually saw was in a cut and poorly dubbed VHS release bowdlerization of his Requiem pour un Vampire/REQUIEM FOR A VAMPIRE(Les Films,1971) called CAGED VIRGINS (Boxoffice International Pictures (1973) shorn from 95 minutes to 65) . The dubbing I recall seemed very sloppy and made the film feel very cheap. The choppy editing to get to the good stuff (i.e. sex) also made the film seem like a cheapo horror.

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Due to his films suffering from poor distribution, Rollin was forced to go into making porno films. It must have been maddening to him that these cheaply made films were better distributed and more financially successful than his personal projects.

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However, it did give him connections, among them finding the beautiful Brigitte Lahaie, an adult film actress with great screen presence who was featured in several of his later films, to the advantage of both. Due to her popularity, people sought out any film that she was in, including Rollin’s work. Their best collaboration was the film FASCINATION (Comex/Les Films ABC ,1979) which has the very striking image of a shroud clad Lahaie wielding a very deadly scythe. Death had never looked more beautiful nor deadly.

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Finally, there arose in England a group of film buffs who began to champion Rollin as a filmmaker to be reckoned with. Redemption UK distributed many a fine print of his works to a growing appreciative audience.

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After a couple of action films for hire, as well as shooting some films that Jess Franco dropped out of(!), Rollin made several more personal fantastique films that were among his finest, garnering good reviews and appreciative audiences. What was little known, however, was that the filmmaker had long been ill, and created his movies while racing back and forth from hospitals.

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(from LIVING DEAD GIRL /La morte vivante,1982)

He completed his last film, Le Masque de la Meduse /THE MASK OF MEDUSA (Les Films,2010) just shortly before he passed away, and it was a perfect film to end his career, as much of it mirrored his first feature, and also referenced many of his other creations.

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HEADPRESS is to be commended for giving us this wonderful tome, FASCINATION: THE CELLULOID DREAMS OF JEAN ROLLIN by David Hinds, as it is probably the most definitive work on the filmmaker that we are likely to see for some time. The author has a great passion and love for the oeuvre of Rollin, having discovered him among the many Euro Horror filmmakers that were coming to the early video store markets in the early 1980s.

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Hinds has done remarkable research, finding and seeing what still exists of much of the director’s work (a few shorts have gone missing, as well as some of his adult films). His descriptions of the films and the behind the scenes stories on their creation and distribution does what any great film book should -it makes you want to go out and see the films for yourself.

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(One of his work for hire productions ,aka ZOMBIE LAKE ,1981)

Hinds has gone the extra step and reviewed the various video, DVD, and even Blu ray releases of these films, so you will know which is the best one to purchase.

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le-viol-du-vampireHe also sought out and interviewed several of the people involved with the films, including the fullest interview with the late director that I have ever read( and perhaps the last that the filmmaker ever gave).

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The only quibble that I have is that for such a beautiful done tribute to Rollin, the photo reproductions are often muddy and very hard to see, resembling a reproduction of a newspaper photo from microfilm.  One wishes that they had tried a bit harder to show the haunting imagery in quality representation, perhaps putting them all in the center of the book on better paper, mixed in perhaps with some color.

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If you are open to seeing and experiencing something beyond the often paint by numbers films that are hailed by our genre fans. Then by all means seek out this book and then see the films!

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HIGHLY RECOMMENDED.

Kevin G Shinnick

*-In 1968, rioting, occupations, and strikes were the norm in Paris it seems to everything. It’s hard now to believe film fans expecting a Hammer type film would react so violently, but given the time it was not so unusual an occurrence.it is forbidden to forbid

(“It is forbidden to forbid” -saying during 1968 protests, and apropos of Rollin’s work )

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NO STOPPING THE STOVER

NO STOPPING THE STOVER – (ALPHA NEW CINEMA,2016). Color /B&W. 91 minutes. Documentary /DVD. $7.98
Available at

http://www.oldies.com/product-view/1100D.html

 

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2016 is shaping up to be the year of the Stover. Retromedia just released a limited edition of THE ALIEN FACTOR (reviewed recently https://scarletthefilmmagazine.wordpress.com/2016/07/08/the-alien-factor-1978-limited-edition-blu-ray-1000-copies-only/ )

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and he has at least nine (!) films that he appears in awaiting release or currently filming, including MANOS RETURNS, NIGHT OF THE LIVING DEAD: GENESIS (which stars Judith O’Dea from the original N.O.T.L.D (Continental,1968)) and RETURN OF THE DEVIL BAT (which co-stars Lynn Lowry (THE CRAZIES, Cambist Films1973), Ruby LaRocca (FLESH FOR THE BEAST, Media Blasters,2003), and Conrad Brooks (Ed Wood star). Now for his 70th birthday, we have a documentary of the life of the Baltimore Maryland cult film actor.

MANOSRETURNS

One of the nicest and modest people whom you might ever wish to meet, George was in the forefront of self-publishing genre fanzines, publishing the tiny wonder BLACK ORACLE.BLACK O                                           For ten issues, this ¼ size fanzine sold bloody hair hunksBloodyHunksRev                     as well as wonderful articles overlooked by a lot of the larger genre magazines. cinemacabre7Later he followed it up with another slicker fanzine called CINEMACABRE that published at least seven issues.

Having acted in a college school authorized production of a STAR TREK play called ‘One Cube or Two?”, wherein he played an alien in heavy makeup, Star-TrekStover continues to appear in off beat film roles. His first was in John Waters classic FEMALE TROUBLE (Saliva Films,1974) and he soon became a staple in Maryland Indie filmmaking, while supporting himself working in a regular 9 to 5 job.

He endeared himself to genre fans when he began appearing in films by fellow fanzine publisher(CINEMAGIC) Don Dohler. He appeared in Don’s first feature length film THE ALIEN FACTOR (Cinemagic Visual Effects, 1978) and appeared in all of Dohler’s films in roles of various sizes throughout.

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  (I think my favorite Stover performermance in a Dohler produced film ,STAKES ,2002 Timewarp Films)

In February,2012, George was attacked and robbed in his own home by a career criminal who rather than just leaving, shot George and left him for dead. Even though he was in hospital, he made sure that he called the director of a film that he was working on (DANGEROUS DECEPTION, Lee Doll ,2012) to apologize that he would not be on set! Hearing the actual phone message is quite chilling and yet also shows the professionalism of Stover. Luckily, George survived this real life horror, and is still with us, still sharing his joy of appearing in films.

(You can read local coverage after the event here: 

http://www.baltimoresun.com/news/maryland/baltimore-county/towson/ph-tt-george-stover-1128-20121127-story.html   )

 

Several filmmakers and fellow performers are interviewed to talk about working with The Stover, including director Fred Olen Ray (ATTACK OF THE SIXTY FOOT CENTERFOLD, Concorde ,1995), writer director Mark Redfield (THE DEATH OF POE (Alpha New Cinema ,2006) and many others who have had the pleasure of knowing and working with the man himself.

jj northCenterfold(  George and the charming  J.J. North on set of 60 FT CENTERFOLD )

If you’d like to have a good idea of what it is like to work in low budget films, find out why there is NO STOPPING THE STOVER.

Recommended.9848bf_2c5af2d3381a4f409d509b65ec1873e8

-Kevin G Shinnick

(Full disclosure -I have known of George since subscribing to his original fanzine Black Oracle, and have had the pleasure of meeting him on many occasions.).

If you have a completed  film seeking distribution, contact BRIAN KREY at  briank@oldies.com .Alpha New Cinema has released films by cult directors such as Brett Piper  Mark Redfield to great success.

 

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1960s, 1970s, 1980s, 1990s, 2000s, BOOK REVIEW, cult, diy filmmaking, Encyclopedia, fantasy, ghosts, Horror, McFarland, obscure, rare, review, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, vampire, wierd, zombies

HORROR FILMS BY SUBGENRE

HORROR FILMS BY SUBGENRE by Chris Vander Kaay and Kathleen Fernandez-Vander Kaay (McFarland, January 2016) softcover 252pages. $35.00

http://www.mcfarlandbooks.com/book-2.php?id=978-0-7864-9837-6

 

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When I first received this book, I was a bit unsure that I’d have any interest in it. The idea of breaking the genre down into sub categories seemed to me a bit anal to say the least. Plus, glancing through it, I was huffy, saying that the authors were missing a lot of old films when referencing suggestions for films that best illustrated the subcategory.

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Then I began to read further and I realized that the authors had a great understanding of horror on screen, and that the choices the made were wonderful ways of introducing fans and the curious to recent films that many of us may have missed.

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I began making a list of titles that they suggested, and I found that if the films were not classics, they were definitely entertaining and I am very glad that they brought movies to my attention.

 

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Yes, as I read further there WERE some of the usual suspects like CABINET OF DR. CALIGARI (Decla-Bioscop AG ,1920) for example, but I had missed ASYLUM BLACKOUT (Artemis Productions,2011), which is sort of a house of crazies variation on ASSAULT ON PRECINCT 13(Turtle Releasing ,1976). Plus, there were relatively new categories (single person horror) that had some movies which, while I have not caught them yet, the descriptions convinced me they go into my must see list (THE LAST WILL AND TESTAMENT OF ROSALIND LEIGH (Rue Morgue Cinema ,2012) by Rue Morgue founder Rodrigo Gudino, which I had heard about, but this book reminded me I had shamelessly missed viewing.

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Several other tasty morsels were promoted that I wish to view such as Nazi horror in THE DEVIL’S ROCK (Entertainment One ,2011), found footage horror of A NECESSARY DEATH (Brickwall ,2008), and buried alive horror in OPEN GRAVE (Tribeca Films ,2013). The authors champion filmmakers that I have enjoyed in the past such as the works of Larry Fessenden (THE LAST WINTER, Glass Eye Pix, 2006 among many) and so I do understand what they are doing with this reference tome.

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You might question why certain titles were chosen while others were overlooked. I feel that the two writers wanted to stimulate debate and discussion, as well as have you seek out little gems that might have slipped through the cracks. Isn’t that what a good film book should do?

Recommended.
Kevin G Shinnick

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